Customer Reviews

Red (U.S. Release)

5 star:		(64)
4 star:		(20)
3 star:		(4)
2 star:		(5)
1 star:		(6)

 

 

I think John did a respectable job for someone who is so young, and new to the music business. I believe that John will definitely get better with time, and his future projects will probably be great, and maybe even grammy worthy.

The positive points of the cd: I think the production was good, and the orchestration and instrumentation was wonderful. John did a good job on most of the songs (a surprising addition was the pop ballad, "Here, There and Everywhere"). My two favorite songs on the cd are "This Love," and the wonderful duet with Erika Christensen, "Let's Fall in Love."

The negative points: I think some of the interpretation and phrasing was a bit "lazy and boring" at times. Also, John's vibrato seemed washed out and faded when it should have been stronger. I believer, however, with more experience and confidence, the problem with interpretation, phrasing and vibrato will easily be corrected. My least favorite songs were "I Only Have Eyes for You" and "My Blue Heaven."

Overall, I think Frank, Sammy and Dean would be proud of the Job that John has done. They would also agree that John will only get better with time. I will enjoy this cd until John releases another cd, and I will purchase that cd as well.

Well, I hope this review was helpful to you.

Cheers to you! :)

I'm a big fan of the American Idol franchise ( we get satellite telecasts just a few hours after it airs in the U.S., imagine that! ), but few AI products have gained my approval thus far. Clay Aiken is one of them, and - surprise, surprise - another redhead has joined the list.

Jazz isn't something new for me, since I listen to Michael Buble, Peter Cincotti, Renee Olstead, Jamie Cullum, Chris Botti, Diana Krall, Kenny G, Jane Monheit, Norah Jones, Steve Tyrell and many others.

Comparing John's debut effort with his more well-known predecessors, however, I can happily report that it's actually really good.

David Foster and Steve Tyrell did a great job producing the album, which features terrific arrangements that both preserve the original's magic yet add a nice contemporary feel. Tyrell, best known for light, enjoyable pieces, lends his trademark touches, while Foster, a veritable master as evidenced by an illustrious career spanning many decades and his immense successes with Josh Groban, Buble and Olstead, knows exactly which buttons to push.

The result - a very slick record peppered with famous crowd pleasers ( Come Fly With Me, I Only Have Eyes For You, It Had To Be You ), done JUST right, with minimal jamming. So don't expect any head-spinning/banging rhythms here.

Vocally, it depends on your taste. I, for one, always find something worth savouring, whether it's Buble's honey-smooth vibrato, Cullum's raspy growl, or Cincotti's smoky boyishness.

John, in my opinion, does indeed possess something very special - a voice that belies his tender age ( 17, I believe ), both old and youthful at the same time, and brimming with potential. He definitely sounds very different from his AI days, when his monotonous deliveries resulted in an early departure from the competition.

Here, he shows more confidence, even a little mischievous streak, with subtle inflections ( Come Fly With Me ) and a palpable sense of swing ( Don't Get Around Much Anymore ).

My personal favourites include This Love ( a haunting ballad in contrast to Maroon 5's rock version ), Let's Fall In Love ( a rousing duet with Erika Christensen - is that the blonde actress??? ), and The Shadow Of Your Smile ( an exquisite bossa nova piece which caused a few goosebumps when I heard it for the very first time ). Yes, people, John Stevens can do bossa nova! :)

I agree with all other reviewers who've written about how John will probably blossom as he grows older. He's already demonstrated lots of progress since his stint on AI3, and I hope he'll continue to sing the songs he loves and bring a whole new generation along with him.

Although only 17, John Stevens has a stunning future with the Great American Songbook...and this brilliant debut album is one shining example.

Thanks to Steve Tyrell and David Foster's superb production, Bob Mann's wonderful arrangements, and the just-right musical accompaniment (happily NO BIG BAND in sight), John has created a winning lineup of standards (both old and new), starting with "Come Fly with Me" and concluding with "Don't Get Around Much Anymore." I was not aware of Maroon 5's "This Love" until I heard John's heartfelt rendition - just perfect! And "Here, There and Everywhere" is a marvelous Beatles song that is perfect in a jazzy setting.

There is no need for me to add to what most of the other reviewers have already written, but this CD is a winner! And with careful handling, John Stevens has the talent to rival the likes of Michael Buble, Peter Cincotti, Renee Olstead and other up-and coming young vocal stylists for years to come.

My husband and I watched John Stevens perform on American Idol and have been anticipating the release of Steven's first CD. Unfortunately, his publicity machine didn't reach Texas because we just heard about it by accident last week. We've listened to the whole CD and think it's just fantastic! Every song is great. I took it to work and played it and now everyone there is a John Steven's fan. From webmasters to mechanics, this kid appeals to everyone. I especially like the Beatles cover of Here There and Everywhere. My co-workers think All of Me is his best. Anyone who buys this CD will think it's worth every penny.

Yep, I didn't expect it to be that good but it was.

John Stevens is definitely in his elements. He sounds better than he ever did on AI and this is the potential the judges probably saw in him in the first place. And he acquitted himself par excellance.

Forget Buble and the whole host of overrated youngsters trying to milk the genre for its nostalgic value.

This is it. I swear I actually thought I was listening to a young old blue eyes, especially as I had both albums put back to back in my car.

It was with a start that I realised that the CD had changed.

What are you waiting for? Get it.

Having not been exceedingly overwhelmed with John Stevens as a performer when he emerged to national attention on American Idol, I was skeptical to listen to this CD.


I thought it would be nothing more than another pale attempt from a singer to dabble in the "NOUVEAU LOUNGE" musical trend presently made popular by Michael Buble.

In spite of this, I was extremely curious to hear the end result of this product as John is signed to Maverick -- a quality driven label.

Imagine my amazement as I auditioned the CD.
It is sensibly crafted to suit both the musical flair and register of the young vocalist. This CD would be considerer a really strong first solo project for any vocalist.
His vocals become most convincing when he tackles current pop material and blends them with a new lounge musical production. The MAROON 5 track THIS LOVE is an attention grabber.
The beauty of Stevens is when he uniquely takes current or standard pop hits and reinvents their style - the Beatles song is another stand out on this CD. Very classy and very fresh.


If Stevens continues to produce this level of solid projects, his future will be a great deal more dazzling than anyone predicted during the reality contest.

With this CD, his American Idol fans will be thrilled and more than a few cynics will have to transform their negative opinions about this vocalist. Give it a listen and you'll be impressed!

I caught on to John Stevens while watching him on American Idol. Even though I thought he was out of place in that competition, I figured he had a future with that genre of music. I was pleased to find his album when I did a search on Amazon. I like the album but wish he would adopt more of a Dean Martin or Perry Como style instead of the Frank Sinatra style he favors. Still, I rate this as a good purchase.

Red is a real treat for anyone who first became infatuated with the retro-stylings of teen crooner John Stevens during the tumultuous third season of American Idol. Though obviously out of sync with AI's pop histrionics, Stevens nevertheless revealed himself a class act and developed a loyal fan base. For those less familiar with Stevens, but already hip to modern interpreters of big band music like Michael Buble and Harry Connick Jr., Red is surely a welcome addition to the club (which, as we already know, is chaired in memoriam by Frank Sinatra).
First of all, hats off to the crackerjack team assigned to Stevens, led by Steve Tyrell (producer), and Bob Mann (arranger and co-producer). These guys have assembled a first rate production that enhances Stevens' burnished vocals (never better than when he's dipping into the lower end of his range), letting him run with his material without ever overwhelming him. In an era of routinely over produced, over orchestrated recordings, this is refreshing stuff.
As many listeners already know, Stevens was introduced to the music of Sinatra, and his contemporaries, by his grandparents and he's adapted that sort of "cool" as his trademark, mostly to great effect. Still, Stevens is only 17 (soon to be 18) and his lack of worldly experience sometimes gives him away. His version of "Come Fly With Me," for instance, while pleasant, has got nothing on Michael Buble's more seasoned cover of the same song, and "Someone to Watch Over Me," which has been recorded and rerecorded by pros like Linda Ronstadt and Sting, seems just beyond Stevens' grasp (though not a complete failure by any means). Again, what shows through every now and then is Stevens' relative inexperience--not inability.
That said, this cd works far more often than not. Stevens is comfortable with his material and his phrasing is stunningly deft. He's not afraid to be subtle (the same of which can not be said for many American Idol contenders). Some of the stand-outs include a winning take on "All of Me" and a delightful duet of "Let's Fall in Love" with Erika Christensen (the young actress featured as Michael Douglasıs drug addicted daughter in the movie Traffic). I don't know whose idea it was to invite Christensen in on this project but she and Stevens are a swingin' twosome. Thrown into the mix are such standards as "My Blue Heaven," "I Only Have Eyes for You," and "It Had to Be You."
Stevens also does great things with two songs not associated with the either the 1940's or the 1950's. He nails "Here, There and Everywhere," one of The Beatles' dreamiest love songs (from Revolver), and then, in what might be Red's boldest--yet most assured--move, takes Maroon 5's recent hit "This Love" to a jazzy, even sultry, new high. This is the track, more than any other, that Stevens reveals himself to be a true artist capable of not only mere skill, but also imagination and sophistication. Stevens tries on the weary persona of a man who's been played for a fool one time too many and demonstrates he can find his own meaning in a song; he's not, as his detractors lament, merely parroting the great Sinatra. This is an ingenious reinvention of an already catchy pop tune and it should be getting lots of airplay. Alert your local deejay.
Red--the title comes that vibrant thatch of hair--is a nice start to what will hopefully be a fabulously successful career. Stevens' delivery is most agreeable and his album is perfect, carefree summer listening. I'm only sorry to report he doesn't reprise his stand-out American Idol performance, Roger Miller's finger-snappin' classic "King of the Road" (or for that matter, the Dorothy Fields-Jerome Kern chestnut "The Way You Look Tonight," which he performed at his initial American Idol audition). The thrill for me is believing that anyone as accomplished and certain as Stevens is at 17, will continue to get better and better as he accrues experience, both behind--and away from--the microphone. Let's hope the cd's keep coming.
And you've got to admire any guy who's comfortable enough with himself to embrace the music of his grandparents' generation and dedicate his cd to his mother with these words: "You were so patient, and I didn't always treat you the way I should have. For that I am truly sorry...I dedicate this album to you, Mom. I love you!"
Stevens is no doubt a true romantic, and I have a feeling that he's got what it takes to make girls--of all ages--swoon. Lucky guy.

8/3/05: REVISED REVIEW: For some reason, I can't change my four stars to five here, so just imagine five...

ALL reservations I previously had about John's debut CD have been laid to rest. The album has really grown on me with repeated listenings. But I think the real test was when I mixed the cuts from this album in with the other "Standards" on my iPod; John was thrown right in there with the likes of Michael Buble, Harry Connick, Ella Fitzgerald, and, yes, Frank Sinatra, and I set the iPod to "shuffle" within my "Standards" playlist. I was delighted and amazed to hear how very, very well John holds his own amongst such daunting company. He really has a very good voice - even now, at 17. And his phrasing is absolutely spot-on, very assured, very relaxed. BRAVO! And keep it coming! I take it back: this album is NOT "sleep-inducing" AT ALL!

My original review appears below.

If I have any reservations about John Stevens' debut album, Red, it's that it may be just a touch...soporific. Which is puzzling, since I really do like this recording, and even more, I find myself instinctively liking John and rooting for his success. Yet there's a nagging sense that there may be - just maybe - a little bit less than meets the ear in this first effort.

In my comments on John's earlier single, I mentioned that I applaud any young artist with the taste (and courage) to take a crack at the standards and present this music to a new generation; it's pleasing to think the genre may not be headed for imminent extinction. And it's delightful to read the various "Kid's Reviews" here and note their writers' almost unanimous enthusiasm. (One would hope these young people will be inspired to explore the genre more thoroughly and discover the classic, superlative interpreters - Sinatra, Ella, Bennett; the legends and some of the contemporary singers - but that's really up to them.)

The "package" is terrific: the absolutely top-notch arrangements merit special mention, the production is impeccable, the band superb, and John's delivery is relaxed, smooth, and seems very confident, rather astonishing in a performer of his mere seventeen years. His phrasing is also quite competent. But if I'm being honest, I have to admit that under this very pleasant exterior, there's a dismaying whiff of blandness, a certain regrettable sameness to the cuts, and a lack of real excitement. Oddly, John's most assured, comfortable vocals are on the two NON-standards, "This Love" and "Here, There and Everywhere," which is rather sad for a champion of big-band-era pop. I didn't want to; I tried very hard not to - but I found myself losing interest from time to time.

But maybe that's just the problem: maybe this music is still just a little beyond the grasp of someone so very, very young, with a voice which frankly has not yet reached maturity. John sounds like the kid he is - of course. (I think his producers understand this, and I suspect he may have received some wise advice on song choice: can you imagine an adolescent singing, say, "One For My Baby" or "It Never Entered My Mind"? No, the selections are, wisely, within the bounds of the reasonable for a young singer; to give him his due, it could well be that John himself recognizes his current limits, and chose accordingly.)

All that said, I don't think it's the complete turn-around it may seem for me to add that I wholeheartedly welcome John to the entertainment scene, and recommend Red as an enjoyable, if very mellow, listen. Actually, there really isn't a single bad cut on the album, and a few others besides the two mentioned above - "All of Me" and "Don't Get Around Much," notably - come close to being quite good indeed.

And bear in mind that even Sinatra's vocals on his earliest recordings - the pre-Capitol, Columbia Records sides - only hint at the power and greatness to come years later in the 1950s and 60s, when he was in his forties and fifties - many decades older than seventeen; the yet-to-be-"Chairman of the Board" himself sounded more like, perhaps, the junior clerk: a little bland, his voice a little thin and unsure, when he was a young vocalist, whose fans - like John's now - were largely dreamy-eyed teenaged girls. I almost never listen to Sinatra's early recordings, but hardly a month goes by when I don't savor some of the classic 1950s cuts.

Again as I mentioned for John's single, if his ease, confidence, and undeniable artistry are any indication, I think there's an excellent chance John will eventually lose his "green-ness" and that his vocals will increasingly satisfy as his voice matures, and a better-than-even one that he will in his time become the truly first-class pop singer he very obviously wants to be. In some ways, he's well along the road already.

Welcome, John, and success to you; I hope the CD sells, and I very much look forward to hearing what you'll send our way next.

I read quite all the reviews before buying this cd, as I don't live in the US, I haven't seen the American Idol shows ... I have to say that I was pleasantly surprised by the voice, this is a very nice first offering, of course his voice will have to grow, but hey he was only 17 ... I like the colour of the voice, it is smooth and laid-back, you can't compare his voice to Bublé or Sinatra, why should every crooner be a Sinatra wannabe ... there is place for difference and I have to say that I like this offering, and I think if the show business give him time to grow, his career could be very interesing, there are not that many good crooner around anymore, Bublé of course and Ellig, maybe Dusk and the Irish boy Cormac Kenevey, so there is space for more ...