Grand Rapids Press
July 13, 1998

Copyright 1998 Michigan Live Inc.

Reuters/Variety
July 1, 1998

By Adam Sandler

HOLLYWOOD (Variety) - There were so many vocal gymnastics during Michael Bolton's and Wynonna's performances last week at the Greek Theater that one half-expected to see judges holding up scorecards.

The aptly dubbed Voices Tour was a two-artist showcase of sustained notes and register-crossing vocals, with each entertainer serving up wisely chosen nuggets from their repertoires in nonstop and well-executed sets.

Backed by a plethora of musicians and a stage set mirroring a mini-Acropolis, Bolton tapped every nuance of his vocal prowess and used every inch of the venue as he tackled tracks from earlier discs; he even ventured into a pair of operatic arias culled from his recently released Columbia Records disc "My Secret Passion."

Though such tunes as "I Said I Loved You, But I Lied" and "Soul Provider" were met with unbridled enthusiasm from the crowd, his efforts on the arias, including "Nessun Dorma," earned Bolton the evening's first standing ovation.

And while his skill in this arena (much maligned by critics) is still evolving, he helped pull it off by not taking it too seriously.

He set up the arias with jokes about experiments and singing along, and at the end of a sustained high note (which was met by equally sustained applause), he quipped "There's more." The tactic -- and his acumen -- put the Boomer set at ease and opened them to the material that they wouldn't necessarily associate with the singer.

Throughout much of the set, however, Bolton tapped into the de rigueur. His song list included the usual suspects and, as he's often done, he appeared at one point in the middle of the audience to sing: though the tactic was anticipated by many of the fans in the house, and it continues to spur enthusiasm.

His frequent traversing of the stage added an element of rock-star energy to the proceedings, as did his confident demeanor and the lighting, all of which elevated the show's quality far above Vegas mainroom spectacle.

But the choice of the lightweight ditty "It Takes Two" for a duet with Wynonna, was a wasted opportunity. A compare-and-contrast of the two unique vocalists could have been better accomplished by using Wynonna's "Is It Over Yet" or "We Move On," a pair of stellar, love- and life-affirming ballads. That endeavor could have created a dynamic and dramatic highlight of the evening.

Wynonna, though restrained by the small amount of stage real estate given to a show opener, worked the crowd like a newcomer eager to please the crowd, even before she learned -- through a requested show of hands -- that the majority had never seen her in concert.

Her attitude-backed growls and R&B influence on her country-pop material -- such as on the previously mentioned ballads (which were set apexes) and "No One Else on Earth" -- demonstrated without question that she has one of the best voices and musical sensibilities in the business.

She proved she has a good business sense as well. Wynonna's move to momentarily forego her headliner status and join Bolton was wise, as her set undoubtedly prompted some Bolton fans to visit their local record store and nab, at the very least, her latest Curb/Universal Records disc "The Other Side."

Promoted by Nederlander. Bands: Bolton: Joel Melotti, Joe Turano, Chris Camozzi, Schuyler Deale, Mugs Cain, Tre Balfour, Janis Liebhart, Amy Keyes, Sandra Simmons. Wynonna: Mark Jordan, Steve Potts, Willie Weeks, Jon Conley, Harry Sharp, Kim Fleming, Vicki Hampton, Robert Bailey. Reviewed July 1, 1998.

Chicago Sun Times
June 29, 1998

Backed by a rockin’ six-piece band, Bolton was in fine vocal form as he navigated his greatest hits. From the torchy R&B arrangement of "Can I Touch You... There," to the thunderous rock ‘n’ roll feast of "Reach Out/ I’ll Be There," the program had few missteps. "Missing You Now" packed more of an emotional punch with its slightly jazzed arrangement, while the pulsating rhythm behind "Steel Bars" got the audience dancing in the aisles.

In his first major tour since 1996, Bolton has matured both as a stage presence and a singer. Credit the latter to nearly two years of classical vocal training he took prior to releasing "My Secret Passion - The Arias" earlier this year.

As a stage presence, Bolton has become a master at seductively delivery a song lyric.
The pre-dominantly female audience responded with thunderous ovations filled with numerous proposals of the indecent kind. Bolton simply smiled and took it all in stride. After all, he had courted his audience all night, winning its heart along the
way as only the best romantic pop singers can.

Miriam Di Nunzio

The Post- Gazette
June 15, 1998

Want to discourage Michael Bolton? Don't issue the man a challenge."People say you shouldn't re-record classics," Bolton announced to the 10,380 concertgoers at Coca Cola Star Lake Amphitheatre Saturday night. "That's why I did a whole album of classics."With that, the singer launched into dramatic versions of the Bee Gees' "To Love Somebody" and the Four Tops' "Reach Out I'll Be There." Before his 75-minute set was through, Bolton also roared through "When A Man Loves A Woman" and invited opening artist Wynonna back to duet on "It Takes Two." While Bolton did nothing revolutionary with such good-time pop fare, he also didn't oversing it the way his reputation might lead you to believe he would.Bolton's decision to add some abbreviated arias to his show was equally stubborn. After being invited to sing with Luciano Pavarotti, Bolton found himself intrigued by the Italian tenor's musical world, he told the crowd. He's since recorded a No. One classical set, "My Secret Passion," and sung opera on some television appearances.Bolton did seem to recognize that his devoted throng most wanted his slick soul music, though, and sang only short snatches of a French and an Italian aria about his favorite musical subject - love.Throughout his set, Bolton's faithful loudly proclaimed their love for him with virtually no provocation. Opening act Wynonna had to work a bit harder playing before a crowd made up of relatively few pure country fans. And she did.The former member of the Judds described three things about herself: that she has attitude, that she's a dreamer and that while she's country, she's also funky. Wynonna demonstrated her desire to blur musical lines on bluesy fare like "The Other Side" and a grinding version of her hit "No One Else On Earth." Her opening song, "The Wyld Unknown," in which she sang about being a "woman of passion, a woman of faith," clearly established her intentions, too.Wynonna worked the crowd. She invited fans on stage to dance or have their picture taken with her. She brought up a good-looking fan and amiably took him down a few pegs by singing "Don't You Throw That Mojo On Me." She even teased her "sisters" in attendance about how lucky she was to get so close to their hearthrob, Mr. Bolton. Her work paid off when "Wy" was called back for an encore. She finished with the stylish ballad "Is It Over Yet" and the powerful, almost U2-like anthem "Always Will."Reminding fans in song that "Love Is A Wonderful Thing" and that nothing heals a broken heart like "Time, Love and Tenderness," Bolton was clearly most beloved, though. While his songs sometimes sound like car commercials, plenty of fans were buying, and loving, his strong presence and vocal rasp.

Sarasota Herald Tribune June 4, 1998

Although mercurial country chanteuse Wynonna has quit ``The Voices'' tour, Michael Bolton has shrugged off the defection and continues on. Would anyone have expected anything different from him? Bolton, not too many seasons ago, elicited a loud chorus of groans backstage at the Grammy Awards. The chorus of disapproval came from critics galled that the former hard-rocker had received yet another award for his labored takes on soul classics and romantic ballads. The singer spouted off publicly about the supposed crassness of the writers' behavior. But he didn't restrict himself from the kinds of projects likely to induce cringes among his naysayers. Bolton in 1996 used the occasion of a new holiday album to bite off a bit of opera with Placido Domingo (``Ave Maria'') and chew some country music with Wynonna (``This Is the Time.'') Last year, the former Michael Bolotin authored a children's book, ``The Secret of the Lost Kingdom,'' and recorded ``Go the Distance,'' the theme song from the Disney animated film ``Hercules.'' He also took time out to pay tribute to Ray Charles during International Jazz Hall of Fame ceremonies at the Ice Palace in Tampa. And, oh yeah, slash off those long locks in favor of a stylish short do. More recently, he released ``My Secret Passion,'' an all-classical album featuring tenor arias from Italian and French opera, and a duet with soprano Renee Fleming. The recording topped Billboard's traditional classic album chart for six straight weeks. So who cares what critics think when the public has spoken so decisively? Bolton, over the course of a career that shifted into overdrive with 1989's ``Soul Provider'' album, has sold 40 million albums worldwide and nabbed two Grammy awards. ``Time, Love and Tenderness'' and ``Timeless (the Classics)'' topped the Billboard album charts in 1991 and 1992, respectively, and 1993's ``The One Thing'' went to No. 3. He has pounded the pop charts with hit singles like "How Am I Supposed to Live Without You,'' ``When a Man Loves a Woman,'' ``Love Is a Wonderful Thing'' and ``Said I Loved You ... But I Lied.'' Bolton gets respect from colleagues, too. The list of those who have covered Bolton tunes includes Barbra Streisand (``We're Not Making Love Anymore''), Kiss (``Forever''), Joe Cocker (``Living Without Your Love''), Kenny Rogers (``Just the Thought of Losing You''), Cher (``I Found Someone'') Kenny G and Peabo Bryson (``By the Time This Night Is Over''), Patti LaBelle, the Pointer Sisters, Gregg Allman, Lee Greenwood and Conway Twitty. He even collaborated with Bob Dylan on ``Steel Bars,'' included on ``Time, Love and Tenderness'' and Bolton's greatest-hits collection. ``All That Matters,'' his latest chart-busting album, includes ``Go the Distance''; ``The Best of Love,'' co-written with R&B superstar Babyface; and others penned in collaboration with veteran songsmith Lamont Dozier, Nashville writer Gary Burr and old standby Diane Warren. The songwriting muse may be a wonderful thing, but it's difficult to pin down, Bolton said. ``Inspiration isn't easy to define,'' he told a reporter. ``In fact, you can't define it; it can only be experienced. But I really feel it is a gift when you sit down and it starts to flow. It's as if you've put up the sails and you wait for a breeze, and when it comes, it may last for the whole song or maybe just part of it, but that start enables the rest.'' Bolton will be singing, not explaining his art, during the 38-date ``The Voices Tour,'' a concert trek that, up until this past Wednesday, included country diva Wynonna. The tour stops in Tampa's Ice Palace on Thursday, before heading to Orlando on June 7. Bolton will perform an extended set at the shows. An opening act has yet to be announced. Refunds are available at the place of purchase.

Story Filed By The HERALD TRIBUNE, SARASOTA, FLORIDA

The Birmingham News
May 22. 1998

He strolled down the aisle like visiting royalty, surrounded by frowning security guards and a frantic cocoon of outstretched hands. Shaking his leonine hair, he sang into a portable microphone as women screamed, swooned, threw roses and held up homemade signs that said ''We love you'' or ''You can touch me there.'' Michael Bolton had returned to his hometown in New Haven, Conn., for a much-ballyhooed concert at Yale University. He was the city's Elvis, its Sun King, an adored superstar who had made it big after many years of bar gigs, frustration and obscurity. In fact, many local concertgoers still called their idol Michael Bolotin, the name he used in the 1970s as the leader of a band called Blackjack. While waiting for him to arrive at Yale, they stared hard at the auditorium's first few rows, hoping for a glimpse of his former wife, who still lived in the area but kept a low profile. Everyone knew Bolton had moved on to romances with starlets and models, including slinky Nicollette Sheridan, who looked so fab in that white bikini in the movie The Sure Thing. Bolton had custody of his three daughters, however, and if his ex didn't show up, the girls were certain to attend. I was on hand, too, scribbling notes and getting quotes for a next-day story in the New Haven Register. As the paper's arts editor, I was happy to be out of the office that night, on a music assignment I loved but no one else wanted. Most people at the Register viewed Bolton with scorn, because they loathed his music or had been turned down by him for interviews. Some of my colleagues angrily remembered the days when Bolton was eager for the paper's attention, when he pushed for every calendar listing, photo and news item. In the early 1990s, that was ancient history; Bolton was a household name who neither knew nor cared if the 100,000-circulation Register covered his activities. We always did so, but grudgingly with a cynical ''can you believe this guy?'' undertone that, in my opinion, served neither performer nor readers well. As a relative newcomer to the paper with about 12 months' tenure, I had no such prejudices. I leaped at the chance to cover Bolton's show, responding to my supervisor's quizzical gaze by telling him that famous was famous and the homecoming extravaganza sounded like a hoot. Little did I know that Yale's Woolsey Hall would turn into a living, breathing, squirming-and-giggling shrine to Bolton's celebrity. That a gleaming white stretch limo would signal his presence there, and a horde of fans would hover near the car for hours, just in case Bolton's lanky frame made a surprise entry or exit. I thought I'd have fun at Bolton's performance, but I ended up having a bona fide blast. It wasn't because he sounded fine or put on a good show (actually, he did both), but the event was a sterling example of pop culture gone wild. I've always been fascinated by groupies; Bolton seemed to have them in every size, shape, age and color. Middle-aged moms pretended to faint when he crooned ''Soul Provider.'' Grandmas rushed the stage to snap photos when he told a joke or smiled. Little kids shouted ''Hey, Michael!'' when he looked their way. And teenagers? All the rules for cool behavior were suspended as they sang along to the sappy ''Said I Loved You . . . But I Lied.'' It was hard to identify specific items in the heap of gifts admirers pressed on him, but Bolton received enough roses that night to blanket three Kentucky Derby winners. And he must have quite a stuffed animal collection, if a grown man actually likes that sort of thing. I saw Bolton T-shirts, Bolton caps, Bolton posters, Bolton pins the size of Frisbees. The woman next to me clutched the battered jacket of an old Blackjack LP, proudly displaying its faded ''Thanks, Michael Bolotin'' autograph when I asked what she held so tightly. She told me other fans offered her hundreds of dollars for the piece of memorabilia, but ''honey, they'd have to rip my arm off first.'' In the annals of hero worship, we were obviously making history. I was so tickled by the Bolton hoohah so delighted by its over-thetop kitsch that I've had a soft spot for him ever since. He can try his luck with opera, funk, yodeling, whatever, and it'll be perfectly peachy with me. As for his music? Well, you'll probably never find a Bolton CD in my home collection. But I wouldn't have missed his outrageous New Haven concert for all the world. Don't expect me to give up my tickets to his Oak Mountain show tonight, either because honey, you'd have to rip my arm off first.

Mary Colurso is pop music writer for The Birmingham News

The haircut's an improvement, to be sure. But Michael Bolton wants to talk about something more substantial than his makeover, and despite the fact that he's having "a business day from hell," he grants 20 minutes to talk up his appearance on A&E's popular live-music series, "Live by Request" (6 p.m. tomorrow). "What you could write on a piece of paper is not what's valuable about classical music," the pop icon begins a bit defensively. Bolton undoubtedly anticipates questions about his recent CD release, "My Secret Passion: The Arias," a collection inspired by his concert turns with Placido Domingo and Luciano Pavarotti. Critics have savaged "Secret Passion," though that hasn't kept it from topping Billboard's classical charts. "The dots on paper are the form, like a computer," he says with unexpected passion. "The masters created an incredible wellspring for people who love the way the music makes them feel." After his interviewer confesses to an ignorance of opera, Bolton seems to relax. "When it comes down to it, I fell in love with these arias because I was invited to sing with Pavarotti, and I had only a few days to prepare. "So I started listening, and I couldn't tell you - I basically learned like an infant - touching, feeling, observing. "I was totally blown away." Apparently the pressure's been building for decades. "What I did was I fell in love with music when I was 6 or 7," Bolton says. "I was the kid people would ask, `How does this song go?' I listened to radio, to records, my brother's collection, my mother was very much into music, and we all sang when we were kids." He's been writing songs for years, he says, but by ear - it's been "on feel. That's what makes people come and sit for two or three hours. It's about what moves you." Unfortunately, he says, many people miss out on powerful, beautiful music because they're intimidated. "And the composers didn't want that," he says. "These people dreamt it, thought it, lived it." To make the masterpieces he interprets on "Secret Passion" more accessible to the average Bolton fan, he insisted that a booklet be inserted in the CD. "I decided if Sony didn't want to pay for it, I'd pay, but I thought it was important for people to have the moment set up. "And the art work, the beautiful art work. I found out that the artist was an opera fan, and he knew every aria I did." He won't speculate on how many requests he may get for arias tomorrow night, but the whole idea of a live show is something else. "Daunting? Yes," he says. "Performing live is one thing, but performing in a format that can throw you a curve ball - I've been trying not to think about it." He says he hopes to be able to talk with some callers on the air, "even by e-mail, to find out more background, find out what moves them about the music they're requesting. "Music plays such an important part in people's lives," Bolton says. "People need to know - I need to know - beyond being entertained."

Billboard
March 13, 1998

Michael Bolton will field fans' song requests during a live performance March 17 on television channel A&E. The two-hour "Live By Request" concert will allow fans to phone or E-mail in track selections for the Grammy Award-winning vocalist. TV personality Mark McEwen will host the event, which will be simulcast over the Media America Radio Networks and the Sony Web site (http://www.station.sony.com). Fans logging into the Internet site will also have access to an exclusive interview of Bolton, as well as to the AC artist's discography, biographical information, and song lyrics. Conceived in 1996 by lounge legend Tony Bennett, "Live By Request" has featured performances by James Taylor, Kenny Loggins, and Barry Manilow, among others. Bolton's last album, an exploration of light opera called "My Secret Passion -- The Arias," was released Jan. 20 by Sony Classical. It is currently No. 2 on The Billboard Classical 50 chart.

Oscar Net
March 4, 1998

Five Nominated Songs to be Performed at 70th Academy Awards

Beverly Hills, CA -- All five nominated original songs will be performed on the 70th Academy Awards telecast by the performers who sang them in the movies, producer Gil Cates announced today. "Go the Distance" from Hercules will be performed by Michael Bolton, "How Do I Live" from Con Air by Trisha Yearwood and "Journey to the Past" from Anastasia by AAliyah. Elliott Smith, who wrote the music and lyric for "Miss Misery" from Good Will Hunting, will perform his nominated song and Celine Dion will perform "My Heart Will Go On" from Titanic.

"Go the Distance" from Hercules, with music by Alan Menken and lyric by David Zippel, will be performed by Michael Bolton. Bolton has won two Grammy Awards and six American Music Awards.

Diane Warren wrote the music and lyric for "How Do I Live" from Con Air, which will be performed by Trisha Yearwood. "How Do I Live" reached #1 on the country and pop charts and is featured on Yearwood's current album "Songbook: A Collection of Hits." 

"Journey to the Past" from Anastasia, the music for which was written by Stephen Flaherty and the lyric by Lynn Aherns, will be performed by nineteen-year-old AAliyah, whose debut album, "Age Ain't Nothing but a Number," went platinum. Her current album, "One in a Million," has been RIAA certified double platinum.

Elliott Smith, who wrote the music and lyric for "Miss Misery" from Good Will Hunting, was discovered performing at a Portland, Oregon coffee house by director Gus Van Sant.

The music for "My Heart Will Go On" from Titanic was written by James Horner and the lyric was written by Will Jennings. It will be performed by Celine Dion whose "Falling into You" album won Best Pop Album and Album of the Year last year at the 39th annual Grammy Awards.

The 70th Academy Awards Presentation will be held on Monday, March 23, 1998, at the Shrine Auditorium in Los Angeles, and will be broadcast live by the ABC Television Network beginning at 6:00 p.m. (PST). Information about the 70th Annual Academy Awards can be accessed on the world wide web at <oscar.com>.
© A.M.P.A.S.®
Academy of Motion Picture Arts and Sciences
8949 Wilshire Boulevard * Beverly Hills, CA 90211-1972 * (310) 247 3000
[email protected]

E! Online News
February 6, 1998

Dream to some, nightmare to others: Michael Bolton headlining a "Three Tenors 2000" gig. Forget those big-time opera names that sound like pasta and cheese--here comes Bolton. With a uniquely strong voice--and hair that may have had a life of its own--Bolton has achieved worldwide fame over the years singing pop ballads. Now, his My Secret Passion--a collection of 10 classic tenor arias--has hit No. 1 on Billboard's traditional classical chart. Released two weeks ago, the album contains works written by operatic glitterati including Puccini, Verdi, Donizetti and Massenet, as well as a duet from Puccini's La Boheme performed with soprano Renee Fleming. Bolton performed one of the album's tracks at the American Music Awards last month--to the glee of the notoriously uptight classical music critics, who butchered Bolton's operatic crooning. But critics have never gotten in Bolton's way before. "I feel confident, from performing these arias live, that my audience will embrace this music," says Bolton in a statement. He claims inspiration for the record came from singing with Placido Domingo and Luciano Pavarotti in concert. "I've chosen arias that I believe they will appreciate, and that will speak to them for the same reasons they speak to me." (Sounds like he's been working with Luciano Mozzarella, as well.) It remains to be seen whether Bolton's classical makeover is permanent, but the ex-popster has embraced his attempt at legitimacy. For his AMA appearance, his trademark mane was seriously cropped. (Despite the buzz cut, Bolton's late locks finished second to Garth Brooks in the "Male Musician with the Best Hairstyle" category of the fourth annual Sally Beauty Supply Best Tressed awards, announced this week.) Meanwhile, the classical charts are starting to swell with pop-rockers-turned-Beethoven wannabes. Paul McCartney topped the charts with his Standing Stone symphony, Elvis Costello charted with his The Juliet Letters and piano man Billy Joel is currently working on his classical chops for an upcoming album.

PR Newswire
February 5, 1998

NEW YORK, Feb. 5 /PRNewswire/ -- Michael Bolton has gone classical -- and record buyers have responded by catapulting his CD to #1. My Secret Passion, the pop singer's new recording of popular opera arias, is now the best-selling classical album in America, hitting the #1 spot this week on Billboard Magazine's Traditional Classical chart. This is the first time that a male pop vocalist has hit #1 on the Traditional Classical chart. Inspired by his experiences singing in concerts with Placido Domingo and Luciano Pavarotti, Bolton sings in Italian and French on the Sony Classical recording. Ten great tenor arias, written by such operatic giants as Puccini, Verdi, Donizetti and Massenet, are featured on the album, as well as a duet from Puccini's La Boheme with world-renowned soprano Renee Fleming. Steven Mercurio conducts the Philharmonia Orchestra on the recording, which was released just two weeks ago. Bolton has recently performed arias from the album on "The Nanny," "The American Music Awards," and "Live with Regis & Kathie Lee." Future television performances include "The Tonight Show with Jay Leno" on February 18 and A&E's "Live By Request" on March l7. "I feel confident, from performing these arias live, that my audience will embrace this music," Bolton recently said. "I've chosen arias that I believe they will appreciate, and that will speak to them for the same reasons they speak to me." "It has taken much work and requires much discipline, but singing these incredibly expressive tenor arias has changed my life profoundly and my perception of music permanently."

 SOURCE Sony Classical