Seine Spezialität ist die perfekte Balance zwischen der Ekstase großer
Romanzen und dem Schmerz eines gebrochenen Herzens. Auch CHRIS ISAAKs
Album Mr. Lucky offeriert wahre Leidenschaft, die umso glaubwürdiger
wirkt, da man spürt, dass der überaus charmante ISAAK aus eigener
Erfahrung singt. Mr. Lucky ist ein Songzyklus über das Glück, das uns
zusteht, und das Unglück, das wir kaum ertragen mögen. Vom Opener
Cheaters Town bis zum Closer Big Wide Wonderful World führt uns der
Schöpfer der unsterblichen Romanze Wicked Game auf eine dunkle, aber
wundervolle Reise. So könnte ein Sinatra-Album des 21. Jahrhunderts
klingen. Wie seine besten Songs, etwa Wicked Game, Baby Did A Bad, Bad
Thing und Somebody’s Crying, beweist auch das Repertoire auf Mr. Lucky
ein feinfühliges Empfinden für eine gute Liebe, die sich ins Böse
verkehrt, und eine böse Liebe, die sich zum Guten wendet.
CHRIS ISAAKs Glück beruht auf harter Arbeit: Andauerndes Touren,
Sorgfalt im Studio und eine Reihe von erfolgreichen Alben, die konstante
Qualität beweisen: Silvertone(1985), Chris Isaak (1986), Heart Shaped
World (1989), San Francisco Day (1993), Forever Blue (1995), das
weitgehend akustische Album Baja Sessions (1996), Speak Of The Devil
(1998), Always Got Tonight (2002) und Best Of Chris Isaak (2006) bis hin
zum vorliegenden Mr. Lucky. Zwischen all diesen Alben fand CHRIS ISAAK
genug Zeit, sich mit seinem ihm eigenen Witz und seinem sympathischen
wie attraktiven Äußeren ein zweites Leben auf dem Bildschirm aufzubauen.
Er bekleidete Rollen in Filmen wie Jonathan Demmes Married To The Mob
(1988), David Lynchs Twin Peaks: Fire Walk With Me (1988), Bernardo
Bertoluccis Little Buddha, Jonathan Demmes Oscar-Erfolg Das Schweigen
der Lämmer (1991), Tom Hanks Rock’n’Roll-Film That Thing You Do
(1996) und John Waters A Dirty Shame (2004). Darüber hinaus sah man
ihn in einer Gastrolle der Serie Friends und in der HBO-Miniserie From Earth To Moon, bis er seine eigene Show The Chris Isaak-Show
(2001 - 2004) bekam, die Soap, Musik und Comedy vereinte.
'Er bedient sich bei seinem gutklassigen Mainstreamrock gekonnt bei Rockabilly, Western Swing und Country. I-Tüpfelchen bleibt Isaaks schmelzige Stimme, mit der er schmachten wie shouten kann.' (Stereo 7/09)
Artikeleigenschaften von Chris Isaak: Mr. Lucky (CD)
The son of a fork-lift operator, Chris Isaak har-boured professional boxing ambitions at college as well as musical ones. The legacy of the former was a distinctly squashed nose; of the latter, a rockabilly band in the shape of Kenney Dale Johnson (drums) and James Calvin Wilsey (guitars), both of whom were to play on his first four albums. Long years of gigging followed before a deal was secured with Warner Brothers, and a debut LP, SILVERTONE, followed in 1984. Isaak's influences and preoccupations were clear from the beginning — a countrified R&B sound set to a rocking tempo, and the theme of heartache. His voice harked back to that of the 50s crooner, an impression reinforced by Wilsey's chiming guitar which positively shimmered with vibrato. This was retro-America, a country of cars laden with chrome, of headlights in the rain, and of broken-hearted prom queens. Isaak moved through a moody, sometimes mysterious landscape, from Vegas to the voodoo of New Orleans and back to his home town of Stockton. The tone of CHRIS (SARK (1987) was pure West Coast smoothness; indeed the cover shot, by Bruce Weber, consciously played up Isaak's resemblance to Chet Baker. Like Baker, Isaak is no innovator, and few could claim that his style has really developed since his debut, but this fidelity to his chosen ground has made him inimitable — these acts of homage are where his touch is surest. His voice is most often compared to that of Roy Orbison (whose touchstone was also the pain of memory), and indeed there is a similarity when Isaak slips into the upper register, but he lacks Orbison's sense of drama. A more accurate comparison would be with the Presley of "Mystery Train", at its most obvious on a track like Isaak's "Blue Hotel", which is haunted by his ghost. Even though CHRIS ISAAK failed to establish him, he was now acquiring a reputation for his vibrant live performances, complete with satin suits, at which his relaxed, ironic personality was at its best. His adept put-downs of hecklers — 'I remember my first drink too' — caused one NME reviewer to wail, 'Why isn't this man a star? HEART SHAPED WORLD (1989) was unrepentantly in the same slick vein, but found him at his brooding best on the perfectly paced "Wicked Game", which, in 1990, when lifted from the soundtrack of David Lynch's WIN At Heart, gave him a long-awaited hit and valuable exposure. Its success led to the release of a repackaged compilation drawn from the three albums. WICKED GAME (1991) leaned heavily towards his ballads, but amply demonstrated his uniquely moody sound. It is apt that Lynch should have provided him with his breakthrough — he too is a dark romantic and chronicler of small-town disaster. Isaak has also pursued a cameo acting career, appearing in films such as Married To The Mob, Link Buddha and The Silence Of The Lambs, in which he led the SWAT team hunting the escaped Hannibal Lecter. SAN FRANCISCO DAYS (1993) shifted slightly from T-Birds to the surf, and allowed a glimmer of bright-ness in his sound, while its successor, FOREVER BLUE (1995), still found him in melancholic spirits, but veering back towards his rockabilly roots. The stopgap 1996 outing, THE BAJA SESSIONS, showed an even more laid-back side to his music, had few new tunes to offer and had him tackling such ghastly 'stan-dards' as "South Of The Border, (Down Mexico Way)" and Orbison's "Only the Lonely" as well as numbers from his own back catalogue. Similarly, 2002's ALWAYS GOT TONIGHT offered more of the same old sad songs and strums. Though he persists in producing albums that aren't bad, link now seems to do little more than simply mark time.