Diana Krall is synonymous with jazz, but on Wallflower she takes that elegantly smooth, but rustic, voice and applies it to some of the most iconic Classic Rock and Pop songs in music history. The renditions are absolutely beautiful and rival those of the original performers and in some cases surpass the originals; a bold statement, yes, but one worthy of such acclaim.

On this, Krall’s twelfth studio release, Krall teams up with Producer extraordinaire; David Foster. While Foster’s work is well-known, I dare say that there isn’t a better producer for this style of album as Foster’s usual style matches the aim Krall had in recording these series of songs. The result is an album that is spectacular from start to finish. 

Covers are an interesting musical endeavour for many are mediocre, some are just bad, while others such as those included here, for the most part, exceed all expectations. Thankfully, Krall manages to apply her unique style, while remaining true to the originals that are so loved, and appreciated, by millions of listeners throughout the world. It is always difficult to listen to songs that have been re-interpreted when you know the original so well, but this album is not one to fear.

For several years, I turned to streaming to listen to this collection of songs as I was torn regarding which edition I was interested in adding to my music library. On one hand, the Vinyl-based twelve-song collection, closing on Don’t Dream It’s Over is tight, but The Complete Sessions CD gives us more of the good stuff that makes Wallflower so compelling. Subsequently, if money was no object, I would own both, but I decided to go for the CD release as it contains everything from the Wallflower recording sessions along with two live performances. 

Of course, and it has to be said, Krall’s music is generally recorded, mixed, and mastered so well that the digital counterpart is full and enveloping with a natural warmth that doesn’t require an analogue medium to sound good. That said, while one would expect that the Apple Music stream, an Apple Digital Master, would sound inferior to the CD, I didn’t find that to be the case. The CD is most certainly more open, with a little more reach in the treble range, but the streaming counterpart is smoother and more developed in the low end of the musical spectrum. As to which you prefer, that is up to you, but regardless of how you choose to enjoy this album, you’re bound to be captivated by the sonic presentation.

While I’m pleased with my decision, and the CD is sonically beautiful with full liner notes, sans lyrics, I still desire the vinyl counterpart. One caveat regarding the CD liner notes, however, is that the text is so small it is barely legible. Of course, in my fourth decade upon this earth, my eyesight is starting to get a little less reliable than it used to be, but I’m sure those of you with perfect vision would have a similarly difficult time perusing the liner notes without shifting the booklet back and forth to find an ultimate focal point. If you take a look at the rear artwork, in the images above, you’ll have an idea of the problem and the liner notes text is even smaller. Nevertheless, it is all about the music, so let’s take a look at the songs, shall we? 

California Dreamin’ is a beautiful song and Krall interprets it stunningly well. 

Desperado showcases that where the Eagles’ original is a little rough around the edges, it need not be, for Krall smooths out the harshness and allows me to experience Desperado as I’ve always imagined it should be sung. That said, as I commented on Neil Diamond’s rendition, these interpretations are complementary to the original recording and perhaps it is just me, but I think that is the way that all covers should be approached.

Superstar is magnificent and while it is amongst my favourite songs that have ever been written and recorded, Krall takes it to another level entirely. 

Alone Again (Naturally) [Duet With Michael Bublé] is a great duet and a magnificent song.

Wallflower [Feat. Blake Mills] is incredible and is not only worthy of Krall’s interpretation but is the perfect title track. 

If I Take You Home Tonight was written, but never recorded, by Paul McCartney and is one of the greatest songs I’ve ever had the pleasure of hearing. Yes, McCartney is a songwriting prodigy, but with Krall’s vocal talent, this song becomes an absolute masterpiece. 

I Can’t Tell You Why is an Eagles’ classic, and interpreted magnificently well, but it is missing Timothy B. Schmit and subsequently isn’t as stunning as the original. 

Sorry Seems To Be The Hardest Word is an Elton John masterpiece and while Krall may not have the vocal attack that John does, she reinterprets this classic song so well that I honestly don’t know which version I prefer, for they are both exceptional. Again, as is the case throughout this album, Krall has handled the songs she’s chosen to cover with such delicacy and respect that little-to-no criticism is required.

Operator (That’s Not The Way It Feels) was an odd choice to follow Sorry Seems To Be The Hardest Word as I feel it is too much of a shift in tempo and style, thereby causing a jolt to the aforementioned relaxed musical experience. On its own, however, it isn’t a song that I’d search out and is at best, from my perspective, a B-side. 

I’m Not In Love is delightful. 

Feels Like Home [Duet With Bryan Adams] is a lovely song and the duet with Bryan Adams is the perfect vocal accompaniment to Krall’s as their styles and delivery are complementary to each other; so much so that I would love to hear them record an entire album together. 

Don’t Dream It’s Over closes the standard release perfectly, but Krall’s interpretation isn’t nearly as good as the Crowded House original. Don’t get me wrong, it’s lovely, but some songs should never be covered; this is one of them!

BONUS TRACKS

In My Life is a Beatles’ classic and while this interpretation is more vocal-focused, Krall performs it masterfully well. 

Yeh Yeh [Feat. Georgie Fame] picks up the pace and depending on how you like to listen to your music, it may be a shock to the system or a perfect switch. Either way, one has to wonder just how much thought is put into the tracking of bonus tracks. Yeh Yeh also lacks the spit and polish that I normally associate with Krall’s music. Look, it’s a fun little tune but you’re unlikely to seek it out or feel compelled to play it on repeat. 

Sorry Seems To Be The Hardest Word [Live] is a gorgeous live recording. It is recordings like this that encourage me to experience live performances again; if only they would all be of similar quality. Yes, dear reader, I acknowledge that many of the live recordings are modified in the studio before release, to fix any shortcomings, but whether that is the case in the live recordings heard here, I don’t know. Nevertheless, this is one magical performance. 

Wallflower [Live] is a lovely recording, but it is too similar to the studio recording; an interpretation that I prefer over this live performance. 

A Case Of You is uneventful with regard to impressing this music-lover. Yes, the song is lovely, as is Krall’s interpretation, but it isn’t memorable. 

If You Could Read My Mind [Duet With Sarah McLachlan] is a gorgeous song and duet. McLachlan has a gorgeous vocal tone that complements Krall’s perfectly. This most certainly should have been on the original core album, perhaps replacing Operator (That’s Not The Way It Feels). 

Everybody’s Talkin’ [Duet With Vince Gill] isn’t a bad song, but I’m not sure that I enjoy Krall’s version as the maracas and distortion is a little distracting. Plus, I think Vince Gill was the wrong choice here as everything just sounds off. If this were a demo, I could understand it, but as a finished piece of audible art, I don’t feel it works too well. 

Heart Of Gold is a Neil Young masterpiece and in a similar vein to Don’t Dream It’s Over, it should never be covered for Young broke the mould when he recorded this song. That said, this rendition is lovely and is worthy of inclusion here, closing out The Complete Sessions nicely, thereby encouraging me to play the album again. 

Overall, Krall has delivered an album that not only brings her musical direction to a mainstream audience but showcases how very talented she is as a musician. While some of the bonus tracks failed to live up to the core ethos of the album, none are outright bad and therefore Wallflower: The Complete Sessions makes for a thoroughly enjoyable listening experience.