It’s obvious at the outset that David Myles is one cool crooner. Stylish and sophisticated, he’s literally got all the right moves. Nevertheless, ten albums on, he wisely avoids being typecast, switching his groove whenever there’s an opportunity to delve into a different direction. Consequently, while he may seem as if he’s aiming for an Elvis persona on opener “Night & Day” given its mix of rockabilly and rhumba-like rhythms, by the time he’s three songs in, he switches his approach entirely. Indeed, it’s evident that this Canadian crowd-pleaser has any number of tricks up his well appointed sleeve. The late night saunter of “Night After Night” and the seductive sway of “Knockout” offer a sensual twist on come-hither inducement. And while the dramatic swoop and soar of “Look at Me,” the album’s clear tour-de-force, allows him to effectively strut his stuff, it doesn’t detract from the set overall. Not surprisingly then, Myles’ deft versatility is a hallmark of his efforts as a whole — this is, after all, the same guy who was cited for an outstanding rap performance early on — but it’s his ability to recycle the roots so convincingly that goes to the heart of his credibility. The melodies and performances reflect a profound love for archival antecedents — much of which is drawn from pre British Invasion show biz — but Myles proves consistently convincing in every aspect of his overall execution. And if the song titles — “Cry, Cry, Cry,” Night & Day,” “Real Love” et. al. — seem to emphasize a certain familiarity factor — Myle’s ability to execute it all so adroitly allows Real Love to echo that authenticity. “I think I’ll go to the country and never come back,” Myles declares on his acapella rendition of “Dreaming.” Given the man’s remarkable diversity, it’s clear he’s capable of going wherever his wanderlust leads him.
