His specialty is the perfect balance between the ecstasy of great romances and the pain of a broken heart. CHRIS ISAAK's album Mr. Lucky also offers true passion, which is all the more credible because you can feel that the extremely charming ISAAK sings from his own experience. Mr. Lucky is a song cycle about the happiness we deserve and the unhappiness we can hardly bear. From opener Cheaters Town to closer Big Wide Wonderful World, the creator of the immortal romance Wicked Game takes us on a dark but wonderful journey. This is what a 21st century Sinatra album could sound like. Like his best songs, such as Wicked Game, Baby Did A Bad, Bad Thing and Somebody's Crying, the repertoire on Mr. Lucky demonstrates a delicate sense of a good love turned bad and a bad love turned good.
CHRIS ISAAK's good fortune is based on hard work: constant touring, diligence in the studio, and a string of successful albums that prove consistent quality: Silvertone(1985), Chris Isaak (1986), Heart Shaped World (1989), San Francisco Day (1993), Forever Blue (1995), the largely acoustic album Baja Sessions (1996), Speak Of The Devil (1998), Always Got Tonight (2002) and Best Of Chris Isaak (2006) up to the present Mr. Lucky. In between all these albums, CHRIS ISAAK found enough time to build a second life for himself on the screen with his characteristic wit and his likeable as well as attractive appearance. He has had roles in such films as Jonathan Demme's Married To The Mob (1988), David Lynch's Twin Peaks: Fire Walk With Me (1988), Bernardo Bertolucci's Little Buddha, Jonathan Demme's Oscar-winning The Silence of the Lambs (1991), Tom Hank's rock and roll film That Thing You Do (1996) and John Waters' A Dirty Shame (2004). In addition, he was seen in a guest role in the series Friends and in the HBO miniseries From Earth To Moon, until he got his own show The Chris Isaak Show (2001 - 2004), which combined soap, music and comedy.
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.