Groban had been asked to return to the show after Fox received numerous letters and inquiries about the singer following his appearance in an earlier episode, "The Wedding", during which he had performed the song "You're Still You". Near the conclusion of the episode, Groban performed "To Where You Are" at a church service. His latter appearance on the show was in the episode "Nine-One-One", where his character's mother had been killed and his father, a minister, had begun doubting the existence of God. In 2001, Groban guest-starred on two episodes of the Fox television drama Ally McBeal. In November 2008, the song spent a week on the UK Singles Chart at #94. It was more successful on the Billboard Hot Adult Contemporary Tracks chart, where it entered the chart in April 2002 and eventually spent two weeks at the top of the chart in August. When released as a single in 2002, the song reached " Bubbling Under Hot 100" chart, peaking at #16 in September of that year. It was written by Richard Marx and Linda Thompson and produced by Richard Marx. " To Where You Are" is a song performed by American singer Josh Groban on his 2001 self-titled debut album. The song, as Awake itself, is a grand collision of pop culture and co-opted classical themes from then and now, and perfectly embodies everything that has made Groban so successful.2002 single by Josh Groban "To Where You Are" It doesn't hurt either that he's brought along some unexpected guests this time around in the African vocal group Ladysmith Black Mambazo, appearing here on two tracks, as well as legendary jazz pianist Herbie Hancock, who shows up on the angular and half-funky "Machine." It's also great to hear Groban dig into an adaptation of "Un Giorno Per Noi," Nino Rota's theme to Franco Zeffirelli's classic 1968 film Romeo and Juliet. None of this really matters, though, to fans of Groban, who justifiably respond to his superb technique, silky tone, and bedroom eyes. So, despite being quite listenable, from a mainstream pop point of view the use of Italian is great for lending the album a sheen of pan-European classical regality, but in some ways limits the emotional impact of the songs to only those who understand Italian.
Truthfully, barring any awkward translations, most of these songs would sound fine sung in English and generally come off as very good Italian pop songs. This brings up the only problem with Awake, which is that as Groban's music has moved closer and closer to pop, the necessity of utilizing Italian becomes increasingly nebulous. Interestingly, the tracks co-penned by Groban are some of the most compelling, and showcase his knack for a kind of '60s Scott Walker baroque pop meets '80s Diane Warren adult contemporary vibe. Here listeners get a mix of original songs - some co-written by Groban - that trade between more classical/opera-oriented songs sung in Italian and more pop-oriented songs in English. In fact, the album is perhaps his most appealing and deviates little from his previous outings. Longtime fans of Josh Groban should be pleased to know that the vocalist's third studio album, Awake, features more of the polished, well-crafted, and emotionally grand classical crossover pop he has become known for.
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