Personnel: Joss Stone (vocals); Jimmy Farkas (acoustic guitar); Wille "Little
Beaver" Hale, Angelo Morris, Kirk Douglas, Mark Ciprit (guitar); Sam Furnace
(saxophone); Benny Latimore (piano); James Poyser, Danny Pierre (keyboards);
Jack Daley, Steve Greenwill, Adam Blackstone (bass); Cindy Blackman, Ahmir "?uestlove"
Thompson (drums); Mike Mangini (tambourine); Ignacio Nunez (percussion); Betty
Wright, Angie Stone, Jeanette Wright, Taneka Duggan, Namphuyo A. McCray (background
vocals).
Producers: Betty Wright, Steve Greenberg, Ahmir "?questlove" Thompson,
Michael Mangini.
Recorded at The Hit Factory and Criteria Studios, Miami, Florida; The Studio,
Philadephia, Pennsylvania; Mojo Studios, New York, New York.
She's a 16-year-old from the deep Southwest of England, a place better known
for its cream teas than its hot-buttered funk. However, with assistance from
Betty Wright (the "Clean-Up Woman" herself), ?uestlove of Philly neo-soulsters
the Roots, and an entire roster of classic soul artists, Joss Stone has fashioned
a remarkable debut that--with its irresistible fatback drums, swirling organ,
and funked-up guitar--takes the listener back to the golden years of early 1970s
R&B.
Understandably, Stone's youthful voice carries elements of producer Wright's
own pipes, and when it's combined with imaginative material such as the White
Stripes' "Fell in Love with a Girl," the effect is extraordinary.
Wright's classic stripped-down soul production, and the opportunity to hear
class acts such as Timmy Thomas, Latimore, and Willie "Little Beaver"
Hale performing on the same recording, are things to be treasured. With its
superlative company, THE SOUL SESSIONS is an intriguing debut that features
a potential heir to the blue-eyed-soul mantle of Dusty Springfield.
Rolling Stone (10/30/03, p.93) - 3 stars out of 5 - "...Stone shines on
this impressive covers set..."
Entertainment Weekly (10/10/03, p.125) - "...Stone [has] an extraordinary
voice..." - Rating: B+
Q (3/04, p.113) - 3 stars out of 5 - "With a fantastically lived-in voice
and Alicia Key's ability to plumb emotional depths without gratuitous warbling..."
Mojo (3/04, p.104) - 4 stars out of 5 - "[T]here's no denying the intuitive
understanding Stone has of the often daunting material she tackles."
Uncut (2/04, p.71) - 3 stars out of 5 - "She has all the signifiers of
deep soul experience: the husky, rich timbre; the confident testifying; the
honeyed transitions."
Personnel includes: Sheryl Crow (vocals, guitar); Kid Rock, Lisa Germano, Liz
Phair, Brian MacLeod, Neil Finn, Dan Rothchild.
Includes liner notes by David Wild.
One of those rare talents who bucked the jinx of winning the Best New Artist
Grammy (which she snagged in 1995), Sheryl Crow accrued an impressive canon
over the span of a decade. Starting with this Missouri native's twangy, Rickie
Lee Jones-flavored 1993 smash "All I Wanna Do," Crow has made her
mark with songs such as the forward-looking "Every Day Is a Winding Road,"
the pleading ballad "Strong Enough," and the Beach Boys-flavored summer
anthem "Soak Up the Sun."
This former in-demand session musician's talents also found her going down a
country path by way of a classic duet with Kid Rock on the ballad "Picture,"
which rubs shoulders with the wonderfully atmospheric "Home" and the
put-up-or-shut-up sentiment of the life-loving "If It Makes You Happy."
Fans who are looking for new material get rewarded with two versions of Cat
Stevens' "The First Cut Is the Deepest," one with a vintage Rod Stewart-like
arrangement and a country version, featuring steel guitar. Also included is
"Light in Your Eyes," a gentle mid-tempo nod to the late George Harrison.
Q (1/04, p.132) - 3 stars out of 5 - "A canny mix of tomboy retro rock,
looped beats and sharp pop hooks made Crow one of the staples of '90s radio."
Mojo (12/03, p.130) - 3 stars out of 5 - "[S]he's unquestionably made of
the right stuff."
Guns N' Roses: W. Axl Rose (vocals, piano, synthesizer, percussion, programming);
Slash (acoustic & electric guitars, 6-string bass); Izzy Stradlin (guitar,
percussion, background vocals); Dizzy Reed (piano, keyboards, background vocals);
Duff McKagan (bass, background vocals); Matt Sorum (drums, background vocals);
Steven Adler (drums).
Additional personnel includes: Shannon Hoon, Michael Monroe (vocals); Gilby
Clarke, Mike Staggs, Paul Huge (guitar); Matthew McKagan, Rachel West, Robert
Clark, Jon Trautwein (horns); Stuart Bailey, Reba Shaw, The Waters (background
vocals).
Hard-rock juggernauts Guns 'N' Roses arrived as rock & roll saviors in a
dark time of generic hair metal and bloated pop. With only five studio albums
to draw from (one being the all-covers SPAGHETTI INCIDENT), nearly a third of
the material on GREATEST HITS is unsurprisingly devoted to other people's songs.
Inclusions range from a dramatic version of Bob Dylan's "Knockin' On Heavens
Door" and an outsized take on Paul McCartney's "Live and Let Die"
to punk classic "Ain't It Fun" and doo-wop nugget "Since I Don't
Have You."
The band's original songs, however, are the heart of G'N'R's appeal. Start with
the quintessential heavy-rock anthem "Welcome to the Jungle." Amid
the thunderous time-keeping and tasty riffing are slinky grooves, sexy swagger,
and quite an aura of danger. The acoustic "Patience" found these tattooed
bad boys showing off a softer side, while archetypal power-ballad "Sweet
Child O' Mine" is a perfect hybrid of sentiment and soaring guitar solos.
Think of GREATEST HITS as a sampler for the sumptuous buffet that is G'N'R's
recorded oeuvre.
Personnel: Harry Connick, Jr. (vocals, conductor, piano); James Greene, Charles
Goold (alto saxophone); Jerry Weldon, Mike Karn (tenor saxophone); Dave Schumacher
(baritone saxophone); Roger Ingram, Derrick Gardner, Leroy Jones, Joe Magnarelli
(trumpet); Mark Mullins, Joe Barati, Craig Klein, John Allred (trombone); Neal
Caine (bass); Arthur latin II (drums); Paulinho Da Costa, Alex Acuna (percussion).
Recorded at Capitol Studios, Hollywood, California in 2003.
In the liner notes of ONLY YOU, crooner Harry Connick tells how the impetus
for the album was Columbia honcho Donny Ienner's request for the singer to record
some songs from Ienner's youth (1950s/'60s hits). Whether this was an entreaty
or an ultimatum, Connick sagely turned it to his advantage, inching up a decade
or two from his usual selection process and cherry-picking some of the finest
tunes from that era (even if a couple were originally written decades earlier).
Connick breaks some new stylistic ground too, dipping into the country songbook
("You Don't Know Me") and even slipping into doo-wop territory ("I
Only Have Eyes for You" and the title track").
The most impressive thing about ONLY YOU is that instead of twisting himself
into a stylistic pretzel in order to accommodate these varied modes, Connick
artfully reinvents these tunes (not only as vocalist, but as arranger/conductor)
to suit his own Sinatra-influenced pop/jazz style. His treatment of the aforementioned
"I Only Have Eyes for You," for example, brings out the inherent spectral
qualities of the song, turning it into an ethereal tour de force for his moody
arrangement and cool vocal. Throughout the album, Connick manages to turn such
tricks consistently, proving himself an able interpreter of more than one chapter
in the Great American Songbook.
This is an Enhanced CD, which contains both regular audio tracks and multimedia
computer files.
Personnel: Diana Krall (vocals, piano); Neil Larson (Hammond B-3 organ); Anthony
Wilson (guitar); Christian McBride, John Clayton (bass); Peter Erskine, Jeff
Hamilton, Terri Lynne Carrington (drums).
Recorded at Capitol Studios, Hollywood, California and Avatar Studios, New York,
New York.
It may or may not be significant that Diana Krall's first album of new material
since the ascendance of Norah Jones is the former's least jazzy, most pop-savvy
album of her career. In any case, it marks Krall's biggest departure to date;
THE GIRL IN THE OTHER ROOM is almost entirely devoid of the jazz standards that
constituted her previous repertoire, and it contains her first recorded batch
of original songs. It's possible that new husband Elvis Costello, who co-wrote
all six of those tunes with his wife, was the agent provocateur. It's also feasible
that Costello, who has previously recorded Mose Allison material and palled
around with Tom Waits, nudged Krall toward such choice selections as Allison's
bluesy plaint "Stop This World" and Waits's cocktail rhumba "Temptation."
Nevertheless, Krall delivers them--like the rest of the songs here--in a misty,
laconic style very consistent with her earlier work.
There's no attempt at pop-oriented production here, just the same piano-trio
sound that's been Krall's stock in trade all along. Ironically, the jazziest
tune here is Costello's early-1980s ballad "Almost Blue," previously
performed by Chet Baker. Naturally, the new songs also bear the unmistakable
stamp of Costello, but no matter how far afield her song sources (Joni Mitchell
and Chris Smither's catalogs are drawn on as well), Krall maintains the trademark
feel that made her famous.
Q (p.100) - 3 stars out of 5 - "[T]here's a bolder choice of material....Her playing has loosened up too..."
Q (p.100) - 3 stars out of 5 - "[T]here's a bolder choice of material....Her playing has loosened up too..."
Mojo (p.97) - 3 stars out of 5 - "Krall is darkly exhilarating in the raucous Mose Allison opener 'Stop This World,' then coolly compelling in Tom Waits' 'Temptation'..."
Mojo (p.97) - 3 stars out of 5 - "Krall is darkly exhilarating in the raucous Mose Allison opener 'Stop This World,' then coolly compelling in Tom Waits' 'Temptation'..."
Disc 1Personnel: Jessica Simpson (vocals); Michael Spriggs, Chris Goercke (acoustic
guitar); J.T. Cornfloss (electric guitar); Andy Marvell (guitar, keyboads, programming);
Eric Kupper (guitar, keyboards); Billy Mann (guitar); Tommy Harden (keyboards);
Alison Prestwood (bass); Kara Dio Guardi, Richie Jones (background vocals).
Producers include: Ric Wake, Richie Jones, Billy Mann, Andy Mavell, Damon Elliott.
This limited edition version of IN THIS SKIN features an alternate cover, one
bonus track, and the details of the "Golden Ticket" contest.
This release includes a bonus DVD featuring scenes from the first season of
Jessica Simpson's MTV series THE NEWLYWEDS--NICK AND JESSICA, and footage from
Nick and Jessica's wedding.
Jessica Simpson's third album is a pleasing collection of soft-ish pop, projecting
the same squeaky-clean sexuality of her first two releases, with nods in the
direction of hip-hop and Madonna-style dance music. With titles such as "Sweetest
Sin" and "Forbidden Fruit," it's a fair bet that Simpson has
put her past as a poster girl for Christian music behind her--here she comes
across like a more mature Britney.
Simpson's at her best on songs like "Loving You," which imaginatively
combines a hip-hop beat with a banjo sample in a spare, sexy arrangement that
enhances her breathy vocals, while the country-tinged title track is an affecting
appeal to be seen for what she is, not what she appears to be. IN THIS SKIN
won't disappoint longtime Simpson-lovers and has more than enough broad pop
appeal to guarantee her a host of new admirers.
This is an Enhanced CD, which contains both regular audio tracks and multimedia
computer files.
Personnel: Prince (vocals, various instruments); Candy Dulfer (saxophone, horns,
background vocals); Maceo, Greg (horns); Renato Neto (Fender Rhodes piano);
Rhonda Smith (bass, background vocals); John Blackwell (drums); Sheila E. (shaker);
Claire Fischer (samples); Chance, Stokeley, Kip (background vocals); Ornella
Bonaccorsi.
Recorded at Paisely Park Studios, Chanhassen, Minnesota; Metal Works Studio,
Canada; The Hit Factory, New York, New York.
In 1996, Prince parted ways with his longtime label Warner Brothers, inaugurating
his own label and proceeding to do whatever he pleased for several years--three-disc
sets, all-instrumental mood-music albums, declarations of his Jehovah's Witnesses
creed, and more. While there was plenty of fine music made along that journey,
much of it tended to slip through the cracks. In 2004, newly inducted into the
Rock & Roll Hall of Fame and signed to Columbia, Prince stood ready for
a comeback with MUSICOLOGY.
Accordingly, the album is his most concise since the early '90s, a punchy, funky
return to form. On the title track, he pledges allegiance to old-school funk,
both lyrically and musically, with propulsive results. From there, he ventures
into slow jams, pop-rock, jazzy R&B, even political commentary. Whether
he's turning out complex, Zappa-like harmonies or sweet soul music, Prince sounds
fully committed on MUSICOLOGY, providing most of the vocals and instruments
himself and displaying a clarity of purpose that should rekindle a fire in the
hearts of wayward fans.
Rolling Stone (p.150) - Included in Rolling Stone's Top 50 Records Of 2004 - "[A] royal return to form, a fresh, focused hybrid of DIRTY MIND's hard-rubber bounce and the encyclopedic moods of SIGN 'O' THE TIMES."
Spin (p.66) - Ranked #18 in Spin's "40 Best Albums of the Year" - "[T]he do-it-all-night ballads are both introspective and unfailingly elegant."
Q (p.105) - 4 stars out of 5 - "Prince himself has created his best work in many a long year....The greatest artist of the 1980s can still turn it on."
Mojo (p.111) - 3 stars out of 5 - "[B]rilliantly produced and performed....The man's still a magician..."
Uncut (p.92) - 3 stars out of 5 - "MUSICOLOGY's solid work ethic gradually reveals moments of bewitching subtlety."
Disc 1Personnel: Tim McGraw (vocals); Darran Smith (acoustic guitar, electric guitar);
Bob MInner (acoustic guitar, banjo, mandolin); Denny Hemingson (electric guitar,
slide guitar, steel guitar, baritone guitar, dobro); Dean Brown (mandolin, fiddle);
Jeff McMahon (piano, Fender Rhodes piano, Wurlitzer piano, Hammond b-3 organ,
synthesizer); John Marcus (bass instrument); Billy Mason (drums); David Dunkley
(percussion); Faith Hill, Brett Warren (background vocals).
Engineers: Julian King; Greg Lawrence; David Bryant.
Recording information: Allaire, Shokan, New York.
Country superstar Tim McGraw surely needs no apologists; the Louisiana-born
singer, who's racked up millions of record sales and married country diva Faith
Hill, is practically a force of nature. However, there is a misconception of
McGraw as just a high-gloss hat act, a notion that a close listen to LIVE LIKE
YOU WERE DYING should dispel.
For one thing, while almost all of his peers record with the same pool of Nashville
studio hotshots, McGraw continues to work with his longtime band, the Dancehall
Doctors. Additionally, progressive-country cult heroes Bruce Robison and Rodney
Crowell are among the songwriters tapped for material here. Most importantly,
at a time when most mainstream country artists are compelled to pander to their
audience by maintaining a "don't worry, be happy" attitude, McGraw
isn't afraid to journey into darker emotional territory, often with no clear
way out--see the heartbreaking "Blank Sheet of Paper," and "Open
Season on My Heart." The latter song is surely one of the most powerful
pieces to be found on a circa-2004 hit country album, and even though Crowell
penned it (with James T. Slater), you can thank Tim McGraw for bringing it to
the light of day.
Entertainment Weekly (p.77) - "[T]he album comes down on the right side of chest-thumping versus heart-baring..." - Grade: B
Disc 1This is an Enhanced CD, which contains both regular audio tracks and multimedia
computer files.
Personnel include: Ray Charles (vocals, piano); B.B. King, Willie Nelson (vocals,
guitar); Bonnie Raitt (vocals, slide guitar); Norah Jones (vocals, piano); Michael
McDonald (vocals, keyboards); Diana Krall, Elton John, James Taylor , Johnny
Mathis, Van Morrison, Natalie Cole, Gladys Knight (vocals); Danny Jacob, George
Marinelli, Jeff Mironov, Michael Landau, Michael Thompson , George Doering,
Charles Fearing, Irv Kramer (guitar); Randy Waldman (piano, keyboards); Alan
Pasqua (piano); Billy Preston (Hammond b-3 organ); Michael Beardon (keyboards);
David Hayes, Abraham Laboriel Sr., Trey Henry, Tom Fowler (bass guitar); James
Gadson, Jim Keltner, Ray Brinker, Shawn Pelton (drums); Bashiri Johnson (percussion).
Additional guest personnel: B.B. King; Gladys Knight; Johnny Mathis; Van Morrison.
Producers: John Burk; Phil Ramone; Terry Howard; Herbert Waltl; Don Mizell.
Recording information: 2003.
Though Ray Charles, one of the greatest singers of the 20th century, was never
in need of vocal assistance, he was no stranger to duets either (one of his
finest records is a duet album with Betty Carter). For as much of a musical
giant as he was, Brother Ray knew how to share the spotlight, as evidenced by
GENIUS LOVES COMPANY, his final project before his 2004 passing. In keeping
with the eclectic nature of Charles's artistry, he partners with a wide assortment
of performers here.
Charles is joined by Elton John on a soulful exploration of the latter's "Sorry
Seems to Be the Hardest Word," and sidles up next to Willie Nelson for
a haunting version of the Frank Sinatra hit "It Was a Very Good Year,"
made all the more poignant in retrospect by its posthumous nature. Of course,
it's not all bittersweet melancholy; Charles teams with Van Morrison for a jubilant
soul/gospel reading of Van's MOONDANCE tune "Crazy Love," and the
duet with James Taylor on the upbeat "Sweet Potato Pie" is probably
the sassiest, perkiest thing in which Taylor's ever been involved. GENIUS LOVES
COMPANY is a swan song that fittingly finds the titular genius surrounded by
friends from varied musical worlds, all of whom he's touched with his rare gift.
Rolling Stone (p.141) - Included in Rolling Stone's Top 50 Records Of 2004 - "A bittersweet duets record....[The album] features the veteran soul innovator crooning sweetly on several decades of standards..."
Mojo (p.116) - 4 stars out of 5 - "Thankfully, nobody disappoints."
Down Beat (p.66) - 3 stars out of 5 - "[G]entle pacing helps the encounters feel unforced and palpably intimate..."
Living Blues (pp.48-50) - "Charles himself is in fine, typically elastic voice throughout."
Disc 1
Living Life Loud
By: Shannon Mott