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Simpson, Jessica - Sweet Kisses CD Cover Art
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Jessica Simpson Sweet Kisses CD

 Jessica Simpson Discography of CDs


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Japanese version featuring a bonus track: "Did You Ever Love Somebody".

Personnel includes: Jessica Simpson, Nick Lachey (vocals); Graeme Coleman (conductor, piano); Louis Biancaniello (various instruments, keyboards, programming); Carl Sturken (various instruments); Dan Petty (acoustic & electric guitars); Dan DeViller (acoustic guitar); Chris Camozzi, Robbie Nevil, Dwight Sills, Michael Thompson, Anas Allaf (guitar); London Jones (keyboards, programming, background vocals); Eric Foster White (keyboards, programming); Tim Heintz, Andy Goldmark (keyboards); Brian Newcombe (bass); Iki Levy, Focus (programming); Sam Watters, Jil Seifers, Destiny's Child, Evan Rogers, Sherree Ford-Payne, Tania Hancheroff, Gordon Maxwell, Beverley Staunton (background vocals).
Producers include: Louis Biancaniello, Sam Watters, Cory Rooney, Dan Shea, Eric Foster White.
Engineers include: Rob William, Glen Marchese, Scott Gutierrez.
Japanese edition adds an extra song.
CD contains 1 bonus track.
By the end of 1999, teen pop had grown into a strangely diverse genre of its own, with each act fulfilling a different need. Britney Spears was pure, trashy fun, while Christina Aguilera was flashy and talented just like Mariah Carey. The Backstreet Boys stood above the pack with their suave sophistication and irresistible melodic charm, while 'N Sync were the Stones to the Backstreet Boys' Beatles -- a little bit of the rough and tough, not quite as melodic, but almost as charming. Into the fray arrived Jessica Simpson -- unlike some of her peers, a mere finalist for the New Mickey Mouse Club instead of a full-fledged member -- with her debut Sweet Kisses, an album that positions her as the teen Celine Dion. Sure, she delves into the frothy dance-pop that's teen pop's stock-in-trade, but the heart of her album lies in adult contemporary ballads like her breakout hit "I Wanna Love You Forever," which gives her a chance to show off the richness of her voice. She doesn't over-sing, like Aguilera occasionally does, even if she has moments where she pushes the envelope slightly -- just like her idol Dion. However, there are already indications that she's developing her own voice, since she is equally capable of delivering danceable urban R&B ("Final Heartbreak," "I've Got My Eyes on You," the Destiny's Child duet"Woman in Me") as she is mature balladry ("Faith in Me," the Nick Lachey duet "Where You Are"). Like most teen-pop albums, Sweet Kisses suffers from inconsistent material, yet the filler is well-produced and performed, making the record every bit as listenable as Aguilera's fine debut. As a matter of fact, Simpson proves with this debut that she could very well be a teen popster that could easily make the transition to adult artist -- and that puts her in a rarified league with Aguilera and the Backstreets. ~ Stephen Thomas Erlewine
With her strict, chaste Baptist upbringing and corn-fed looks, 19-year-old Jessica Simpson fits perfectly into the mold laid by Britney Spears and jiggled by fellow Mickey Mouser Christina Aguilera. However, there's something about Texans that they just have to put their own special kick--that touch of arrogance balanced with know-how--that can bring a scent of ingenuity to even the most cookie-cutter of formats. Jessica Simpson is a Texan and she energetically slashes her way through 11 wantonly infectious tunes on her debut slab SWEET KISSES.
While she offers the inevitable ballads, in this case most notably a duet with 98 Degrees' Nick Lachey, her shining moments come courtesy of that invincible form of radio candy, the dance-pop jam. "I Wanna Love You Forever" has a familiar message and unassailable hooks. The stirring "I Think I'm in Love With You," replete with the Johnny Cougar-days Mellencamp "Jack & Diane" background, will capture the hearts of the older fans still livin' and lovin' in the '80s. Jessica Simpson's SWEET KISSES packs in the sugar and ensures she will last her full 15 minutes and
Sweet Kisses Music


Detailed Sweet Kisses Music Information



Category Rock/Pop Albums, Rock CDs
Label Sony
Orig Year 1999
CD Universe Part number 2873001
Catalog number 751969
Discs 1
Release Date Jan 01, 2008
Studio/Live Studio
Jessica Simpson Sweet Kisses Songs


Jessica Simpson Sweet Kisses Album Track Listing



1.I Wanna Love You Forever
2.I Think I'm in Love With
3.Final Heartbreak
4.Where You Are
5.Woman in Me
6.I've Got My Eyes on You
7.Betcha She Don't Love You
8.My Wonderful
9.Sweet Kisses
10.Your Faith in Me
11.Heart of Innocence
12.Did You Ever Love Somebod
Sweet Kisses Music


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Jessica Simpson, Rolling Stone no. 936, November 2003

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The late 60’s brought a new kind of rock music to the records and concerts of the day. In 1967 Genesis and Jethro Tull formed. 1968 saw the birth of Yes, and 1969 brought King Crimson and PENTWATER. Emerson, Lake and Palmer, and Gentle Giant followed in 1970, and Kansas in 1971. For 40 years, Pentwater has been the consistent voice of American progressive music with their unique style always reaching for more. With muti-part vocal harmonies, enigmatic themes, layered instrumentals, and engaging lyrics, they respect their listeners and give them quality audio, mature composition, masterful musicianship, and a dash of quirk & humor.The Music Street Journal said: “Pentwater may well be the best progressive rock band whose name you have never heard.”Pentwater formed from several local Chicago rock and blues bands; “Liquid Tension", "Crystal Ship", “Cranberry Rose”, and "The Oceanna County Pioneer's and Business Man's Band". Early in their career, while the boys were only 16 to 18 years old, Chicago-based Dharma Records signed them to a 4 record deal, but the label went bankrupt before recording could begin. Five of the six members went on to receive conservatory training, and the song-writing blossomed to almost seventy songs. Over the years, the band toured with Starcastle, Rush, Hawkwind, REO, Journey, and many others.Their first album, (self-titled), was released in 1977 and leaned to the commercial side of Prog; (as much as they could muster themselves to do), while still providing sweeping mellotron, cutting synth, and a twin-lead guitar style that was to become their signature. Cover art was provided by the award-wining artist, Kunio Hagio. Today this collectible LP brings hundreds at auction, but the band released the remastered tracks in 2003 with four additional never-heard tracks on CD.Prog-Planet said:“They are excellent and their music just brims with imaginative, ...
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As the frontman and primary songwriter of Pavement, Steve Malkmus crafted lazy, supremely catchy art-pop that defined the slacker/indie genre. As a solo artist, Malkmus hasn't exactly tightened up, but his music emerges from grander, more expansive sonic terrain. REAL EMOTIONAL TRASH, Malkmus's fourth solo album, kicks off with "Dragonfly Pie" and immediately finds him in guitar-hero mode, slashing out disjointed riffs and shreds. Elsewhere, SM's classic rock fixation is on full display, channeling George Harrison via the guitar solo on "Hopscotch," while the album's centerpiece, the 10-minute-plus title track, has the feel of Richard Thompson and Fairport Convention at their most epic (think "A Sailor's Life"). Malkmus certainly remains on his own languid trip, but as this album proves, his music has grown far too complex and cerebral for him to be called a slacker anymore.
Stephen Malkmus' solo career seems to be settling into a pattern of alternating between skewed, spiky pop albums bearing his lone credit and long, languid collections of jams with the Jicks -- as 2005's Face the Truth belonged to the former category and its 2008 follow-up, Real Emotional Trash, fits neatly into the latter. That's not to say that this is a retread of the lazily intriguing, formless Pig Lib. Where Pig Lib wandered aimlessly, adrift on its insular guitars, Real Emotional Trash is focused and propulsive, even if the band invariably circles around a point instead of tackling it directly. Perhaps some of this precision is due to the presence of former Sleater-Kinney drummer Janet Weiss as the Jicks' new anchor -- she grounds them and pushes them harder, giving Malkmus a solid foundation he's never quite had either in Pavement or on his own -- but Malkmus also sounds clear-headed here, as any new father of two should be. He's shed the haziness that plagued Pig Lib, yet he's still intoxicated by the sounds he can make, usually with his guitar but also with his mouth, as his words have never sounded so much like a fanciful collection of sounds, each ...

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