| | Natalie Imbruglia White Lilies Island CD Natalie Imbruglia Discography of CDs
 (12 Customer Reviews)
This follow up to 1998's wildly successful LEFT OF THE MIDDLE is full of the pop hooks that propelled that album to the top of the UK and US charts; in addition the intervening few years seem to have left the Natalie Imbruglia with a somewhat more mature pop sensibility. Her voice is still reminiscent of Lisa Loeb or a less-unhinged Fiona Apple, but the Australian singer's previous eager-to-please quality is tempered by the world-weary narrative of tracks such as "Talk in Tongues" ("flowers in the bin/close this hole I'm in") that undercut the sunny textures of songs like the Joni-flavored "Satellite."
Generally Imbruglia is at her best when she's least produced; her voice has more than enough commercial appeal without the assistance of tricky arrangements. Though some of WHITE LILIES ISLAND comes perilously close to falling into PJ Harvey-lite territory, the aforementioned brooding "Talking in Tongues," "Butterflies," and the powerful, anthemic, string-accompanied "Come September" point to a growing confidence in the singer that bodes well for the future.
Import version of her 2001 and second album the follow up to her internationally successful first album which spawned the platinum hit single 'Torn'. 12 tracks in all including the first single, 'That Day'. The US edition will not appear until the first quarter of 2002!
Engineers include: Ian Stanley, Phil Thornalley, Fred De Faye.
Personnel: David Munday (guitar, flute); Gary Clark (guitar, keyboards, drums); Paul Statham (guitar, programming); Neil Taylor (guitar); Phil Thornalley (acoustic guitar, keyboards); Ian Stanley (keyboards); Chuck Sabo, Maz, Geoff Dugmore (drums); Marc Fox (percussion); John Dunne, James Banbury (programming); Viveen Wray, Tessa Niles (background vocals).
Audio Mixers: Tom Elmhirst; Dave Bascombe; Gary Clark; Ian Stanley; Pascal Gabriel; Andy Wallace; Phil Thornalley; Stephen Harris; Steve Harris .
Recording information: Crashpad; Metropolis; Olympic, London, England; Studio Milk, London, England; Swamp, London, England; Westside.
Arranger: Will Malone.
Personnel includes: Natalie Imbruglia (vocals); Sally Herbert (arranger); Gavin Wright (conductor); Phil Thornalley (acoustic guitar, keyboards, bass); Dave Munday (guitar, flute, Mellotron); Gary Clark (guitar, keyboards); Paul Statham (guitar, programming); Neil Taylor, Gary Clark (guitar); The Brilliant Strings, London Session Orchestra (strings); Ian Stanley (keyboards); Guy Pratt, Ged Grimes (bass); Maz, Chuck Sabo (drums); Marc Fox (percussion); John Dunne, James Banbury (programming); Tessa Niles (background vocals).
Producers include: Ian Stanley, Pascal Gabriel, Gary Clark, Phil Thornalley.
Entertainment Weekly (3/1/02, p.78) - "...Imbruglia knows something aobut formula....continues in the same vein of agreeable pop-radio fodder..." - Rating: B-
Mojo (Publisher) (12/01, p.116) - "...Natalie croons and sighs with all the clear-eyed moonfaced sweetness of Juliette Binoche baking cakes..." White Lilies Island Music White Lilies Island Music White Lilies Island Music Review Average Rating: (4.4 out of 5 stars)   List All Reviews Natalies best album
I admit it.. I'm already a fan. I love Natalie's music but White lillies is the best album for me because the songs are just simply fantastic. Wow! Play this and be moved.
Submitted by RAINE (L.A CALIFORNIA U.S.A)
Was This Review Helpful? Yes No
The best yet
This album contains sweet poppy balands like 'wrong impression' and 'butterflies' and rockier tracks like 'That Day'. buyi it now
Submitted by 444444444444444 (44444444444444)
Was This Review Helpful? Yes No Brilliant!
I bought this album the other day, and I have to say - it's really, really good. I love every song except for 'Butterflies'. My absolute favourites are 'That Day', 'Everything Goes', 'Sunlight' (the best song on the album, in my opinion) and 'Come September'. I can't stop listening to it!
Submitted by a reviewer (Herefordshire, UK)
Was This Review Helpful? Yes No She's too strong
Left of the middle was excellent, for this album it is the same! I love her voice and her songs. Perfect!
Submitted by a reviewer (Argenteuil, FRANCE)
Was This Review Helpful? Yes No  YUCK, do NOT buy this album
I liked the 2 songs TORN and WRONG IMPRESSION, so i went out and bought her 2 albums. I listened to them and YUCK< YUCK< YUCK, She has thw worst voice and the worst music. All of her music is depressing and it sounds awful. Noo wonder it was 4 years until hher last album. I reccomend you NOT buy this album, if you have any common sense
Submitted by a reviewer (Houghton, NY, USA)
Was This Review Helpful? Yes No
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Belinda Carlisle has followed an interesting trajectory over the years, from youthful garage punk to new wave-pop diva (fronting the Go-Gos) to adult contemporary solo artist. Given her many phases, it shouldn't be too much of a curveball to learn that VOILA, Carlisle's first solo album in 10 years, is an homage to the French chanson tradition. Yet it's somehow odd to hear Carlisle singing entirely in French, and taking on the songs of Edith Piaf, Francoise Hardy, and Serge Gainsbourg.
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Belinda Carlisle's career has had several twists and turns, but none has been quite as interesting as her 2007 album Voila, a collection of luxurious covers of classic French pop tunes, all sung in French. Certainly, the very concept of the former new wave queen singing French pop qualifies as one of the more intriguing projects in her solo career, but it's also interesting that she's chosen this idea for her first solo album in ten years. Given that long gap between new albums, it's clear that Voila is no stunt or novelty, it's a passion project for Carlisle and it plays that way: it has the complexity and richness of a labor of love. Which doesn't necessarily mean that this album is filled with surprises, apart from its very existence. Brian Eno may contribute keyboards, but that doesn't mean that these are radical reinterpretations, nor are the selections necessarily left-field: there are a pair of Serge Gainsbourg songs, a Jacques Brel, and a few other songs that should be familiar to rock and pop listeners with a fairly deep grasp of '60s and '70s pop. Those listeners who were raised on punk, new wave, and alt-rock, but with a deep love of the '60s, are clearly the target audience for Voila, and the best thing about the album is that it will not disappoint. This is an elegant, stylish collection of adult pop, gliding by on its sleek synth textures and cabaret atmosphere. Even when it dips into Eurodisco ...
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