|CD Universe Part number||7378751|
|Release Date||Mar 13, 2007|
|Producer||Mark Ronson; Salaam Remi; Mark Ronson; Salaam Remi|
|Engineer||Mark Ronson; Vaughan Merrick; Matt Paul; Dominic Morley; Gabriel Roth; Derek Pacuk|
|Recording Time||36 minutes|
|Personnel||Homer Steinweiss - drums|
Frank Ricotti - percussion
Anthony Pleeth - cello
Bruce White - viola
Richard Edwards - tenor trombone
Vincent Henry - guitar, flute, clarinet, bass clarinet, saxophone, alto saxophone, tenor saxophone, baritone saxophone, piano, celesta
Amy Winehouse - guitar, background vocals
John Adams - Fender Rhodes piano
Steve Sidwell - harp, trumpet
Bruce Purse - trumpet, bass trumpet, flugelhorn
Johnathan Rees - violin
Nick Movshon - bass guitar
Neal Sugarman - tenor saxophone
Dave Bishop - baritone saxophone
Salaam "The Chameleon" Rami - guitar, piano, upright bass, bass guitar, drums
Chris Davies - alto saxophone
Dave Guy - trumpet
Thomas Brenneck - guitar
Victor Axelrod - piano, Wurlitzer organ, hand claps
Helen Tunstall - harp
Mark Ronson - tambourine, hand claps
Peter G. Hanson
Vaughan Merrick - hand claps
21 CD (2011) Top Seller
Back to Black songs Adele's 2009 debut album, 19, was a Grammy-winning smash hit that revealed the British singer/songwriter's knack for bittersweet soul and folk-infused love songs that brought to mind an infectious mix of Dusty Springfield and Terry Callier. The album earned her a ton of fans, and interest was high for the inevitable follow-up. In many ways, her sophomore album, the similarly age-appropriate-titled 21, is a continuation of the sounds and themes Adele was working with on 19. She is still the bluesy pop diva with a singer/songwriter's soul and seemingly bottomless capacity for heartbreak. The best thing the album does is to showcase Adele's titanic vocal ability, which -- more than a few times on 21 -- is simply spine-tingling. Last time around we got the gauzy, Callier-esque folk-soul ballad "Daydreamer" to slowly draw us into the album; here, Adele immediately injects us with the propulsive gospel fever-blues anthem "Rolling in the Deep." While the track certainly owes a heavy debt to the punk-blues of Beth Ditto and the Gossip, it is also ridiculously sexy and one of the best singles of any decade. Elsewhere, we get tracks like the blues-inflected Ryan Tedder co-write "Rumour Has It" and the old-school-style soul cut "He Won't Go," which are terrifically catchy, booty-shaking numbers and exactly the kind of songs you want and expect from Adele. Similarly enthralling is the centerpiece of the album, the mega-ballad showstopper "Take It All." Co-written by her "Chasing Pavements" partner Francis White, the song begins with Adele proclaiming "Didn't I give it all?" Delivered starkly at first with Adele set against simple piano accompaniment and later backed by a gospel choir, it's an instant-classic sort of song in the tradition of "The Rose," "And I Am Telling You I Am Not Going," and "All by Myself" that could stand over the years as a career landmark for the singer and a cathartic moment for fans who identify with their idol's Pyrrhic lovelorn persona. Ultimately, Adele does give us her all on 21, and for now that is enough. ~ Matt Collar Editor: Dana Nielsen. Photographer: Lauren Dukoff. Personnel: Adele (vocals). Recording information: AirStudios, London, England; Angel Studios, London, England; Eastcote Studios, London, England; Harmony Studios, West Hollywood, CA; metropolis Studios, London, England; Myaudiotonic Studios, London, England; Patriot Studios, Denver, CO; Serenity Sound, Hollywood, CA; Shangri La Studios, Malibu, CA; Sphere Studios, London, England; Wendyhouse Productions, London, England.
|Alison Krauss / Robert Plant|
Raising Sand CD (2007) Top Seller
Back to Black CD music Those who find the pairing of '70s rock god Robert Plant with contemporary bluegrass queen Alison Krauss unlikely have probably not been paying attention to Plant's latter-day work, which is full of intimate, acoustic-flavored balladry. While the organic-sounding, low-key Plant/Krauss collaboration, RAISING SAND, is a far cry from Led Zeppelin's stadium rock, it offers up some hauntingly moody textures that should appeal to "Battle of Evermore" admirers. Consisting mostly of sagely chosen cover tunes, the album finds Plant and Krauss bringing their warm-but-eerie harmonies to everything from Townes Van Zandt's nihilistic folk poetry ("Nothin'") to the crumbled beauty of latter-day Tom Waits ("Trampled Rose"). Determined not to rest on their laurels or cater to expectations, the 59-year-old icon and his junior partner craft a subtle and intriguing sound built on their shared love of folk forms and gift for interpretation, bringing to light esoteric gems by late Byrds visionary Gene Clark and the Everly Brothers along the way as well.
As I Am CD (2007)
Back to Black buy CD music The third full-length from contemporary R&B diva Alicia Keys is called AS I AM, a title that adequately reflects the album's straightforward, confessional soul-pop. Keys built her popularity making stylish, reflective, voice-and-piano music; AS I AM continues that trend, albeit in a poppier vein that balances neatly between neo-soul and adult contemporary. This is reflected in the midtempo grooves, songs of empowerment ("Superwoman"), and stirring ballads ("The Thing About Love"). Keys' collaborators on the album include songwriter Linda Perry, who co-wrote three of the album's tracks, and John Mayer, who twines voices with Keys on the sensual "Lesson Learned." Top-notch arrangements, which include gorgeous, retro-tinged flourishes via strings and horns, make the set shimmer, but it's the strength of the hook-heavy tunes and Keys' moving performances that make AS I AM stick. It's not the five-star album she's capable of, but it leaves little doubt that Keys is moving steadily in that direction. Audio Mixer: Manny Marroquin. Recording information: Glenwood Studios, LA; Oven Studios, NY. Photographer: Thierry Le Goues. Arrangers: Alicia Keys; Jack Splash. Personnel: Alicia Keys (vocals, piano, Fender Rhodes piano, harpsichord, Wurlitzer organ, Mellotron, bass synthesizer, Moog synthesizer, vocoder, background vocals); Alicia Keys (synthesizer, string synthesizer, programming); Jack Splash (various instruments, programming); John Salvatore Scaglione (guitar, guitars); John Mayer (guitar, background vocals); Ron Haney, Peter Thorn, Rony Henry, John Jubu Smith (guitar); Everette K. Harp (saxophone); Darryl Dixon , Darryl Dixon (alto saxophone); David Stout (trumpet); Mark Batson (piano, Clavinet, Hammond b-3 organ, Moog synthesizer, programming, drum programming); Damon Fox (Hammond b-3 organ, Mellotron, Moog synthesizer); Mark Robohm, Mark Robham (drums); L.C. Green, L. Green (background vocals); David Ryan Harris (guitar); Steve Mostyn (acoustic guitar, bass guitar); David Watson (tenor saxophone); Carl Maraghi (baritone saxophone); Duane Eubanks, Jumaane Smith (trumpet); Jason Sugata (French horn); Harry Kim (trombone); Michael Dease (tenor trombone, bass trombone); Ryan Keberle (tenor trombone); Linda Perry (piano, background vocals); Paul Ill, Sean Hurley (bass guitar); Trevor Lawrence (drums, percussion); Steve Jordan (drums); Kerry Brothers (drum programming); Alonzo "Novel" Stevenson, Harold Lilly (background vocals); Ann Mincieli. Additional personnel: John Mayer .
River: The Joni Letters CD (2007)
Back to Black album for sale Any doubts about the incongruity of jazz icon Herbie Hancock covering singer-songwriter extraordinare Joni Mitchell will be obliterated on the first journey through RIVER: THE JONI LETTERS. For starters, the premise is not especially incongruous. Hancock has had a long, adventurous career in which he's traversed genres and masterfully blended styles, while Mitchell has always been deeply influenced by jazz as both a composer and a singer. RIVER features many of Mitchell's finest songs, stunning in their own right and reinterpreted beautifully by Hancock, plus a stellar assortment of musicians and guest vocalists. Mitchell's pop and folk tendencies have been assimilated into the arrangements; the album plays like a vocal jazz outing. Hancock is joined by fellow Miles Davis alums Wayne Shorter and Dave Holland, among others, and the guest vocalists include Norah Jones, Tina Turner, Corinne Bailey Rae, Leonard Cohen, and--on one track--Mitchell herself. Sophisticated, soulful, and gorgeous, RIVER is a must for fans of Mitchell, classic jazz, adult contemporary artists like Norah Jones--and, well, just about everyone. Audio Mixer: Helix Hadar. Recording information: 600ft., Yorkshire, England (2006-2007); Avatar Studios, New York, NY (2006-2007); NJP Tonstudio, Zurich, Switzerland (2006-2007); Ocean Way Recording, Los Angeles, CA (2006-2007). Photographer: Kwaku Alston. Personnel: Herbie Hancock (piano); Wayne Shorter (soprano, soprano saxophone, tenor saxophone); Lionel Loueke (guitar); Dave Holland (bass guitar); Vinnie Colaiuta (drums). Additional personnel: Corinne Bailey Rae, Joni Mitchell, Norah Jones, Tina Turner, Leonard Cohen, Luciana Souza.
Rockferry CD (2008)
Back to Black CD music International pressing. 2008 debut album from the Welsh singer/songwriter (not to be confused with Stephen Duffy, who released albums in the '90s under the name Duffy). Welsh songbird, Duffy, came to the attention of Rough Trade Management in 2004. Rough Trade pointed Duffy in the direction of guitarist/producer Bernard Butler (Suede/The Tears/McAlmont & Butler). Duffy spent the next couple years honing and developing her songwriting skills all the while discovering hidden musical gems that inspired her. The fruits of her intense labor is this magnificent album, a masterclass in mature, resonant Pop, 10 tracks including the first single ‘Mercy’. Polydor Records. Recording information: Bookerland Studios; Home & Mako's; Mako's; Rak Studios; West Heath Studios, London, England. Arranger: James Banbury. Personnel: Duffy (vocals); Jimmy Hogarth (guitar, acoustic guitar, electric guitar, percussion, programming); Bernard Butler (guitar, electric guitar, piano, keyboards, drums, percussion); Steve Booker (guitar, keyboards, programming); Eg White (acoustic guitar, piano, drums, background vocals); James Banbury (cello); Jim Hunt (saxophone); Dominic Glover (trumpet); Martin Slattery (piano, Fender Rhodes piano, Wurlitzer organ, drums); Makoto Sakamoto (drums); David McAlmont (background vocals). Audio Mixers: Steve Booker; Jeremy Wheatley.
|Frank CD (2003)
Back to Black buy CD music If a series of unfortunate comparisons (like the ones to follow) cause listeners to equate British vocalist Amy Winehouse with Macy Gray, it's only natural. Both come on like a hybrid of Billie Holiday and Lauryn Hill who's had a tipple and then attempted one more late-night set at a supper club than they should have. Despite her boozy persona and loose-limbed delivery, though, Winehouse is an excellent vocalist possessing both power and subtlety, the latter an increasingly rare commodity among contemporary female vocalists (whether jazz or R&B). What lifts her above Macy Gray is the fact that her music and her career haven't been marketed within an inch of their life. Instead of Gray's stale studio accompaniments, Winehouse has talented musicians playing loose charts behind her with room for a few solos. Instead of a series of vocal mellifluities programmed to digital perfection, Winehouse's record has the feeling of being allowed to grow on its own -- without being meddled with and fussed over (and losing its soul in the process). Simply hearing Winehouse vamp for a few minutes over some Brazilian guitar lines on "You Sent Me Flying" is a rare and immense pleasure. Also, like Nellie McKay (but unlike nearly all of her contemporaries), Winehouse songs like "Fuck Me Pumps," "Take the Box," and "I Heard Love Is Blind" cast a cool, critical gaze over the music scene, over the dating scene, and even over the singer herself. With "In My Bed," she even proves she can do a commercial R&B production, and a club version of "Moody's Mood for Love" not only solidifies her jazz credentials but proves she can survive in the age of Massive Attack. [Universal Republic released a U.S. version the CD in 2007.] ~ John Bush Aged just nineteen, Amy Winehouse has caused great ripples in the UK urban music scene. With a voice that falls happily in with any one of the contemporary greats whilst somehow managing to sound entirely unique, Amy's smoky soul stylings are set to turn the ripples to a storm. 'Frank', her debut set, is an empowering collection of independence anthems all laid down with the kind of maturity & inflection that make the likes of, say, Norah Jones such a tantalizing proposition. Furthermore, with the likes of Giles Peterson championing her cause, it won't be long until the world is gently awakened to the Winehouse way of doing things. This UK version features an exclusive bonus track, 'Moody's Mood For Love'. Island. 2003. Recording information: Creative Space, Miami, FL; EMI Music Publishing Studios, London, England; Mayfair Studios, London, England; Platinum Sound studios, New York, NY; The Headquarters, NJ. Photographer: Valerie Phillips. Arranger: Salaam "The Chameleon" Rami. Personnel: Amy Winehouse (vocals, guitar); Jeremy Shaw, Jan Barter (guitar); Vincent Henry (flute, alto flute, alto saxophone, tenor saxophone, baritone saxophone); Robert Aaron (flute, saxophone); Teodross Avery (saxophone); Stefan Skarbek, Matt Rowe (trumpet, background vocals); Tanya Darby (trumpet); Bruce Purse (bass trumpet, baritone horn); Stafford Hunter (trombone); Timothy Hutton (horns); Lenny Underwood, Luke "Lukvatine" Smith (piano, keyboards); Donovan Jackson (Fender Rhodes piano, organ, keyboards); John Adams (Fender Rhodes piano, organ); Salaam Remi (organ); Salaam "The Chameleon" Rami (upright bass, electric bass, drums, percussion, programming); Commissioner Gordon (drums, percussion, programming, turntables); Errol Campbell (drums, percussion); Troy Auxilly-Wilson, Richard Wilkinson (drums); Rudy Bird (shaker, percussion); Gordon Williams (percussion); Felix Howard, Jenni Fujita (background vocals). Audio Mixers: Commissioner Gordon; Tom Elmhirst; Gary Noble.