Manufacturer: Blue Note
Brand: Blue Note
Vinyl LP pressing. 2002 debut album from the Grammy-winning singer/songwriter. The album's critical and commercial success was a breakthrough for Jones in 2002, as it reached the top of the Billboard 200 chart and several jazz charts. The album also topped many critics' "albums of the year" lists and gathered major music awards in the process, including eight Grammy Awards. Following initial sales, Come Away with Me was certified diamond by the RIAA on February 15, 2005 having shipped over 10 million copies in its first three years of release.
Manufacturer: Blix Street
Brand: Autumn Leaves
Five years after her death at age 33, Eva Cassidy is an international star. Songbird, a platinum-selling smash, reached #1 in England, Ireland, and the U.S. A recent Nightline profile about Eva generated more emails than almost any other program in its history. When you hear this album, you'll know why the Washington Post raved that "she could sing anything...and make it sound like it was the only music that mattered." (43 minutes) Songbird cherry-picks tracks from the three locally released albums of Eva Cassidy, whose hauntingly beautiful vocals went virtually unheard outside her native Washington, D.C., during her short 33 years with us. Lost to melanoma in 1996, Cassidy sang with an unaffected purity and an astonishing ability to make both classic and contemporary songs sound like they were written just for her. Sting's "Fields of Gold" finally lives up to its title through the alchemy of Cassidy's transcendent rendition, while other tracks on this anthology showcase her ease in the realms of pop (Christine McVie's "Songbird"), soul ("People Get Ready"), gospel ("Wade on the Water"), and traditional standards ("Autumn Leaves" and "Over the Rainbow"). Framed by understated jazz and pop arrangements, Cassidy's clear, soulful voice and exquisite phrasing make her that rarest of vocalists whose interpretations are a complement to any song. A fine introduction to a true talent. --Billy Grenier
The musical collaboration of the decade, Raising Sand is the sound of two iconic figures stepping out of their respective comfort zones and letting their instincts lead them across a brave new sonic landscape. Despite hailing from distinctly different backgrounds, Alison Krauss and Robert Plant share a maverick spirit and willingness to extend the boundaries of their respective genres. This spirit, expertly honed by producer T Bone Burnett, has resulted in an album pitched three steps beyond some cosmic collision of early urban blues, spacious West Texas country, and the untapped potential of the folk-rock revolution. Supported by the unparalleled musicianship of Marc Ribot, Dennis Crouch, Mike Seeger, Jay Bellerose, Norman Blake, Greg Leisz, Patrick Warren, and Riley Baugus, Plant and Krauss -- as both solo and harmony vocalists -- tackle an intriguing selection of songs from such tunesmiths as Tom Waits, Gene Clark, Sam Phillips, Townes Van Zandt, The Everly Broth! ers, and Mel Tillis. Raising Sand finds Robert Plant and Alison Krauss exploring popular music's elemental roots while still sounding effortlessly, breath-takingly contemporary. The song "Killing the Blues" is featured in the new JC Penney American Living Campaign. Perhaps only the fantasy duo of King Kong and Bambi could be a more bizarre pairing than Robert Plant and Alison Krauss. Yet on Raising Sand, their haunting and brilliant collaboration, the Led Zeppelin screamer and Nashville's most hypnotic song whisperer seem made for each other. This, however, is not the howling Plant of "Whole Lotta Love," but a far more precise and softer singer than even the one who emerged with Dreamland (2002). No matter that Plant seems so subdued as to be on downers, for that's one of the keys to this most improbable meeting of musical galaxies--almost all of it seems slowed down, out of time, otherworldly, and at times downright David Lynch-ian, the product of an altered consciousness. Yet probably the main reason it all works so well is the choice of producer...
Manufacturer: Sony Legacy
No Description Available.Genre: Popular MusicMedia Format: Compact DiskRating: Release Date: 23-AUG-1994 Resembling at times a soft-sung Robert Plant, Buckley was an intuitive vocalist capable of dizzying arabesques and choir-boy sweetness. He is joined here by a tight band for 10 tracks highlighting his stylistic range--Pearl Jam bluesy on "Eternal Life," impossibly serene on Leonard Cohen's "Hallelujah," art-school noisy on "So Real," Led Zep daring on "Mojo Pin." Unorthodox, this was the debut of '94. --Jeff Bateman
Manufacturer: Blue Note
2004 release, the sophomore album from Jazz/Pop singer/songwriter Norah Jones. Feels Like Home sold a million copies in the first week of its U.S. release, the first album to do so since Eminem's The Eminem Show (2002) and it was the second best-selling album of 2004, with about four million copies sold in U.S. alone. Norah Jones blew everybody away with her jazzy, country-tinged, Grammy-winning debut CD, Come Away with Me. On this recording, Jones doesn't mess with her trademark formula. Under Arif Mardin's cozy coproduction, Jones is supported by her writing partners, her Handsome Band, and some special guests (country legend Dolly Parton, Levon Helm and Garth Hudson of the Band, and jazz drummer Brian Blade, to name a few). Jones's Texas-twanged vocals and her sparse acoustic and electric Wurlitzer piano lines enliven the CD's 13 tracks, from the light and lively single "Sunrise" to Tom Waits's "The Long Way Home" and the bouncy duet with Parton, "Creepin' In." Jones's soul-baring piano/vocal rendition of Duke Ellington's "Melancholia," retitled "Don't Miss You at All," proves she's a true Blue Note artist with unlimited potential. --Eugene Holley Jr.
Brand: PETER PAUL & MARY
One of the most enduring acts in American music, Peter Paul And Mary both defined and transcended the 1960s folk revival. The trio's passionate commitment to peace and social justice made them the conscience of an era as they soulfully communicated political concerns through music in an unprecedented way. At the same time that they reached millions with their social message, they acheived phenomenal mass popularity.
Bob reached the heights of his seminal Seventies work with this confessional 1975 classic featuring Tangled Up in Blue; Simple Twist of Fate; Idiot Wind; Lily, Rosemary and the Jack of Hearts , and 6 more. Inevitably, when critics praise a new Dylan album, they label it the "best since Blood on the Tracks," and with good reason. Inspired by a crumbled marriage, and recorded after a tour with the Band had apparently re-ignited his creativity, Blood is among Dylan's masterpieces. The album's epic songs are well known, but its real high points are the shorter numbers--"You're a Big Girl Now," the flawless blues "Meet Me in the Morning," and the sweetly devastating "Buckets of Rain." These are songs of "images and distorted facts," each expressed through tangled points of view, and all of them blue. --David Cantwell
Manufacturer: Columbia / Sony Legacy
From 1965, his first all-electric album with such classics as Like a Rolling Stone; It Takes a Lot to Laugh, It Takes a Train to Cry; Ballad of a Thin Man; Just Like Tom Thumb's Blues , and Desolation Row . Dylan was virtually gushing great songs when this masterpiece arrived in the summer of 1965. From the epochal opening of "Like a Rolling Stone" through the absurdly apocalyptic closer, "Desolation Row," his command of surrealistic language was daring and amazing. As a vocalist, he was rewriting the rules of the game. Jimi Hendrix made note of Mr. Z's technically suspect pitch and decided that he too was a singer. And the backing, though ragged, is precisely right. Is this the essential Dylan album? It's certainly one of them. --Steven Stolder
Bob Dylan's first new album in five years, the highly-anticipated Modern Times includes 10 new songs recorded this past winter, and features Dylan on the keyboard, guitar, harmonica and vocals, and accompanied by his touring band. Modern Times is seen as the third release in an outstanding triology along with Time Out Of Mind and Love and Theft and is set to be another groundbreaking record for the music icon. At a time when the majority of those his age are drifting into retirement, 65-year-old Bob Dylan has put the capper on a three-record run that ranks with the best in his storied, 44-album career. Like Time Out of Mind and Love and Theft before it, Modern Times is a rootsy, blues-soaked pool of the purest form of Americana--skipping the progressive bells or whistles for an understated backing by his touring band. Dylan's voice, which cracks, rasps and moans from the pop singer's pulpit, hasn't been this rich and emotive since 1976's Desire. And while his lyrics prolong his steadfast allusions to a higher power and his own immortality, they are not without the Dylan mirth, as when he sings of tracking pop queen Alicia Keys from Hell's Kitchen to Tennessee in "Thunder on the Mountain," the album's opener, which teams with "Someday Baby" and "Rollin' and Tumblin'" (for which Dylan misguidedly claims writing credit) as the record's most fiery numbers. Still, it's the Dylan that tells of a slave-loving owner ("Nettie Moore"), brings New Orleans to the front burner ("The Levee's Gonna Break") and plays the part of an eloquent lounge singer ("Spirit on the Water," "When the Deal Goes Down" and "Beyond the Horizon") that makes Modern Times sound just like old times. --Scott Holter Dylan Classics and Collections The Freewheelin' Bob Dylan The Times They Are A-Changin' Bringing It All Back Home Highway 61 Revisited Blonde on Blonde Blood on the Tracks No Direction Home: The Soundtrack Biograph (Box Set) Bootleg Serie...
Manufacturer: Blue Note
Norah Jones's third album features distinct traces of Dusty In Memphis-style Southern soul, as well as the kind of sleepy, sultry vocals that have been ubiquitous in coffee houses all over the world since the release of her 2002 debut album, Come Away With Me. Although the music of Norah Jones continues to blend pop, soul, folk, and country with a seasoning of jazz, her third album for Blue Note is the first where she's written (or collaborated on) all the material. Beneath the smooth surface lie darker strains on the album-opening "Wish I Could" (about a boyfriend lost to war), intimations of mortality in "The Sun Doesn't Like You," and the post-election horrors of "My Dear Country." The last seems to channel the inspiration of Brecht/Weill, while the equally bleak "Sinkin' Soon" is set to a jaunty Dixieland rag. Throughout, Jones's vocal intimacy and melodic warmth remain as disarmingly understated as ever. The soulful "Thinking of You," the countryish "Wake Me Up," and the syncopated "Be My Somebody" reflect the captivating style of her previous work. Although too much in the same midtempo mode becomes a dreamy lull, cut by cut, Jones's voice is irresistible. --Don McLeese