Tapestry, Carole King's 1971 breakthrough masterpiece, was a ground-breaking record not only for music, but for women in music. Contains: I Feel the Earth Move, You've Got a Friend, It's Too Late, and many more.
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
She's 18, and she knows what she wants. Singer-songwriter-guitarist Michelle Branch leads the next evolution in pop with her debut major-label album, the Spirit Room. Matching a pop sensibility with a rockin' edginess, Branch is a precocious teenager with musical credibility and vision. Open the door for a career artist, and enter the Spirit Room. Certified Platinum by the RIAA. (4/02) "So I'm a little left of center, I'm a little out of tune," sings Michelle Branch on her debut album's "You Get Me." Well, maybe. Branch offers a well-produced pastiche of chiming and strumming guitars, hip-hop-lite beats, quiet-verse-to-louder-chorus templates, and positive thinking. At her best--"If She Only Knew," a propulsive love note to an ex--she rivals the likes of Sixpence None the Richer as likable radio-aimed fare. Catchy and self-expressive while breaking absolutely no ground, Branch also echoes everyone from label-mate Alanis Morissette to the solo Belinda Carlisle. She dies just a little in this crazy mixed-up world, escapes to her secret garden for sunshine in the pouring rain, and ultimately finds her reflection getting clearer. The Spirit Room could be the next bit of pop philosophy to dazzle mainstream audiences. --Rickey Wright
Jewel's eagerly awaited fifth album sees the multi-platinum singer/songwriter once again expanding her ever-diverse musical palette. Co-produced by Lester Mendez (known for his work with such artists as Enrique Iglesias and Shakira) and Jewel herself, TK features a hypnotic fusion of sounds - melding pop, rock, folk, jazz, and dance with her uniquely personal lyrical style and musical authenticity. Tracks like the smash first single, "Intuition" are inspired by Jewel's burgeoning interest in modern dance beats and textures, while other songs retain the artist's remarkable talent for powerful lyricism and winning melodies. Organic, inventive and altogether extraordinary, 0304 stnads as Jewel's most daring and delightful collection thus far. Why pick on a girl for taking a chance? After experiencing flagging sales, Jewel has become proactive and given herself a cosmetic and artistic makeover. But 0304 isn't the winsome thrush's first leap into the unknown. Hiring Shakira producer Lester A. Mendez to give her solemn, folksy songs a pop sheen and some dance beats isn't as radical as starring as a Civil War widow in an Ang Lee film. Besides it's a lot more interesting to hear her squeeze her chaste, malleable soprano around an accordion solo in the futuristic namedropping fable "Intuition" or her voice a beat-driven condemnation of the George W. Bush regime on "America" to see her sashaying on the silver screen in those tight bodices and hoop skirts. Although she has changed the very structure and sound of her songs, Jewel's undeniable talent shines through. She still has a way with words and her voice is remains as pure as an Alaskan stream. --Jaan Uhelszki
The follow-up to Jewel's 10-million-selling debut finds the acclaimed singer/songwriter expanding her musical palette with the studio assistance of producer Patrick Leonard (Madonna). Pieces Of You, of course, was an unprecedented smash, spending 114 weeks on the Billboard 200, where it hit #4. Singles include "Hands", "Down So Long," and a newly recorded version of "Jupiter". [Note: This product is an authorized CD-R and is manufactured on demand] It's time for an update of our image of Jewel, the ingenue who set the music world on fire with her 1995 debut album, Pieces of You. After all, that effort consisted primarily of songs Jewel had written several years before, some of them dating back to her days as a free- spirited waif living in a van on the beach in San Diego. Now, at 25, she's become a sort of guru for self-expression and full disclosure, revealing perhaps too much of herself in see-through dresses worn to awards shows and a critically drubbed (yet bestselling) book of poetry. Spirit makes plain why Jewel's well-intentioned yet sometimes facile lyrics strike a chord with her audience while her poetry lies flat on the page. On songs like "Deep Water," "Hands," and "Down So Long," her words are borne aloft by sparkling melodies and her soaring voice, making even the most cynical observer take a schoolgirl-notebook image such as "your heart like grape gum on the ground" or an unreassuring platitude like "If I could tell the world just one thing / It would be that we're all OK" somewhat in stride. On Pieces of You, Jewel posed the musical question "Who will save your soul?" On Spirit, it sounds like she wants to do it herself. And the truth is, if you don't overanalyze it, the album does act as a sort of balm for wounded psyches or maybe a primer for raising your own inner child. Maybe she's right and we are all OK. Who knew? --Daniel Durchholz
FIONA APPLE Fiona Apple, what a character. Between the softcore video, the awards show rebuke, and now for her second album concocting history's most ludicrous title (the full thing runs 90 words long), Apple is earning a rep as a world-class oddball. Which may be the case. In contrast to many of her faux eccentric contemporaries, however, this wolf in waif's clothing seems to be genuinely astray in the straight world. And Apple is the real thing in another way--as a talent. When the Pawn Hits picks up where her eye-opening debut, Tidal, left off. With Jon Brion back in the producer's seat, the twosome concoct a heady, keyboard-heavy soundscape that perfectly complements the singer's assertive, dangerously sexy Nina Simone-meets-Chrissie Hynde delivery. Unforeseen embellishments color the arrangements, including the sinister carnival interlude in "On the Bound," the George Harrison-like guitar in "Mistake," and the drum solo (when's the last time you heard one of those on a pop album?) in "Limp." All Brion's enhancements are in service of Apple, who comes through with preternaturally confident expressions of insecure sentiments ("Change my mind, I can't decide, there's too many variations to consider") and cold-eyed accounts of recrimination and self-recrimination. Cohesive, gutsy, and finely honed, When the Pawn Hits pummels any notions of a sophomore slump for 1996's most promising newcomer. A character, yes, but what an artist, too! --Steven Stolder
Fans of Willy Porter, Ben Harper, and G. Love will all want to check out Jack Johnson's engaging folk- and blues-inflected pop. Born in Oahu, Hawaii, Johnson, a former surfer and film-school graduate, has a knack for acoustic ballads whose calm surfaces hide a subtle but strong lyrical undertow. "It seems to me that 'maybe' pretty much always means 'no,'" sings Johnson on "Flake," which features crony Harper on slide guitar. Production by J.P. Plunier (who also handles Harper's recordings) is simple and uncluttered: acoustic guitar and drum tracks share the foreground with Johnson's easygoing vocals, which evoke everyone from G. Love (who recorded Johnson's "Rodeo Clowns" on his Philadelphonic album) to Nick Drake to Willy Porter. And while Johnson may not have Porter's guitar chops, these songs have a relaxed beauty and understated depth that reward repeated listening. --Bill Forman Fans of Willy Porter, Ben Harper, and G. Love will all want to check out Jack Johnson's engaging folk- and blues-inflected pop. Born in Oahu, Hawaii, Johnson, a former surfer and film-school graduate, has a knack for acoustic ballads whose calm surfaces hide a subtle but strong lyrical undertow. "It seems to me that 'maybe' pretty much always means 'no,'" sings Johnson on "Flake," which features crony Harper on slide guitar. Production by J.P. Plunier (who also handles Harper's recordings) is simple and uncluttered: acoustic guitar and drum tracks share the foreground with Johnson's easygoing vocals, which evoke everyone from G. Love (who recorded Johnson's "Rodeo Clowns" on his Philadelphonic album) to Nick Drake to Willy Porter. And while Johnson may not have Porter's guitar chops, these songs have a relaxed beauty and understated depth that reward repeated listening. --Bill Forman
From its humble beginnings, Brushfire Fairytaleslaunched the meteoric career of singer/songwriter JackJohnson. It has sold over two million albums in theUS, and continues to be one of the best sellers in hiscatalog. Now, the album returns home to Everloving, thelabel that started it all, and has been remastered withBernie Grundman Mastering.Jack Johnson: vocals, guitars, pianoAdam Topol: drums, percussionMerlo Podlewski: bassBen Harper: slide guitar (appears courtesy of Virgin Records America)
One of the success stories of the new millennium with her 2001 major-label debut album, The Spirit Room went platinum and spun off the Top 20 pop hits "Everywhere", "All You Wanted", and "Goodbye To You," Michelle Branch returns with her follow-up Hotel Paper. winner of the enormously significant Viewer's Choice Award at the MTV Video Music Awards for "Everywhere", the singer-song-writer-guitarist leads a generation of young women born to rock.