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Track List
01) Love Me
02) Virginia Moon
03) Turn Them
04) Baby, It's Cold Outside
05) Bull Rider
06) Ruler of My Heart
07) The Best Part
08) Take Off Your Cool
09) Life Is Better
10) Soon the New Day
11) Little Lou, Ugly Jack, Prophet John
12) Here We Go Again
13) Loretta (live, 2004)
14) Dear John
15) Creepin' In
16) Court & Spark
17) More Than This
18) Blue Bayou
01) Love Me
02) Virginia Moon
03) Turn Them
04) Baby, It's Cold Outside
05) Bull Rider
06) Ruler of My Heart
07) The Best Part
08) Take Off Your Cool
09) Life Is Better
10) Soon the New Day
11) Little Lou, Ugly Jack, Prophet John
12) Here We Go Again
13) Loretta (live, 2004)
14) Dear John
15) Creepin' In
16) Court & Spark
17) More Than This
18) Blue Bayou
3:53
3:51
4:06
4:00
2:58
3:00
3:25
2:38
4:27
4:04
4:25
3:58
3:22
4:36
3:03
7:36
4:12
3:43
Data Complete
90%
Total Rating
90%Total Rating
(1 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2010
Jazz
Relaxed
Jazz
Beach
Medium
Compilation
0 copies
Album Description
Available in:
Auf "Featuring" fasst sie die Kompositionen zusammen, die sie mit anderen Musikern umsetzte. Dass sie sich dabei nie auf ein Genre festnageln lässt, spricht für sie. Bunt und heterogen gestaltet sich so auch das Klangbild des Albums. Wer Q-Tip, Dolly Parton, Willie Nelson und Herbie Hancock und die Foo Fighters unter einen Hut bringen möchte, muss sich stilistisch schon mehr als nur ein wenig strecken. Entsprechend uneinheitlich kommt die Zusammenstellung daher. Den roten Faden sucht man vergebens. Dennoch hält die Compilation einige nette Stückchen bereit. "Turn Them" mit Sean Bones zum Beispiel kommt im poppig-fluffigen Off-Beat daher gehoppelt. "Baby It's Cold Outside" (aus "American Classic"), das stimmungsvolle Zwiegespräch mit dem ollen Willie Nelson gehört ebenfalls zu den charmanteren Beiträgen zur Tracklist. Dass sich Jones nicht penetrant in den Vordergrund stellt, kommt dem positiven Gesamteindruck sehr zugute. Auch wenn sie (fast) jedem Song einen eigenen Stempel aufdrückt, vermeidet sie egoistische Alleingänge.
User Album Review
A raft of dinner party albums from Norah Jones has been irreversibly with us throughout the last decade and, as much as her vocal prowess has impressed, the inevitable impression is of lightness, insubstantiality. To observers who don't have dinner parties, she is borderline tawdry, saccharine and marooned between jazz acceptance and the infested waters of easy listening. What may have escaped said observers, though, is that on occasion she has been a part of some genuinely interesting collaborations, which is where this surprisingly varied collection of duets comes in. But be warned – the quality is as variable as the cast.
At its worst, the collection feels predictable. Virginia Moon, a duet with Foo Fighters, can’t go down as Jones’ fault, fortunately – blame lies squarely with Dave Grohl, who leaves nothing for Jones to do, a mere backing vocalist on an under-written and sickly ballad. You can almost hear Grohl’s eyebrows arching in a tasteful wince. Similarly, Willie Nelson and Jones’ take on Baby It’s Cold Outside is deeply unattractive, and no amount of plinking piano can save it from being a complete turn-off.
Peppered across the record are uninspiring jazzy ballads, what you might call ‘stock’ for Jones. However, as we’ve established, there are some super surprises for those who might not have gotten past Come Away with Me. Take Off Your Cool is a blissfully meandering acoustic work that brilliantly pits Jones against Andre 3000 of OutKast, a luxurious song that sounds haunting when removed from the context of the latter’s The Love Below record.
Furthermore, the superb pairing of Jones with Belle and Sebastian yields the strongest result on the whole record. Little Lou, Ugly Jack, Prophet John is a proper, adult pop song that shows Jones having a ball with lines like "can I see what’s underneath your bed", and "can I stay until the milkman’s working". The virtue has to lie mostly with the Scottish legends, but Jones brings such depth to the recording that it seems impossible to imagine it without her.
It’s fair to say that for every misstep there’s an unexpectedly winning duet, but not enough of Jones’ maturity is brought to the fore. There’s too much inoffensive filler that doesn’t do her justice, and it’s indisputable that it would’ve been a stronger release had it been pruned of several songs.
External Album Reviews
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User Comments
Available in:
Auf "Featuring" fasst sie die Kompositionen zusammen, die sie mit anderen Musikern umsetzte. Dass sie sich dabei nie auf ein Genre festnageln lässt, spricht für sie. Bunt und heterogen gestaltet sich so auch das Klangbild des Albums. Wer Q-Tip, Dolly Parton, Willie Nelson und Herbie Hancock und die Foo Fighters unter einen Hut bringen möchte, muss sich stilistisch schon mehr als nur ein wenig strecken. Entsprechend uneinheitlich kommt die Zusammenstellung daher. Den roten Faden sucht man vergebens. Dennoch hält die Compilation einige nette Stückchen bereit. "Turn Them" mit Sean Bones zum Beispiel kommt im poppig-fluffigen Off-Beat daher gehoppelt. "Baby It's Cold Outside" (aus "American Classic"), das stimmungsvolle Zwiegespräch mit dem ollen Willie Nelson gehört ebenfalls zu den charmanteren Beiträgen zur Tracklist. Dass sich Jones nicht penetrant in den Vordergrund stellt, kommt dem positiven Gesamteindruck sehr zugute. Auch wenn sie (fast) jedem Song einen eigenen Stempel aufdrückt, vermeidet sie egoistische Alleingänge.
User Album Review
A raft of dinner party albums from Norah Jones has been irreversibly with us throughout the last decade and, as much as her vocal prowess has impressed, the inevitable impression is of lightness, insubstantiality. To observers who don't have dinner parties, she is borderline tawdry, saccharine and marooned between jazz acceptance and the infested waters of easy listening. What may have escaped said observers, though, is that on occasion she has been a part of some genuinely interesting collaborations, which is where this surprisingly varied collection of duets comes in. But be warned – the quality is as variable as the cast.
At its worst, the collection feels predictable. Virginia Moon, a duet with Foo Fighters, can’t go down as Jones’ fault, fortunately – blame lies squarely with Dave Grohl, who leaves nothing for Jones to do, a mere backing vocalist on an under-written and sickly ballad. You can almost hear Grohl’s eyebrows arching in a tasteful wince. Similarly, Willie Nelson and Jones’ take on Baby It’s Cold Outside is deeply unattractive, and no amount of plinking piano can save it from being a complete turn-off.
Peppered across the record are uninspiring jazzy ballads, what you might call ‘stock’ for Jones. However, as we’ve established, there are some super surprises for those who might not have gotten past Come Away with Me. Take Off Your Cool is a blissfully meandering acoustic work that brilliantly pits Jones against Andre 3000 of OutKast, a luxurious song that sounds haunting when removed from the context of the latter’s The Love Below record.
Furthermore, the superb pairing of Jones with Belle and Sebastian yields the strongest result on the whole record. Little Lou, Ugly Jack, Prophet John is a proper, adult pop song that shows Jones having a ball with lines like "can I see what’s underneath your bed", and "can I stay until the milkman’s working". The virtue has to lie mostly with the Scottish legends, but Jones brings such depth to the recording that it seems impossible to imagine it without her.
It’s fair to say that for every misstep there’s an unexpectedly winning duet, but not enough of Jones’ maturity is brought to the fore. There’s too much inoffensive filler that doesn’t do her justice, and it’s indisputable that it would’ve been a stronger release had it been pruned of several songs.
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