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Track List
01) Chasing Pirates
02) Even Though
03) Light as a Feather
04) Young Blood
05) I Wouldn't Need You
06) Waiting
07) It's Gonna Be
08) You've Ruined Me
09) Back to Manhattan
10) Stuck
11) December
12) Tell Yer Mama
13) Man of the Hour
01) Chasing Pirates
02) Even Though
03) Light as a Feather
04) Young Blood
05) I Wouldn't Need You
06) Waiting
07) It's Gonna Be
08) You've Ruined Me
09) Back to Manhattan
10) Stuck
11) December
12) Tell Yer Mama
13) Man of the Hour
2:40
3:52
3:52
3:38
3:30
3:31
3:11
2:45
4:07
5:15
3:05
3:25
2:57
Data Complete
80%
Total Rating
80%Total Rating
(2 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2009
Jazz
Relaxed
Rock/Pop
---
Slow
Album
1,100,000 copies
Album Description
Available in:
The Fall is the fourth studio album by American singer-songwriter Norah Jones, released November 17, 2009 on Blue Note Records.The album debuted at number three on the Billboard 200 selling 180,000 copies in its first week, becoming the second lowest first week for a Jones album after Come Away with Me and a step aside Little Broken Hearts.
Jones' official website has stated that she "has taken a new direction on The Fall, experimenting with different sounds and a new set of collaborators, including Jacquire King, a noted producer and engineer who has worked with Kings of Leon, Tom Waits, and Modest Mouse among others. Jones enlisted several songwriting collaborators, including Ryan Adams and Okkervil River’s Will Sheff, as well as her frequent partner Jesse Harris. King also helped Jones put together a new group of musicians to perform on the album, including drummers Joey Waronker (Beck, R.E.M.) and James Gadson (Bill Withers), keyboardist James Poyser (Erykah Badu, Al Green), and guitarists Marc Ribot (Tom Waits, Elvis Costello), Smokey Hormel (Johnny Cash, Joe Strummer)", Lyle Workman, (Bourgeois Tagg, film composer for Superbad), and Peter Atanasoff (Rickie Lee Jones, Tito and Tarantula). The cover artwork for the album features a portrait by photographer Autumn de Wilde.
User Album Review
Norah Jones always seemed almost unfairly equipped to survive the inexorable attrition that mows down legions of her fellow female singer-songwriters: young (23 at the release of her 2002 debut, Come Away With Me), beautiful, possessed of a lovely husky drawl and an appealingly picturesque back-story (Ravi Shankar is by now resigned to being recalled principally as Jones’ father, rather than as the world’s best-known sitarist). Jones didn’t merely survive, of course ”“ her three albums to date have shifted 36 million copies. In today’s climate, that seems as miraculous and unfathomable as a seeing someone walking a brachiosaurus.
In this context, it would be easy to be cynical about this fourth album. To the limited extent that it has hitherto been possible to object to Jones, it has been on the grounds that she errs towards the inoffensive ”“ or, more bluntly, that her sensationally profitable records are duller than the side-salads at the dinner parties for which they serve as soundtracks. The Fall seems a carefully plotted attempt to confront this reputation for cosiness. Ryan Adams and Okkervill River’ s Will Sheff are recruited as collaborators, and Marc Ribot ”“ best known for his fraught guitar-playing with Tom Waits ”“ is enlisted in the backing band.
The result, at the risk of damning with faint praise, is Jones’ most interesting album ”“ but it is, like its predecessors, a martyr to her overweening tastefulness. The Adams collaboration, Light as a Feather, tries nervously to be a Mazzy Star-style torch ballad, pawing the line between intimacy and claustrophobia, but Jones sighs where she should seethe. Stuck, co-written with Sheff, should sound driven to distraction, but instead sounds merely distracted. Her own compositions suffer similarly: It’s Gonna Be is a Glitter Band stomp done tiptoe, You’ve Ruined Me a country-ish waltz oozing none of the blood and tears that soak the best of the genre. It’s only on the ruthlessly realistic wishlist Man of the Hour that she seems to relax: it’s both affecting and gently hilarious, and her best vocal on the album.
Jones’ inherent languor has wrought marvels ”“ the version of Hank Williams’ Cold, Cold Heart on Come Away With Me and the reading of Townes Van Zandt’s Be Here To Love Me on 2004’s Feels Like Home both benefited from their counter-intuitive coolness. Not for the first time, though, an album’s worth of Jones’ luxuriance is somewhat rough going.
External Album Reviews
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User Comments
Available in:
The Fall is the fourth studio album by American singer-songwriter Norah Jones, released November 17, 2009 on Blue Note Records.The album debuted at number three on the Billboard 200 selling 180,000 copies in its first week, becoming the second lowest first week for a Jones album after Come Away with Me and a step aside Little Broken Hearts.
Jones' official website has stated that she "has taken a new direction on The Fall, experimenting with different sounds and a new set of collaborators, including Jacquire King, a noted producer and engineer who has worked with Kings of Leon, Tom Waits, and Modest Mouse among others. Jones enlisted several songwriting collaborators, including Ryan Adams and Okkervil River’s Will Sheff, as well as her frequent partner Jesse Harris. King also helped Jones put together a new group of musicians to perform on the album, including drummers Joey Waronker (Beck, R.E.M.) and James Gadson (Bill Withers), keyboardist James Poyser (Erykah Badu, Al Green), and guitarists Marc Ribot (Tom Waits, Elvis Costello), Smokey Hormel (Johnny Cash, Joe Strummer)", Lyle Workman, (Bourgeois Tagg, film composer for Superbad), and Peter Atanasoff (Rickie Lee Jones, Tito and Tarantula). The cover artwork for the album features a portrait by photographer Autumn de Wilde.
User Album Review
Norah Jones always seemed almost unfairly equipped to survive the inexorable attrition that mows down legions of her fellow female singer-songwriters: young (23 at the release of her 2002 debut, Come Away With Me), beautiful, possessed of a lovely husky drawl and an appealingly picturesque back-story (Ravi Shankar is by now resigned to being recalled principally as Jones’ father, rather than as the world’s best-known sitarist). Jones didn’t merely survive, of course ”“ her three albums to date have shifted 36 million copies. In today’s climate, that seems as miraculous and unfathomable as a seeing someone walking a brachiosaurus.
In this context, it would be easy to be cynical about this fourth album. To the limited extent that it has hitherto been possible to object to Jones, it has been on the grounds that she errs towards the inoffensive ”“ or, more bluntly, that her sensationally profitable records are duller than the side-salads at the dinner parties for which they serve as soundtracks. The Fall seems a carefully plotted attempt to confront this reputation for cosiness. Ryan Adams and Okkervill River’ s Will Sheff are recruited as collaborators, and Marc Ribot ”“ best known for his fraught guitar-playing with Tom Waits ”“ is enlisted in the backing band.
The result, at the risk of damning with faint praise, is Jones’ most interesting album ”“ but it is, like its predecessors, a martyr to her overweening tastefulness. The Adams collaboration, Light as a Feather, tries nervously to be a Mazzy Star-style torch ballad, pawing the line between intimacy and claustrophobia, but Jones sighs where she should seethe. Stuck, co-written with Sheff, should sound driven to distraction, but instead sounds merely distracted. Her own compositions suffer similarly: It’s Gonna Be is a Glitter Band stomp done tiptoe, You’ve Ruined Me a country-ish waltz oozing none of the blood and tears that soak the best of the genre. It’s only on the ruthlessly realistic wishlist Man of the Hour that she seems to relax: it’s both affecting and gently hilarious, and her best vocal on the album.
Jones’ inherent languor has wrought marvels ”“ the version of Hank Williams’ Cold, Cold Heart on Come Away With Me and the reading of Townes Van Zandt’s Be Here To Love Me on 2004’s Feels Like Home both benefited from their counter-intuitive coolness. Not for the first time, though, an album’s worth of Jones’ luxuriance is somewhat rough going.
External Album Reviews
None...
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