Sade Adu - Lovers Rock 2000 (Album)

Track listing

All songs written by Sade Adu, Andrew Hale, Stuart Matthewman and Paul S. Denman, except where noted.

1. "By Your Side" – 4:34
2. "Flow" – 4:34
3. "King of Sorrow" – 4:53
4. "Somebody Already Broke My Heart" – 5:01
5. "All About Our Love" – 2:40
6. "Slave Song" – 4:12
7. "The Sweetest Gift" – 2:18
8. "Every Word" – 4:04
9. "Immigrant" (Adu, Janusz Podrazik) – 3:48
10. "Lovers Rock" – 4:13
11. "It's Only Love That Gets You Through" (Adu, Podrazik) – 3:53

Target limited edition bonus disc

1. "The Sweetest Taboo" (Live)
2. "Smooth Operator" (Live)
3. "Nothing Can Come Between Us" (Live)
4. "No Ordinary Love" (Live)

Lovers Rock is the fifth studio album (sixth overall) by English band Sade, released on 14 November 2000 by Epic Records. The album reached number 18 on the UK Albums Chart and number three on the U.S. Billboard 200. It has since been certified triple platinum by the Recording Industry Association of America,[6] having sold 3.9 million copies in the United States. On 27 February 2002, the album earned Sade the Grammy Award for Best Pop Vocal Album.

According to the booklet, the track "The Sweetest Gift" is dedicated to the Rainbow Trust Children's Charity caring for children who have a life-threatening or terminal illness and their families, both in their own homes and at the Trust's two UK family respite centres.

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Jamie Cullum - Pointless Nostalgic

Track list :

1. "You and the Night and the Music" (Howard Dietz, Arthur Schwartz) – 4:09
2. "I Can't Get Started" (Vernon Duke, Ira Gershwin) – 5:15
3. "Devil May Care" (Johnny Burke, Harry Warren) – 3:24
4. "You're Nobody Till Somebody Loves You" (James Cavanaugh, Russ Morgan, Larry Stock) – 3:43
5. "Pointless Nostalgic" (Jamie Cullum, Ben Cullum) – 4:03
6. "In the Wee Small Hours of the Morning" (Bob Hilliard, David Mann) – 6:28
7. "Well, You Needn't" (Thelonious Monk) – 3:21
8. "It Ain't Necessarily So" (George Gershwin, I. Gershwin) – 4:31
9. "High and Dry" (Greenwood, Greenwood, O'Brian, Selway, Yorke) – 4:54
10. "Too Close For Comfort" (Jerry Bock, Larry Holofcener, George David Weiss) – 3:25
11. "A Time for Love" (Johnny Mandel, Paul Francis Webster) – 5:06
12. "Lookin' Good" (Dave Frishberg) – 3:10
13. "I Want to Be a Popstar" (Jamie Cullum) – 4:02

With a few hard-to-find releases under his belt, Pointless Nostalgic marks the more widespread debut of piano-pounding British crooner Jamie Cullum. Barely in his twenties, Cullum has a wise old rasp that usually takes decades of chain-smoking to acquire. Cullum's move to mix jazz standards, American songbook classics, and contemporary popular music was a risky one that could easily isolate fans of each genre. However, Cullum managed to find a unifying thread in all of the styles, tying them together in a manner that seemed like the natural culmination of a diverse record collection.

Jazz plays heaviest in the mix, but Cullum's version of it is lively and roguish. A rock & roll spirit among erstwhile snobs, he brings blue jeans to the beret set. The only real downfall of the album is that the music is often outmatched by Cullum's pipes to the point of distraction. The blaring horns are too often off-key and grating, detracting from an otherwise well-performed album. Highlights come courtesy of Cullum's diverse and well-chosen array of cover songs. While so many Harry Connick, Jr. wannabes stick to the standards and limply mimic moves lifted from Frank Sinatra's catalog, Cullum hops from Radiohead to Thelonious Monk with equal verve and accomplishment.

Closing number "I Want to Be a Popstar" is a playful rumination on the advantages of being a pop star rather than a jazz key pounder. The mischievous romp exemplifies the lighthearted approach that has become Cullum's calling card, endearing him to jazzophiles and screaming young girls alike. Cullum's popularity subsequently skyrocketed with 2004's Twentysomething, which exhibited a fuller grasp of his vocal strength and featured a strong backing band to match.

On that album, his increasingly scratchy croon wrings every sultry note out of Jeff Buckley's "Lover, You Should Have Come Over," and he puts a sly dance club spin on "I Could Have Danced All Night." Even with the expert selection of covers, however, it's his own cheeky nod to the restlessness of youth, "Twentysomething," that steals the show. 

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Norah Jones: "The Fall" (album review)

Track listing for The Fall :

1. Chasing Pirates
2. Even Though
3. Light As a Feather
4. Young Blood
5. I Wouldn't Need You
6. Waiting
7. It's Gonna Be
8. You've Ruined Me
9. Back To Manhattan
10. Stuck
11. December
12. Tell Yer Mama
13. Man of the Hour

Even if you haven't loved Norah Jones' jazzy pop music up until now you definitely have to respect her for pushing her own musical boundaries. That's exactly the impression one gets when one first reads the list of contributors enlisted for her forthcoming album The Fall (out November 17th).

Among the heavyweight rock talent performing are guitarist Marc Ribot (Tom Waits), the legendary Smokey Hormel (Elvis Costello, Johnny Cash), and many more. A pair of co-writers from the indie world were brought in for a couple of songs in the form of alt-country star Ryan Adams and Okkervil River's Will Sheff.

Jones eases into the change with "Chasing Pirates", a charming mellow soul number. Quickly thereafter though, we do get some hints of exploration. Hints of reverb and dissonance can be heard clearly on "Even Though". Sounding mostly like a typical Jones number "I Wouldn't Need You" sees her traditional piano replaced with Ribot's aching country-tinged guitar to great affect. The influences are also clear on "It's Gonna Be", a tracks that begs comparisons to Tom Waits' loungey "Ice Cream Man".

However, as the album goes on it becomes clear that Jones really hasn't ventured too far from her roots. Jazz and pop are still the solid foundation of her music. Songs like "You Ruined Me", "December", and the playful "Man of the Hour" are vintage Jones. The incredibly dull "Back To Manhattan" is also a jazz-based ditty.

The songwriter contributions of Adams and Sheff are also disappointing. "Light As a Feather" sounds like any one of a hundred plodding half-thought out tunes Adams probably has laying around his living room. Sheff's contribution is better, but it translates as little more than a slightly rockier Norah Jones number.

The Fall is a pleasant enough album, but it's one that promises more change and expansion of Jones' sound than it actually delivers. In the end, who really cares if it doesn't endear her more to the indie rock world? It's not like she's hurting for fans.

Best tracks: "I Wouldn't Need You", "It's Gonna Be"

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Norah Jones - Come Away With Me

Track Listing

1. Don’t Know Why
2. Seven Years
3. Cold Cold Heart
4. Feelin’ The Same Way
5. Come Away With Me
6. Shoot The Moon
7. Turn Me On
8. Lonestar
9. I’ve Got To See You Again
10. Painter Song
11. One Flight Down
12. Nightingale
13. The Long Day Is Over
14. The Nearness Of You

Album Highlights

”Don’t Know Why” showcases Jones’ range and depth as a singer. She’s definitely got the jazz ingénue thing down to a science and her voice sounds years more mature and polished than 23. “Don’t Know Why” is mellow and seductive without being overtly sexual which is a theme that pretty much runs through the whole album.

”Seven Years” and ”Cold Cold Heart” have more of a bluesy feel than a jazzy feel. The latter is a Hank Williams remake that I think stretches a little bit, but I really like the music on both tracks. ”Feelin’ The Same Way” picks up the pace a bit

”Come Away With Me” reminds me of a lullaby. Sweet, endearing and child-like – it just sounds sweet. It should be said that Norah Jones isn’t some flash in the pan pretty girl with no talent. Not only does she play the piano but she writes also. “Come Away With Me”, “Nightingale”, and “The Long Day Is Over”* were written by Norah and are some of the stronger cuts. (* = co-writer credit).

”Turn Me On” reminds me of country singer Shelby Lynne for some reason. If you listen to Jones’ inflection and pronunciation you might think she grew up in Kentucky or somewhere in the deep south (she was born in New York and transplanted to Texas). She has a voice that’s thick as honey and sweet too. Although I’ve noted “Turn Me On” as an album highlight, I think some of the problems with the tracks are that they seem to end a little abruptly or be incomplete – but my hunch is that was done to leave you wanting more.

”I’ve Got To See You Again” is one of those songs that you wish there were more of. It’s a bit dark and mysterious but so beautiful. Also at 4:18 it is the longest track on the album and to me seems to be the most polished and stands as my favorite. ”The Nearness Of You” reminds me of a Saturday morning. Just the relaxed, lying in bed, laziness of it all – and this one is evocative of old school jazz legends like Billie Holiday and Etta James.

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Fields of Gold: The Best of Sting 1984–1994

Track list :

1. When We Dance
2. If You Love Somebody Set Them Free
3. Fields Of Gold
4. All This Time
5. Englishman In New York
6. Mad About You
7. It's Probably Me
8. They Dance Alone [Cueca Solo]
9. If I Ever Lose My Faith In You
10. Fragile
11. We'll Be Together [Previously Unreleased Version] [#][Version]
12. Moon Over Bourbon Street
13. Love Is The Seventh Wave
14. Russians
15. Why Should I Cry For You?
16. This Cowboy Song
17. Fragilidad

Are you looking for a timeless album that contains no filler songs and can be enjoyed year after year? If so, look no further than the album entitled Fields of Gold by Sting. Sting, born Gordon Matthew Sumner, was the lead singer of the popular band The Police. This talented artist has been producing high quality records ever since he decided to go solo in 1984.

Sting has always produced eclectic pop music revealing jazz, classical and world influences and Fields of Gold is certainly no exception. A wonderful assortment of songs in all these categories included. This album is a best of compilation of Sting's most popular songs from 1984 to 1994. What makes this best of album so unique is the fact that it contains 3 previously unreleased tracks. "When We Dance," "This Cowboy Song" and an alternate version of "We'll Be Together" isn't available on any of his previous albums. This provides added value to individuals who already own his other albums.

Fields of Gold includes 14 amazing songs, with not one wasted filler in the compilation. Sting is well renowned for his thought provoking, intelligent lyrics so you won't find any "pop fluff" on this album. What you will find on this romantic album are beautiful ballads such as "When We Dance," "Fields of Gold," "Be Still My Beating Heart," "If I Ever Lose My Faith in You," and "Fragile." Sting's sensual voice and poignant lyrics provide a great backdrop to a cozy evening by the fire or slow dancing with your partner.

This compilation is filled with variety in addition to the romantic classics. The song "An Englishman in New York" is reminiscent of Sting's time spent with The Police and "This Cowboy Song" has a unique sound. "Why Should I Cry For You" is a slightly different version of the original song that graced the Soul Cages album. The songs "Fortress Around Your Heart," "If You Love Somebody, Set Them Free," and "Russians" have a distinct jazz feel. Sting brings a great melancholic mix to the album by including songs such as "All This Time" and "Why Should I Cry For You?" They relate to Sting's grief over the death of his father.

My favorite song on the album has to be "They Dance Alone (Cueca Solo)." Perhaps this relates to the fact that I spent many months traveling throughout Chile. I learned firsthand about the awful atrocities committed by the dictator of the country, General Pinochet. He tortured and killed thousands of innocent young boys and men; the hauntingly beautiful lyrics of his song reveal the tremendous sense of loss experienced by the female survivors. Even if you aren't familiar with the background concerning the song, I'm sure you will fall in love with it just the same.

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