Joss Stone | ||
| Allmusic Biography : British singer Joss Stone was only 16 years old when she hit the mainstream in 2003, armed with a powerful voice and a vintage, soul-based sound. Smartly aligning herself with a number of soul legends on her early records, Stone earned a devoted audience at home and abroad, first for her reinterpretations of classic soul songs (as heard on The Soul Sessions) and then, on future albums, for her songwriting chops and powerful delivery. Born Joscelyn Eve Stoker in 1987, Stone grew up mimicking the sounds of American soul and R&B; icons, particularly throaty vocalists like Aretha Franklin. Her voice developed quickly, a maturation that earned her a first-place finish at a BBC singing competition in 2001. Stone was only 14 at the time, but a pair of local producers recognized her talent and contacted S-Curve CEO Steve Greenberg, who flew her to New York City for an audition. Stone impressed Greenberg with her rendition of Donna Summers "On the Radio," and a record deal was inked between both parties. With her parents permission, she dropped out of school, changed her last name, and primed herself for a career in entertainment. R&B;/soul pioneer Betty Wright joined Stone for her first recording, becoming an instant mentor to the singer while also serving as her co-producer and backup vocalist. Little Beaver, Timmy Thomas, Angie Stone, and the Roots also assisted Stone during those studio sessions, creating songs that would soon comprise the track list for her 2003 debut album, The Soul Sessions. A set of soul classics by the likes of Laura Lee, Bettye Swann, Betty Wright, and Aretha Franklin, The Soul Sessions was crafted in just four days, hurried along by an eager label that couldnt wait to tell the world about its neo-soul starlet. The album was ultimately a success, selling over 500,000 copies in America and nearly doubling that figure in the U.K., where it became one of the best-selling records of 2004. The Soul Sessions also introduced Stone to the MTV generation with "Fell in Love with a Boy," a reworked version of the White Stripes modern rock hit "Fell in Love with a Girl." Stones second album, Mind, Body & Soul, focused more heavily on original content than its predecessor. Of its 14 tracks, 12 were either written or co-written by Stone, who became the youngest female to top the U.K. charts upon the album’s release in 2004. Mind, Body & Soul eventually reached platinum status in multiple countries and brought Stone both commercial success and critical acclaim, as well as three Grammy nominations and two BRIT Awards. After performances at Londons Live 8, Bonnaroo 2005, and Superbowl XL, the singer relocated to the Bahamas to record her next album, Introducing Joss Stone, which found her experimenting with more modern R&B; sounds. Produced by Raphael Saadiq and released in March 2007, the album didn’t fare quite as well as Stones two previous releases, although it still sold more than one million copies worldwide. Following two North American tours and an appearance at the 2007 Grammy Awards, Stone launched a highly publicized battle with her record label, offering to forfeit two million pounds in order to terminate her contract with EMI. The label fought back, demanding that she deliver the master tapes to her next album, and the resulting feud prolonged the release of Stones fourth record, Colour Me Free! Eventually released in late 2009 by EMI (who had refused to relinquish Stones four-album deal), the album revisited the soulful sounds of her early work, representing a marked change from the R&B; modernity of Introducing Joss Stone. Although well-received by critics, it became the lowest-selling album of her career and failed to produce a successful single. Meanwhile, her acting career took off with a successful stint on The Tudors, where she portrayed Anne of Cleves for two seasons. After making cameos on albums by Jeff Beck, Tower of Power, and Ringo Starr, Stone returned to her own music as a free agent, having satisfied her commitment to EMI with the release of Colour Me Free! She celebrated her independence by launching her own label, Stoned Records, and reaching out to Dave Stewart, who agreed to co-write and co-produce her next album. The two began collaborating in 2009 and temporarily relocated to Nashville, Tennessee, where they banged out 2011s LP1 in six short days. Stones association with Stewart led to her participation in the 2011 supergroup SuperHeavy, also featuring Mick Jagger and Damian Marley. SuperHeavys eponymous debut materialized in the fall of 2011, and not long afterward, she delved into The Soul Sessions, Vol. 2, a collection of classic soul covers that mirrored her 2003 debut in content and spirit. The Soul Sessions, Vol. 2 appeared in the summer of 2012. Stone returned to the studio to record her seventh album, Water for Your Soul. Originally touted as a full-on reggae affair, Stone instead opted for a mix of styles, taking in hip-hop, R&B;, pop, and reggae. The album, released in 2015, saw her work again with SuperHeavy collaborator Damian Marley. | ||
 | Album: 1 of 11 Title: The Soul Sessions Released: 2003-09-16 Tracks: 10 Duration: 42:09 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 The Chokin’ Kind (03:36) 2 Super Duper Love (Are You Diggin’ on Me?), Part 1 (04:20) 3 Fell in Love With a Boy (03:38) 4 Victim of a Foolish Heart (05:31) 5 Dirty Man (02:59) 6 Some Kind of Wonderful (03:56) 7 I’ve Fallen in Love With You (04:29) 8 I Had a Dream (03:01) 9 All the King’s Horses (03:03) 10 For the Love of You, Parts 1 & 2 (07:33) |
| The Soul Sessions : Allmusic album Review : Q: Shes 16 and British, what can she possibly know about singing vintage American soul music? A: Enough to make you squirm, get off your ass, and dance close with anybody wholl have you. Joss Stone is a young woman who, if you believe the story, was about to record her wannabe pop smash debut and then be well on her way to becoming the next Britney/Christina. Then she heard some vintage American Miami soul made by the likes of Latimore, Little Beaver, Betty Wright, Timmy Thomas, and the like, and genuine inspiration took hold. The result of all this career changing (or diva postponement) is The Soul Sessions, a collection of ten badass soul classics recorded with all of the above folks -- soul princess Betty Wright and S-Curves Steve Greenberg produced almost all of it in Miami, though a pair of tracks were recorded in New York with R&B wunderkind Mike Mangini and a souled-out cover of the White Stripes "Fell in Love With a Boy," guided by the Roots ?uestlove (Ahmir Thompson) on the modern tip, was cut in Philly. These jams drip honey sweet and hard with tough, sexy soul, and Stones voice is larger than life. Its true shes been tutored and mentored by Wright and her musical collaborators in the science of groove, but she keeps it raw enough to be real. Her reading of Harlan Howards "The Chokin Kind" reveals that it should have been an R&B tune all along -- check out Little Beavers (Willie Hale) guitar solo. Her reading of Bobby Millers "Dirty Man," a track associated with Wright, is gutsy and completely believable, and the interplay between Latimores piano and Beavers funky, shimmering guitaristry brings Stones vocal down to street level. For a woman as young as Stone to tackle Carla Thomas "Ive Fallen in Love With You" and Aretha Franklins "All the Kings Horses," not to mention John Ellisons nugget "Some Kind of Wonderful," takes guts, chops, or a genuine delusional personality to pull off. Stone has the former two. She has unique phrasing and a huge voice that accents, dips, and slips, never overworking a song or trying to bring attention to itself via hollow acrobatics. The strings and funky backbeat provided by Thompson on "Ive Fallen in Love With You" are chilling in the way they prod Stone to just spill a need out of her heart that one would believe would be beyond her years. And speaking of Thompson, his production of the Stripes tune is more than remarkable; it conveys Jack Whites intent but in an entirely new language. The set closes with Stones radical reread of the Isleys "For the Love of You," a daunting and audacious task. The way she tackles this song, prodded only by Angelo Morris keyboard whispering alongside her, is far from reverential, but it is true, accurate, moving, and stunningly -- even heartbreakingly -- beautiful. This is a debut that, along with those fine practitioners in the nu-soul underground such as Peven Everett, Julie Dexter, Yas-rah, Fertile Ground, and a few others, is solid proof that soul is alive and well. And perhaps, given her youth and stunning looks, the perverse star-making machinery will use this unusual entry into the marketplace to reinvestigate the wonders of timeless depth and vision inherent in soul and R&B that are far from exhausted, as this record so convincingly proves. | ||
 | Album: 2 of 11 Title: Mind Body & Soul Released: 2004-09-27 Tracks: 17 Duration: 1:10:16 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Right to Be Wrong (04:40) 2 Jet Lag (04:00) 3 You Had Me (03:59) 4 Spoiled (04:03) 5 Don’t Cha Wanna Ride (03:31) 6 Less Is More (04:17) 7 Security (04:30) 8 Young at Heart (04:10) 9 Snakes and Ladders (03:35) 10 Understand (03:46) 11 Don’t Know How (04:01) 12 Torn and Tattered (03:58) 13 Killing Time (05:11) 14 Sleep Like a Child (05:24) 15 The Right Time (03:51) 16 God Only Knows (02:56) 17 Calling It Christmas (04:16) |
| Mind Body & Soul : Allmusic album Review : On the cover of her debut, The Soul Sessions, Joss Stones face is obscured by a vintage microphone, a deliberate move that emphasized the retro-soul vibe of the LP while hiding the youthful face that would have given away that Stone was a mere 16 years old at the time of the albums release. The point was to put the music before the image and it worked, selling the album to an older audience that might have stayed away, thinking that the teenager sang teen pop. If the debut was designed to give Stone credibility, her second album, Mind, Body & Soul, delivered almost exactly a year after its predecessor, is designed to make her a superstar, broadening her appeal without losing sight of the smooth, funky, stylish soul at the core of her sound. Theres no radical revision here -- she still works with many of the same musicians she did on The Soul Sessions, including Betty Wright and Little Beaver -- but there are some subtle shifts in tone scattered throughout the record. Certain songs are a little brighter and a little more radio-ready than before, theres a more pronounced hip-hop vibe to some beats, and she sounds a little more like a diva this time around -- not enough to alienate older fans, but enough to win some new ones. The album has a seductive, sultry feel; theres some genuine grit to the rhythms, yet its all wrapped up in a production thats smooth as silk. By and large, the songs are good, too, sturdily written and hooky, growing in stature with each play. While Stone has developed a tendency to over-sing ever so slightly -- she doesnt grandstand like the post-Mariah divas, but shell fit more notes than necessary into the simplest phrases -- she nevertheless possesses a rich, resonant voice thats a joy to hear. She may not yet have the set of skills, or the experience, to give a nuanced, textured performance -- one that feels truly lived-in, not just sung -- but shes a compelling singer and Mind, Body & Soul lives up to her promise. | ||
 | Album: 3 of 11 Title: Sessions@AOL Released: 2004-11-30 Tracks: 3 Duration: 13:02 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Jet Lag (acoustic) (04:21) 2 Fell in Love With a Boy (03:13) 3 Don’t Know How (05:28) |
 | Album: 4 of 11 Title: Rolling Stone Original Released: 2005 Tracks: 5 Duration: 23:03 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover | 1 Right to Be Wrong (05:10) 2 Super Duper Love (05:12) 3 Jet Lag (04:30) 4 Less Is More (04:48) 5 Fell in Love With a Boy (03:23) |
 | Album: 5 of 11 Title: Introducing Joss Stone Released: 2007-03-12 Tracks: 14 Duration: 48:01 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Change (Vinnie Jones intro) (00:35) 2 Girl They Won’t Believe It (03:15) 3 Headturner (03:16) 4 Tell Me Bout It (02:49) 5 Tell Me What Were Gonna Do Now (04:22) 6 Put Your Hands on Me (02:58) 7 Music (03:41) 8 Arms of My Baby (02:52) 9 Bad Habit (03:41) 10 Proper Nice (03:24) 11 Bruised but Not Broken (04:15) 12 Baby Baby Baby (04:35) 13 What Were We Thinking (04:24) 14 Music Outro (03:48) |
| Introducing Joss Stone : Allmusic album Review : Typically, artists dispense with introductions after their debut -- after all, that is an album designed to introduce them to the world -- but neo-soul singer Joss Stone defiantly titled her third album Introducing Joss Stone, thereby dismissing her first two relatively acclaimed albums with one smooth stroke. She now claims that those records were made under record-label pressure -- neatly contradicting the party line that her debut, The Soul Sessions, turned into a retro-soul project after Joss implored her label to ditch the Christina Aguilera-styled urban-pop she was pursuing -- but now as a young adult of 19, shes free to pursue her muse in her own fashion. All this is back-story to Introducing, but Stone makes her modern metamorphosis plain on the albums very first track, where football-star-turned-Hollywood-muscle Vinnie Jones blathers on nonsensically about change ("I see change, I embody change, all we do is change, yeah, I know change, were born to change" and so on and so forth), setting the stage for some surprise, which "Girl They Wont Believe It" kind of delivers, if only because it isnt all that different from what Stone has done before. Its a sprightly slice of Northern soul propelled by a bouncy Motown beat that doesnt suggest a change in direction as much as a slight shift in aesthetic. Gone are the seasoned studio pros, in are a bevy of big-name producers all united in a mission to make Stone seem a little less like a 60s blue-eyed soul diva and a little more her age, a little more like a modern girl in 2007. So, the professional in-the-pocket grooves have been replaced by drum loops, the warm burnished sound has been ditched in favor of crisp, bright sonics, Harlan Howard covers have been pushed aside for cameos by Common and Lauryn Hill. Its a cosmetic change that works, at least to a certain extent: Introducing does sound brighter, fresher than her other two albums, pitched partway between Amy Winehouse and Back to Basics Christina yet sounding very much like Texas at their prime, but its all surface change -- beneath that shiny veneer, Stone suffers from the two things that have always plagued her: songs that dont quite stick and overly labored singing. Since Introducing is a production-heavy album, the lack of memorable tunes doesnt quite matter as much because this about sound, not songs, but the singing is a problem: its at once too big and too small, as Stone pushes every phrase too hard but never winds up seeming like the larger-than-life figure she so clearly desires to be. Thats the kind of persona that could sell music like this -- music that gets by on its stylized tweaking of classic conventions (as opposed to her previous album, which celebrated classic conventions without offering a structure to support them) -- but too often Stone comes across like a contestant on American Idol, a voice in search of the right sound and the right songs to truly make her into a star instead of being a star right out of the gate. Which means this introduction isnt all that different than her debut, since it still presents a promising vocalist instead of a vocalist whos fulfilled her promise. | ||
 | Album: 6 of 11 Title: Live Session (iTunes Exclusive) Released: 2007-05-17 Tracks: 5 Duration: 19:33 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Girl They Wont Believe (03:32) 2 Jet Lag (03:50) 3 Music (03:40) 4 Right to Be Wrong (05:37) 5 Tell Me Bout It (02:54) |
 | Album: 7 of 11 Title: Colour Me Free! Released: 2009-10-20 Tracks: 13 Duration: 1:06:11 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Free Me (03:53) 2 Could Have Been You (04:52) 3 Parallel Lines (04:26) 4 Lady (04:22) 5 4 and 20 (05:06) 6 Big Ol Game (04:29) 7 Governmentalist (05:42) 8 Incredible (02:45) 9 You Got the Love (03:35) 10 I Believe It to My Soul (04:29) 11 Stalemate (04:18) 12 Girlfriend on Demand (04:30) 13 Mr. Wankerman [Explicit - Hidden Track] (13:44) |
| Colour Me Free! : Allmusic album Review : The "free" in the title to Joss Stones fourth album apparently refers to the neo-soul singer breaking free from the shackles of her major label, EMI, who apparently have not let Joss be Joss. That this constricting argument happens to be the exact same story line Stone used for 2007s Introducing Joss Stone, the splashy diva power trip meant to unveil the "real" singer, is conveniently forgotten, as is the modern R&B of that makeover, with Joss returning to all the retro-soul of her first two records. The one lingering element of Introducing is a propensity for melisma-laden oversinging, a tic that stands out greatly in the warmer, funkier settings of Colour Me Free!, helping Joss seem somewhat disconnected from the emotional thrust of her music. Still, her raw vocal skills remain impressive, as does her taste in soul, and even if this feels off-kilter, not quite achieving a balance between retro and modernity, it does beat with a messy human heart, one that was subdued on Introducing, so perhaps she did need to break free. | ||
 | Album: 8 of 11 Title: LP1 Released: 2011-07-25 Tracks: 10 Duration: 40:11 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Newborn (03:43) 2 Karma (03:54) 3 Don’t Start Lying to Me Now (04:08) 4 Last One to Know (04:52) 5 Drive All Night (05:07) 6 Cry Myself to Sleep (03:51) 7 Somehow (03:04) 8 Landlord (03:57) 9 Boat Yard (05:02) 10 Take Good Care (02:29) |
| LP1 : Allmusic album Review : LP1 marks the third successive album from Joss Stone where she’s attempting to hit the restart button on her career, to usher in a new beginning for the neo-soul diva or, better yet, find the right setting for her considerable gifts. This journey began with 2007’s splashy modern R&B set Introducing Joss Stone, a makeover she rebelled against on her major-label kiss-off Colour Me Free, and now that she’s truly independent, she’s aligned with Eurythmics’ Dave Stewart for LP1, returning to the classicism of her earliest work. There is a difference. Stewart is naturally reluctant to present Stone in a strictly soul setting; R&B is the foundation, but he dabbles in tight funk, folk, blues, Euro-rock, and modernist pop, giving LP1 just enough elasticity so it breathes and just enough color so it doesn’t seem staid. Then, there’s Stone herself. She may still have a tendency to over-sell her songs, but she doesn’t sound like she is patterning herself after her idols; she’s developing her own style, somewhere between classic soul and the pyrotechnics of modern divas, her settings leaning toward the former and her phrasing the latter. LP1 doesn’t always achieve a balance between the two extremes, not to the extent Stone and Stewart desires, as some of the ballads are a little formless and some of the funk a little too restricted, while some of Joss’ posturing is a little affected, but it has more moments that work than anything she’s done since her actual debut in 2003. If this winds up being the first album of many that mine this style, LP1 will serve its purpose well. | ||
 | Album: 9 of 11 Title: The Best of Joss Stone 2003-2009 Released: 2011-10-03 Tracks: 13 Duration: 51:17 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Fell in Love With a Boy (03:38) 2 Super Duper Love (04:20) 3 You Had Me (03:59) 4 Right to Be Wrong (04:40) 5 Don’t Cha Wanna Ride (03:31) 6 Spoiled (04:03) 7 Tell Me Bout It (02:49) 8 Baby Baby Baby (04:35) 9 Tell Me What Were Gonna Do Now (04:22) 10 Bruised but Not Broken (04:15) 11 L-O-V-E (02:49) 12 Free Me (03:53) 13 Stalemate (04:18) |
| The Best of Joss Stone 2003-2009 : Allmusic album Review : Before she’s truly freed from the shackles of EMI, Joss Stone must endure one final indignity: that standard end-of-contract ploy, a greatest-hits album, covering her six years with the label. Every one of her 12 singles for the label is here, with the Jamie Hartman duet “Stalemate” -- originally released on Ben’s Brother’s 2009 album -- added as a concluding track. If this doesn’t dig deep, it nevertheless hits all the highlights -- her White Stripes cover “Fell in Love with a Boy,” her Top Ten U.K. hit “You Had Me,” “Don’t Cha Wanna Ride,” her only charting U.S. single “Tell Me Bout It,” the Common duet “Tell Me What We’re Gonna Do Now” -- drawing a picture of the decade when Stone was always on the cusp of stardom yet never quite truly there. As introductions go, it’s a solid one, capturing her potential and promise, alternating between singles frustrating and fun. | ||
 | Album: 10 of 11 Title: The Soul Sessions Vol 2 Released: 2012-07-23 Tracks: 11 Duration: 48:12 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 I Got the… (05:01) 2 (For God’s Sake) Give More Power to the People (03:46) 3 While You’re Out Looking for Sugar (03:30) 4 Sideway Shuffle (03:39) 5 I Don’t Wanna Be With Nobody but You (05:02) 6 Teardrops (05:57) 7 Stoned Out of My Mind (03:14) 8 The Love We Had (Stays on My Mind) (04:44) 9 The High Road (04:41) 10 Pillow Talk (04:43) 11 Then You Can Tell Me Goodbye (03:51) |
| The Soul Sessions Vol 2 : Allmusic album Review : Joss Stone launched her career by singing soul standards so when it came time for a reboot she went back to the beginning, dusting off the old blueprint for The Soul Sessions and following it to a T, right down to replicating its title and giving a contemporary alt-rock hit a soul makeover. First time around, the intent was to prove that teenage Joss had soul bona fides, but in 2012 the purpose of The Soul Sessions, Vol. 2 is to signal how shes done messing around with fleeting fashions and is getting back down to the real business. Stone doesnt dig deep into the crates this time around, nor does she stick to deep soul; she chooses to mine hits from the early 70s, favoring songs by the Dells, the Chi-Lites, and Sylvia, giving these smooth tunes a bit of a polished Southern spin. And "professional" is the operative word here: this is the work of seasoned veterans who play with every note falling neatly into place, stretching just enough to show off their chops but never enough to alter the DNA of a song. The exception to the rule is, of course, "The High Road," a Broken Bells song refashioned to sound old, thereby occupying the same space as Joss White Stripes "Fell in Love with a Boy" cover did on the first Soul Sessions. This is the song to prove that Stone isnt living in the past but rather shes seeing the future through a retro prism that turns everything into something that feels classic. That Stone remains a bit too theatrical a singer, overemphasizing every phrase, is almost besides the point, as shes a diva and is expected to sing with more gusto than the song requires just as long as the overall package feels right. And, for the most part, The Soul Sessions, Vol. 2 does feel right: it has the form and sound of classic soul while never acknowledging that R&B continued to develop past, say, 1972. For an audience that agrees with that thesis, this is fun. | ||
 | Album: 11 of 11 Title: Water for Your Soul Released: 2015-07-31 Tracks: 20 Duration: 1:31:00 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Love Me (05:06) 2 This Ain’t Love (04:28) 3 Stuck on You (04:18) 4 Star (05:07) 5 Let Me Breathe (05:15) 6 Cut the Line (04:06) 7 Wake Up (04:44) 8 Way Oh (05:49) 9 Underworld (04:08) 10 Molly Town (03:34) 11 Sensimilla (04:17) 12 Harry’s Symphony (03:54) 13 Clean Water (04:30) 14 The Answer (04:46) 1 Way Oh Dub (05:36) 2 Love Me Dub (05:03) 3 Harry’s Symphony Dub (03:52) 4 Sensimilla Dub (04:27) 5 Molly Town Dub (03:43) 6 Underworld Dub (04:10) |
| Water for Your Soul : Allmusic album Review : The concept of Joss Stones seventh studio release began to take shape following the formation of SuperHeavy, the multicultural, cross-generational group that released an awkward if free-spirited album in 2011, just before The Soul Sessions, Vol. 2 materialized. Among Stones bandmates was Damian Marley, who implored the singer to cut a reggae album. Stone was hesitant at first but conceded, perhaps realizing that a drastic switch in her vocal approach would not be required. (She wouldnt even have to avoid using the word "soul" in the albums title.) More importantly, Marley wasnt fooling. He followed through and co-produced this with Stone. The duo devised a set of songs that often uses reggae as a foundation but incorporates a familiar mix of soul, rock, and roots music with light accents from tablas, Irish fiddles, and flamenco guitar. Even when the album deviates most from the singers previous releases -- specifically in "Way Oh," during its chorus and forced-sounding references to a "buffalo soldier," likely a nod to Marleys father -- Water for Your Soul always sounds like Joss Stone. Her voice remains in debt to classic soul as much as ever. Additionally, she continues to switch from emotion to emotion with full-bore conviction. From one song to another, there are some extreme swings in sentiment. In "Let Me Breathe," she begs for release from a stifling relationship she cannot resist. She follows it with the exasperated "Cut the Line" -- fluid and dubwise, the albums song with the most surface appeal -- where "I cant get over how youre shutting me out" is delivered with the same amount of "help me out here" force. While one can always sense the pain and joy in the mere sound of Stones voice, some of the songs lines provoke head scratching rather than knowing nods. Through deep, repeated listening, the album increasingly resembles ragtag emoting. Heard passively, its all pleasant summertime listening. | ||