Norah Jones | ||
| Allmusic Biography : When Norah Jones arrived in the early 2000s, it appeared as if she was the torchbearer for two traditions on the verge of disappearing: sophisticated vocal jazz designed for small, smoky clubs and the warm, burnished sound of the Southern Californian singer/songwriters of the early 70s. Come Away with Me, her 2002 debut -- conspicuously released on a revived Blue Note imprint -- hit this sweet spot and resonated with millions of listeners, turning Jones into an unexpected star. Instead of cultivating this niche, Jones soon proved to be quietly adventurous, which perhaps shouldnt have been a surprise for a musician trained in piano and ensconced in New York Citys jazz clubs. As the 2000s gave way to the 2010s, she incorporated daringly modern musical elements into her albums, which increasingly veered toward adult alternative pop, all the while spending time with side projects where she sang country, punk and jazz -- an indication of her expansive taste and skill, qualities that didnt diminish as her career progressed. Born Geethali Norah Jones Shankar to the musician Ravi Shankar and concert producer Sue Jones in Brooklyn, New York, Norah moved to the Dallas suburb of Grapevine after her parents separated in 1986. At the age of 15, she enrolled at the Booker T. Washington High School for the Performing and Visual Arts, heading to Michigans Interlochen Center for the Arts for summer camp. When she was 16, she changed her name to Norah Jones, around the same time she began playing solo gigs in the Dallas area. Her first national notice arrived when she was granted several Down Beat Student Music Awards, taking home Best Original Composition and Best Jazz Vocalist in 1996, repeating the latter win in 1997. For a while, she majored in jazz piano at the University of North Texas, during which time she first encountered singer/songwriter Jesse Harris. One of her musical projects during this period was singing in a jazz combo called Laszlo, a group who performed original material by guitarist Jerome Covington; Laszlo recorded several tracks, which were released in 2007 as the album Butterflies. Jones moved to New York City in 1999 and after arriving in Manhattan, started working lounges and clubs. She assembled her own group -- one that featured Harris, along with bassist Lee Alexander and drummer Dan Rieser -- while also sitting in with the adventurous jazz guitarist Charlie Hunter and trip-hop group Wax Poetic (she appeared on the latters eponymous 2000 album for Atlantic Records). Blues and jazz songwriter Peter Malick discovered Jones singing at the club the Living Room and hired her to sing several of his songs, along with a few covers, during studio sessions in late summer 2000. These would be released as New York City in 2003, after Jones became a star, which happened swiftly over the course of the next few years. During the autumn of 2000, she recorded a series of demos, which got the attention of Bruce Lundvall and Brian Bacchus at Blue Note; they signed her after a live showcase in January 2001. After recording with Jay Newland, Jones entered the studio with producer Craig Street that May, switching to a collaboration with Arif Mardin in August. Highlights from these three sessions were combined for Jones debut Come Away with Me, which appeared in February of 2002. Initially, Come Away with Me was a modest success, debuting at number 139 on the Billboard album chart. Over the course of the year, however, it gained considerable momentum, thanks in no small part to the single "Dont Know Why," which became a runaway hit at adult contemporary radio, reaching number four and staying on the recurrent play chart, while peaking at 30 in the Top 40. Come Away with Me reached the top of the Billboard charts in January 2003 as part of a run on the charts that lasted 1,964 weeks -- a sign, like its 2005 diamond certification from the RIAA, that the album found a massive audience. Jones appeal was cemented at the 2003 Grammy Awards, where she took home five big awards: Album of the Year, Record of the Year, Best New Artist, Best Female Pop Vocal Performance, and Best Pop Vocal Album. (Jesse Harris also won Song of the Year for "Dont Know Why" and Arif Mardin snagged Producer of the Year.) Her stardom established, Norah Jones reunited with Mardin for her second album, Feels Like Home. Debuting at number one on Billboard upon its February 2004 release, along with many other charts around the world, Feels Like Home didnt replicate the success of Come Away with Me, but its success was still remarkable: it was certified platinum four times in the U.S., selling over 12 million copies around the world. It also earned Jones a Best Female Pop Vocal Performance for its single "Sunrise," in the same ceremony where she won Record of the Year and Best Pop Collaboration with Vocals Grammys for "Here We Go Again," a duet with Ray Charles. Come Away with Me and Feels Like Home painted Norah Jones as a singer/songwriter with a torchy bent, but she began to dismantle that stereotype swiftly by returning to off-beat collaborations. First of these was the Little Willies, a cosmopolitan country group that also featured her rhythm section of Alexander and Rieser. The busmans holiday began playing NYC gigs in 2003 and became a semi-regular concern over the next few years, finally releasing The Little Willies album in 2006. Later that year, Jones returned with "Thinking About You," her first solo single since Feels Like Home. "Thinking About You" was the cornerstone of Not Too Late, the 2007 album that was her first to include only original material. Debuting at number one on Billboard -- and many other charts around the world, including those from the U.K. and Canada -- the album wound up earning two platinum certifications from the RIAA. A few months after the January release of Not Too Late, Jones made her silver-screen debut in Wong Kar Wais My Blueberry Nights, which debuted at the Cannes Film Festival that year. During 2008, Norah Jones busied herself with El Madmo, a cheeky indie rock trio with bassist Daru Oda and drummer Andrew Borger. The trio released an eponymous album on Team Love that May. El Madmo ushered in a period where Jones frequently collaborated with alternative and indie rock musicians. This could be heard on The Fall, a 2009 album that was her first written and recorded without bassist/songwriter Lee Alexander (the pair parted ways professionally following a romantic breakup). Working with producer Jacquire King and featuring a new batch of collaborators, including co-writers Ryan Adams and Will Sheff, the album debuted at number three and was certified platinum by the RIAA. Its single, "Chasing Pirates," peaked at number 13 on Billboards Adult Contemporary chart, her best placement since "Dont Know Why." A compilation of previously released musical collaborations called ...Featuring Norah Jones appeared in November 2010; it peaked at number 29 on Billboard. In 2011, Jones contributed to Rome, the neo-spaghetti Western rock opera by Danger Mouse and Daniele Luppi. This led to Jones hiring Danger Mouse as the producer for her fifth album, Little Broken Hearts, which appeared in April 2012, just after the January release of the second album from Little Willies, For the Good Times. Little Broken Hearts debuted at number two on Billboard. Jones next teamed up with Green Days Billie Joe Armstrong to remake the classic 1958 Everly Brothers album Songs Our Daddy Taught Us. Recorded in nine days with bassist Tim Luntzel and drummer Dan Rieser, the ensuing Foreverly was released in 2013. In 2014, Puss N Boots -- an Americana trio formed with Sasha Dobson and Catherine Popper in 2008 -- released their debut No Fools, No Fun on Blue Note Records. Jones returned to her solo career with her sixth solo album, Day Breaks, in October 2016. Produced by Jones, Eli Wolf, and Sarah Oda, the jazzy pop of Day Breaks hinted at her Come Away with Me beginnings; it entered the Billboard charts at number two. During the course of 2018, Jones spent time in the studio with a variety of collaborators, all with the intent of releasing one new song per month. The first of these, "My Heart Is Full," appeared in September 2018. By the end of the year, she released the seasonal "Wintertime," which was co-written by Jeff Tweedy. These recordings were collected on Begin Again, a compilation released in April 2019. | ||
 | Album: 1 of 19 Title: First Sessions Released: 2001 Tracks: 6 Duration: 19:18 Scroll: Up Down Top Bottom 25% 50% 75% Wikipedia Allmusic AlbumCover | 1 Don’t Know Why (03:10) 2 Come Away With Me (03:05) 3 Something Is Calling You (03:25) 4 Turn Me On (02:37) 5 Lonestar (03:06) 6 Peace (03:52) |
 | Album: 2 of 19 Title: Come Away With Me Released: 2002-02-26 Tracks: 14 Duration: 45:30 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Don’t Know Why (03:06) 2 Seven Years (02:27) 3 Cold Cold Heart (03:40) 4 Feelin’ the Same Way (02:59) 5 Come Away With Me (03:18) 6 Shoot the Moon (03:58) 7 Turn Me On (02:35) 8 Lonestar (03:08) 9 I’ve Got to See You Again (04:15) 10 Painter Song (02:44) 11 One Flight Down (03:07) 12 Nightingale (04:14) 13 The Long Day Is Over (02:46) 14 The Nearness of You (03:07) |
| Come Away With Me : Allmusic album Review : Norah Jones debut on Blue Note is a mellow, acoustic pop affair with soul and country overtones, immaculately produced by the great Arif Mardin. (Its pretty much an open secret that the 22-year-old vocalist and pianist is the daughter of Ravi Shankar.) Jones is not quite a jazz singer, but she is joined by some highly regarded jazz talent: guitarists Adam Levy, Adam Rogers, Tony Scherr, Bill Frisell, and Kevin Breit; drummers Brian Blade, Dan Rieser, and Kenny Wollesen; organist Sam Yahel; accordionist Rob Burger; and violinist Jenny Scheinman. Her regular guitarist and bassist, Jesse Harris and Lee Alexander, respectively, play on every track and also serve as the chief songwriters. Both have a gift for melody, simple yet elegant progressions, and evocative lyrics. (Harris made an intriguing guest appearance on Seamus Blakes Stranger Things Have Happened.) Jones, for her part, wrote the title track and the pretty but slightly restless "Nightingale." She also includes convincing readings of Hank Williams "Cold Cold Heart," J.D. Loudermilks "Turn Me On," and Hoagy Carmichaels "The Nearness of You." Theres a touch of Rickie Lee Jones in Jones voice, a touch of Bonnie Raitt in the arrangements; her youth and her piano skills could lead one to call her an Alicia Keys for grown-ups. While the mood of this record stagnates after a few songs, it does give a strong indication of Jones alluring talents. | ||
 | Album: 3 of 19 Title: New York City Released: 2003-07-08 Tracks: 7 Duration: 30:20 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover | 1 New York City (05:07) 2 Strange Transmissions (04:08) 3 Deceptively Yours (04:19) 4 All Your Love (04:35) 5 Heart of Mine (05:08) 6 Things You Don’t Have to Do (03:12) 7 New York City (radio edit) (03:50) |
 | Album: 4 of 19 Title: Feels Like Home Released: 2004-02-06 Tracks: 16 Duration: 56:26 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Sunrise (03:20) 2 What Am I to You? (03:30) 3 Those Sweet Words (03:22) 4 Carnival Town (03:11) 5 In the Morning (04:07) 6 Be Here to Love Me (03:28) 7 Creepin’ In (03:03) 8 Toes (03:46) 9 Humble Me (04:36) 10 Above Ground (03:43) 11 The Long Way Home (03:13) 12 The Prettiest Thing (03:51) 13 Don’t Miss You at All (03:08) 14 Sleepless Nights (04:15) 15 Moon Song (02:45) 16 I Turned Your Picture to the Wall (03:01) |
| Feels Like Home : Allmusic album Review : It may be far too obvious to even mention that Norah Jones follow-up to her 18-million-unit-selling, eight-Grammy-winning, genre-bending, super-smash album Come Away with Me has perhaps a bit too much to live up to. But thats probably the biggest conundrum for Jones: having to follow up the phenomenal success of an album that was never designed to be so hugely popular in the first place. Come Away with Me was a little album by an unknown pianist/vocalist who attempted to mix jazz, country, and folk in an acoustic setting -- who knew? Feels Like Home could be seen as "Come Away with Me Again" if not for that fact that its actually better. Smartly following the template forged by Jones and producer Arif Mardin, there is the intimate single "Sunrise," some reworked cover tunes, some interesting originals, and one ostensible jazz standard. These are all good things, for also like its predecessor, Feels Like Home is a soft and amiable album that frames Jones soft-focus Aretha Franklin voice with a group of songs that are as classy as they are quiet. Granted, not unlike the dippy albeit catchy hit "Dont Know Why," they often portend deep thoughts but come off in the end more like heartfelt daydreams. Of course, Jones could sing the phone book and make it sound deep, and thats whats going to keep listeners coming back. Whats surprising here are the bluesy, more jaunty songs that really dig into the country stylings only hinted at on Come Away with Me. To these ends, the infectious shuffle of "What Am I to You?" finds Jones truly coming into her own as a blues singer as well as a writer. Her voice has developed a spine-tingling breathy scratch that pulls on your ear as she rises to the chorus. Similarly, "Toes" and "Carnival Town" -- co-written by bassist Lee Alexander and Jones -- are pure 70s singer/songwriting that call to mind a mix of Rickie Lee Jones and k.d. lang. Throw in covers of Tom Waits and Townes Van Zandt along with Duke Ellingtons "Melancholia," retitled here "Dont Miss You at All" and featuring lyrics by Jones, and youve got an album so blessed with superb songwriting that Jones vocals almost push the line into too much of a good thing. Thankfully, there is also a rawness and organic soulfulness in the production thats refreshing. No digital pitch correction was employed in the studio and you can sometimes catch Jones hitting an endearingly sour note. She also seems to be making good on her stated desire to remain a part of a band. Most all of her sidemen, whove worked with the likes of Tom Waits and Cassandra Wilson, get writing credits. Its a "beauty and the beast" style partnership that harks back to the best Brill Building-style intentions and makes for a quietly experimental and well-balanced album. | ||
 | Album: 5 of 19 Title: New York City: The Remix Album Released: 2004-08-10 Tracks: 8 Duration: 47:46 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 New York City (DJ Strobe Brooklyn Vibe mix) (04:00) 2 Strange Transmissions (Bastone & Burnz club remix) (07:49) 3 Things You Don’t Have to Do (Land Shark vocal remix) (07:27) 4 Deceptively Yours (DJ Strobe Seedy Hotel remix) (03:42) 5 New York City (Bastone & Burnz club remix) (07:41) 6 Thing You Don’t Have to Do (Land Shark dub) (06:31) 7 Deceptively Yours (Land Shark vocal remix) (07:03) 8 New York City (DJ Strobe Manhattan Tourist remix) (03:31) |
 | Album: 6 of 19 Title: The Chill Album Released: 2005-10-18 Tracks: 8 Duration: 39:10 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Things You Don’t Have to Do (DJ Strobe Loungin’ in Ibiza remix) (04:46) 2 Strange Transmissions (Chillout remix) (04:36) 3 Deceptively Yours (DJ Strobe 7 Below Zero remix) (04:26) 4 New York City (DJ Strobe Brooklyn Broken Beat remix) (04:09) 5 Things You Don’t Have to Do (Sunrise remix) (05:43) 6 Strange Transmissions (DJ Strobe “Sand Under My Havianas” Bossanova remix) (05:41) 7 Deceptively Yours (DJ Strobe Seedy Motel Sunset remix) (04:32) 8 New York City (Lazy Sunday in Prospect Park remix) (05:16) |
 | Album: 7 of 19 Title: Not Too Late Released: 2006 Tracks: 13 Duration: 45:24 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Wish I Could (04:18) 2 Sinkin’ Soon (04:38) 3 The Sun Doesn’t Like You (02:59) 4 Until the End (03:56) 5 Not My Friend (02:54) 6 Thinking About You (03:20) 7 Broken (03:21) 8 My Dear Country (03:25) 9 Wake Me Up (02:46) 10 Be My Somebody (03:36) 11 Little Room (02:44) 12 Rosie’s Lullaby (03:56) 13 Not Too Late (03:31) |
| Not Too Late : Allmusic album Review : Recoils from fame usually arent as subdued as Norah Jones third album, Not Too Late, but such understatement is customary for this gentlest of singer/songwriters. Not Too Late may not be as barbed or alienating as either In Utero or Kid A -- its not an ornery intensification of her sound nor a chilly exploration of its furthest limits -- but make no mistake, it is indeed a conscious abdication of her position as a comfortable coffeehouse crooner and a move toward art for arts sake. And, frankly, who can blame Jones for wanting to shake off the Starbucks stigmata? Although a large part of her appeal has always been that she sounds familiar, like a forgotten favorite from the early 70s, Jones is too young and too much of a New York bohemian to settle into a role as a nostalgia peddler, so it made sense that she started to stretch a little after her 2004 sophomore set, Feels Like Home, proved that her surprise blockbuster 2002 debut, Come Away with Me, was no fluke. First, there was the cabaret country of her Little Willies side band, then there was her appearance on gonzo art rocker Mike Pattons Peeping Tom project, and finally theres this hushed record, her first containing nothing but original compositions. Its also her first album recorded without legendary producer Arif Mardin, who helmed her first two albums, giving them a warm, burnished feel that was nearly as pivotal to Jones success has her sweet, languid voice. Mardin died in the summer of 2006, and in his absence, Jones recorded Not Too Late at the home studio she shares with her collaborator, bassist and boyfriend Lee Alexander. Although it shares many of the same sonic characteristics as Jones first two albums, Not Too Late boasts many subtle differences that add up to a distinctly different aesthetic. Jones and Alexander have stripped Norahs music to its core. Gone are any covers of pop standards, gone are the studio pros, gone is the enveloping lushness that made Come Away with Me so easy to embrace, something that Not Too Late is most decidedly not. While this might not have the rough edges of a four-track demo, Not Too Late is most certainly music that was made at home with little or no consideration of an audience much larger than Jones and Alexander. Its spare, sometimes skeletal, often sleepy and lackadaisical, wandering from tunes plucked out on acoustic guitars and pianos to those with richer full-band arrangements. Norah Jones has never exactly been lively -- part of her charm was her sultry slowness, ideal for both Sunday afternoons and late nights -- but the atmosphere here is stultifying even if its not exactly unpleasant. After all, unpleasantness seems to run contrary to Jones nature, and even if she dabbles in Tom Waits-ian carnivalesque stomps ("Sinkin Soon") or tentatively stabs at politics ("My Dear Country"), it never feels out of place; often, the shift is so subtle that its hard to notice. That subtlety is the biggest Achilles heel on Not Too Late, as it manifests itself in songs that arent particularly distinctive or performances that are particularly varied. There are exceptions to the rule and they all arrive with full-band arrangements, whether its the lazy jazz shuffle of "Until the End," the country-tinged "Be My Somebody," or the wonderful laid-back soul of "Thinking About You." These are songs that not only sound full but they sound complete, songs that have a purposeful flow and are memorable for both their melody and sentiment. They would have been standouts on Feels Like Home, but here they are even more distinctive because the rest of the record plays like a sketchbook, capturing Jones and Alexander figuring out how to move forward after such great success. Instead of being the end result of those experiments, the completed painting after the sketch, Not Too Late captures their process, which is interesting if not quite compelling. But its very release is a clear statement of artistic purpose for Jones: its ragged, unfinished nature illustrates that shes more interested in pursuing her art than recycling Come Away with Me, and if this third album isnt as satisfying as that debut, it nevertheless is a welcome transitional effort that proves her artistic heart is in the right place. | ||
 | Album: 8 of 19 Title: The Deluxe Collection Released: 2007-01-16 Tracks: 31 Duration: 2:37:00 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 New York City (05:08) 2 Strange Transmissions (04:08) 3 Deceptively Yours (04:19) 4 All Your Love (04:35) 5 Heart of Mine (05:08) 6 Things You Don’t Have to Do (03:12) 7 New York City (radio edit) (03:50) 8 New York City (DJ Strobe Brooklyn Vibe mix) (04:00) 9 Strange Transmissions (Bastone & Burnz club remix) (07:49) 10 Things You Don’t Have to Do (Land Shark vocal remix) (07:27) 11 Deceptively Yours (DJ Strobe Seedy Hotel remix) (04:30) 12 New York City (Bastone & Burnz club remix) (07:41) 13 Thing You Don’t Have to Do (Land Shark dub) (06:31) 14 Deceptively Yours (Land Shark vocal remix) (07:03) 15 New York City (DJ Strobe Manhattan Tourist remix) (03:31) 1 Things You Don’t Have to Do (DJ Strobe Loungin’ Ibiza remix) (04:41) 2 Strange Transmissions (Chillout remix) (04:36) 3 Deceptively Yours (DJ Strobe 7 Below Zero remix) (04:26) 4 New York City (DJ Strobe Brooklyn Broken Beat remix) (04:05) 5 Things You Don’t Have to Do (Sunrise remix) (05:43) 6 Strange Transmissions (DJ Strobe “Sand Under My Havianas” Bossanova remix) (05:41) 7 Deceptively Yours (DJ Strobe Seedy Motel Sunset remix) (03:45) 8 New York City (Lazy Sunday in Prospect Park remix) (05:07) 9 New York City (Blastone & Burnz radio remix) (03:57) 10 New York City (Manhattan Tourist Retweak) (05:07) 11 Strange Transmissions (Bastone & Burnz radio remix) (03:41) 12 Strange Transmissions (Chillout Sunrise remix) (04:34) 13 Things You Don’t Have to Do (Lance De Sardi vocal remix) (07:31) 14 Things You Don’t Have to Do (DJ Strobe Loungin’ in Ibiza Sunset remix) (05:10) 15 Deceptively Yours (Sunrise remix) (04:22) 16 Deceptively Yours (Land Shark vocal dub remix) (05:40) |
 | Album: 9 of 19 Title: The Peter Malick Group Released: 2008 Tracks: 12 Duration: 57:37 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 New York City (05:07) 2 Strange Transmissions (04:08) 3 Deceptively Yours (04:19) 4 All Your Love (04:35) 5 Heart of Mine (05:08) 6 Things You Don’t Have to Do (03:12) 7 New York City (04:00) 8 Strange Transmissions (Chillout remix) (04:34) 9 Deceptively Yours (Land Shark vocal remix) (07:03) 10 Things You Dont Have to Do (DJ Strobe Loungin in Ibiza Sunset remix) (04:40) 11 New York City (Lazy Sunday in Prospect remix) (05:08) 12 Deceptively Yours (Land Shark vocal dub remix) (05:40) |
 | Album: 10 of 19 Title: The Fall Released: 2009-11-11 Tracks: 21 Duration: 1:13:31 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Chasing Pirates (02:40) 2 Even Though (03:52) 3 Light as a Feather (03:52) 4 Young Blood (03:38) 5 I Wouldn’t Need You (03:30) 6 Waiting (03:31) 7 It’s Gonna Be (03:11) 8 You’ve Ruined Me (02:45) 9 Back to Manhattan (04:07) 10 Stuck (05:15) 11 December (03:05) 12 Tell Yer Mama (03:25) 13 Man of the Hour (02:57) 14 Her Red Shoes (03:14) 15 Can’t Stop (04:01) 1 It’s Gonna Be (03:24) 2 Waiting (03:32) 3 You’ve Ruined Me (02:56) 4 Jesus Etc. (03:45) 5 Cry, Cry, Cry (03:14) 6 Strangers (03:34) |
| The Fall : Allmusic album Review : With The Fall, Norah Jones completes the transition away from her smooth cabaret beginnings and toward a mellowly arty, modern singer/songwriter. Jones began this shift on 2007s Not Too Late, an album that gently rejected her tendencies for lulling, tasteful crooning, but The Fall is a stronger, more cohesive work, maintaining an elegantly dreamy state thats faithful to the crooner of Come Away with Me while feeling decidedly less classicist. Some of this could be attributed to Jones choice of producer, Jacquire King, best-known for his work with Modest Mouse and Kings of Leon, but King hardly pushes Norah in a rock direction; The Fall does bear some mild echoes of Fiona Apple or Aimee Mann in ballad mode, but its arrangements never call attention to themselves, the way that some Jon Brion productions do. Instead, the focus is always on Jones voice and songs, which are once again all originals, sometimes composed in conjunction with collaborators including her longtime colleagues Jesse Harris, Ryan Adams, and Will Sheff of Okkervil River. In addition to Kings pedigree, the latter two co-writers suggest a slight indie bent to Jones direction, which isnt an inaccurate impression -- theres certainly a late-night N.Y.C. vibe to these songs -- but its easy to overstate the artiness of The Fall, especially when compared to Not Too Late, which wore its ragged ambitions proudly. Here, Jones ties up loose ends, unafraid to sound smooth or sultry, letting in just enough dissonance and discord to give this dimension, creating a subtle but rather extraordinary low-key record that functions as a piece of mood music but lingers longer, thanks to its finely crafted songs. | ||
 | Album: 11 of 19 Title: iTunes Originals Released: 2010-02-05 Tracks: 26 Duration: 59:28 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover | 1 My First Real Song (interview) (01:55) 2 Come Away With Me (iTunes Original version) (02:58) 3 A Total Experiment (interview) (01:53) 4 Don’t Know Why (03:06) 5 Dancing to Chopin (interview) (01:22) 6 Seven Years (02:24) 7 A Real Country Vibe (interview) (01:33) 8 Creepin In (03:01) 9 I Dont Make Very Typical Singles (interview) (00:48) 10 Sunrise (03:20) 11 Its Just a Really Fun Song (interview) (01:20) 12 Bull Rider (iTunes Originals version) (02:58) 13 Sometimes You Just Need to Loosen Up a Little (interview) (00:45) 14 Sinkin Soon (iTunes Originals version) (04:27) 15 A Lot of Claps, a Few Nasty Letters (interview) (00:50) 16 My Dear Country (03:26) 17 Confident Enough (interview) (01:00) 18 Chasing Pirates (iTunes Originals version) (02:37) 19 Not Intentional, Its Second Nature (interview) (00:50) 20 Even Though (iTunes Originals version) (04:07) 21 Its Kind of a Weird Story (interview) (00:34) 22 I Wouldnt Need You (03:30) 23 Experimenting With New Sounds (interview) (00:46) 24 Young Blood (iTunes Originals version) (03:25) 25 Sleep Wont Come (03:08) 26 Its Gonna Be (alternate version) (03:25) |
 | Album: 12 of 19 Title: …Featuring Released: 2010-11-03 Tracks: 19 Duration: 1:15:30 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover | 1 Love Me (03:53) 2 Virginia Moon (03:51) 3 Turn Them (04:06) 4 Baby, It’s Cold Outside (04:00) 5 Bull Rider (02:58) 6 Ruler of My Heart (03:00) 7 The Best Part (03:25) 8 Take Off Your Cool (02:38) 9 Life Is Better (04:27) 10 Soon the New Day (04:04) 11 Little Lou, Ugly Jack, Prophet John (04:25) 12 Here We Go Again (04:00) 13 Loretta (live, 2004) (03:22) 14 Dear John (04:36) 15 Creepin’ In (03:03) 16 Court & Spark (07:36) 17 More Than This (04:11) 18 Blue Bayou (03:43) 19 Any Other Day (04:11) |
 | Album: 13 of 19 Title: Feels Like Home / Not Too Late Released: 2011-03 Tracks: 26 Duration: 1:31:49 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Sunrise (03:20) 2 What Am I to You? (03:30) 3 Those Sweet Words (03:22) 4 Carnival Town (03:11) 5 In the Morning (04:07) 6 Be Here to Love Me (03:28) 7 Creepin’ In (03:03) 8 Toes (03:46) 9 Humble Me (04:36) 10 Above Ground (03:43) 11 The Long Way Home (03:13) 12 The Prettiest Thing (03:51) 13 Don’t Miss You at All (03:08) 1 Wish I Could (04:18) 2 Sinkin’ Soon (04:38) 3 The Sun Doesn’t Like You (02:59) 4 Until the End (03:56) 5 Not My Friend (02:54) 6 Thinking About You (03:20) 7 Broken (03:21) 8 My Dear Country (03:25) 9 Wake Me Up (02:46) 10 Be My Somebody (03:36) 11 Little Room (02:44) 12 Rosie’s Lullaby (03:56) 13 Not Too Late (03:31) |
 | Album: 14 of 19 Title: Here We Go Again: Celebrating the Genius of Ray Charles Released: 2011-03-28 Tracks: 15 Duration: 1:19:11 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Hallelujah I Love Her So (04:56) 2 Come Rain or Come Shine (03:52) 3 Unchain My Heart (05:35) 4 Cryin’ Time (04:33) 5 Losing Hand (05:16) 6 Hit the Road Jack (07:45) 7 I’m Moving On (05:44) 8 Busted (05:04) 9 Here We Go Again (05:10) 10 Makin’ Whoopee (04:54) 11 I Love You So Much It Hurts (02:53) 12 What’d I Say (06:12) 13 You Dont Know Me (04:45) 14 You Are My Sunshine (06:26) 15 Thats All (06:04) |
 | Album: 15 of 19 Title: …Little Broken Hearts Released: 2012-04-25 Tracks: 15 Duration: 55:30 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Good Morning (03:17) 2 Say Goodbye (03:27) 3 Little Broken Hearts (03:12) 4 She’s 22 (03:10) 5 Take It Back (04:06) 6 After the Fall (03:42) 7 4 Broken Hearts (02:59) 8 Travelin’ On (03:06) 9 Out on the Road (03:28) 10 Happy Pills (03:34) 11 Miriam (04:25) 12 All a Dream (06:29) 1 I Don’t Wanna Hear Another Sound (03:34) 2 Killing Time (03:41) 3 Out on the Road (Mondo version) (03:20) |
| …Little Broken Hearts : Allmusic album Review : Exorcizing the ghost of a failed relationship via the time-honored tradition of the breakup album, Norah Jones luxuriates in beautiful misery on Little Broken Hearts. Liberated by the separation but not quite ready to let it go, Jones achieves a curious subdued tension here, dressing unadorned confessionals in softly stylized studio noir created with the assistance of producer Danger Mouse, who collaborated with her the year before on the collective Rome. Seeming opposites -- the classicist meets the futurist -- Jones and Danger Mouse are well matched, as both artists are not as set in their ways as their individual reputations would suggest. Jones began to drift away from the jazzy sophistication of Come Away with Me when she released the quietly adventurous Not Too Late way back in 2007, the year after Danger Mouse broke into the mainstream via Gnarls Barkley. In the ensuing half decade, the singer/songwriter continued to dabble in different sounds and styles while the producer streamlined his electronic eccentricities, leaving them to meet at the crossroads of Little Broken Hearts, where he wrings out the pathos in her songs. The songs themselves hold little mystery -- all motivations are laid bare, there are no twists in the melodies or detours hidden within the structure -- so all the mystique derives from a production that amplifies the themes. Occasionally, Danger Mouse piles on his signature murk a little too thickly, weighing down such spare sad songs as "Shes 22" and "Miriam," yet his aural tapestries often lend the tunes a lilting melancholy they require and add dimension to the albums poppier moments ("Happy Pills," "Say Goodbye"). Conversely, by placing so much emphasis on the stylish ever-shifting surfaces of its production, Little Broken Hearts never quite sinks in emotionally. Norah Jones may be pouring her heart out but its been given an elegantly detailed sculpture that camouflages her pain. Listen closely and its evident, but it takes effort to ignore the alluring haze and hear the songs that lie beneath. | ||
 | Album: 16 of 19 Title: Covers Released: 2012-10-31 Tracks: 10 Duration: 36:20 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Sleepless Nights (04:15) 2 I’ll Be Your Baby Tonight (03:18) 3 Jesus Etc. (03:45) 4 Sweet Dreams (03:17) 5 Cry, Cry, Cry (03:14) 6 Picture in a Frame (03:33) 7 Hands on the Wheel (04:14) 8 She (04:30) 9 My Blue Heaven (02:20) 10 Peace (03:53) |
| Covers : Allmusic album Review : Released exclusively to Target stores in America in January 2013 (it had previously shown up in other territories, either as a bonus disc as part of a career-encompassing box set or as a separate release in Japan), Covers rounds up stray covers Norah Jones has released over the years, adding a couple of unreleased cuts in the process. This runs the gamut from classic country covers to Wilco, taking detours for Tom Waits and Horace Silver along the way (the latter is an especially appealing left turn). Nothing here is especially surprising, either in execution or selection, partially because many of these versions date from earlier in her career, appearing as B-sides and bonus tracks for various editions of Come Away with Me, Feels Like Home, and The Fall. Jones has gotten looser and more adventurous as the years passed, a shift thats evident when these perfectly pleasant covers are compared to the swinging, earthy Little Willies, but shes always had immaculate taste and thats evident throughout this enjoyable, lightweight addendum to her first decade of recording. | ||
 | Album: 17 of 19 Title: Foreverly Released: 2013-11-22 Tracks: 12 Duration: 45:23 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Roving Gambler (04:08) 2 Long Time Gone (03:28) 3 Lightning Express (05:00) 4 Silver Haired Daddy of Mine (03:15) 5 Down in the Willow Garden (04:32) 6 Who’s Gonna Shoe Your Pretty Little Feet? (02:56) 7 Oh So Many Years (03:03) 8 Barbara Allen (04:48) 9 Rockin’ Alone (in an Old Rockin’ Chair) (03:00) 10 I’m Here to Get My Baby Out of Jail (04:19) 11 Kentucky (03:26) 12 Put My Little Shoes Away (03:28) |
| Foreverly : Allmusic album Review : Entering a long line of artists whove drawn inspiration from the Everly Brothers, Billie Joe Armstrong and Norah Jones serve up a unique tribute with Foreverly. Unlike many others -- including Will Oldham and Dawn McCarthy, who released a trippy Everlys covers album earlier in 2013 -- the duo doesnt dig deep into the brothers catalog but rather concentrates on a single LP, the 1958 Cadence classic Songs Our Daddy Taught Us. Just a year into their career, the Everlys took the unusual step of abandoning rock & roll for traditional folk and country tunes they learned from their guitarist father Ike. Songs Our Daddy Taught Us was one of rocks first roots albums -- the Everlys returned to the concept and use "Roots" as a title a decade later -- and its a bit of an anomaly in their catalog, a spare, sweet showcase for their close harmonies where the brothers are backed by nothing more than their own guitars. Foreverly, an album that contains all 12 of the songs from Songs Our Daddy Taught Us but not precisely in the same sequence, may recall Jones country cabaret act the Little Willies yet its something of a departure for Green Day lead singer Armstrong, who has often shown a love for rock & rolls past (most notably on the 60s garage rock raver Foxboro Hot Tubs) but has never quite spent much time in the 50s, not even with the Stray Cat strut of "Hitchin a Ride." Even though the songs here date from much earlier, Foreverly is grounded in that decade, with Armstrong and Jones not only patterning their two-part harmonies after the Everly Brothers but fleshing out the arrangements by incorporating other sounds from the 50s: "Long Time Gone" and "Silver Haired Daddy of Mine" swing to subdued Johnny Cash rhythms, "Oh So Many Years" gets a slight Sun rockabilly makeover, "Kentucky" recalls the swaying slow dance specialties of Patsy Cline. Such variations from the text emphasize that Armstrong and Jones arent re-creating Songs Our Daddy Taught Us; theyre singing its songs, paying respect without being overly faithful. Their approach is not dissimilar to that of Don and Phil in 1958; the brothers didnt scrupulously re-create the sound of the past, they sang the songs in a way that was true to them, which is precisely what Billie Joe and Norah do here. Theyre a good match. Jones suppleness sands down Armstrongs ragged voice, he gives her grit while she lends him grace, and these qualities are evident throughout this lovely little gem of an album. | ||
 | Album: 18 of 19 Title: Day Breaks Released: 2016-10-05 Tracks: 12 Duration: 48:47 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Burn (04:38) 2 Tragedy (04:14) 3 Flipside (03:41) 4 It’s a Wonderful Time for Love (03:53) 5 And Then There Was You (03:05) 6 Don’t Be Denied (05:36) 7 Day Breaks (03:57) 8 Peace (05:15) 9 Once I Had a Laugh (03:12) 10 Sleeping Wild (03:07) 11 Carry On (02:48) 12 Fleurette Africaine (African Flower) (05:21) |
| Day Breaks : Allmusic album Review : Norah Jones took liberty with her blockbuster success to set out on a musical walkabout, spending a good portion of the decade following 2004s Feels Like Home experimenting, either on her own albums or on a variety of collaborations. Day Breaks, released four years after the atmospheric adult alternative pop of the Danger Mouse-produced Little Broken Hearts, finds Jones returning home to an extent: it, like her 2002 debut Come Away with Me, is a singer/songwriter album with roots in pop and jazz, divided between originals and sharply selected covers. Such similarities are immediately apparent, but Day Breaks is much slyer than a mere revival. That term suggests a slight air of desperation, but Jones comes from a place of confidence on Day Breaks, happy to demonstrate everything shes learned over the years. Often, these tricks are deliberately sly: shell pair her torchy original "And Then There Was You" with a woozy, bluesy cover of Neil Youngs "Dont Be Denied" that winds up evoking Come Away with Me, then follow that up with the dense, nocturnal rhythms of "Day Breaks." She threads in versions of Horace Silvers "Peace" and Duke Ellingtons "African Flower" while inviting saxophonist Wayne Shorter and organist Lonnie Smith in to play -- moves that signal that theres a strong, elastic jazz undercurrent to Day Breaks that means this record breathes more than her debut. Such a sense of quiet adventure gives the record depth, but what gives it resonance are the exquisitely sculpted songs. Jones originals feel as elegant as time-honored standards, and all her covers feel fresh. The former speak to her craft, the latter to her gifts as a stylist, and the two combine to turn Day Breaks into a satisfying testament to her ever-evolving musicianship. | ||
 | Album: 19 of 19 Title: Begin Again Released: 2019-04-12 Tracks: 7 Duration: 28:57 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover | 1 My Heart Is Full (03:06) 2 Begin Again (03:49) 3 It Was You (05:31) 4 A Song With No Name (04:03) 5 Uh Oh (03:37) 6 Wintertime (03:48) 7 Just a Little Bit (05:03) |