Pop & Miscellaneous

Joss Stone - Mind, Body & Soul (2004)

2018-12-13T15:04:48Z

Joss Stone - Mind, Body & Soul (2004)


1.Right To Be Wrong 	4:40
2.Jet Lag 	4:01
3.You Had Me 	3:59
4.Spoiled 	4:03
5.Don't Cha Wanna Ride 	3:31
6.Less Is More 	4:17
7.Security 	4:30
8.Young At Heart 	4:20
9.Snakes Find Ladders 	3:35
10.Understand 	3:46
11.Don't Know How 	4:01
12.Torn And Tattered 	3:58
13.Killing Time 	5:20
14.Sleep Like A Child 	5:19
15.Daniel 	2:46
16.The Right Time	3:53
17.God Only Knows	2:59
18.Calling It Christmas (feat. Elton John)	4:16

Joss Stone - Vocals, Vocals (Background)
Mind Body & Soul Orchestra
Voice Of Atlanta - Choir
Raymond Angry -	Clavinet, Hammond B3, Moog Synthesizer, Organ, Organ (Hammond), Piano
Teodross Avery - Saxophone
Ruby Baker - Vocals (Background) 
Cindy Blackman - Drums
Bombshell - Vocals (Background)
Astor "Crusty" Campbell - Drums 
Delroy "Chris" Cooper - Bass
Jack Daley - Bass, Guitar (Bass)
Clovette Danzy - Vocals (Background) 
Tanya Darby - Trumpet 
Jenni Fujita - Vocals (Background)
Van Gibbs - Guitar 
Steve Greenwell - Bass
Willie "Beaver" Hale - Guitar 
Vincent Henry - Clarinet, Sax (Alto), Sax (Soprano)
David "Jody" Hill - Drums
Stafford Hunter - Trombone 
Pete Iannacone - Bass
Jonathan Joseph - Drums 
Ellison Kendrick - Vocals (Background) 
Betty Lattimore - Piano 
Tom "Bones" Malone - Flugelhorn, Sax (Baritone), Sax (Tenor), Trombone, Trumpet
Michael Mangini - Bass, Keyboards
Mercedes Martinez - Vocals (Background) 
Pat Milando - French Horn 
Tracey Moore - Vocals (Background)
Angelo Morris - Bass, Fender Rhodes, Guitar
Phil Myers - French Horn
A.J. Niilo - Guitar
Ignacio Nunez - Percussion 
Bruce Purse - Flugelhorn, Trumpet
Questlove - Drums
Salaam Remi - Bass, Organ, Strings, Wurlitzer
Margaret Reynolds - Vocals (Background)
Nile Rodgers - Guitar
Veronica Sanchez - Vocals (Background)
William Scott - Vocals (Background) 
Dave Smith - French Horn
Earl "Chinna" Smith - Guitar
Angie Stone - Fender Rhodes
Timmy Thomas - Organ, Organ (Hammond), Piano
Carl Vandenbosche - Percussion
Alan Weekes - Guitar (Electric)
Betty Wright - Vocals (Background)
Jeanette Wright - Vocals (Background) 
Nir "Z" Zidkyahu - Fender Rhodes, Percussion, Synthesizer

On the cover of her debut, The Soul Sessions, Joss Stone's 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 album's 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. There's 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, there's 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; there's some genuine grit to the rhythms, yet it's all wrapped up in a production that's 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 doesn't grandstand like the post-Mariah divas, but she'll fit more notes than necessary into the simplest phrases -- she nevertheless possesses a rich, resonant voice that's 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 she's a compelling singer and Mind, Body & Soul lives up to her promise. ---Stephen Thomas Erlewine, AllMusic Review

To tak naprawdę płyta "Mind, Body and Soul" jest prawdziwym debiutem Joss Stone. Być może słowa te są zaskoczeniem dla fanów Joss Stone, siedemnastoletniej wokalistki z Devon, która dzięki swej pierwszej płycie "The Soul Sessions" , została uznana za jedną z najbardziej utalentowanych piosenkarek swojego pokolenia.

Jednak wydana w USA we wrześniu 2003 roku płyta (w Polsce w lutym 2004), jak przyznaje Joss, "była pomyślana jedynie jako mały, dodatkowy projekt, który nieoczekiwanie zmienił się w coś ogromnego."Aby powtórzyć niesamowity sukces " The Soul Sessions", produkcją większości, bo aż jedenastu piosenek na "Mind, Body & Soul" zajął się zespół w składzie Steve Greenberg, Mike Mangini i Betty Wright. Gwiazdorskiej obsady dopełnia gitarzysta Willie "Little Beaver" Hale, pianista Benny Latimore i organista Timmy Thomas. Jest to trójka weteranów soulu, którzy święcili triumfy w Miami w połowie lat siedemdziesiątych, a których przy okazji "The Soul Sessions" w 2003 roku ponownie zjednoczyła ich koleżanka, wokalistka/kompozytorka/aranżerka Betty Wright.

Swój wkład w "Mind, Body & Soul" miał również gitarzysta AJ Nilo, multi-instrumentalista Angelo Morris i mistrzowie instrumentów perkusyjnych - Cindy Blackman (która przez lata grała z Lenny Kravitzem) i David “Jody” Hill. Nile Rodgers z Chic zagrał partię gitary na “You Had Me”, zaś duet soulowo-hip-hopowy Jazzyfatnastees zaśpiewał w chórkach na “Jet Lag” i “Security.” Angie Stone gra w “Security”, a Guestlove z The Roots - na perkusji w “Sleep Like A Child.” Pierwszy teledysk do płyty, "You Had Me", został wyreżyserowany przez Chrisa Robinsona, który wcześniej realizował klipy m.in. dla Ushera, Alicii Keys, Jay-Z & Beyonce oraz Lenny Kravitza. ---muzyka.wp.pl

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Joss Stone - The Soul Sessions Vol.2 (2012)

2012-07-28T18:38:38Z

Joss Stone - The Soul Sessions Vol.2 (2012)


01 – I Got The…
02 – (For God’s Sake) Give More Power To The People
03 – While You’re Out Looking For Sugar
04 – Sideways Shuffle
05 – I Don’t Wanna Be With Nobody But You
06 – Teardrops
07 – Stoned Out Of My Mind
08 – The Love We Had (Stays On My Mind)
09 – The High Road
10 – Pillow Talk
11 – Then You Can Tell Me Goodbye
12 – First Taste Of Hurt
13 – One Love In My Lifetime
14 – Nothing Takes The Place Of You
15 – (1234567) Count The Days

Joss Stone was only 16 years old when she debuted with The Soul Sessions in 2003. Britain and the United States quickly fell for her barefoot innocence and worldly, earthy soul voice, a voice well beyond her years.

Since then, Stone’s resolutely followed her own path. Mostly self-penned albums have yielded diminishing artistic and commercial returns, while her recordings with SuperHeavy failed to attract many plaudits. Film, television and videogame roles have met with comparable indifference.

With her career curveballs never engaging with the public as successfully as her debut, perhaps retreat to the comforting cocoon of what made Stone’s name was inevitable. And album six is just that: a second set of soul-infused covers, released on her original label S-Curve, helmed by her original producer Steve Greenberg.

To complete the similarities, Stone is not merely rehashing some old soul fare. Where the Soul Sessions grappled manfully with The White Stripes’ Fell in Love With a Girl, here she gives Broken Bells’ The High Road a heroic, no-holds barred makeover that’s as sensual as it is spiritual. It is, you suspect, how Stone was always meant to sound.

Elsewhere she dips into more conventional soul territory, although only Womack & Womack’s majestic Teardrops was a major hit (Stone’s take builds imperiously and brims with rue). Her funk-fuelled crack at Stoned Out of My Mind owes more to the ever-underrated Chi-Lites original than The Jam’s blunderbuss assault on it.

But while Stone can bawl with the best of them, she can do restraint too. John D. Loudermilk’s corny weepie Then You Can Tell Me Goodbye has a string arrangement that avoids the saccharine trap (although it’s a close call), but Stone radiates pain with a conviction and believability she’s never quite summoned before. --- John Aizlewood, BBC Review

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Joss Stone - Water For Your Soul (2015)

2018-06-23T14:30:59Z

Joss Stone - Water For Your Soul (2015)


1 	Love Me 	5:07
2 	This Ain't Love 	4:28
3 	Stuck On You 	4:19
4 	Star 	5:08
5 	Let Me Breathe 	5:16
6 	Cut The Line 	4:07
7 	Wake Up 	4:44
8 	Way Oh 	5:49
9 	Underworld 	4:08
10 	Molly Town 	3:34
11 	Sensimilla 	4:18
12 	Harry's Symphony 	3:54
13 	Clean Water 	4:31
14 	The Answer 	4:47
+
15 	Water For Your Soul 	4:35

Ponciano Almeida 	Berimbau
Stanley Andrews 	Guitar
Spy Austin 	Vocals
Luke Bonenfant 	Vocals
Dennis Bovell 	Bass, Composer, Vocals (Background)
Joe Broughton 	Violin
Damon Bryson 	Tuba
Marc Cyril 	Bass, Composer
Ava DiLouie 	Vocals
Steve Down 	Guitar, Guitar (Acoustic)
Aref Durvesh 	Tabla
Sarah Harrison 	Violin
Pete Iannacone 	Bass
Antonia Jenaé 	Vocals (Background)
Michelle John 	Vocals (Background)
Linton Kwesi Johnson 	Vocal Samples
Jonathan Joseph 	Drums
Jules 'Juda' Bartholomew 	Arranger, Choir Director
Ellison Kendrick 	Vocals (Background)
Brock Lichthardt 	Vocals
Artia Lockett 	Vocals (Background)
London Session Orchestra 	Strings
Neville Malcolm 	Bass, Composer, Guitar, Guitar (Electric)
Wil Malone 	String Arrangements, Strings
Damian Marley 	Composer, Vocals
Leon Mobley 	Percussion
Christina Olson 	Vocals
Janet Ramus 	Vocals (Background)
Ricardo Jordan 	Drums
Orphy Robinson 	Vibraphone
Nitin Sawhney 	Guitar (Nylon String)
Jeff Scantleberry 	Congas, Drums, Percussion
Jonathan Shorten 	Accordion, Clavinet, Composer, Engineer, Fender Rhodes, Keyboards, Melodica,
 Organ, Organ (Hammond), Piano, Producer, Wurlitzer
Ian Smith 	Trombone, Trumpet
Ashwin Srinivasan 	Flute
Richie Stevens 	Composer, Drums
Joss Stone 	Composer, Primary Artist, Producer, Vocals (Background)
Paloma Trigas 	Violin
Jeff Watkins 	Horn Arrangements, Saxophone
Alan Weekes 	Guitar, Guitar (Electric)

The concept of Joss Stone's 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 Stone's 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 wouldn't even have to avoid using the word "soul" in the album's title.) More importantly, Marley wasn't 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 singer's previous releases -- specifically in "Way Oh," during its chorus and forced-sounding references to a "buffalo soldier," likely a nod to Marley's 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 album's song with the most surface appeal -- where "I can't get over how you're 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 Stone's 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, it's all pleasant summertime listening. ---Andy Kellman, AllMusic Review

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Joss Stone – LP1 (2011)

2011-08-15T14:10:13Z

Joss Stone – LP1 (2011)


01 – Newborn
02 – Karma
03 – Don’t Start Lying To Me Now
04 – Last One To Know
05 – Drive All Night
06 – Cry Myself To Sleep		play
07 – Somehow				play
08 – Landlord
09 – Boat Yard
10 – Take Good Care
Bonus Track:
11 – Cutting the Breeze

Steadily rising Brit-soul teenager Dionne Bromfield – currently 15 years old – would be wise to study the career path of Joss Stone, who broke into the mainstream at the age of 16 with 2003’s The Soul Sessions. Study it, carefully, and then walk in the opposite direction for a few albums. For while Stone’s a multi-million-selling artist, her catalogue to date is a classic example of diminishing returns. Her second set, 2004’s Mind Body & Soul, diluted the singer’s natural grit for a mainstream-pleasing pop-soul sound to a chorus of general indifference, and 2007’s Introducing... couldn’t commercially compete with Amy Winehouse’s all-conquering Back to Black, released five months earlier, despite expert production from Raphael Saadiq. And the less said about her final disc for EMI, 2009’s ironically drab Colour Me Free!, the better.

LP1 represents something of a rebirth, though – like its title isn’t a clue – and is certainly a better collection than the pair immediately preceding it. Here, Stone has full control over what material makes the cut, and she’s undeniably in an upbeat mood as a result. Recorded in Nashville alongside Dave Stewart (the pair comprise two-fifths of weird-on-paper supergroup SuperHeavy, with Mick Jagger, Damian Marley and A.R. Rahman), and reportedly completed in just six days, its rough-and-ready feel is several post-production miles away from the major label gloss layered onto to the singer’s mid-00s sets. There’s less purring here; instead, Stone adopts a one-take-style approach to her performances, channelling the old-school rock-and-soul swagger of Tina Turner, and the results – while mixed – are certainly a lot more engaging than the Auto-Tuned masses. The inconsistencies are actually fairly endearing, cracks allowing the human at the heart of these songs to be glimpsed.

The arrangements vary incredibly, too. Karma rides a slithering funk bassline, while the following Don’t Start Lying to Me Now could have been beamed in from Broadway, albeit via Music Row; Drive All Night is a late-night soul ballad with a rare understated vocal, and Somehow is a summery stomp-along that deserves better than its top-50-in-Luxembourg chart success. Inevitably, this produces a fairly incoherent single-sitting experience – and Stone’s pussy-cat-one-minute, lioness-the-next attitude can become tiring (what does this girl want, exactly?). But she’s one of this country’s most gifted singers, and when she shines the effect is positively blinding.

LP1 is no successor to The Soul Sessions. It’s too loose, too unkempt to promote its maker back up to pop’s uppermost leagues. Stone packs all the power you expect, but her control misfires enough for some of these tracks to never quite click as they might. Ultimately this is more of a feeler release than a comeback proper; a testing toe-in-the-water affair to ascertain what interest there is in this once-feted, soon-damned artist. Turns out there’s enough to warrant another, albeit more focused, turn from the Dover-born, Devon-based pop-rock-cum-funk-soul chameleon. As for Bromfield: if she can side-step the awkward third and awful fourth LPs and skip straight to the compelling-in-places fifth, she’ll be just fine. --- Mike Diver, bbc.co.uk

"Forget the standard. The standard, in my opinion, is wrong." So says Joss Stone, explaining the ethos driving her new record company, Stone'd, for which this is the first release. Standard, however, is the word that springs to mind when listening to LP1. Recorded under the aegis of Dave Stewart in Nashville over the course of a solitary week, this album is desperate to evoke adored music of the past; any number of low-slung country riffs, honky-tonk organ flourishes and, of course, soulful vocal howls being deployed in the cause. It's proficiently played and Stone's voice has a range and tonal dexterity that few of her peers possess. Sadly, however, the final product is so familiar and so shorn of genuine emotion that LP1 quickly loses any sense of identity and becomes standard fare, indistinguishable from any number of other recordings. --- Paul MacInnes, guardian.co.uk

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