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The Fall
Norah Jones
Pop - Released January 1, 2012 | Blue Note Records
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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 2007's 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 that's 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 King's pedigree, the latter two co-writers suggest a slight indie bent to Jones' direction, which isn't an inaccurate impression -- there's certainly a late-night N.Y.C. vibe to these songs -- but it's 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.© Stephen Thomas Erlewine /TiVo
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The Fall
Norah Jones
Pop - Released January 1, 2012 | Blue Note Records
Hi-Res
Booklet
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 2007's 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 that's 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 King's pedigree, the latter two co-writers suggest a slight indie bent to Jones' direction, which isn't an inaccurate impression -- there's certainly a late-night N.Y.C. vibe to these songs -- but it's 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.© Stephen Thomas Erlewine /TiVo
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The Classical Conspiracy
Epica
Rock - Released May 8, 2009 | Nuclear Blast
One complaint that metal purists have had about some of Epica's more orchestral work is that at times, they have ended up sounding more classical than metal. But for those who value intrigue and adventure more than they value purity, the very fact that a metal band has had some honest-to-God interaction with the European classical world is fascinating -- and The Classical Conspiracy documents the Dutch gothic metal band's June 14, 2008 appearance at the Miskolc International Opera Festival in Miskolc, Hungary. That gathering is hardly Ozzfest; it is a classical-oriented event that has been going on since 2001, and the performers are much more likely to pay tribute to Béla Bartók than to tackle anything that's metal-related. But as The Classical Conspiracy demonstrates, Epica take their classical music seriously. Disc one finds Epica (who are joined by a 40-piece orchestra and a 30-piece vocal choir) performing arrangements of a variety of familiar classical and film music, ranging from Giuseppe Verdi's "Dies Irae" and Antonio Vivaldi's "Presto," to John Williams' "The Imperial March" from Star Wars Episode V: The Empire Strikes Back. But if the metal factor is generally low on Disc one, that isn't the case on Disc two -- which is dominated by Epica's own material. Although the Euro-classical influence is quite strong on Disc two, the main ingredient during that portion of the concert is gothic metal. But the classical lovers in the audience were no doubt well aware of the fact that lead vocalist Simone Simons is a classically trained mezzosoprano. If Disc one isn't metal enough for the metal purists and Disc two isn't classical enough for the classical purists, that doesn't make Epica's performances any less inspired or enriching. The Classical Conspiracy is a fine document of Epica's 2008 appearance at the Miskolc International Opera Festival.
© Alex Henderson /TiVo
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The Fall
Norah Jones
Pop - Released January 1, 2012 | Blue Note Records
Distinctions
3F de Télérama
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 2007's 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 that's 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 King's pedigree, the latter two co-writers suggest a slight indie bent to Jones' direction, which isn't an inaccurate impression -- there's certainly a late-night N.Y.C. vibe to these songs -- but it's 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.© Stephen Thomas Erlewine /TiVo
Classic Jones
Norah Jones
Jazz - Released December 1, 2023 | UME - Global Clearing House
Download not available
Kitchen Jones
Norah Jones
Jazz - Released August 21, 2020 | UME - Global Clearing House
Download not available
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The Fall
Norah Jones
Pop - Released November 17, 2009 | Blue Note Records
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 2007's 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 that's 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 King's pedigree, the latter two co-writers suggest a slight indie bent to Jones' direction, which isn't an inaccurate impression -- there's certainly a late-night N.Y.C. vibe to these songs -- but it's 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.© Stephen Thomas Erlewine /TiVo
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Chasing Pirates Remix EP
Norah Jones
Pop - Released January 1, 2009 | Blue Note Records
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Chasing Rainbows
Hightown Pirates
Alternative & Indie - Released May 26, 2017 | Strike Back Records
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The Karaoke Channel - Sing Chasing Pirates Like Norah Jones
The Karaoke Channel
Pop - Released June 5, 2014 | 2014 Stingray Music Group
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The Karaoke Channel - Sing Chasing Pirates Like Norah Jones
The Karaoke Channel
Pop - Released June 5, 2014 | 2014 Stingray Music Group
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