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All Rise

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Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
Being the daughter of Little Feat founder Lowell George may not seem to be as intimidating as being the son of John Lennon or Bob Dylan, but that's only because he's a cult figure. Lowell may not have been a superstar, but he was an immensely talented guitarist, songwriter, and singer whose work is beloved partially because of its idiosyncrasies; his songs and his playing never quite took a direct route, always surprising in their twists and turns. His daughter Inara George may not work the same country and blues-rock territory as her father, but she shares his talent for taking her music in unexpected directions as her fine 2005 debut, All Rise, illustrates. ...
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Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
Being the daughter of Little Feat founder Lowell George may not seem to be as intimidating as being the son of John Lennon or Bob Dylan, but that's only because he's a cult figure. Lowell may not have been a superstar, but he was an immensely talented guitarist, songwriter, and singer whose work is beloved partially because of its idiosyncrasies; his songs and his playing never quite took a direct route, always surprising in their twists and turns. His daughter Inara George may not work the same country and blues-rock territory as her father, but she shares his talent for taking her music in unexpected directions as her fine 2005 debut, All Rise, illustrates. Working with guitarist/producer/songwriter Michael Andrews, George has created an album that's not far removed from either the electro-folk of Beth Orton or the modernist singer/songwriter pop of Aimee Mann, Michael Penn, and Jon Brion. While these are the musical touchstones for All Rise, George has her own musical identity. Since it starts slowly, contemplatively with "Mistress," the record seems to be firmly in the contemporary folk tradition, but as the record progresses, the music blossoms, brightening for the sprightly pop of "Genius" and "Good to Me" and slowing on occasion to ballads that smolder like torch songs. Similarly, her voice initially sweet and girlish, but with each successive song, she reveals a remarkable range and depth to her singing. Since her voice is clear and lovely, the songs are tuneful without being flashy, and the production is quiet, subtly layered, George makes All Rise seem easy, and it's only when the record is over that it dawns on you what a rich, rewarding album it is. In that way, it's not dissimilar to her father's music, which always grew with repeated listens, but Inara's first album would be a remarkable debut no matter who her parents were.
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Product Details

  • Release Date: 1/25/2005
  • Label: Everloving
  • UPC: 181229000122
  • Catalog Number: 10
  • Sales rank: 178,539

Tracks

Disc 1
  1. 1 Mistress (4:39)
  2. 2 Fools Work (4:23)
  3. 3 Genius (2:07)
  4. 4 No Poem (4:31)
  5. 5 What a Number (3:43)
  6. 6 Fools in Love (4:42)
  7. 7 Good to Me (2:50)
  8. 8 Pull Things (3:53)
  9. 9 Turn On/Off (3:40)
  10. 10 A Day (4:39)
  11. 11 Everybody Knows (2:57)
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Album Credits

Performance Credits
Inara George Primary Artist, Guitar, Vocals
Jackson Browne Background Vocals
Michael Andrews Guitar, Background Vocals, Various, Hand Percussion
Greg Kurstin Keyboards
Chris Stillwell Bass
Pete McNeal Drums
Technical Credits
Joe Jackson Composer
George McFetridge Graphic Design
Michael Andrews Composer, Producer, Audio Production
Greg Kurstin drum machine
Roger Seibel Mastering
Inara George Composer
Bryan Cook Engineer
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Customer Reviews

Average Rating 5
( 2 )
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Sort by: Showing all of 2 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    All Rise...to the glory of this album

    I first heard Inara George while listening to the Grey’s Anatomy soundtrack. Being one of the best songs on the record, I knew I had to check her out. I am so glad I did. Inara’s tranquilizing vocals have a peculiar resemblance to Bjork in her first track “Mistress,” though the music is nothing the same. “Genius,” with its drumming keyboard beat and sharp strokes of the guitar knocks you out of the daze you’ve been put in by her soft vocals and easy strumming in the previous two songs, and makes you remember that you were actually doing something before being lulled into its dreamy, bluesy sound. A number of tracks fall somewhere between these two worlds of under-water composition and new-age pop. My favorite of all the songs is the dark, seductive “Turn On/Off” with its tantalizing lyrics and intoxicating sound. Although Inara George had created a great sound of her own, bits and pieces sound as though Norah Jones and Fiona Apple meshed together. So, if you like either one of those artists, or are a fan of the music on Grey’s Anatomy, pick this album up. Even if you aren’t, you might be captivated by this genre-escaping work of art.

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  • Anonymous

    Posted July 18, 2009

    No text was provided for this review.

Sort by: Showing all of 2 Customer Reviews