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Dirty Child

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Barnes & Noble - Ganda Suthivarakom
At first, Rosey's smoky, blue-eyed soul and torch-song chord changes bring to mind Fiona Apple or Shelby Lynne on antidepressants. But deeper listening to her debut album reveals Rosey's true hue: Her gutsy, rootsy mixture of rock and R&B suggests a sexy, grown-up Pink. Producer Darryl Swann gets this party started with the same blend of layered vocals, orchestral string flourishes, swirly organs, and funky bass lines he employed on Macy Gray's The Id, but it's Rosey, with her sensual swagger, who shines here. On "Love," first featured on the Bridget Jones's Diary soundtrack, she croons over a mid-tempo dance beat, while on "One," she seductively whispers, ...
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Editorial Reviews

Barnes & Noble - Ganda Suthivarakom
At first, Rosey's smoky, blue-eyed soul and torch-song chord changes bring to mind Fiona Apple or Shelby Lynne on antidepressants. But deeper listening to her debut album reveals Rosey's true hue: Her gutsy, rootsy mixture of rock and R&B suggests a sexy, grown-up Pink. Producer Darryl Swann gets this party started with the same blend of layered vocals, orchestral string flourishes, swirly organs, and funky bass lines he employed on Macy Gray's The Id, but it's Rosey, with her sensual swagger, who shines here. On "Love," first featured on the Bridget Jones's Diary soundtrack, she croons over a mid-tempo dance beat, while on "One," she seductively whispers, "Pretty please, sugar sweet,/I wanna be the one you come running to" over a hip-grinding bass groove à la Janet Jackson's "That's the Way Love Goes." Like Pink, Rosey sings lyrics that hint at a girlish wish for validation in other people's eyes -- she recalls Grandma's encouraging words to her "girlchild" on "The Time," while "Beautiful" finds her yearning to feel as beautiful as she did when she was loved by someone. She's at her best, however, when the lyrics match the confidence of the music, as on the rocked-out "Desperate," where Rosey chides a former lover with lyrics like, "Don't treat the one you love like a criminal." With the imaginative Dirty Child, Rosey has announced herself as a colorful and intriguing new voice.
All Music Guide - MacKenzie Wilson
Rosey's cosmic funk on her debut album, Dirty Child, is inspired by this world's most basic need: love. She soaks herself in its beauty and works against its complexities for a magical carpet ride of emotion. It's distinctly focused with an urban appeal while rooted in rock, and a bit comparable to the likes of Poe, Fiona Apple, and Beth Orton. Rosey writes from the heart and it works brilliantly. The narratives of passion, loss, and personal understanding are bold without being naïve. The glossy-cool "Love" struts around blues-tinged beats and lite string arrangements for a spiritual inquisition. "Afterlife" jubilantly follows for a psychedelic celebration of good karma. Rosey attempts to find her own on Dirty Child by expressing her greatest joys, but she's equally free in expressing her frustrations. "Beautiful" is an impressive orchestrated number seeking self-acceptance, while the Lenny Kravitz-like "Desperate" takes a haunting look at an abusive relationship. The sensual, steamy "Like a Dream" is a bright moment, for producer Daryle Swann captured Rosey's most uninhibited stance and she hit her inner core with a velvet touch. Dirty Child is a striking move for this one-time A&R rep. She's independent of corporate monotony because she's already aware of the business. Dirty Child is Rosey's autobiographical sketch and an ultra-groovy effort as well.
Entertainment Weekly - Mark Bautz
An ambitious effort. (B+)

An ambitious effort. (B+)
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Product Details

  • Release Date: 6/25/2002
  • Label: Island
  • UPC: 731458680529
  • Catalog Number: 586805

Tracks

Disc 1
  1. 1 Love (3:35)
  2. 2 Afterlife (3:57)
  3. 3 One (3:53)
  4. 4 The Time (4:54)
  5. 5 Beautiful (3:28)
  6. 6 Desperate (3:22)
  7. 7 Like a Dream (4:09)
  8. 8 Cozy (3:39)
  9. 9 Dirty Child (4:04)
  10. 10 Heaven (4:41)
  11. 11 My Baby (2:56)
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Album Credits

Performance Credits
Rosey Primary Artist, Acoustic Guitar, Background Vocals
John Bigham Guitar
Denyse Buffum Viola
Charles Veal Conductor
Larry Corbett Cello
Joel Derouin Violin
Victor Indrizzo Percussion, Drums
Peter Kent Violin
Brian Mitchell Wurlitzer
Leon Mobley Percussion, Wind Pipes
Jack Petruzzelli Sitar
Robert Shulgold Flute
Jim Sitterly Concert Master
Marston Smith Cello
Daryle Swann Bass, Guitar, Background Vocals
Pamela Williams Background Vocals
John Wittenberg Violin
Tibor Zelig Violin
Thomas Tally Violin
Novi Novog Viola
Michele Nardone Viola
Suzie Katayama Cello
Herb Graham Jr. Percussion, Drums
Dante Ross Moog Synthesizer
Diana Fragnito Background Vocals
Paul Legaspi Percussion, Drums
Eugene Mechtovich Viola
Jeremy Ruzumna Organ, Synthesizer, Flute, Strings, fender rhodes, Echo
Dustin Boyer Guitar, Electric Guitar, Echo
Dean Butterworth Drums
Printz Board Trumpet
David Wilder Bass
Christopher Joyner Piano
Zac Rae Synthesizer, Flute, Piano, Strings, Celeste, Keyboards, Moog Synthesizer
Yi-Huan Zhao Violin
Mark Daumen Tuba
Mark Casillas Violin
Alissa Razansky Background Vocals
Jinsoo Lim Guitar, Electric Guitar, Lap Steel Guitar, Echo
Ellie Choate Harp
Mario de León Violin
Matthew Funes Viola
Technical Credits
Charles Veal String Arrangements
Mike Melnick Engineer
Daryle Swann Programming, Producer, Engineer, String Arrangements
Rosey Liner Notes
John Gamble Producer, Engineer
Dante Ross Producer
Zac Rae Tape Effects
Neil Ward Engineer
Fran Cathcart Pro-Tools
Jermeal Hicks Engineer
Andy West Art Direction
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