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Introducing Joss Stone

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Editorial Reviews

Barnes & Noble - Tracy E. Hopkins
After two critically acclaimed albums and a Gap ad campaign, Joss Stone hardly needs an introduction. So perhaps Introducing Joss Stone is a re-introduction, now that the Brit soul siren has found her artistic identity -- here, she sounds less like a young woman channeling her older idols and more like an original idol in the making. Thanks to her pitch-perfect collaboration with producer and singer-songwriter Raphael Saadiq, Introducing has a sexy, '60s soul-meets-the Love Unlimited Orchestra vibe. And from the look of the inset photo of the psychedelic body-painted duo intertwined, they got along rather well. The disc opens with the jubilant, string-laden "Girl ...
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Editorial Reviews

Barnes & Noble - Tracy E. Hopkins
After two critically acclaimed albums and a Gap ad campaign, Joss Stone hardly needs an introduction. So perhaps Introducing Joss Stone is a re-introduction, now that the Brit soul siren has found her artistic identity -- here, she sounds less like a young woman channeling her older idols and more like an original idol in the making. Thanks to her pitch-perfect collaboration with producer and singer-songwriter Raphael Saadiq, Introducing has a sexy, '60s soul-meets-the Love Unlimited Orchestra vibe. And from the look of the inset photo of the psychedelic body-painted duo intertwined, they got along rather well. The disc opens with the jubilant, string-laden "Girl They Won't Believe It," but the album doesn't fully come alive until Track 7, the hip-hop-tinged "Music," although a guest appearance by the reclusive Lauryn Hill nearly outshines Stone's smoldering vocals. Amid Saadiq's rapturous soundscape of dizzying stings and percolating bass lines, the newly redheaded singer's powerhouse pipes are golden, notably on the Stevie Wonder-reminiscent "Arms of My Baby," the Donna Summer-esque "Bad Habit," and the doo-wop-and-gospel-inspired "What Were We Thinking." Full of mellifluous melodies and irresistible grooves, this is one meet-and-greet you don't want to miss.
All Music Guide - Stephen Thomas Erlewine
Joss Stone defiantly titled her third album Introducing Joss Stone, dismissing her first two albums with one smooth stroke. Stone claims those records were made under record label pressure, but as a young adult of 19, she's free to pursue her muse in her own fashion. However, Introducing Joss Stone isn't radically different from what Stone has done before. The professional in-the-pocket grooves have been replaced by drum loops, the warm burnished sound has been ditched in favor of crisp, bright sonics, Harlan Howard covers are pushed aside for cameos by Common and Lauryn Hill. It's a cosmetic change that works: Introducing does sound brighter, fresher than her other two albums, pitched partway between Amy Winehouse and Christina Aguilera, yet sounding very much like Texas at their prime.
All Music Guide - Stephen Thomas Erlewine
Typically, artists dispense with introductions after their debut -- after all, that is an album designed to introduce them to the world -- but neo-soul singer Joss Stone defiantly titled her third album Introducing Joss Stone, thereby dismissing her first two relatively acclaimed albums with one smooth stroke. She now claims that those records were made under record-label pressure -- neatly contradicting the party line that her debut, The Soul Sessions, turned into a retro-soul project after Joss implored her label to ditch the Christina Aguilera-styled urban-pop she was pursuing -- but now as a young adult of 19, she's free to pursue her muse in her own fashion. All this is back-story to Introducing, but Stone makes her modern metamorphosis plain on the album's very first track, where football-star-turned-Hollywood-muscle Vinnie Jones talks about change ("I see change, I embody change, all we do is change, yeah, I know change, we're born to change" and so on and so forth), setting the stage for some surprise -- which "Girl They Won't Believe It" kind of delivers, if only because it isn't all that different from what Stone has done before. It's a sprightly slice of Northern soul propelled by a bouncy Motown beat that doesn't suggest a change in direction as much as a slight shift in aesthetic. Gone are the seasoned studio pros, in are a bevy of big-name producers all united in a mission to make Stone seem a little less like a '60s blue-eyed soul diva and a little more her age, a little more like a modern girl in 2007. So, the professional in-the-pocket grooves have been replaced by drum loops, the warm burnished sound has been ditched in favor of crisp, bright sonics, Harlan Howard covers have been pushed aside for cameos by Common and Lauryn Hill. It's a cosmetic change that works: Introducing does sound brighter, fresher than her other two albums, pitched partway between Amy Winehouse and Back to Basics Christina yet sounding very much like Texas at their prime.

Typically, artists dispense with introductions after their debut -- after all, that is an album designed to introduce them to the world -- but neo-soul singer Joss Stone defiantly titled her third album Introducing Joss Stone, thereby dismissing her first two relatively acclaimed albums with one smooth stroke. She now claims that those records were made under record-label pressure -- neatly contradicting the party line that her debut, The Soul Sessions, turned into a retro-soul project after Joss implored her label to ditch the Christina Aguilera-styled urban-pop she was pursuing -- but now as a young adult of 19, she's free to pursue her muse in her own fashion. All this is back-story to Introducing, but Stone makes her modern metamorphosis plain on the album's very first track, where football-star-turned-Hollywood-muscle Vinnie Jones talks about change ("I see change, I embody change, all we do is change, yeah, I know change, we're born to change" and so on and so forth), setting the stage for some surprise -- which "Girl They Won't Believe It" kind of delivers, if only because it isn't all that different from what Stone has done before. It's a sprightly slice of Northern soul propelled by a bouncy Motown beat that doesn't suggest a change in direction as much as a slight shift in aesthetic. Gone are the seasoned studio pros, in are a bevy of big-name producers all united in a mission to make Stone seem a little less like a '60s blue-eyed soul diva and a little more her age, a little more like a modern girl in 2007. So, the professional in-the-pocket grooves have been replaced by drum loops, the warm burnished sound has been ditched in favor of crisp, bright sonics, Harlan Howard covers have been pushed aside for cameos by Common and Lauryn Hill. It's a cosmetic change that works: Introducing does sound brighter, fresher than her other two albums, pitched partway between Amy Winehouse and Back to Basics Christina yet sounding very much like Texas at their prime.
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Product Details

  • Release Date: 3/20/2007
  • Label: Virgin Records Us
  • UPC: 094637626825
  • Catalog Number: 76268
  • Sales rank: 102,093

Tracks

Disc 1
  1. 1 Change (0:35)
  2. 2 Girl They Won't Believe It (3:15)
  3. 3 Headturner (3:16)
  4. 4 Tell Me 'Bout It (2:49)
  5. 5 Tell Me What We're Gonna Do Now (4:22)
  6. 6 Put Your Hands on Me (2:58)
  7. 7 Music (3:41)
  8. 8 Arms of My Baby (2:52)
  9. 9 Bad Habit (3:41)
  10. 10 Proper Nice (3:24)
  11. 11 Bruised But Not Broken (4:15)
  12. 12 Baby Baby Baby (4:35)
  13. 13 What Were We Thinking (4:24)
  14. 14 Music (3:48)
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Album Credits

Performance Credits
Joss Stone Primary Artist, Vocals
Keisha Jackson Background Vocals
Sanford Allen Violin
Duane Benjamin Horn
Sandra Billingslea Violin
Charlie Bisharat Violin
Joseph Bongiorno Bass
Kevin Brandon Bass
Ron Brown Horn
Mark Cargill Violin, Concert Master
Robert Chausow Violin
Louis Colin Harp
Yvette Devereaux Violin
Gayle Dixon Violin
Reginald Dozier Horn Engineer
Barry Finclair Violin
Eileen Folson Cello
Erik Friedlander Cello
Pamela Gates Violin
Stanley Hunte Violin
Ronald Lipscomb Cello
Leon Maleson Bass
Miguel Martinez Cello
Jorge Moraga Viola
Robin Ross Viola
Neil Symonette Percussion
Frederick Zlotkin Cello
Ida Bodin Bass
Cenovia Cummins Violin
Benjamin F. Wright Conductor
Richard Brice Viola
Susan Chatman Violin
Lesa Terry Violin
Raphael Saadiq Bass, Guitar, Piano, Keyboards, Background Vocals
Alexander Vselensky Violin
Lauryn Hill Vocals
Belinda Whitney Violin
Peggy Baldwin Cello
Steve Baxter Horn
Joi Gilliam Background Vocals
Common Vocals
Patrick Morgan Viola
Lori Miller Violin
Cameron Patrick Violin
Kathleen Robertson Violin
Anthony Coleman & Selfhaters Trumpet, Horn
Lionel Holoman Organ, Horn, Keyboards, fender rhodes, Wurlitzer
Khari Parker Percussion, Drums
Chalmers "Spanky" Alford Guitar
Kenneth Whalum Horn, Baritone Saxophone, Tenor Saxophone
James Ford Horn
Miguel Atwood-Ferguson Viola
Jerimiah "Jermaine" Paul Background Vocals
Priscilla Jones-Campbell Background Vocals
Robert Ozuna Percussion, Drums, Sitar, Turntables
The Benjamin Wright Orchestra Track Performer
Jawara Adams Trumpet
Jeffrey Clayton Horn
Salvator Cracciolo Horn
Matthew Frank Horn
Charlie Happiness Claves
Christopher Jenkins Viola
Vinnie Jones Voiceover
James Zellar Trombone, Horn
Richard Adkins Violin
Technical Credits
Otis Redding Composer
Diane Warren Composer
Benjamin F. Wright String Arrangements
Johnathan Shorten Composer
Raphael Saadiq Composer, Producer, Horn Arrangements, Audio Production
Billy Mann Composer
Tom Coyne Mastering
Tony Reyes Composer
Sean Mosher-Smith Art Direction
Steve Greenwell Engineer
Dave Larring Engineer
Joss Stone Composer, Executive Producer, Author, Art Direction
Chalmers "Spanky" Alford Composer
Jeremy Mackenzie Digital Editing
Glenn Standridge Composer, Engineer
Robert Ozuna Composer
Lonnie Lynn Composer
Chuck Brungardt Engineer
Justin Kessler Digital Editing
Jonathan Cohen "Meres" Contributor, Paintings
Joshua Lutz Paintings
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Customer Reviews

Average Rating 4
( 12 )
Rating Distribution

5 Star

(6)

4 Star

(3)

3 Star

(1)

2 Star

(1)

1 Star

(1)

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Sort by: Showing 1 – 11 of 12 Customer Reviews
  • Posted October 1, 2010

    I Also Recommend:

    Great Music!

    I was reading someone else's review on another artist (whose CD I loved) and they recommended this artist and album so loving music as I do, I picked it up as well. That was a great recommendation! Joss is lively and spirited and meaningful all wrapped up into one and that's just the lyrics! Her music moves you and is great listening. Enjoy!

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted October 1, 2010

    I Also Recommend:

    Great album

    Love all the songs and would highly recommend.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted October 1, 2010

    Great CD

    Both my teenage daughter and myself absolutely love this CD. You can't help but dance to the tracks and the whole CD just puts you in a good mood. One of the best CD's of the year.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted October 1, 2010

    What happened to Josh Stone?

    Whoever bought her previous CDs will not recognize this Josh Stone. Anyone who liked her previous style will not like this one. I hope her new fan base is enough for the ones she lost. A great disappointment.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted October 1, 2010

    I love this cd

    I don't agree with the reviews on this site. I love this cd. The Outro in my opinion is a waste of album space. But the rest I love.Music, Bruised But Not Broken, Arms of My Baby, and What Were We Thinking are my favorites. I am wearing this disk out and I can't wait to see her in concerrt on thurs. @ the Tabernacle.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted October 1, 2010

    Intervention needed

    What is this mess? Joss has been kidnapped by a hip-hop band! Rap she don't need. Not a tune on the CD. Drum loops, vocal loops - the whole thing is loopy. What a waste.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted December 27, 2008

    No text was provided for this review.

  • Anonymous

    Posted April 17, 2010

    No text was provided for this review.

  • Anonymous

    Posted October 25, 2008

    No text was provided for this review.

  • Anonymous

    Posted January 30, 2009

    No text was provided for this review.

  • Anonymous

    Posted May 27, 2009

    No text was provided for this review.

Sort by: Showing 1 – 11 of 12 Customer Reviews