Artist: Norah Jones
Album: The Fall
Genre: Jazz, Pop, Singer-Songwriter
Release Date: 2009/2012
Audio Format:: FLAC (tracks) 24 bit, 44,1 kHz
Duration: 45:57
Total Tracks: 13
Total Size: 491 MB

Tracklist:

01. Norah Jones – Chasing Pirates (02:40)
02. Norah Jones – Even Though (03:52)
03. Norah Jones – Light As a Feather (03:52)
04. Norah Jones – Young Blood (03:38)
05. Norah Jones – I Wouldn’t Need You (03:30)
06. Norah Jones – Waiting (03:31)
07. Norah Jones – It’s Gonna Be (03:11)
08. Norah Jones – You’ve Ruined Me (02:45)
09. Norah Jones – Back to Manhattan (04:10)
10. Norah Jones – Stuck (05:16)
11. Norah Jones – December (03:05)
12. Norah Jones – Tell Yer Mama (03:26)
13. Norah Jones – Man of the Hour (02:58)

Download:

The Fall establishes Norah Jones as one of music’s greatest singer-songwriters. The cohesive offering is reminiscent of her smash debut Come Away with Me. Working with producer, Jacquire King (Modest Mouse & Kings of Leon), Jones’ sultry vocals and original compositions are striking. The album peaked at #1 on Billboard’s Top Rock Albums and #3 on the Billboard 200. Highlights on the album include “December,” “Young Blood” and “Chasing Pirates.” The album received wide accolades from Rolling Stone magazine, Spin Magazine, Q and Uncut.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 O’Brien 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.