The Fall

Norah Jones  Main Performer

See full product details
Choose a format:
Previous
  • Audio Compact Disc   $3.75
  • Used - Audio Compact Disc   $12.49
  • Audio Compact Disc [Deluxe Edition]   $7.62
  • Used - Audio Compact Disc [Deluxe Edition]   $3.99
  • Long Play Record   $42.50
  • Long Play Record   $15.84
  • Super Audio CD   $49.04

Used - Audio Compact Disc

Usually Ships Within 48 Hours.

$12.49

Add to Cart Add to Wish List Share with a Friend
Check Store Availability
Next
Track
Listen
1 Chasing Pirates Jones 2:40
2 Even Though Harris/Harris/Jones 3:52
3 Light as a Feather Adams/Adams/Jones 3:52
4 Young Blood Jones/Martin/Martin 3:38
5 I Wouldn't Need You Jones 3:30
6 Waiting Jones 3:31
7 It's Gonna Be Jones 3:11
8 You've Ruined Me Jones 2:45
9 Back to Manhattan Jones 4:09
10 Stuck Jones/Sheff 5:15
11 December Jones 3:05
12 Tell Yer Mama Harris/Harris/Jones 3:25
13 Man of the Hour Jones 2:56
  • Overview
  • Production Details
  • Editorial Reviews
The Fall

Audio Compact Disc

Category: Jazz

The Fall

UPC: 5099969928628

Release Date: 11/17/2009

Original Release Date: 11/17/2009

Tracks: [Chasing Pirates, Even Though, Light as a Feather, Young Blood, I Wouldn't Need You, Waiting, It's Gonna Be, You've Ruined Me, Back to Manhattan, Stuck, December, Tell Yer Mama, Man of the Hour]
Contributors:

Stephen Thomas Erlewine

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. ~ Stephen Thomas Erlewine, Rovi