JOSS STONE – INTRODUCING JOSS STONE (2007)Nothing incurs this reviewer’s displeasure more than an artist who flippantly dismisses their previous work(s). It’s an outrageous insult to the audience who supported a fledgling career, took the songs into their homes and hearts, and most importantly, parted with hard earned cash, encouraging and rewarding their particular favourite for the entertainment they will provide now and in the future. What’s more, it makes the fans feel like mugs. “Introducing Joss Stone†is the 2007 model Joss Stone, freed of the apparent record label pressure she purported to on her two previous long players, she’s recorded the album that apparently reflects “the true meâ€, and as far as she’s concerned anything that was recorded previously is about as much use as Vinnie Jones performing a Bard classic for the Royal Shakespeare Company. Talking of which, our erstwhile former soccer hatchet job and Hollywood “rent a thug†opens up the album with his own immortal lines "I see change, I embody change, all we do is change, yeah, I know change, we're born to change". What a complete load of ungainly twaddle. Change to Vinnie Jones is leading with his left instead of his right (or his head), and that kind of sums up “Introducing..†It threatens to be different, but ultimately it’s just the same stuff wrapped up in a different Producer’s coat. Raphael Saadiq has attempted to liven up the easy going retro soul groove of her debut, dispense with the Hip Hop beats of “Mind Body & Soul†for a more clean cut, heavily rhythmical R&B/Northern Soul theme, and the cameos from Lauryn Hill and Common portray an intention that Stone’s music should be less blue eyed soul Diva, more knowing urban Momma.There’s little doubt that Stone possesses outstanding vocal talent, but as is the story with many of her ilk, she’s only as good as the songs she sings, and “Introducing…†is a mixed bag with few highlights. It kicks off badly, with the clunky “Girl They Won’t Believe Itâ€, which has all the necessary syrupy string arrangements, and bright melodies, but it’s overshadowed by an incredibly loud, badly mastered drum track with fills that sound amateurish. Lauryn Hill can’t even save the wallowing banality of “Musicâ€, and the lead off single “Tell Me ‘Bout It†isn’t any where near strong enough to promote the album. When the rhythms are stripped, and the tempo slows down there’s still hope in the classy old styles that bear more of a connection to the likes of Aretha Franklin and Gladys Knight, of which “Proper Niceâ€, “Bruised But Not Broken†and especially “What Were We Thinking†make a decent impression, which leads one to strongly believe that Stone needs to remain faithful to the heroines of the past, and forget trying to compete with Christina Aguilera, Mariah Carey and the like. She’s still the girl next door, the sweet damsel from Devon, not the big league, multi marketable, sight, sound and sex product that many of today’s female Pop stars have become, and for that reason she needs to remain true to her strengths.Stone has a great Soul voice, it’s just a shame this album succeeds so well in hiding it.5/10"Tell Me 'Bout It"
Augusts1 says
Seems like they are trying to ride the coattails of a certain "Rehab" rising star by the name of Ms. Winehouse. Even Joss's look in the video looks like Amy w/her hair & especially the heavy makeup, which is really unfortunate cause she really doesn't need to imitate anyone w/her amazing voice. As much as I like her voice though her music has always been too ordinary for me.
Btw, Raphael Saadiq used to be in the group Tony, Toni, Tone, an r & b group back in the late '80s, early '90s who did some great songs.
JOSS STONE – INTRODUCING JOSS STONE (2007)Nothing incurs this reviewer’s displeasure more than an artist who flippantly dismisses their previous work(s). It’s an outrageous insult to the audience who supported a fledgling career, took the songs into their homes and hearts, and most importantly, parted with hard earned cash, encouraging and rewarding their particular favourite for the entertainment they will provide now and in the future. What’s more, it makes the fans feel like mugs. “Introducing Joss Stone†is the 2007 model Joss Stone, freed of the apparent record label pressure she purported to on her two previous long players, she’s recorded the album that apparently reflects “the true meâ€, and as far as she’s concerned anything that was recorded previously is about as much use as Vinnie Jones performing a Bard classic for the Royal Shakespeare Company. Talking of which, our erstwhile former soccer hatchet job and Hollywood “rent a thug†opens up the album with his own immortal lines "I see change, I embody change, all we do is change, yeah, I know change, we're born to change". What a complete load of ungainly twaddle. Change to Vinnie Jones is leading with his left instead of his right (or his head), and that kind of sums up “Introducing..†It threatens to be different, but ultimately it’s just the same stuff wrapped up in a different Producer’s coat. Raphael Saadiq has attempted to liven up the easy going retro soul groove of her debut, dispense with the Hip Hop beats of “Mind Body & Soul†for a more clean cut, heavily rhythmical R&B/Northern Soul theme, and the cameos from Lauryn Hill and Common portray an intention that Stone’s music should be less blue eyed soul Diva, more knowing urban Momma.There’s little doubt that Stone possesses outstanding vocal talent, but as is the story with many of her ilk, she’s only as good as the songs she sings, and “Introducing…†is a mixed bag with few highlights. It kicks off badly, with the clunky “Girl They Won’t Believe Itâ€, which has all the necessary syrupy string arrangements, and bright melodies, but it’s overshadowed by an incredibly loud, badly mastered drum track with fills that sound amateurish. Lauryn Hill can’t even save the wallowing banality of “Musicâ€, and the lead off single “Tell Me ‘Bout It†isn’t any where near strong enough to promote the album. When the rhythms are stripped, and the tempo slows down there’s still hope in the classy old styles that bear more of a connection to the likes of Aretha Franklin and Gladys Knight, of which “Proper Niceâ€, “Bruised But Not Broken†and especially “What Were We Thinking†make a decent impression, which leads one to strongly believe that Stone needs to remain faithful to the heroines of the past, and forget trying to compete with Christina Aguilera, Mariah Carey and the like. She’s still the girl next door, the sweet damsel from Devon, not the big league, multi marketable, sight, sound and sex product that many of today’s female Pop stars have become, and for that reason she needs to remain true to her strengths.Stone has a great Soul voice, it’s just a shame this album succeeds so well in hiding it.5/10"Tell Me 'Bout It"
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