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Norah Jones – The Vinyl Collection Box Set

$400.00

Norah Jones is the rare artist who has combined widespread critical acclaim with immense commercial success, winning nine Grammy Awards and selling 40 million albums in just a decade, while collaborating with artists from across the spectrum from jazz to hip hop, rock to country. Her pitch perfect voice combined with her choice of the finest musicians along with top-flight producers such as Arif Mardin, Danger Mouse and Jacquire King have made her releases go-to demonstration discs for audiophile stereo systems. Now ten years into her already impressive career, she is releasing her fifth studio album Little Broken Hearts on May 1, 2012 produced by and co-written with five-time Producer of the Year Grammy nominee Danger Mouse, and to celebrate, Blue Note Records and Analogue Productions are collaborating to re-issue her entire catalog in limited edition audiophile LP and SACD editions.

 

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Description

NORAH JONES THE VINYL COLLECTION 200g 5LP & BONUS LP BOX SET

Five individual titles on 200 Gram Vinyl plus Exclusive Bonus Album of ‘Covers’ Classics!
Housed in a Deluxe Textured-Paper Sturdy Box that feels like Linen!
Re-Mastered from the Original Source by Kevin Gray! Pressed at Quality Record Pressings! Limited Audiophile Edition!

The LP editions of the five albums — 2002’s Come Away With Me, 2004’s Feels Like Home, 2007’s Not Too Late, 2009’s The Fall and Norah’s new album …Little Broken Hearts — have all been re-mastered from the original sources by Kevin Gray at Cohearant Audio. The LPs will be pressed on 200 Gram vinyl at Quality Record Pressings (fast gaining popular consensus as the best pressing plant in the world) and, keeping with Analogue Productions’ standards, they will be packaged in heavy cardboard stock, tip-on, old-school gatefold sleeves.

In addition to the individual releases, Analogue and Blue Note will produce a limited edition vinyl box set comprising all five titles plus an exclusive bonus album entitled Covers. Only available as part of these sets, Covers includes ten rare or unreleased interpretations of classics recorded throughout Norah’s career. Artists covered include Bob Dylan, Johnny Cash, Tom Waits, Horace Silver, Wilco and more.

Features:

• Five individual titles plus exclusive bonus album of 10 cover classics,
includes Bob Dylan, Johnny Cash, Tom Waits, Horace SIlver, Wilco & more
• 200 Gram Vinyl
• 33 1/3 rpm Speed LP
• Re-Mastered from the Original Source by Kevin Gray at Cohearant Audio
• Pressed at Quality Record Pressings
• Each Album Features Original Artwork and Gatefold Jacket
• Heavy Cardboard Stock Packaging featuring ‘Old-School’ Tip-On Gatefold Sleeves
• Housed in a Deluxe Textured-Paper Sturdy Box that feels like Linen
• New Album, Little Broken Hearts, produced by Danger Mouse
• Limited Audiophile Edition

 

Side A:

1. Don’t Know Why
2. Seven Years
3. Cold Cold Heart
4. Feelin’ The Same Way
5. Come Away With Me
6. Shoot The Moon
7. Turn Me On

Side B:

1. Lonestar
2. I’ve Got To See You Again
3. Painter Song
4. One Flight Down
5. Nightingale
6. The Long Day Is Over
7. The Nearness Of You

AllMusic Review by David R. Adler

Norah Jones’ debut on Blue Note is a mellow, acoustic pop affair with soul and country overtones, immaculately produced by the great Arif Mardin. (It’s pretty much an open secret that the 22-year-old vocalist and pianist is the daughter of Ravi Shankar.) Jones is not quite a jazz singer, but she is joined by some highly regarded jazz talent: guitarists Adam Levy, Adam Rogers, Tony Scherr, Bill Frisell, and Kevin Breit; drummers Brian Blade, Dan Rieser, and Kenny Wollesen; organist Sam Yahel; accordionist Rob Burger; and violinist Jenny Scheinman. Her regular guitarist and bassist, Jesse Harris and Lee Alexander, respectively, play on every track and also serve as the chief songwriters. Both have a gift for melody, simple yet elegant progressions, and evocative lyrics. (Harris made an intriguing guest appearance on Seamus Blake’s Stranger Things Have Happened.) Jones, for her part, wrote the title track and the pretty but slightly restless “Nightingale.” She also includes convincing readings of Hank Williams’ “Cold Cold Heart,” J.D. Loudermilk’s “Turn Me On,” and Hoagy Carmichael’s “The Nearness of You.” There’s a touch of Rickie Lee Jones in Jones’ voice, a touch of Bonnie Raitt in the arrangements; her youth and her piano skills could lead one to call her an Alicia Keys for grown-ups. While the mood of this record stagnates after a few songs, it does give a strong indication of Jones’ alluring talents.

Side A:
1. Sunrise
2. What Am I To You?
3. Those Sweet Words
4. Carnival Town
5. In The Morning
6. Be Here To Love Me

Side B:
1. Creepin’ In
2. Toes
3. Humble Me
4. Above Ground
5. The Long Way Home
6. The Prettiest Thing
7. Don’t Miss You At All

AllMusic Review by Matt Collar

It may be far too obvious to even mention that Norah Jones’ follow-up to her 18-million-unit-selling, eight-Grammy-winning, genre-bending, super-smash album Come Away with Me has perhaps a bit too much to live up to. But that’s probably the biggest conundrum for Jones: having to follow up the phenomenal success of an album that was never designed to be so hugely popular in the first place. Come Away with Me was a little album by an unknown pianist/vocalist who attempted to mix jazz, country, and folk in an acoustic setting — who knew? Feels Like Home could be seen as “Come Away with Me Again” if not for that fact that it’s actually better. Smartly following the template forged by Jones and producer Arif Mardin, there is the intimate single “Sunrise,” some reworked cover tunes, some interesting originals, and one ostensible jazz standard. These are all good things, for also like its predecessor, Feels Like Home is a soft and amiable album that frames Jones’ soft-focus Aretha Franklin voice with a group of songs that are as classy as they are quiet. Granted, not unlike the dippy albeit catchy hit “Don’t Know Why,” they often portend deep thoughts but come off in the end more like heartfelt daydreams. Of course, Jones could sing the phone book and make it sound deep, and that’s what’s going to keep listeners coming back.
What’s surprising here are the bluesy, more jaunty songs that really dig into the country stylings only hinted at on Come Away with Me. To these ends, the infectious shuffle of “What Am I to You?” finds Jones truly coming into her own as a blues singer as well as a writer. Her voice has developed a spine-tingling breathy scratch that pulls on your ear as she rises to the chorus. Similarly, “Toes” and “Carnival Town” — co-written by bassist Lee Alexander and Jones — are pure ’70s singer/songwriting that call to mind a mix of Rickie Lee Jones and k.d. lang. Throw in covers of Tom Waits and Townes Van Zandt along with Duke Ellington’s “Melancholia,” retitled here “Don’t Miss You at All” and featuring lyrics by Jones, and you’ve got an album so blessed with superb songwriting that Jones’ vocals almost push the line into too much of a good thing. Thankfully, there is also a rawness and organic soulfulness in the production that’s refreshing. No digital pitch correction was employed in the studio and you can sometimes catch Jones hitting an endearingly sour note. She also seems to be making good on her stated desire to remain a part of a band. Most all of her sidemen, who’ve worked with the likes of Tom Waits and Cassandra Wilson, get writing credits. It’s a “beauty and the beast” style partnership that harks back to the best Brill Building-style intentions and makes for a quietly experimental and well-balanced album.

Side A:
1. Wish I Could
2. Sinkin’ Soon
3. The Sun Doesn’t Like You
4. Until The End
5. Not My Friend
6. Thinking About You

Side B:
1. Broken
2. My Dear Country
3. Wake Me Up
4. Be My Somebody
5. Little Room
6. Rosie’s Lullaby
7. Not Too Late

AllMusic Review by Stephen Thomas Erlewine

Recoils from fame usually aren’t as subdued as Norah Jones’ third album, Not Too Late, but such understatement is customary for this gentlest of singer/songwriters. Not Too Late may not be as barbed or alienating as either In Utero or Kid A — it’s not an ornery intensification of her sound nor a chilly exploration of its furthest limits — but make no mistake, it is indeed a conscious abdication of her position as a comfortable coffeehouse crooner and a move toward art for art’s sake. And, frankly, who can blame Jones for wanting to shake off the Starbucks stigmata? Although a large part of her appeal has always been that she sounds familiar, like a forgotten favorite from the early ’70s, Jones is too young and too much of a New York bohemian to settle into a role as a nostalgia peddler, so it made sense that she started to stretch a little after her 2004 sophomore set, Feels Like Home, proved that her surprise blockbuster 2002 debut, Come Away with Me, was no fluke. First, there was the cabaret country of her Little Willies side band, then there was her appearance on gonzo art rocker Mike Patton’s Peeping Tom project, and finally there’s this hushed record, her first containing nothing but original compositions. It’s also her first album recorded without legendary producer Arif Mardin, who helmed her first two albums, giving them a warm, burnished feel that was nearly as pivotal to Jones’ success has her sweet, languid voice. Mardin died in the summer of 2006, and in his absence, Jones recorded Not Too Late at the home studio she shares with her collaborator, bassist and boyfriend Lee Alexander. Although it shares many of the same sonic characteristics as Jones’ first two albums, Not Too Late boasts many subtle differences that add up to a distinctly different aesthetic. Jones and Alexander have stripped Norah’s music to its core. Gone are any covers of pop standards, gone are the studio pros, gone is the enveloping lushness that made Come Away with Me so easy to embrace, something that Not Too Late is most decidedly not. While this might not have the rough edges of a four-track demo, Not Too Late is most certainly music that was made at home with little or no consideration of an audience much larger than Jones and Alexander. It’s spare, sometimes skeletal, often sleepy and lackadaisical, wandering from tunes plucked out on acoustic guitars and pianos to those with richer full-band arrangements. Norah Jones has never exactly been lively — part of her charm was her sultry slowness, ideal for both Sunday afternoons and late nights — but the atmosphere here is stultifying even if it’s not exactly unpleasant. After all, unpleasantness seems to run contrary to Jones’ nature, and even if she dabbles in Tom Waits-ian carnivalesque stomps (“Sinkin’ Soon”) or tentatively stabs at politics (“My Dear Country”), it never feels out of place; often, the shift is so subtle that it’s hard to notice. That subtlety is the biggest Achilles’ heel on Not Too Late, as it manifests itself in songs that aren’t particularly distinctive or performances that are particularly varied. There are exceptions to the rule and they all arrive with full-band arrangements, whether it’s the lazy jazz shuffle of “Until the End,” the country-tinged “Be My Somebody,” or the wonderful laid-back soul of “Thinking About You.” These are songs that not only sound full but they sound complete, songs that have a purposeful flow and are memorable for both their melody and sentiment. They would have been standouts on Feels Like Home, but here they are even more distinctive because the rest of the record plays like a sketchbook, capturing Jones and Alexander figuring out how to move forward after such great success. Instead of being the end result of those experiments, the completed painting after the sketch, Not Too Late captures their process, which is interesting if not quite compelling. But its very release is a clear statement of artistic purpose for Jones: its ragged, unfinished nature illustrates that she’s more interested in pursuing her art than recycling Come Away with Me, and if this third album isn’t as satisfying as that debut, it nevertheless is a welcome transitional effort that proves her artistic heart is in the right place.

Side A:
1. Chasing Pirates
2. Even Though
3. Light as a Feather
4. Young Blood
5. I Wouldn’t Need You
6. Waiting
7. It’s Gonna Be

Side B:
1. You’ve Ruined Me
2. Back to Manhattan
3. Stuck
4. December
5. Tell Yer Mama
6. Man of the Hour

AllMusic Review by 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 Brion 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.

Side A:
1. Good Morning
2. Say Goodbye
3. Little Broken Hearts

Side B:
1. She’s 22
2. Take It Back
3. After The Fall

Side C:
1. 4 Broken Hearts
2. Travelin’ On
3. Out On The Road

Side D:
1. Happy Pills
2. Miriam
3. All A Dream

AllMusic Review by Stephen Thomas Erlewine

Exorcizing the ghost of a failed relationship via the time-honored tradition of the breakup album, Norah Jones luxuriates in beautiful misery on Little Broken Hearts. Liberated by the separation but not quite ready to let it go, Jones achieves a curious subdued tension here, dressing unadorned confessionals in softly stylized studio noir created with the assistance of producer Danger Mouse, who collaborated with her the year before on the collective Rome. Seeming opposites — the classicist meets the futurist — Jones and Danger Mouse are well matched, as both artists are not as set in their ways as their individual reputations would suggest. Jones began to drift away from the jazzy sophistication of Come Away with Me when she released the quietly adventurous Not Too Late way back in 2007, the year after Danger Mouse broke into the mainstream via Gnarls Barkley. In the ensuing half decade, the singer/songwriter continued to dabble in different sounds and styles while the producer streamlined his electronic eccentricities, leaving them to meet at the crossroads of Little Broken Hearts, where he wrings out the pathos in her songs. The songs themselves hold little mystery — all motivations are laid bare, there are no twists in the melodies or detours hidden within the structure — so all the mystique derives from a production that amplifies the themes. Occasionally, Danger Mouse piles on his signature murk a little too thickly, weighing down such spare sad songs as “She’s 22” and “Miriam,” yet his aural tapestries often lend the tunes a lilting melancholy they require and add dimension to the album’s poppier moments (“Happy Pills,” “Say Goodbye”). Conversely, by placing so much emphasis on the stylish ever-shifting surfaces of its production, Little Broken Hearts never quite sinks in emotionally. Norah Jones may be pouring her heart out but it’s been given an elegantly detailed sculpture that camouflages her pain. Listen closely and its evident, but it takes effort to ignore the alluring haze and hear the songs that lie beneath.

Side A:
1. Sleepless Nights (The Everyly Brothers)
2. I’ll Be Your Baby Tonight (Bob Dylan)
3. Jesus, Etc. (Wilco)
4. Sweet Dreams (Patsy Cline)
5. Cry Cry Cry (Johnny Cash)

Side B:
1. Picture In A Frame (Tom Waits)
2. Hands On The Wheel – with M. Ward (Willie Nelson)
3. She (Gram Parsons)
4. My Blue Heaven (Fats Domino)
5. Peace (Horace Silver)

 

 

Additional information

Weight 4.600 kg
Dimensions 36.0 × 36.0 × 8.0 cm