Chrisette michele love is you piano
The acid and pectin in the fruit help prepare her voice for performing, the 26-year-old goes on to explain. Album Description"I was backstage at the David Letterman show on a couch, probably eating grapes," says the singer-songwriter. See More Your browser does not support the audio element. Recording Engineer, StudioPersonnel - Mark Roule, Engineer, Assistant Mixer, StudioPersonnel - Jeremy Turner, Cello, AssociatedPerformer - Eileen Moon, Cello, AssociatedPerformer - Chrisette Michele, MainArtist, ComposerLyricist - Steve Williamson, Clarinet, AssociatedPerformer - Ann Lehman, Violin, AssociatedPerformer - Thom Cadley, Recording Engineer, StudioPersonnel - Lino Gomez, Bass Clarinet, AssociatedPerformer - Qiang Tu, Cello, AssociatedPerformer - Gail Kruvand Moye, AssociatedPerformer, Bass (Vocal) Recording Engineer, StudioPersonnel - Don Goodrick, Asst. Serious skills.Įmily Mitchell, Bass Clarinet, AssociatedPerformer - John Stephens, ComposerLyricist - TONY MASERATI, Mix Engineer, StudioPersonnel - Jason Stasium, Recording Engineer, StudioPersonnel - John Legend, Producer, Piano, AssociatedPerformer - Stephen Barber, String Arranger, AssociatedPerformer - Lisa Kim, Violin, AssociatedPerformer - Sandra Park, Violin, AssociatedPerformer - Sharon Yamada, Violin, AssociatedPerformer - Hyomin Kang, Asst. Chrisette's leisurely dismissal of the love songs she's tolerating is far more seductive than her targets, and the performance is so unforced that it might just be the way she talks. Radio," one of several productions from apparent newcomer Mo Jaz, is the album's key standout. They are two of the finest surrogate Lauryn Hill tracks of 2007. (She also co-wrote each song.) The album could've used a couple more upbeat and assertive songs in the vein of the shuffling, Run-D.M.C.-sampling, will.i.am-produced "Let's Rock" ("Let me get a verse, yeah I got nerve, don't need to rehearse, I just need to blow"), and a track with a production credit to the website titled "Good Girl" ("Oh why do my sisters steady find misters who swear what they give her is better than quality time?"). Following strategically placed features on Jay-Z's Kingdom Come and Nas' Hip Hop Is Dead - her roles on "Lost One," "Still Dreaming," and "Can't Forget About You" could've been mistaken for dusty samples - the album straddles old-but-new/new-but-old rather adeptly, and the ease with which she shifts from approach to approach is impressive. But that's just her voice, which adapts to each mostly fresh-sounding production on I Am, though there is no denying she is not going to impinge upon the territories staked out by most other R&B artists her age. Above all, there's her voice, a gently scratchy instrument that occasionally plays up the fact that none of its antecedents were born after the '60s. And then there's "Take me back in the day, when lovin' was pure," from "Golden." She was born in 1982. Take, for instance, "I've been studying Miss Billie, Miss Ella, Miss Sarah Vaughan, and Miss Natalie Cole," from "Let's Rock." That's reverence. Buy the album Starting at £13.99Ĭhrisette Michele sometimes seems more eager to please her elders than express herself straight-up.
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