The set closes with Stone's radical reread of the Isleys' "For the Love of You," a daunting and audacious task. And speaking of Thompson, his production of the Stripes tune is more than remarkable it conveys Jack White's intent but in an entirely new language. The strings and funky backbeat provided by Thompson on "I've Fallen in Love With You" are chilling in the way they prod Stone to just spill a need out of her heart that one would believe would be beyond her years. She has unique phrasing and a huge voice that accents, dips, and slips, never overworking a song or trying to bring attention to itself via hollow acrobatics. Her reading of Bobby Miller's "Dirty Man," a track associated with Wright, is gutsy and completely believable, and the interplay between Latimore's piano and Beaver's funky, shimmering guitaristry brings Stone's vocal down to street level.įor a woman as young as Stone to tackle Carla Thomas' "I've Fallen in Love With You" and Aretha Franklin's "All the King's Horses," not to mention John Ellison's nugget "Some Kind of Wonderful," takes guts, chops, or a genuine delusional personality to pull off. Her reading of Harlan Howard's "The Chokin' Kind" reveals that it should have been an R&B tune all along - check out Little Beaver's ( Willie Hale) guitar solo. It's true she's been tutored and mentored by Wright and her musical collaborators in the science of groove, but she keeps it raw enough to be real. These jams drip honey sweet and hard with tough, sexy soul, and Stone's voice is larger than life. The result of all this career changing (or diva postponement) is The Soul Sessions, a collection of ten badass soul classics recorded with all of the above folks - soul princess Betty Wright and S-Curve's Steve Greenberg produced almost all of it in Miami, though a pair of tracks were recorded in New York with R&B wunderkind Mike Mangini and a souled-out cover of the White Stripes "Fell in Love With a Boy," guided by the Roots' ?uestlove (Ahmir Thompson) on the modern tip, was cut in Philly. Then she heard some vintage American Miami soul made by the likes of Latimore, Little Beaver, Betty Wright, Timmy Thomas, and the like, and genuine inspiration took hold. Joss Stone is a young woman who, if you believe the story, was about to record her wannabe pop smash debut and then be well on her way to becoming the next Britney/ Christina. Q: She's 16 and British, what can she possibly know about singing vintage American soul music? A: Enough to make you squirm, get off your ass, and dance close with anybody who'll have you.
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