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New Moon Daughter
 
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New Moon Daughter

22 Feb 1996 | Format: MP3

£10.49 (VAT included if applicable)
Also available in CD Format
Song Title
Time
Popularity  
30
1
5:35
30
2
4:53
30
3
5:56
30
4
4:13
30
5
4:08
30
6
4:39
30
7
4:51
30
8
5:16
30
9
6:30
30
10
5:45
30
11
5:05
30
12
5:01

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Product details

  • Original Release Date: 22 Feb 1996
  • Release Date: 22 Feb 1996
  • Label: Blue Note Records
  • Copyright: (C) 1995 Blue Note Records
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 1:01:52
  • Genres:
  • ASIN: B001I1X9KS
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (8 customer reviews)
  • Amazon Bestsellers Rank: 25,860 in MP3 Albums (See Top 100 in MP3 Albums)

Customer Reviews

4.4 out of 5 stars
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Most Helpful Customer Reviews

13 of 13 people found the following review helpful By nicjaytee on 6 Jun 2003
Format: Audio CD
This is no easy listen... sparse, complex, often brooding arrangements coupled with Cassandra Wilson's deep, earthy voice and complicated phrasing demand your attention. Waver and you're lost. But... give this album the listening time & space it deserves and reap the rewards. Unusual, highly atmospheric tracks that combine superb singing and marvellously "distant" musical backings to weave real magic.

Cassandra Wilson's own excellent, jazz tinged compositions sit alongside a stunning set of ingenious covers from a highly diverse spectrum of composers. "Last Train To Clarksville" is transformed from a catchy pop song into a stripped-down and genuinely effective jazz vocal work-out. "Harvest Moon" slows down Neil Young's already wistful ballad to an almost painful level and, in so doing, takes it to an even higher level of gentle reflection. Hank Williams' "I'm So Lonesome I Could Cry" & U2's "Love Is Blindness" are transformed into 3 in the morning jazz club classics. The vocals and backing to Robert Johnson's "32-20" are simplified to the point where only the essence of the blues is allowed to shine and, Lewis Allan's "Strange Fruit" becomes as desolate and challenging as it's horrific lyrics.

Clever, very effective and worth the required effort!
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7 of 7 people found the following review helpful By A Customer on 13 Dec 1999
Format: Audio CD
For once here is a CD by an artist that creates creative jazz interpretations of popular songs. Do not expect the usual 'jazzed up' covers that we are all so used to hearing. This is an intelligent and beautiful piece of work. Sung beautifully and backed by fantastic musicians, an essential part of your music collection.
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4 of 4 people found the following review helpful By A Customer on 10 Oct 2002
Format: Audio CD Verified Purchase
This is such a gem of an album. Her treatment of "Last Train to Clarksville" is worth the price alone. Superb musicianship with a fantastic, distinctive, "classic" jazz voice.
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6 of 7 people found the following review helpful By A Customer on 12 Sep 2002
Format: Audio CD
The title here is provocative - the New Moon, the sleeve notes tell us from an Ashanti proverb, "cures disease". I see the album more in terms of being in the dark and the efforts of people to move themselves out of it.
The opening song, however, is an arrangement of that great Billie Holiday standard "Strange Fruit" and I have to say, I really don't it, which is rare for me, as a really intense music lover. The golden rule of covering classic songs is only do them if you can do them better or do them justice. This rendition does neither. The instrumental arrangements are broken, trying to create, as far as I feel it, a hard atmosphere of the streets racked by poverty, despair and broken lives. But the lyrics of "Strange Fruit" so clearly depict a certain time, space and place in black history that this attempt to update just jars. The lyrics are not flexible enough to allow for that. Billie Holiday's renditions were always musically swamped with the perfume she sung about pierced by the horror of dead bodies on the landscape. All of that atmospheric realism is completely lost here and comes across confused and so without impact. It's the kind of song that if you do it, you've got to do it straight because the words are everything. Even Tori Amos understood that in her admirable cover of it a few years ago. For me, Wilson's version is the real low-point of the whole album.
On the plus side then, the album can only get better !
"Love Is Blindness" is fabulous. This cover hits the mark. It gathers up all the deep emotion that Bono may have missed in the U2 version originally. This song really speaks of humanity, and thank goodness after the opening track. "Solomon Sang" is Wilson written and rather good.
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