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Most Helpful Customer Reviews
8 of 8 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
Funny old album, I saw Madeleine years ago when she was busking in Paris - there was a magic offbeat quality that had slightly sliped away on her albums BUT this shows signs off a getting that spirit back while still showing off that wonderful voice. Love in Vain is a superb version...... The only thing she needs to tighten up on is the the standard of her song writing. It's nice to hear/see a talented young(ish) singer doing it the way they want to. Listen with an open mind and you'll be pleasently surprised
6 of 6 people found the following review helpful
Format:Audio CD
This got a pretty good write-up in the Guardian, who are not easily impressed. So, being gullible, I bought it. It starts with a cover version of 'Martha my dear', a well-known McCartney vehicle. You wonder why people do cover versions of Beatles songs, as they are so hard to better. Unfortuntely, Madeleine not only fails to add anything to it, but you wonder at one point if she is even going to carry it. Will she reach the high notes in the middle eight? 'Hold your head up you silly girl, see what you've done....' Instead, the second number would have been a much better opener, as it is fairly up-tempo with a lovely sinewous guitar throughout. The disc then opens out into a nice gentle groove of a new take on bluesy popular music. She even does a very eerie version of Robert Johnson's Love in Vain. Throughout, her voice has the vulnerability of Peggy Lee. However, although most of the songs are partly self-penned, she does not sound as if she really takes command of them.
14 of 15 people found the following review helpful
Format:MP3 Download
In 2009, Madeleine Peyroux issued "Bare Bones", her first recording of all-original material with producer Larry Klein and a small group of jazz musicians and co-composers.
"Standing on the Rooftop" is her debut recording for Decca with producer Craig Street.
The group of players here is a diverse lot: drummer Charlie Drayton, guitarists Christopher Bruce and Marc Ribot, bassist Me'Shell Ndegeocello; John Kirby, Glenn Patscha, and Patrick Warren alternate on keyboards, percussionist Mauro Refosco, violinist Jenny Scheinman, and Allen Toussaint guests on piano.
The program is richly and elegantly painted with modern production touches even as its songs are rooted in the historical past of classic Americana: pop songs, blues, jazz, and sitting room tunes.
It includes eight originals and four covers, among them a poem by W.H. Auden set to music by Ribot entitled "Lay Your Sleeping Head, My Love". The music is summery and laid-back.
The languid parlor-room reading of "Martha My Dear" by Lennon & McCartney has a deliberate old-timey feel and twins well with "Fickle Dove" (one of two Peyroux tunes written with Scheinman). Robert Johnson's "Love in Vain", with its strange pump organ backdrop and studio echo, indulges the kinds of production tricks Tom Waits might employ in disguising a blues. That said, this song too has a twin of sorts in the sonically similar title track; a clattering rag blues with ambient electronics held in check by Peyroux's elegantly earthy vocal. Ribot's acoustic guitar and Toussaint's upright on the Auden poem give the singer a perfectly loose frame to create a song inside.
The thin, lean, funky blues on "The Kind You Can't Afford" (co-written with former Rolling Stone Bill Wyman) and Bob Dylan's "I Threw It All Away" are both slow shuffles and high points. In the latter, Peyroux's voice shifts the lyric's meaning to where the implied bitterness gives way to bewilderment.
The album's final three cuts, "Meet Me in Rio", "Ophelia", and "The Way of All Things" make fine use of Peyroux's jazz chops; and because of Street's production, make an exact time-space continuum wonderfully imprecise.
As an album, "Standing on the Rooftop" may not be as striking as its predecessor, but perhaps it wasn't meant to be.
It is a seemingly effort that pushes the familiar toward an uncertain future where pop genres cease to need to exist at all. T. Jurek
"Standing on the Rooftop" is her debut recording for Decca with producer Craig Street.
The group of players here is a diverse lot: drummer Charlie Drayton, guitarists Christopher Bruce and Marc Ribot, bassist Me'Shell Ndegeocello; John Kirby, Glenn Patscha, and Patrick Warren alternate on keyboards, percussionist Mauro Refosco, violinist Jenny Scheinman, and Allen Toussaint guests on piano.
The program is richly and elegantly painted with modern production touches even as its songs are rooted in the historical past of classic Americana: pop songs, blues, jazz, and sitting room tunes.
It includes eight originals and four covers, among them a poem by W.H. Auden set to music by Ribot entitled "Lay Your Sleeping Head, My Love". The music is summery and laid-back.
The languid parlor-room reading of "Martha My Dear" by Lennon & McCartney has a deliberate old-timey feel and twins well with "Fickle Dove" (one of two Peyroux tunes written with Scheinman). Robert Johnson's "Love in Vain", with its strange pump organ backdrop and studio echo, indulges the kinds of production tricks Tom Waits might employ in disguising a blues. That said, this song too has a twin of sorts in the sonically similar title track; a clattering rag blues with ambient electronics held in check by Peyroux's elegantly earthy vocal. Ribot's acoustic guitar and Toussaint's upright on the Auden poem give the singer a perfectly loose frame to create a song inside.
The thin, lean, funky blues on "The Kind You Can't Afford" (co-written with former Rolling Stone Bill Wyman) and Bob Dylan's "I Threw It All Away" are both slow shuffles and high points. In the latter, Peyroux's voice shifts the lyric's meaning to where the implied bitterness gives way to bewilderment.
The album's final three cuts, "Meet Me in Rio", "Ophelia", and "The Way of All Things" make fine use of Peyroux's jazz chops; and because of Street's production, make an exact time-space continuum wonderfully imprecise.
As an album, "Standing on the Rooftop" may not be as striking as its predecessor, but perhaps it wasn't meant to be.
It is a seemingly effort that pushes the familiar toward an uncertain future where pop genres cease to need to exist at all. T. Jurek
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Most Recent Customer Reviews
Disappointed
In comparison to her other CD's this is not of the same quaility,particularly the type of tracks that have been recorded
Published 5 months ago by Wrecks Smith
Maddy strikes again
well what can i say, this is pure Madeleine Peyroux and up there with her best, keep it up Madeleine.
Published 6 months ago by Mr. S. Bowers
Poor show.
The ladies and gentlemen who have written reviews of one or two stars are entirely correct in their appraisals. Read more
Published 6 months ago by Mr. Oliver W. Davies
Keeps on improving
Oh dear. By the sound of some of these reviews I might think that Peyroux was on a downward spiral. Nothing like. This CD is intelligent, inventive and has variety. Read more
Published 8 months ago by lonniej
Should have saved the money
Don't get me wrong - I love Madeleine Peyroux, but this is way off course. There are a handful of tracks that aren't bad but there are also some real turkeys. Read more
Published 8 months ago by Ginger
easy Peyroux
Standing on the Rooftop is another easy listening jazz album fom Madeleine Peyroux. Probably not her best album but great easy listening as background music for a dinner party or... Read more
Published 8 months ago by fishphotos
Great
I've got a couple of other CD's by this artist so knew what to expect. I was not disappointed, it's great.
Published 8 months ago by Mike
Easy listening
Madeleine Peyroux is wonderfully evocative with undertones of jazz and wistful lyrics. This is easy relaxing music - perfect to share a glass of wine with on a cozy evening.
Published 9 months ago by Papoose
Wrong direction
Great fan of Madelene, all previous albums consistent and innovative. This one, I am sorry to say, went sideways.. Read more
Published 9 months ago by The Engineer
Standing on the rooftop
A bit too "intimate night club" for me.
We saw her at the Sage in Gateshead, and the venue was far too large for her singing style. "Dreamland" is the best C.D.
We saw her at the Sage in Gateshead, and the venue was far too large for her singing style. "Dreamland" is the best C.D.
Published 9 months ago by Mrs. Marianne Hall
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