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107
3.9 out of 5 stars
Glad Rag Doll
Format: Audio CDChange
Price:£7.52+Free shipping with Amazon Prime
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on 2 April 2013
Being so different from the smooth, sexy, seductive mood of most of her previous records, this was a wonderful surprise. How
different is her rendition of the title track from that of Johnnie Ray! Diana's piano playing is, as always, comparable with that of
Nat Cole: what higher praise could there be? If you don't own it, get it.
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5 of 7 people found the following review helpful
on 26 October 2012
Like many who have posted reviews, I love Diana Krall's music, with just about everything she's done in the CD rack. Unlike quite a few, I think this is a great album.

Yes, it is different, with many numbers culled from early '20s and '30s jazz; within the mix are some beautiful ballads, and two tracks that will be really enjoyed by those who love it when jazz meets the blues ('I'm A Little Mixed Up' and 'There Ain't No Sweet Man That's Worth the Salt of My Tears').

What do Diana Krall fans want? - that she continues only to work through the Great American Songbook of predominantly '50s and '60s jazz standards, as she has mainly done? (The exception to this is 'The Girl in the Other Room', half of which was written by her and husband Elvis Costello, with other tracks by Tom Waits, Joni Mitchell, etc.) She probably will do more standards albums, and - if so - I expect I'll enjoy them as much as the others. But this album offers something different as well from her, with excellent supporting musicianship too (I found the guitar work throughout a real joy).

So, a Diana Krall album with nothing by Cole Porter, Irving Berlin or Gershwin in sight (or sound)? Yes, and it's good. This is not 'Fly Me to the Moon', true; but just enjoy the journey to a different place!
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8 of 11 people found the following review helpful
on 16 October 2012
An album out of leftfield or even her comfort zone for Diana Krall. Its actually very good. Another great T Bone Burnette production. You wont find any Bossa Nova or sumptuous strings here. She is probably into Marianne Faithfull territory here without the croak. You could argue that her voice is not suited to this type of material and on some tracks I found myself thinking that but on the tracks where she is not fighting against the backing it works very well. I think that Burnette has been very clever here - normally you would expect to hear horns on this type of material but if he had used them then I think Diana would have been swamped. Some of the arrangements are almost like quirky Tom Waits Swordfishtrombones era arrangements - helped by having Marc Ribot on guitars on many tracks. He has also used unobtrusive etherial keyboard drones/washes by a certain Mr Keefus Ciancia which annoyed me at first but by the end you grow to really like them. Recommended - but only if you dont want more of the same old same old.
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on 27 September 2013
I own all of Diana Krall's cds and am an ardent fan, but this latest collection falls short of her very best, in my view. Nevertheless, I wouldn't be without it.

It was promptly delivered at a competitive price.
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on 16 May 2014
This cd has really grown on me since getting it, when I was a little disappointed. Different and sometimes a bit wacky (When the curtain comes down)! I love it so much now. Especially her aggressive piano playing!
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2 of 3 people found the following review helpful
on 8 November 2012
I bought this on the strength of the producer and band. If T. Bone Burnett can do it for Plant and Krauss, can he do it for Diana too? Well, yes. Only quibbles: the lengthy 'Lonely Avenue' doesn't quite make it, and I could do without Husband Elvis's circus barker turn on 'When The Curtain Comes Down'. If you like Plant & Krauss, Buddy Miller's, 'Majestic Silver Strings', Tom Waits etc., this should be right up your street. It's a big departure though and if you're a diehard crooning-Krall fan this may not be for you. My old dad likes it though.
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on 19 April 2013
Lovely recording over the entire album,material chosen is varied and well considered and clearly demonstrates Krall's abilities in both her playing and singing capabilities.
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on 30 October 2013
I ordered this while going through an emotional time. It pushed all the right buttons! Diana Krall hits the nail on the head when it comes to vocalising confusing feelings!
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14 of 20 people found the following review helpful
TOP 500 REVIEWERon 15 October 2012
I'm not a jazz fan so Diana's earlier piano trio records didn't do a lot for me and I thought 2009's string-laden `Quiet nights' was a bit slushy but this record produced by T-Bone Burnett is probably her most accessible to a non-jazz audience. (Jazz fans should get the deluxe version which has an extra four tracks with just Diana and her piano, including a stripped down version of the title track.) According to the publicity Diana wanted to do the kind of 20/30s songs that she heard at her grand-parents' house and I find T-Bone Burnett a strange choice of producer for that type of song - presumably it was T-Bone's idea to add more modern songs like "Lonely Avenue" and Buddy Miller's "Wide river to cross". Diana consulted a costume designer to come up with the 20/30s fashions she is featured wearing on the cover but to my eyes she just comes over looking like a MILF - which may well attract a few more male buyers

Burnett's production and the rather eclectic backing band just about make this disparate collection of songs into an album with an overall sound but also lots of variety, although Diana's piano is not featured prominently in the mix. Mark Ribot adds his angular lead guitar but thankfully is quite restrained. I think that Diana handles all the different styles well but I wasn't convinced by the mixing of the vintage pop music by the likes of the Boswell Sisters, Ruth Etting and Helen Morgan with more rock and roll flavoured songs like "I'm a little mixed up" and "Lonely Avenue". T-Bone calls the vintage pop "swing music" but I found that it was only Diana's voice that was actually swinging, with the backing being a bit plodding. At times the music led by Ribot's guitar seems to be heading for Tom Waits territory but Diana's `cool-school' vocals keep things from getting too unhinged.

I find it hard to see who this album is aimed at; hopefully long-time Krall fans will accept this change of style as an interesting diversion in her career. However, I suspect that there will not be enough jazz for jazz fans and those more casual listeners may find it too jazzy. Overall I was surprised to find that I quite liked its quirky variety and would probably pick "Prairie Lullaby" and "I Used to Love You but It's All Over Now" as my two favourite tracks.
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on 3 March 2015
This is what happens when an angelic musical genius gets mixed up with a second rate has-been pop 'star'. Sometimes it's better to be alone but still true to yourself.
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