My One And Only Thrill (Deluxe)

Melody GardotJanuary 1, 2009
Jazz℗ 2009 Decca, a division of Universal Music Operations Limited
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My One and Only Thrill is the second studio album by American singer and songwriter Melody Gardot, released on March 16, 2009, by Verve Records. Three singles were released from the album: "Who Will Comfort Me", "Baby I'm a Fool", and "Your Heart Is As Black As Night". All tracks are original, except "Over the Rainbow", which is included as a tribute to her grandmother. It features string arrangements by Vince Mendoza, who, along with producer Larry Klein, is known for his works with Joni Mitchell. My One and Only Thrill received three Grammy Award nominations: Instrumental Arrangement Accompanying Vocalist for the title track, Best Engineered Album, Non-Classical, and Producer of the Year, Non-Classical. The album has sold over 1.5 million copies worldwide.
A deluxe edition was released in November 2009, which consists of a digipak including an orchestral version of "If the Stars Were Mine" and an additional EP with five tracks recorded live at a radio concert in Paris, as well as an extended booklet. A second deluxe addition, the Starwatch edition, was released in November 2010.

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Disc 1

Baby I'm A Fool3:31
If The Stars Were Mine2:50
Who Will Comfort Me4:57
Your Heart Is As Black As Night2:43
Lover Undercover4:26
Our Love Is Easy5:29
Les Etoiles3:20
The Rain3:23
My One And Only Thrill6:12
Deep Within The Corners Of My Mind3:22
Over The Rainbow4:34
If The Stars Were Mine (Orchestral Version)3:13

Disc 2

The Rain (Live In Paris)5:11
Ain't No Sunshine (Live In Paris)5:41
Baby I'm A Fool (Live In Paris)3:42
My One And Only Thrill (Live In Paris)6:27
Love Me Like A River Does (Live In Paris)6:11
36 total

Additional Information

Total length
January 1, 2009
℗ 2009 Decca, a division of Universal Music Operations Limited
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Madeleine Peyroux took significantly less time than the eight years between her debut and its follow-up to release her third album, Half the Perfect World, which finds a more mature -- or at least less vulnerable -- singer, one who chooses to express herself with nuance rather than overtness. Often, like in the opening "I'm All Right" -- one of four original songs -- this aversion to unconcealed emotion works well, playing off the swelling Hammond, the swinging rhythm of the acoustic guitar (contrasting nicely with the hook of "It's all right, I've been lonely before"), and the simple drums. But at other times, like in "A Little Bit" -- which is bluesy and more upbeat and practically screams for an outburst, a growl, something -- her hesitancy instead almost comes across as a flaw, as a fear of fully expressing herself. On "Blue Alert," where Anjani's voice was full and seductive, rife with curling smoke rings and lipstick-stained wineglasses, Peyroux seems desolate and flat and she simplifies the situation too much, though she does fare much better on the other Anjani/Leonard Cohen piece and title track of the album. Here, she changes its perspective, mixing the characters together and sounding beautifully fragile, yet at the same time strong and certain, as she sings about her love. The same can be said for her version of the Johnny Mercer-penned "The Summer Wind," which uses a cleaner, less dramatic arrangement to convey the feeling that, though she's thinking about past events with some nostalgia, she's also able to accept the outcome and move forward with her life. This kind of resignation hangs heavy throughout the entire album, making every song she covers seem sadder than the original. Joni Mitchell's "River," sung with k.d. lang, is slow and heart-wrenching (lang's voice, especially, brings a sweet melancholy to it), and Peyroux's version of Charlie Chaplin's "Smile" has a kind of dejected resoluteness that makes you wonder if she can even follow the advice she's singing. This subtlety is two-fold, however. It's so prevalent in the music that it's hard to tell if it's hinting at greater depth or if it's really a protective blanket, an affected timidity to prevent exposure. The delicateness of Half the Perfect World is certainly nice, but Peyroux seems to be using it as a device to hide behind instead of an actual expression of feeling, and so while the album is an overall success, it still leaves questions lingering behind the softly clicking hi-hat, the wandering bass, of when the singer's really going to show herself completely. [The 2006 edition of the album includes two bonus tracks.]
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