Norah Jones: Not Too Late CD Track Listing

A list by checkmate

Norah Jones Not Too Late (2007)
Originally Released January 29, 2007\n\nAMG EXPERT REVIEW: Recoils from fame usually aren't as subdued as Norah Jones' third album, Not Too Late, but such understatement is customary for this gentlest of singer/songwriters. Not Too Late may not be as barbed or alienating as either In Utero or Kid A -- it's not an ornery intensification of her sound nor a chilly exploration of its furthest limits -- but make no mistake, it is indeed a conscious abdication of her position as a comfortable coffeehouse crooner and a move toward art for art's sake. And, frankly, who can blame Jones for wanting to shake off the Starbucks stigmata? Although a large part of her appeal has always been that she sounds familiar, like a forgotten favorite from the early '70s, Jones is too young and too much of a New York bohemian to settle into a role as a nostalgia peddler, so it made sense that she started to stretch a little after her 2004 sophomore set, Feels Like Home, proved that her surprise blockbuster 2002 debut, Come Away with Me, was no fluke. First, there was the cabaret country of her Little Willies side band, then there was her appearance on gonzo art rocker Mike Patton's Peeping Tom project, and finally there's this hushed record, her first containing nothing but original compositions. It's also her first album recorded without legendary producer Arif Mardin, who helmed her first two albums, giving them a warm, burnished feel that was nearly as pivotal to Jones' success has her sweet, languid voice. Mardin died in the summer of 2006, and in his absence, Jones recorded Not Too Late at the home studio she shares with her collaborator, bassist and boyfriend Lee Alexander. Although it shares many of the same sonic characteristics as Jones' first two albums, Not Too Late boasts many subtle differences that add up to a distinctly different aesthetic. Jones and Alexander have stripped Norah's music to its core. Gone are any covers of pop standards, gone are the studio pros, gone is the enveloping lushness that made Come Away with Me so easy to embrace, something that Not Too Late is most decidedly not. While this might not have the rough edges of a four-track demo, Not Too Late is most certainly music that was made at home with little or no consideration of an audience much larger than Jones and Alexander. It's spare, sometimes skeletal, often sleepy and lackadaisical, wandering from tunes plucked out on acoustic guitars and pianos to those with richer full-band arrangements. Norah Jones has never exactly been lively -- part of her charm was her sultry slowness, ideal for both Sunday afternoons and late nights -- but the atmosphere here is stultifying even if it's not exactly unpleasant. After all, unpleasantness seems to run contrary to Jones' nature, and even if she dabbles in Tom Waits-ian carnivalesque stomps ("Sinkin' Soon") or tentatively stabs at politics ("My Dear Country"), it never feels out of place; often, the shift is so subtle that it's hard to notice. That subtlety is the biggest Achilles' heel on Not Too Late, as it manifests itself in songs that aren't particularly distinctive or performances that are particularly varied. There are exceptions to the rule and they all arrive with full-band arrangements, whether it's the lazy jazz shuffle of "Until the End," the country-tinged "Be My Somebody," or the wonderful laid-back soul of "Thinking About You." These are songs that not only sound full but they sound complete, songs that have a purposeful flow and are memorable for both their melody and sentiment. They would have been standouts on Feels Like Home, but here they are even more distinctive because the rest of the record plays like a sketchbook, capturing Jones and Alexander figuring out how to move forward after such great success. Instead of being the end result of those experiments, the completed painting after the sketch, Not Too Late captures their process, which is interesting if not quite compelling. But its very release is a clear statement of artistic purpose for Jones: its ragged, unfinished nature illustrates that she's more interested in pursuing her art than recycling Come Away with Me, and if this third album isn't as satisfying as that debut, it nevertheless is a welcome transitional effort that proves her artistic heart is in the right place. -- Stephen Thomas Erlewine\n\n\nAmazon.com Editorial Review\nAlthough the music of Norah Jones continues to blend pop, soul, folk, and country with a seasoning of jazz, her third album for Blue Note is the first where she's written (or collaborated on) all the material. Beneath the smooth surface lie darker strains on the album-opening "Wish I Could" (about a boyfriend lost to war), intimations of mortality in "The Sun Doesn't Like You," and the post-election horrors of "My Dear Country." The last seems to channel the inspiration of Brecht/Weill, while the equally bleak "Sinkin' Soon" is set to a jaunty Dixieland rag. Throughout, Jones's vocal intimacy and melodic warmth remain as disarmingly understated as ever. The soulful "Thinking of You," the countryish "Wake Me Up," and the syncopated "Be My Somebody" reflect the captivating style of her previous work. Although too much in the same midtempo mode becomes a dreamy lull, cut by cut, Jones's voice is irresistible. --Don McLeese \n\n\nAMAZON.COM CUSTOMER REVIEW\nNo Mere Grammy Guzzler, March 13, 2007 \nBy Rudy Palma "The Writing Fiend" (NJ)\nLike her 2004 sophomore effort, "Feels Like Home," Norah Jones' latest maintains the sound that brought her national acclaim while still furthering her artistic endeavors. \n\n"Not Too Late" proves she is not given to relying on a cash- cow formula; she not only continues to add inflections of country like last time around, but she eschews the American songbook in favor of a uniformly original array of songs -- all of which she co-wrote. This aids the record's warm, intimate atmosphere, which glimmers and glows despite the absence of the late legendary producer, Arif Mardin. \n\nThe slinky blues of "Thinking About You" is the ideal lead single. With its plaintive melody, organic jazz horns and restrained yet expressive vocals, it is musical chocolate cake. "Sinkin' Soon," meanwhile, is the most perplexing track. With its curious lyrics ("Like the oyster crack in the stew/The honey in the tea/Like the wheel of cheese high in the sky/We're gonna be sinkin' soon), the song sways and jerks with Jesse Harris (writer of her monster hit "Don't Know Why") on banjo and drummer Andy Borger working pots and pans. It continues the theme of fame's fickle nature that began with "Carnival Town" on her last LP. \n\nIn spite of her popularity with white collar right-wingers, Jones is not afraid to infuse her music with passionate liberal beliefs. With its lush, nervous mix of pianos and guitars, "Wish I Could" is the story of a lonely war widow and even lonelier other woman ("She says love in the time of war's not fair/He was my man but they didn't care/I don't tell her that I once loved you too"), while "Broken" finds a soldier irrevocably hardened by war ("He's got blood on his shoes and mud on his brim/Did he do it to himself or was it done to him?"). \n\n"My Dear Country," with a cabaretlike interlude, waxes on a terrifying election and a "deranged" politician without naming names: \n\n"I cherish you my dear country/I love all the things that you've given me/And most of all that I am free/To have a song that I can sing/On election day." \n\nThe soothing "Wake Me Up" appropriately follows with its resigned, world-weary attitude, bringing in sounds of the heartland that continue in "Rosie's Lullaby" and the fun-loving "Be My Somebody," the latter marked by cheeky lyrics: "Last night was a record to be broken/It broke all over the kitchen floor." \n\n"Little Room" attempts to shed her fuddy-duddy image with sexual undertones, while "Not My Friend" finds her safe in her own company -- not content to maintain a relationship with someone who wishes her unhappiness. \n\n"The Sun Doesn't Like You" and "Until the End" are full of grace and character, and "Not Too Late" closes the disc with spare piano/vocal simplicity. Its optimistic message provides a perfect conclusion and its overwhelmingly pristine melody makes it an instant classic. \n\nIf "Come Away With Me" was rich, delicious comfort food, "Not Too Late" is more complex and sophisticated. Making artistic leaps and bounds, Jones proves that she is not a Grammy guzzler laughing all the way to the bank -- she is an artist's artist. \n\nThis limited-edition version contains a DVD jam-packed with goodies, most notably the eye-popping video for "Sinkin' Soon," while iTunes has an exclusive alternate version of the aforementioned track available. \n\n\nAMAZON.COM CUSTOMER REVIEW\nIf you're a big fan..., February 6, 2007 \nBy William Kawalec (Detroit, USA)\n...you'll have to have it. Nothing new or really exciting here, but it is a solid album. \nMy complaint is with the DVD included with the "deluxe edition." All of the video on there is letterboxed, which I guess is okay, but, if it's widesreen anyway, why not anamorphic? BUT, the real problem is that, if you have a widesreen TV, and you use your TV's "zoom" function to fill the screen, you're going to find that some of the menu buttons are off the bottom of the screen! What were they thinking?!?!!? If you frame the menu for 16X9, it will all still be visible on a 4X3 screen. The opposite is not true! \n\n\nAMAZON.COM CUSTOMER REVIEW\nSimply Stunning, January 31, 2007 \nBy Crunchy Frog (aka Brian T.) "If we took the b... (Nashville, TN)\n\nI can not help but give her 5 stars on any recording of her... her vocals are sesually perfect... the music is soothing and stunning... one of the most artistic women on any music sceen... the Bonus DVD is a plus the videos have a unique artistic quality...but watching her live is alway the real bonus...she ain't no studio trick...Norah Jones is the Real thing!!! \n\n\nAMAZON.COM CUSTOMER REVIEW\nThe Voice and the Soul, July 15, 2007 \nBy Exguyparis "exguyparis" (Lansdowne, PA USA)\n\nBought this CD after hearing "Wish I Could" on the radio; this is a gorgeous, hauntingly beautiful, moving song. \n\nI too am surprised to see the strongly negative reviews here. Her 3 CDs have sold more than 39 million copies worldwide, so there is clearly a strong fan base somewhere! The added plus on this third CD is that Norah wrote or co-wrote every song, so we are gaining a glimpse into her musical soul as well as hearing the beauty of her voice. \n\nThere are some real gems here. "Sinkin' Soon" evokes 1930's jazz with its honky-tonk piano (played by Norah) and its wah-wah trombone. "Until the End" has country roots. "Not My Friend" is a mellow, dreamy, wistful song with dagger-sharp lyrics. "My Dear Country" is a lament about what election day hath wrought. The final title cut, "Not Too late," winds things up on an optimistic note. \n\nIt is not surprising that Norah has good musical genes. Her father, Ravi Shankar, brought his sitar to the Beatles and Indian music to a global audience. Norah's seamless blending of country, jazz, blues, pop, and folk brings great talent and aural delight to a new musical generation. \n\n\nAMAZON.COM CUSTOMER REVIEW\nAlmost Mandatory on a Rainy Day, March 8, 2007 \nBy S. Harris "SH" (Florida)\n\nIf you've liked what you've heard from Norah so far, you won't be disappointed with this album. Her soulful voice is preserved clearly, and her beautiful, simplistic voicing of the piano or plucked strings continues to lull her listeners. However, if you're looking for a more adventurous sound this time around, you'll have fallen asleep by the end of the first song. The mellow nature of her album captures the melancholy sound she does best, but leaves one wondering if she will ever try something with a little more spice. \n\nUsing more syncopated, folk rhythms like she experimented with in "Feels Like Home", her songs on this album are definitely easy-listening--sometimes seriously-minded ("Wish I Could"), and at other times, just fun ("Little Room"). Occasionally, her jazz-influenced sounds and rhythms are more prominent--more like the sound of "Come Away With Me"--and are arguably the better songs on the album. "Thinking About You" and "Not Too Late" are perhaps some of her most brilliant, pithy works. \n\nWith an artist like Norah, it's hard not to set expectations too high. She almost can't go wrong with that voice of hers. The album is a good investment, and definitely enjoyable for what it is. When you sit down with Norah, it will almost be mandatory to grab a cup of coffee and stare out a raindrop-streaked window. \n\n\nAMAZON.COM CUSTOMER REVIEW\nBreaking new ground, March 5, 2007 \nBy Bhaskar Majumdar (Kuwait)\nI am surprised at some of the negative reviews on the site. I think people expect Norah to be a pop diva. This she is not. 'Thinking about you' is the closest that she gets to the idiom of her first two solo albums. With the rest she is pushing frontiers. There are some who are trying to figure out which genre her music falls into. This is the legacy of straight jacketing music to suit marketing demands. Though she is influenced by multiple traditions, jazz, blues, folk etc, it is neither. This is her own unique music in her own unique voice, though the base remains very American. The other development with the ipod generation is to look at a single number and judge piecemeal. A CD presentation is a complete work of art and the whole is greater than its parts. The tempo starts slow and picks up in pace and depth, reaches a crecendo and turns mellow again. The use of the cello and pizzicato in 'Wish I could' and 'Broken' is inspired. A liberal use of the acoustic guitar, trombone and tenor sax and some great bazz builds atmosphere and timbre. Is this a trend? I see Dylan doing the same in 'Modern Times'. This is a superb album meant for the discerning listener. Fortunately, some kids are showing the way (Norah Jones, Jamie Callum, Katie Mellua). This is music that is still evolving. I am reminded of Jerry Garcia who started with the bluegrass tradition but pushed frontiers. These artists cross boundaries and break barriers and grow well beyond the traditions they started with. Norah Jones is in the process of doing the same. She shows a range, flexibility, maturity and musical knowledge and capability that augurs well for the future. This is music that will endure when rap is passe and hiphop is no longer hip. \n\n\nAMAZON.COM CUSTOMER REVIEW\nLanguid and dreamy, a dash of smoky, sultry cabaret...., March 5, 2007 \nBy Amskeating\n\nWhile the first two albums were dominated by covers, "Not Too Late" is all solo or co-written original material. \n\nIt's not startling, as these songs continue her pop-meets-country with a dash of smoky cabaret style. Nor is it exactly revelatory. Firstly her life, apart from the fame, has been remarkably normal and uneventful and lyrically the new material is mostly observational. ("I have a wonderful boyfriend. So how am I going to write a tortured break-up song? My life is really good and I don't want to ruin it just for a good song."). \n\nStill, there are a few pointed lines about misplaced love and even some mild political commentary in "My Dear Country". \n\nThe album has its share of strong tracks, like the Dylanesque "Wish I Could", with its unexpected half-note elisions, or the trad-jazzy Tom Waits-like "Sinkin' Soon", or the haunting, whimsical, cello-darkened "Broken". \n\nThe mood is mostly dreamy, lazy country-rockers, quirky waltzes, a little earthy bluesiness and bits of laid-back funk, and there's even a demurely delivered anti-Bush song. \n\nJones's voice, always more characterful than the easy-listening tag ever implied, sometimes shifts to a strange place between Madeleine Peyroux's or Diane Krall's jazzy smokiness and the sultry, jazz/soul balladry a la Billie Holiday.. \n\nBut Norah's and partner Lee Alexander's tunes need to improve if the singer isn't to retreat to covering classics again, as she almost certainly will. It's pretty music (though the sugary " Little Room" gets to tooth-twinge point), beautifully performed. \nBut Norah Jones has more to offer than this, and the needs of the EMI boardroom probably won't help her find it. \n\n\nAMAZON.COM CUSTOMER REVIEW\nMore Melancholy Music from Jones in Deeper Emotional Hues With a Twang, February 25, 2007 \nBy Ed Uyeshima (San Francisco, CA USA)\n\nEven though her producing mentor Arif Mardin passed away last year, Norah Jones does not veer off the pervasively melancholic sound of her first two albums with her third album. The difference is that Jones composed all the songs this time and left the producing responsibilities entirely to her boyfriend, songwriter and bassist Lee Alexander. Still reflecting her unprepossessing manner and pleasingly low-key vocal style, she manages the neat trick of making her music sound familiar yet fresh enough with an effort that shows a somewhat deeper introspection and in "My Dear Country", a subtly raised frustration with the current administration. If there is any aural change directionally from her previous efforts, it may be that her sensibilities seem to be moving her more decidedly into country and blues. \n\nWith its twangy sound punctuated by Alexander's lap steel, "Wake Me Up" is a nice, loping track. The two-stepping "Little Room" is equally relaxing with Daru Oda whistling the happy-sounding bridge, and perhaps the disc's most enjoyable song is the Kurt Weill-like "Sinkin' Soon" with Kevin Breit's assertive mandolin strumming and J. Walter Hawkes' wah-wah trombone leading Jones down a comfortably bluesy road. Her pop-jazz-infused chops are not ignored for too long as evidenced by the lovely, forlorn opener about love during wartime, "Wish I Could"; and the nimble fretwork on "The Sun Doesn't Like You" with echoes of Pat Matheny on the open road. \n\nJones gets near-virulent with the emotional nakedness of "Not My Friend", and she even picks up the pace with the help of a Wurlitzer and Larry Goldings' Hammond B-3 organ on "Be My Somebody". Not all the tracks show her off in the best light, for example, the Memphis-style "Thinking About You" lacks any real bite and suffers for its overly repetitive chorus, and the dirge-like "Rosie's Lullaby" feels too much like a long-lost Linda Ronstadt ballad from the mid-70's. Finding its appropriate place at the end of the recording, the title track epitomizes Jones' emotional preciseness with the song's haunting last-call sound. It's a mostly worthwhile effort from a recording artist who never sounds overly compromised. \n\n\nAMAZON.COM CUSTOMER REVIEW\nAn Immediate Masterpiece : The Evolution of Miss Shankar, February 15, 2007 \nBy Kabir Davis\n\nBy any stretch of imagination, "Not Too Late" is an immediate masterpiece. Gone are the cover versions of songs that weren't hers, and those dull lullabies that seven people took to cowrote. In its place are some gorgeous melodies with self-written lyrics that elevate this album from being a run of the mill affair to one of those rare animals - a bonafide classic. \n\nA note about the music - let the reviews not deter you. The music is very Norah-ish, in the best way possible, but there is something new here. What could be previously termed as "boring" is now "inspired". You won't fall asleep halfway through this album if you pay attention to the lyrics. It is so great to find an album these days that does not only speak about Love. And even though there are political messages on some of these songs, its muted enough to pass you by without offending you. \n\nAlso, while I consider "Come Away with Me" and "Feels Like Home" contemporary American jazz albums (debatable by most, I agree), I think "Not Too Late" is her hands down "Southern" album, even though it speaks of the very things the South hates to hear about. Its amazing that an album like this would find an audience if Norah wasn't who she is, but that's the beauty of it all, I think. \n\nThe standout here is "Wish I could", the opening track. Wow. The harmonies blend perfectly. The wonderful thing about this record is that Norah's voice is allowed to shine without the distraction of too much instrumentation (like on her second album). And while "Thinkin' About You" is hummable enough, its easily the most insipid track here - speaking of love in the most infantile sense possible. I think that she can afford to move beyond songs like these, pretty as they are. \n\nWill "Not Too Late" win any awards despite being at least twice as better than her "Come Away with Me" album? Probably not. The reason being that Norah is not perceived as "new" or "fresh" anymore. However, if you listen to this CD, it's the freshest thing out of the Jones stable so far. My favorite little piece other than the opener is "The Sun Doesn't Like You" - listen and discover! What makes me really happy about this album is the Repeat Value it carries - I have already played it about six times at work through and through and it just gets better on repeat listening. \n\nDo yourself a favor and pick this up, just to discover where American music is headed in general. This is a wonderful time for American music, and it's a testament to her growth and evolution that Norah Jones is the flagbearer for a new music generation. Yes, true talents like Joanna Newsom, Regina Spektor and Fiona Apple still don't get the adulation that they deserve, but if artists like Jones can win acclaim, it proves that theres justice after all. \n\nFive Stars. Recommended without any reservations! \n\n\nAMAZON.COM CUSTOMER REVIEW\nSuperficially Familiar, but Subtly Different, February 11, 2007 \nBy Thomas D. Ryan "American Hit Network" (New York)\n\nLet's cut to the chase here. If you are already a fan of Norah Jones, then you'll love this album and if you don't care for her, well, this won't change your mind. Her characteristic sound is thoroughly intact on Not Too Late, from the pensive piano-based song arrangements to the molasses texture of her voice. It's a winning formula, and I find it to be as pleasant as hot coffee on a cold Sunday morning. In other words, it meets all of my expectations, without posing much of a challenge. The discernible differences from her past work are rather subtle. For instance, the songs go down as smoothly as ever, but this time around the melodies are more intricate, and the songs take a bit longer to sink in. \nPerhaps this is due to a change in methodology; Previous albums were produced by Arif Mardin, whose deft touch provided a light and spacious feel on each recording. His passing necessitated a change, so Jones' partner (and significant other) Lee Alexander took the reins. As the couple live together and have a recording studio in their home, Not Too Late became a homegrown affair. With no clock ticking away expensive minutes of professional studio time, the atmosphere was more relaxed, allowing the pair to experiment freely and focus on subtleties. The result is an album that could pass for pleasant, yuppie dinner Muzak or one that rewards multiple listens - it's only as challenging as you want it to be. \nThe first indication of this subtle shift in priorities is the complete absence of cover songs; Jones writes or co-writes every song on Not Too Late, and the familiar, languid pace eventually gives way to an unexpected agenda. With its cabaret rhythms and political overtones, "Sinkin' Soon" is a good case in point. Lyrical details imply discomfort with our current state of affairs ("In a boat that's built of sticks and hay, we've drifted from the shore, with a captain who's too proud to say that he dropped the oar"), and this is made explicit on "My Dear Country," when Jones sings, "that nothing is as scary as Election Day." On "Until the End," she brings an unnamed famous associate down a peg, and then grows even more critical on the next track, bluntly stating, "You are not my friend. I cannot pretend you are." It's surprising to hear such sentiments on a Norah Jones album, but the languid mood disguises the dark moments just enough to render them invisible. If you like Norah Jones because her music goes down smooth and palatable, you needn't worry, but fans who choose to read between the lines will notice the change. B+ Tom Ryan \n\n\nHalf.com Details \nContributing artists: Larry Goldings \nProducer: Lee Alexander \n\nAlbum Notes\nPersonnel include: Norah Jones (vocals, piano, Wurlitzer piano); Daru Oda (vocals, whistle); Jesse Harris (acoustic guitar); Adam Levy (electric guitar); Kevin Breit (mandolin); Julia Kent, Jeffrey Zeigler (cello); Larry Goldings (Hammond b-3 organ); Lee Alexander (bass instrument); Andrew Borger (drums).\n\nRecording information: The Coop, New York, NY.\n\nFor a young and commercially successful artist, Norah Jones has admirably avoided playing it too safe. After scoring an unlikely sales sensation and multiple Grammy award winner with 2002's torchy COME AWAY WITH ME, Jones shifted gears slightly to accent that album's country and folk elements on the 1970s-styled follow-up, FEELS LIKE HOME. Following that, Jones deliberately played with expectations, first becoming a low-key sideman in a quirky alt-country band called the Little Willies, then playing the lead role in a new movie by Hong Kong arthouse director Wong Kar-Wai.\nJones's third album, NOT TOO LATE, is perhaps not as extreme as any of those other moves away from her initial comfort zone, but it's a departure nonetheless. Recorded by Jones and longtime collaborator Lee Alexander in their home studio and featuring only self-penned material, NOT TOO LATE is far less polished than Jones's previous records, with many songs featuring little more than the singer's familiar croon, a Floyd Cramer-influenced piano, and Alexander's subtle bass. Not quite jazz, country, or pop, NOT TOO LATE fuses all of Jones's influences into an immediately identifiable whole. It's easily her most mature and personal album to date.\n\n\nROLLING STONE REVIEW\nGreatness thrust upon her by Come Away With Me's Grammy sweep, Norah Jones maintained her modesty at all costs on 2004's Feels Like Home, with results less jazzy but duller -- even duller, some would say. On the mildly adventurous Not Too Late, she writes or co-writes every song -- thirteen in all, five more than on the first two albums combined. Although she may never hit upon a hook to equal Jesse Harris' on "Don't Know Why," she's quirkier lyrically than any of her helpmates. And she remains pop's nicest superstar nevertheless. \n\nNo matter the writer, Jones has always favored a verbal subtlety many would account bland: "When I saw the break of day/I wished that I could fly away." This effect is magnified by the thoughtful, sweetly rounded melancholy of the voice people love. So you have to concentrate to follow the twists of Not Too Late's opening "Wish I Could" -- Norah's friend misses (mourns?) an Iraq-bound guy she doesn't know Norah also had a thing with. And though the stark lyric "on Election Day" from "My Dear Country" will catch you short every time, you probably won't notice Jones calling an unnamed but unmistakable George W. Bush "the one we hate" just before.\n\nThese political moments contextualize Jones' calm, but lest her peace-at-all-costs legions fret, they're hardly the norm: "Thinking About You," prereleased as a download, returns to the soldier in "Wish I Could" only if you read a whole lot into "sail across the ocean waters." Nor does the music assert itself. The second-line touches on the possible Katrina song "Sinkin' Soon" and the cellos and bowed bass on the busker tribute "Broken" are notable because they're noticeable. In general, the organs and cellos and even horns Jones enlists blend into what must now be deemed an all-too-soothing formula. The fans who adore her take this formula as proof of her kindness, and they're probably right. The rest of us wonder who else she hates. -- ROBERT CHRISTGAU (Jan 22, 2007)
This rock cd contains 13 tracks and runs 45min 31sec.
Freedb: a30aa90d
Buy: from Amazon.com

Categories

Latest lists

Norah Jones: Not Too Late CD Track Listing

Category

Tags

cyList

Legal