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The Language of Life
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Album: The Language of Life
# Song Title   Time
1)    Driving
2)    Get Back Together
3)    Meet Me in the Morning
4)    Me and Bobby D
5)    Language of Life, The
6)    Take Me
7)    Imagining America
8)    Letting Love Go
9)    My Baby Don't Love Me
10)    Road, The
 

Album: The Language of Life
# Song Title   Time
1)    Driving
2)    Get Back Together
3)    Meet Me in the Morning
4)    Me and Bobby D
5)    Language of Life, The
6)    Take Me
7)    Imagining America
8)    Letting Love Go
9)    My Baby Don't Love Me
10)    Road, The
 
Product Description
Product Details
Performer Notes
  • Everything But The Girl: Tracey Thorn (vocals); Ben Watt.
  • Personnel: Ben Watt (vocals, acoustic guitar, electric guitar, background vocals); Tracey Thorn (vocals, background vocals); Marc Russo (alto saxophone); Jerry Hey (trumpet, flugelhorn); John Patitucci (bass guitar); Omar Hakim (drums); Lenny Castro (percussion).
  • Audio Mixer: Bill Schnee.
  • Recording information: Oceanway Recording Studio, Los Angeles, CA; Schnee Studio, Los Angeles, CA; Sunset Sound, Los Angeles, CA; Willyworld, Los Angeles, CA.
  • Illustrator: Dirk VanDooren.
  • It may have been the logical extension of Everything But The Girl's ersatz cool jazz approach to finally go all the way by hiring veteran producer Tommy LiPuma and a studio full of fusion stars like Joe Sample (the Crusaders), Russell Ferrante (the Yellowjackets), Michael Brecker, and, finally, Stan Getz, whose early '60s albums of Brazilian jazz are a main touchstone for the group. With such firepower, The Language of Life, at least musically, may be the album that Ben Watt and Tracey Thorn have been trying to make from the beginning. But it falls down in its songwriting, largely because of the near-disappearance of Thorn and her edgy lyrics. The title song, with its criticism of uncommunicative men, and "Me and Bobby D," with its name-dropping debunking of some famous roues, are the kind of thing we expect from her, but elsewhere Watt takes over for a series of so-so love songs. And the bottom of the barrel is hit with a cover of Womack And Womack's "Take Me," intended as an erotic come-on and sounding more like a lullaby. ~ William Ruhlmann
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