| フォーマット | CDアルバム |
| 発売日 | 2008年04月04日 |
| 国内/輸入 | 輸入(アメリカ盤) |
| レーベル | J-Records (USA) |
| 構成数 | 1 |
| パッケージ仕様 | - |
| 規格品番 | 88697025542 |
| SKU | 886970255424 |
構成数 : 1枚
合計収録時間 : 00:52:25
・こちらのUS盤は、EU盤/国内盤(ボートラ除く)とは曲順および収録曲(2曲)が異なります。
Personnel: Leona Lewis (background vocals); Josh Alexander (guitar, keyboards, programming); Espen Lind, John Parricelli, Tony Reyes (guitar); Amy Chang, William Pu, Olga Shpitko (violin); Karen Freer, Daniel Laufer (cello); Dave Arch (piano, organ); Max Martin (piano); Steve Mac (keyboards, synthesizer); Alonzo "Novel" Stevenson, Louis Biancaniello, Wayne Wilkins, Walter Afanasieff (keyboards, programming); Steven Wolf (drums, percussion); Phillip Lowman, Ian Thomas , Stephen Ferrera, Chris Laws (drums); Tyler Gordon (programming); RaVaughn Brown, Tavia Ivey (background vocals).
Audio Mixers: Chris Lord-Alge; Sam Watters; Dave Pensado; Louis Biancaniello; Mick Guzauski; Phil Tan; Ren Swan; Serban Ghenea; Wayne Wilkins; Carlton Lynn.
Recording information: Encore Studios, Burbank, CA; Opra Music, Hollywood, CA; Quad Recording Studios, New York, NY; the Record Plant, Hollywood, CA; TrakMeet Studios, Atlanta, GA; Wally World Studios, Los Angeles, CA.
Editor: Chris Laws.
Arrangers: J.R. Rotem ; Steve Mac ; Walter Afanasieff.
The truest test of Simon Cowell's power within the music industry circa 2008 was not whether American Idol could produce a star in its seventh season or if its U.K. cousin, The X Factor, would have another success in its fifth season -- it was whether he could turn Leona Lewis into the international superstar he so clearly believed she is. Lewis was the third winner of The X Factor -- the Cowell-driven replacement to Pop Idol in Britain, a replacement that came to be because he wanted to own a significant piece of the show -- and one of the key differences between Factor and Idol is that the judges can mentor the contestants and therefore have a stake in the outcome of the show, more than they do on Idol, where the judges merely comment. Rightly impressed by Lewis' multi-octave voice -- reminiscent of a warmer, earthbound Mariah Carey -- Cowell continued his mentorship after the conclusion of the show, making her the first contestant in the whole Idol/Factor enterprise that he personally shepherded through the major-label process. He struck a deal with Clive Davis -- the executive producer behind all the American Idol projects, the producer who publicly bristled when Kelly Clarkson tried to take control of her career through her original compositions -- and the two launched a grand plan to break Lewis in her native U.K. first, then slowly roll her out in the U.S. a few months later, via an appearance on Oprah and a slightly re-sequenced and remixed version of her debut, Spirit.
That U.S. version drops the bonus track of Leona's version of "A Moment Like This," her first hit single that is not so coincidentally a cover of Kelly's first big single. If Kelly became a thorn in Davis' side, Leona Lewis seems happy, even eager, to play the major-label game, singing anything that comes her way, never lodging a complaint when she has to cut a couple R&B-flavored tracks to appeal to the American market. These tunes -- "Misses Glass" and "Forgive Me" -- are just slightly glitzier than the rest of Spirit, surely bearing heavier rhythms but not to the extent that the beats obscure Lewis' voice, as the whole point of Spirit is to showcase her singing, particularly those high glory notes that are all the rage on Idol/Factor. Unlike most Idol/Factor alumni, Lewis can hit those big notes but make it seem easy, never straining her voice and building nicely to the climax. Unlike most divas, there is a human quality to her voice, as she's singing to the song, not singing to her voice. Then again, this was also true of Mariah Carey on her 1990 debut, which Spirit greatly resembles in how the handful of R&B-oriented songs camouflages how this is almost entirely a stuffy middle-of-the-road pop record. Not only that, but Spirit is so old-fashioned it sounds as if it could have been released in 1990 and compete with Carey's debut for the top of the charts; her first single, "Bleeding Love," opens with a crawling organ that re
録音 : ステレオ (Studio)
読み込み中にエラーが発生しました。
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大Hitした"BLEEDING LOVE"しか知らなかったのでそれも仕方ないのですが、彼女はバラード系の方が活きる声をしてます。
"YESTERDAY"や"TAKE A BOW"の歌声を聴くとこれからも期待出来そうな実力を感じます。