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UncutJul 19, 2011It's a well-judged mix; safe enough to satisfy the easy-listening end of Peyroux's following, but bold enough to show that among the jazzy, post-Norah crowd, the wayward Maddy stands apart. [Aug 2011, p.83]
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Jul 12, 2011This is a fine, largely original album, give or take a handful of covers of songs by Bob Dylan, Lennon and McCartney, and Robert Johnson, and a couple from a recently kindled composing partnership with the Stones' Bill Wyman.
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Jul 12, 2011Here their playing [Marc Ribot on guitar and Meshell Ndegeocello on bass] creates some valuable tension beneath Peyroux's still-placid singing.
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Jul 12, 2011The main signifier is Peyroux's sound, now as downhome as a chicken shack and artfully haunted as a Cassandra Wilson session. Tasteful.
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Jul 12, 2011As an album, Standing on the Rooftop may not be as striking as its predecessor, but perhaps it wasn't meant to be. It is a seemingly effort that pushes the familiar toward an uncertain future where pop genres cease to need to exist at all.
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Jul 12, 2011Standing on the Rooftop sounds like a self-consciously boho summer album: pleasant enough for a backyard soiree and a bottle of verde, but too breezy to linger once your guests leave.
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MojoNov 22, 2011Peyroux's best work may happen beyond the perimeter of her comfort zone. [Aug. 2011, p. 96]
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Aug 17, 2011Madeleine Peyroux is an artist literally without her own voice. Borrowing from one source heavily and dabblingly from myriad sources, her Standing on the Rooftop is the sound of nothing so much as hip confusion.