Want One

September 23, 2003 | Format: MP3

$8.99
Song Title
Time
Popularity  
30
1
4:23
30
2
4:51
30
3
2:49
30
4
4:30
30
5
2:38
30
6
6:38
30
7
2:43
30
8
4:44
30
9
3:27
30
10
3:35
30
11
4:15
30
12
5:10
30
13
4:27
30
14
4:31
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Product Details

  • Original Release Date: September 23, 2003
  • Release Date: September 23, 2003
  • Label: DreamWorks SKG
  • Copyright: (C) 2003 SKG Music L.L.C.
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 58:41
  • Genres:
  • ASIN: B000V696US
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (176 customer reviews)
  • Amazon Best Sellers Rank: #69,782 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

4.4 out of 5 stars

Most Helpful Customer Reviews

115 of 128 people found the following review helpful By Christopher Schmitz on October 19, 2003
Format: Audio CD
Rufus Wainwright's opening song "Oh What a World" has simple lyrics which, as they repeat, build layer after layer into fugue-like bombast. It stresses from the start that this album is abouts sonics. It will have a dense complex sound and a cleanly produced real orchestra throwing harps and horns into the mix.
"I Don't Know What It Is" starts slow and builds to a crescendo as well. By its finale, it sounds like Phil Spector movie music. Wainwright and his producer Marius Devries parlay this excess into camp charm.
"Vicious World" is a romantic lament backed by a vibraphone from a Mirwais producers album or a chill-out disc.
"Pretty Things" is just Rufus and his piano proclaiming his Wildean aestheticism.
"Go or Go Ahead" starts with a lovely Wainwright vocal over acoustic guitar and builds to a blistering rock 'n' roll climax--at least by tuneful Rufus standards. Shades of 70s bands like Queen or Boston: power chords and creamy harmonies. A masterpiece of production, it's one of the album's best songs.
"Vibrate" is a bit throwaway but it's clever fun.
"14 Street" ushers in the album's finest moment where Tin Pan Alley melody, saloon piano, and witty poetic lyrics come together in a tasty mix.
"Natasha" is pleasant but unexceptional.
"Harvester of Hearts" may be the best vocal on the album. Rufus' voice, in its higher register, sounds delicate and expressive. The song is lovely too, though it repeats the word "people" too many times.
"Beautiful Child" is a nu-gospel stand-out that reads like a Blake poem. Again, dense busy production makes for a layered treat that may requires headphones to fully appreciate.
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18 of 20 people found the following review helpful By fetish_2000 on June 8, 2005
Format: Audio CD
Not many singer/songwriters these days, would choose to follow the career path of Rufus Wainwright. Having come from the 'Wainwright' family, of whom his mother, father (& now Sister), are all accomplished performers, musicians. Rufus specialises in a theatrical form of expressive Chamber Pop/ Singer-songwriter music that takes in: Cabaret, Theatrical Pop, Adult orientated Pop/Rock, Adult Alternative & even opera & literate pop. Shamelessly overblown and Passionate, some would argue that this form of sophisticated, literate music, died a century ago, along with the music it references, but you see, Rufus isn't your average Pop star.

"Oh What a World" rams home the point admirably, with a huge lush orchestrated sound, largely operatic in approach over which Rufus muses "Why am I always on a plane or a fast train, Oh what a world my parents gave me, Always Travelin' but not in love....", and chimes wonderfully with his cabaret-infused theatre pop, and the addition of plucked strings, only serve to highlight that Rufus is aiming for the highest echelons of Adult-orientated pop.

"I Don't Know What It Is", follows with a gradual, slow building melody, that solidifies critics various mentions that Rufus is something of a Renaissance man musically, with an ear for emotional complexity. With a song that places an emphasis on melody and production, over which Rufus sings: "Take a lookin around At friendly faces, All declaring a war on far off places, Is there anyone else who is through with complaining about what's Done unto us" shows his sentiments, in no wavering fashion, but the richly textured and layered songs, belie the incisive wordplay.
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9 of 9 people found the following review helpful By Tim Brough VINE VOICE on December 14, 2003
Format: Audio CD
A newly clean and sober Rufus Wainwright meets Manhattan and comes out swinging. That he keeps getting better and better is amazing to me. It is beautiful and captivating to see how much Rufus has matured between this album and his previous. There is nothing on "Want One" to match the introspective grace of the previous album's title track, but the first two songs here ("Oh What A World" and "I Don't Know What It Takes") had me all but swooning in joy. This is majestic popular music made by a human being, taking the time to both grow artistically and grow up.
Like Elton or Brian Wilson, Rufus also enjoys the grandiose overstatement. This album is far more direct musically than "Poses" (caveat inserted, I really thought his first record was too undisciplined to rate more than the coming of a promising artist). Nowhere is that more in evidence than "Want One's" centerpiece "Go Or Go Ahead." Electric and poetic, it builds and crescendos into six and a half minutes of pop opera that would do Brian Wilson proud, and yet makes me wonder if Rufus had been allowed to go for the double album he wanted, if this would have been his "Goodbye Yellow Brick Road." The variety is certainly in evidence, be it the lush pop of "Harvester Of Hearts" or to attempt a serious lyric like "11:11" and its juxtaposition of 9/11 and the fragility of love.
Rufus is also a troubadour in the great and rare tradition of Harry Nillson or possibly John Prine. If I had the space I'd list all the comparisons, but both the songs about Rufus' relationships with his family and parents ("Want" and "Dinner at Eight") come straight from the same ink/gene pool that would compose a song like "Hello In There." The David and Goliath conflict that opens the imagery of the father/son conflict for "Dinner at Eight" set among the wonderful orchestration closes "Want One" on such a gorgeous note that I eagerly await the coming "Want Two."
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