Kristina Train

Trackimage Playbut Trackname Playbut Trackname
Dark Black 00:00 Tools
I'm Wanderin' 00:00 Tools
Dream Of Me 00:00 Tools
Lose You Tonight 00:00 Tools
No One's Gonna Love You 00:00 Tools
Pins And Needles 00:00 Tools
Lonely Sinner 00:00 Tools
Saturdays Are The Greatest 00:00 Tools
I Wanna Live In LA 00:00 Tools
Don't Leave Me Here Alone 03:32 Tools
Sparks 00:00 Tools
Stick Together 03:45 Tools
Everloving Arms 00:00 Tools
January 00:00 Tools
Spilt Milk 00:00 Tools
No Man's Land 00:00 Tools
Don't Beg For Love 00:00 Tools
Don't Remember 00:00 Tools
It's Over Now 00:00 Tools
You're Still Going To Lose 00:00 Tools
I Can't But Help 00:00 Tools
Moon Rivers And Such 00:00 Tools
Half Light 00:00 Tools
Call In The Maker 03:20 Tools
Far From The Country 03:24 Tools
Waltz With Me Under the Sun 03:41 Tools
Waltz With Me Under The Sun - From "Queen Of Carthage" 00:00 Tools
Warpath - Spotify Exclusive 00:00 Tools
True Love Avenue 00:00 Tools
Pins & Needles 00:00 Tools
Track by Track: Dark Black 00:00 Tools
Lost In Love 00:00 Tools
Track by Track: Dream Of Me 00:00 Tools
Sunny Side Of The Street 00:00 Tools
Waltz With Me Under The Sun (From "Queen Of Carthage") 00:00 Tools
Chase Me Away 00:00 Tools
Track by Track: Pins And Needles 00:00 Tools
Track by Track: No One's Gonna Love You 00:00 Tools
Dark Black (Live) 00:00 Tools
Track by Track: Lonely Sinner 00:00 Tools
Track by Track: Saturdays Are The Greatest 00:00 Tools
Baile Baile 00:00 Tools
Track by Track: Don't Leave Me Here Alone 00:00 Tools
Track by Track: Lose You Tonight 00:00 Tools
Waltzing Back 00:00 Tools
Track by Track: Stick Together 00:00 Tools
Track by Track: I Wanna Live In LA 00:00 Tools
Track by Track: Everloving Arms 00:00 Tools
I'm Wandering 00:00 Tools
If You Want Me 00:00 Tools
Dark Black - Live from Abbey Road/2012 00:00 Tools
How Long Will I Love You 00:00 Tools
Track by Track: January 00:00 Tools
Dark Black - Live 00:00 Tools
Stick Together - Live from Abbey Road/2012 00:00 Tools
Stick Together - Live 00:00 Tools
How Long Will I Love You (The Waterboys Cover) 00:00 Tools
Fun's No Fun 00:00 Tools
I Wanna Live in L.A. 00:00 Tools
Sparks (Coldplay Cover) 00:00 Tools
kristina train 00:00 Tools
I'm Wanderin' (Lexus 2013) 00:00 Tools
I'm Wanderin' (As featured in Lexus TV Campaign Summer 2013) 03:06 Tools
Sparks {OST Даю год} 00:00 Tools
Sparks (OST I Give It a Year) 00:00 Tools
Waltzing Back (Bonus Track) 00:00 Tools
If You Want Me (Bonus Track) 00:00 Tools
Moon Rivers 00:00 Tools
That's What Angels Can Do 00:00 Tools
Warpath 00:00 Tools
I'm Wandering (Original Mix) 00:00 Tools
Who Knows Where the Time Goes (Sandy Denny cover) 00:00 Tools
I'm Wanderin 00:00 Tools
How Long Will I Love You? 00:00 Tools
Spilt Milk** 00:00 Tools
No Man’s Land 00:00 Tools
13. Sparks (группа vk.com/oachost, oach.ru, ОСТ Даю год / OST I Give It a Year) 00:00 Tools
It’s Over Now 00:00 Tools
These Days (Jackson Browne cover) 00:00 Tools
Distant Lands (Skylar/Konrad Remix) 00:00 Tools
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Hearing Kristina Train for the first time is nothing less than a revelation: her sunny, easygoing demeanor and youthful good looks belie the heart-wrenching power of her voice. Train’s Blue Note debut, Spilt Milk, is urbane and soulful, lush in its arrangements but intimate in its emotions, built on a foundation of classic and deeply felt southern soul. The title track unfolds with an almost cinematic grandeur, its string-laden chorus swelling with widescreen melancholy. Balancing the sultry with the strong, Train excels on bittersweet breakup/makeup numbers like “Don’t Remember” and “It’s Over Now.” As the aphorism of the album title suggests, the album tells the story of an indomitable spirit. Train knows how, over the course of a song, to walk away from a relationship with tremendous style. Spilt Milk was recorded in London with Jimmy Hogarth, the sought-after British producer whose recent credits include Duffy, Corinne Bailey Rae and James Blunt. Powerhouse songwriter, multi-instrumentalist and arranger Eg White – Grammy Awards Record of the Year nominee for Adele’s “Chasing Pavements” – co-wrote most of this material. Singer and pianist Ed Harcourt also co-wrote two, including the climactic “Far From the Country,” an especially poignant and personal conclusion to the disc, about the physical and emotional distances one must bridge to keep love alive For inspiration, Train turns to Aretha Franklin – “There is not a song that Aretha has sung or will ever sing that doesn’t just melt me” – along with blues/R&B cult figures like former Stax star/Raelette Mable John and Bob Dylan-favorite Karen Dalton. Says Train, “I wanted my album to offer glimpses of my influences, not sound like my influences. Jimmy, Eg and I are of similar backgrounds, we appreciate the same music; we have similar tastes. The arrangements are just what we felt the songs needed, they give the songs flavor but don’t try to steal anybody else’s style. I hope the album is a nod to the music I love, while still being modern.” Music has been at the center of Train’s world since she was a toddler, when her mother encouraged her to play the violin. Train took to the instrument, but, more importantly, she also discovered an innate aptitude as a singer, with unerring pitch and a preternaturally mature delivery from a very young age. Says Train, “There’s depth to my voice and I think it comes from a lot of different places. But the way I sound today is the way I always sounded -- except in a tinier body.” As an artist, Train could never simply be described as a product of her times and that has allowed her, on Spilt Milk, to create music that can arguably be called timeless. Her mom, who raised Train alone, fashioned what some might view as a sheltered existence for the young Train, keeping her away from television and pop radio. But what she really did was provide a fertile laboratory for Train to freely grow as a young woman and a singer, apart from the vagaries of trends. Train took music and ballet lessons and listened to classical music and opera, along with jazz and blues. Her violin training definitely came in handy: Train has arranging credits on three of her tracks and overdubbed strings on two of them. Though born in New York City, Train was raised in Savannah, Georgia, and southern soul and gospel, which she sang in church and school choirs growing up, has had the most profound effect on her work. Almost as significant was the moment when, as a teenager, she unearthed her mom’s tucked-away stash of vinyl albums from the sixties and seventies: Joni Mitchell, Jimi Hendrix, Led Zepplin. Say Train,” I remember hearing Janis Joplin’s records and thinking, what is that all about? We lived in downtown Savannah, in a house kind of like a New York City brownstone. When we had thunderstorms I would go up to the roof and scream at the top of my lungs because I wanted to make my voice raspier. God only knows what that’s done to me!” By the time Train was 19, she was already singing professionally, albeit locally. A producer based in the south who’d spotted Train arranged to bring her up to New York City to showcase for Blue Note. The label chiefs offered Train a development deal – but her mom had other ideas. She insisted her daughter go to college first. Many a confident and headstrong young artist would rebel and go it alone, accept the deal and take their chances. But Train – reluctantly, she now admits – listened to her mom. She agreed to attend college in Athens, Ga., keeping her hand in music by joining a band and spending far more time rehearsing and gigging than hitting the books. And when she was ready to return to her career full-time, Blue Note was still waiting. It was time well-spent, Train now realizes: “I know that at 19, I would not have made this record, which is the record I always wanted to make. This is the album that defines who I am. At 19, I don’t know what I would have put out. I believe everything happened for a reason. It took this amount of time for me to get here and to make this record. I always knew it would happen. “ Train made several trips to London over the course of two years, to write with Hogarth and White, but the actual recording moved quickly. In fact, Train was such a natural that some of the vocal performances they chose came straight from the song demos they’d originally done. Right before they were about to embark on their final sessions, though, a disastrous computer glitch during file back-up resulted in the loss of much of what they’d already completed. As Train recalls, “It was the perfect electronic storm.” Undaunted, she and her cohorts went back in and re-cut the vanished material with even more passion and determination, the setback turning out to be far more inspiration than challenge. Looking back, Train says, “I don’t think anything was lost. I don’t think there was this one magic moment that we could never recapture. I love what it is today.” And the experience provided her with an album title. “Don’t cry over spilt milk.” Train’s confidence and faith in what she has created is part of what makes Spilt Milk so thrilling: “There’s just this magic thing that happens sometimes and you think, I want to sing this song for the rest of my life – I want to live in it, I want to bury myself in it, I want to wriggle around in it.. Every time I finished one, it was like, I can’t believe that, at this point in my life I finally have a song I would fight for, that I believe in 100% percent. And now I have all these songs together on an entire album that I feel this way about. For me, that’s my college degree.” Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.