Fantasia Sketchbook Album Download Free Fantasia
Total Page：16
File Type：pdf, Size：1020Kb
fantasia sketchbook album download free Fantasia. 1. Fantasia Monique Barrino, or simply Fantasia (born June 30, 1984 in High Point, North Carolina), an African-American rhythm and blues singer, who came to fame as the winner of the third season of the television series American Idol. Fantasia has released two studio albums Free Yourself in 2004 and more recently the self-titled Fantasia in 2006. Both albums have spawned R&B hits, namely Truth Is, Free Yourself], and her first #1 single When I See U. Fantasia has released two studio albums Free Yourself in 2004 and more recently the self-titled Fantasia in 2006. Both albums have spawned R&B hits, namely Truth Is, Free Yourself], and her first #1 single When I See U. In addition to her music career, Fantasia has also ventured into other pursuits such as publishing, acting, and Broadway. In her memoir "Life is Not a Fairy Tale", she reveals intimate details about herself, including her functional illiteracy. The book was later adapted into a Lifetime movie of the same name in 2006. Directed by famed actress and choreographer Debbie Allen, it received 19 million viewers, making it Lifetime's second-most viewed program of all time. During 2007, Fantasia was on Broadway performing as Celie in The Color Purple, the hit musical based on the Pulitzer Prize-winning novel by Alice Walker. Her performance had earned rave reviews and helped boost ticket sales as well as her album sales. After her Broadway stint ended in January 2008, Fantasia was back on the road again touring and is said to be preparing for her next studio album. 2. Fantasia is also the first name from the French symphonic metalband Fairyland. They called themselves 'Fantasia' when they made demos like 'Cruel Death' and 'The King'. But when they came with their debute album, they changed their name in Fairyland. 3. Fantasia is a progressive rock band from Pietarsaari, Finland. Originally named St. Marcus Blues Band (founded in 1967), the bassist Markku L?nngren came up with the new name from Amazing Blondel's album called "Fantasia Lindum" and thus changed the name to "Fantasia" in 1973. The band defined their sound somewhere between progressive rock and hard rock although the sound mainly resembles to those of the other 1970's prog rock bands, such as Finnish compatriots Wigwam and Tabula Rasa. Fantasia released only one self-titled album in 1975 with only 2000 copies sold (which made it a almost a "rarity" amongst the prog rock collectors), but has been reissued on CD by Rocket-Records in 2010. Line-up: Hannu Lindblom (guitars & vocals), Harri Piha (bass), Karl-Erik R?nng?rd (drums) and Roul Helantie (organs & piano). Sketchbook. Sketchbook is a reset of sorts for Fantasia, newly independent after racking up a full career's worth of accomplishments -- a platinum debut, three additional Top Ten albums, and a Grammy among them -- with majors J and RCA. She's backed by a licensing deal with BMG and now has her own label, Rock Soul, named after the self-termed sound she has been plugging for years. Fantasia co-wrote all the material and is also credited as co-producer with new associate Jevon Hill, a studio veteran who has worked with high-profile artists ranging from Tamar Braxton and Tank to James Fortune and Tye Tribbett. The core of additional writers is connected to gospel more than any other genre, yet the set mixes it up as much as any previous Fantasia album. Contrary to the title, nothing sounds incomplete or even off-the-cuff. It's more like a lookbook. Skittering percussion and other mechanical, trap-styled production touches are most common, utilized to best effect on the slick testimonial "Holy Ghost" and the gospel-blues finale on which Fantasia duets with her mother, Mama Diane (Diane Barrino). She switches to early-'90s adult contemporary mode for the sparkling ballad "Enough," one of her sturdiest (if bizarrely out of time) love ballads, and not long afterward is in the present with a mismatched dancehall-lite production for the blissful "Take Off." A couple other cuts resemble peer tributes. Tearful throwback belter "Bad Girl" is Jazmine Sullivan to the core. "PTSD" is artful pop-R&B, a slinking slow jam that, heard from a distance, could be mistaken for the work of Dawn Richard (at least until T-Pain provides the album with some impulsive humor, exclaiming "Good god almighty, great googly moogly!"). There's also one rocker, the blaring intervention "Warning." It merely hints at what Fantasia might be able to do if she took a truly sketchbook-like approach in the studio. There's no telling what she'd cook up in a couple weeks of live recording with a small band fluent in funk and rock. Sketchbook. Sketchbook is a reset of sorts for Fantasia, newly independent after racking up a full career's worth of accomplishments -- a platinum debut, three additional Top Ten albums, and a Grammy among them -- with majors J and RCA. She's backed by a licensing deal with BMG and now has her own label, Rock Soul, named after the self-termed sound she has been plugging for years. Fantasia co-wrote all the material and is also credited as co-producer with new associate Jevon Hill, a studio veteran who has worked with high-profile artists ranging from Tamar Braxton and Tank to James Fortune and Tye Tribbett. The core of additional writers is connected to gospel more than any other genre, yet the set mixes it up as much as any previous Fantasia album. Contrary to the title, nothing sounds incomplete or even off-the-cuff. It's more like a lookbook. Skittering percussion and other mechanical, trap-styled production touches are most common, utilized to best effect on the slick testimonial "Holy Ghost" and the gospel-blues finale on which Fantasia duets with her mother, Mama Diane (Diane Barrino). She switches to early-'90s adult contemporary mode for the sparkling ballad "Enough," one of her sturdiest (if bizarrely out of time) love ballads, and not long afterward is in the present with a mismatched dancehall-lite production for the blissful "Take Off." A couple other cuts resemble peer tributes. Tearful throwback belter "Bad Girl" is Jazmine Sullivan to the core. "PTSD" is artful pop-R&B, a slinking slow jam that, heard from a distance, could be mistaken for the work of Dawn Richard (at least until T-Pain provides the album with some impulsive humor, exclaiming "Good god almighty, great googly moogly!"). There's also one rocker, the blaring intervention "Warning." It merely hints at what Fantasia might be able to do if she took a truly sketchbook-like approach in the studio. There's no telling what she'd cook up in a couple weeks of live recording with a small band fluent in funk and rock. Fantasia - Sketchbook (2019) Fantasia eschews boxes. She can nail jazz, blues, and swing as capably as she can a hip hop, gospel, or dance. As she evolves and has mastered building a song with restraint to satisfying explosive ends as indicated by her devastatingly brilliant Christmas at Midnight project, a sold-out residency with the Pops Orchestra at the Kennedy Center, and her now two star-turns on Broadway, she delivers a strong middle finger to those who would dismiss her megawatt talent to one who merely hollers and gospel squalls her way through an R&B song. Fantasia tackled those ideas head on her Xmas tour in support of Christmas at Midnight , solidly delivering both the hits and hollers fans want and the tasteful elegance of a torch song without sacrificing her instrument that she’ll need to have longevity in both vocal ability and touring career. So, to be an ardent Fanny fan is to understand that whatever you’re hoping for or expecting, the work she’s going to perform is likely going to be different than that. However, to be a soul fan of the old school, a tradition Fantasia deliberately pulls from, and to be a fan of Fantasia is also to be in a constant state of pendulum swings of wild euphoria over her delivery of instant classics (“Bittersweet,” “Lose to Win,” “Free Yourself,” “I’m Here”) and frustrating too on-trend pop or street music that says little and is musically immature (“PTSD,” “Hood Boy,” “In Deep,” “Without Me”). With two notable exceptions, the albums themselves are compositional oases of brilliance followed by literal valleys of album fillers of mediocrity and close- but-no-cigar swing and misses by some of the industry’s biggest names, tracks saved only by the singular instrument Fantasia possesses. Still, their lack of memorability as whole projects tells the tale. Fantasia lives and dies by her singles. Luckily, there have been enough worthy hits over the last 15 years among the American Idol winner’s seven albums to make every concert a winning experience. And, to see Fantasia live, to steal a line from The Color Purple , is “to see the face of God.” Accordingly, one cannot wait to hear the magnificence that is the latest single, “Enough,” live on her current Sketchbook tour. Sadly, that cannot be said for much else on an album that continues Fantasia’s streak of uneven, yet deeply personal albums. Hailing from the more modest parts of North Carolina’s street and church culture, Fantasia’s work has always reflected the dichotomy of those roots, going from emotional and vulnerable to rough and tumble between tracks.