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Dido: Safe Trip Home

 A l b u m   D e t a i l s


Label: Sony BMG Music
Released: 2008.11.17
Time:
 49:46
Category: Pop/Rock
Producer(s): See Artists ...
Rating: *******... (7/10)
Media type: CD
Web address: www.didomusic.com
Appears with:
Purchase date: 2008.11.17
Price in €: 14,50





 S o n g s ,   T r a c k s


[1] Don't Believe in Love (Armstrong/Armstrong/Brion) - 3:52
[2] Quiet Times (Armstrong) - 3:17
[3] Never Want to Say It's Love (Armstrong/Armstrong/Brion) - 3:35
[4] Grafton Street (Armstrong/Armstrong/Eno) - 5:57
[5] It Comes and It Goes (Armstrong/Armstrong/Brion) - 3:27
[6] Look No Further (Armstrong/Armstrong/Brion) - 3:13
[7] Us 2 Little Gods (Armstrong/Armstrong/Gough/Nowels) - 4:49
[8] The Day Before the Day (Armstrong/Armstrong) - 4:13
[9] Let's Do the Things We Normally Do (Armstrong/Brion) - 4:09
[10] Burnin Love (Armstrong/Greenwood) - 4:11
[11] Northern Skies (Armstrong/Armstrong) - 8:55

 A r t i s t s ,   P e r s o n n e l


Dido - Guitar, Drums, Keyboards, Recorder, Vocals, Bells, Producer, Omnichord

Mark Bates - Piano, Keyboards, Programming, Editing, Wurlitzer
Jon Brion - Bass, Guitar, Percussion, Piano, Strings, Celeste, Conductor, Keyboards, Tom-Tom, Producer, Brass, Drum Machine, String Arrangements, Mixing, Brass Arrangement, Orchestral Arrangements, Vocal Coach, Woodwind Arrangement
Matt Chamberlain - Drums
Lenny Castro - Percussion
Mick Fleetwood - Drums
Brian Eno - Keyboards, Ambience
Clarence Greenwood - Guitar, Drums, Vocals
Joel Shearer - Guitar
Sister Bliss - Bass, Keyboards, Programming
Sebastian Steinberg - Bass
Jim Scott - Drums, Engineer, Mixing

Greg Koller - Engineer, Mixing
Grippa - Mixing, Vocal Engineer
Ashley Arrison - Artist Coordination
Alan Yoshida - Mastering
David Paul Campbell - Arranger, Conductor, String Arrangements
Eric Caudieux - Programming, Editing
Matt Dunkley - Orchestration
Peter Edge - A&R
Isobel Griffiths - Contractor
Michael Price - Orchestration
Todd Steinhauer - Assistant
Jill Streater - Copyist
Gavyn Wright - Session Leader
Ashley Arrison - Artist Coordination
 

 C o m m e n t s ,   N o t e s

2008 CD Arista 88697162972
2008 CD Arista 730709
2008 CD Sony BMG 8697162972

Dido makes her long-awaited return with the follow-up to 2003's 'Life For Rent'. Produced by Jon Brion (Rufus Wainwright, Evan Dando), 'Safe Trip Home' has the London-born singer in a reflective mood, while the soft, spiralling melodies are still present, along with the piano lines fans have come to expect. Singles include 'Don't Believe In Love', while a notable collaboration with Brain Eno on 'Grafton Street' is also included.

Fünf Jahre nach ihrem Nummer-Eins-Album "Life For Rent", das sich alleine in Deutschland über 900.000 Mal verkaufte, veröffentlicht die britische Sängerin und Songwriterin Dido ihr lang erwartetes, drittes Studioalbum. "Safe Trip Home", so der Titel des Longplayers, entstand unter der Regie von Jon Brion (Fiona Apple, Kanye West, Rufus Wainwright etc.), Ark, der neuen Produktionsfirma von Faithless-Mastermind Rollo Armstrong und Dido in Los Angeles und London. Das Album enthält u.a. die brandneue Single "Don't Believe In Love", die am 24. Oktober erscheinen wird, und einen Song, der von Brian Eno mitgeschrieben wurde. Das Album folgt zwei Wochen später und ist ab dem 31. Oktober erhältlich. Über die Aufnahmen mit Jon Brion in dessen Heimstudio in Los Angeles sagte Dido jüngst (in einem Interview mit dem Q-Magazin): "Den Gesang nahm ich in Jons Besenkammer auf, direkt neben seinem Staubsauger. Es war so klein, dass dort nicht einmal Platz für eine Gitarre war: Nach einiger Zeit wurde ich direkt süchtig danach, dort drin zu singen."



Perhaps even Dido realized that the chief criticism lodged against her first two albums was that they were a bit too placid, so she decided to change things, albeit subtly, on her third, Safe Trip Home. This album appears five years after 2003's Life for Rent, which is only a year longer than the gap between No Angel and Life, yet it feels like it had a longer gestation: Dido's songs are subtler and richer, and so is the production, largely a collaboration with Jon Brion but also featuring Brian Eno on "Grafton Street." These are two of an impressive lineup of guests who range from Mick Fleetwood to Citizen Cope and ?uestlove from the Roots, but don't be mistaken in thinking that this is a dramatic break from Dido's elegant, shimmering past: it's a deepening, adding layers and textures, both musical and emotional, that are apparent upon the first listen but reveal themselves more with repeat spins. This is less about the surface - something that Life for Rent could sometimes seem to be all about - than what's underneath, as Dido's songs here gently hook their way into the subconscious on. There are melancholic edges, but it's not haunting, it's comforting, reassuring music that's quietly powerful, music that Dido hinted at before but never quite made.

Stephen Thomas Erlewine - All Music Guide



These songs are noticeably more reflective, their themes of longing and absence rooted deeper than the caprices of romantic love, and consequently it feels more serious than her previous work. The outstanding song of the album is the piercingly beautiful, Celtic-flavoured ''Grafton Street," a six-minute hymn to loss co-written with Brian Eno and featuring Mick Fleetwood on drums.

The Guardian



Safe Trip Home is the warm, moving, and wonderfully musical third album from Dido, the London-born singer-songwriter with the cracked-crystal voice. The first, you might remember, was No Angel, a record made when Dido was a part-time backing singer with a tiny budget and no label. When that record's heartfelt snap-shots of life were released in 1999, nobody, least of all Dido, expected the album to eventually become the planet's biggest seller of 2001. The similarly affecting follow-up, 2003's Life For Rent, also burrowed its way into millions of hearts, hitting number one in 26 countries and lighting up the airwaves in many more. By the time Dido had toured that record around the world, she was ready for a bit of a breather.

"It was a whirlwind," she says. "When I got back from touring early in 2005, it took a while just to take in what had happened. I was so unprepared for it. As far as I was concerned I was making this little underground record for me to listen to and then, suddenly, eight years later I was getting off this incredible speeding train. I'd had an amazing time, but I guess I needed to take a step back, reconnect with normal life and bring the focus 100 percent back to music."

Although she disappeared from view, Dido took very little time off from music. However, rather than immediately starting to write new songs, she threw herself into playing, whether it be her music or others people's. "I wanted to take some time to become a better musician," she explains. "For the first two albums, any playing I'd done had been used purely for songwriting, which is very different from just playing for fun, like I had as a child. So I spent a lot of time just picking up instruments for playing's sake again. I loved it."

Dido had inadvertently set the tone for Safe Trip Home, a record whose smouldering, soulful songs were to eventually feature her playing guitar, piano, bells and the trusty old recorder she'd toured Europe with as a prodigious pupil of London's Guildhall School of Music. She's even responsible for some of the album's drums (most notably on the sumptuously melancholy Quiet Times).

When Dido met up with producer, Jon Brion (Fiona Apple, Kayne West, Rufus Wainwright, Eels) at London's Abbey Road studios towards the end of 2005, he was blown away by her musicianship. "I realised she had this beautiful feel for playing from the first day I met her," he says. "In fact, if there's anything I'm particularly proud of with this record, it's encouraging Dido to play more instruments. When she plays drums, her groove is magnificent. And her touch on piano is absolutely stunning."

"Jon persuaded me to go out to LA and do some writing," says Dido. "We had this brilliant few weeks working together. It felt like I could try anything I wanted, with whatever instrument I wanted. That was really the start of the album." Songs like the sensuous "Never Want To Say It's Love" and the string-soaked "Let’s Do the Things We Normally Do" were two of several tracks to emerge from those productive sessions.

Buoyed by that initial progress, Dido decided to relocate to LA for a while to continue working with Brion on the album. It was a city ripe with opportunities, whether that be the potential for long drives into the desert listening to music, the amazing vocal sound in Brion's broom cupboard, the chance to get Citizen Cope in to sing on the gorgeous Burnin Love, or the fact that Dido's favourite drummer Mick Fleetwood was on hand to play on Grafton Street, the plaintive album highlight she'd written with another inspiration, Brian Eno.

"I wasn't actually a big fan of LA before," she admits, "but it turned out to be an amazing place to follow through an idea and keep going without anyone saying you're being completely ridiculous. It's a city built on imagination, story-telling and creativity. Plus, everyone seems to go to bed at 9 p.m., so I'd get a lot done at night."

Dido's musical experimentation also extended to learning more about the actual mechanics of recording. "I was very impressed by that," says Brion. "It would be a very easy life for her to allow people to make stuff for her to sing on and I think it's more than a little bit admirable that she is so inquisitive about everything. She learned a ton about engineering, about arranging, about mastering, about the construction of music. She even went and took some music courses at UCLA. This is not the thing the average person who's just looking to crank it out does."

Indeed, rather than rushing to get the album done, Dido was happy to take her time. "I didn't really feel any urgency to stop writing," she says. "In fact, when I'd finished all the stuff with Jon in LA, I came back to England and realised I really wanted to start using all the things I'd learned there. So I sat down at my kitchen table with my laptop and a microphone and just started writing and recording, using a new computer programme I'd got. I ended up with a whole load more songs."

One afternoon, Dido's brother Rollo, who co-wrote and co-produced her first two albums, came round for tea, so she played him a bunch of the new songs. "He got really excited about them, so we decided to go into the studio with them. But a lot of the recordings on the album actually came from that time in my kitchen. If you listen closely, you can hear my neighbours drilling or the rain pelting down outside."

"I really think this album has benefitted from its gestation period," says Rollo. "I think Dido has gone on a musical journey with it. She'd ring me from LA and say, "I'm recording vocals in an echo chamber!" or "we're busy reversing 200 strings we just recorded!". She was obviously having so much fun. But, for all that, the songs on this album still channel Dido's amazing ability to move people with melodies and lyrics. There's never any pretension on a Dido record. I think the words supposed to say what they mean but in a way that's not clichéd."

"Frankly, I don't believe what most people are singing about when I hear their records," says Brion. "I hear, 'I want attention, I want to be famous, I want you to think I'm smart'. But with Dido, I know she isn't kidding. I hear her in her lyrics. Take away any preconceptions and you'll hear that her words are a hotbed of truth. It's no surprise to me that so many people all over the world have connected with her."

Dido's softly-expressed thoughts, parables, feelings, hopes and concerns flow unfettered from Safe Trip Home. It is a record of love and loss, strength and surrender, highs and lows. And, as with her previous two albums, Dido shows an astonishing knack for extracting life's universals from its little details.

"Dido bares her heart in her music in a way that she doesn't in any other public domain," says Rollo. "I think the key with her records is the idea that it all goes from Dido to the listener in the most straightforward, emotionally honest way. It's like an emotional A to B with as little interference from me as a producer."

"I still manage to get into this headspace when I'm writing where I completely forget that anyone's going to hear the songs," admits Dido. "And then, of course, just before I release it, I start to get a little bit freaked out because I've poured so much of myself into it. I don't really draw any limits for what I put in the songs, emotionally. Some of these songs are about general themes and some are about other people's lives, but some are specific and personal to me. Maybe I leave myself exposed, but I find it hard to do anything that isn't emotional or doesn't move me in some way. I'm far less likely to sit down and tell someone painstaking details of my life than I am to put it all in a song. But by not explaining my lyrics to people, it actually gives me the freedom to express myself without limits in the songs."

That, as much as anything, is what makes Safe Trip Home such a rewarding listen. "This album is full of the joy of making music," says Dido. "The process of making it has been a wonderful experience, something to totally cherish. I've put every emotion into these songs. And now I just really hope they move people." It's hard to imagine that they won't.

Amazon.com



Dido verblüfft. Zum einen mit einer steilen Karriere, denn obwohl ihre großen Hits "Thank you" oder "White Flag" ins Ohr und in die Charts gingen, entzogen sie sich stets der Rubrizierung; zum anderen mit ihrem neuen, dritten Album. "Safe Trip home" ist so anders und doch unverkennbar Dido. Der TripHop wich, das Wiederholende, Leiernde, lullend Sanfte: All das blieb. Noch immer wirkt die Sängerin bisweilen verloren, wenn das Schlagzeug anschwillt, doch ihre Stimme ist kräftiger geworden - und die Beats schwächer. Dido ist mehr Songwriterin als je zuvor, aber nicht von jener Sorte, die verträumt und einsam die Akustikgitarre zupfen. Die Britin probiert lieber aus, umgibt sich mit den verschiedensten Instrumenten, zu deren Gunsten sie passagenweise ganz verstummt. Sie testet unterschiedliche Genres, von Folkpop bis Blues, ohne dort wirklich anzukommen, was sie auch gar nicht vorhat. Nein, Dido möchte hinter jedem Überraschungseffekt sie selbst bleiben. Intim, unnahbar, Dido eben.

(kab) - Kulturnews



Providing the hook for Eminem's murder ballad "Stan" is an odd way for a gentle English singer to launch a career. But Dido's featherweight soul has always harbored a dark side, and her third set expands her wine-bar sound with shadows. Co-producer Jon Brion adds cinematic breadth to songs about emotional crossroads: The strings-laden "Never Want to Say It's Love" finds the singer gulping pills, and the Celtic brooder "Grafton Street," co-written with Brian Eno, recalls Peter Gabriel's "Mercy Street." Dido's voice is so comforting, you almost miss the blues it conceals.

WILL HERMES - Nov 27, 2008
RollingStone.com
 

 L y r i c s


Don't believe in Love

I wanna go to bed
With arms around me
But wake up on my own
Pretend
That I'm still sleeping
Til' you go home

Oh
I can't look at you
This morning
I should probably have a sign
That says
'Leave right now or quicker'
You've overstayed your time

If I don't believe in love
Nothing will last for me
If I don't believe in love
Nothing is safe for me
When I don't believe in love
You're too close to me
And that's why
You have to leave

Maybe I slept peaceful
On your shoulder
Your arm warm around my side
But it's different now
It's morning
And I can't face your smile

The second that I feel
Your safe hands
Reaching out for mine
I slip away and out of sight
You've ovestayed your time

If I don't believe in love
Nothing is good for me
If I don't believe in love
Nothing will last for me
When I don't believe in love
Nothing is new for me
Nothing is wrong for me
And nothing is real for me

When I don't believe in love
Why do you care for me?
When I don't believe in love
Nothing is real for me
If I don't believe in love
You're getting to close to me
And that's why you have to leave
And that's why you have to leave

If I don't believe in love
If I don't believe in love
If I don't believe in love
Nothing is left for me
If I don't believe in love
You're too good for me


Quiet Times

Ask me where i go tonight i go back to today last year.
Me and you had to make each other happier, now theres hope with everything.

Its hard enough to feel the world as it is and hold on anything.
Without these quiet times you've brought round here.

Im Gonna have to run away, im sure that i belong some other place.
I've seen another side of all i've seen it keeps me wondering where my family is.

Its hard enough to see the world as it is, and hold on anything.
Without these quiet times coming round here.

Now i miss you...
Now i want you...
But i can't have you...
Even when your here...

Suppose i have to take you with me, broken mind i'd rather leave you here.
To forget everything you've seen and known erase every idea.

And you walk up in the street, and hold my hand and smile.
Well i won't be taken in, cus i know how it turns out.
And it takes me back to these quiet times coming round here.

Now i miss you...
Now i want you...
Your not coming back...
And i need you...
But i can't have you...
Even when your here...

Now i miss you...
Now i want you...
Your not coming back...
And i need you...
But i can't have you...
Even when your here...


Never Want to Say it's Love

I could put it down to being tired,
Or coming home to an empty house,
A passing moment,
A little man -
No one around to stop me writing to you.

I never wanna say it’s love
But it’s really what I’m thinking of

I could apologise,
And say ‘tear it up,
And put it down to the pills I’ve taken’
Seeing my friends with their lives moved on
Well I’ve been gently drifting

I never wanna say it’s love
But it’s really what I’m thinking of
I felt the same today
As I was feeling yesterday
It’ll be the same tomorrow
From an only one change
I never wanna say it’s love
But it’s really what I’m thinking of

My home is home
And I’m settled now
I’ve made it through the restless phase
I have no reason to get bored anymore
My friends are around and your name comes up
Asking if I ever heard from you
I’m keeping it quiet about those words to you
But I meant every word that I said
I stand by every word that I said

I never wanna say it’s love
But it’s really what I’m thinking of
I felt the same today
As I was feeling yesterday
It’ll be the same tomorrow
From an only one change
I never wanna say it’s love
But it’s really what I’m thinking of
I felt the same today
As I was feeling yesterday
It’ll be the same tomorrow
From an only one change
I never wanna say it’s love
But it’s really what I’m thinking of
I never wanna say it’s love
But it’s really what I’m thinking of
I never wanna say it’s love
But it’s really what I’m thinking of


Grafton Street

No more trips to Grafton Street,
No more goin’ there,
To see you lying still,
While we all come and go.

No more watching sunsets,
It seems like summer’s holding on.
And no more standing quietly at your window.

No more driving down your road,
Wond'ring when you’ll be home.
And no more peace when they all leave
And leave us two alone.

And time we always lose is finally found here with you.
My love, I know we’re losing but I will stand here by you.

No more calling friends from the car saying “I don’t know when,
I’ll be there but I’ll do my best to come.”
No more letting you warm my hands,
No more trying to take it in.
And no more saying “goodbye for the last time again”
And no more saying “goodbye for the last time again”

And time we always lose is finally found here with you.
My love, I know you’re leaving but I will stand here by you.

No more trips to Grafton Street,
No more goin’ there,
No more sitting up all night,
Waiting for any word.

Nothing’s left that’s safe here now,
Nothing will bring you home
Nothing can bring us the peace
We had in Grafton Street.


It Comes and it Goes

Some days I wanna, and some days I don't.
Sometimes I can feel it and suddenly its gone...
Some days I can tell you the truth and some days I just don't.
Only a change of mood sun goes down
someone says something to quick or to soon,
a touch not made one made to late
army's of words can not hope to contain...

Then it comes and it goes.
And I have no control.

Some days I can think clear and some days I wont.
Sometimes I can feel it and suddenly its gone...
Some days I am strong and some days my skins broken and thin.
That's when it feels and it takes what it needs
and it leaves before I get to know,
its only a step away moments
then armies of words can not hope to contain...

Then it comes and it goes.
And I cant make it home.

And theres nothing at home.

And it breaks me when it goes.

Some days I wanna, and some days I don't.
Sometimes I can feel it and suddenly its gone...
Some days I can tell you the truth and some days I just don't.
Only a change of mood dream comes out
someone tells something to quick or to soon,
a move not made one made to late
armies of words can not hope to contain...

Then it comes and it goes.
And I seem to hope
And theres nothing at home.
And it breaks me when it goes.


Look No Further

I might have been a singer
Who sailed around the world
A gambler who wins millions
And spent it all on girls

I might have been a poet
Who walked upon the moon
A scientist who wouldtell the world
I discovered something new

I might have loved a king
Been the one to end a war
A criminal who drink champaign
And never could be caught

But among your books
Among your clothes
Among the noise and fuss

I've let it go

I can't stop and catch my breathe
And Look No further for happiness
And I will not turn again
'Cause my heart has found its home

Everyone i'll never meet
And friends I wont now make
The adventures that they could have been
And the risks I'll never take

but Among Your Books
Among your clothes
Among the noise and fuss

I've let it go

I can't stop and catch my breathe
And Look No further for happiness
And I will not turn again
'Cause my heart has found its home


Us 2 Little Gods

Walking home, burnt and red
Sticky thin, he said
let us go down in the woods
can you be careful she said
us 2 little gods with the world at our feet

Sticky thin, how you’ve grown they said
You’ll never fit in your long white dress
When’s he going to try and get a job
I’m thankful for what we’ve got she said
us 2 little gods with the world at our feet

Just in this life, I need no other
Just this day, I need no more
Just this moment, let it all stop here
Let it all stop here I’ve had my fill.

Summers here, early again
Lets take the kid and go and celebrate
Drinking beer, moon on the left
and there’s the sun, hold my hand he said
us 3 little gods, with the world at our feet

Just in this life, I need no other
Just this day, I need no more
Just this moment, let it all stop here
Let it all stop here I’ve had my fill.


The Day Before the Day

speeches won't be made today, clocks will carry on
flowers wont be left in parks, work will still be done
people wont be dressed in clack, babies will be born
no flags will fly, the sun will rise,
but we know that you are gone

you who love to love and believed we can never give enough

it wakes me every single night, thinking through the day
did you stop at any time have doubts at any stage
were you calm or were you numb or happy just to get it done
i've lived my life without regret until today

you who love to love and believed we can never give enough

I didnt get to say goodbye the day before the day
was trying to get to work on time, thats why i turned away
and missed the most important thing you've ever tried to say
i've lived my life without regret until today

you who love to love and believed we can never give enough
and you who hoped that underneath we all felt the same
that was until the day before the day


Let's Do the Things we normally Do

Let's pretend that we'll be here tomorrow
And I'll try for you to be a little more on time
I know you need to say you know you've let me down
But you haven't and it's hard to talk with people all around

Please don't say how proud you are
Lets do the things we normally do
I'll say see you later
You'll sing a line or two
From your rebel songs sung out of tune

Don't hold my hand for longer than you need to

Lets forget that we're here and make some plans
We'll go for walks
Sit on the bench we always sat
I'll tell you every little detail of my day and so will you
Don't try to stay awake
I'm feeling tired too

This is just another day
Let’s do the things we normally do

I'll say see you later you'll sing a line or two
From your rebel songs sung out of tune

Don't hold my hand for longer than you need to

Armored cars and tanks and guns came to take away our sons
And everybody’s stood behind
The man behind the wire
There’s a fight to love
A fight to have
Your bed’s a battlefield and back
And all of this will just be stripped away

Let’s do the things we normally do
I'll say see you later you'll sing a line or two
From your rebel songs sung out of tune
Don’t hold my hand for longer than you need to

Don’t look me in the eye more than you need to

Don’t try to say goodbye if I don’t want to
Don't say how proud you are
And say I’m far away
and take along your
and say a word
and I can say fade away


Burnin Love

I found no peace
In the lies that I’ve told,
I’m only hurt by the blows that get withheld
The sharper I get cut
The harder I get held
More that I believe
That you will come to me

Without you I’ve been burnin’ love
Whao-ao
You’re the one that I’ve been calling for
Whao-ao
Without you I’ve been burnin’ love
Whao-ao
You’re the one that I’ve been calling for

I found no peace
In the lies that I’ve told,
I’m only hurt by the blows that get withheld
The sharper I get cut
The harder I get held
More that I believe
That you will come to me

Without you I’ve been burnin’ love
Whao-ao
You’re the one that I’ve been calling for
Whao-ao
Without you I’ve been burnin’ love
Whao-ao
You’re the one that I’ve been calling for

‘out you I’ve been burnin’ love
Whao-ao
You’re the one that I’ve been calling for

Without you I’ve been burnin’ love
Whao-ao
You’re the one that I’ve been calling for
Whao-ao
Without you I’ve been burnin’ love
Whao-ao
You’re the one that I’ve been calling for


Northern Skies

"I have returned to the northern skies"

I have returned to the northern skies,
Where the summer had not touched
The clouds that pass above.
Oh, and I have returned to the somber grace
Of the days too early to come and too early to stay.

And I have left a million stars,
And an ocean so lightly, so clearly blue.
And I have left the warmth of the sun
And a million adventures not yet begun.
The great sense of passing through,
The great sense of passing through,
The great sense of passing through.
Oh, for once there was beauty here for me
Under these white, northern skies.
I felt the green was blacker
And the blue was darker still.
My roots are lying deeper than I ever think they will again.
Heartache and poverty under these northern skies.
The great sense of passing through,
The great sense of passing through,
The great sense of passing through
 

 M P 3   S a m p l e s


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