Album Title
Paloma Faith
Artist Icon Fall to Grace (2012)
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First Released

Calendar Icon 2012

Genre

Genre Icon Soul

Mood

Mood Icon Quirky

Style

Style Icon Rock/Pop

Theme

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Tempo

Speed Icon Medium

Release Format

Release Format Icon Album

Record Label Release

Speed Icon RCA

World Sales Figure

Sales Icon 600,000 copies

Album Description
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Fall to Grace is the second studio album by English singer-songwriter Paloma Faith. It was released by RCA Records on 28 May 2012. She worked on the album with producer Nellee Hooper, who previously worked with artists such as Madonna, Björk, Massive Attack, and Gwen Stefani. A deluxe edition was released the same day, contains acoustic version of five songs from the album. The album's lead single was "Picking Up the Pieces", which was released on 20 May 2012. The album debuted at number 2 in the United Kingdom, becoming Faith's highest charting album. In more than one territory, this follow-up album has had more success in the charts by reaching higher positions than her debut album.

Faith revealed that she was working on a second album in March 2010. In July 2011, Faith revealed that she did not know when the album was going to be completed and she branded the process "slow". She told Kristy Kelly of Digital Spy "The album's not finished yet and I'm not sure when it will be. If I had my way it would be out tomorrow, but there are so many other people involved that nothing happens quickly."

On 29 February 2012, Faith revealed her second album would be called Fall to Grace and that it would be released by RCA Records on 28 May 2012. Faith enlisted record producer Nellee Hooper and co-producer Jake Gosling to work with her on the project. Hooper told a writer for NME that he had not really heard of Faith as he was living in Los Angeles when her first album was released. He said Sony and RCA Records contacted him and suggested he meet her. Faith wrote and recorded the album in London.
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User Album Review
Paloma Faith makes a great pop star: sharp as a hatpin, mouthy enough to reprimand The Voice after her "realistic" comments were reportedly cut from a recent guest spot, and no stranger to the dressing-up box (check out this album's cover).
Her 2009 debut, Do You Want the Truth or Something Beautiful?, was a respectable success, spawning a couple of top 20 hits and slowly going platinum. But this follow-up should make her a singer who doesn't need a surname: "Did you see what Paloma was wearing on telly last night?"
Faith's savvy and ambition show in her choice of collaborators. Fall to Grace is co-produced by Jake Gosling, fresh from success with Ed Sheeran, and Nellee Hooper, a class act who's worked with everyone from Björk to Madonna. Faith calls the latter an "interpreter" of her musical ideas; the pair would discuss her songs in relation to scenes or images from films and Hooper would translate these ideas into soundscapes.
It sounds like it. Lead single Picking Up the Pieces is epic, like stallions galloping across the silver screen, and Fall to Grace has several other grand, cinematic ballads. However, Faith and Hooper know that films aren't just about big Oscar-grabbing moments, so they vary the tone.
30 Minute Love Affair is Annie Lennox-style synth-pop. Let Me Down Easy works a kind of "supper club dub" sound. Agony seems to be rewriting Lana Del Rey’s Video Games, but then decides to sound like Tori Amos covering Mr. Brightside. Phew!
None of the sumptuous production would matter if Faith hadn't delivered some decent tunes. She counts Eg White (Leave Right Now) and Dan Wilson (Someone Like You) among her co-writers, so her choruses soar accordingly, but there's also an emotional honesty to her songs. Most of them deal with relationships as knotty and dramatic as Helena Bonham Carter's hair. "It takes two imperfect people to dance a sweet ballet," she sings on Blood, Sweat & Tears, offering a neat précis of the Paloma perspective: romantic but realistic.
The quality slips towards the finish, but not enough to spoil a supremely accomplished sophomore album. Fall to Grace is proof that pop doesn't need to be grey and restrained to feel grown-up.


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