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Tonight and the Rest of My Life
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Album: Tonight and the Rest of My Life
# Song Title   Time
1)    Now I Can Die
2)    2003
3)    Tonight & The Rest of My Life
4)    Badway
5)    Horses in the City
6)    Hold on to Me
7)    New Year's Eve
8)    Fade to Black
9)    Number One Camera
10)    Got Me Down
11)    Too Slow to Ride
12)    Hate Your Way
13)    End of the World
14)    Black & Blond
 

Album: Tonight and the Rest of My Life
# Song Title   Time
1)    Now I Can Die
2)    2003
3)    Tonight & The Rest of My Life
4)    Badway
5)    Horses in the City
6)    Hold on to Me
7)    New Year's Eve
8)    Fade to Black
9)    Number One Camera
10)    Got Me Down
11)    Too Slow to Ride
12)    Hate Your Way
13)    End of the World
14)    Black & Blond
 
Product Description
Product Details
Performer Notes
  • Personnel: Nina Gordon (vocals, guitar); Jon Brion (guitar, pedal steel guitar, piano, organ, chamberlin, bass); Michael Eisenstein (guitar, organ); Bob Rock (guitar, bass); Stacy Jones (guitar, drums); Jim Shapiro, Buddy Judge (guitar); John Webster (piano, organ, chamberlin, Mellotron); Chris Wyse (upright bass); Scott Riebling (bass).
  • This Japanese import edition features the bonus track "Black & Blonde."
  • Proving the old adage that great art often comes on the heels of personal turmoil, Nina Gordon uses the gorgeous popcraft of her solo debut to exorcise quite a few personal demons. In 1998, the former Veruca Salt co-founder found herself simultaneously breaking up with her boyfriend of four years and her best friend Louise Post, with whom she had formed the band in 1991. Bouncing back from all this chaos, Gordon chooses producer Bob Rock (who worked with Gordon's former group as well as Bon Jovi, Metallica and Aerosmith) and a studio crew consisting of former members of Boston's Letters To Cleo and L.A. popmeister Jon Brion.
  • Throughout TONIGHT, lush Beatlesque hooks bubble up on songs like "Now I Can Die" and "Fade to Black," recalling Susanna Hoffs' second self-titled album. Elsewhere, Gordon balances out the melancholy of "The End of the World" and the title track with the kind of rock & roll crunch and crisp handclaps on tracks like "Badway" and "Number One Camera" that sound like outtakes of her old band.
Professional Reviews
Rolling Stone (8/17/00, p.113) - 3.5 stars out of 5 - "...Falls somewhere between vintage Wilson Phillips and recent Aimee Mann....justifying her continued existence as a recording artist with some tuneful adult-rock craft..."

CMJ (8/00, p.61) - "...From power pop to powder puff....her lush voice glides smoothly over the hooks, heating up every soft rock turn with its sensual fullness..."
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