Additional information
Includes 2 bonus tracks. Personnel: Delta Goodrem (vocals, piano, background vocals); Bryan McFadden (vocals); Christopher Rojas (guitar, strings); John Fields , Matthew Gerrard (guitar, keyboards); Billy Mann (guitar, background vocals); Pete Thorn, Eliot Kennedy, Adam Phillips (guitar); Guy Chambers (acoustic guitar, electric guitar, autoharp, piano, organ, Moog synthesizer, bass guitar); Phil Palmer (acoustic guitar); Paul Stanborough, Eric Schermerhorn, Tim VanDerKuil (electric guitar); London Session Orchestra (strings); Dave Arch (piano); Vince Pizzinga, Tommy Barbarella (keyboards); Frank Ricotti (vibraphone, marimba, glockenspiel); Guy Pratt (bass guitar); Randy Cooke, Daniel Pearce, Ashley Soan, Ian Thomas , Dorian Crozier (drums); Richard Flack (tambourine, programming, drum programming); Ken Chastain (percussion); Matt Vaughan, Gary Barlow , Paul Pimsler (programming); Ami Richardson, Gary Nutall, Andy Caine, Tessa Niles, Gary Nuttall (background vocals). Audio Mixers: Tim Roe; Christine Wilcox; Mark Taylor ; John Fields ; Mark Endert ; Ren Swan; Richard Flack; Steven Miller ; Tom Lord-Alge. Photographer: Sheryl Nields. Unknown Contributor Role: London Session Orchestra. Arrangers: Vince Pizzinga; Matthew Gerrard; Billy Mann; Christopher Rojas; Delta Goodrem. As stated in many interviews and press releases, Mistaken Identity, the second release by Australian beauty Delta Goodrem, was fueled and inspired by a central event that occurred in the young star: her tumultuous battle with lymphoma and the struggles of remission. Therefore, it is without surprise that the second release by Goodrem is a much darker, introverted look at the pain and emotional issues handled in her life. Mistaken Identity, contrary to Goodrem's first release, Innocent Eyes, is a ballad-packed album with dramatic beats, moodier lyrics, and deeper meanings beneath the singer's icy pure vocals. The result is chilling, turning the Mandy Moore-esque tones on Goodrem's first release into haunting Celine Dion power ballads. In many cases, this transition works well. Goodrem's voice is very well suited to the adult contemporary market, and the spot-on delivery bodes well for her, since her public battle with cancer validates many of the tough topics tackled on this second release. However, since this is only Goodrem's second album, her need to be more artistically expressive at such a young age might tend to be written off as immature and vapid, particularly since words like "emotional suicide" don't fit with gorgeously talented 20-year-old starlets with enough pop potential to make up for all the schlock in the market. The album is an odd misstep in the sense that Goodrem falls far from the market that made her a pop star, and though the tunes on a song-by-song basis are probably equal on each album, this dark spin on pop music doesn't truly reflect the market where Goodrem might find the most success. Still, when the talent is too good to be denied, like on "Extraordina
