Laws Of Illusion [+Digital Booklet]

Laws Of Illusion [+Digital Booklet]

There are 12 songs (and an additional bonus track) on this latest album, 2 of which previously featured on GREATEST HITS released 2 years ago. Initially I was critical of this, blaming laziness and lack of effort. Then I became appreciative. "U Want Me 2" is one of the best McLachlan songs ever - lush instrumental, poetic lyrics, ethereal vocals all lending to heartbreaking imagery. I'm glad I have it on here as part of the collection rather than having to keep going back to the GH collection to hear it. It fits in perfectly with LAWS OF ILLUSION like the last piece of jigsaw. And 13 songs on a McLachlan studio album is always a bonus, considering SURFACING and AFTERGLOW only had 10!

Laws of Illusion is perhaps  McLachlan's hardest and edgiest sounding collection - swirling electric guitars are present on most songs. But the sound never drifts too far from what all fans will claim is McLachlan's (sort of what you'd expect if Enya did rock). The album also contains some of McLachlan's happiest sounding songs in a sing-songy, chorusy way: "Illusion Of Bliss", "Loving You Is Easy", "Out Of Tune" and "Heartbreak". Even the instrumentation is fuller, more uplifting, a little bit more bouncy as if it were skipping happily along. But make no mistake, those "happy" songs never end up sounding like cotton candy having been through the hands of this queen of melancholy. McLachlan always finds a way to serve them up as mostly minor-chord songs that transition into a major-chord chorus. "Illusion Of Bliss" is a misnomer, there is no illusion about the bliss contained in this song.

Laws Of Illusion
I need to specially mention "Forgiveness", my newest, favourite McLachlan song. The instrumental arrangement is exquisite, the melody is trademark McLachlan. The solitary piano beginnings deceive the listener into thinking this as "Angel" #2, but when the beats drop, background cooing vocals enter and guitar envelope the song, you discover the masterpiece. I think this song inspired the classy and dreamy album cover. I also need to single out "Awakening". It is different, moody, electric-guitar-rock-loud and has a song structure that is not immediately discernible. But it is a stand-out and showcases McLachlan as a rock goddess doing Coldplay. Finally  deserve attention too, as a throwback to the SURFACING era. This is your 2010 "Do What You Have To Do" and "Full Of Grace" respectively. Check out the saw.
I have deliberately left out the most important ingredient on LAWS OF ILLUSION for last. Shimmering, magical, breath-taking, expressive, soothing and flawless: McLachlan's voice. It is what makes a McLachlan CD a McLachlan CD. It has remained the same from the day I first started listening to her. Her phrasing is unique; her slight cracks are emotion-drenched; and the oft-featured yodel-break is skilfully used throughout.
Laws Of Illusion is pretty much perfect. I'll be spinning this one for however long it takes for the next McLachlan CD to drop. If she takes this long to release music as astounding as this, so be it.

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Hold Time M. Ward

Hold Time
M. Ward's sixth album finds him with an increased public profile (having toured with Norah Jones) which of course brings more expectation from fans and critics. But the fact is that Ward hasn't changed his approach a whole lot over the years.

There is a brighter sound on this record that is no doubt a result of his experience and confidence as a producer, both of his own and others' works. The arrangements are more varied and ornate, but he's savvy enough to know that all the sonic bells-and-whistles are no substitute for a good song. The "She & Him" project was obviously a lot of fun, and some of that sense of fun pervades more upbeat songs like "Never Had Nobody Like You." And of course, there's lots of great guitar work, from lovely, intimate solo acoustic moments, to the fretwork fireworks on "To Save Me."
But above all, there are still a handful of truly great songs, which seem to come from the mists of time, bridging Tin Pan Alley, backporch Americana, and shambling indie rock, where the ghosts of Mississippi John Hurt and John Fahey mingle with contemporary influences and collaborators Vic Chesnutt, Lucinda Williams and Howe Gelb. And there are some that are just merely good, that sound similar to too many other past M. Ward songs, but familiarity, in this case, breeds comfort rather than contempt.

And of course, he is still has a brilliant ear for interpreting the work of others; the airy, delicious cover of Buddy Holly's "Rave On" is, for this listener, the absolute highlight of the record, just as his revelatory cover of David Bowie's "Let's Dance" first demonstrated how effortlessly he can take someone else's song and make it his own.
It may not be his best overall recording, but it still stands head and shoulders above most of what's on offer from today's "popular music" artists. And make no mistake, pop music is what M.Ward is about, just as Irving Berlin, Hank Williams, Lee Hazlewood and Brian Wilson were before him. I'm sure he doesn't mind being in that kind of company.

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NOW That's What I Call Music, Vol. 31

NOW That's What I Call Music, Vol. 31

While this album features several familiar names there are a few new artists here as well such as Lady GaGa, Pitbull, 3OH!3, and Charice. Some of the tracks have been around for a few months while others are still relatively new. As with the previous two volumes, there's access to bonus content. A good sample from start to finish. Here are the peak positions on the Billboard Hot 100 for the tracks:

Boom Boom Pow-#1/ Right Round-#1
Poker Face-#1/ I Know You Want Me-#2
Blame It-#2/ Dead And Gone-#2
Day 'N' Nite-#3/ Kiss Me Thru The Phone-#3
Halo-#5/ Mad-#11/ Please Don't Leave Me-#18
Love Sex Magic-#10/ If U See Amy-#19
My Life Would Suck Without You-#1
Don't Trust Me-#7/ That's Not My Name-#52
You Found Me-#7/ If Today Was Your Last Day-#19 (this week)
I Run To You-#35,#5 Country (this week)
Note To God-#44 (this week)
This is the best NOW cd I have ever purchased. To bad I didn't see it here first, I could have saved a lot more getting it here. I actually love every song on this CD and usually with the NOW cd there's about 4 or 5 songs I dont care for! Love it! Get it!
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Hold Time M. Ward

Hold Time


(VINE VOICE) (REAL NAME)
This review is from: Hold Time (Audio CD) Hold Time

In a world of Pro Tools and Logic, any wannabe guitarist can pick up the nearest acoustic and strum out a few half-hearted tunes about the allure of the road and their lost love, but few have been able to do it as consistently and as accurately as Portland, Ore.-based wunderkind M. Ward. With a healthy appreciation for his musical roots and a talent for speedy finger picking that calls to mind the greats of his favorite genre, Ward has proven time and again that folk-pop is in no danger of dying out, no more so than on his seventh effort, the superb Hold Time.
Ward's diverse oeuvre is even more striking when you look at the clearly discernable sense of progress he has made over the years, from the lo-fi acoustic wizardry of his debut to his more recent orchestral tapestries. Fresh off his work with actress Zooey Deschanel in the duo She & Him, Hold Time is the logical progression in his work, sounding like a more male-dominated version of She & Him's ode to the soul of the `60s, Volume One. Opener "For Beginners" is a concise bridge into his new work, a deceptively quick guitar melody underlying Ward's roughened vocals. The mellow production and Ward's campfire playing create a song with a sort of timeless quality to it, one that would sound just as home in an old-time western saloon as it does on an iPod's headphones.
The following trio of songs that open the record play like a best-of collection of some unsung folk hero, with the bluesy thump of "Never Had Nobody Like You" and the hypnotic jangle-pop of "Jailbird" leading into the more reflective, sedate title track. Ward's vocals, always a hate-it-or-love-it bone of contention among listeners, has rarely sounded as accessible as it does here, his eternally-stuffy, cracked delivery guiding the songs like a wizened folk patriarch without sounding off-key.
Ward is someone with an appreciation for his inspirations, and the few choice covers on Hold Time do their originals more than sufficient justice. His soft take on Buddy Holly's "Rave On" is buttressed by the charming back-up work of guest Deschanel, and the wisely understated standard "Oh Lonesome Me" pairs Ward with legend Lucinda Williams in crafting an old-time country ballad that fits in well with its Americana surroundings.

But it's Ward's own considerable skills as a songwriter and producer that turn Hold Time into one of his best yet, with tunes like the remarkably catchy "To Save Me" (yes, even Ward is not averse to throwing a synthesizer or two into an album) to the poppy love-letter of "Epistemology," where Ward declares "finally, I found you without ever learning how to / I put the right foot in front of the left" to a blazing guitar riff. The man is a world-class musician, and while his arrangements are often better served under able singer, such as Deschanel, his Dylan-esque vibe and subtle delivery make for a different, albeit entirely enjoyable, experience.
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Gimme Fiction Spoon

Gimme Fiction
It appears that Spoon has jumped the fence over to mainstream success with this release. The band has borrowed liberally from the classic rock of the 70's and 80's (their formative years, I presume), from the ominous Bowie-esque glam-rock opener, "Beast and Dragon, Adored", to the falsetto Stones-funk of "I Turn My Camera On". The first half of this CD is especially impressive, laden with hooks, the catchiest being in "Sister Jack", an upbeat number that evokes so many "Jack" songs of yore (The Who's "Happy Jack"; the Rolling Stones' "Jumpin' Jack Flash", even Spirit's "Uncle Jack"). Once we pass that song, memorable tunes are harder to come by, though they're consistently competent and entertaining. Their pop-tradition sensibilities remind me of Fountains of Wayne, albeit with a harder edge. And now and then Britt Daniels' guitar cuts loose on a "noisy" solo that reminds us they still consider themselves an alternative band. Overall, it's a worthy effort, as Spoon joins groups like Modest Mouse and the Shins in gaining a well-deserved wider audience.

"Gimme Fiction" pokes into some new territory for Spoon, while keeping on safe ground. Dark and fun, catchy and rough, it's a must-have for fans of good rock.

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Band of Joy Robert Plant

Robert Plant's Band of Joy reflects his unquenchable thirst for new songs and new sounds. Not satisfied with his stature as one of the great innovators and heroes of pop music, he continues to let his curiosity guide him to unexplored territory. Building on the roots-imbued sound he achieved with Alison Krauss on the wildly successful Raising Sand, Plant's song selection and incomparable vocals make Band of Joy a new triumph.

Track Listings
1. Angel Dance

2. House of Cards

3. Central Two O Nine

4. Silver Rider

5. You Can't Buy My Love

6. Falling in Love Again

7. The Only Sound That Matters

8. Monkey

9. Get Along Home Cindy

10. Harms Swift Way

11. Satan Your Kingdom Must Come Down

12. Even This Shall Pass Away
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Hands All Over [Deluxe Edition] Maroon 5

Hands All Over
Adam Levine and Jesse Carmichael from Maroon 5 speak about their upcoming album "Hands All Over", which will be released September 21, 2010.

Maroon 5 have released two multi-platinum studio albums (2002’s Songs About Jane and 2007’s It Won’t Be Soon Before Long), scored a string of hit singles (“This Love,” “She Will Be Loved,” “Harder to Breathe,” “Sunday Morning,” “Makes Me Wonder”), won three Grammy Awards, and sold 15 million albums around the world. Now the Los Angeles quintet is back with its third-studio album, entitled Hands.
DELUXE EDITION - Includes 5 Bonus Tracks

Maroon 5 is back with its third studio album entitled Hands All Over, produced by Robert John "Mutt" Lange (AC/DC, Foreigner, The Cars). The album, a killer hybrid of rock, pop, funk, and R&B, showcases the band's considerable strengths: buoyant, unforgettable melodies, sleek, stylish grooves, charged lyrics about turbulent relationships, and crisp, dynamic performances. Band member Jesse Carmichael comments on the new album, "Mutt really helped us play to the best of our ability. And it drove us to be bigger and better than ever. Everything he does is huge." Huge is a great way to describe Hands All Over, starting with the hard-rocking title track that is heavier than anything Maroon 5 has ever done. Says Valentine, "It doesn't sound like anything we've ever done." Another stylistic departure for the band is "Out of Goodbyes," a stunning country ballad that features musical and vocal contributions from Nashville chart-toppers Lady Antebellum. "We've always loved country music", Levine says, "and they brought that necessary twang to it with the lap steels, ambient guitar, and Hilary Scott's pretty voice. Other highlights include the deeply groovy "Don't Know Much About That," the propulsive "Stutter" ("a great showcase for Adam's voice," notes Valentine), and "Misery," which will thrill long-time Maroon 5 fans with its funky guitars and high-stepping melody. Be sure to get your hands all over this unbelievable album.



Read more: Hands All Over thinking somewhere along the way this must have backfired for the M5 dudes. Click below to see the full album cover.Hands All Over

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The 99 Most Essential Classical Pieces For Your Mind

Genres: Classical/General

This is another great set from the X5 group, although I am wondering just how far they can take this "99 Most Essential" idea, and how long people like me will continue buying these collections. This one will be a hit with those who like tried-and-true older repertory. The vast majority of the music is from the Classical period or the earlier Baroque, and a full 41 of the 99 tracks were composed by Mozart. A majority of the tracks are slower music -- lots of andantes and adagios. Still very good, with a calming effect.

The packaging is clever, and builds on the "Mozart Effect" idea that has entered the collective marketing consciousness. But we should all be aware that there is no "Mozart Effect" -- neither you, me nor our babies will be any smarter just from listening to Mozart or other classical music. There was a good story on NPR recently about how a nice little scientific study with extremely limited findings got blown up into an unstoppable marketing juggernaut.

Basically, the science only said that you could get a 10-15 minute boost in spatial reasoning -- only spatial reasoning, not general intelligence -- by listening to Mozart. This turned into a "listening to Mozart makes you smart" and "Mozart makes your baby smart" mini-industry. Check out the story "'Mozart Effect' Was Just What We Wanted to Hear" on NPR's website, dated 28 June 2010. It's an interesting read or listen.
So, is it bad that X5 is now using this discredited notion to sell classical music? Not really. Just don't take it too seriously. This is great music, after all, and you could argue that listening to it expands the mind in some sense. Why not?

Of the 99 total, 41 are by Mozart. Other composers featured in more than two tracks are Beethoven (7), Bach (6), Corelli (5), Vivaldi (5), Handel (4) and Albinoni (3). So you can see this is heavy on Classical and Baroque music. About one quarter of the tracks are by Beethoven or later composers, including two each by Brahms, Chopin, Debussy and Mahler.
At this writing, I have listened to extended samples from all the tracks. The performances are in general rich and satisfying, but not the most famous names -- following the trend on all these X5 collections. A number of the piano pieces are on fortepiano, which makes for a more interesting ride.
What about repetition from other sets? This time, it's not too bad. Judging by my own music library -- and I have bought most of the X5 classical Daily Deal sets, but not all -- there are 58 tracks here that have not appeared on previous collections (30 by Mozart). Another 17 tracks are works that have appeared on previous sets, but the performances here are by different artists. That means at least 24 have been recycled outright. I can understand this recycling, as X5 is a content provider, and repackaging content is what content providers do. I do get upset when the repackaging gets out of hand, but that is not the case here.
Bitrates are 169 to 254 Kbps, however only two tracks are below 200Kbps. Total download size is a huge 958 MB.
I am and have always been a believer in listening to whole works, not excerpts like in these greatest hits collections. But I keep buying these. I guess I like bargains too, and at the Deal of the Day price of $1.99 on Labor Day 2010, this is hard for a music-loving cheapskate like me to pass up. Sets like these are also useful as background music and to become familiar with new music. There is still a lot of Mozart I haven't heard, and some of it is excerpted here.
Highly recommended for those new to classical music. This is a collection of wonderful music that will hopefully leave you wanting more. Recommended for others mainly because $1.99 for 9.5 hours of great music is a good thing. There is no real downside. Enjoy.

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American Standard Seven Mary Three

Seven Mary Three
American Standard




6 of 6 people found the following review helpful:

4.0 out of 5 stars NOT your standard "Bubblegrunge", July 31, 2000
By Peter R. Fischer (LA LA Land, USA) - See all my reviews
(REAL NAME)
This review is from: American Standard (Audio CD)

I have to disagree strongly with the Amazon review on this stating that 7Mary3 and this album are just "bubblegrunge." I think that the band shows much more depth and musical ability than many others and actually is more akin to a blue collar REM type sound.

Okay sure its grungy and sure its approachable, but its also melodic, diverse, influenced by rock, folk, and southern rock acts. Cumbersome may have been the most popular song on the album, but it is not the best. Song like Devil Boy, Margaret and Punch in Punch Out are great. I've had this album for a few years and just recently I put Margaret on a mix I'm making for a trip.

The sound is not complex and it is radio-friendly, but that doesn't mean that its not good. I think that what I actually like most about this album IS that it is simple and approachable. There aren't a whole lot of guitar solos, the bass and drums hold down the rythmes with very steady and solid lines and the vocals are not complex, but very strong. All the instruments sound clear and sharp in the mix and, while there are certainly songs that stand out, there really isn't a terrible song on the CD.
I agree completely that the lead singer sounds close enough to exactly like Eddie Vedder of one of my other favorite bands Pearl Jam. I also agree that even though Scott from Creed trys, he just can't quite make the Eddie Vedder sound. But this guy could be Eddie Vedder (voicewise.) I'm not exactly a "fan" of Creed, maybe it's just because they try to hard to sound like those near perfect grunge bands. But back to this band... I think this is a great album. However, I rated it four stars only because I usually don't listen to it the whole way through. If I were rating any of Nirvana's CDs I'd give it five stars because I can put one of their CDs in and listen from number 1 to the last track and love it all. But with this CD there were one or two I would usually skip. Maybe not because they were bad just not great. I personally love the whole grunge sound. And I do love KoRn, Rage Against the Machine etc. but I'm still into Nirvana, Pearl Jam, Bush, Meat Puppets, hence etc. and now Seven Mary Three. I recommend this album. But don't take my opinion. If you like it you like it if you don't, you don't. Listen for yourself. If you want someone elses opinion though, look at mine. I hope it helps. This is a good band and it's to band the public didn't take to them as well as they should have. Cumbersome may be a great song *and it is, but it's not their only great song.
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Euphoria (Standard US/Latin Version)Enrique Iglesias

Enrique Iglesias
Product Details


Original Release Date: July 6, 2010

Release Date: July 6, 2010

Label: Universal Latino/Universal Republic

Copyright: (C) 2010 Universal International Music B.V.

Total Length : 39:00
Genres: Latin Music/General, Latin Music/Latin Pop, Pop/General
I must be fair by saying that I'm not really an "Enrique fan" as such... but I got this CD because I'm a HUGE Juan Luis Guerra fan and "Cuando Me Enamoro" is a duet, which was not produced on JLG's most recent album "A son de Guerra". I have listened to Euphoria entirely and it's okay... I LOVE the JLG duet as well as "I like it" with Pitbull. That's a GREAT song to blast very loudly :-) The rest isn't bad, but I'm not in love. For me though, it was worth the purchase. Happy listening.

I have enjoyed all of Enrique Iglesias English albums very much, but I was a bit skeptical about this album due to the different direction Enrique took with all the collaborators. After I listened to the album I liked it, but it wasn't until I purchased the deluxe edition on iTunes (also sold at Target) that I really enjoyed it. The deluxe edition comes with three extra...

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mp3 downloads Awesome God

Awesome God

You have several options for downloading Amazon MP3 music. The save location for your .mp3 files may vary depending on the method you use. Here are the common save locations for each method:


I used the Amazon MP3 Downloader application: Music is stored in the "Amazon MP3" folder located within the "My Music" folder in Windows or the "Music" folder on a Mac. To view the default save location:
Launch the Amazon MP3 Downloader.
Click the View Download Folder button.


I used my Web browser to download: You can find your browser's default save locations by checking the settings:
Firefox:

Select Tools/Options from the menu at the top of the browser.
View the "Save files to" option in the Downloads section on the General tab.

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Kaleidoscope Heart [+digital booklet]Sara Bareilles (MP3 Download)

Genres: Pop/General

Sara mixes up the tempo of the songs well on this disc. My other favorite song is "Not Alone". This song is about feeling insecure about being alone. Sara sounds so sultry and sensual on this track.

The tempo of the song "Let It Rain" makes me feel empowered. This song is about striving and struggling for a sense of truth and freedom. Most of Sara's song are written for women, but this song and this album will resonate with men too. I also believe that rain can make things seem new again.
Matt Chamberlain is the drummer on this album. He also performs percussion on several tracks. He makes beautiful sound with any instrument he plays. He shines on the track "Uncharted" by providing a simple beat. This is a song about the thrill of starting something new in life.
"Gonna Get Over You" is a song that puts a positive spin about breaking up with someone. There is an inner strength that can be gained from ending a relationship. This is the message that Sara is trying to convey with this song. "Basket Case" is a track that features Sara playing the acoustic guitar. This is a slower tempo and a moving song about how people can drive each other crazy at times. "Bluebird" is a beautiful song that features Sara on this piano again. This song is a reminder that it takes a lot of strength to let someone go. "Machine Gun" is a song about the things people do to hurt each other emotionally. There is something about Sara's vocals that makes me believe the lyrics come from a honest point of view. "Hold My Heart" is a song about the difficulty of being in a relationship with another person. It is a goregous love song. "Kaleidoscope Heart" is a strong sophomore album from Sara Bareilles. Kaleidoscope Heart [+digital booklet]
Let's take a walk, track-to-track:

* Kaleidoscope Heart (*/*) - No need to rate the intro, though it is a perfect intro! Feels like a minute of Hide & Seek from Imogen Heap. Definitely sparks your interest for what's about to come.

* Uncharted (5/5) - And Bam! Off we go... catchy simple piano backed with violin work. Simple progression into full band kick-in. Her singing style is great with this song. I simply love how the verse lines each start slow and finish with rapid-fire lyrics. Not only a perfect start to the album, but I also feel this would be a perfect start to a live show for her.
* Gonna Get Over You (4.5/5/) - Four beats of 1820's burlesque piano into Neo-New York pop piano work... perfect. Snapping fingers perfectly assist the verses into a very catchy and sweet/sassy chorus. "Maybe... it's a vicious little word that could, Slay Me..." I love how each line isn't necessarily a full sentence yet broken up into bits and pieces of full thoughts, a style of work she does so poetically well in nearly all her tracks.
* Hold My Heart (4.5/5) - A perfect "lights go down, slow-mo scene, character realization piece. Bass drum beat with three-chord piano progression and handclaps carry Act 1 of this song perfectly leading up to the full band lead-in for the remainder. The bridge is excellent on this song by the way! Reminds me of "Come Around Soon" but without that beautiful, treasure-esque note she hits (which I still find as the best note recorded this decade). Finishes beautifully with another chorus. Excellent songwriting once again.
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Sara Bareilles (MP3 Download)


Genres: Pop/General
Kaleidoscope Heart [+digital booklet]

Sara Bareilles confidently sidesteps the threat of sophomore slump with "Kaleidoscope Heart." The album is sugary yet mature pop from head to toe.

Produced with care and empathy by Neil Avron, it breathes easily and organically, resulting in a sunny surface that lets the lyrics and melodies radiate without excess sounds or beat clouding it. This is the kind of record Sarah McLachlan's fans wish she was capable of crafting again.

Lead single "King of Anything" is highly indicative of the album as a whole with its witty observations and jangly, radio-friendly melody. "Uncharted," the first song Bareilles penned for the LP, is a moment of euphoric revelation, propelled with such urgency that it sounds like it had no choice but to escape the mind of its writer. It is just idiosyncratic enough to show Bareilles' texture and individuality yet also has hit potential due to its colorful, instantly endearing hook.
"Gonna Get Over You" is even more solid and well-oiled - a doo-wop-infused slice of relentlessly catchy, hopelessly upbeat piano pop that is radio-friendly all over. The lyrics and melody sound blissfully wed and inextricable. As with most of the songs, not a single syllable is awkward or wasted, and not one moment is excessively noisy or cluttered.
"The Light," with its pastoral, gorgeous, wintry arrangement, is so intense it feels like it might absolutely burst from the pressure built up inside it. The brooding "Hold My Heart," which resembles Beyonce's "Halo" with its anonymous handclaps, is nonetheless similarly stirring with its brooding contemplation and Bareilles' passionate vocals. She moves in-between the high and low notes with mathematical - though never mechanical - precision. Where her voice lacks inherent beauty her sincerity and expressiveness compensate effectively.
Most of Bareilles' peers are masterful at either lyrics or melody, but even the lesser moments of "Kaleidoscope Heart" show that she is masterful at both of them. It is heartening to see an artist put such vested effort in on a studio recording fated to sell relatively few copies in a troubled music industry. Her skills are so strong and incisive that for 50 minutes it feels like the mid-90s again, when singer/songwriters could still sell millions of records and their singles were warmly welcomed on radio.
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Brothers ( MP3 Exclusive Version) [+digital booklet]

I got into the music of Blues Rock duo The Black Keys via their Danger Mouse-produced album "Attack & release". I also loved their Hip Hop collaborative venture Blakroc.

This time around, Danger Mouse produced just one track, the groovy organ-sprinkled tempo-shifting "Tighten up". Everything else was produced by the pair.

I love the sonic diversity among the songs, from the fuzzy falsetto-sung "Everlasting light", the funky Blues "Next girl" (very White Stripes), the psychedelic pair of "She's long gone" and falsetto-sung "The only one", the quivering guitar instrumental "Black mud", the absolutely beautiful harpsichord ballad "Too afraid to love you", the simmering ballad "I'm not the one", and the Sixties Soul-channeling pair of "Unknown brother" and "Never give you up" (the latter a Jerry Butler cover).
What an absolutely fabulous album this is. To those that think there is hardly any good music being made these days, you just need to switch off from top 40 radio and TV and discover gems like this.

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Sigh No More Mumford & Sons

Sigh No More Mumford & Sons (MP3 Download)
Genres: Rock/General




I've heard in a long time. Mumford & his "Sons" really know what they're doing. I love the recent trend towards folk oriented sounds and most of the bands involved are among my favorites. I took a listen to this band and found a sound that has a little more gruffness to it and that brings to mind the old Clancy Brothers Drinking-songs/Sea Chantys/Songs of Rebellion kind of feel. It's not at all hard to imagine the boys tearing it up in a village pub in some northern town. I can't explain how, but something about them reminds me of The Band, don't ask me why. This is well worth having, and I recommend it highly.
Very nice arrangements of catchy melodies and meaningful lyrics. This is something to play in the background or listen to intently.

The songs tend to build up and have a great way of coming to a conclusion.
I love folk music and this album is great! I can listen all the way through then go back and replay a few of my favorites without getting bored! If you like folk, take a listen... you won't be disappointed!
Having come out in October in the U.K. and most everywhere else, Mumford & Son's debut album Sigh No More is without a doubt one of the best albums I've ever had the pleasure of hearing. The London-based quartet will sweep you...
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