From 1965, his first all-electric album with such classics as Like a Rolling Stone; It Takes a Lot to Laugh, It Takes a Train to Cry; Ballad of a Thin Man; Just Like Tom Thumb's Blues, and Desolation Row. This LP is the MONO version.
Manufacturer: Columbia / Sony Legacy
From 1965, his first all-electric album with such classics as Like a Rolling Stone; It Takes a Lot to Laugh, It Takes a Train to Cry; Ballad of a Thin Man; Just Like Tom Thumb's Blues , and Desolation Row . Dylan was virtually gushing great songs when this masterpiece arrived in the summer of 1965. From the epochal opening of "Like a Rolling Stone" through the absurdly apocalyptic closer, "Desolation Row," his command of surrealistic language was daring and amazing. As a vocalist, he was rewriting the rules of the game. Jimi Hendrix made note of Mr. Z's technically suspect pitch and decided that he too was a singer. And the backing, though ragged, is precisely right. Is this the essential Dylan album? It's certainly one of them. --Steven Stolder
All of their best-known, best-loved hits, plus choice album cuts and three live performances. A Billboard bestseller when it was first released in 1972, this is still the best single-disc Simon and Garfunkel collection available. Simon & Garfunkel have two 3-CD box sets collecting their entire career output, one with out-takes and live recordings, but the duo who were among the bestselling acts of the 1960s only recorded five studio albums throughout the entire 1960s! Their studio perfectionism is never better served than here. This greatest hits is simple and to the point, a perfect collection for anyone looking to get the basic idea (and hits) without committing to a more serious relationship. The harmonies, Paul Simon's masterful songwriting, Garfunkel's soaring choirboy voice, are all here. --Rob O'Connor
In 2011, an eponymous, self-recorded EP led to touring, and before long The Lumineers started attracting devout fans. They're drawn by songs like "Ho Hey" and "Stubborn Love," Americana-inflected barn burners in the vein of the Avett Brothers and Mumford & Sons. The roots revival has primed listeners for a new generation of rustic, heart-on-the-sleeve music. The Lumineers walk that line with an unerring gift for timeless melodies and soul-stirring lyrics.
Bob Dylan's first new album in five years, the highly-anticipated Modern Times includes 10 new songs recorded this past winter, and features Dylan on the keyboard, guitar, harmonica and vocals, and accompanied by his touring band. Modern Times is seen as the third release in an outstanding triology along with Time Out Of Mind and Love and Theft and is set to be another groundbreaking record for the music icon. At a time when the majority of those his age are drifting into retirement, 65-year-old Bob Dylan has put the capper on a three-record run that ranks with the best in his storied, 44-album career. Like Time Out of Mind and Love and Theft before it, Modern Times is a rootsy, blues-soaked pool of the purest form of Americana--skipping the progressive bells or whistles for an understated backing by his touring band. Dylan's voice, which cracks, rasps and moans from the pop singer's pulpit, hasn't been this rich and emotive since 1976's Desire. And while his lyrics prolong his steadfast allusions to a higher power and his own immortality, they are not without the Dylan mirth, as when he sings of tracking pop queen Alicia Keys from Hell's Kitchen to Tennessee in "Thunder on the Mountain," the album's opener, which teams with "Someday Baby" and "Rollin' and Tumblin'" (for which Dylan misguidedly claims writing credit) as the record's most fiery numbers. Still, it's the Dylan that tells of a slave-loving owner ("Nettie Moore"), brings New Orleans to the front burner ("The Levee's Gonna Break") and plays the part of an eloquent lounge singer ("Spirit on the Water," "When the Deal Goes Down" and "Beyond the Horizon") that makes Modern Times sound just like old times. --Scott Holter Dylan Classics and Collections The Freewheelin' Bob Dylan The Times They Are A-Changin' Bringing It All Back Home Highway 61 Revisited Blonde on Blonde Blood on the Tracks No Direction Home: The Soundtrack Biograph (Box Set) Bootleg Serie...
Manufacturer: Sony Legacy
The Civil Wars' highly anticipated sophomore self-titled album is the follow up to the three-time Grammy Award-winning duo's acclaimed debut, Barton Hollow. The Civil Wars was recorded in Nashville between August 2012 and January 2013. Charlie Peacock was once again at the helm as producer for the album. Additionally, Rick Rubin produced the duo's performance for the track "I Had Me a Girl" in August of 2011. Peacock later completed the track by producing the instrumentation and mix. The album was recorded amidst a grueling touring schedule, exhausting workload and a growing disconnect from their families. Personal statements from band-members Joy Williams and John Paul White can be viewed at the band's official website.
Manufacturer: Blue Note
Norah Jones's third album features distinct traces of Dusty In Memphis-style Southern soul, as well as the kind of sleepy, sultry vocals that have been ubiquitous in coffee houses all over the world since the release of her 2002 debut album, Come Away With Me. Although the music of Norah Jones continues to blend pop, soul, folk, and country with a seasoning of jazz, her third album for Blue Note is the first where she's written (or collaborated on) all the material. Beneath the smooth surface lie darker strains on the album-opening "Wish I Could" (about a boyfriend lost to war), intimations of mortality in "The Sun Doesn't Like You," and the post-election horrors of "My Dear Country." The last seems to channel the inspiration of Brecht/Weill, while the equally bleak "Sinkin' Soon" is set to a jaunty Dixieland rag. Throughout, Jones's vocal intimacy and melodic warmth remain as disarmingly understated as ever. The soulful "Thinking of You," the countryish "Wake Me Up," and the syncopated "Be My Somebody" reflect the captivating style of her previous work. Although too much in the same midtempo mode becomes a dreamy lull, cut by cut, Jones's voice is irresistible. --Don McLeese
Good album and good songs. Irish troubadour Damien Rice doesn't so much reinvent the folk genre on this lush, impossibly mature debut album as push its boundaries in several compelling musical directions at once--all the more remarkable considering the album was largely self-produced and home-recorded. His songs revolve around familiar, bittersweet concerns of life, love, and their attendant frustrations, but delivered with conspiratorial intimacy on melodic wings (like on the graceful "Cannonball") that Rice seems almost embarrassed to share. If there's anything like a template here, it's "The Blower's Daughter," the song that first attracted the interest/stewardship of film composer David Arnold (whose guest production provides "Amie" with expansive cinematic elegance) and became a massive Irish hit. His plaintive vocal, embroidered by the mournful solo cello of Vyvienne Long, is suddenly brightened by an instrumental flourish and Lisa Hannigan's vocals--before just as quickly wafting on the breeze. With touches that range from "Day in the Life"-styled string collages to the dizzy, exhilarating neo-operatic excesses of the 16-minute "Eskimo," Rice's musical palate here is as adventurous as his songs are grounded in emotional intimacy. --Jerry McCulley
2014 album from the acclaimed Country/Folk singer, songwriter and daughter of the late Johnny Cash. Following the critical and sales triumph of 2009's The List, Rosanne returns with The River & The Thread, which represents the culmination of an amazing career. The album, created with her longtime collaborator John Leventhal, richly evokes the Southern landscape and examines the indelible impressions it has made on our own collective culture and on Cash herself. An amazing feat of musical storytelling, The River & The Thread is sweeping in its breadth, capturing a unique, multi-generational cast of characters. While Cash and Leventhal found inspiration in the many musical styles associated with the South - swampy Delta Blues, Gospel, Appalachian Folk, Country and Rock, to name a few - this is a completely contemporary collection.