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Of her live show, Music Row recently wrote, \"Smith proved just how magical a singer can be with just a guitar\/vocal arrangement.  At times reminiscent of Patty Griffin, equally capable of a soft whisper or a throaty roar, she weaves emotionally charged lyrics through interesting melodies.\"  One Moment More may be Mindy Smith's debut album, but you probably wouldn't guess it's the work of a novice on first listen - Smith's first extended trip into the recording studio finds her displaying the sort of confidence, intelligence, and emotional range you'd expect to hear from a veteran performer.  Smith's voice is rich but open, covering a broad musical and emotional range without a lot of pointless showboating, and suggesting Alison Krauss' clean vocal style but with a more naturally limber instrument.  As a songwriter, Smith's songs speak of the heart and mind with a plainspoken eloquence that's affecting without a hint of needless treacle, with \"Raggedy Ann\" (written in the wake of her mother's death) and \"One Moment More\" (a heartsick farewell to a lover) making clear Smith showing off her subtle eloquence at its best.  And the spare but effective production - by Smith in collaboration with Steve Buckingham - brings out the best in her songs and her voice without either drowning her out or pointing her material in the wrong direction.  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Produced by Peter Collins, every song is seamlessly performed and delivered with an honesty that has both weightiness and ease. While it is not a departure in style from Sandra's previous works, listeners are sure to discover new dimensions of Sandra's artistry. Sandra has risen with a musical maturity that makes this album feel like it could be her first. Several of the tracks you may recognize from her live shows, songs like Age After Age (Standing on their Shoulders) and No More Tears have been crowd favorites over the past 2 years of touring. At long last, Sandra McCracken listeners can leave their scratchy old bootlegs of live recordings behind, and pop in a finished CD of these songs at their finest.\u003cbr\u003e\n\u003cp\u003e\u003cstrong\u003eCD Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRelease Date: August 09, 2004\u003c\/li\u003e\n\u003cli\u003eRecord Label: Shell Records\u003c\/li\u003e\n\u003cli\u003eUPC: 5050693094027\u003c\/li\u003e\n\u003cli\u003eNumber of Discs: 1\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Sandra McCracken","offers":[{"title":"Default Title","offer_id":23772056321,"sku":"Sandra McCracken (3)","price":0.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1398\/5745\/files\/Sandra_McCracken_Best_Laid_Plans_CD.jpg?v=1753375891"},{"product_id":"wailin-jennys-40-days-cd","title":"40 Days CD","description":"Canadian folkies the Wailin' Jennys aren't opposed to throwing down the occasional sea shanty or English drinking song.  Multi-talented singer\/songwriters Ruth Moody, Nicky Mehta, and Cara Luft - the latter left the group soon after the album's release and was replaced by Annabelle Chvostek - formed the group in 2002 after sharing the stage as soloists at an in-store in a local record shop, and their intoxicating blend of country, Celtic, and folk has cast a spell on not only the Great White North, but much of the U.S. as well.  Like Gillian Welch or Alison Krauss, they can make new songs feel traditional (\"Arlington\") and old songs sound brand new (\"The Parting Glass\").  Their perfectly rendered harmonies swoop into choruses like a murder of crows, supplying involuntary goose bumps to even the most hardened skeptic.  40 Days is full of sparse arrangements and top-notch songwriting from all three members.  Other highlights include a rousing version of the seafaring tale \"Saucy Sailor\" - made famous by British folk-rock pioneers Steeleye Span - Moody's beautiful title track, and Luft's rollicking (an obvious show opener) \"Come All You Sailors.\"  Fans of the Dixie Chicks, June Tabor, and even Heart will find much to love here.  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Musically, the album is one of the most bare-bones debuts in recent memory.  Washburn and fellow producers Reid Scelza and Bela Fleck keep the focus where it belongs: on the singer and the song.  The arrangements were built around Washburn's evocative vocals and clawhammer banjo style, and Ben Sollee's cello, an instrument that brings a dark, primeval feel to songs that sound like they're hundreds of years old.  The sparse instrumental work of guitarist Jordan McConnell (of the Duhks), upright bass player Amanda Kowalski, fiddler Casey Driessen, percussionist Ryan Hoyle (of Collective Soul), keyboard and accordion player Tim Lauer, along with Fleck's national steel guitar and banjo, add subtle grace notes to Washburn's timeless tales.  Song of the Traveling Daughter is an old-fashioned album with a simple, textured beauty that unfolds with repeated listening.  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In fact, they've even gotten better.  Chvostek's voice is seductively low and versatile, and it blends well with and adds a lot of strength and depth to the higher ranges that Ruth Moody and Nicky Mehta provide.  All three Jennys are also great songwriters, and everything on the album is well done, with thoughtful reflective lyrics about love and friendship and death, the cold autumn wind of the Canadian prairie blowing through the record, shaping and influencing the mandolin, the banjo, the acoustic guitar, the violin, the National Steel.  It's music with a dark, sweet edge, like it understands the pain in the world but still chooses to focus on what's good instead.  \"Swallow,\" though in its attempt to maintain rhythm and rhyme the lyrics can occasionally sound a little corny (\"You got me, arrow shot me\/Now come connect the dot me\"), lilts along like the bird itself as it explores love's transience, while \"Avila\" is simple and pretty, with a delicate chorus of \"O sweet peace never have you fallen\/never have you fallen upon this town,\" sung in three-part harmony, that sense of longing lodged between the notes of a slow, aching electric guitar solo that winds its way through the song.  A similar feeling is also apparent in \"Glory Bound,\" manifested as a desire for a reprieve from life's hardships.  It's not morbid, it's simply sad and honest in that uplifting way that only country and folk music can be.  There is a melancholy that lies within many of the Wailin' Jennys' songs, but there's still an overwhelming sense of hope and happiness that is even stronger, and makes Firecracker a really great, uncontrived album. - itunes \u003cbr\u003e\n\u003cp\u003e\u003cstrong\u003eCD Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eRelease Date: June 06, 2006\u003c\/li\u003e\n\u003cli\u003eRecord Label: Red House Records\u003c\/li\u003e\n\u003cli\u003eUPC: 033651019527\u003c\/li\u003e\n\u003cli\u003eNumber of Discs: 1\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"The Wailin' Jennys","offers":[{"title":"Default Title","offer_id":23772115009,"sku":"The Wailin' Jennys (2)","price":16.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1398\/5745\/files\/The_Wailin_Jennys_Firecracker_CD.png?v=1741785896"},{"product_id":"sandra-mccracken-gravity-love-cd","title":"Gravity | Love CD","description":"Gravity Love not only serves as the album's title but also as a good way to describe Sandra McCracken's songs. The weight of love and the pull of emotions resonate throughout her tunes, be it physical, platonic, or spiritual love. A songwriter in the confessional vein, McCracken states in \"Doubt\" \"speak it plain or leave it out,\" but she actually balances from-the-heart sentiments with vividly turned phrases nicely. \"Innocence, we pass it down\/Like corduroys with the knees worn out\" articulates her love woes in a keen and imaginatively observed way, in \"Long Way Away.\" Later on, in \"Traincar,\" she uses the phrase \"hot water screaming over the silence of my house\" to describe the loneliness that comes after a relationship ends. Her songwriting restraint is readily apparent in \"Goodbye George,\" her tribute to the George Harrison. Instead of a flowery eulogy to her late idol, she uses Harrison's lyrics and life history to create a cleverly constructed pastiche that conveys her sense of loss over his death. McCracken's work displays a Midwesterner's sense of modesty, so it's not surprising that the Nashville-based performer was born in Missouri. Missouri is also Sheryl Crow's home state and McCracken's eminently catchy \"Head Over Heel\" sounds like something Crow could easily have a hit with. This engaging disc opener gets followed by several other lively, melodic guitar-based numbers. The middle of the album grows a bit quiet as she slows down the pace. She does occasionally spice up her relatively unadorned folk-pop arrangements. A French accordion fuels \"Traincar.\" A mandolin complements the social commentary in \"Broken Cup.\" A Moog and harmonium bring a haunting quality to religious-themed \"Shelter\"; however, the song still doesn't quite achieve the thoroughly transcendent sound that Daniel Lanois achieved on Emmylou Harris' Wrecking Ball. This is not to diminish what McCracken has accomplished here. 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There are 12 tunes here than can be called bona fide \"greatest hits,\" at least among the faithful.  They include \"The Lighthouse's Tale,\" \"Jealous of the Moon,\" \"When in Rome,\" the title cut, of course, and their fantastic reading of Carrie Newcomer's \"I Should Have Known Better.\"   In addition, there are two live cuts - including Keith Whitley's \"You Don't Have to Move That Mountain\" and a steaming take of their own breakdown workout \"The Fox\" - and a DVD that includes all seven of the trio's videos.  Those who already have the albums will be gratified for the record of the videos, and the live tracks are nothing to sneeze at. 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Joined by the remaining members of her accomplished Sparrow Quartet - banjo virtuoso Béla Fleck, cellist Ben Sollee, and fiddle player Casey Driessen - Washburn served as a sort of artistic ambassador to the region, introducing Tibetan audiences to American music while absorbing Asian influences at the same time.  This resulting album bridges the gap between those traditions, offering up an unorthodox brand of folk music that combines the old-timey strains of Uncle Earl (Washburn's previous group) with Eastern scales, Chinese lyrics, and a double-scoop of twangy banjo.  It's a record that will seem vaguely foreign to any listener, but the Sparrow Quartet seems to thrive on those eccentricities, since some of the group's strongest performances coincide with the oddest musical pairings.  The bandmates draw inspiration from Chinese folk (\"Taiyang Chulai\"), American gospel (\"Captain\"), vintage string bands (\"Banjo Pickin' Girl\"), field recordings, and Kazakh melodies, with the banjo interplay of Washburn and Fleck stitching the entire mixture together.  Washburn's vocals are confident and soulful in a light, airy way, but it's the music that truly stands out here, as the four musicians know when to tone down their virtuosity and simply play with each other.  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The anticipated follow-up to 2006's The Gleam begins with \"Tear Down The House,\" a slow waltzing number rooted in traditional Appalachian confessionals and early 1960s coffeehouse folk. \"Murder In The City\" has the Avetts harmonizing softly over endearing lyrics about the loving bond between their family members, and \"The Greatest Sum\" flows with a descending melody in the verse that's sublimely catchy enough to take up residence in your head for days. 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My Holiday is only the third album from the young singer\/songwriter, and while she's established a loyal following, she's hardly topping the charts just yet. However, while most holiday albums sounds like they were tossed off without a much of an effort, My Holiday sounds like it has some real business being Smith's third album. Smith's original tunes on this set are sweetly heartfelt without getting sticky, and the child's eye images of \"Santa Will Find You,\" the real world love song \"I Know The Reason\" and the simple but fervent faith expressed in \"Come Around\" and \"Follow The Shepherd Home\" are superb examples of Smith's very real gifts as a songwriter. Smith isn't afraid to put her stamp on the Christmas standards included on this set; she reworks the vocal melody to \"Away in a Manger\" with impressive results, there's a lovely sense of longing in her take on \"What Are You Doing New Year's Eve,\" and she strips away the outer layers of sentimentality from \"I'll Be Home for Christmas\" without robbing it of its power. 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The most noticeable change is that most of the songs are ballads and the piano is the prominent instrument here while the banjo, up to now such an integral part of their sound, only appears sporadically.  In fact, the only time banjo is front and center is on the bluegrass \u003ci\u003eJanuary Wedding\u003c\/i\u003e and the hootenanny flourish at the end of \u003ci\u003eLaundry Room.\u003c\/i\u003e Though tempos pick up on \u003ci\u003eKick Drum Heart, \u003c\/i\u003e\u003ci\u003eTin Man,\u003c\/i\u003e and \u003ci\u003eSlight Figure of Speech\u003c\/i\u003e they are the exceptions. The overall effect is less visceral and direct in some ways than their previous material yet the sophisticated arrangements carry an emotional weight and sonic richness of their own. The Avett Brother's love of Appalachian mountain music is still evident, especially in the beautiful harmony singing by brothers Seth and Scott; they just convey it in a different and less predictable way. 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It is far removed from the multicultural big-city metropolitan music of where it was recorded in Toronto, closer to Appalachian mountain music, replete with acoustic stringed instruments from many special guests, and the down-home feel that comes from the soul of a country girl.  These compositions from Moody reflect lost love, yearning, the cold weather months, and a sense of loneliness easily cured by companionship.  While she plays banjo, piano, ukulele, acoustic guitar, and accordion, her sweet and supple voice is the focal point of these selections, with the garden of life in mind. While the title track depicts that garden as a more spiritual place, the harshness and isolation of winter seem foremost on Moody's mind on other tracks, the temptress in her coming out during \"Cold Outside\" as she asks her mate to come inside.  There are two duets with the great singer Heather Masse, \"We Could Pretend\" and the country waltz \"Closer Now,\" where their voices blend beautifully, and suggesting that a full-blown project should be in the works.  The most universally appealing song is \"Travellin' Shoes\" in a light pop\/rock beat, while \"Nest\" is pure country, as producer David Travers-Smith evokes the passion of Moody during \"Tell Me,\" adding some of his trumpet playing, among many other instruments he plays on this date. 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There's banjo-driven folk (Corner Girl, the title track), chamber pop (Chains), gospel (the near a cappella \u003ci\u003eBright Morning Stars\u003c\/i\u003e), and full ensembles featuring orchestrated strings, keyboards, horns, and percussion (Bring Me My Queen, \u003ci\u003eBallad of Treason, \u003c\/i\u003e\u003ci\u003eDreams of Nectar\u003c\/i\u003e).  Washburn and Welch are joined by a host of first rate musicians on City of Refuge, including bassist Viktor Krauss, guitarist Bill Frisell, members of My Morning Jacket and the Decemberists, and drummer Tucker Martine, who also produced the album.  Presented with such stellar material this cast really shines and collectively they create countless beautiful passages.  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Members Ruth Moody, Nicky Mehta, and Heather Masse pool their talents as singer\/songwriters to create a luminous harmony-centered sound fusing contemporary folk, traditional hymnody and vocal-jazz styles in varying measure.  The trio moves easily from hip-swinging rhythmic tracks like \u003ci\u003eMona Louise\u003c\/i\u003e and \u003ci\u003eCherry Blossom Love\u003c\/i\u003e to Appalachian-accented folk ballads like \u003ci\u003eBird Song\u003c\/i\u003e and otherworldly a cappella pieces like the title tune.  Lyrically, a spirit of resolve through hard times resonates within these songs, heard in the billowy opening tune \u003ci\u003eSwing Low Sail High,\u003c\/i\u003e the stirring, Indigo Girls-like \u003ci\u003eYou Are Here\u003c\/i\u003e and the waltzing closer \u003ci\u003eLast Goodbye.\u003c\/i\u003e  The Jennys wail most righteously on \u003ci\u003eStorm Comin,'\u003c\/i\u003e a defiant tune with the earthiness of a Southern spiritual.  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