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Obsessed with carnality as he is, it was only a matter of time before Jason Mraz realized that it's better to sound sexy than to blather about it incessantly. This monumental moment arrives on his third album, We Sing, We Dance, We Steal Things, easily his sleekest collection of sounds and his only album to contain a suggestion of seduction within its grooves. Actually, We Sing is Mraz's only album to actually groove, as he sets down his acoustic guitar for much of the album and rides along on smooth rhythms partially indebted to '80s blue-eyed soul by Hall & Oates and Steve Winwood -- in that sense, the album recalls John Mayer's Continuum -- but he relies more heavily on Thriller, mixing it up with some modern neo-soul that gives this a surprisingly soulful sound. Mraz can glide on these surfaces, leaning on the gentle art of insinuation instead of goosing his paramour, but old habits die hard: it's only a matter of time before he punctures the seduction by scatting sophomorically, slipping in juvenile come-ons (You make my slacks tight), or stuttering manic syncopations on The Dynamo of Volition. Mraz is also prone to terminal cuteness, drafting in a kids chorus to close out the coda of Coyotes and mewling out phrases like always a goody doer, and while these are often so close-miked and forthright they're hard to ignore, they're also just not as prevalent as they were on the icky Mr. A-Z. Also, they're cleverly camouflaged beneath that gossamer gloss, typified by the quite catchy Butterfly, whose Quincy Jones-styled horns disguise his mildly queasy oral sex puns. Mraz's lyrics don't stand up to such close scrutiny -- something the McCartney-esque, perhaps autobiographical divorce ballad Love for a Child (Was it my mom who put dad out on his ass/Or the other way around) makes plain -- but the nice thing about the soulful shimmer of We Sing is that it's so slick that it's easy to ignore the gibberish spilling out of Mraz's mouth and just enjoy the sunny, easy sound. ~ Stephen Thomas Erlewine, Rovi
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This decal is 20 inches tall and 20 inches long. - Over 24 colors to choose from, FREE Custom Colors! That's right, you may choose any colors you want for this wall decal. Please send in your color request with your order. For reference, please use our color chart that is attached. If no color is chosen we will print and ship your decal in the color/colors as seen in the sample from which you ordered from. However, colors may vary a little depending on your computer monitors settings and other factors. This very cool vinyl wall design perfect for any room in your house! . Highest quality vinyl for that painted on look. Easy to apply and comes with simple application instructions. Some decals come in separate pieces/ parts, multiple colored decals may have alignment markers for easy application Decals can be applied to any clean, smooth and flat surface. Put them on your walls, doors, windows - anywhere you want! All our decals are computer die-cut,so there are no backgrounds included Decals are easily removed however they are not repositionable or reusable. Decals peel off of walls easily, typically without damaging the paint. However, different paint finishes or walls condition could require touch-ups after decal is removed. We have a TOTAL SATISFACTION guarantee. If, for any reason, you are not 100% satisfied with your purchase, you can return any unused decals to us within 7 days of purchase for a full refund of the purchase price (less shipping). Enjoy your new vinyl wall decals! Thank you for choosing Design With Vinyl !
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It makes sense why Brushfire Records co-founder Jack Johnson signed Matt Costa to his label. Costa's debut album, Songs We Sing, is acoustic guitar-based music, that, even when talking about sadder things, retains its lighter, happier character; music that could only be made in the Pacific sun, a lot like Johnson's. Costa's lyrics are all about love, either lost or found or forgotten, and he is particularly connected and drawn to the natural world, which often acts as the mediator between him and the object of his affection. This kind of imagery works well with his instrumentation. Costa is interested in delving into the roots of American music, exploring country, folk, rock, and blues while keeping the modern singer/songwriter sound. Though he is able to effectively incorporate all of these styles into his record, he does run into some problems. For one, he doesn't seem to be completely sure of his own sound, waffling between ideas from song to song. Almost every track could be directly attributed to a different artist's influence: Sweet Thursday sounds like Stephen Malkmus, Oh Dear like the later Beatles, Ballad of Miss Kate has a stunning resemblance to Fleetwood Mac's blues, and Sweet Rose is pure Buddy Holly, vocal hiccups, and all. Costa has also, sadly, fallen into the habit of changing his accent according to the feel or inspiration of the song, switching from his usual American pronunciation to a British one, in Songs We Sing for example, possibly in attempt to sound like Stuart Murdoch. He also has the unfortunate indie rock vocal affection of singing back like bach, which just seems out of place. Yes, this is being picky, but only to a certain degree, because if Costa wants to play in so many styles -- which isn't a bad idea, he's clearly inspired a lot by them and has some written some nice songs -- he's going to have to be very careful to not go so far into them so that he loses himself and his own voice in attempts to honor his idols. ~ Marisa Brown, Rovi
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Matt Redman is one of the most recognizable names in Christian worship music. The British songwriter has, over the last decade and a half, helped to redefine the reach of contemporary Christian church music by making it fresh, relevant, and inspiring -- even to those who do not believe in his God. Redman not only understands the tenets of modern rock and pop music in terms of melody, dynamics, and production, he weds these to insightful lyrics that eschew trite clichés yet underscore unwavering faith. His best songs become veritable anthems that have been embraced across the globe. Sing Like Never Before collects 15 songs from his catalog, and provides evidence. A shining example of what is found here is Blessed Be Your Name, the CCM Top 50 stadium rocker that affirms faith even in periods of personal suffering. Other Redman hits include the title track; the synth- and string-drenched update of Better Is One Day; the fuzzed-out bass funk of Dancing Generation; and the poignant Twenty Seven Million (co-written and performed with rappers LZ7), which uses the life of an abducted Eastern European forced to serve as a sex slave in order to draw attention to the plight of the millions in the same situation. While it's a fact that Sing Like Never Before is for fans and church groups seeking to distill the best of the best -- and there will be arguments as to whether or not this collection actually accomplishes that -- it also serves as an excellent introduction to what Redman does so well. ~ Thom Jurek, Rovi
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