The #1 New York Times bestselling author delivers a truly suspenseful novel of a mother who must save her daughter from a threat she can hardly understand. What happened to nine-year-old Melanie during the six years she was subjected to terrifying experiments? And what is the unstoppable power that she can unleash from behind the "Door to December"?
On Pocketful of Sunshine, Natasha Bedingfield sounds like Joss Stone only bouncier. Nothing wrong with that. In fact, the brightness and buoyancy of this record will keep it spinning long after CDs that shoot for hipster credibility--with funked-up bells and fancy production whistles--have been deposited back into their jewel cases for all eternity. Check it out: "Love Like This," with Sean Kingston, puts its hands in the air for puppy love--the kind that'll bring you back to your "middle school kiss"--and a couple of other songs follow the youth-themed suit. "Backyard" time-travels to an idyllic childhood, while "Freckles" fleshes out, for the benefit of the insecure, the beauty in imperfections. Elsewhere, Bedingfield is her indomitably upbeat self. Opener "Put Your Arms Around Me" reeks of reassurance and tenderness. "Happy" implores would-be gloom-and-doomers to snap out of it, and while the title track doesn't wander all that far lyrically, it benefits from a chanted verse brimmed in (positive) attitude. The vibe, overall, is beach-blanket warm and blue-sky ready. Sunshine earns a pocketful, if not more, of pop-music props.
If there's anything at all disappointing about John Legend's Live From Philadelphia, it's that the album, which was released in the U.S. on Jan. 15, 2008, is only available at Target stores. This is a solid album that deserves widespread release and publicity instead of being snuck into the marketplace under the radar. The release, which consists mainly of songs from Legend's two studio albums, (2004's Grammy-winning Get Lifted and 2006's Once Again), is a high quality, well-produced release that further cements Legend's well-deserved reputation as a great live performer.
Symphony — Sarah’s eagerly-anticipated studio recording — luminously exemplifies the meaning of that word. Symphony is defined as “a harmonious combination of elements, especially an effective combination of colors”. Exploring a bold range of styles, Sarah has created another collection of material that cannot be easily categorized, but remains entirely accessible to lovers of various musical genres. From the Gothic tempestuousness of “Fleurs du Mal,” to the pleading “Let It Rain,” Symphony is teeming with both audacious defiance and vulnerable sensuality.
One of contemporary music's premiere vocalists, Al Jarreau is the only singer ever to win GRAMMY® Awards in three distinct genre categories-R&B, pop, and jazz-a testament to his remarkable and enduring cross-over appeal. Jarreau's most recent GRAMMY came at the 2007 ceremony, when he was honored with Best Traditional R&B Vocal Performance. With many of his biggest hits coming during his long Warner Bros. era, Jarreau's career now spans five decades-but until now, has not included a LOVE SONGS release among its wealth of treasures. Possessed of a voice suited to the rhythm of romance and language of the heart, Jarreau's genius shines on this stirring new collection.
It would be impossible to convey the wonder and the horror of Stephen King's latest novel in just a few words. Suffice it to say that Duma Key, the story of Edgar Freemantle and his recovery from the terrible nightmare-inducing accident that stole his arm and ended his marriage, is Stephen King's most brilliant novel to date (outside of the Dark Tower novels, in which case each is arguably his best work). Duma Key is as rich and rewarding as Rita Hayworth and the Shawshank Redemption (yes, that Shawshank Redemption), and as truly scary as anything King has written (and that's saying a lot). Readers who have "always wanted to try Stephen King" but never known where to start should try a few pages of Duma Key--the frankness with which Edgar reveals his desperate, sputtering rages and thoughts of suicide is King at the top of his game. And that's just the first thirty pages...
A brand new album, full with hits and wonderful songs by Norah Jones. Some tracks are rare, or not included in her discography albums. Great selection, nice quality and really enjoyable. Including her new song, from My Blueberry Nights OST.
We've all got our voice. And if I have this gift to play music, then I'm gonna talk about love," Lenny Kravitz says in a YouTube promo for his eighth studio album. Understood. Got it. The fact, though, is that Kravitz could be singing about old tires or bowling shoes in these songs and it wouldn't much matter, because in the basest and most primal way possible, they rock. Opener "Love Revolution" busts out a vibe that lingers, with Lenny barking a credo--clearly in his old-school element as drums pound and guitars get abused--and loving it. Breaks come in the form of quieter songs like the Beatles-esque chill-pill "Good Morning" and the vintage Queen-like "A Long and Sad Goodbye," but the mission of Love Revolution is mostly to move the masses. And that it shall: fists will pump, feet will stomp, and attitudes will be copped. As listeners flip through the track list and discern influences as far-flung as James Brown, the Black Crowes, and Jimi Hendrix, they will feel not disdain for the lack of ingenuity but appreciation for the good sense Kravitz shows in following those artists' leads. In jumbling them up and making them his own, he proves that love revolutions need not be tame. They can be fierce. The best evidence arrives two tracks in: though "Bring It On" features the soothing sitar of Anishka Shankar, it bashes its way through the speakers as though fueled by kryptonite. It is bad-ass, in a word. And so is this album.
