Cleared for landing on awesome music -- Air Traffic Controller

I missed the first part of Air Traffic Controller's set at the Outlaw Roadshow in NYC, but the part I did see pulled me in and didn't let go. Boston based Air Traffic Controller, is fronted by former Naval air traffic controller, Dave Munro. Air Traffic Controller's music is highly infectious, it's hard to not love this band. A mix of rock, pop, and hints of techno/dance rhythms fill the tracks on the bands two records. Their first record, The One, released December 2009, started out as demo recordings on 4-track tapes that a then deployed Munro recorded and then sent home. When Munro returned from his deployment, the fans were there waiting for him. Backed by singer/songwriter and producer, Blue, Air Traffic Controller's record was born.

Upon listening to The One we are immersed in classic rock style rhythm and lead guitars, perfect bass lines, orchestral string sections, and Dave Munro's anything but traditional, slightly higher than most, unique voice singing out beautifully crafted lyrics. With help from family and friends, Rich Munro (drums,) Steve Scott (lead guitar, keys,) Casey Sullivan (bass, banjo, mandolin, backing vocals,) Alison Shipton, Kiara Ana Perico (violin, viola, respectively) complete the band. Stand out tracks on The One include the title track, The One, Don't Tell Me What To Do, Foot of the Bed, Rain Song, Test 1,2 and my favorite track on the record, Bad Axe, MI. 

The song tells a story of a band who came to Boston from Michigan, called Bad Axe. The song is lyrically great, musically great, and has a great feel to it, you can't help but sing along, especially to this part:


Oh, oh, oh, oh, and if Bad Axe was here,
well they’d turn this mutha out.
Yeah, everyone would cheer,
and everyone would shout,
“one more song, one more song,
and go where you belong,
but don’t forget now where you came from;
don’t forget where you have been.”
You boys are from Bad Axe, MI.






The arrival of summer 2012 brought with it another fantastic release from Air Traffic Controller. Hitting eager fan's ears in June, Nodro is a brilliant sophomore album from the band. Filled with ridiculously catchy, well written song with the same quality of musical backing as The One. Like most second albums go, this one has that more grown up, more evolved feel. The songs are filled with melodic masterpieces, singing and dancing along required. I bought this record from the band at the Outlaw Roadshow in New York City, Oct. 20th, after hearing only a small handful of their songs. That's all it took to get me infatuated with this band, with their sound. I've had trouble in the past finding the right words to describe a band, the sound a band and their music (I'm a geology major, not an English major, deal with it folks) and again here I'm having that issue.

Nordo is one of those records that I can listen to start to finish without skipping a single track, and there aren't many of those in my collection. As soon as the opening key and drum line begins on Hurry, Hurry you're swept up into the music, the melodies, they rhythms, the song is a perfect opening track for the record. The brilliance continues to If You Build It, a song about Munro's brother's love of Field of Dreams, You Know Me and Any Way feature Casey Sullivan in a duet with Dave Munro, the song's mandolin and string backings compliment the vocals perfectly, as they do on all the tracks. The Work quotes Yoda, the cello and other strings on Magic take it to an epic, dramatic, almost theatrical fell to it.

I can't say enough good things about this band and their two records. Seeing them perform at the Outlaw Roadshow was a joy. I'm glad I was introduced to this band, Nordo helps getting ready in the morning much more fun, the music just gets you going. Please, do yourself an epic favor and go get these records. There are lots of options of where to get them, go here and check them out.

My rock & roll weekend - The Outlaw Roadshow NYC

How do I begin the epic story that was the Outlaw Roadshow in New York City, October 19 & 20, 2012? The easiest thing would be to start at the beginning, and when I get to the end stop. Well, here’s how the story goes:  About five weeks before the Roadshow, I made the, some would say crazy, decision to fly across the country for a rock and roll show. Not just any rock and roll show, mind you, but a music showcase presented by Ryan Spaulding of Ryan’s Smashing Life Blog and Adam Duritz of Counting Crows. A showcase featuring 25 great indie bands, four of whom I love, a lot, and the others, some I’d heard of, some not, but it didn't matter, I’m in a phase in my life where I’m more open to new bands and music than I ever have been before. The weekend had amazing potential, and I knew that if I didn't go, I’d regret it for the rest of my life.

The shows were on Friday and Saturday. I had flown in to New York City from Spokane (via Seattle) late Thursday night. Those who have been to shows with me know that I suffer from concert anxiety. I have to get to a show early to make sure I get a good spot. This is exactly what I did this weekend. I got to the venue for the Outlaw Roadshow about two hours early on Friday morning (the show was scheduled 12-7pm.) The venue was the Bowery Electric. A small club with two stages, a smaller one upstairs called the Map Room, and the second downstairs, called the Bar Stage. While waiting outside for the show, I ran into Outlaw Roadshow alum Johnny Mathias from Filligar, who had played at the Bowery Electric the night before and was there to collect the band's gear. I told him I loved his band, and that I was sad I didn't get to see them play while I was in NYC, and got a picture with him. I also met the artist behind the poster for the show, Frank Germano. As I stood out there, I saw a bunch of the day's bands come in and out, loading their gear. Ryan Spaulding arrived to the show around noon, and it was shortly there after the day began. It was at this time, while talking with Ryan that I was let in on a very big secret for the day, regarding the band on the bill called Sonic Cow Grunt, a secret that made me very, very excited, a secret that made the whole trip out to New York totally worth it, even if nothing else happened. I hated that I couldn't tell anyone this secret, well, I did text my sisters back home and tell them, they weren't going to do anything with it. The secret was that Sonic Cow Grunt was in fact an anagram for Counting Crows. They were slated to play a secret show that evening around 6pm. Now that I had this information in my brain, the build up of the day was incredible. 

The line up that first day was great. I'd heard of only a couple of the bands going on that day, but really didn't know much of their music except for maybe one song, but nonetheless, I was happy to be there and to be exposed to these bands. The first band that I saw that day was called Bridges & Powerlines. I very much enjoyed them, and they were added on the list of bands who's records I now need to acquire (it's a long list after this show.) After Bridges & Powerlines, I went upstairs to see You Won't perform. You Won't was two guys: Josh Arnoudse and Raky Sastri, playing acoustic folk-like music, with some of the craziest, unique instruments ever (saw & bow, xylophone, some small little organ of some kind, and wait for it... wind chimes,) great lyrics, feeling and and an infectious stage presence.  

Mellow Bravo

After You Won't it was back downstairs to the bar stage for Mellow Bravo. One of several Boston based bands that were on the bill that weekend, Mellow Bravo was a thrill to watch. Fronted by Keith Pierce, who's charismatic on stage persona brought out memories of seeing Jack Black with Tenacious D a few years ago. His powerful, soulful lead vocals were backed by equally awesome pipes provided by Jess Collins. The band was amazing, the guitars on fire. Mellow Bravo is a bit of a misnomer, as the band was not at all mellow, but full of energy and life. To close out their set, the band did what is probably the best rendition of the Rolling Stones' Jumping Jack Flash I've ever heard, I could even go as far as to say it was better than the original. Following Mellow Bravo upstairs in the map room was Golden Bloom.

The first thing I noticed about Golden Bloom was that singer/songwriter Shawn Fogel looked a lot like a mini Adam Duritz, so that was cute. I really enjoyed their set (well, sets really, they got to play extra long due to a schedule gap.) Fogel's cohorts on stage were Josh Cohen on bass and keyboard, Jeff Patlingrao, on guitar, who was amazing, by the way, and Justin Hofmann on drums. Also super cute about Golden Bloom's set was that Shawn's Mom was in the audience, which was as he called it "self esteem in a box, not that you should put your Mom in a box."

The next band I saw was back downstairs on the bar stage, Seattle based Hey Marseilles. Hey Marseilles was kinda rock-y, kinda folk-y, kinda classical-y, but really, really good. Their band is more like an orchestra with a cello, viola, guitars, and a one man horn/woodwind section, this band really grabbed my attention. After Hey Marseilles was another Boston band called RIBS. I'll have to be honest here, but I really didn't care for this band, I mean they were good, the band was really good, the lyrics good, it was just that they were a little too much for my taste, a little too loud, a little too hard. The crowd seemed to really enjoy them, and they did a great job, but this band just wasn't for me. 

Chris Keene of Mean Creek

After RIBS I stayed downstairs at the bar stage for the rest of the night. Around this time word started slowly leaking out that Counting Crows were playing a secret show that night, so I wanted to make sure that I got my spot in front of the stage, the same as where I'd been for the last two times I'd seen them. So I placed myself front and left of center for the next band that would take the bar stage, Mean Creek. I had seen Mean Creek back in April when they opened for the Counting Crows in Seattle. They are a great, powerful rock band from Boston. Lead vocalist Chris Keene delivers a strong, powerful song that grabs you and doesn't let go, the amazingly talented Aurore Ounjian just screams rock and roll on the guitar and backing vocals, along with Erik Wormwood on bass and Mikey Holland on drums. Mean Creek really got the crowd going with their energetic set. 

By the time Mean Creek was through the word of the secret Counting Crows show had spread like wild fire through the Bowery Electric, those who hadn't gotten word of it through social media sites like Twitter or Facebook were alerted by others around them, or by the fact that three other members of the band were wandering around the building. I first sighted David Immergluck from across the room, and heard that Dan Vickrey was also around. I'm sure that most of the crowd, including myself, was expecting the whole of Counting Crows, but when the band took the stage, it was just Adam Duritz, Charlie Gillingham, David Immergluck and Dan Vickrey.  




The star struck nerd in me got very excited when I saw Immy, who until this weekend was the only member of the Crows who I really got star struck over. I'd met and talked to Adam before, and a few times over the weekend, I'd met Dan and Charlie as well, but not Immy. So when he was standing in front of me on stage getting ready, I thought for sure I'd turn into the big dork I knew I'd be, but I surprised myself and stayed fairly calm. I said Hi, he shook my hand and went back to getting set up. As was expected, the crowd of about 200 people were more than a little excited when the four members of "Sonic Cow Grunt" took the stage. They played an all acoustic set, well Charlie had an electric keyboard, but Dan and Immy played acoustic guitars (and mandolin.) The songs they chose for the set were fantastic, some I'd heard live before, some I hadn't. In classic Adam Duritz style, he messed up the chords on A Long December and the words on Rain King, but of course he can be forgiven. For their final song, You Ain't Going Nowhere, Adam invited fellow Outlaws in the crowd to join them on stage, so up went Jimmie Linville of Daniel & The Lion, who was playing the next day, the boys from Filligar, who weren't playing at the Roadshow, but were just attending, and Ryan Spaulding, who displayed his amazing jazz hands skills during the song. You can go here to watch the Crows doing Girl From The North Country (most of it anyway, my camera wasn't cooperating in the beginning,) or here to watch the video I took of Rain King.

The set list

Right after the set I got to meet Immy and get a picture with him, telling him that he was one of my favorite guitarists, and most likely coming off as the world's biggest dork, because that's what I do best when I meet my rock stars. A bit later we were waiting outside the Bowery Electric, deciding what to do next, when Dan walked by, I took the opportunity to get another picture with him, and a bit later with Charlie. We also ran into Immy again before leaving, I thanked him for the show, and he thanked me for saving his beer (someone had brought him a beer during the set and placed it right in front of him, but as he was moving about the stage, I feared for the safety of his beverage, and was concerned that he would knock it over and spill it all over his guitar pedals, so I held onto it for a while.)

Me & Immy

So all around day 1 at the Outlaw Roadshow was an incredibly amazing day. Day 2 sure had a lot to live up to. After the show I was just exhausted, so even though it was Friday night in New York City, I just grabbed some dinner, then went back to the hotel and to bed.

Day 2:

Me & Dan

Day 2 began much like day 1, after breakfast I headed down the street to the Bowery Electric, getting there around 10:30am, about an hour before the doors were scheduled to open, and just like day 1, I was first in line (thanks again to my concert anxiety.)

The band that kicked off day 2 was K Phillips and the Concho Pearls, from Austin, Texas. I had heard their name many times, but never really listened to their music. K Phillips & The Concho Pearls' music was very country, full of stories, one about losing a girl to the painter Bob Ross. The band was really, really good, and featured on bass Little Brave, who's music I am a big fan of and who I was excited to meet (which I did. I was upstairs later after their set and introduced myself, but as with a couple other

bands that weekend, I really didn't need to, as they

Me & Charlie

already knew who I was from the blog and twitter.)

Act number 2, upstairs in the map room, was Ryan Schmidt, a singer/songwriter doing a solo act. He was super adorable, looked like he was 14 years old, but his songs were beautiful. After Ryan Schmidt, it was back downstairs for OldJack. Another Boston based band, and one who I was somewhat familiar with, as they played the Outlaw Roadshow at SXSW. I knew their song Chorus Line, and it was one of my favorites from the the batch of songs I got from the SXSW Roadshow bands, so I was excited to see them play. They did not disappoint. Lead singer Dan Nicklin has a great stage presence, he reminded me of Joe Cocker. The band was incredible, I think OldJack was one of the best sets in the whole of the Outlaw Roadshow. After OldJack I seemed to just wander around the venue for a bit, talking with bands, it was at this time I met one of the bands I was most excited to see that day, Runaway Dorothy, who again I didn't need to really introduce myself, they knew who I was (which still seems really weird to me, but I love it.)

K Phillips & The Concho Pearls

OldJack

Daniel & The Lion

The next band I saw was Daniel & The Lion. They were one of the four bands who really swayed my decision to fly out for this weekend. I really love that band, I listen to their records all the time. Jimmie Linville and Daniel Pingrey were yet another band who knew me, and were very nice. Their set was just the two of them, on acoustic guitar and piano. They played most of the songs off their record Death Head, including the title track, Flash Flood, Need You, Dark Red Waltz, Paper Dove, and a couple others. They closed their set with a great cover of Ray Charles' Hallelujah, I Love Her So. Fantastic. Really. 

Me with Jimmie & Daniel

After Daniel & The Lion it was downstairs for Foreign Fields. Another band whom I love and was very excited to see. Their record Anywhere But Where I Am is probably one of the best records of the year, in my opinion anyway. They started their set with Pillars, then (I think) So Many Foreign Homes and Taller. I didn't get to see the rest of their set because in the middle of Taller, Nick Mishko, who is Runaway Dorothy's manager, came down to let me know that they would be starting their set in a couple minuees, and well, I had to go up there.

Foreign Fields

Runaway Dorothy quickly became one of my favorite bands that I discovered after downloading the SXSW Outlaw Roadshow band's tracks, and have become friends with Dave Parnell, the lead singer/songwriter via twitter. The band opened with Hard Way Home (watch it here) followed by Abilene (that's here too), which I got videos of, and of course right after I finished recording and turned off my camera, I got the coolest shout out ever. Dave thanked Adam Duritz and Ryan Spaulding for having them at the show and then went on to say "But thanks most of all to Jennifer, who flew all the way across the f---ing country to see us!" So that was pretty rad. The played songs from their up-coming release, The Wait, and an amazing cover of This Train is Bound for Glory, which featured each member of the band on vocals (they all can sing, by the way.)

Me & Runaway Dorothy being photo-bombed by Ryan Spaulding

Following Runaway Dorothy, I ventured downstairs into the middle of a set by Boston band Air Traffic Controller. Out of all the new bands that I was introduced to over this weekend, this is the one I find myself listening to the most now that I'm home. Their uptempo, layered, poppy yet rocky, almost dance-like sound is intoxicating. Their songs are addictive, Hurry Hurry, You Know Me and If You Build It especially. This is band who I wouldn't be at all surprised if they exploded onto the national music scene. They were really, really good.

Air Traffic Controller

The final band I saw that day, and the final band of the Outlaw Roadshow, was a band I had already seen three times this summer, well part of the band, not all the members were present for this show: Kasey Anderson & The Honkies. Coming into this show, they were the last of the four whom I was most excited to see, and one of my favorite "new" bands. For this show Kasey was joined by Ty Bailie on keys and Star Anna on vocals and guitar. Their set was all acoustic, but brilliant. Kasey and Star Anna alternated their songs, Kasey singing For Anyone, Like Teenage Gravity, All The Good You Loose, Exit Ghost, and my favorite song of his, one that I'd been waiting all summer to hear live, Don't Look Back (you can watch the video of that song here.) Star Anna closed out the night with an amazing rendition of Elvis Presley's The Power of My Love. That girl has got an amazing voice. If you've never heard her sing, do yourself a favor and Google her, listen to some stuff, it's pretty spectacular.

Ty Bailie, Star Anna & Kasey Anderson

When the show was over I spotted Ryan Spaulding across the room, I had to go say good-bye and thank him for the amazing weekend, to which he responded with a hug and a big thank you to me for coming all the way out for the show. After Ryan I went up and said good-bye and thank you to Adam Duritz, from whom I also got a hug and a thank you. My last goodbye was for Immy, who had been there for the last couple bands that day; I got a hug from him too.

After the show that night, my new friend Michelle, who I had met through twitter, and I went to a small after party with Dave from Runaway Dorothy, their manager Nick Mishko and a couple of his friends. We started at Lunasa Pub for dinner and drinks, and ended at Hi-Fi, a bar not far from the first. I had a ridiculously early flight home the next morning, so that was the end of my night, and my Outlaw Roadshow weekend.

I still can't believe that I actually did it, that I flew all the way to New York for two days of amazing music, memories and friends. These are memories that I will hold with me forever, and I can't thank Ryan Spaulding, Adam Duritz and all of the bands enough for the weekend. Now I just need to figure out how to get myself to Austin for SXSW 2013.

Album Review - Glad All Over - The Wallflowers

I'm not a traditional Wallflowers fan. I don't own any other of their records in their entirety, just a few tracks here and there. I couldn't tell you the names of the band members without Googleing them. To steal a section from my post about Jakob Dylan's solo records: Sure, I liked the Wallflowers' songs One Headlight and 6th Ave. Heartache (which when I first heard it, I swore it was a Counting Crows song, I was partially correct, Adam Duritz does sing back up on the song.) Except now I find One Headlight somewhat difficult to listen to. It's the last verse that gets me. It reminds me of my Grandmother who passed away, it explains exactly how I feel about it:

"I'm so alone, and I feel just like somebody else
Man, I ain't changed, but I know I ain't the same
But somewhere here in between the city walls of dyin' dreams
I think her death it must be killin' me"

But as I am a Jakob Dylan fan, I was excited about the Wallflowers' first studio album in seven years:
Glad All Over.

After a successful solo career, a solo career that made me a Jakob Dylan fan, Dylan got his old band back together, Rami Jaffee (keyboards), Greg Richling (bass), Stuart Mathis (guitar) along with new drummer Jack Irons. Accompanying the band on a couple tracks, former Clash and Big Audio Dynamite singer/guitarist Mick Jones (Misfits and Lovers and Reboot the Mission)

Having been used to listening to Jakob Dylan's solo records, which are more roots folk, Glad All Over is a refreshing transition back to the roots rock the Wallflowers were known for in the mid 1990s. Though a couple tracks have a bit of a funk and/or punk vibe the them, which is quite different from the Wallflowers songs I'm used to, once we get on to the rest of the record we get back to that old Wallflowers sound we've missed over their seven year hiatus.

The record opens with the track Hospital for Sinners. As this track plays out we get thrust back into the rock & roll feel of the Wallflowers, the driving guitars and drum lines perfectly highlight Dylan's soft yet gritty vocals, reminiscent of, yet not as abrasive as his father's. Misfits and Lovers, one of the tracks featuring Mick Jones, and also my favorite song on the record, brings feeling of a throwback to '80s Brit Pop, with a slight punk feel. The chorus especially emphasizes this feeling. Digging deeper into the punk/funk genre, Reboot the Mission, also featuring Mick Jones, has a super funky back beat to it, with a spacey synthesizer track. The first time I heard this song, a couple months ago, I wasn't quite sure what to think about it. I liked it, but it was so different from the Wallflowers I was used to. But the more I listened to it, the more I started to dig it, the more excited I was to hear what the rest of the record had in store for me. Reboot the Mission is a bit of a "welcome back" song for the band. In the last verse, Dylan names the band members and announces the arrival of their new drummer:

"And welcome Jack, the new drummer
He jammed with the mighty Joe Strummer
I see Rami, Greg, Stuart,
I gotta say, J, we've got it coming
Eyes on the prize, reboot the mission"

In a sense, they are "rebooting the mission," rebooting the band, getting back to the sound we've come to know and love. The roots rock sound is infused throughout the whole record. The acoustic guitar line from the song Love is a Country, along with it's lyrics make it my other favorite song on the record. Not sure what it is about the song, I just really, really dig it. The tracks Have Mercy on Him Now, First One in the Car and Constellation Blues have an Springsteen-esque vibe to them, like 1980s Springsteen songs Glory Days, Brilliant Disguise, or Cover Me. The Devil's Waltz brings back a tiny hint of that funk beat, a punchy drum, bass and guitar track, but also incorporates a sound loop similar to that from the Beatles Tomorrow Never Knows. One Set of Wings and It Won't Be Long (Till We're Not Wrong Anymore) take me back to the Wallflowers' 1996 debut record Bringing Down the Horse, but at the same time the songs have a totally new feel to them, which I like because that's the only Wallflowers' studio record which I have songs from.

This record is a gift to all of us mid-90's music fans who just can't get enough of the fantastic music that was produced during that time. I really enjoy this record, I knew I would love it after only listening to the first three songs. It is quickly working it's way into my top 10 records of the year. Though a week ago, the label "Wallflowers fan" really wouldn't have applied to me, I am one now.

Check out the single Reboot the Mission, then meander over to your favorite music retailer and get your hands of this record, you will be "Glad All Over" that you did.

Rawr Part 2 - Daniel and The Lion

Three months ago I was introduced to Daniel and The Lion. I haven't been able to stop listening to them since. At that point we only had Side A of their record Death Head. Two weeks ago, Death Head (Side B) was released. Side B is a fantastic compliment to Side A. The songs seem a bit softer than those of Side A, and the use of string arrangements and horns give this chunk of the record a great symphonic sound. While Side A features five tracks, Side B only has four: Lavender, On Berlin, The Dark Red Waltz, and Paper Dove. 

Lavender  opens with a chorus of woodwinds, followed by Jimmie Linville's vocals. The strings along with the vocals give this song a very classical, waltzy feel. The Dark Red Waltz also has the waltzy feel, but hence the name, is in fact, waltzy. This song invokes visions of Georgian ballrooms, with all the fancy ladies dressed up all fancy, and the men watching them dance around the room, yearning for their company. Paper Dove, a metaphor of a fragile person, a fragile love. Probably the softest song on the record, but also the most beautiful. Again, with the strings and such, the song is melodic and beautiful. On Berlin is my favorite track on Death Head (Side B). Again, I totally dig the strings and melodic qualities of this song. When I listen to this song, the picture in my head is of walking the streets of Berlin on a crisp Autumn day (why Autumn? Coz that's when I first listened to it, walking home on a crisp autumn day, albeit in Spokane rather than Berlin, but still)

I highly recommend picking up this record, as well as Side A, and Daniel and The Lion's other release Sweet Teeth here. And if you happen to be in NYC around say, the 19th of October, catch them at the Outlaw Roadshow at the Bowery Electric. I'm going. It's gonna be amazing.

Brits with Banjos - Mumford & Sons

I was driving home from work one day in late May, 2010, or maybe it was school, but that doesn't matter, and I had the radio on, that however does matter, as I never usually listen to the radio, I've usually got my iPod playing in the car. I was flipping around the radio stations and came upon a song that caught my attention. It was a new song, both new to me and recently released. I liked it, but had no idea who or what it was. I had come into it in the middle of the song, so I tried to make a note of the lyrics so I could Google them when I got home. After the song was over, I switched to another station, and there was that song again, but again it was in the middle of the song. However, this time, at the end of the song, the station announced both the name of the song and the band. The song, The Cave. The band, Mumford & Sons.

As soon as I got home I looked up this band, and bought Mumford & Sons debut record, Sigh No More. I really didn't know what to expect from the rest of the record, I didn't listen to the sample songs before I bought it, I was so excited after hearing The Cave, I just wanted to get this music into my head as fast as possible. Another thing that brought me to look into this band was simply the fact that they are British. Thanks to a quartet of Liverpudlians, I have been fairly enthralled with pretty much anything British since I was about 15 years old, so that gave them an advantage when it comes to catching my attention.

The record was, well is, different than anything else I was hearing on mainstream radio, not that I listen to it that often, if even at all. I think that's one thing that attracted me to it. They are folky, like classic old time-y folk. A genre that I have been really enjoying lately. Maybe it's my British and Irish roots showing through, but I really, really love this music. Mumford & Sons was the first of these folk revival bands I have encountered over the last couple years, now of course I have Brown Bird and The Last Bison (well, with the exception of Jakob Dylan, but he's slightly different, I guess.) Sigh No More has a plethora of fantastic songs. They are great lyrically and musically. The instrumentation is awesome, this band uses one of my favorite things, a banjo (if only they used bagpipes, they'd be pure gold!) The title track, Sigh No More is one of my favorite songs on the album. The lyrics quote lines from one of my most favorite books of all time, Shakespeare's Much Ado About Nothing, so that's uber cool. The Cave, Winter Winds, Little Lion Man and Awake My Soul are the other most listened to tracks. Mumford & Sons earned Grammy nominations for this record, however, they didn't win, (they did win the Billboard Awards they were nominated for though) But that's OK isn't winning the Grammy's Best New Artist award kinda of a curse anyway?

Two and a half years later, we have been rewarded with yet another amazing Mumford & Sons record: Babel. Released September 25, 2012, Mumford & Sons' sophomore album is just as spectacular as the first. Mumford & Sons carry their amazing sound into all the songs on this record. I Will Wait, Lover of the Light, Lover's Eyes, Where are You Now?  and Holland Road are the top songs for me on this record. Since buying it, I don't think there's been a day that I haven't listened to it. I just can't get enough of these songs, of this record. It's hard to explain, to put into words, but these songs spark something in me, they make me happy. The whole record is rife with feeling, in Marcus Mumford's vocals, the guitars and banjos, strings and mandolins, drums and keys, all these things together make this magical sound and places this record on my top 5 of the year.

If you get the record from iTunes, it comes with a few bonus tracks, one of these tracks in my most favorite on the whole record: a cover of Simon & Garfunkel's The Boxer. I normally have very strong opinions on cover songs, usually I don't really care for them, but depending on the song, and the artist/band covering the song, I may approve (Counting Crows' album Underwater Sunshine and the soundtracks for the films I Am Sam and Across the Universe are prime examples of well done, Jennifer approved cover songs.) The Boxer is one of my favorite Simon & Garfunkel songs and Mumford & Sons do an amazing job with their cover. I really love it.

Recorded in August, and released October 1, Mumford & Sons (and Friends) did a session for the music site Daytrotter. (Daytrotter is a music site which gets our favorite indie, and some mainstream bands, gets them into one of their studios and records stripped down versions of a handful of their songs, it's brilliant, check it out.) For their session, Mumford & Sons (and Friends) do covers of Bob Dylan, Bruce Springsteen,  Roger Miller and my favorite track from the session, the song Not in Nottingham from the Disney classic Robin Hood. Go check this out. The session is fantastic. (While you're at Daytrotter, sign up for a membership, check out all the other amazing bands/sessions available there for your listening pleasure)

This is the part of the post where I recommend buying these records, checking out this band. Most of you have probably already heard of this band, heard one or two of these songs. But if you haven't, do it, or listen to them more. There aren't many mainstream bands that I get excited about, and this is one of them.