Jason Mraz's first set of all-new material in nearly three years, WE SING. WE DANCE. WE STEAL THINGS. sees Mraz continuing to tread his own distinctive artistic path, melding a variegated musical tapestry with passionate, personal lyricism. Among the highlights are collaborations with British tunesmith James Morrison and singer/ songwriter Colbie Caillat. "I'm Yours," the album's first single, was chosen due to the undeniable fan response to the song. A demo version of "I'm Yours" originally appeared on a limited release bonus EP Mraz put out with his last album. Today the song is an online sensation, with hundreds of usergenerated videos from more than 25 different countries now appearing on YouTube. Jason will be hitting the road this April on the "Music, Magic & Make Peace Tour".
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Scary Monsters And Nice Sprites
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Proving yet again their willingness to dice 'n' slice their burgeoning legacy into new--if not exactly fresh--product, the Fab Four Minus One have released this single-disc compendium of their No. 1 hits. Though obviously superfluous to the faithful (who may also find themselves quibbling over the precise definition of "No. 1 hit" and the exclusion of seeming contenders like "Please Please Me" and "Strawberry Fields"), newly arrived visitors from the Pleiades star cluster and other neophytes will find it a concise and generous (nearly 80 minutes) single-disc introduction to the band's career-spanning, unparalleled dominance of pop music in the 1960s. But beyond being a mere trophy case of commercial success (and it won't be hard to find critics who'll argue that these singles aren't even the band's best work), it's also a Cliff's Notes take on a remarkable seven-year run of musical evolution, one that stretches from the neo-skiffle of "Love Me Do" through a remarkable synthesis of R&B, rockabilly, Tin Pan Alley, gospel, country, and classical that still defies efforts to effectively deconstruct it. This is the pop monument equivalent of the '27 Yankees and '90s Bulls; it's every bit as obvious and dominating--and just as essential. --Jerry McCulley
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Reunited with producer Rick Rubin and guitarist John Frusciante (both of whom were on board for the 1991's breakthrough Blood Sugar Sex Magik), the Chili Peppers waste no time in burying their last effort, the so-so One Hot Minute. Californication's kickoff cut, "Around the World," swaggers around the room, reacquainting itself with old fans and welcoming new ones. Fuzzy Hendrix vibes and popcorn bass lines still rule the roost, along with a heaping helping of disco magic and some unexpected twists. Ten years ago, Anthony Kiedis and company wouldn't have been comfortable doing revamped new wave ("Parallel Universe") or unpretentious ballads (the acoustic "Road Trippin'"), but such material fits Californication's extra-wide canvas. Except for a few meandering numbers that could have been excised, the Red Hot Chili Peppers succeed and regain their footing on the mountain of adrenalized funk. --Jason Josephes
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Coldplay required a lifetime to make their wonderfully assured debut, Parachutes. But it took less than two years for the moody British quartet to deliver a masterful follow-up. As a band, Coldplay have advanced to a stage where they outshine nearly every one of their rivals in terms of imagination and emotional pull. A Rush of Blood to the Head is a soulful, exhilarating journey, moving from the cathartic rock of "Politik" to the hushed tones of "Green Eyes" without once breaking its mesmerizing spell. Singer Chris Martin takes his voice on soaring flights, reaching places only Jeff Buckley previously dared to go. And the music is nearly flawless, a persuasive cross between Pink Floyd and the Verve. Even if they haven't come up with another "Yellow," you would be hard-pressed to care. This is exquisite stuff. --Aidin Vaziri
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