Get A Good Mp3 Player The First Time

Technology changes rapidly. It seems like as soon as you learn about an electronic device, another with more capability comes out. Such is the case with MP3 players. When it first came out, it was the hot new thing. You had this small piece of equipment that was capable of playing and storing so much music. Now, the newest versions allow for video playback as well as the audio capabilities. When you consider buying one of the various video MP3 players out there, there are a couple of things you should inform yourself on to help you choose.

First, look at the video capabilities of the mp3 player you are thinking of purchasing. Not every MP3 player out there supports all current video types. Some can only playback flv files, while other can only support those of the wmv format. There are also some video download sites that will only allow particular versions of video MP3 hardware to be used. For instance, the iPod is the only player that can be used with iTunes.

You also need to take into account the small screen size of these devices, most measure between 1.5 to 3 inches. This small screen can be rather disappointing in terms of the quality of the video playback. You’ll have to accommodate the video resolution to match that of the video mp3 player.  Don’t try to watch a video at bizarre angles or if the sunlight is creating a gleam on the screen.

You should also be aware of the price tag associated with a video MP3 player. In comparison to the audio MP3 players, the video MP3 players cost a bit more. This is mostly because of the fact that various models are compatible with other things, such as your TV and computer. You will have to remember that most MP3 player usually have the wire connections that are required.

Finally, You should note that you will be able to update your device’s software through downloadable  upgrades that will be available on the website for that particular video MP3 player. These downloads are an important aspect of ensuring that your video MP3 player stays up-to-date with the changes in video encoding.

Although you might feel overwhelmed when you see just how many types of video MP3 players that are on the market today, you simply need to think about what you want. What will you be using it for? How often are you going to use it? Asking yourself questions like these, will help you in making your decision.

Find Your Video Mp3 Player

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Written by admin on November 2nd, 2009 with no comments.
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Feels Like Home

Feels Like Home
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Amazon Sales Rank: #1590 in Digital Music Track Published on: 2009-12-08 Released on: 2009-12-08 Running time: 281 seconds

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The List

The List
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Amazon Sales Rank: #48 in Digital Music Album Published on: 2009-10-06 Released on: 2009-10-06 Running time: 2407 seconds

List of Burdens
Rosanne Cash’s ‘The List’, dare I say it, has restored my faith in how a cover album should go. Somewhat. Clearly the exception and not the rule. But it’s not the end-all, be-all either.

I will start out saying the selections I’ve seen her do live, played out much better in a live setting than in a recording studio – and those live versions were way stripped down, just Cash and a guitar.

But on some of this disk – Cash appears stellar. Her voice, at 54, has never seemed stronger. And in reality, it is really nice to hear Cash return to her country-bent. She never was or will be full county but I’ve missed some of this take on her heritage and talents.

She kicks off with “Miss the Mississippi and You” – which hearkens back to something she’d have done on ‘Somewhere in the Stars’. “Motherless Children” is really stellar, but it doesn’t sound nearly as sorrowful as she did it live. Still, she nails it….if you can say that about a song like this. “Bury Me Under the Weeping Willow” is very well done – and is still pretty sparse musically, but you can see what a well crafted song it was for the Carter Family.

Cash does a pretty incredible job on Hank Snow’s “I’m Moving On” – and it might be the best piece on the disk. Dylan’s “Girl From the North Country” (great string bass line throughout the song) is well done too. She does a decent job on “500 Miles”. It is poignant enough, but it doesn’t convey the emotion that it did when she did it live or even when Peter, Paul & Mary or Bobby Bare recorded it.

Usually when guests abound on a record, it spells trouble for the material or artist. Especially when it’s an over-use of guests (like almost happened on Cash’s own ‘Rules of Travel’). Because of this, I was skeptical with ‘The List’ in advance for having Springsteen, Costello, Rufus Wainwright, Jeff Tweedy (Wilco) and Neko Case all making appearances. Heck, that’s almost half the disk.

Some work and some don’t. Springsteen is by no means bad on “Sea of Heartbreak”, but in reality, you hear how strong Cash is by herself, there was really zero need for Bruce to be there at all. But it’s a great song and it really is a stand-out cut.

Wainwright on Merle Haggard’s “Silver Wings” is nothing more than a backing vocal, more so than harmony. I don’t know I would have known it was him without the actual credit.

Tweedy has more of a harmony vocal “Long Black Veil”. Ditto with Costello on Buck Owens’ “Heartaches by the Number”. See, I like Buck Owens and while it is probably the twangiest thing on this disk, I’m not sure they truly pull it off. She does better on Hank Williams’ “Take These Chains from my Heart”. It sounds almost like an Owen Bradley production deal.

There are missteps, if you ask me. Cash says she was skeptical to touch Patsy Cline’s “She’s Got You” – and she should have gone with her gut. While not horrid by any means, there is no one who can really cover that well, save maybe a Mandy Barnett – and even then it’s more imitation.

The same can be said for “Satisfied Mind” (available only on iTunes). Covered by everyone from Porter Waggoner to Lindsey Buckingham, it just sounds……under-done, if that makes sense. The right idea, the wrong execution.

Overall, ‘The List’ is the right idea and right execution – mostly due to Cash’s vocals and producer/husband’s John Leventhal’s production and musicianship. I guess Johnny Cash has a lot to do with this too.

Of all the music I’ve purchased this year, it is one of the better selections in terms of style and sound.

The Album of Her Career (To Date)
Rosanne Cash was my favorite “country” female vocalist during the 1980’s with her brillant string of country/rock songs that seemed to hit number one on the country charts with every single release. She was as big any female star during this era and yet she had never really chased fame, she was just a singer-songwriter who happened to be damn popular. Then suddenly after a decade of enormous success things drastically changed in both Rosanne’s personal and professional life; her divorce from Rodney Crowell (who produced her records) and a drastic shift in her music from pop-rock flavored mainstream country music to a brooding folk/rock. The critics applauded but to many of Rosanne’s longtime fans, it was almost as if she had divorced us as well, her music was still thoughtful and well-crafted but it was it if she was pointedly making it for new audience in a new arena. Since 1990 she has released five of these albums, which have sold dramatically less than her country work, a genre she seemed eager to shake off at the time.

Certain things are in one’s blood and soul, however, and being the daughter of Johnny Cash, country music will always be a part of her. In 1973 when she was a teenager, she accompanied Cash on one of his concert tours and the country legend was startled to learn how many legendary country songs his California-raised daughter was unfamiliar with. He sat down and compiled a list of the 100 greatest country songs ever written and encouraged Rosanne to seek them out. A few years ago, Rosanne found the old handwritten list and was inspired to record this album, THE LIST, her first collection of covers from songs that were named on the paper. From Jimmie Rodgers MISS THE MISSISSIPPI AND YOU to Hank Williams’ TAKE THESE CHAINS FROM MY HEART to Patsy Cline’s SHE’S GOT YOU, Rosanne sounds completely as at home with this material as she is with her own songs. performing most of them in a stripped-down country-folk manner, often accompanied just by husband-producer John Leventhal on guitar. A few of the songs feature harmony singing from the likes of Bruce Springsteen, Elvis Costello, and Rufus Wainwright but these are not conventional duets. Indeed, Rosanne gives new life to every track with these new arrangements from a bluesy cover of Hank Snow’s I’M MOVIN’ ON to a new spin on Ray Price’s HEARTACHES BY THE NUMBER. She turns Danny Gill and Marijohn Wilkin’s unforgettable LONG BLACK VEIL (a 1950’s hit for Lefty Frizzell) into the 19th century folk song many believe it is, complete with retaining the song’s male first person telling, something rarely done in country music since some of Sara Carter’s vocals back in the 1920’s (Rosanne similarly sings Bob Dylan’s “The Girl From North Country” as it was written for a male vocalist). There is a legitimate 19th century “traditional” folk song on the album, the ever haunting MOTHERLESS CHILDREN as well as one of the Carter Family’s greatest songs, BURY ME BENEATH THE WILLOW.

In this album, Rosanne finds a brillant, seamless marriage between her pre and post 1990 work, one that should satisfy every one of her fans and surely win her many new admirers. Not doubt it’s already starting to do this, having hit number one on Amazon.com’s Best Sellers list of all CD’s. This is a outstanding recording. I think it’s the best album of Rosanne’s career – to date. It certainly seems to be the opening of a new door in the career of this 54-year-old artist.

Rosanne has always been one of the finest female vocalists of any genre of the last several decades, yet here she proves she is able to brillantly intrepret legendary songs as well as her own original compositions. And to having her recording “country” again is like a dream come true for many of her most devoted admirers. Heck, you can even get this collection on Vinyl LP at Amazon!! Thomas Wolfe was somewhat incorrect; sometimes you can go home again.

Heart of Americana
Rosanne Cash has always been in the back of my mind a country singer, but I have also seen her as a writer of songs that she also sings. In this CD, she is unleashed from the binds of her own work. and is singing tunes from a list her father gave her 36 years ago when she was a teenager. It is a list of the 100 folk/americana songs that she needed to know about. Somehow she picked twelve of the very best, and these suit her to a ‘T’. She has made a CD that is pure love and music.

Roseanne has not had the life of luxury and fun that one might imagine from a child of a celebrity. Her father was a drug addict and on the road and missing from her life most of the time. Her mother was someone whose personality was closed. You did not divulge anything about the family. She found her own way and through a couple of marriages she is happy. In the past few years she has suffered much tragedy. Her father died, her mother died, her step-mother died. She could not sing for three years because of polyps on her vocal chords. She had a malformation of her brain that gave her such horrible headaches she had to have brain surgery which sidelined her for a year. But she seems to have conquered all of that and she attributes her positive attitude to her husband, love, music, and her children.

I listened to this CD several times and was taken by each song. I had heard each of these songs sung many times and by different artists. Rosanne Cash gives a new voice and meaning to each tune. Her husband, John Leventhal produced and played on most tracks. Rosanne’s voice comes through clear with the melodies backed up with simple arrangements to showcase her voice. This is an album that that will grow and stay with us.

The 12 tunes on this CD were part of one hundred voices from Americana. The best writers, Hank Williams, Merle Haggard, Gary Davis and Bob Dylan. We mark my wr hear the sound of Patsy Cline in ‘She’s Got You’. ‘Motherless Child’ is a beautiful rendition with Rosanne’s husband playing the guitar in a mournful manner. ‘Sea of Heartbreak’ sung with Bruce Springsteen is truly wonderful. This tune will be the number one pick, mark my words! The Boss does not roar but gently sings the rhythm. ‘Take These Chains From My Heart’, is longlingly lovely. ‘I’m Movin’ On’ from Hank Snow takes on a new dimension. ‘Heartaches By The Number’ with Elvis Costello is more of a rocking rhythm than the rest. ‘500 Miles’ is a tune that has been sung so many times, but never like this- it brings a funeral atmosphere. ‘Long Black Veil’ a tune we all know sung with Wilco’s Jeff Tweedy, gives us an image of the words- ‘Nobody knows, nobody sees, nobody knows but me’. Dylan’s ‘Girl From The North Country’ brings back the image of her father, Johnny, singing this tune with Dylan. Rufus Wainwright, a favorite of mine, sings ‘Silver Wings’ with background harmony. ‘Bury Me Under The Weeping Willow’ is a fitting ending for this marvelous CD-we can feel the America that these tunes represent.

This is a low cut list of tunes that best represent the America we love. The story of how this list came to be, is an entry to the legend of Johnny Cash. Rosanne Cash has made these songs her own and has sung them in the straight forward manner that best represents her voice. Kudos to Rosanne Cash, this is just the Best!

Highly Recommended. prisrob 10-06-09

The Very Best of Rosanne Cash
Black Cadillac

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Give Up

Give Up
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Amazon Sales Rank: #468 in Digital Music Album Published on: 2005-11-08 Released on: 2010-02-23 Running time: 2693 seconds

Deliciously sweet & addictive poptronica
I read a review for this album as “…so good that, in a just world, it would stop the war on its own.”

Oh, how right that is.

A distinctly modern melange of nu wave, dance, alterna-pop, and synth, I’d best describe Postal Service as “Electro-indie”. If you’re a child of the 80s like me who grew up with New Order, OMD, Depeche Mode and Pet Shop Boys, no need to read further–you’ll immediately love “Give Up”.

In the midst of NYC’s current electroclash craze which is so overhyped at times (gosh, just lay down some minimal synths and have some bored models chant vocals), Postal Service is the outstanding contender as the smartest electro band of the year with an album that’s so emotional (melody-wise and lyric-wise), so beautiful, and so well-produced that it puts bands like Fischerspooner to shame. Jenny Lewis’ angelic, trance-like girlish voice enhances Gibbard’s boyish vocals. Catchy, simple-sounding but beautifully complex, every single track—and I mean every single one–is up to par.

notable faves are:

1- “District Sleeps Alone Tonight” – Angelic and soft, gradual fades of breakbeats, staccatos and instrumentals with enchanting melody and lyrics that speed up and slow down. Gorgeous.
4- “Nothing Better” – Electro pop at its finest. This duet is so unbelievably catchy, melancholic yet bubbly, sweetened with a bouncy bass line and perfectly placed tweaks and twiddles.
9- “Brand New Colony” – An emotional track intertwined with the twinkly theme from Super Mario Brothers. Brimming with nostalgia, you can hear the gold coins spinning and ka-chingin’ as you make Mario jump.
10- “Natural Anthem” – A fierce, drum ‘n bass-influenced track in the style of Aphex and other IDM’ers. The junglist in me loves this. A great way to end this five-star album.

But you’ll find your own favorites. Every track was just so satisfyingly good, I nearly cried at the end. You just don’t hear people making music like this nowadays.

Junkmedia.org Review- Such Great Heights
Dntel’s Jimmy Tamborello and Death Cab For Cutie’s Ben Gibbard knew they were on to something good as soon as they finished collaborating on the track “(This is) the Dream of Evan and Chan.” That compelling combination of Tamborello’s melodic knob-twiddling and Gibbard’s literate vocals and forlorn delivery was the triumph of Dntel’s acclaimed 2001 release Life Is Full of Possibilities. Not long after that first collaboration, The Postal Service was born. The relative strangers began recording in December 2001, swapping tracks on CD-Rs through the mail.

Listening to the act’s debut brings back the same sort of giddiness inspired in me by New Order’s Low Life when I first picked it up a decade-and-a-half ago. The Postal Service expertly channels that adolescent spirit with an awkward blend of dance beats and melodic songwriting. However, the duo has updated the sound for the millennial set, pleasantly mixing Depeche Mode beats and bass lines, Pet Shop Boys melodies and Warp Records-styled twinkling tones and clicks. Orchestral samples and pseudo horns add an unusual flavor to “Clark Gable.” Chunky, monophonic Casio-sounding keys tie the vocals to the beat in “Nothing Better.”

Two of the album’s highlights appear right at the front end of the record. The first song, “The District Sleeps Alone Tonight,” leads with brooding organ, before beats saunter in and steadily cruise through the first verse and chorus to a clean, ringing guitar riff. A second chorus pumps even harder and defies you to not sing along. This despite a characteristically bumming realization repeated by Gibbard: “I am finally seeing why I was the one worth leaving” (Christ, Benny, just stick a fork through my heart, why don’t you?). Track two, “Such Great Heights,” has already been released as a single. The catchy number apes Rod Stewart’s “Young Turks,” especially the beat and understated arrangement, albeit in an electro fashion.

The remainder of Give Up is solid, though Gibbard’s lyrics are less potent by the middle of the record, and Tamborello burrows perhaps a little too deeply into some of the thinner sounds of the cold ’80s era that inspires him. “Sleeping In” stumbles a bit with Gibbard’s trite invocation of the JFK assassination, but the murmured chorus, “Don’t wake me, I plan on sleeping in,” that drapes over a quiet acoustic guitar phrase is strong enough to carry the entire song.

Perhaps the only shortcoming of Give Up is that the adherence to pop shuts out some of the more interesting electronic elements explored on Life Is Full of Possibilities. “Natural Anthem” is probably the most adventurous Postal Service tune, utilizing a relatively heavy break-beat, a looping string sample and more aggressive production, but clearly the duo’s strengths are geared more toward hit-making than trailblazing. So, while the record isn’t necessarily an instant classic, the unabashed embrace of simple pop sensibilities, both old and new, make it a record that is hard to stop listening to.

Jay Breitling
Junkmedia.org Review

Crossbred electropop
Existing somewhere between the musical and lyrical quirkiness of Komeda or Chumbawamba and the trip-hop funkadelic stylings of Massive Attack, you’ll find The Postal Service. Perhaps this cross-breeding equals an original beast; though it is, in the very least, a melodical and rhythmic experience that you will enjoy. It might not fatten up your top ten list, but I think you’ll find that The Postal Service delivers!

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Free Fallin’ (Live at the Nokia Theatre)

Free Fallin’ (Live at the Nokia Theatre)
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Amazon Sales Rank: #1501 in Digital Music Track Released on: 2008-07-01 Running time: 263 seconds

Is There Such A Thing As “Free-Rising?”
The encore for his acoustic session on his amazing latest live album is a cover of the lyrical Tom Petty classic of “Free Fallin’,” and even though the original didn’t exactly thrill me, John Mayer has a habit of winning you over with his guitar and his ability to make any song and any good lover’s point classic. This one is no different, even though it’s a bit long. It still has heart, and it’s still Mayer all the way. It is also a disconcerting tune as I write this while flying at 20′000 feet. I’m just saying.

Is It Okay For Me To Say That I Like This Version More Than The Original?
Covers of songs aren’t suppossed to be better than the original, right? But I have to go against that and say that I love John Mayer’s version more than Tom Petty’s. I’ve heard the original “Free Fallin’” on the radio for years, and was never really a fan of it. And then I got interested in John Mayer’s music, and I found out he did a cover of “Free Fallin’”. I listened to it and loved it. Before you say something negative about John’s cover, listen to the song thoroughly. Even put out of your mind that it’s a cover while you listen, and after you hear the song without comparing it to the original, you might find you like it.

Fallin’ All The Way
When it comes down to Tom Petty’s music, it has really received a whole new generation of fans, because of his performances at the Super Bowl earlier this year, and the return of his original band Mudcrutch which finally released their debut album, back in the Spring. But for John Mayer, to follow and cover one of Tom’s reflective greats, is a pretty tough task, and that showed with his live cover of Free Fallin’. The single from John Mayer’s live album Where The Light Is, is a bit more stripped down version of the classic song, and feels a bit mre subdued with a sense of somberness. While John has a good sense with the cover, it sadly doesn’t apppeal as well as when Tom originally recorded it nearly 20 years ago. I hope that when John performs this song again, he can bring in a little more upbeat rhythm, that doesn’t leave a lot of heartbreak.

Song: C

Written by admin on November 2nd, 2009 with no comments.
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Morning Has Broken

Morning Has Broken
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Amazon Sales Rank: #2540 in Digital Music Track Published on: 2000-09-26 Released on: 2000-09-26 Running time: 203 seconds

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The Fall (Amazon Exclusive)

The Fall (Amazon Exclusive)
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Amazon Sales Rank: #61 in Digital Music Album Published on: 2009-11-17 Released on: 2009-11-17 Running time: 2990 seconds

Norah’s return to jazz rock genre? A+!
Overall Grade: A
Hilights: Chasing Pirates, Young Blood, It’s Gonna Be, Man of the Hour

Since her major pop debut in 2002, Norah Jones has been fluffing our pillows and stoking the fires with her cozy hearthside tales and heartwarmingly hopeless romanticisms. At a glance one might think that the art for her latest release, “The Fall”, which features our lady in a top hat and a snowy white gown sitting next to a large cuddly canine, would suggest yet another album of dessert wine pop-jazz. This is not the case. Instead, Norah sidesteps the “sweet” almost completely and heads into a more rock-based sound, for which her voice is perfectly suited. The direction is fresh and the pace is easy to settle into (with a pace set by “Chasing Pirates”). Though the album lacks a real kick-in-the-pants sort of song, it certainly delivers some of her best work to date. Expect less piano, more guitar, and the sweetest ending Norah could offer. Wonderful!

Good work from Ms Jones
This new Norah CD is being received as some kind of “beefed up” version of her music, or a “return to rock.” I understand where that perspective is coming from. The songs are more rock/ roots oriented, but for me, this is not any kind of major departure from her previous stuff. First, she’s still a singer-songwriter, and the observational and confessional style of song she writes (or co-writes) is still very similar to before. Second, while the tunes often have a more upfront electric guitar (one difference), otherwise they are still largely on the mellow side. A new song such as “I Wouldn’t Need You,” still has Norah softly crooning the lyrics over a slow tempo, with a relatively gentle backing band. Not that this is a bad thing! I would use the word “charming” to describe the singer and her music, and that’s undiminished on The Fall. Compared to someone else in the roots-rock field like Lucinda Williams, Norah Jones is not someone who’s going to bowl you over with her passion. It’s more of a seduction than an “in your face” approach. All of that said, I’ve really enjoyed listening to these new songs, and I think I’ll be enjoying them much more in the days to come.

4-1/2 stars — Higher and higher
Norah Jones is one of those artists that hardly ever disappoints. I own her first three albums and enjoy them, so when I heard she had a new album coming out, there was no question I’d go and get it. Add The Fall to her string of great releases.

Unlike other reviewers, I really don’t hear that much of a difference in the sound on here when compared to Norah’s previous works. Sure, the bass parts are a little more evident, but they aren’t overpowering. And there are plenty of introspective tracks, like “Light as a Feather”, “December” and especially the two-in-a-row of “You’ve Ruined Me” and “Back to Manhattan”. And I challenge any man to step to her after hearing “Tell Your Mama”.

The only reason I knocked off half a star is because the canine ode “Man of the Hour” didn’t do anything for me. But the rest of the album is great. I hope The Fall is supposed to refer to the time of the year (rather than an actual descent, as naysayers might want you to believe), but whatever the case, it’s damn good. Pick it up.

Anthony Rupert

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Undisclosed Desires

Undisclosed Desires
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Amazon Sales Rank: #1762 in Digital Music Track Published on: 2009-09-03 Released on: 2009-09-15 Running time: 236 seconds

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