While this album's diversity was seen then as perversity, now it seems like a rich smorgasbord.

David Thigpin ( with Rolling Stone ) called the album's sound, " curving, melodically rich tunes that weave folk, blues, rock and wisps of jazz place him in the company of David Gray and Jeff Buckley, minus the melancholy.

The album's subject matter was largely centered on Love's tumultuous life between 2003 and 2007, and featured a polished folk-rock sound with much more acoustic work than previous Hole albums.

) With Martin's guidance, the album's style was very different from America's first three efforts, as he enhanced America's acoustic sound with strings and brass.

One of the album's tracks, " Lady in Black ", described as " a stylishly arranged tune that builds from a folk-styled acoustic tune into a throbbing rocker full of ghostly harmonies and crunching guitar riffs ", became a hit in Germany upon its re-release in 1977 ( earning the band the Radio Luxemburg Lion award ).

Featuring acoustic guitars, banjo, and slide guitar, the album's music has been compared to that of Nick Drake, Simon and Garfunkel, Elliott Smith, Neil Young and John Fahey.

The band took to the facility's B-studio near the end of the recording to record versions of the album's songs on acoustic instruments.

Since then, the group has kept a video blog to communicate the upcoming album's progress to their fans, answering their questions and previewing acoustic songs.

News of the album's release was made by a live acoustic performance video " The Ghost Who Walks ( Acoustic )" posted on the internet.

The album's final song, " How Many Say I ", was an unusual acoustic piano ballad featuring Eddie on lead vocals with Cherone on backing vocals.

The song's wistful folk-style sound, with Robert Plant on lead vocals, acoustic guitar by Jimmy Page and mandolin by John Paul Jones, contrasts with the heavy electric-amplified rock on four of the album's other tracks.

They went on to record Vanity in 2002, which, while still containing heavy breakdowns, metal riffs and odd time signatures, featured better production work, and bits of melodic vocals in nearly all of the songs, complete with hints at balladry with the songs " Gorgeous ", an acoustic piece written and performed by then-drummer Ken Floyd, and " Love in Autumn ", the album's closer.

The album name also represented the album's matured sound in comparison to the first, in its using of acoustic guitar, and using programming more to their advantage.

After much experimentation ( and reportedly an entire album's worth of material cast aside ), the group completed the album in an East German broadcast center that allowed them a multitude of different acoustic environments for recording.

Generally well received by critics, the album's sound was characterised by acoustic guitars, but also featured accordion, marimba, strings, and trumpet sounds.

" Prior to the album's release, Phair embarked on a short acoustic tour where she played in smaller venues, bars, and clubs.

The acoustic version was released on June 13, 2005 in order to mark the album's tenth anniversary.

" The album's sound, which the singer identified as " plastic soul ", constituted a radical shift in style that initially alienated many of his UK devotees.

According to Gerald Casale, the album's sound was inspired by reviewers calling them " fascist clowns " in articles.

The album's sound resembled the folk-rock of The Byrds more than punk, and some of the group's fans accused Meat Puppets of sounding dangerously like hippies and abandoning their punk roots.

While still fast and loud, the album's country leanings were evolving and its raw punk sound was channeling raw guitar power chords.

Like Ain't Love Grand, the album's sound was fairly far removed from the band's punk origins, yet featured a punchy, energetic, hard-rocking roots rock sound that in many ways represented a more natural progression from their earlier sound than the previous record had.

The album was not as successful as her debut, partly due to the album's less " poppy " sound ,< ref name = folklore >

Many fans were reminded of the band's 1970s sound largely because of Khoroshev's classically oriented approach, though White also brought in world music influences with Latinesque arrangements, and with multi-instrumentalist Randy Raine-Reusch contributing to the album's textures.

Numan stated " think of Jagged and Pure, but faster, with bigger choruses, more energy, and more aggression " to describe the album's intended sound.

Dressed on the cover all in leather, the album's singles " A Little More Love " ( No. 3 Pop, No. 94 Country, No. 4 AC ), " Deeper than the Night " ( No. 11 Pop, No. 87 Country, No. 4 AC ), and the title track ( No. 52 Pop ) all demonstrated a more aggressive and uptempo sound for Newton-John.

Despite the concerns about the album's uncommercial sound, Pornography became the band's first UK Top 10 album, charting at number eight.

< blockquote class =" toccolours " style =" text-align: left ; width: 28 %; float: left ; margin: 10px 10px 5px 5px ; padding: 10px ; display: table ;"> Into the Music: " The album's last four songs, " Angelou ", " And the Healing Has Begun ", and " It's All in the Game / You Know What They're Writing About " are a veritable tour-de-force with Morrison summoning every vocal trick at his disposal from " Angelou's climactic shouts to the sexually-charged, half-mumbled monologue in " And the Healing Has Begun " to the barely audible whisper that is the album's final sound.

The album's sound marked a drastic change from their previous outings, oriented more in the direction of glam rock and psychedelic music than that of the hard rock / grunge sound that propelled them to popularity ; critical reception, at the time, was mostly mixed.

Described by engineer Earle Mankey as a " frighteningly accurate album " and " sort of like Eraserhead " in comparison to Wilson's lush 1960s oeuvre, the album's playful lyrics ( alternately invoking Johnny Carson, Phil Spector and adolescent interests ) and stark instrumentation ( featuring Moog bass lines and gated reverb-drenched drum patterns reflective of contemporaneous work by David Bowie and Tony Visconti ) failed to impact an audience sated on the ubiquitous Endless Summer sound.

The album's sound differed from Dummy, characterised as " grainy and harsher.

The " Synthanorma " controlled the band ’ s Minimoog creating the album's rhythmic sound.

This led to a change in the album's sound to electronic New Wave.

He was the sound engineer on Robin Trower's album Bridge of Sighs, and credited by both Trower and producer Matthew Fisher for that album's acclaimed sound.

The Remain in Light album's lead single, " Once in a Lifetime ", became a Top 20 hit in the UK but initially failed to make an impression upon its release in the band's own country.

It was another large seller in the UK and initially appeared to be the group's breakthrough in the US market, where MTV embraced the album's lead single " Pure Morning ", but subsequent singles and videos failed to match the success of its predecessor.

A remixed version of the song, featuring fellow rappers Snoop Dogg, Lloyd Banks and Young Buck, was released as the album's third official single on August 12, 2003, although the remix was not initially part of the tracklisting: it was later added as a bonus track to some digital editions of the album.

The album's debut single " I Believe In Love " was initially not a success but was remixed by producer Jonathan Peters into a successful dance song.

Although the author was initially opposed to the album's release, legal action was evaded on the condition that the band used the words Music Inspired by The Snow Goose on the album's cover.

The group initially wrote an album's worth of material which they subsequently discarded because they saw themselves as becoming, in Mike Rutherford's words, " a caricature of ourselves.

The song was not initially planned as the album's third single.

Felder wrote the music for the album's title track, " Hotel California ", and had originally introduced it, as an instrumental demo, to Henley and Frey who initially named it " Mexican Reggae ".

The song, originally a club hit for Within a Dream in 1993, was initially planned as the second single from the album although it nearly didn't make the album's final cut.

This rap ( and also a section in the second verse in which Aguilera discusses sexuality and a man's hands on her body ) caused Radio Disney to ban the song initially, as it had done to " Genie in a Bottle " ( the album's first single ).

In a 1990 review of I'm Breathless, Mark Coleman from Rolling Stone wrote that, whilst the song initially sounded " lackluster ", within the album's context, it " gains a startling resonance ".