Year: 2009
Artist: M. Ward
Album: Hold Time
Style: Indie / Southern Rock / Folk
Quality: VBR~160kbps
Format: mp3
Size: 43mb.

Track-List:

01. For Beginners
02. Never Had Nobody Like You (Featuring Zooey Deschanel)
03. Jailbird
04. Hold Time
05. Rave On (Featuring Zooey Deschanel)
06. To Save Me (Featuring Jason Lytle)
07. One Hundred Million Years.
08. Stars of Leo
09. Fisher of Men
10. Oh Lonesome Me (Featuring Lucinda Williams)
11. Epistemology
12. Blake's View
13. Shangri-La
14. Outro (AKA: I'm a Fool to Want You)

M. Ward Biography:
Portland, OR-based singer/songwriter M. Ward (born Matthew Stephen Ward) grew up listening to gospel and country, two genres that figure prominently in his breezy, West Coast take on Americana. After a six-year stint with the folk-rock trio Rodriguez, Ward began sketching out songs deeply rooted in the classic traditions of American country-folk. Ward's first solo effort came in the form of Duet for Guitars #2, which was written and recorded while he was living between Chicago and various locales on the West Coast. Eventually, the album was placed in the hands of the ever enigmatic Giant Sand mastermind Howe Gelb, who released it on his own Ow Om Recordings in the fall of 2000. The record enjoyed favorable reviews and a considerable amount of attention in underground rock circles, and Ward supported it with a handful tours throughout the United States and Europe.

Released in 2001, End of Amnesia helped to further develop Ward's penchant for dusty, timeless narratives and bluesy, back-porch ballads, but it wasn't until 2003's Transfiguration of Vincent that Ward would begin to penetrate the mainstream. His first release for indie darling Merge Records, Vincent cashed in on the Great Depression obsession of the post-O Brother, Where Art Thou? gold rush, paving the way for 2005's Transistor Radio and 2006's Post-War, both of which firmly established Ward as a major player in the burgeoning indie folk/adult alternative rock scene. In 2008, after collaborating on a song for the film The Go-Getter with actress Zooey Deschanel, the unlikely duo released a well-received album of covers and Deschanel originals called Volume One under the moniker She & Him. Ward returned to the studio later that year to begin work on his next full-length offering; 2009's Hold Time, which featured guest vocals from Deschanel, Jason Lytle (Grandaddy), and Lucinda Williams, arrived in early 2009. ~ Nate Cavalieri & James Christopher Monger, All Music Guide

Description:
Although he's been compared to everyone from John Fahey to Tom Waits to Howe Gelb, with "Hold Time", it's clear that M. Ward, with his brilliant guitar playing and innate sense of melody, is one of those rare and special talents who defy comparison and compartmentalization. His deft guitar picking, bar room piano, and voice like drizzled honey make him a huge favorite of music critics and the focus of public praise from such disparate talents as Norah Jones and Oasis' Noel Gallagher.

'Hold Time' Review:
In a world of Pro Tools and Logic, any wannabe guitarist can pick up the nearest acoustic and strum out a few half-hearted tunes about the allure of the road and their lost love, but few have been able to do it as consistently and as accurately as Portland, Ore.-based wunderkind M. Ward. With a healthy appreciation for his musical roots and a talent for speedy finger picking that calls to mind the greats of his favorite genre, Ward has proven time and again that folk-pop is in no danger of dying out, no more so than on his seventh effort, the superb Hold Time.

Ward's diverse oeuvre is even more striking when you look at the clearly discernable sense of progress he has made over the years, from the lo-fi acoustic wizardry of his debut to his more recent orchestral tapestries. Fresh off his work with actress Zooey Deschanel in the duo She & Him, Hold Time is the logical progression in his work, sounding like a more male-dominated version of She & Him's ode to the soul of the `60s, Volume One. Opener "For Beginners" is a concise bridge into his new work, a deceptively quick guitar melody underlying Ward's roughened vocals. The mellow production and Ward's campfire playing create a song with a sort of timeless quality to it, one that would sound just as home in an old-time western saloon as it does on an iPod's headphones.

The following trio of songs that open the record play like a best-of collection of some unsung folk hero, with the bluesy thump of "Never Had Nobody Like You" and the hypnotic jangle-pop of "Jailbird" leading into the more reflective, sedate title track. Ward's vocals, always a hate-it-or-love-it bone of contention among listeners, has rarely sounded as accessible as it does here, his eternally-stuffy, cracked delivery guiding the songs like a wizened folk patriarch without sounding off-key.

Ward is someone with an appreciation for his inspirations, and the few choice covers on Hold Time do their originals more than sufficient justice. His soft take on Buddy Holly's "Rave On" is buttressed by the charming back-up work of guest Deschanel, and the wisely understated standard "Oh Lonesome Me" pairs Ward with legend Lucinda Williams in crafting an old-time country ballad that fits in well with its Americana surroundings.

But it's Ward's own considerable skills as a songwriter and producer that turn Hold Time into one of his best yet, with tunes like the remarkably catchy "To Save Me" (yes, even Ward is not averse to throwing a synthesizer or two into an album) to the poppy love-letter of "Epistemology," where Ward declares "finally, I found you without ever learning how to / I put the right foot in front of the left" to a blazing guitar riff. The man is a world-class musician, and while his arrangements are often better served under able singer, such as Deschanel, his Dylan-esque vibe and subtle delivery make for a different, albeit entirely enjoyable, experience.

Lyrically, Ward doesn't stray too far from what his predecessors made their fame on, those old musical touchstones of love, death, and everyday life. The nostalgic "Stars of Leo" pines for a country life away from the bustle of the city, while "Shangri-La" welcomes death's embrace as an opportunity to "see the expression on the face of my sweet lord." Lyrics are mostly secondary throughout Hold Time, but that isn't to say they weak. Rather, it is Ward's spot-on delivery that turns these present-day songs into what seem like folk relics.

At fourteen tracks, Hold Time might seem like a bloated record, but aside from one exception, most songs stay around the three-minute mark, and it's a testament to Ward's skills that the record seems much shorter than it actually is. Ward changes things up enough times to avoid becoming complacent, and in every aspect of his work there is the mark of a consummate professional, from the flawless guitar work on nearly every track to his tasteful selection of covers. Hold Time is the kind of record that could match up with its inspirations and fit in right next to them, the highest kind of praise for a man who has carried the folk torch proudly into the new millennium.
M. Wardmwardmusic.com

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