craig david the time is now download the time is now album download. DOWNLOAD LINK HERE - Craig David – The Time Is Now Full Album leak Download link MP3 ZIP RAR NEW Download Craig David The Time Is Now Deluxe MP3 Album 2018 Download)] Full Craig David The Time Is Now Deluxe MP3 Album 2018 Craig David The Time Is Now Deluxe. (Deluxe) ,Download RAR File Download Craig David The Time Is Now Deluxe Album [FUl.L.ALBUM] Craig David The Time Is Now Deluxe. Full Zip ZIP File! Download Craig David The Time Is Now Deluxe Album Craig David The Time Is Now Deluxe Full Album Leaked Album Download Album full# Download Craig David The Time Is Now Deluxe 2018 Working ZIP. Year: 2018 Genre: Pop / R’n’B Quality: mp3, 320 kbps. Track list: 01. Magic 02. 03. Brand New 04. Going On 05. Love Me Like It’s Yesterday 06. For The Gram 07. Get Involved 08. I Know You 09. Live in the Moment 10. Love Will Come Around 11. Somebody Like Me 12. Focus 13. Reload 14. Talk to Me 15. Talk to Me Pt. II. Craig David: The Time Is Now review – a glossily one-note album. I t feels like Craig David’s third act (resurrection, mixed with redemption) depends heavily on his audience’s ability to ironise its enjoyment. It’s that pleasurable ripple of cognitive dissonance in knowing that David isn’t really convincing as a super-cool gym rat horndog, alongside celebrating the fact that he sort of is. Yes, his definitive 7 Days was about spending half the week humping; but it’s also a hymn to fidelity and not putting out on the first date. Unfortunately, The Time Is Now doesn’t even bother with the ersatz lived experience of those early hits. What’s left is inspirational memes slathered over playlist-ready tropical R&B-pop – varyingly successful attempts to rewrite ’s Sorry, without any of Bieb’s sour-faced entitlement. Which, of course, is at least half of Justin’s appeal, and without that underlying passive-aggressiveness, David is just blandly competent, despite all his undeniable talents. The first three songs are superb, especially the blissfully silly acrostic Magic (“G for the girl that got me good/ I C the world the way I should”), but it’s a glossily one-note album, an uncomplicated toast to desire sated, friendship reciprocated and love requited. Album reviews: Craig David – The Time Is Now, Mary Gauthier – Rifles & Rosary Beads, Buffy Sainte-Marie – Medicine Songs, and more. Mary Gauthier’s reputation as one of today’s greatest songwriters, admired by peers such as Tom Waits and Bob Dylan, is rooted in her relentless commitment to honesty and accuracy – most notably in the autobiographical song-cycle The Foundling , which dealt with her abandonment as a baby, becoming a teenage runaway, and drug and alcohol addiction. Her work may not always be easy listening, but the bell-like ring of truth resonates throughout. With Rifles & Rosary Beads , she’s created her most impressive and affecting work yet. It grew out of the Songwriting With Soldiers project, which brings war veterans together with songwriters tasked to tell their stories. It’s a noble project: on average, more than 30 American veterans take their own lives every day, a huge toll partly caused by the wider world’s sheer incomprehension of their experiences. Many participants in the programme have confirmed its healing, even life-saving, effect, in encouraging “post-traumatic growth”. Few of the 400 songs it’s so far produced, though, can be as searingly effective as Gauthier’s 11 epistles from the emotional frontline, which reveal the hidden toll of army life, the issues often smothered by codes of courage and fellowship. Set to galumphing folk-rock arrangements of guitar, piano, mandolin, fiddle and drums, which evocatively capture the feel of trudging through the Big Muddy with a backpack and an M-16, they convey a complex mixture of pride, guilt and despair, related by Gauthier with a blue-collar grace that recalls a less gravelly Lucinda Williams. “Soldiering On” opens proceedings with a firm statement of duty, to which is appended a caveat that casts a shadow across the rest of the album: “I was bound to something bigger, more important than a human life,” it asserts, “but what saves you in the battle can kill you at home.” This lingering trauma is examined in “The War After The War”, which presents the quandary faced by service spouses unable to unlock the partners they once knew, their plight all but invisible to the outside world. “Who’s gonna care for the ones who care for the ones who went to war?/ There’s landmines in the living room, and eggshells on the floor”, it asks. The situation is further complicated in the heartbreaking “It’s Her Love”, where, over brooding harmonium drone and violin, Gauthier voices a Veteran’s gratitude for the sanctuary provided by his wife from flashback nightmares, the frail thread sustaining his sanity. Elsewhere, the additional burden of sexual harassment faced by female soldiers, and their struggle to be regarded as equals, is outlined in “Brothers” and “Iraq”; while the Veterans’ Day Parade depicted in “Bullet Holes In The Sky” masks bitter misgivings: “They thank me for my service and wave their little flags, they genuflect on Sundays – and yet they’d send us back.” A large part of the problem, it seems, is the lingering guilt felt for fallen comrades – something ignored by distant politicians insulated from the effects of their decisions, but which hangs huge and heavy on the shoulders of those at the sharp end. As a dull drumbeat pulses like helicopter blades through “Morphine 1-2”, the crippling regret oozes from the tearful claim, “Even now, I’d take their place”. It’s just one of a tranche of recollections and regrets that cut to the very quick on Rifles & Rosary Beads . If you know someone in service, or their partner, treat them to this album: it may help them to know they’re not alone. Enjoy unlimited access to 70 million ad-free songs and podcasts with Amazon Music Sign up now for a 30-day free trial. Buffy Sainte-Marie, Medicine Songs. Download: No No Keshagesh; Bury My Heart At Wounded Knee; You Got To Run; Little Wheel Spin And Spin; Universal Soldier; Starwalker. Buffy Sainte-Marie manages to shrink the gulf between past and future, employing a keen awareness of cutting-edge technology in the service of ancient wisdom. This retrospective set combines newer material with re-recorded versions of early Sixties protest classics such as “Soldier Blue” and “Universal Soldier”, in which she tackled issues of eco-consciousness and personal responsibility long before they became common discourse. Since then, her protests have been articulate and specific: the systematic oppression of Native American culture (including the forced re-education of children) in Canada; the black-ops-backed mining of uranium on Native territory; the profit principle underlying “The War Racket”. Against these dark forces she posits the power of indigenous healers and wisdom keepers, underscoring her arguments with arrangements which combine rousing powwow chants in hypnotic collusion with cyclical guitar figures, mouth-bow drones and pulsing grooves. The result, in tracks like “You Got To Run” and “No No Keshagesh”, is uniquely uplifting, a powerful affirmation of steely spirituality. Craig David, The Time Is Now. Download: I Know You. In a week featuring inspirational releases by strong, articulate women, it’s embarrassing that the most prominent new male offering should be as unambitious as The Time Is Now , Craig David’s attempt to refloat his becalmed career on the flimsiest of generic grooves and autotuning tropes. It’s wearily repetitive and almost aggressively underwhelming, with David’s bland romantic entreaties carried by frisky shuffles and the sparest of keyboard hints supplied by producers like his guitarist-turned-hitmaker Fraser T Smith and Steve Mac, who on “Brand New” recycles the kalimba keyboard sound he employed on Ed Sheeran’s “The Shape Of You”, minus the allure. The late-night alliance depicted in the single “I Know You” is the best song here, but elsewhere things are far less evocative, reaching a nadir when David’s reduced to singing “blah blah blah, yah yah yah” in “For The Gram” – though, since the alternative is his encouragement to “speak in emoji, wink wink smiley”, perhaps we should be thankful he’s actually using what might pass as words. Recommended. ​ Dirtmusic​, Bu Bir Ruya. Download: Bi De Sen Soyle; The Border Crossing; Go The Distance. Australian/American duo Dirtmusic’s globe-trotting collaborative spirit is further extended on Bu Bir Ruya , though their locus has shifted from the Malian associations of like BKO to Turkey, where they’ve been working with saz player Murat Ertel. The style and spirit remain much the same, however: pan-cultural shuffles like “Bi De Sen Soyle” and “Go The Distance” sprout whirling tendrils of guitar and saz over steadily pulsing grooves steeped in dubwise depth, while Ertel, Chris Eckmann and Hugo Race extemporise lyrics about hapless refugees and “despots making deals to cover up their crimes”. It’s engagingly infectious for a while – “The Border Crossing” is like an Arabic Bo Diddley groove, itchily evoking the refugee’s desire to move on – but slips into an amorphous miasma in places; and the sententious political declamations fail to excite in the manner of, say, Buffy Sainte-Marie. But there’s much to admire here, particularly their determination to “take the wrong road”. Bert Jansch​, A Man I’d Rather Be (Part 1) Download: Strolling Down The Highway; Needle Of Death; Angie; It Don’t Bother Me; The Wheel; Tic-Tocative; Black Waterside. Packaging together Bert Jansch’s first three albums – Bert Jansch , It Don’t Bother Me and Jack Orion – along with Bert And John, the collaboration with fellow six-string wizz John Renbourn that sowed the initial seeds that gave rise to Pentangle, this box set represents the motherlode of Sixties folk guitar. Jansch possessed the entrancing ability to deliver knuckle-knotting bouts of bravura fingerpicking like “Angie” and “Black Waterside” with a languid grace that belied the dazzling technique involved: where others’ pursuit of precision sometimes led to stiltedness, his integration of bluesy bent notes and flourishes gave Jansch’s performances a deceptively offhand character, underscoring the tone of weary, scuffed acquiescence in his delivery of songs like “Strolling Down The Highway” and “It Don’t Bother Me”. Initially writing most of his own material, including the delicately devastating drug requiem “Needle Of Death”, by 1966 Jansch began drawing on traditional songs such as “Nottamun Town” for Jack Orion, a crucial catalyst of the British folk-rock resurgence. All in all, a condensed dose of casual genius. HC McEntire​, Lionheart. Download: Quartz In The Valley; When You Come For Me; One Great Thunder; A Lamb, A Dove. For her debut solo album, Mount Moriah frontwoman HC McEntire shifted direction away from her former indie-rock inclinations, seeking rapprochement with her Southern roots through country music. The Baptist underpinnings of her Appalachian heritage are most discernible in “A Lamb, A Dove”, a quietly passionate expression of sacred and secular love; but the problem of resolving staid tradition and individuality is most directly addressed in “Quartz In The Valley”, a rolling country-rocker which reveals her gayness through elegant lines like “When your lashes tagged all my pillows black”. In places, McEntire’s wordiness gets the better of her – the line “Allegiant to the teething of a hundred surrogates” sticks an abrupt spanner into the gently chugging “Baby’s Got The Blues”. But the most effective songs here are those which reach out directly to her family: the valedictory tribute to her late grandma, “One Great Thunder”, wreathed in layers of lamentation; and “When You Come For Me”, anticipating eventual reunion in death within “the land I cut my teeth on [but] wouldn’t let me call it home”. Sheku Kanneh-Mason​, Inspiration. Download: Cello Concerto No. 1; Evening Of Roses; The Swan; No Woman, No Cry; Hallelujah. On his eagerly-awaited debut, young cello virtuoso Sheku Kanneh-Mason pays tribute to the huge talents that inspired him, with pieces famously performed by such as Pablo Casals, Jacqueline du Pré and Mstislav Rostropovich – the latter emulated here in the centrepiece recording of Shostakovich’s “Cello Concerto No. 1”, the piece which secured Sheku the 2016 BBC Young Musician award, and a formidable indication of his ambitions. It’s a work of dramatic shifts in tonal colour and mood which he negotiates deftly, moving smoothly from the contorted, capering Allegretto into the involved Moderato, with its wild sweeps between epic and manic, intimate and overwrought. By contrast, “Evening Of Roses” fondly acknowledges a sweetly sentimental Jewish tune he used to perform in a klezmer band. The album closes with two pop tunes: a solo cello arrangement of “No Woman, No Cry”, in which the sparseness of sound and the instrument’s emotional timbre brings out the song’s bittersweet tang; and a string quartet setting of “Hallelujah”, with pizzicato quietly stalking around his lead line. Craig David Announces New Album The Time Is Now. The U.K. artist’s seventh album features collaborations with AJ Tracey, Kaytranada, and Goldlink. Craig David will release new album The Time Is Now early next year. The British artist's seventh solo album, and the follow up to 2016's Following My Intuition , will be released on January 26 2018. A press release confirms The Time Is Now features collaborations with AJ Tracey, Ella Mai, Kaytranada, Goldlink, Bastille, and JP Cooper. Today, September 15, new single "Heartline" was released. Read Next: Watch Nile Rodgers’s “Sober” music video. In addition to announcing his new album, David has also confirmed details of three new U.K. live shows shows at the O2 Academy Brixton, O2 Academy and The Warehouse Project, in November. Tickets go on sale on September 22 via www.craigdavid.com. Check out "Heartline" above and remind yourself of the watch Craig David used to wear in 2015 that inspired his new album title. Craig David’s ‘The Time Is Now’ Is Fine but Forgettable. The Time Is Now feels remarkably lightweight, in the best and the worst of senses. It is a very easy album to like, in that there's very little anger or melancholy or negativity to be found. Craig David is one of those names that in 2018 evokes an instant hit of nostalgia, despite the fact that the guy is only 36 years old. There was a moment when he was the Next Big Thing, an energetic bridge between R&B and garage, a rare (particularly for the late ’90s/early ’00s) pop star with honest-to-goodness credibility. He was a superstar in the UK, and well on his way in the USA, and then he just kind of disappeared. Well, that’s not entirely fair. David didn’t disappear so much as people moved on, as they do. We stopped paying attention. And there he was, still making music, still writing songs, still doing very much what he was doing when he was popular, except with far fewer people watching. It is this Craig David that we get in 2018, which is to say, it’s remarkable just how much he sounds like the Craig David of 2000. His voice has not taken on any of the weathering of age, he still has the exact same quick vibrato that he always did, and he even continues to spend a lot of time with the 2-step beats that made his sound so distinctive all those years ago. He found his lane so early, and he doggedly, admirably sticks to that lane despite his waning audience. This is a long way of saying: The Time Is Now feels remarkably lightweight, in the best and the worst of senses. It is a very easy album to like, in that there’s very little anger or melancholy or negativity to be found. The songs are about finding love, about living in the moment (as indicated by the title), about using our gifts to make ourselves and others feel good. As such, it is also almost painfully ephemeral, a series of songs that do not leave any lasting impact beyond the moment in which you hear them, and about which you are unlikely to think about or react in any sense beyond mild enjoyment or mild annoyance. It’s music for the background, it’s music to be heard but not necessarily listened to, music for when you’re doing something fun. Opener “Magic” drives this home very quickly. It’s an upbeat and twinkly song that’ll immediately trigger a weird nostalgia for early ’00s pop radio, complete with a loose acrostic of a chorus that would actually be horrifyingly awful if it were meant to be taken completely seriously: “M for the way you make me feel / A ’cause you always keep it real,” and so on. Truly, though, David is not doing this to write the love song to end all love songs, and as a song meant to make its listener smile for a second, well, it does the job. First single “Heartline” is similar in its vibe and its conceit, and also sports the single catchiest chorus on the album. “Love Me Like It’s Yesterday” is the most like one of David’s own old hits, a two-step marvel whose plea for old emotions could also be a thinly-veiled nod to past successes. That said, the level of banality to which David will climb to achieve the sort of fun-loving view of himself that he’s cultivating here is awfully high, as exemplified by the truly embarrassing “For the Gram”. It’s about Instagram, you see. “Don’t forget the hashtag,” David sings. It doesn’t take long to start wishing it would end, just to save this obviously well-meaning artist further embarrassment. There are some moments that leave a bit of an impact, though, but they’re not the light and fluffy moments, nor are they the embarrassing ones. They’re the moments where David teams up with other artists, absorbing their talents and letting his own good-natured croon stand alongside them rather than on top of them. Producer and critical darling KAYTRANADA shows up for one track, and the beat he puts together is the most impressive thing on the album, a cut ‘n’ paste assembly that doesn’t sound out of place on the album, but still manages to best the rest of what’s here. David does his typical thing, crooning lyrics like “Let me upgrade your day, we’re all basic Don’t carry the weight of all the problems we had yesterday,” which is fine but forgettable, and rapper GoldLink does a fine but forgettable rap to change things up, but it’s clearly KAYTRANADA’s show. The same goes for Bastille, whose guest-starring spot on “I Know You” sounds, yes, like a Bastille song, which is fine, but being memorable for making the album’s artist disappear maybe isn’t the best way to stick out on an album. The Time is Now is fine. It’s adequate. You might find some mixtape material on it. You might even find the album on your streaming service of choice, remember the name Craig David, play the new album, and say “hey, this isn’t half bad.” By the time the next day rolls around, though, you’ll forget it ever existed. Craig David seems like a decent, fun-loving human being, at least by the image he allows his music to portray. That’s not necessarily enough to make for lasting, memorable music.