C'Mon Miracle

Mirah | Format: Audio CD

Product Details

• Audio CD (May 4, 2004)
• Original Release Date: 2004
• Number of Discs: 1
• Label: K. Records
• ASIN: B0001ZMX1S
• Also Available in: Audio CD  |  Vinyl  |  MP3 Download
• Average Customer Review: 4.7 out of 5 stars  See all reviews (12 customer reviews)
• Amazon Best Sellers Rank: #163,203 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

5 of 5 people found the following review helpful:

5.0 out of 5 stars Look up!, August 1, 2005

By 

Bingo Pajama (Miami, FL; USA) - See all my reviews

This review is from: C'Mon Miracle (Audio CD)

It's sort of surprising for me to see that other people rate C'MON MIRACLE as a relatively weak effort, not because I think it isn't true, but because this is the only one of her albums that I've heard, and I think it's fantastic.

From what I understand, the music on this album was influenced by the time that she spent in Buenos Aires, Argentina; this does across in several songs (not only "The Dogs of B.A."), as the songs are generally acoustic and unaccompanied by especially prominent percussion. It's decidedly pleasant.

What's really impressive about this CD, though, is the variety and innovativeness. In "We're both so sorry," for example, two voices (at least one is Mirah's, although they could conceivably both be hers) recite the same monologue simultaneously; in "The Dogs of B.A.," an Argentinian woman talks in spanish about a storm. Both songs are among the best on the album.

Mirah's voice is impressive as well, and her lyrics are generally very good (although she waxes a little preachy on "Jerusalem").

All in all, C'MON MIRACLE is absolutely worth buying, and I absolutely look forward to listening to more of her CDs.

8 of 10 people found the following review helpful:

4.0 out of 5 stars Mirah's most cohesive album yet, June 4, 2004

By 

Craig Clarke "Living After Midnight: Hard and... (New England) - See all my reviews
(VINE VOICE)   

This review is from: C'Mon Miracle (Audio CD)

I thought it was about time that Mirah got back into the studio to do what she does best, and where she belongs. I mean, I loved Songs from the Black Mountain Music Project but the confines of a studio atmosphere really ironically allow for the fleshing out of her ideas better than their stripped down counterparts, especially when Phil Elvrum is on hand to produce.

I think something happened to our Mirah during her trip up into the Black Mountains. Perhaps it was the influence of cabin partner Ginger Brooks Takahashi, but Mirah has returned with a new outlook on songwriting. The songs on her previous albums were serious enough musings on love, sex, and friendship, but she's moved on to--while not less personal, certainly heavier subjects. There is nothing on C'mon Miracle to match the epic heights of "Cold Cold Water" (evidently a one-shot deal), but these are songs on subjects that are obviously very meaningful to her. My only concern is that they may turn off her fan base, who look to her to sing what they're thinking and feeling about their own lives, and that these songs may be too personal to reach universality.

The very mellow "Nobody Has to Stay" introduces the mood that pervades the album, with "Jerusalem" (download)--an open letter to the Holy City--only upping the tempo slightly. Heavy production first crops up on "The Light" (one senses the hand of usual producer, and Microphone, Phil Elvrum). The grinding, popping, and blipping accompany Mirah's voice nicely, and an added bonus is a jangly guitar bridge that takes this sweet song to its end.

The first of two songs recorded while Mirah was in Argentina, country-folk strumming and some restrained brushwork (from Bryce Panic) are a part of "Don't Die in Me," a definite highlight of C'mon Miracle that starts out simply but slowly builds to a crescendo of power that continues in "Look Up!" which showcases Mirah's voice to great effect. Unfortunately, her voice is the only good thing in "We're Both So Sorry," yet another breakup song that is way too weird musically and, thus, way too long.

"The Dogs of B.A." (Buenos Aires, this is the other Argentinian recording), however, is a quick, poppy, bass-driven song that is infectious and the usual recipient of a press of the Repeat button. The spoken Spanish interlude near the end only adds to the charm, even though I have no idea what is being said. (That's probably best, now that I think about it.)

There's no particular standout along the lines of "Words Cannot Describe" (from You Think It's Like This, But Really It's Like This), "Cold Cold Water" (from Advisory Committee), or "Oh! September" (one of the Songs from the Black Mountain Music Project), but despite the many musical styles evident (and the few duds present) on C'mon Miracle, it is Mirah's most cohesive recording yet. Even the lesser songs fit well in the whole scheme of the album and Mirah's songwriting just keeps getting more and more interesting. This reviewer, for one, expects that more great things are in store.

3 of 3 people found the following review helpful:

5.0 out of 5 stars c'mon and buy this album, February 11, 2005

By 

elle (Petoskey, MI) - See all my reviews

This review is from: C'Mon Miracle (Audio CD)

At first, I was wary of liking this album and buying into the quasi- cult following of Mirah, but unbeknownst to me, i pretty much had no choice. The brief couple of days I was left without this album, (a friend was burning it) was like going cold turkey from a highly addicitive drug.

i'll grant you that some of these songs are a bit bumpy, but the good ones more than make up for the lapses. The gentle strumming of 'Nobody has to Stay' sets the stage for the album, Mirah's voice is at its best when its vulnerable. 'Jerusalem' is my personal favorite, and probably the most catchy song on the album. Along with its catchiness comes actual substance, a rare delicacy with today's current mode of music.

'Light' is a bit darker and more experimental. 'Dogs of B.A.' takes the culture of Buenos Aires and puts it into song. Some of the other songs may be a bit weak; such as 'We're Both so Sorry', which makes a valiant, if not flawed use of unconventional instruments.

the album as a whole is strong. buy it. now.