Sarah Mclachlan Wintersongs

Dedicated fans of Sarah McLachlan had a lot to buy in 2008, when the Canadian songwriter issued three retrospective albums. Rarities, B-Sides & Other Stuff, Vol. 2 led the pack in April, followed by a deluxe edition of Fumbling Toward Ecstasy several months later. Closer: The Best of Sarah McLachlan brought up the rear, arriving in October and compiling McLachlan's greatest hits along with two new songs. "Don't Give Up on Us" and "U Want Me 2" are standard McLachlan tunes, mixing adult contemporary songcraft with the soothing, evergreen vocals that helped her rise to prominence.

On the verge of breaking the mainstream with 1994's Fumbling Towards Ecstasy, McLachlan released this live concert as a limited edition EP to promote her North American tour. Taken mostly from Solace, these seven songs are beautiful, ambient tracks that are not complimented by their live setting…

It’s been seven years since Sarah McLachlan released Afterglow, her last album of original material. That’s a lifetime in the pop world, perhaps, but McLachlan handles her absence well, filling Laws of Illusion with the same sort of adult contemporary fare that made her a star in the first place. The market has changed since McLachlan’s late-‘90s heyday; pop starlets like Lady Gaga and Taylor Swift are now among the industry’s most highly prized female songwriters, making McLachlan seem a bit staid and outdated by comparison. With the 2010 revival of Lilith Fair, though, she has somewhat reconstructed the world as it existed a decade ago, and Laws of Illusion furthers the fantasy by taking its cues from Clinton-era folk-pop.

During the mid-'90s, Sarah McLachlan was a near-ubiquitous presence in pop music, establishing adult alternative pop radio with 1994's Fumbling Toward Ecstasy and 1997's Surfacing and spearheading the popular Lilith Fair touring festival, but once the last Lilith wound up in 1999, she retreated from the spotlight, had a baby, and seemingly retired from music. Four years later, she made a typically subdued return with Afterglow, her first album in six years. Not much has changed in the time she was away. Afterglow is firmly within the McLachlan signature sound – a softly tuneful, mildly atmospheric blend of classic singer/songwriterism and a touch of vaguely dreamy alternative pop, all shined and immaculately produced by Pierre Marchand.

Although 1991's Solace made Sarah McLachlan a star in Canada, her international breakthrough arrived two years later with Fumbling Towards Ecstasy, a softly assured album that combined the atmospheric production of Pierre Marchand (a former apprentice – and evident disciple – of Daniel Lanois) with some of McLachlan's strongest songwriting to date. At the center of everything was her voice, an ethereal, lilting soprano that helped pave the way for Paula Cole, Lillith Fair, and a decade's worth of successful female songwriters. McLachlan utilized the crack between her chest and head voice, emphasizing the changing tones as her melodies climbed into the vocal stratosphere.

Although 1991's Solace made Sarah McLachlan a star in Canada, her international breakthrough arrived two years later with Fumbling Towards Ecstasy, a softly assured album that combined the atmospheric production of Pierre Marchand (a former apprentice – and evident disciple – of Daniel Lanois) with some of McLachlan's strongest songwriting to date. At the center of everything was her voice, an ethereal, lilting soprano that helped pave the way for Paula Cole, Lillith Fair, and a decade's worth of successful female songwriters. McLachlan utilized the crack between her chest and head voice, emphasizing the changing tones as her melodies climbed into the vocal stratosphere.

The relative intimacy of the Storytellers stage is appropriate for an artist like Sarah McLachlan, who in the course of this 10-song, 55-minute performance establishes an easy and close rapport with her audience. In truth, empires will neither rise nor fall, and few lives are likely to be changed, on account of McLachlan's music…

The Freedom Sessions is an album by Sarah McLachlan which was released on 6 December 1994 on Nettwerk in Canada and 28 March 1995 on Arista Records in the United States. The album consisted primarily of previously unreleased alternative versions and remixes of McLachlan recordings, plus a cover version of "Ol' 55" by Tom Waits. Many of the tracks were recorded during the same sessions as McLachlan's 1993 album Fumbling Towards Ecstasy. In subsequent live performances, some of these songs (most notably "Ice Cream" and "Hold On") were reworked to match the style in which they were played on this album. The album was released in two versions: a standard CD, and an enhanced CD containing CD-ROM bonus material including interviews and music videos. The album was one of the first major enhanced CD releases.