Aaron Burr, Sir Song Lyrics

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✨THE COVER IS NOT THE BOOK!! ✨. First of all, let’s give a round of applause to Lin Manuel-Miranda! C’mon this dude is the bomb. I swear I listen to him everyday. I mean he IS ALEXANDER HAMILTON and he wrote Alexander Hamilton, My Shot and more. He also wrote Moana. He was also Jack in Mary Poppins Returns. I mean how can you NOT love him. Second,SHOUTOUT TO DAVEED DIGS! He is a close second as my fave in Hamilton (after Lin Manuel-Miranda) Mr. Digs is Lafayet and Thomas Jefferson. He is also gonna be Sebastion in the new live action The Little Mermaid. Hes great. Did I mention he was in Ferdinand? Thrid, BRO its Disney if you haven’t already download the dang album!!! There should be no hesitation. If you haven’t seen the movie its even better just watch it with the big kids (Violence & Language)💫⭐️✨🌟Sorry I know this is long so thx for reading and belive me it is worth $20.00.🌟✨⭐️💫

Fg. Gfgggt

Helpless~. meh favorite musical

Great job on the music for Hamilton!!. You made a good play on broadway as well.

Amazing. An absolute masterpiece brings me to tears every time I listen to it. It has so much emotion and action. Though it is not completely historically accurate, it still brings interest to young listeners and will encourage them to learn more about Hamilton himself and his story.

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WOW. Can't take it off repeat, now know all the lyrics! Wish I lived in the US so I could see this masterpiece live 😍

Hamilton - 10/10!!. Hamilton is not only a great sounding musical, it is also great for educational purposes as well. Now I can familiarise myself with history on the American Revolution and how it affected both the British and Americans!!! Would recommend it again. 10/10

Astonishing at every moment. Hamilton will grab your attention at the first song and hold you with its rhythms and melodies and phrases until the final note. I am blown away each time I hear it. Recommended without hesitation.

This is the best. Good music

A sweeping epic of incredible ambition. Listening to Hamilton for the first time rings all the same bells that gens X and Y will remember from the OBC of Rent. Though Rent has since gone on to age badly and has proven itself far less influential than first expected, Hamilton, now, feels like a definitive landmark and a shift in ambition for what a Broadway musical can be. Gloriously orchestrated, Hamilton meticulously fuses hip hop and rnb with music theatre and reveals that together these genres possess a skilful and haunting narrative edge. Combine this with the incendiary performances of Lin Manuel Miranda, Phillipa Soo, Leslie Odom Jnr and Jonathan Groff and you have a cast recording that quite simply ignites. Odom Jnr's performance as Aaron Burr is nothing short of revelatory - career defining, he's a dead cert for the 2016 Tony Awards. Groff expunges his irritating persona from Glee with a comic turn as George III of England that comes dangerously close to stealing the show. As the title character, writer/composer LMM's energy and passion are absolutely infectious. His performance is a warts and all representation of the American founding father that fits neatly into the ensemble even as it wars with Odom Jnr's Burr to overwhelm it. It's an electrifying dynamic that - if this recording is anything to go by - must be quite simply gargantuan on stage. The power of LMM as a lyricist is on full display here - overwhelming his two previous efforts. The spontaneity of the hip hop score brings an awesome power to the events on display of which their author is well aware. There are moments of shattering realism, incredible emotion, hilarity and violence - and all within a narrative that moves at breakneck pace. It's a spectacle on par with West Side Story that still retains the intellectual clarity of 1776 and the intimacy of Sunday in the Park with George. If Hamilton can be cited as having any obvious flaws, it's second Act is interminable. Following the two cabinet battles and the election of the Adams administration, the book hits a decided slump. LMM submits to biographical completism and the show slams on the breaks till the Hamilton-Burr duel in a way that has not translated well to the record. By the final curtain you can't help but be exhausted - but then half a century of unending American patriotism can have that effect on the most eager listener. Despite the underdog at the core of the story, and lyrics such as "immigrants - we get the job done," Hamilton is still over two hours of red, white and blue Americana. It does the show and its performers enormous credit that this retains its personal edge and fails at any point to become patronising. It says a great deal about the US today, and US politics, that a story of an 18th century political leader feels more suited to this modern (almost futuristic) score than any figure to have held high office in almost a century. The true genius of Hamilton is its call to action intensity of an America that inspired great deeds and found its heroes in the most unlikely places. Hamilton is a musical for the history books and its original Broadway cast recording already has a mythic quality to it. This is a show of which we are certain to hear a great deal more for a very long time.