Before {#O Brother Where Art Thou?} created a roots music sensation, {$Alison Krauss} brought her popular style of {\bluegrass} to a wider audience. {&"Baby, Now That I've Found You,"} first released on a 1995 compilation ({^Now That I've Found You: A Collection}), combines elements of {\traditional} and {\contemporary bluegrass} to create a striking hybrid. {$Krauss} wraps her poignant vocal around {$John MacLeod} and {$Tony Macaulay}'s gorgeous melody as she relates the heartbreaking tale of love gone wrong. Acoustic guitars, mandolin, bass, and (surprisingly) congas provide a rhythmic backdrop, while guitarist {$Ron Block} and fiddler {$Krauss} offer tasteful lead work. As the song proceeds, {$Krauss} is joined by {$Block} and {$Dan Tyminski} on harmony, filling out the choruses while also increasing the emotional intensity of the lyrics. Interestingly, the sum total of these arrangements achieves a sound that imitates {\pop} but uses acoustic instruments. {$Krauss} brings many of these same elements to bear on {&"Teardrops Will Kiss the Morning Dew."} Once again, her distinct vocal style, filled with trills and soft sighs, seems ideal for a song about love lost. The new element here is {$Jerry Douglas}' dobro, which offers an affecting counterpart, adeptly underlining the vocal. For anyone curious about {$Krauss} and just how good she is, {&"Baby, Now That I Found You"} is a reasonable and exquisite introduction. ~ Ronnie D. Lankford Jr., All Music Guide