101 Strings Orchestra

ABBA Anyone looking for the key to ABBA's enduring appeal should look no further than "Voulez Vous" and "Gimme! Gimme! Gimme! (A Man After Midnight)" for their answer. There was an innocence to the Swedish quartet, even when they were singing about one-night stands and the invitations to them. Goldestablishes that the band, while appreciated as campy, were actually multifaceted in their execution. "S.O.S." has a raw urgency in its chorus, and "Does Your Mother Know" draws its energy from classic 1950s rock & roll. Likewise, you don't have to be Priscilla to swoon over "Mamma Mia" or "Dancing Queen". And when it comes to drama, those soaring vocals on "The Winner Takes It All" turn the song into a bitter anthem of every relationship that has ever fallen apart. The much-covered "Lay All Your Love on Me" is practically epic. —Steve Gdula

ABBA

Adiemus

After The Fire

After the Fire

Altanta Symphony Orchestra & L

Bonnie Low

Bonnie Low Copyright © 1999 Free Flight Music

PO Box 66050

Beach Haven

Aukland

New Zealand  martinneiluk@hotmail.com

Busted Conceivably, laddish London-based pop pin-ups Busted (or Charlie, James and Mattie as our daughters-with-attitude would have it) are what evil, plan-hatching marketing men ought to have in mind if they decided the music world needed to be taken over by a milk-toothed, mind-yer-"p"s-and-"q"s version of Blink 182. However, worrisome mums (or should that be "moms"—after all, car boots are "trunks", arses are "asses" and boyfriends get "dissed" not chucked in Busted's transatlantic teen-world) will find the lack of lyrical references to farting and fornication somewhat moralistically reassuring, although the peeping Tom confessions of hit single "What I Go to School For" and sexual fantasies about Britney ("I'll make you feel good inside") suggest that Busted's under-the-mattress porno stashes have yet to be dispensed with. Looking beyond the half-baked bad-boy image and linguistic schizophrenia, what you have here is three young guys with talent, tunes (they write their own, y'know), a decidedly English cheekiness, angry (well, perhaps slightly more cross than usual) guitars and—when they get it right—a hilariously understated way of conveying the calamity of a teenage social life ("I asked you to dance at the disco ... but you said no"). If only they could ditch the soppy ballad stuff and be done with it. —Kevin Maidment

Cambridge Singers

Camel

Carpenters

Cecilia Bartoli, Bryn Terfel; Myung-Whun Chung: Roma Orchestra Dell'Academia Nazionale De Santa Cecilia

Celtic Expressions

Celtic Expressions of Worship: Be Thou My Vision

claire hamilton

Coldplay

Daniel Bedingfield For many bedroom producers, Daniel Bedingfield's debut, Gotta Get Thru Thismust seem like a dream come true. A songwriter, home-producer and vocalist whose laptop hit, the title track of this album, got released by Ministry of Sound to become one of 2001's biggest hits. Bedingfield's style could be described as Prince covering a Michael Jackson song whilst dabbling in UK Garage. "James Dean (I Wanna Know)" is a poppy piece of eighties soul-funk in the vein of Cameo but with a distinctive, fresh edge that sets it apart from countless other 80s' revivalists hanging around the charts. We see a softer side of Bedingfield on "If You're Not the One", a ballad which could easily be dismissed as generic album-filling slush but with a few listens the well-crafted song writing shines though and shows Michael Jackson how his Invinciblealbum should have sounded. One tiny gripe about the album is the re-recorded version of "Gotta Get Thru This", while sounding far more polished and professional than before, it lacks the infectious raw groove of the original. Aside from that one small thing, the album is a positive look at how pop music should be made with a strong emphasis on the artist's music and ability rather than image. —David Trueman

Daniel Bedingfield Daniel Bedingfield’s highly anticipated follow-up to the massively successful ‘Gotta Get Thru This’, further showcases his talent to create some of the most enduring pop moments around. Produced by Jack Joseph Puig it consolidates his position as one of Britain’s most diverse and talented young singer-songwriters. UK pressing includes two bonus tracks, 'Draw You' (Demo) &'A Kiss Without Commitment'. Polydor. 2004.

Dave Bainbridge David Fitzgerald David Adam

Delirious World Servicesuggests once again that Delirious's studio releases are getting to be like Star Trekmovies: every other release is the good one. While Mezzamorphisand Touchhad their bright moments, it was the subsequent releases of Gloand World Servicethat truly testify to the musical and songwriting brilliance of these faith-based Brit rockers. Lead man Martin Smith, well known within Christian music circles for his songwriting prowess (on songs such as "I Can Sing of Your Love Forever"), combines with guitarist Stu Garrard for 12 tracks filled with melody, catchy hooks, and enough crunch to satisfy anyone's cutting-edge tastes. The irresistible chorus lines in "Rain Down", "Majesty", and "Everyone Knows" show that the Smith-Garrard tandem knows a good pop song. But the more subtle and substantial element in World Serviceis the clear comfort the band has with each other. Drummer Stew Smith and bassist Jon Thatcher lay down rock-steady rhythms throughout while keyboardist Tim Jupp adds just enough spice to make it interesting. "Inside Outside" is a great example of this with plenty of space between each musician's moments. Delirious is clearly more confident and mature in their craft. Music fans in the Christian world and beyond will be all the better for it. —Michael Lyttle, Amazon.com

Delta Goodrem Desperate not to be viewed as yet another prettily packaged product straight off the Erinsborough pop production line, Delta Goodrem's debut Innocent Eyesis a somewhat serious affair for a Neighboursstar. Keen to let the world know she's no Nina Tucker, Delta's PR team likes to emphasise how she signed to Sony Australia two years before joining the soap and how she cowrote the majority of the tracks on the album. This push for authenticity results in a top-heavy and repetitive array of piano and orchestral tracks on the album. Only after multiple plays does the brilliance and complexity of some of the tracks become apparent. However her dazzling voice does shine through right from the start.

The best tracks are the concise coproductions with Gary Barlow and Eliot Kennedy, otherwise known as Northern Star ("Butterfly", and "My Big Mistake"). The team also link up with songwriting legend Cathy Dennis for the rocky "Throw It Away". The autobiographical title track "Innocent Eyes" sounds like early Tori Amos and judging by Delta's sultry country-girl image, the reference isn't just to the "Cornflake Girl's" music. There are also hints of the influence of a couple of Irish pop favourites—the Cranberries on "Predictable", as well as the Corrs ("Running Away"). —John Galilee

Delta Goodrem Delta Goodrem, Australian uber-babe and Kylie-esque actress-come-pop starlet has overcome ill health and produced, in Out of the Bluea broader, more mature second album. Like her debut, it consists of piano-driven pop numbers and her own tanned, spindly fingers dancing playfully up the octaves. The songs are aided by an entire legion of pop's finest scribes – Cathy Dennis (Kylie), Guy Chambers (Robbie) and even Gary Barlow (err, Take That) on "A Little Too Late."

The results are solid, if surprisingly unremarkable for the talent at work. Hooklines and melodies are mostly present and correct – particularly in standout "Mistaken Identity", which sees Delta echoing both Alanis Morissette and the ghostly spectre of Kate Bush (a frightening, if enjoyable, combination) and the jolly "Sanctuary.""The Analyst" is lyrically dense and "Almost Here", her duet with Brian McFadden is revealing. "Be Strong" and the stripped "Fragile" touch the surface of personal struggle adding to the redemptive feel of the album as a whole. —Ben Johncock

Delta Goodrem

Dire Straits

Elgar

ELO "Why do people need a Beatles reunion", Paul McCartney once wondered aloud, "when they've already got ELO?" It was a fair question: Jeff Lynne's obsessive enthusiasm for the Sgt. Pepper's-era Fab Four saw him appropriate entire harmonic and melodic structures from his heroes—carefully substituting sawing cello lines for guitar riffs and sweetening already-friendly chords with syrupy layers of strings. The double-album Out Of The Bluewas released the same year Britain was galvanised by punk—though you'd never know it. One could argue that Lynne simply wasn't aware of the tectonic shifts going on around him, such was his desire to craft his band's most definitive musical statement, including a four-part "Concerto for a Rainy Day"—precisely the kind of thing the Clash and the Sex Pistols wanted to abolish. Boasting a string of catchy, instantly memorable pop tunes, very much in the traditional ELO mould ("Turn To Stone", "Mr. Blue Sky"), it also saw, in "Sweet Talkin' Woman", a discreet acknowledgement of (gasp!) disco. How very modern. —Andrew McGuire

Elton John Even those who customarily dismiss Elton John as a somewhat bland and sentimental balladeer would find much to admire in Goodbye Yellow Brick Road, the best album he has ever made. The track listing reads like an early Greatest Hits collection; it contains not only the original version of "Candle In The Wind" but such raucous and gleeful songs as "Bennie And The Jets", "Saturday Night's Alright For Fighting" and "Your Sister Can't Twist (But She Can Rock 'n' Roll)". From the impassioned opening medley of "Funeral For A Friend/Love Lies Bleeding" to the gentle closer, "Harmony", there are few duff moments among these 17 tracks. "All The Young Girls Love Alice" is a savage but wry tale of lesbian exploitation, and the title song is just short of lovely. Goodbye Yellow Brick Roadis both a joy for fans and a genuine surprise for the uninitiated. —David Bennun

Enya New Age diva Enya first became widely known when her 1988 album Watermarksold 4 million copies and launched the single "Orinoco Flow". Her follow-up, Shepherd Moons, was even more successful, selling over 10 million copies despite its slightly lower grade of ethereal enchantment. In 1997 she released Paint the Sky with Stars, an assortment of her best work from these two early albums plus gems from 1995's The Memory of Treesand the soundtrack to the BBC series The Celts. The most melodic and atmospheric examples of Enya's lovely Celtic-flavoured songwriting shine on this disc. Those unfamiliar with the former Clannad member will find charm in such sweet lullabies as "Marble Halls" and "China Roses" while delighting in the more energetic "Book of Days", "Storms in Africa" and "Caribbean Blue". Overall, an outstanding collection from an artist who gives New Age a good name. —Karen Karleski

Eric Clapton If this is your first exposure to Eric Clapton, a bit of bewilderment would be in order. This is the legendary guitar icon. This is (as his early apostles once proclaimed) God. Ranging from the mid-80s through to the late 90s, The Clapton Chroniclesowes less to the groundbreaking blues-rock of Clapton's 60s and 70s classics than to the polished-to-a-glare pop of Phil Collins, who produced one of the tracks included in this 14-song anthology. His reinterpretation of his greatest recording—the once-gripping, now-placid "Layla"—perhaps best illustrates Clapton at middle-age: Who wants to bask in his darkest period? Not Clapton, who converts his surging, purging charge into a soothing stroll. And perhaps not fans of such docile MOR fare as "My Father's Eyes", "Tears in Heaven" and the two new tracks, "Blue Eyes Blue" and "Get Lost". —Steven Stolder

Eva Cassidy

Fame Story Band

Gavin Bryars This late minimalist, 74-minute piece for orchestra and tape has had, and continues to have, a near-legendary effect on its audience. It's the rare work created specifically to tug gently at one's heartstrings that actually does, and not subtly, either. It starts with a found recording of a homeless man singing a halting, simple melody looped over and over. Then Bryars builds and buttresses this with a full orchestra brought in incrementally, from the first carefully placed short pendulum string sweep to, 10 minutes from the end, the gravelly-voiced singer Tom Waits joins in. It's an obvious but effective work—appealing to all the basics of our emotional nervous system, but still tragically beautiful. —Robin Edgerton

Gheorghe Zamfir

Hayley Westenra

Hildegard von Bingen Catherine King Emily Van Evera Sister Germaine Fritz Richard Souther "Vision—The Music of Hildegard von Bingen"? Make that "Hildegard—the Dance Remix." (Yes, it has been used on the dance floor of at least one New York City nightclub.) What else can you call it when Richard Souther takes the stark, ecstatic plainchant of the 12th-century abbess and adds heavily produced electronic trance-and-dance tracks? Souther's additions aren't bad in themselves—they are a bit New Age-y, yet danceable in a druggy 3:00-a.m. kind of way—but slather them over Hildegard's spare, intense chant melodies and the effect is perverse, if not just silly. Don't blame poor Emily van Evera—she is a fine interpreter of Hildegard, and EMI simply asked her to record some unaccompanied solo tracks of the abbess's music and send in the tapes; she had no idea what was going to be done with them until this disc came out with her name on it. This shows up in the final product: the gently fluid pulse van Evera applied to Hildegard's music (which would make perfect sense in the a cappellaperformance she thought she was giving) feels completely disconnected from the rigid rhythms inherent in Souther's electronic accompaniment. Now, there are a number of customer reviews, below, from listeners who like this title a great deal—have a look at them, check out the sound clips, and by all means get this title if you're interested. But, if you're curious about Hildegard, go to the recording that made her famous eight centuries after her death: A Feather on the Breath of God. —Matthew Westphal

hirini melbourne & richard nunns with aroha yates-smith http://www.rattle.co.nz/rel_dv010.htm 

Te Hekenga-ä-rangi celebrates the life and work of Hirini Melbourne, who with long-time musical partner Richard Nunns recorded this album just before Hirini’s death earlier this year. This CD/DVD package has new instruments, new techniques, and the introduction of the female voice, plus, importantly, unique video featuring performance, interviews, and demonstrations of the instruments.

Ko Te Hekenga-ä-rangi he iwi nö ngä rangi tühähä, nö ngä motu nei hoki, ä, ko ia tënei ko te ingoa nei; ki te rangona ngä reo nei, änö e hau mai ana ite takiwä, arä, he reo wairua, he reo atua tonu ia. E whäriki ake nei ngä korero mö ëtahi o ngä atua wähine e whakatinanatia ana i roto i te köhatu, i te pütätara, otirä i te taiao whänui tonu, tae noa hoki ki ngä pitopito körero mö Täne i tana kakenga ake ki ngä rangi tühähä me tana hekenga iho anö ki a Papatüänuku.

2003 RAT-DV010

 

Te Hekenga-ä-rangi were an ancient people, said to have originated in the heavens and then to have occupied this land, Aotearoa. The name encapsulates the sense of voices or sounds being relayed from the spiritual realm, from the very gods themselves. Embodied in stones, shells and nature itself are female deities whose stories are woven into this journey of song. Strands of this recital encompass Täne’s ascent to the heavens and his eventual return to Papatüänuku.

The work of Melbourne and Nunns sounds like nothing else. Some of it is so small, so delicate you could break it just by turning up the volume. Some of it, so large it hardly fits in the house.
A hybrid of masterful playing techniques is deployed on re-discovered, re-invented instruments...

James Littlewood PUBLIC ADDRESS

Iona

Iona

Isao Tomita

It Bites

It Bites

It Bites

It Bites

Jamie Cullum Twentysomethingis a stunning second album. After rising to prominence with his debut album Pointless Nostalgic, Jamie Cullum signed to Verve in spectacular fashion with a million pound deal. If there was any pressure involved, Cullum certainly doesn't let it show on his first album for the label. Where Pointless Nostagicwas recorded with a student loan, the follow-up was made on analogue tape at London's Mayfair studios (where Radiohead and Oasis had recently recorded) and was produced by Stewart Levine (Simply Red, BB King, Masters at Work, George Benson). Like its predecessor, it finds Cullum lending his warm, distinctive voice to jazz standards and popular classics such as "What a Difference a Day Made", "Singing in the Rain" and "I Get a Kick Out of You". There are renditions of more contemporary songs too, most notably Jeff Buckley's "Lover, You Should Have Come Over" and Jimi Hendrix's "Wind Cries Mary", and Jamie's own material (written with his brother Ben), including the gently rolling "All at Sea" and the Van Morrison-esque title track. Difficult to know whether anyone is worth a million pounds, but Twentysomethingcertainly sounds like a million bucks and re-establishes Cullum as indubitably the coolest crooner on the block. —Paul Sullivan

Jean Michel Jarre

Jean Michel Jarre Jean Michel Jarre, son of film composer Maurice Jarre, is one of the true pioneers of electronic music. Oxygeneis one of the original e-music albums. It has withstood the test of time and the evolution of digital electronica. Jarre's compositional style and his rhythmic instincts were his strong points in 1976. While his popularity has escalated exponentially over the years, he never quite achieved the quality of this amazing recording. The innocence and freshness provide most of its charm. Jarre's techniques and ability provide the rest. This epic CD will appeal to fans of Tonto's Expanding HeadBand, Tangerine Dream, Synergy, Kraftwerk, and Klaus Schulze. —Jim Brenholts, All Music Guide

John Rutter The John Rutter Collectionbrings together 22 pieces by one of the most popular choral composers of our time, compiled from several discs already released on the Collegium Label. All performed by The Cambridge Singers, the choir which Rutter founded back in 1981, the tracks range from the joyous "Shepherd's pipe carol" of 1966 to the 1995 setting of Philip Sidney's poem "My true love hath my hear" from Birthday Madrigals.

The disc opens with one of Rutter's best-known works, the timeless "For the beauty of the earth" and also includes his settings of Psalm 23 and "All things bright and beautiful"—popular with choirs and audiences alike—as well as two movements each from his Magnificat and Requiem. Most tracks are accompanied by the City of London Orchestra, breathing new life into works which are normally heard with piano accompaniment.

In his sleeve note, Rutter reminds us that he stood next to John Tavener in school choir; how extraordinary that these two boys would go on to have the international success that they have. And while Rutter will always have his detractors, one cannot help but admire the sense of joy and wonder encapsulated in each small but perfectly formed musical gem. —Rebecca Agnew

John Rutter & Cambridge Singers & City of London Sinfonia

John Rutter & Cambridge Singers & City of London Sinfonia - solo: Caroline Ashton

John Rutter & Cambridge Singers & City of London Sinfonia - solo: Patricia Forbes

John Rutter & Cambridge Singers & City of London Sinfonia solo cello: Stephen Orton

Jon and Vangelis

Joss Stone Stone's debut delved back into the deep Southern roots of the 1970s, but now Mind, Body & Soulis dedicated to original material. Joss features as co-writer on nearly all of its songs, with veteran singer Betty Wright still retaining a strong influence as co-producer and vocal coach. Stone's old-style grittiness remains intact, but there are moves to surround her emotive voice with a modernised R&B setting. Stone's highly respected team includes keyboardists Benny Lattimore and Timmy Thomas, and drummers Cindy Blackman and ?uestlove (from The Roots). Joss has also collaborated with Lamont Dozier and Portishead's Beth Gibbons. The opening "Right To Be Wrong" lays down the gauntlet of independence, riddled with pricking guitar fills, surging organ and subtle horn swells. The banal "Jet Lag" and "Understand" are her least inspiring efforts, the latter featuring some of the album's worst lines ("I keep our song on repeat/On my iPod, even when I sleep/And in my dream I'm holding you/Alone on an island, just we two"). Stone's lyrics are trite throughout, but they're merely a vehicle for her intense vocal expression. Several tunes are spoiled by clumping drum programs, but even within this context, Stone's voice rises higher. The album's first single, "You Had Me", could be coming straight from Destiny's Child. The compulsive reggae lope of "Less Is More" would be a wiser choice. "Security" might be an MOR ballad, but even this ascends towards its conclusion—Stone backed up by an incendiary guitar solo. Her voice is always mixed suitably high, and ultimately it's Stone's sheer vocal prowess that makes this album succeed. —Martin Longley

Justin Martin

Kathryn Tickell And Friends

Kevin Mayhew

Kiri Te Kanawa Opera fans are bound to be disappointed, but almost everyone else will find something to like in this easy-listening, simple, direct, sometimes tuneful and treacly, sometimes rhythmically strong music, performed here by Dame Kiri Te Kanawa and an assortment of other singers and players. Dame Kiri is part Maori, and this music returns her to her roots: Lovely melodies abound, some interesting accompaniments are to be found, and a glimpse into a world we rarely get to see is most welcome. But classical music aficionados will walk away a bit hungry—this is world music, this is folk music, but this is not operatic in any way. Te Kanawa uses an easy-flowing, "pop" sound and is closely miked; at times it barely sounds like her at all. But for what it is, it certainly pleases, and fans of this soprano will be interested in hearing this side of her. There's enjoyable music here, but those allergic to sentiment be warned—some of this music makes "Feelings" seem cynical. —Robert Levine

Koomurri http://www.koomurri.com/ 

Australias Number one selling didgeridoo album, contemporary upbeat rhythms and beats, mixed in some blues, wild bird calls, and anything that beats and squeeks in the bush, didgeridoo and Aboriginal chants make up this brilliant number 1 selling album.

LeAnn Rimes

Libera Fans of Karl Jenkins'Adiemusalbums or of Enya's mix of voice and synth sounds will find much to admire in this recording. On Libera, a boys-voice choir achieves ambient ethereal effects by judicious close-microphone work and liberal use of distant-sounding reverb programmes. The music is all by the choir's director, Robert Prizeman, whose church-music background has served him well—the close-harmonisations are rather graceful and are ably performed by the boys, even in the high ranges in which they are often required to float. The only two pieces not by Prizeman are arrangements of the famous canons by Pachelbel and Tallis, which he cunningly works into two of the tracks. The vocal writing is supported by a modestly trippy synth background and a light beat. The words are taken from traditional devotional texts (Beata Lux, Dies Irae, Agnus Dei, and so on) but the overall effect is less religious than chilled. —Warwick Thompson

Libera Luminosais the follow-up to London boys' vocal group Libera's popular 1999 eponymous debut. That album made the pop charts and found the group—they prefer to be called a realboy band rather than a choir—on television with Lesley Garrett. Of the 12 new tracks, half are arrangements of familiar classical melodies. Saint-Saëns'Carnival of the Animalsis represented by a mysterious reinterpretation of "Aquarium", rather than "The Swan" suggested by the cover. Of the remaining pieces one is an arrangement of the traditional "Gaudete", and five are new compositions by Libera's director, Robert Prizeman. His "Silencium", a setting of Walter de la Mare's "All That's Past", has the haunting calm of Enya, while "Sabat" carries the boys' voices to the top of their range to ghostly effect. Drawing on the entire classical tradition, from the plainsong of "Veni Sancte" to a decidedly incongruous remake of Beethoven's Symphony No.7, Prizeman weaves a New Age tapestry from beautiful young voices and polished production techniques. Classical purists will be aghast at Handel and Debussy sharing space with digital sound sculpting, which leaves Luminosafree to find a home as easily accessible, superior background music. —Gary S Dalkin

Libera Boys Choir

Libera Boys Choir - slol: Liam O'Kane

Libera Boys Choir - solo: Adam Harris

Libera Boys Choir - solo: Alex Baron

Libera Boys Choir - solo: Liam O'Kane

Libera Boys Choir - solo: Steven Geraghty

Lighthouse Family

Ludovico Einaudi

Luke Kaa-Morgan et al "Vibrant sounds of multi-cultural worship"

M People

Macy Gray Macy Gray's debut is the kind of album that lends itself to comparisons: Bill Withers (he of "Lovely Day" fame), for the rapturous, laid-back funk vibe; Lauryn Hill, as a fellow nouveau-soul-diva who's not willing to let something as silly as genre-lines let her stop from appropriating a great sound; Liz Phair, from her Exile in Guyvilledays, for the stark, honest, everyday take on relationship politics; Lenny Kravitz, for pure iconoclastic self-confidence; and, yes, Billie Holiday for the sheer sound of her voice (youngish, raw, slightly otherworldly, but strangely powerful). One album into her career, it's unfair to ask Lady Gray to live up to most of the above—no matter what the diva in question might have to say about it—so accept On How Life Ison its own terms. Eminently danceable and groovy without a single clunker and though some songs ("Why Didn't You Call Me", "I've Committed Murder" and "Do Something", on which Gray sings "..and I'm the latest craze") are more equal than others, the album is well worth its share of hype. —Randy Silver

Madness Although Our Houseis yet another hits-milking compilation from a band who've become as cherishable a British institution as the doorstep pint, this one is a little different. In a manner of speaking, the very best (and often most memorable) Madness songs were always those jovially slapstick, micro soap-operettas about school larks, embarrassing teenage condom procurement scenarios and buying your first set of (wholly unreliable) wheels. Even their "darker" themed thoughts on depression ("Grey Day"), stress-induced heart attacks ("Cardiac Arrest") and—how old fashioned it seems now—pregnancy out of wedlock ("Embarrasment") were filmic vignettes waiting for theatrical props to happen (whilst also suggesting that Madness contained many a frustrated social worker and GP within their ranks). Lo and behold, a Madness-based stage musical: Our House(a London love story in which a boy meets...oh, don't let us spoil it for you), featuring 19 of the old hits (all here, these are not re-workings bar a spruced up remix of "It Must Be Love") plus a pair of adequate new songs "Simple Equation" and "Sarah's Song", two purposely composed numbers which ought to provide the impetus for the avid Madness collector (always wears a pork pie hat in bed, owns a dog called "Suggs") to shell out the readies yet again. However, if it's strictly all the hits you're after, then, as it were, "don't touch that, touch this", 1998's Heavy Heavy Hitshas them all (except 1999's comeback "Lovestruck") and is probably a better bricks-and-mortar investment than Our House. —Kevin Maidment

Mae

Matt Redman

Matt Redman

Monks/Choirboys Downside Abbey

Mr. Mister

Mr. Mister

Natalie Cole

Natasha Bedingfield If Natasha Bedingfield's first two singles, feisty R&B anthem "Single" and chart-topper "These Words", suggested she's more than just Daniel's little sister, her debut album, Unwritten, is the confirmation. Better still, it proves she's a genuine pop star in the making with a staggering tally of potential hits. Aided and abetted by some of music's biggest hit makers, including Robbie Williams's former writing partner Guy Chambers, she reveals the true size of her ambition and potential, squaring up to every female chart icon going. The party hard electro-rock of "I'm A Bomb", the irrepressible optimism of the title track's chorus and "Drop Me In The Middle"'s slinky R&B strut, respectively have her taking on Pink, Nelly Furtado and Beyoncé and showing that she's a worthy contender. Add the slamming Gwen Stefani attitude of "If You're Gonna" with its boybaiting hook of "I'm looking for a guard dog not buying a Chihuahua" and the image of an independent, smart talking bombshell who's no one's pushover is complete. And Unwrittenis her flawless statement of intent. —Dan Gennoe

Neil Diamond Though now known mainly for his middle-of-the-road balladry, Neil Diamond started his career in the '60s as a Tin Pan Alley pro who turned out a string of ballsy, folk-rock-styled classic Top 40 singles that may come as a surprise to anyone who's grown up with the image of Diamond as a sensitive crooner and Vegas showman. This 2 CD set contains all of his hits, but it isn't quite the definitive package that its title suggests. His early Bang singles ("Cherry, Cherry,""Kentucky Woman,""Solitary Man") and his later Columbia material ("You Don't Bring Me Flowers,""America,""Heartlight") appear in their original versions. But his mid-period MCA/UNI hits ("Sweet Caroline,""Song Sung Blue,""I Am ... I Said") are represented by live re-recordings from 1989 and 1992. —Scott Schinder

New Sound

Norah Jones

Norah Jones

Oceania: Hinewehi Mohi, Jaz Coleman, and Hirini Melbourne Cross-cultural musical fusion is a decidedly mixed blessing: for every genuinely original and groundbreaking album there are a dozen frankly dull attempts at blending "ethnic" instruments and Western dance beats. Fortunately, Oceania is one of the blessed few, for here is an album that really does produce something new. If your exposure to Maori music is limited to watching the All Blacks' pre-match warm-up, then you're going to be pleasantly surprised. Collaborating with producer Jaz Coleman, Maori poetess and singer Hinewehi Mohi updates traditional songs and chants by applying modern production techniques that don't water down the raw, native energy of the originals too much. Partly this is achieved by keeping the native instruments—drums, trumpets, flutes and, of course, ocarinas—high in the mix, but mostly it works because Hinewehi's bewitching vocals tap into an ancient tradition of singing that elevates the material into a higher realm than mere slick production ever could. Purists will of course discount any album that wears its middle-of-the-road credentials so openly, but whether you think Oceania is New Zealand's answer to Enya or something more substantial, the combination of beats from two diametrically opposed hemispheres makes for a musically intriguing journey. —Mark Walker

Oceania: Hinewehi Mohi, Jaz Coleman, and Hirini Melbourne Oceania is led by Hinewehi Mohi in collaboration with friend and musician Jaz Coleman (Killing Joke). Oceania and now Oceania 2 are hauntingly beautiful albums, all the lyrics compiled by Hinewehi Mohi from traditional poetry of her ancestors.

The first album went platinum in New Zealand, and her music and performances have won critical acclaim throughout New Zealand, the Pacific, Asia, Europe, Latin America and the USA. If I can inspire just one person to do something more with their life through my music then I will die a happy person.

Hinewehi is inspired by her daughter, Hineraukatauri, born with cerebal palsy nearly 5 years ago. It is a celebration of her vitality and tenacity for life. She has given us a new perspective on our lives, and inspires passion and courage in all we do, including the struggle for the retention of te reo and tikanga Maori (Maori language and culture). http://maorimusic.com

The long-awaited follow-up to 1999’s stellar self-titled album sees Oceania - vocalist Hinewehi Mohi, Killing Joke alumnus Jaz Coleman, and an assortment of other players - staying on course, mixing native Maori instrumentation and poetry with modern musical styles. And if the fact that I can’t seem to stop listening to it is any reliable indicator, this second album is even more compelling than the first.

Oceania II features wistful, emotional numbers such as Hawaiki, Niniwa and Kurupana, and hypnotically ethereal club tunes such as Rongo and Tauararai (the latter two of which are possibly my two favorite songs on the whole album). There’s a rather experimental number, Akonga, in which Hinewehi Mohi trades off verses with a recording of her great uncle which dates back over 30 years. Some of the shorter tracks are instrumental interludes with more traditional instruments; many of the full-length songs, however, have a decidedly modern feel to them.

As mentioned before, Tauararai and Rongo are highlights of the album, along with the soaring coda “Mana”. Unlike the first album, there’s no booklet of helpful Maori-to-English translations; you’re on your own in interpreting the lyrics. If you don’t speak a word of Maori, you’re still in for a treat - you can focus fully on the gorgeous vocals and the relaxing feel of the whole thing. Very, very highly recommended. 

http://www.thelogbook.com/music/oceania-oceania-ii/

Original Soundtrack

Original Soundtrack It may now be hard to believe but there once was a time when Neil Diamond was considered not only big enough to open a movie but to get Sir Laurence Olivier to co-star in said movie. While the movie itself was less than a rousing success, the soundtrack was a smash—though, contrary to the title, it does not find the Elvis of soft-rock taking up jazz. Playing the part of a young Jewish cantor who follows his heart to play, well, a Neil Diamond-esque blend of R&B and rock, Diamond finds excuses to throw in some soulful singles ("Love on the Rocks" and "Hello Again"), a fluffy, uptempo slice of Stephen Foster-Americana ("On the Robert E Lee") and a topical song ("America"); padding out the soundtrack are the film-specific Jewish hymns "Adon Olam" and "Kol Nidre". Eternally consigned to a limbo between being remembered for his better moments (Live at the Greek, writing some of the Monkees' biggest hits) and for the tawdry ones ("Turn on Your Heartlight", inspired by E.T.), The Jazz Singerremains one of Diamond's best albums. —Randy Silver

Parachute Band

Parachute Band

Percussion Club

Police

The Police

President John F. Kennedy, Martin Luther King Jr.

Quivver

Rainer Harter

Richard Souther

Rick Wakeman What is the exact connection with Henry VIII and his wives? Hard to say. Why does the track dedicated to Anne of Cleves resemble the Hollies'"Bus Stop?" Who knows. It sounds to me like Italian horror film soundtrack music. Here is Wakeman's solo debut in 1972 in all its glory: state-of-the-art keyboard technology running free in the dandelion-strewn meadow of the classical-rock pastiche. Did Wakeman directly or indirectly influence Spinal Tap's Viv Savage—listen and decide. Next stops: Journey to the Center of the Earthand The Myths and Legends of King Arthur. —David Wolf

Robbie Williams When Life Thru A Lenscame out, Robbie Williams was a swiftly-failing music industry joke——"Blobbie Pill-iams", the ballooning drug-freak, drunk and bleary-eyed at far too many parties for his own good. Although his cover of George Micheal's "Freedom" had gone in at Number 2, "Old Before I Die" and "South Of The Border" sounded too like weak-tea Oasis for any real chart action and people were starting to talk about him as a failure. Then the elegiac "Angels" with its simple black-and-white video hit MTV pay-dirt, and six months later Williams was picking up six BRIT Awards, showing off his post-rehab six-pack and dating an All Saint. And so the rest of Life Thru A Lensis a likeable, hyperactive stream of consciousness—much like Williams himself. "Lazy Days" is an unexpectedly gorgeous psychedelic swoon, and "Let Me Entertain You"——"When I'm Cleaning Windows" for the Hooch generation—is still an irresistible offer. —Caitlin Moran

Robots in Disguise

Rupp, Joyce Fitzpatrick, Marlene Scroeder, Kim Yagel, Linda These prayerful chants are a wonderful companion to individual or group prayer. The simple, evocative melodies are easily memorized and sung. The rich texts express the various movements of our hearts in prayer, encouraging us to open ourselves to God in silent and come a little deeper, a little further.

Russell Watson

Rutter Cambridge Singers

Rutter, John Mass of the Childrenwas written in late 2002 and early 2003. The occasion of its first performance in February 2003 was a concert in New York’s Carnegie Hall involving children’s choir, adult choir, soprano and baritone soloists, and orchestra. I had always wanted to write a work combining children’s choir with adult performers, not only because I find the sound of children’s voices irresistible but also because I wanted to repay a debt. As a boy soprano in my school choir I had been thrilled whenever our choir took part in adult works with children’s choir parts, such as the Mahler Third Symphony and the Britten War Requiem, and years later I remembered this experience and wanted to write something that would give children a similar opportunity to perform alongside adult professionals.

The text of Mass of the Childrenis that of a standard Latin Missa brevis(that is, a Mass not including a Credosection) to which several relevant English poetic texts have been added. The first and last of these are taken from Bishop Thomas Ken’s renowned morning and evening hymns for the scholars of Winchester College, giving the whole work the framework of a complete day, from waking to sleeping, within which other texts and moods appear like events in that day or landmarks in a life.

The other pieces included in this recording are shorter and all written since the mid-1990s. Look at the world(1996), a simple anthem with a text on the theme of the environment, was written to mark the 70th anniversary of the Council for the Protection of Rural England. To every thing there is a season(1997), originally intended as the finale to a longer work, sets a familiar passage from Ecclesiastes in a song-like style, taking its character from the ‘time of peace’ referred to in the final line of the text. Wings of the morning(2002), another Old Testament setting, came about as a result of a request from the Durban Serenade Choir for a new choral piece to sing on their first UK tour. The sixty rich Zulu voices of the choir made an inspiring sound at its première in Cambridge. A Clare Benediction(1998), named in honour of my alma mater, Clare College Cambridge, is one of a number of choral blessings I have written over the years, in every case for a person or institution of special significance to me. I will sing with the spirit(1994) is dedicated to another institution, the Royal School of Church Music, who requested a simple anthem to serve as a theme song for their anniversary appeal.

The final three pieces on the album form a group insofar as they are all for choir without orchestra and on a more demanding level chorally. Musica Dei donum(1998), which has an important part for solo flute, is a setting of an anonymous text first set by Lassus in 1594 which speaks of the power of music to draw, to soothe, and to uplift. Originally written for the choir of Clare College, this piece was subsequently included in A Garland for Linda, a cycle of nine choral pieces by different composers in memory of Linda McCartney. I my Best-Beloved’s am(2000) was written for the BBC Singers and first performed by them at a concert in Canterbury Cathedral on the theme of the seven sacraments. I was assigned the theme of marriage, and found my text by combining the Latin nuptial responses (sung by the tenors and basses) with a lovely and little-known poem by the Jacobean Francis Quarles (sung by the sopranos and altos). Come down, O Love divine (1998), for double choir, has a curious history. It was commissioned by the Musicians Benevolent Fund for their annual St Cecilia's Day service, a splendid event held (in rotation) in Westminster Abbey, St Paul's Cathedral, or Westminster Cathedral, with their three choirs joining forces and musicians past and present gathered in a spirit of thanksgiving and celebration. As it turned out, the 1998 service was to be held in Westminster Abbey, which was then in the midst of some rather public unhappiness, the details of which were widely reported at the time and which need not be recounted here. I suspect that my choice of texts was influenced by this, in particular the invocation 'Veni, Sancte Spiritus'. Like most musicians, I don't relish conflict and confrontation even when they do not involve me personally, yet out of the turmoil of those months came a piece which, I think, speaks with a different voice from any of my others. - JOHN RUTTER

Rutter, John Orton, Stephen The City of London Sinfonia Caroline Ashton Patricia Forbes

Sal Solo

Sal Solo

Samuel Barber

Signature

Simon & Garfunkel Simon and Garfunkel are undoubtedly one of the most successful songwriting duos of the 60s, reaching a similar level of popularity to the Beatles during the latter part of the decade. This Definite Collectionshows what a diverse duo they really were and how many memorable tunes they performed together. Though many were put off by the pair's more sterile folk-rock arrangements and clean choirboy harmonies, this collection shows that there was much more to their artistic palette. Songs such as "Homeward Bound", "I Am a Rock", "Cecilia" and "Mrs Robinson" all show that the duo could rock with the best of them and "The Sound of Silence" and "Bridge over Troubled Water" are just some of the beautifully timeless records the pair gave us. It may not be as definitive as it claims but this is a great collection featuring some of their best and most well known works. —Paul Sullivan

Simply Red

Songs Of Taize

Spice Girls Putting aside the Girl Power phenomenon—really, what were the chances five scantily-clad birds flashing their knickers with kung-fu kicks wouldn'tmake it in the music industry?—the Spice Girls really domean something: great singles. There's not a dog in their whole back-catalogue. They kicked off their career with "Wannabe", "Say You'll Be There" and "2 Become 1"—that—that's the pop equivalent of an Olympic gold in the triathlon. They're all here on Spice, along with the live favourite "If You Can't Dance"—one that Geri always looked particularly picked-upon whilst singing—and that irresistible champagne effervescence of pop history in the making. The only mistake they made at this point in their career was not releasing the slinky R&B track "Naked" as a single; and if that's because the video plot automatically suggests itself as too obvious, it's not as if that curtailed any other facet of their career. —Caitlin Moran

Spring Hill Music Group The sixth installment in the Spring Hill Worship series, Back to You focuses on themes of returning to a vital, growing relationship with Christ and serving Him courageously each day. A widely diverse set of styles drive this message home from the more rock/pop sounds of 'Amazing God' (Carl Cartee), 'Bring Glory' (Scott Riggan) and 'King Jesus' (Tom Lane) to the anthemic 'Hallelujah' (Detour 180) and gentle 'You are Good' (Anadara). Back to You continues Spring Hill Worship's mission to introduce powerful new praise and worship music to the church, enriching times of personal devotion as well as corporate worship.

Stacie Orrico At 16, Stacie Orrico shows more youthful exuberance in her self-titled collection of upbeat pop and more R&B-influenced tracks. As a precocious 14-year-old, Orrico made her debut with Genuine, a remarkably soulful release that went gold in the US without much fanfare other than that generated by a limited supporting role on tour with Destiny's Child.

Her expressive vocals continue to belie the fact that she's merely a teenager as she draws inspiration from idols ranging from Ella Fitzgerald to Lauryn Hill. Orrico also cowrote eight of her album's 12 tracks, including the hit-single "Stuck", an ode to school-age love. Certainly Orrico leans heavily on the talents of producers Tedd T, Dallas Austin and the Underdogs, who combine to give the exuberant youngster a silky-smooth sound. But for critics who would label Orrico as another propped-up teen artist, check out her starkly revealing ballad "Strong Enough", which shows us a young girl on the edge seeking wholeness in her spirituality. That genuineness, combined with a wealth of vocal talent, makes Stacie Orrico someone to watch. —Michael Lyttle

Stuart Townend

the parachute band

Timothy Dudley-Smith

Tomita

Tomita The Tchaikovsky offers dazzling technical challenges and heart-on-sleeve emotional ups and downs. The Mendelssohn is Olympian, cool, beautifully formed—music that is immediately recognizable as the work of the composer who produced the magical Midsummer Night's Dreammusic. Jascha Heifetz is equally at home with Tchaikovsky's fervor and Mendelssohn's calm. —Joe McLellan

U2 One need hear only the first notes of this collection—the Edge's ringing guitar notes ushering in "Pride (In the Name of Love)"—to be taken back to 1984: Ronald Reagan and Maggie Thatcher rule the Western world, the L.A. Olympics is the top sports story, and Ms. Pac-Man reigns at arcades. In rock & roll, there's U2 growing in stature with each new tour and title. Even doubters of the Irish lads have to concede that together they formed the one '80s band with the skill and sense of scale to take over the airwaves and concert stages in a decade of diminished expectations. This 15-song '80s best-of assortment (stick around for the hidden track) spans the decade, reaching back to 1980's "I Will Follow," when Bono and company were peach-fuzzy and earnest as choirboys, and tracking their path through their universal domination with 1988's Rattle and Hum. —Steven Stolder

Vangelis

Vangelis Most everyone is familiar with the romantic piano-and-synthesizer washes of the surprise instrumental hit "Titles (Main Theme)" from this 1981 film soundtrack. What is surprising is there's a lot more going on with this score. Greek keyboardist/composer Vangelis had been recording albums for years before this soundtrack catapulted him into fame. He'd even been asked to join the prog rock band Yes at one point. (He was wise to pass on the offer.) Here you can hear the breadth of his talent at creating dreamy moods with synthesizers and classically inspired backdrops. Some of this music, however, doesn't quite hold its own without the visuals. Anyone looking for a stronger, more rock-like record by Vangelis should pick up Albedo 0.39. —Larry Crane

Vangelis

Vangelis

Vangelis

Vangelis

Vangelis Such is the popularity of Greek synthesiser solo artist and film composer Vangelis, that 1996 saw the release of not one, but two anthologies of his music, the other being Portrait: So Long Ago, So Clear. This particular set draws its 15 tracks from four albums representative of the composer's hugely successful career from his first hit album through to the 1990s. Starting in 1975 with Heaven and Hell, The Giftfeatures Vangelis' first collaboration with Jon Anderson, the transcendent ballad "So Long Ago, So Clear", and also adds an excerpt from the lengthy original "Heaven and Hell Part II". Music from Albedo 0.39(1976) was featured extensively in the TV series Cosmos, and The Giftpresents the theme from the series, plus the outstanding tracks "Pulstar" and "Alpha". By 1988 and the release of DirectVangelis was exploring the world of sampling, with the operatic vocals on "Glorianna (Hymn A La Femme)" pointing towards his 90s releases El Grecoand Voices. Finally, "Shine for Me" and the title track from Page of Life(1991) the fourth collaboration between Jon and Vangelis, complete the connection to the 70s, neatly bringing this diverse collection of memorably melodic electronic music full-circle. —Gary S. Dalkin

Vangelis

Vangelis

Various

Various

Various Kingsway KMCD2017

Various Artists

Various Artists

Various Artists

Various Artists

Various Artists Considering the long, pain-staking process in selecting the nation's Pop Idol it seems a little impetuous to rush release the finished product with The Big Band Album—but at least public interest is still riding high. Will and Gareth's singles were quick and simple with record-breaking results but listening to this release you can't help wondering if they should have spent a little more time rehearsing and recording it.

Thirteen tracks of big band standards feature the 10 finalists of the show each doing their bit. Will, Gareth and Zoe each get an extra slice of the pie and lucky for them as Will's performance on "Beyond the Sea" pales in comparison to his second effort just as Zoe's fantastic "I've Got You Under My Skin" trounces her slightly disappointing "Get Happy".

For a cynic it would be easy to knock the pop idols as it's almost a national sport but they all prove they can sing with Darius, Aaron and Hayley turning in some great performances but for the most part they have been let down by poor production and the recording standards of a karaoke machine. Robbie Williams came under a lot of criticism for what people saw as his butchering of classic numbers on Swing When You're Winningbut Pop Idol's Big Band Albumis way short of the mark set by Robbie showing that you can't rush a project of this size and expect the same results. —David Trueman

Various Artists

Various Artists

Various Artists - Memoir

Visage

ZHL String Ensemble