When I first listened to this soundtrack, I thought it was pretty good, but didn't really rival some of the other soundtracks that have come and gone for the great movies of our time. However, after seeing the incredible movie that Chris Nolan out together I think this is one of the best soundtracks ever now! It adds so much to the experience of this movie. So much more suspense and complexity. And when listened to after the movie it just brings back such wonderful memories.

It's really worth a good listen, especially since it's impossible to give it the attention it deserves while watching the movie! Especially if you watch it on an IMAX screen - which you should - as it is fairly breathtaking! Anyway, I just love that dark sound. This score really does a lot for the movie now that I've actually seen it. I am a firm believer that music helps to make a movie, and this is no exception now. Indeed my personal fav tracks, composed by both Hans Zimmer and James Newton Howard are: "Why So Serious", "Aggresive Expansion", "Like a Dog Chasing Cars", and "Watch the World Burn".

This soundtrack (to what is a great new conception of a movie - for my opinion) is reminiscent of Danny Elfman's earlier work in "Batman." However, as any Elfman fan realizes, he is beginning to add more spice and creativity to his music as evidenced in "Meet the Robinsons" and here in "Wanted." This is definitely a must-have for Elfman fans, as well as for those who enjoy action-movie scores. Even if one has not yet seen the film, the music still conveys the various moments of discovery, decision, and intensity.

This soundtrack really stands on its own, despite accompanying one of the most achingly beautiful films I have ever seen.

Stanton says in the liner notes that the movie as a whole was a space opera, something he kept emphasizing as Newman composed. Compared to the defining space opera, the original Star Wars trilogy, there are rather a lot of differences. Williams' score in Star Wars had a clear sense of accoustics and an expansive staging that translated even while watching the film. With a good sound system, you can almost imagine an orchestra pit just below the screen. The score seemed to come from the eternally romantic Star Wars universe itself, boldly proclaiming its themes of good, evil, love, and war.

Newman's score for WALL-E, on the other hand, has a sonically closed or condensed aspect to it that draws you in closer to the intimate world of its inhabitants. As breathtaking as Stanton's vision of outer space turns out to be, you are still invited to experience it through the eyes of a newcomer, a little robot who, like yourself, has never been there before. Rather than coming from the universe, the soundtrack to WALL-E seems rather to simply be the music that accompanies the imaginative, curious, and ultimately wonderstruck mind.

This is definitely another in the long line of fantastic albums from Blackmore's Night. If you are a fan of BN, don't hesitate to buy it! Like all their previous work and, for that matter, any complex and enduring music, it takes a while to grow on you. But that just makes it more of a voyage of discovery as, each time you hear it, you uncover more layers and a greater appreciation of the artistry.

That being said, the melodies of both 'God Save the Keg' and 'Empty Words' are instantly unforgettable! They sound like one of those folk tunes that you've known all your life but just can't place - I certainly can't. I think they used this as the intro number to their 2007 tour. 'God Save the Keg' is richer and more complex, like one of Elgar's Pomp and Circumstance marches, but 'Empty Words' is so haunting and Candice's voice is, as usual, nothing short of angelic.

Fully half of all the songs are shown in the the sleeve notes as "Based on Traditional", with Ritchie continuing his interpretations of renaissance, mediaeval and other folk melodies. Three tracks are covers and three are completely original, so there's something for everyone here.

In general, I absolutely love the covers that this band does; they are usually significant improvements on the originals. My only criticism of this album, which is otherwise superb, is of two of the covers: 'Rainbow Eyes' and 'Can't Help Falling in Love.' I'm afraid I really don't like 'Can't Help Falling in Love' and is probably the only BN track that I skip when I'm listening to the album.

Maybe it'll grow on me, but I doubt it. More controversially, I am ambivalent about 'Rainbow Eyes.' Musically, it stands on its own as a beautiful song, and the reworking is certainly not bad. It just... it's just... well, totally ass about face! Rainbow should have done the upbeat version that's featured on this album and Candice should have been singing the haunting ballad that features on Long Live Rock and Roll!

Anyway, my current favorites are (in no particular order): 'Toast to Tomorrow.' 'The Circle' and 'Empty Words.' I think we'll find that 'The Circle' is going to become a staple of the live concerts. It just begs you to get up and dance and, I think, will be fun for the band to play live. I wish I was seeing them on tour this year, but they're not doing any US dates. [PS]

'Arena' is an album that may be aimed fair and square at the greybeards who predominately make up Rundgren's target demographic but, hey, they can bring their kids to this party. Musically, there is enough of a nod to Rundgren's past to connect with the faithful whilst for the rest of us it is all highly accessible - more so than 'Liars'.

Rundgren's trademark multi-layered harmonies and the deft way he works a song with exquisite time changes and hooks are gloriously evident. 'Afraid' in particular is a gem, with a resonant sixties thriller motif that hooks you into a trademark killer chorus underpinned with wonderful phased guitar riff, and there's a quirky synth-led bridge section. Cue guitar solo. And if you need further confirmation, 'Courage' admirably evokes past glories and will have the faithful in raptures.

'Mercenary', 'Panic' and 'Manup' is excellent riff-rock and there's a bluesy feel to 'Gun'. 'Strike' is out and out stadium rock and will go down well live - as Rundgren says, he wanted to create an album you could punch the air to. And AC/DC fans will be doing just that. 'Mountaintop' would have graced a glam rock album - sort of The Sweet via The Darkness.

'Bardo' is - perhaps surprisingly - right out of the Robin Trower songbook and could be Bridge Of Sighs Part 2, lovely arpeggiated guitar and a moody vibe throughout. And a link to the spirit of 'Liars' is provided in the tracks 'Weakness' and 'Today'.

Like on 'Liars' Rundgren has played all instruments and his underrated guitar playing is exemplary throughout. Although touted as a return to guitar rock, unfortunately there is little solo guitar and what exists is perhaps a little too restrained. The solo on 'Afraid' being a case in point. This might all be corrected in the live context.

The most amazing thing about Eva's singing is that no matter what type of music she sang; whether pop, soul, R&B, folk, jazz, or standards, she outsings the best of the masters in each area and does it effortlessly; simply and with no pretense.

Eva raised the bar by which vocal performance would always be then measured upon. And she did it on her own terms, singing what she wanted to sing, the way she wanted to sing it. After trying to work out a deal with record execs and refusing to be pigeonholed into a certain style of music, she just took life by the horns and managed to rise above the corporate swill to be a star of her own making.

Ten years after the release of 'Songbird,' indeed twelve years after her passing, this new CD is a collection of 12 previously unissued performances from the acclaimed Washington, D.C.-based singer. From Dolly Parton's "Coat of Many Colors" to her own "Somewhere," Eva covers a wide musical spectrum - country, folk, blues, R&B, western swing, appalachian, celtic - that also includes renditions of both Willie Nelson and Gershwin.

I wish to tell you this straight ... I am not a biased John Mellencamp fan. I indeed have been listening since "American Fool". But where there is a uniqueness to my appreciation is that I never buy one of his records right out of the gate. I let the public get a hold of it. Indeed, we the press throw a few reviews around and in the long and short of it, I will get around to buy the album once I'm ready - or, if it's given to me for review for free, well, even better!

Now, I was immediately impressed with the collaboration of John Mellencamp with Producer, T-Bone Burnett. I have always liked and never been disappointed by T-Bone's work. I thought it could mount up to another pinnacle in John's career. I was not mistaken.

Over his past few albums and really since "Scarecrow in 1985. He has moved closer and closer to the directness that he reaches here on this album. He is operating almost fearlessly as a songwriter. Which is truly to be admired. Because folks, when the lights go out. Our thoughts always are a little more truthful than when we are out and about in our daily lives. John writes about these moments. The people, events and at times life altering moments we all have. Those channels we flick through. Those pages we turn away from. Those so-called reality T.V shows we watch or maybe even the liquor we drink to salve our shaken spirits that this modern world forces at us everyday.

What John Mellencamp does for me through his incredibly soulful voice, music and words is entertain, intrigue and inform me as much as the conversation you would have at a coffee shop. He talks to me. To me, you and "them".

He witnesses the same world we all live in. Not his wealth, politics or lifestyle can strip away the truth that lays itself down every day in front of each and every one of us. Sometimes it's hard to face these things and much easier to look back at a time that will never return again. A simpler time. Maybe? Or to only listen to "safe" music. Nothing that questions or dares.

As an artist, and John Mellencamp is an artist first. He has never really been better. Different? Sure. Haven't we all changed? But, truly better, wounded, and healed. The key is learning, healing. Progress. What is up to you? Is to indulge or not. Listen to the record without thinking too much about his past..or yours. In the process you might find an interesting feeling of hope come out of the songs and through yourself. I did.

This might sound like Beach Boy sacrilege, but I've longed to see 'Pacific Ocean Blue' back on CD than any issue of Brian's mythic Smile (which I caught on the tour from Wilson & co here). Not that Smile is bad, but it's nowhere near 'Pacific Ocean Blue' as far as I'm concerned. This album (re: LP) is now going for ridiculous prices - the 1991 reissue fetching close to $200 and not living in area where broadband exists, downloading this is not an option. So I depend on an ancient tape with other bootleg material. This is the kind of album I dream about and wonder if it's all just a dream ... and then the CD comes along in all its new, remastered glory and everything is right again with the world!

Dennis Wilson was the second genius songwriter in The Beach Boys - to be fair Carl and Love co-wrote/wrote many classics - but Dennis came to fill the void left by Brian from the late 60s onwards. It's unfair to compare Dennis to Brian, but Dennis was coming up with string-soaked odes to valium like Cuddle Up, country-soul like Forever & the Vietnam-outtake Carry Me Home (later covered by Primal Scream on their Dixie-Narco e.p.). Apart from Sunflower (1970), The Beach Boys albums post-Pet Sounds were hit and miss affairs - the highlights often being a Dennis track (if not a slight Brian return).

Most of 'Pacific Ocean Blue was' written with co-Forever-songwriter Gregg Jakobson - though the title track was written with Mike Love and River Song was co-written with Carl & slowly recorded over the 70s (several tracks intended for POB and the unreleased follow-up Bamboo found their way onto Beach Boys records, e.g. Love Surrounds Me, Baby Blue). 'Pacific Ocean Blue' came out in 1977 and is one of the great records of the 1970s, scrub that, of all time.

Dennis offered the ultimate statement - hypnotic piano-driven songs, achingly sincere vocals, a different kind of musical experimentation. It makes perfect sense next to such albums of the era as Exile on Main Street, Manassas, On the Beach, Greetings from LA and No Other. Every song is utterly wonderful - this would happilly be my desert island disc: it's the kind of album that would make the ideal final purchase. Nothing much comes close to it - though perhaps it's just it's hard to find nature that makes me think that!

The songs are gorgeous, my favorite track being Time - which nods at the universal qualities apparent in Dennis' work and has sax/flugelhorn that reminds me of 1980s David Sylvian or late-period Talk Talk for some reason! Indeed, 'Pacific Ocean Blue' is out now on the two-disc Legacy Recordings label and features an incredible 33 tracks with Limited Edition First Run Collector's Packaging.

It has been over 15 years since Billy Joel released his final pop album, 'River Of Dreams.' Nevertheless, it is so sad that he hasn't made a new record ever since. Regardlesss, while his life has dramatically changed, his career has always remained as timeless as any icon you could ever imagine.

While the Sony BMG Music family has scene many records get to be celebrated this past year including the re-release of Michael Jackson's 'Thriller' for its 25th Anniversary, and Celine Dion saw her recent re-release of 'A New Day Has Come' from 2002.

But with all that, Billy Joel in my opinion has madde albums that weren't just filled with delightful diddies, they spoke great stories that stand the test of time, and that proves that this is still no stranger.

The 2008 re-release of Billy Joel's landmark album, 'The Stranger' feels like a true breath of fresh air, and a reminder of how potent Billy Joel's songs still are. The highest-selling album of the Columbia Records Label, still is a delight to listen to, as the album which last year was released 30 years ago, still remains more than just a stranger.

All the songs have been brilliantly restored from beginning to end, and are still enjoyable from beginning to end. You still get all of your favorite classic songs including The Stranger, the epic storytelling of Scenes From An Italian Restaurant, the Rockabilly themes from Only The Good Die Young, as well as the tender ballad She's Always A Woman To Me.

Not only that, the newly re-released album includes for the first time ever a live recording from Billy Joel's 1977 concert at New York's Carnegie Hall, where he sounds great peforming some of these great songs, as well as some of his standards like from his earlier records like New York State Of Mind from his overlooked Turnstyles album, and his signature song, She's Got A Way.

If you haven't yet owned any Billy Joel album yet for your MP3 Player or as an addition to your record collection, than you really don't know what you are missing.

OK, for those not in the know let's get this out there right now: 'Fumbling Towards Ecstasy' has the song that propelled Sarah into prominence; and of course is Possession!

As for other content, 'Fumbling Towards Ecstasy' is a must-have album for McLachlan fans. Best known as her "breakthrough album," this edition comes with the remastered album (Disc 1) and also includes "The Freedom Sessions" album (Disc 2) - that showcases early versions of the songs from 'Fumbling ...' along with a cover of Tom Waits Ol'55.

Both original albums had hidden tracks that are now easily accessible on this Legacy Edition. The third disc is actually a DVD transfer from the original home video release of "Fumbling Towards Ecstasy: Live," which showcases songs from 'Fumbling ...' as well as songs from her previous two albums.

The video contains live and in-studio performances with snippets of Sarah talking with her producer/co-writer and band. The 'Fumbling ...' EPK (electronic press kit), music videos, and slide show are presented as bonus features.

If you are new to Sarah, I would recommend picking up this edition because all discs are worth having and you would save on the price. If you are a vintage collector, you should pick up the original releases because there is nothing here exclusive besides expanded packaging. The original 'Freedom Sessions' album did have a fun multimedia feature for your computer, which isn't available in this Legacy Edition.

'Multi-Dimensional Warrior' is a two-disc anthology spanning Santana’s years at Columbia, Polydor/Polygram, and Arista. It features tracks chosen and sequenced by Carlos Santana as a spiritual exploration of his career.

The only real problems with 'Multi-Dimensional Warrior' are the minor, but obvious, ones. First, if you are a long-time Santana fan, you most likely own all the original albums on which these tracks appear; if you are unfamiliar with Santana, this may not be the best collection to serve as an introduction.

Second, putting the vocal tracks and instrumentals on separate discs doesn’t necessarily encourage continuous listening. It might have been a better idea to intersperse the two over both discs.

Progressive rockers Kansas' first live album, and sixth overall, 'Two For the Show' was originally released in November of 1978. The album captures singer/keyboard player Steve Walsh, guitarist/keyboard player Kerry Livgren, violinist/vocalist Robby Steinhardt, guitarist Rich Williams, drummer Phil Ehart and bass player Dave Hope at the height of Kansas' commercial success on the band's 1977/78 Point of Know Return tour.

A lot of the songs from the band's five studio albums are played, in all instances, superior to their studio counterparts.

We kick things off with a stellar version of "Song For America" which was a killer rendition. Next is a 1-2 punch of the Point of Know Return's two opening cuts of the title cut and "Paradox" which both trump the studio versions. Next is "Icarus - Borne on Wings of Steel" which decimates its studio counterpart.

We then have a killer version of "Portrait (He Knew)" which segued into a stellar version of "Carry On Wayward Son". The first disc of the original album closed with a superb rendition of "Journey From Mariabronn".

The original album's second disc started with a beautiful "Dust In the Wind" which is a great version. Then we have solo spots from Richard Williams and Kerry Livgren on acoustic guitar and piano respectively as a lead in into a wonderful rendition of "Lonely Wind". Then a rocking rendition of "Mysteries and Mayhem" is next which then goes into an instrumental segment of "Lamplight Symphony" which gives way to a beautiful version of the Leftoverture album cut "The Wall".

Next is a stellar "Closet Chronicles" (which was left off original CD due to time constraints but appears on the remastered 2-CD set on disc two for some reason). We closed the original album with a killer "Magnum Opus" which dwarfs the studio version.

'Two For the Show' was yet another million seller for Kansas and peaked at #32 on the Billboard chart in early 1979. For years, the album was given a shoddy CD re-issue in 1989 and only way to hear the album as intended was with either LP or cassette or 8-track tape. Now, Legacy/Epic have re-released the album with a full second CD of tracks left off due to time constraints and a stellar booklet.

The bonus tracks (including the aforementioned "Closet Chronicles") are all superb. My favorites of the bonus tracks are a superb version of "Hopelessly Human", an awesome "Miracles Out of Nowhere", a phenomenal Phil Ehart drum solo with the instrumental "The Spider", an excellent reading of "Lonely Street" and a killer "Down the Road". "Cheyenne Anthem" and "Sparks of the Tempest" differ from the versions that appeared on the Leftoverture and Point of Know Return reissues respectively.

If you were, and still are a diehard New Kids on the Block fan, then you should remember how they affected your childhood, your choices, and your upbringing. Hearing this CD honestly took me back in time to a place where carefree days are now a cherished memory. All the songs are classic NKOTB style and the megamix brings many of the top signature lyrics together into one song.

This CD makes me appreciate how hard they worked back then and how hard they're working now on their new album, "The Block." This CD would be absolutely GREAT for the new generation of young fans today! They would get a chance to know the New Kids from back in the day, fast forward to today, and realize what a journey they have taken.

The songs "Hangin Tough", "Please Don't Go Girl", "Cover Girl", "Step By Step" and "I'll Be Loving You Forever" are teen pop classics from the late 80s and early 90s. Donnie Wahlberg sounds good on "The Right Combination" Joey shows his vocal skills on the track "Stay The Same". These two tracks are not part of their classics, but they sound very good.

When The Jacksons left Motown in 1976 for Epic, the driving force was to gain creative control over their music. Despite getting some songwriting credits, their first two albums for Epic were masterminded and controlled by the production team of Gamble & Huff. After the initial success of their first Epic album, The Jacksons, their second effort, Goin' Places, stiffed.

The band decided that they finally would take complete control of their music for their next album. Epic relented and the band entered the studio in control of their own destiny for the first time. The album took its title from that change and Destiny turned out to be major breakthrough. Michael asserted his creative forces and the album's style is precursor for his Off The Wall album.

The band updated their sound to mirror the disco trends of the day. The opening track "Blame It On The Boogie" is a magical dance workout that practically begs you to get up and move. "The Things I Do For You" is another high energy track. "Shake Your Body (Down To The Ground)" was the big single on the album peaking at number seven and becoming their first ever to reach platinum status. They slowed things down on the title track and the pretty "Bless His Soul".

Not only did Michael step up, but so did youngest brother Randy who displays his multi-instruments skills. The album was the highest charting album in seven years eventually reaching number eleven. Destiny proved that the band was capable of writing and producing their own music and never again would they not be in control of their music.

After the success of Destiny, The Jacksons return with another stellar album, Triumph. The band took control of their music on Destiny and they show a growth on Triumph as it is a more complex and textured album. "Can You Feel It" has a soaring and heavenly orchestration and sets the tone for the album. "Lovely One" has a funkified riff and was the hit single from the album. "Everybody" is a call to the dance floor. "Time Waits For No One" is a multi-layered, dense track.

"This Place Hotel" is the stand out track on the album. The song was originally titled "Heartbreak Hotel", but changed to avoid confusion with the Elvis Presley song. It is a tale of betrayal and heartbreak set against a haunting melody. The track is supremely produced with intricate layers of sound and an impassioned from Michael.

Triumph did Destiny one better by peaking at number ten to become their first top ten album since 1972's Lookin' Through The Windows.

To put it bluntly 'Tropic Thunder' could well be the soundtrack album for summer of 2008! 'Tropic Thunder' stars Ben Stiller, Jack Black and Robert Downey Jr in a genius spoof Vietnam era war films (Apocalypse Now, Platoon, Full Metal Jacket, etc).

La-La Land Records now gives us the original score soundtrack to the all new feature DVD film from DC Universe and Warner Bros. Animation, 'BATMAN GOTHAM KNIGHT.' This thrilling anime-inspired film consists of six spellbinding tales from diverse creators, including BATMAN BEGINS screenwriter David S. Goyer, that are directed by some of Japan’s most acclaimed anime filmmakers.

Composers Christopher Drake (HELLBOY ANIMATED FEATURES), Robert J. Kral, (SUPERMAN: DOOMSDAY, ANGEL) and Kevin Manthei (JUSTICE LEAGUE: NEW FRONTIER) bring these complex stories to life with a thrilling, emotionally-charged score that probes the depths of BATMAN’S tortured soul.

Each composer takes turns here to tell the tale of the Dark One. Christopher Drake kicks the whole package off with his set entitled 'HAVE I GOT A STORY FOR YOU.' Next up is 'CROSSFIRE' from Kevin Manthei, and after just two tracks @ five mins each comes 'FIELD TEST' from Robert J. Kral.

In a bid to pull his shattered life back together, troubled ex-cop Ben Carson (Kiefer Sutherland) takes a job as a security guard at the burned out ruins of a once-prosperous department store. As Ben patrols the charred hallways, he begins to see horrifying images in the ornate mirrors that still adorn the walls. Ben soon realizes that a malevolent force is using the mirrors to gain entrance into this world, threatening the lives of his wife (Paula Patton) and children.

'Nobody's Fault But Mine' was recorded in the spirit of a live album, an homage to the way the songs were originally performed with little studio overdubbing, retakes and other technological patchwork.

Singer/songwriter Edwin McCain had recently taken a rare break to record an album of vintage R&B and classic southern soul songs. 'Nobody's Fault But Mine' is this end result - releasing June 24th on TimeLife Records - and is quite easily some of his best work to date.

A vintage live set from 1969, this special edition 1999 re-reissue 'Live at the Marquee' features seven tracks from the original 'Turning Point' soundtrack all recorded live. John Mayall, who most would note to be one of Britain's legendary blues guitarists performs his heart out here on these oh-so-few cuts; that come in under an hour in total. All of the tunes are originals though.

Interestingly, "Room to Move," an obvious performance choice it would seem since it became the hit single from The Turning Point, isn't here. It doesn't matter. From "Can't Sleep This Night," "So Hard to Share," "I'm Gonna Fight for You JB," and the two elongated takes of "California." are all stunners.

This two-disc set featuring live performances as well as interviews with Eric Clapton, John McVie and Peter Green contains 19 tracks and was originally released in 1999.

Subtitled: "Music from the Original Film Soundtrack the Turning Point," the set is divided up into two well-edited parts. Disc one includes the new drummerless Bluesbreakers' first performance at Civic Hall in Plymouth, MI in June of 1969. In other words, these are the first versions of some of the music released on the 'Turning Point' LP that was recorded during the same tour a month later.

On down the track list are four cuts caught a few days later at Lucarno University in York. The disc ends with a pair of tunes from York University a week later.

Disc two is a nostalgic item of wonderment for sure! It begins with a great live performance of "Parchman Farm" (May 1969) with Mick Taylor; which was to be his last with the band before joining the Rolling Stones. There are also rehearsals with the new band, and interviews with Mayall, Eric Clapton, Peter Green, and John McVie, as well as informal workouts of material that would appear on 'Room to Move' - including a wild instrumental jam called "Bill Haley Lives."

Being an Anglophile I had purchased both the original UK version and had the US version handed to me for a review comparison. In my opinion, the UK version is slightly superior, but that aside, the US album is still better than the rest of the competition. I do have to say that leaving out 'Homeless' WAS A BIG MISTAKE!. Check out her live performance of it at the Kiss concert on YT.

The thing about Leona Lewis is that she can make any material sound better than it really is! As another reviewer mentioned, she is often better than some of the songs she sings! This in itself is a gift, not many vocalists can sing with such emotional depth and connect with the listener to such an extent that a mediocre song can be elevated into something great.

As a vocalist, no one can deny her talent. The comparisons with the Greats: Whitney, Celine, Mariah etc whether positive or negative are proof that we have a future candidate to add to this list. The fact that people ARE making comparisons, speaks volumes of her talent.

Besides Bleeding Love, Take A Bow has the potential to be a MASSIVE hit. Better In Time, I will be, Yesterday, Whatever it takes, Footprints in the sand all have the potential to be singles. In fact there are very few, non-single songs on this album.

Personally, Yesterday is my favorite. Upon the initial listenings of the album, it's very easy to overlook this gem! I certainly did, but like a lot of this album, it's a definite grower. Anyway, what makes this song amazing is the build up from the middle-8 right to the end. It's just THE perfect combination of meaningful lyrics, instrumentation, vocal arrangement and off course, all anchored by Leona's vocal emotion.

Footprints in the sand is a curiousity, but emotionally fuelled, once again hilighting her vocals. Viewing the UK music video (on YouTube) for this song, puts things in perspective. Angel is my least favorite. A very, very dull song indeed, only made marginally passable by Leona's vocals.

First Time I Ever Saw Your Face, is a disappointment. Her live performance of this song is phenominal. Unfortunately it doesn't translate. It may be that my opinion is clouded here as I first saw her sing this live on TV, rather than on CD.

To Motown's stars, the four wooden steps leading down to Hitsville's basement were a bridge to a land of dreams. But to the studio musicians who shaped the Motown sound, the stairs were a gateway to a workplace, a cramped, smoke stained, dimly lit room they affectionately dubbed "The Snakepit."

For almost fourteen years on a daily and nightly basis, the musicians transformed that basement into a hit factory. They rolled masterpieces off the production line in an hour or less, trading friendly insults as they worked. Known as the "Funk Brothers", they were utterly unknown.

So yes, you could say that these legendary session musicians known as the Funk Brothers have long been considered Motown's best kept secret. Though their names were never officially in lights, as the label's "house band" the players provided the backing tracks for a long list of hits including "Signed, Sealed, Delivered," "Dancing in the Street," and "Heatwave."

'LIVE IN ORLANDO' - recorded live in front of a wildly enthusiastic New Year's Eve crowd in Orlando - puts the surviving members of Motown's legendary house band - guitarist Eddie Willis, bassist Bob Babbitt and drummer Uriel Jones - front and center, playing the songs that they helped make famous.

This is an okay live performance of OMD's classic disc ARCHITECTURE & MORALITY, with some assorted greatest hits thrown in at the end. The live performances are not notably different from the original studio versions, so this is really only of interest to hardcore OMD fans, but those fans will definitely want it.

However, US buyers should be aware that the US version of this disc contains four fewer tracks than the UK version, yet the US packaging contains the UK tracklist.

Why the US version is lacking the four tracks - which can actually now all be downloaded anyway! - to begin with is a mystery, but regardless this is still a nice package to own. And even though Pandora's Box, Sailing the Seven Seas and Locomotion are among some of my favorites, Andy's voice is (unfortunately) pretty weak. But, with the addition of these 4 songs at no extra cost, the US version of the CD is now the way to go from a cost perspective.

Showing a much more grittier side to him this time around, the track "Loud" (the long awaited first single) is one of Noll's great rock anthems. With the usual motivating chorus that will definitely keep your hands tightly gripping the steering wheel for fear of being off and air-pumping, 'Turn It Up' is chock full of great harmonies and strong rock/melody tunes that will keep your feet in business.

There are also some great rock ballads, and with Richie Sambora and Richard Marx co-writing tracks on the album you can definitely see the more mature influences on tracks both "Crashing Down" and "Breakdown." Nine out of the twelve tracks were co-written by Shannon Noll while he was recording in Los Angeles – so he has come a long way from his Australian Idol days!

Best known as the lead singer of Poison — one of the biggest and arguably most entertaining hair-metal bands of the late '80s — Michaels (now in his mid-40s) shows that musically he still has the stamina to stick around. And though more than half of the songs on 'Rock My World' have been released on previous solo albums, the popularity of “Rock of Love” (the reality TV show) proves the public's enduring interest in the charmingly singer.

Indeed, Michaels is, if nothing else, a true survivor. He has survived a life long battle as an insulin dependent diabetic, a well publicized near fatal car crash in 1994 and the countless musical trends and fads of the last two decades.

After 17 years since her last studio album, Donna has returned to the spotlight with her smash CD 'Crayons'. It's a mixed bag, Donna-Style. Her flawless, strong vocals are back once again. The Queen is back indeed! Having grown up in the mid 70's, I've always liked Donna's singing and her songs. 'Crayons' is right up there with the best music of 2008.

"I'm a Fire" is flaming and stands out among the tracks, with its mix of Disco and modern-day "light" club-sound. No wonder it's turned out to be Donna's first remix single! "Stamp Your Feet" is a perfect opener and totally rocks. I've both these CD singles here at home. 'Crayons' is quite laid-back and not entirely dancy or club-floor sounding as I thought, which isn't bad. There's also a rock-edge mixed with Pop, Reggae and electronica.

All these styles intertwined with Donna's full, in-your-face, throaty voice, makes this CD a true winner. Track 6 ("Sand on My Feet") is so floating and rich with beautiful vocals and lyrics. I'd say it's an easy listening type of song and very summery through and through. You'll notice they put Donna's voice through the synthesizer quite a bit through the CD, but it works pretty darned well.

Lots of thought, heart and soul went into this recording. Track 9 ("Slide Over Backwards") is very entertaining with its country style and very amusing vocal style. "Chorus line" is fun and the whole song could've worked very well in Tina Turner's repertoire. I think this is Donna's most electic album to date, and definitely worth playing for family and friends.

The CD is housed in a lovely black digi-pak with a fully illustrated booklet (16 pages). The digi-pak is a tri-fold layout. The interior middle section features the same closeup eye shot as on Donna's "I'm a Fire" CD single cover. Right flap holds the CD and the left flap holds the booklet. All photos of Donna are beautiful and she's looking ageless. the outside of the left flap features another photo of Donna.

'Crayons' is a definite winner for your summer listening and beyond. I highly recommend it to anyone who wants to discover a true legend. I'm glad Donna is back because there are too many commercially fake & obnoxious Divas out there, if they even deserve the title Diva. 'Crayons' is perfect for putting on your Ipod, for there isn't a song you won't like. So go and get yourself this CD and let Donna heat up your summer!

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Based on the setlist for Maiden’s current revisionist history tour, and for the kind of elaborate live extravaganzas they were conquering the world with circa 1985’s World Slavery jaunt, this part-live, part-studio album blazes from the get-go. There’s still something cheerily cheesy about the “We will fight them on the beaches…” Winston Churchill intro tape, but when the live version of ‘Aces High’ kicks in you can’t help buy right into this heavy metal tourist board version of Englishness, Dave Murray and Adrian Smith’s guitar-lines duelling like Spitfires and Messerschmitts in the skies over Kent in 1940.

Early classics from the Paul Di’Annio-fronted Iron Maiden appear solely in Bruce Dickinson live renditions, and there’s no ‘Rime Of The Ancient Mariner’, but everything from 1989’s weak ‘Bring Your Daughter To The Slaughter’ (and amazingly still their only Number One single) onwards has been thankfully omitted. But really this is just an album-length advert for the excellent live show which Maiden have spent more than 30 years honing and perfecting.

It's been an odd journey for Def Leppard over the last decade-plus. The band made the ominous and insolent Slang in 1996, and for my money it's one of those lost albums that verges on brilliance. After less than stellar sales, the band re-embraced the pop-rock formula that made them household names with the incandescent Euphoria, an inspired return to form, yet while the album did solid numbers it didn't receive the notice it deserved or warranted.

Now, we get to 2008's 'Songs From The Sparkle Lounge.' While X was a modern rock CD with a pop edge, 'Sparkle Lounge' is a modern rock CD with a Hard Rock edge. When trying to find a comparison to this CD, I simply can't. It really is a Brand New kind of Def Leppard album. Sure there are moments that remind me of 'Hysteria,' 'Adrenalize,' 'Slang,' and 'X.' But overall, they are keeping it fresh and modern ... they are not stepping backwards at all.

This really is a Def Leppard CD that everyone has to have. If you liked 'Hysteria' because of the excellent production and amazing songs, you will love these songs. If you liked 'Slang' because it was experimental and new, you will love the freshness of these songs. If you liked 'X' because of the songwriting, you will love these songs. If you hated 'X' because it was too poppy, you have to hear these hard rock songs.

Johansson has enlisted a hot producer, David Bowie sings backing vocals and there is a member of the Yeah Yeah Yeahs involved also ... but the album is still rank! This is actually the product of a pampered Hollywood star who thinks it is cool to belt out some "rock tunes" (see her singing karaoke of a Pretenders song in 'Lost in Translation').

Seriously now, it takes guts to attempt to cover the music of Tom Waits, especially when you're not previously known for your musical talent. I can't imagine why the elfin actress would have chosen Waits' songs for her debut album, and unfortunately she doesn't have the vocals to match.

Her low pitched (almost masculine) vocals are for the most part drowned out by the musical accompaniment, which on this album isn't too much of a bad thing. On the good side, there are three tracks that aren't that bad after a second listen, and two of them are due to David Bowie's input. These are the first single "Falling Down" and track five, "Fannin Street". The third is the light hearted "I Don't Wanna Grow Up".

This is an album you may hate on the first and second listen, but the three tracks I've mentioned may eventually grow on you. But, for the most part this is way beyond boring and pretentious. So, what's next ... her covering Lou Reed songs? Come on, give me a break ... please!

Scarlett Johansson AOL Sessions

Scarlett Johansson Pepsi Smash Performance

"Falling Down" Music Video

CD Purchase Link

El Rey - the first new album in over three years from The Wedding Present - was recorded in Chicago by Steve Albini ... but in truth it's Brit-rocker David Gedge (and his love for complex guitar structures and conversational lyrics) that have brought his band the Wedding Present back into the limelight.

Their stellar 1986 debut George Best (named after the very popular British / Irish footballer) was a masterpiece and while this new effort (the first since 2004's Take Fountain) 'El Rey' does reunite the Wedding Present with their pal Albini, the question has to be asked: Do we still care and if so why?

Well, the answer should be yes with the reasoning being that 'El Rey' was written when David was living in LA and thus the ultra-smooth track “Spider-Man On Hollywood” chronicles a lot of what sounds like his experiences out there! “Soup” is a little bit of an oddball track. The maybe unintentional Seinfield reference just seems a little strange in this spot. Whereas “Palisades” is one of the most brutal honest tracks as David just seems to bare it all on this record. He talks about the frustrations and the confusions of relationships like no one else out there.

How about a first album coming from a new pop-country artist going straight into #4 spot at Billboard 200 in the week of release? Something out of this world? No...having a free single ("Love Don't Live Here") heavily promoted on iTunes Store (the second music retailer in the US, only behind Wal-Mart) for a week can do miracles these days. Until two or three weeks ago, Lady Antebellum could be anything to me except a music group.

The album is one of those great summer albums, one of those albums that you want to crank up with the windows down. They sort of remind me of Little Big Town in some ways. For me country music has gotten very generic sounding, Lady Antebellum breaks out of that sound. Great harmonies, great hooks, great songs. The only thing I'm not crazy about is the name of the group, sounds like a girl group rather than a trio of two guys and one girl. That aside, this is a great album and if you like Little Big Town, I think you'll like Lady Antebellum as well.

Back in 1993 the music industry was introduced to a new album from a man named Toby Keith. The album, self-titled "Toby Keith," didn't give the singer a look that screamed "star," but the songs sure did. The album produced four hit singles and was solidified platinum. And a star was born. Since then Keith's accomplishments in the music world have been phenomenal. He's had numerous number one hits, and all of his CD's have sold gold, with most going platinum. Not only did Keith become one of the biggest country singers in the music industry, he became one of the biggest singers in the music industry PERIOD! Now, I'm a big Toby Keith fan, but ever since establishing his own record label Keith has been releasing a new album every year. On top of that he's been in movies, TV specials, and contributed to soundtracks.

While this may sound great, his CD's have been...let's say, mostly sub-par. Yeah there is at least a couple of entertaining tracks, but if you took all the hits he's had since his last greatest hits album you'd have a decent album. Not a great album, a decent album. Which makes the inclusion of a third greatest hits CD a mere four years after the previous one puzzling. Acknowledging that Keith hasn't had too many "real" hits since then is what most likely contributed to this being a career spanning hits album instead of a standard hits album. So what is on this career spanning collection? Well for starters it contains all the songs that were on previous greatest hits albums (as far as I can tell), so longtime fans who pick this CD can throw those two CD's away (or bring them to a used music store). So "Dream Walking," "I Wanna Talk About Me," and "How Do You Like Me Now?" are all here.

Some of his weaker "hits" like "Mockingbird" and the Willie Nelson duet "Beer For My Horses" even makes the cut. Since these songs are making third or forth appearances I'll skip those songs and look at what's been added. From what is (arguably) his weakest album, "Honkytonk U," "As Good As I Once Was," and "Big Blue Note" all make the cut here. For me these are all poor songs...with the exception of "As Good As I Once Was," and even that's not a particularly memorable tune. From the brilliantly titled (though still very underwhelming) album "White Trash With Money" we get "Get Drunk and Be Somebody" and "A Little Too Late." "Get Drunk and Be Somebody" is a no-brainer, as I feel it's one of his most fun songs in years, and "A Little Too Late" is also a good song, so it's good to see them here.

In 1963, the strain of wearing so many hats in the entertainment industry led Frank Sinatra to jettison one of them: he sold his controlling interest in Reprise Records, the head of a record label no longer. Part of that strain had been caused by his difficulties in generating the kind of smash hits on the singles charts that he had enjoyed during his glory years at Capitol, and of his new albums competing with Capitol dumping his back catalogue onto the market at cut-rate price.

The other impact to not just his commercial prowess, but that of everyone else in the music industry, was of course the arrival of the Beatles to the U.S. in the winter of 1964. Far more than Elvis, they changed the nature of the market, and suddenly Sinatra had to compete not simply with a generation gap as he had in the fifties, but a major realignment of purchasing habits that went across a much larger segment of all age ranges.

Enter producer Jimmy Bowen and arrangers Ernie Freeman and Billy Strange, the latter two responsible for ten of the twelve arrangements on Greatest Hits. They helped Sinatra accept and incorporate newer sounds into his instrumental palette, and it showed in the chart placings, with the modern sounds of "Strangers in the Night," "Somethin' Stupid," "That's Life," and "Summer Wind" all making the top 40, the former two both #1, during Sinatra's most impressive assaults on the charts while at Reprise, in 1966 and 1967.

Certainly, the best item here is "Summer Wind," one of the last great collaborations with his mainstay, Nelson Riddle, and the final time one of their works made the radio. But the album is worth buying for the over-the-top, over-dramatic stabs Sinatra did make at commerciality here. The Gordon Jenkins' arranged "It Was A Very Good Year" has a very different meaning here than in the context of September of My Years, and all the songs here have their own very enjoyable charms, for schmaltz factor if nothing else.

This album proved once and for all that Willie Nelson was a great singer, not just a good country western singer. By reviving these great hits from the past, Willie Nelson revived his own career back in the Eighties. The title track, "Stardust," and "Georgia On My Mind," are sung the way Hoagie Carmichael intended them to be sung. Every song on this album is a masterpiece.

And so Columbia/Legacy's 30th anniversary edition of 'Stardust' includes a second CD of sixteen additional standards waxed by Nelson between 1976's "The Sound in Your Mind" and 1990's "Born For Trouble." Drawn from across fifteen years, there's more variety and less cohesion between the arrangements, which makes disc two less an album and more an opportunity to hear Nelson's evolving creativity.

Few of these tracks measure up to the inspiration of the original 'Stardust,' but there are highlights, including a gypsy-jazz country-blue version of "I'm Confessin' (That I Love You)," a downbeat, pre-Stardust take of "Lucky Old Sun," and a romantically yearning cover of "Mona Lisa" that features guitar runs reminiscent of Anton Karas' zither in "The Third Man."

In truth this new 2-disc compilation comes as close as any 'Essential' release to finally stop scratching the surface of their top quality material and dig deeper for the various riches. Indeed, the O'Jays recorded - under the direction of Gamble and Huff - so of musics greatest songs and so this double album has been a long time coming for sure.

During the 1970s The O'Jays were the most important male R&B vocal group and their recordings from 1972-79 remain both timeless and among the very best that Philadelphia International Records ever released. "Back Stabbers", "Sunshine", "992 Arguments", "Love Train", "Use Ta Be My Girl", "I Love Music" and the obscure single "The Big Gangster" were all '70s R&B anthems and this CD has them all ... of course.

It is just so hard to believe that there are fewer and fewer Soul Sisters that really still know how to sing their hearts out, that are just from the heart on the inside. Patti LaBelle has definitely shown that for over 5 decades in the music industry. On her own, as a member of The Bluebelles, and with LaBelle, she has really showed a lot of dominance with her voice and her strength that still stands the testiments of time. Nevertheless, with so many younger divas that have been overplayed on the radio lately like Beyonce', Rihanna and Fantasia Burrino from American Idol, feeling more like they are manufactured and not organic enough, it is easy to forget how influential Patti LaBelle really still stands. Now, there is another hits package that reflects her attitudes that just blow your mind away.

The new 2008 Essesntial Patti LaBelle is a double album that highlights Patti from her best over her big titles from the 60's, 70's, 80's and 90's. The songs have all been restored nicely, and bring in a few nice treats that appeal to longtime LaBelle fans. The album includes some very rare treats including some new, never-before released songs as well as standouts from her eras in the music industry. The collection includes her big attitudes like New Attitude, her #1 duet On My Own with Michael McDonald, as well as classic staples like If Only You Knew, Love, Need And Want You. The collection also mainly highlights great songs from her work with LaBelle on staples Moon Shadow, and the cult classic Lady Marmalade, and her beginnings with The Bluebelles on gems like Somewhere Over the Rainbow and I Sold My Heart To the Junkman.

There are also some rare gems here featured on this collection as well including a never-before live rendition of Harold Melvin & The Blue Notes If You Don't Know Me By Now, and the never-before released Disco dance edition of her song Release. While all the new songs are sure to bring fans to their knees, there are sadly a few great Patti LaBelle tracks that sadly were omitted from The Essential Patti LaBelle that would've brought in even more excitement including 80's tracks like Oh People, the classic If You Asked Me To (which was much more recognized from Celine Dion), as well as When You've Been Blessed (Feels Like Heaven) and Stip It Up to just name a few.

What can you say about Patti Labelle. They throw the title 'Diva' around way too much these day's. That said, Patti LaBelle is truly a DIVA. The CD is wonderful! Indeed, what really gets me is that she sounds the same live as she does recorded in a studio.

This new CD is an expanded edition of Patti's live show recorded at the peak of her powers and showcasing her deeply shared emotional connection with her fans. Featuring the signature songs 'Lady Marmalade', 'What Can I Do For You', 'The Spirit's In It' and 'Isn't It a Shame' as well as her essential rendition of the classic 'If You Don't Know Me By Now' which testifies to the power in the music from the original soul diva, the CD is both alive and passionate.

To be sure, there's no shortage of Willie Nelson best-ofs out there, but this far-flung 4-CD set is a real doozy. It draws on Willie's work from a number of labels, including former rivals RCA and Columbia (now both part of Sony-BMG) as well as early '60s recordings on Liberty (owned by EMI), a couple of tracks from his lone mid-period album for Atlantic and various offerings on Universal over the last ten years.

It's a fitting tribute to Nelson, a prolific trendsetter and stubborn iconoclast whose seventy-fifth birthday coincides with the album's release. The collection starts out with a prehistoric demo that Willie made around 1954 or '55, back before his early success as the songwriter of hits such as "Crazy" and "Nite Life..." Even back then, working in the real hillbilly days when Nashville was only beginning to consolidate its power as the center of a new country music industry, Willie had an odd, exceptional air about him.

His phrasing was already a little bit weird and his sense of rhythm was kinda cock-eyed. This collection moves from early hillbilly gems such as "No Place For Me" (an indie single that Willie self-released back in 1957), into his early work for RCA, a period that yields several off-the-radar gems, even though Nelson found the Nashville studio system creatively frustrating.

The playlists of this four CD set are not organized in strictly chronological order - there's a much-welcomed, intelligently thought-out aesthetic at play, which can pair a song from one era with another that compliments it in interesting ways. The big hits are there (although not all of them) but they are sandwiched between less well-known material that more fully illuminates Nelson's creative trajectories. After the "outlaw" era, Discs Three and Four take us into Willie's years of superstardom, and his long run of reinterpreting old standards and teaming up with old pals and heroes, first on a series of duet albums, and then on the Highwaymen records.

It's all dutifully sampled, although nothing touches the transcendent beauty of "Blue Eyes Crying In The Rain," which is one of the most brilliant works of country revivalism, and possibly Nelson's finest moment as a song stylist: even with all the other great songs included here, that's the one song that I find myself playing over and over again, even after all these years.

The packaging is pretty cool, too - it's eco-friendly, with soft cardboard slipcases instead of plastic trays, so it may feel a little unusual at first... But the real treat is the glossy booklet, which has a wealth of super-groovy photographs taken at all stages of Nelson's career, as well as pictures of all of his LPs ever released, which is also pretty neat.

Rising from the ashes in 2008, the Multi-Platinum Supergroup Asia recently returned with "Phoenix," the first new album featuring the original line-up in 25 years! At when I say the original line-up I mean just that: Geoff Downes, Steve Howe, Carl Palmer and John Wetton!

Indeed, what seemed to be an impossible dream finally came true in 2006 when all four original members of Asia reunited on stage. Two years later and the same band present their long overdue follow-up to 1983's "Alpha" ... and it seems that they haven't missed a beat.

This album has all the hallmarks of the classic band, with the more introspective lyricism of Wetton's recent solo and ICON outings. Three songs date to the eighties, letting the band wrap up some unfinished business: "Déyà," "Over and Over," and "Alibis" (previously known as "Jodie"). Furthermore, the verses on "No Way Back" sound strikingly like those from the Wetton/Downes tune, "Walking On Air," now attached to a catchier chorus.

I love both of Hayes' albums. Each was unique in it's own way and in it's own way trumped the other. "Trouble In Mind" is a breath of fresh air. One of the best albums I have listened to in a couple of years now. We need more artists like Hayes.

On this new album of his, the 32 year-old Carll navigates his way through both stormy weather and calm, sun-drenched waters with ease, emerging with songs that melt even the hardest heart in town. Their impact is heightened by the fact that they're songs born of both immersion in the works of his songwriting heroes and plenty of real world experience.

Yet another crackin' soundtrack release from Lakeshore Records, 'Doomsday' kicks starts the show with true blast from the '80s past to get yer all pumped up and ready for some zombie-fightin' action! Adam and his band of merry ol' Ant themselves are called early to the fore with the boombastic 'Dog Eat Dog,' before Frankie Goes To Hollywood' burst upon the scene with the Carnage Mix of their political smash 'Two Tribes.'

Sure 'Doomsday' (the film) may not be a high-profile picture for this Spring, but score producer Tyler Bates puts his pulsating signature orchestral/electronic stamp of approval on the project nonetheless.

More adrenaline-laced pieces like “Same Shit Different Era” and “Headless Love” provide the type of thrilling beats and nervy strings that listeners expect in this type of score, while earlier tracks like “Prologue” and “Exodus” hint at a sense of impending doom without overly hammering it home. “Hospital Battle” starts out like a commercial rock song before leading into more orchestral sounding and there are even hints of epic flourishes in the climactic ”Finish Her Off!”

The basic tagline to this new release is that 'Reproductions' is Charlotte Martin's way to cover prior hits/album tracks featuring renditions of some of her/our favorites, such as Interpol, Pearl Jam, Joni Mitchell, Massive Attack, New Order, and so, so many more. But in truth this album is way more, way deeper than that.

Indeed, her version of KD Lang's 'Constant Craving' is really very, very nicely orchestrated. It's a great song anyway for sure, but sounds just as good with the addition of Charlotte's newer choice of musical instruments as it does in it's original form.

She even gives a new spin to an old '80s staple 'Bizarre Love Triangle' (New Order), but it's her mishandling of The Cure's 'Just Like Heaven' that begins to show us the flawed cracks in her tried-inspiration. On the otherhand, her flair for melodrama well-serves Pearl Jam's 'Elderly Woman...' and her version of 'Obstacle 1' (Interpol) brings forth into semi-light a (her) version from their usual murky waters of gloom and despair!

From the first song Be Your Own Pet makes it clear: they are here to rock...and to have a good time while doing it. This brief, hilarious cd barely makes the 30-minute mark, but the songs pack such an intense punch that it's difficult to mind. It's truly the perfect follow-up to their first album released two years ago. The band has grown up in some respects: "Creepy Crawl," is slower, more melodic, and "You're a Waste," a also a slower, yet meaner tune about young love gone wrong, and is more mature than anything they've ever released.

Since 1997, New Found Glory has delivered brilliant punk power pop. Angst fueled by jangly guitars. And they delivered on the only way a self-respecting punk band would: on singles and EPs. NFG's first-ever greatest hits collection, chronicling the band's best-loved singles, album cuts and a couple of rare gems, "Constant Static" (previously available as a Japanese album bonus cut) and "Situations" (not commercially available, only streamed on Warped Tour website for a one-month period).

Like many compilation albums, beginning with the track “Hit Or Miss (Waited Too Long),” the songs are in order by album release, making it uncomplicated to dissect the pros and cons of the changes in style and sound the band has made over the years. For those of you not savvy concerning the New Found Glory discography: have no fear. The order goes New Found Glory-Sticks and Stones-Catalyst-Coming Home. Make some sort of mnemonic device; you’ll be quizzed on this later!

Can you honestly believe it has been 20 years since the classic 'Diesel & Dust' was released to critical acclaim?! My goodness where has the time gone?

For those not in the know, Midnight Oil are one of the most politically conscious bands in rock, singing about the political climate in their native Australia. In fact, lead singer Peter Garrett was an elected member of his country's government! 'Diesel & Dust' was their breakthrough album in the US and it spurred on by the driving single and lead track "Beds Are Burning". That song, propelled by its powerful horn section, is about the plight of the Aboriginal people of their homeland.

The other nine tracks all take on some sort of political bent. They show that one can make good music, make a statement and not come off as preachy or pretentious. "Put Down That Weapon" is a track that simmers along while "Dreamworld" is a frenetic rocker. "Whoah" & "Bullroarer" are calls for change. The album's centerpiece and one of the best songs to be released in the last twenty years is "The Dead Heart". The song has a majestical sound with kettledrums pounding through and a riveting doo-doo chorus, it is an unforgettable and powerful song.

Midnight Oil sings about subjects that we in America may not fully understand, but they convey the true power that music can be, because you find yourself pausing to think and hoping for change.

I'll be honest ... when I first read that Sony was releasing yet another version of one of my all-time favorite albums, Tapestry, I moaned and groaned. I knew I would HAVE to request it thru my Editor for review no matter what obstacles presented themselves ie: others in the office that might also have wanted to get their hands on it! Anyway, that aspect didn't present itself and so I was given this chance. After all, I've purchased the album (at least 3 times), the cassette, the 8 track, the MasterSound album, the 1987 CD, the gold-bit CD, and the 1999 remaster CD-- 9 copies of the basically the same album!

With this new 2008 "Legacy Edition," a 2nd disk containing all of the songs performed live in 1973 and 1976 was the latest hook to rack up more sales. Anyway, the packaging is indeed befitting a "deluxe" reissue, but the most surprising thing I would discover is just how great most of the live tracks are. Ms. King's voice is at its strongest and some of these versions, most notably "Way Over Yonder" are not only better than any prior version, but they take on all-new power.

While the recorded version of this song was always my least favorite (if such a thing could really ever be said) of the 12 tracks on the original, it's as if you are listening to a freshly written song hearing this latest impassioned live version. The same can be said of the versions of "You've Got a Friend" and "Will You Love Me Tomorrow?" - ergo, Carole's singing and piano playing is perfect.

Hans York (a.k.a Hannsjoerg Scheid) is a little-known singer-songwriter both in his native Europe and his adopted American homeland, but if fate rewards excellence, this will change. York is a songwriting genius who has discovered surprising chordal resolutions and rhythmic grooves and on the follow up to "Inside Out" has brought them all to the fore on "Young Amelia."

In the past, York has made a name for himself as a DADGAD acoustic player, but the Celtic melancholy of that tuning does not come through at all on "Young Amelia." Instead, along with producer Stuart Epps by his side, these are upbeat jazz-pop masterpieces more akin to those of Sting, Al Stewart or Stephen Bishop. In fact, his vocals, though ever-so-slightly accented from his German heritage, sound as if they were cloned from Bish on "Listen to the Moon."

York is a very talented multi-instrumentalist and writer. His production skills too hover impressively in the same higher ground. "Young Amelia" is one indie release that the labels should heed.

1. Tell Me Why 2. Snow 3. Love is Here 4. Young Amelia 5. Lifeline 6. Inner Windows 7. Invocation 8. Letting Go 9. Ever Falling 10. The Garden 11. Brilliant Light 12. Never Been In Love

"Liverpool 8" is the brand new album from legendary artist Ringo Starr, his first with EMI since the early 70s. The CD features 12 new tracks, written and produced by Ringo Starr and Dave Stewart, recorded in En