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Special FeaturesSpecial Features 3 for £10: CDs Artists' Choice Best of 2010 Bestselling CDs from £2.97 Budget CDs Christmas Party Compilations Concord Music Group Deluxe Editions Deutsche Grammophon EMI Classics Essential Albums Festival CD Bargains Formats Mercury Music Prize 2007 Ministry of Sound Music & DVD 3 for £15 Music Festivals 2010 Music Gift Ideas for Mother's Day New & Future Releases Sellaband Summer Party Compilations The Best of the Best Music
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Release Date: 2000-04-03
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| Amazon.co.uk ReviewThe joke of Licensed to Ill's cover--that the Beasties could crash their jet into the side of a mountain and keep on tickin'--serves as a good metaphor for a career that even some of their 1986 admirers thought might be over after the one-time-only shock of this full-length debut. That thousands of funk-junkie wannabes have since failed at re-creating its groove, breaking-the-law vibe, and ear-splitting mix of rock and rap is an even better joke. And funniest of all is the record itself, which packs aural puns and lots and lots of yelling into an album that can still be listened to with as much pleasure as it gave in 1986. --Rickey Wright
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Release Date: 2001-08-20
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| Amazon.co.uk ReviewNo one can say Simon and Garfunkel went out with a whimper. The popular duo's 1970 swan song produced four hit singles and won six Grammy awards, including Record, Album, and Song of the Year. An involving mix of sweeping epics ("The Boxer", the title track) and breezy throwaways (a live cover of the Everly Brothers' "Bye Bye Love", the rock & roll trifle "Baby Driver"), Bridge was one of the most popular albums of its era. What's particularly striking about this collection is how brightly lesser-acclaimed songs like "So Long Frank Lloyd Wright" and the gorgeous "The Only Living Boy in New York" shine. --Steven Stolder
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Release Date: 2005-05-21
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| Amazon.co.uk ReviewIf film and music fans sometimes wonder why soundtracks are often little more than pastiches of past pop hits and chart flavors of the moment, it's largely due to the blockbuster success of releases like this collection from 1987's surprise Patrick Swayze/Jennifer Grey romantic hit. The film's retro-romantic concerns came shrewdly wrapped in a (largely manufactured) dance craze conceit tailor-made for such pop chestnuts as the Ronettes' "Be My Baby," the Zodiacs' "Stay," and the Five Satins' "In the Still of the Night." Mickey and Sylvia once again argued that "Love Is Strange"--if not quite as strained as Swayze's own attempt at balladry, "She's Like the Wind." Eric Carmen's "Hungry Eyes" showcased the former Raspberries leader to good effect, but the real soundtrack sweepstakes winner here was the Jennifer Warnes/Bill Medley duet "(I've Had) The Time of My Life." That performance not only won the Best Original Song Oscar the following year, but became one of the era's most performed songs and a ubiquitous radio staple. --Jerry McCulley
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Release Date: 2004-07-26
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| Amazon.co.uk ReviewIn 1979, not content with being one-third of America's hottest recording act, Barry Gibb still had some songs to spare. However, perhaps fearing that the famous falsetto was already proving a little too ubiquitous, the hirsute Bee Gee hooked up with Barbra Streisand. Predictably, Guilty instantly became the singer's biggest selling album. With the Donna Summer duet "Enough Is Enough" still fresh in the folk memory, many expected Gibb's involvement to result in a full-on disco extravaganza. Gibb though, had already left the dance floor behind and, if anything, Guilty is best seen as a companion piece to the Bee Gees' beautifully introspective Spirits Having Flown album. "Guilty" and "Make It Like A Memory" are particular standouts, object lessons in pristine FM pop, whilst the Grammy-gobbling "Woman In Love" singlehandedly explains why Streisand insisted on posing in Gibb's embrace for the sleeve image. --Peter Paphides
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Release Date: 2001-09-10
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| Amazon.co.uk ReviewKarl Jenkins' The Armed Man: A Mass for Peace is a departure from his Adiemus recordings into the more conventional territory of large-scale choral and orchestral writing, though his customary passion for mixing languages remains in full force with texts in English, Latin and French. Jenkins has said that The Armed Man was inspired by the "L'Homme armé" masses which were popular in the 16th century, and he makes this debt clear with passages written in a neat pastiche of Palestrina-style renaissance polyphony. There are also echoes of earlier and later styles, including plainchant, medieval ballads, James Barry-style horn writing (think Goldfinger) and even a direct quote from Rigoletto (the choir imitates wind sounds at one point as in Act 3 of Verdi's opera). The smorgasbord manages to hold together, probably because Jenkins' obvious sincerity shines through every note. The London Philharmonic Orchestra plays beautifully, and treble Tristan Hambleton performs his solo with ethereal clarity. The National Youth Choir sings with vigour and accuracy, even if the young sopranos sound a little thin at the top of their range. If you liked the soundtrack to The Mission, this should press all the right buttons. --Warwick Thompson
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