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Various Artists Jazz in the Charts Vol.89: Beyond the Sea 1948

Various Artists Jazz in the Charts Vol.89: Beyond the Sea 1948

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You've got to credit Kevin Spacey for sheer gumption: Not only did he choose to direct a biopic about Bobby Darin (not the hippest of 1960s singers), but he also decided to star in it despite the fact that he was in his mid-forties and Darin died at 37. As if this weren't enough, unlike, say, Jamie Foxx in Ray Spacey performs all the songs himself. The hard-driving "Hello Young Lovers" starts off the soundtrack album with a bang, the actor working with the big band with casual ease. While Darin is now best known for his swinging "Mack the Knife" and his adaptation of Charles Trenet's "La mer" ("Beyond the Sea"), he also explored folk and scored with the teeny-boppy "Splish Splash." Spacey acquits himself honourably in all these genres, though he's best when he swings hard and his yelpy "Splish Splash" lacks the required levity. No matter what you think of the film itself, what we hear on this album is an actor who wouldn't be out of place in a Broadway musical. --Elisabeth Vincentelli
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Various Artists Jazz in the Charts Vol.89: Beyond the Sea 1948
Alec Empire Low on Ice

Alec Empire Low on Ice

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Recorded while on tour in Iceland, the depressive arctic transmissions of Low On Ice reflect a desolate volcanic terrain of peaks and open plains. Empire's cold soul dub is a body of music whose tolerance is racked by dropping temperatures, disorientation and displacement of time. Devoid of high-frequency emissions, "37.2 Pt 1" is the sound of chaos filtered through concrete, club music heard from outside the club. "20 (1)" and "20 (2)" record anxiety at the point of freezing, as paranoia seeps through cracks in the psyche. Motion blurs the upbeat drums on '22:24', creating stilled slices of time with echo effects, while Bullish sub-bass underpins Low On Ice throwing up a fog that masks the senses and inducing a narcotic lull. Dread sounds pervade "2572". Unsettling spectral voices scream at fever pitch from a distance while the bass acts as an atmospheric irritation on the lower ear. The distressed funk of "We Were Burnt" arrives as a final burst of energy in this relentlessly slothful setting, where stray broadcasts slowly strafe the landscape leaving a trail of frozen sound. --Chris Campion
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Alec Empire Low on Ice
Abba The Definitive Collection

Abba The Definitive Collection

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Is there anything which screams the 1970s most indelible pop cultural clichés-more than the Swedish pop phenomena Abba and their Definitive Collection? While many a pundit snootily dismissed them during their prime as some sort of prefabricated aberration, their worldwide popularity peaked somewhere just south of Beatlemania. Indeed, Abba's music was as finely tooled and crafted as anything to come from a Volvo or Ikea factory --if occasionally more economically potent. This double-disc, 37-track anthology comes neatly on the heels of Mama Mia, the smash, if unlikely, stage show based on the band's hits, and documents every single released by the band's Polar label in their home country was as well as key tracks released as singles elsewhere internationally. When you hear the term "Europop," this is the canon from whence the term sprang. With a continental sense of vocal neo-classicism, informed by just the right ethnic clichés (and oft wed to the era's insistent 4/4 disco beat) to make songs like "Mama Mia", "Fernando", "Chiquitita" and "Voulez-Vous" work on a global scale, the writing team of Bjorn Ulvaeus/Benny Anderson and their respective partners in music and life, Agnetha Faltskog and Frida Lyngstad, developed the seamless, wall-of-sound productions contained herein. Definitive Collection features a rare single remix of "Ring, Ring" and a 1979 promo-only extended mix of "Voulez-Vous" as bonus tracks, as well as a concise, illustrated history of the band and each track. --Jerry McCulley
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Abba The Definitive Collection
Brian Wilson Smile

Brian Wilson Smile

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There should be fanfares. Every contributor to pop's legacy should respectfully bow down in silent thanks that Smile has finally been officially released. It may not be the original album (the tragic deaths of Carl and Dennis Wilson, and perpetual legal wrangles ensure The Beach Boys remain steadfastly estranged from this re-recording, and each other), but that won't matter to fans who devoured bootlegs, worshipped the recycled Smile songs that appeared on later albums and obsessed over literature such as "Look! Listen! Smile! Vibrate!" or Andrew Doe and John Tobler's Definitive Beach Boys guide. Imagine waiting 37 years for a train to the best theme park in the world. Finally, there you are, and despite the paint job, it still doesn't fail to delight. Well, that's what it is to listen to Smile. The ideas may seem far-out initially, but they soon reveal themselves as pop-art at its absolute zenith. Who can argue with the sublime "Cabinessence"? The majesty of "Surf's Up"? And (least of all) the jewel in the crown of pop music "Good Vibrations"? Modern music may have caught up, but Smile's joyous trundle through Americana will leave mouths open wide in wonder. The gripes over the absence of Beach Boy vocals, (particularly Carl Wilson and Mike Love) may be valid, but Wilson's band are respectful imitators, and this is the best Brian's sounded in years--his world-weary, poignant voice conveys Van Dyke Parks' impressionistic lyrics more maturely than his younger self. It's impossible to give a definitive opinion, because it's something that everyone needs to hear, history or no history, and though it may not quite satisfy 37 years worth of anticipation, or stand up to the original version (this version shows Brian was so, so close to originally finishing it), it's unquestionably the album of the decade. --Thom Allott
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Brian Wilson Smile
Thomas Newman American Beauty

Thomas Newman American Beauty

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We knew Thomas Newman was versatile (he's created gripping soundtracks for everything from The Shawshank Redemption to Desperately Seeking Susan), but his score for American Beauty is simply gorgeous and one his best. Filled with inventive instrumentation--tablas, bird calls, dulcimer, banjo, ukulele, detuned mandolin, and more--the score varies between highly rhythmic, world-music influenced passages ("Dead Already," "Lunch with the King") and the more subdued ("Mr. Smarty-Man," "American Beauty"). Throughout, Newman's score is inventive and a great complement to the dark comedy's numerous mood swings. The movie's other soundtrack--a collection of memorable alt-rock tracks--gave us just a sampling of this score. Here's the rest. It's short (37 minutes) but sweet. --Jason Verlinde
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Thomas Newman American Beauty
Brian Wilson Smile - Jewel Case Version

Brian Wilson Smile - Jewel Case Version

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There should be fanfares. Every contributor to pop's legacy should respectfully bow down in silent thanks that Smile has finally been officially released. It may not be the original album (the tragic deaths of Carl and Dennis Wilson, and perpetual legal wrangles ensure The Beach Boys remain steadfastly estranged from this re-recording, and each other), but that won't matter to fans who devoured bootlegs, worshipped the recycled Smile songs that appeared on later albums and obsessed over literature such as "Look! Listen! Smile! Vibrate!" or Andrew Doe and John Tobler's Definitive Beach Boys guide. Imagine waiting 37 years for a train to the best theme park in the world. Finally, there you are, and despite the paint job, it still doesn't fail to delight. Well, that's what it is to listen to Smile. The ideas may seem far-out initially, but they soon reveal themselves as pop-art at its absolute zenith. Who can argue with the sublime "Cabinessence"? The majesty of "Surf's Up"? And (least of all) the jewel in the crown of pop music "Good Vibrations"? Modern music may have caught up, but Smile's joyous trundle through Americana will leave mouths open wide in wonder. The gripes over the absence of Beach Boy vocals, (particularly Carl Wilson and Mike Love) may be valid, but Wilson's band are respectful imitators, and this is the best Brian's sounded in years--his world-weary, poignant voice conveys Van Dyke Parks' impressionistic lyrics more maturely than his younger self. It's impossible to give a definitive opinion, because it's something that everyone needs to hear, history or no history, and though it may not quite satisfy 37 years worth of anticipation, or stand up to the original version (this version shows Brian was so, so close to originally finishing it), it's unquestionably the album of the decade. --Thom Allott
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Brian Wilson Smile - Jewel Case Version
Brian Wilson Smile (Limited Edition - Amazon.co.uk Exclusive)

Brian Wilson Smile (Limited Edition - Amazon.co.uk Exclusive)

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There should be fanfares. Every contributor to pop's legacy should respectfully bow down in silent thanks that Smile has finally been officially released. It may not be the original album (the tragic deaths of Carl and Dennis Wilson, and perpetual legal wrangles ensure The Beach Boys remain steadfastly estranged from this re-recording, and each other), but that won't matter to fans who devoured bootlegs, worshipped the recycled Smile songs that appeared on later albums and obsessed over literature such as "Look! Listen! Smile! Vibrate!" or Andrew Doe and John Tobler's Definitive Beach Boys guide. Imagine waiting 37 years for a train to the best theme park in the world. Finally, there you are, and despite the paint job, it still doesn't fail to delight. Well, that's what it is to listen to Smile. The ideas may seem far-out initially, but they soon reveal themselves as pop-art at its absolute zenith. Who can argue with the sublime "Cabinessence"? The majesty of "Surf's Up"? And (least of all) the jewel in the crown of pop music "Good Vibrations"? Modern music may have caught up, but Smile's joyous trundle through Americana will leave mouths open wide in wonder. The gripes over the absence of Beach Boy vocals, (particularly Carl Wilson and Mike Love) may be valid, but Wilson's band are respectful imitators, and this is the best Brian's sounded in years--his world-weary, poignant voice conveys Van Dyke Parks' impressionistic lyrics more maturely than his younger self. It's impossible to give a definitive opinion, because it's something that everyone needs to hear, history or no history, and though it may not quite satisfy 37 years worth of anticipation, or stand up to the original version (this version shows Brian was so, so close to originally finishing it), it's unquestionably the album of the decade. --Thom Allott
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Brian Wilson Smile (Limited Edition - Amazon.co.uk Exclusive)
Martin Denny Exotic: the Exotic Sounds of Martin Denny

Martin Denny Exotic: the Exotic Sounds of Martin Denny

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During the late 1950s and early 1960s the exotic sounds of Martin Denny pricked up the ears of cold war America. At that time, America was experiencing a craze for neo Polynesian/Hawaiian chic; bamboo bars and Tiki-themed restaurants with grass-skirted waitresses where springing up everywhere. Exotica was the soundtrack for bamboo acolytes. Playing at Hawaii's Shell bar in 1956, Martin Denny pioneered his unique sound: a cocktail of animal calls, exotic instruments, Latin rhythms and esoteric jazz. The music evoked images of garlanded, grass-skirted natives, Hawaiian sunsets, lush rainforests, forbidden Eastern pleasures and the mysteries of the Orient. Denny released 37 albums for Liberty Records, with sales totalling over 4 million copies. In 1957, his first album, Exotica, topped the American charts with the single "Quiet Village" reaching number two. Subsequent releases included Exotica 2 and 3, Forbidden Island, Primitiva, and Hypnotique. This collection draws heavily from Martin Denny's early excursions, demonstrating why he remains the Tribal Elder of Exotica. -- F.B.Hawkes
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Martin Denny Exotic: the Exotic Sounds of Martin Denny
Cream Royal Albert Hall: London 2-6 May 2005

Cream Royal Albert Hall: London 2-6 May 2005

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Cream were, as has been reasonably argued, the world's first supergroup. Less contestably, they remain the best-ever supergroup until this day. When guitar deity Eric Clapton, bassist Jack Bruce and drummer Ginger (actually he's more silver these days) Baker reconvened for some box-office busting comeback shows at the Royal Albert Hall in 2005--some 37 years after the band had waved farewell at the very same venue--expectations ran high and the faithful weren't left short-changed. Royal Albert Hall is a splendid souvenir of a band who got their vibe back together for love, self-satisfaction and nostalgia. Nowhere is there any attempt to compromise the band's integrity, redefine the formula or extend the hand of friendship to a younger generation by toning down some of the more indulgent extravagances of their original era. You get the blues (in the case of "Stormy Weather" gloriously so, Clapton's fretwork is electric), psychedelia ("NSU"), that leviathan nine minute drum solo (Ginger's "Toad"), a novelty tune (Ginger's Kenneth Grahame on acid ditty "Pressed Rat and Warthog") and anthems of the magnitude of "Badge" and "Sunshine Of Your Love". For a more comprehensive assessment of Cream's legacy to rock, novices ought to start with the recent I Feel Free: UIltimate Cream compilation but as reunions go Royal Albert Hall gives longstanding fans of Cream plenty to lap up. -- Kevin Maidment
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Cream Royal Albert Hall: London 2-6 May 2005
Haydn: 11 Piano Sonatas

Haydn: 11 Piano Sonatas

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There is probably no finer Haydn pianist around today than Alfred Brendel. He has lived with this music for years, and understands so well not only the quirky turn of harmonic phrase, the little jokes with which Haydn likes to pepper the pages, but also the emotional depths to be found not far beneath apparently jovial surfaces. Brendel sets the scene with one of Haydn's greatest and grandest keyboard sonatas--the C minor--and within the four discs explores the many sides of this irresistible music. The Presto finale of the E flat Sonata, HobXVI:52, for example, presents Haydn the comedian, pulling out of his hat one novel effect after another. Contrast this with the slow movement of the D major XVI:37 which has a gravely "ancient" feel about it. The set ends on a high too, with an immensely moving performance of the sublime F minor Variations. The recordings, which date from the late 1970s and early 1980s, are perfectly acceptable. If you want to acquaint yourself with Haydn's keyboard music, you couldn't have a more entertaining or erudite guide than Brendel. -- Harriet Smith
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Haydn: 11 Piano Sonatas
Grandmaster Flash Back To The Old School - Adventures On The Wheels Of Steel

Grandmaster Flash Back To The Old School - Adventures On The Wheels Of Steel

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Kool Herc was the first hip-hop DJ, and Afrika Bambaataa had a better record collection but Grandmaster Flash was the first turntablist--the first DJ to play the wheels of steel like an instrument. Working with the first MC supergroup--the Furious Five, the Wu-Tang Clan of their day--Flash charted the course of hip-hop for years to come. This collection charts Flash's many highs, from "The Adventures of Grandmaster Flash on the Wheels of Steel" to "Scorpio", "White Lines" to "The Message"; but at 37 tracks, there's plenty of room for Flash's lesser-known works, only some of which are of more than archival interest. Though Flash's hits can be found on any number of packages, Back to the Old School puts them in a context that makes them all the more impressive. --Randy Silver
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Grandmaster Flash Back To The Old School - Adventures On The Wheels Of Steel
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