SHREK'S THRILLING TALES is the ultimate Halloween DVD compilation for your family. Featuring the scariest, ugliest, and funniest characters from DreamWorks Animation's successful SHREK and MONSTERS VS. ALIENS franchises. Plus the shrek halloween special Scared Shrekless

2 Unlimited

Abba ABBA Gold (1999 UK limited edition 19-track digitally remastered CD album released to celebrate the 25th Anniversary of Abba winning the Eurovision Song Contest includes all their classic hit singles such as Dancing Queen Take A Chance On Me Mamma Mia Super Trouper The Winner Takes It All Voulez Vous Thank You For The Music Waterloo and many more. Housed in the original custom-stickered jewel case which gold-inscribed with their signatures!)

Abba

Adams, Bryan So Far So Good offers up 13 of his previous hits plus a new song, "Please Forgive Me", a gooey, Michael Bolton-like ballad. The album starts out with "Summer of 69", the appealing autobiographical song about the 10-year-old Adams learning to play his first guitar in Ontario, and includes "(Everything I Do) I Do for You", the synth-laced ballad that wound up in the Guinness Book of World Records after topping the British singles charts for 16 weeks. With its over-the-top, gravelly vocals, So Far So Good reminds one of Rod Stewart's 1980s work when he was coasting on past achievements. Unfortunately, Adams has never had a period like Stewart's glory years in the 1970s. —Geoffrey Himes

Adele Adele Laurie Blue Adkins, better known simply as Adele, is an English singer-songwriter, musician and multi-instrumentalist. Track List: 1. "Daydreamer" 2. "Best for Last" 3. "Chasing Pavements" 4. "Cold Shoulder" 5. "Crazy for You" 6. "Melt My Heart to Stone" 7. "First Love" 8. "Right as Rain" 9. "Make You Feel My Love" 10. "My Same" 11. "Tired" 12. "Hometown Glory"

Aerosmith

Aguilera, Christina Like fellow former Mickey Mouse Clubber Britney Spears, Christina Aguilera kicks off her debut album with a teen-lust nugget—in this case, the hit single "Genie in a Bottle"—that the rest of the disc can't possibly live up to. Aguilera has a strong voice, but patterns herself after iffy role models such as Whitney Houston and Mariah Carey. Aside from "Genie", most of this music is straight from the cookie cutter, like the less than successfully sultry "When You Put Your Hands on Me" and the Mulan ballad showpiece "Reflection". In chart terms, though, there'll be no stopping her—at least for a while. —Rickey Wright

Aguilera, Christina Like fellow former Mickey Mouse Clubber Britney Spears, Christina Aguilera kicks off her debut album with a teen-lust nugget—in this case, the hit single "Genie in a Bottle"—that the rest of the disc can't possibly live up to. Aguilera has a strong voice, but patterns herself after iffy role models such as Whitney Houston and Mariah Carey. Aside from "Genie", most of this music is straight from the cookie cutter, like the less than successfully sultry "When You Put Your Hands on Me" and the Mulan ballad showpiece "Reflection". In chart terms, though, there'll be no stopping her—at least for a while. —Rickey Wright

Aguilera, Christina CHRISTINA AGUILERA Stripped (2002 UK 20-track CD album - all the comparisons with Britney and the many other US popstresses are blown away with this album. Collaborations with the cream of the rap world [Lil Kim and Redman] plus tons more attitude add up to a album that moves Christina into the high realms of the US R&B/ Hip-Hop world. Includes the singles Dirrty Beautiful & Fighter; sealed & stickered picture sleeve)

Aguilera, Christina CHRISTINA AGUILERA Back To Basics (2006 Taiwanese limited edition enhanced 2-CD album set which sees the delicious diva paying tribute to the music that inspired her with a modern take on vintage jazz soul and blues from the 1920s 30s & 40s creating a wildly inventive sound with a throwback style thats gritty and raw; including the single Aint No Other Man plus CD-Rom section featuring exclusive behind the scenes footage presented in unique card picture slipcase

Air

Air AIR Moon Safari (1998 UK 10-track CD album including Sexy Boy & Kelly Watch The Stars sealed picture sleeve)

Alisha's Attic Two hippy-chick sisters with a penchant for fairytale and fantasy, Shellie and Karen Poole bring you Alisha Rules the World: a debut album for anyone who's a fan of music written for and about slightly ditzy and occasionally troubled young girls—it does, after all, include debut single and all-round girly anthem "I Am, I Feel". The kooky duo vent their collective spleen about the trials and tribulations of being female, about men being men, and even offer sisterly support on "Indestructible". Despite occasionally straying into Alanis Morissette territory ("The White Room"), this is one of the nicer and less bile-ridden options within this genre. This is due, at least in part, to one time Eurythmic Dave Stewart's polished and clean production, which prevents the duo from sounding angry enough to alienate male listeners. The girls sound is pervadingly Eighties, harking back to the days of the Belle Stars. Choral vocals, Indian chanting, whispering and "Na-Na-Na's" abound. —Ronita Dutta

Alisha's Attic Mellow and a lot more polished than their previous two albums, The House We Built is Alisha's Attic's coming-of-age release. The "in your face" Alanis Morissette and Kate-Bush-style weirdness of Illumina and Alisha Rules The World has been replaced by pop melodies straight from the 1960s and 1970s. There are throwbacks to other female rock legends though, as "Perfectly Happy" is pure Chrissie Hynde. The Hynde connection is also around on another track but only in name, with the sultry Mediterranean-style tune, "Pretender Get My Heart". "Sex Is On Everyone's Tongue", is an intelligent, un-moralistic, assessment of society's infatuation with sex, and incorporates the "saucepan" percussion arrangement made famous on "Push It All Aside". Once viewed as the angry Essex girls of pop (the sister hail from Dagenham), this release sees the pair materialising into the "Cosmo" women of music. The Poole's third album is stylish, fresh, obsessed with love and sex but also totally frank. —John Galilee

All Saints, The All girl, all singing and all dancing quartet Shaz, Mel, Nic and Nat's debut album could easily be repackaged today as a Greatest Hits collection. This is no bad thing. It features six of the sassy ladeez hit singles "Never Ever", "Bootie Call", "I Know Where It's At", "Under the Bridge", "Lady Marmalade" and "War of Nerves". The girls fuse all the best bits from swing, soul and disco, flex their vocal chords and chorus flawless harmonies to deliver perfect pop songs, with production from Nellee Hooper (Bjork/ Madonna/ Soul II Soul), Cameron McVey (Neneh Cherry/ Massive Attack) and UK R&B stalwart Karl 'KG' Gordon. From the band's finest hour (the Shangri-Las-esque talking at the beginning of "Never Ever") to the sheer dirtiness of Shaznay's laugh on "Beg", All Saints is a bag of finger clickin' pop hits. —Ronita Dutta

All Saints, The All Saints' second album, Saints and Sinners finds them on the run from the melancholic soul-pop of their eponymous debut. Defiantly more direct and sophisticated than its predecessor, this is a resolutely upbeat affair. Fortunately rather than re-invent themselves as men-bashing R&B divas, they have chosen to stick to their usual formula: song-writer, Shaznay Lewis's helium-high voice takes centre stage, Melanie Blatt and the Appleton sisters provide fluffy and light harmonies and a string of producers including William Orbit (Madonna) deliver euphoric, technicolour grooves. The UK version includes two rather pleasant bonus tracks, "I Don't Wanna Be Alone" and "One More Tequila", but the best material appears on the first half of the album. There's nothing quite as sublime as the undeniably feel-good opener, "Pure Shores" (also featured on The Beach soundtrack), but "Distance" a bewitching combination of flamenco guitar, piano and dance-floor friendly beats comes close. Saints and Sinners doesn't exert its power in subtle ways and there are occasions when they don't quite pull off their attempts to be quirky ("Whoopin' Over You"). However there is plenty of weight and breath here, a mood and groove for every occasion, just as long as that occasion is life-affirming. In fact, Saints and Sinners sounds like someone turned the "dark" off!—Maxine Kabuubi

All Saints, The

All Saints, The ALL SAINTS All Hits (2001 UK 11-track CD album featuring all their greatest hits including Never Ever Pure Shores Bootie Call plus Twentyfourseven - Artful Dodger & Melanie Blatt)

Anastacia ANASTACIA Anastacia (2004 UK 12-track CD album including the singles Left Outside Alone & Sick And Tired and featuring an appearance by Sonny [P.O.D.])

Apollo 440 Fatboy Slim digs deep in the vaults, finds an obscure surf-guitar classic, and with a wave of his big beat wand, "Sliced Tomatoes" by the Just Brothers undergoes a phoenix-like rebirth, emerging as the all-conquering "Rockafeller Skank". Meanwhile, Apollo Four Forty nip down the local Oxfam, and pick out Status Quo's "Caroline". It's the main sample on their Top Ten smash "Don't Stop The Rock". Will this do? Actually, yes. Big beat has a way with making the cheesiest of rock moves seem like God-given dancefloor charm, and much of Gettin' High is a pretty competent, self proclaimed festival of the dumb. No, "Crazee Horse"'s refrain of "I got no remorse / Like a crazee horse" doesn't quite have the same idiot savant ring as "check it out now/ the funk soul brother", but "Lost In Space" has no doubt filled more dancefloors than the rest of the Skint roster put together, which makes Gettin' High pretty hard to knock. —Louis Pattison

Arrested Development With their feel-good humanism, uniquely rural perspective, and melodic blend of funk and rap, Arrested Development seemed like the next big thing in 1992. The group hailed from Atlanta, which was not then a capital of hip-hop and R&B, and this, their debut recording, won the New York Village Voice's Pazz & Jop critics poll. Speech, the primary lyricist, wrote and delivered eloquent attacks on gangsta rap's mindless nihilism: the band's first hit, "Tennessee", spoke of reclaiming Southern black traditions from the racism that sullied their memory, while their second, "People Everyday", deftly updated the Sly Stone classic. Although Speech's rapping style was not distinctive, Dionne Farris's keening vocals highlighted the band's front line. Unfortunately, Speech began to run short of ideas and the band failed to maintain the high standards that this debut set. They disbanded a few years later. —Martin Johnson

Arrested Development I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

Art of Noise, The Seminal mid-1980s electro-pop players (their hit "Close to the Edit" recently provided sample fodder for Prodigy's "Firestarter"), Trevor Horn, Paul Morley, Anne Dudley, and new addition Lol Creme (of 10cc), have regrouped as Art of Noise just in time to introduce classical-jungle fusion to the world. Using revered composer Debussy's melodic blueprint to build its elaborate, velvety drum & bass compositions, the group manages to make what initially seems like a dodgy idea sound somewhat viable, particularly on dreamy, atmospheric tracks like "Out of This World". Vocal contributions come from Sally Bradshaw, Donna Lewis, Rakim, and even actor John Hurt. —Aidin Vaziri

Atomic Kitten Time was you couldn't swing a cat in the charts without hitting an all girl-group, but thank heavens for Atomic Kitten—the feisty pussies grabbed the collective pop world by the privates and dragged it kicking and screaming onto the dancefloor with their attitude-driven campy pop anthems. Their debut features the first four singles: "See Ya", "I Want Your Love", "Right Now" and "Follow Me", the latter seemingly setting the standard for the rest of the album as the Kittens go all grown-up and mature on us. Tracks like "Cradle", "Bye Now" and "Hippy" all wander around in different directions without really going anywhere and the only tracks that really cut loose are the fabulous 1970s mover "Turn Me On" and the glorious catchy "Do What You Want"—kind of S Club 7 on sherbet. All in all, fans will lap this up, but the rest should wait for the next album when the Kittens will have hopefully sharpened their claws a bit more and remembered how to have fun again. —Jonathan Weir

Atomic Kitten Masterminded by former OMD front man Andy McCluskey, Atomic Kitten first came to prominence in 1999 when their single 'Right Now' reached number 10. Also included in this 15-track Collection is 'Whole Again', 'Ladies Night', 'It's OK', 'Follow Me' & 'Love Doesn't Have To Hurt'. EMI Gold. 2005.

B*Witched Labelled Ireland's Spice Girls, B*Witched's self-titled debut album mixes snatches of Irish jigs and the girls' mellow Celtic warbles with contemporary hip hop and funk influences. Their first hit "C'est La Vie" opens the album and sets the scene with its catchy chorus and jaunty melody. Their follow-up single, "Rollercoaster", is included, along with other fun and contagious tracks such as "Rev It Up" and "Freak Out". Disney soundtrack-style ballads such as "Castles In The Air" and "Oh Mr Postman" are also interspersed throughout. Guaranteed 100 per cent Irish charm with this album. —John Galilee

B*Witched Having effortlessly seduced both the domestic and American markets with their joyous cohesion of sparkling pop perfection, intricate dance steps and bubbly exuberance, Keavy, Edele, Lindsay and Sinead have widened their world-view with a second collection of tangible maturity. Where the majority of their chart-bound peers seem content to plough narrow formulaic furrows, Dublin's finest daughters casually embrace diversity and, as a consequence, have developed an assured and unique style which is simultaneously multicultural and cross-generic. The irresistible bounce of "Jesse Hold On" marries hillbilly banjo breaks to floor-filling beats, Ladysmith Black Mambazo guest on the worldly atmospherics of "I Shall Be There", while "Are You A Ghost" is a sumptuous slice of acoustic whimsy spiced to perfection with lashings of international pop gloss. With Awake and Breathe, B*witched prove beyond any shadow of a doubt that giggles, good looks and tender years aren't always necessarily synonymous with shallow disposability. —Ian Fortnam

B-52's, The

Badalamenti, Angelo It's no exaggeration to say that, though it lasted only 30 episodes, Twin Peaks started a revolution in North American television. In partnership with unsung hero Mark Frost, the visionary filmmaker David Lynch (Eraserhead, Blue Velvet) brought his dark and surreal perceptions to the small screen. 1980's TV had been dominated by the glossy soap operas Dallas and Dynasty: Twin Peaks subverted their formula and opened the door for Northern Exposure and The X Files. Essential to the show's impact was the extraordinarily atmospheric score by Angelo Badalamenti, and the fragile, little-girl-lost vocals of Julee Cruise. The main themes, portraying the town of Twin Peaks itself, and murdered teenager Laura Palmer, alternate between a lush, decadent and world-weary poetry and a fairytale innocence. While on three songs—"The Nightingale", "Into The Night" and the gorgeous "Falling"—Julee Cruise seems to summon ghosts out of the misty, autumnal air. Elsewhere the composer blends lonesome synthesisers with mournful solo instruments, creating otherworldly textures hinting at the dreamlike jazz to come in his score for the feature version, Twin Peaks: Fire Walk With Me. Other notable Badalamenti-Lynch collaborations include Lost Highway and The Straight Story. —Gary S. Dalkin

Ball, Michael Michael Ball ~ The Movies

Bananarama

Bay City Rollers

Beatles, The Duplicated Gift 2yrs ago will dispatch same day

Beatles, The

Bedingfield, Natasha CD Phonogenic, 82876 63702 2, 2004, 13 Track

Belle & Sebastian A cheerful pluck at the heartstrings, Fold Your Hands Child, You Walk Like A Peasant—Belle And Sebastian's fourth studio album—finds Scotland's finest twee-pop ensemble in playful mood. While previous album The Boy With The Arab Strap was characterised by hushed operatic drama, Fold Your Hands Child... skips and romps like an unruly infant—a far less focused piece, but endearing nonetheless. Stuart Murdoch is, as ever, the heart and soul of Belle & Sebastian, and it's his contributions that really shine—the sprightly "Woman's Realm" effortlessly taking centre stage. On "Beyond The Sunrise", Stevie Jackson hasn't quite grown into his Leonard Cohen baritone, and on "Family Tree", Isobel Campbell's lyrics are cloyingly twee: "I'm stuck in a cage / With a bottle of rage / And a family like the Mafia." But forgive them their follies—on Fold Your Hands Child..., these shy indie waifs make music that speaks volumes. And that's enough. —Louis Pattison

Bennett, Tony

Beyonce titolo-dangerously in loveartista-beyonce' etichetta-columbian. dischi1data27 giugno 2003supportocd audiogenereblack (r&b/soul/gospel/reggae)hip hop e rap——brani1.beyonce feat. jay-z / crazy in loveascolta2.naughty girlascolta3.beyonce feat. sean paul / baby boyascolta4.beyonce feat. big boi and sleepy brown / hip hop starascolta5.be with youascolta6.me, myself and iascolta7.yesascolta8.beyonce feat. missy elliot / signsascolta9.speechlessascolta10.beyonce feat. jay-z / that's how you like itascolta11.beyonce feat. luther vandross / the closer i get to youascolta12.dangerously in love 2ascolta13.beyonce interludeascolta14.gift from virgoascolta15.work it outascolta16.bonnie & clyde '03

Billy Connolly Musical Tour Of Scotland CD

Black Eyed Peas, The CD A&M, 9860692 16 Track

Blondie The third album from the most successful of all the bands to spring from the New York punk scene, Parallel Lines is perhaps the definitive Blondie album. Produced by pop svengali Mike Chapman, it epitomises the astute mix of new wave chic and pop sensibility that spawned four hit singles from the album, and gives Debbie Harry's voice a platform of sleek professional pop that it had previously lacked. "Hanging On The Telephone" is a driven, up-tempo gem, "Picture This" soars deliciously around blissful melodies, while "Heart Of Glass" flirts seductively with disco. And it's proof of the album's mettle that tracks like "Fade Away And Radiate" are just as impressive as the singles. —Amber Cowan

Blondie Excellent Condition , Plays Perfectly , fast U.K despatch

Blue, Deacon descrizionebrani1.james joyce soles2.fellow hoodlums3.your swaying arms4.cover from the sky5.the day that jackie jumped the jail6.the wildness7.a brighter star than you will shine8.twist and shout9.closing time10.goodnight jamsie11.i will see you tomorrow12.one day i'll go walking

Blunt, James Expanded edition of James Blunt's Back To Bedlam. Includes original disc and a second with a full live concert, recorded in Ireland in 2005.

Blur BLUR Parklife (1994 UK 16-track CD album including Girls & Boys picture sleeve FOODCD10)

Blur

Blur Compilation featuring the Best from One of Britain's Biggest, Most Innovative and Successful Bands

Bon Jovi This best-of is loaded with the usual smash suspects plus three new cuts—the sub-Mellancamp "Someday I'll Be Saturday Night", the Bed of Roses-style ballad single "Always", and a low-key remake of "Living On A Prayer" titled "Prayer '94". Love 'em or not, there's no denying the loyalty of the fans. —Jeff Bateman

Boney M I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

Boyle, Susan Inspirational and breathtaking, "I Dreamed a Dream" is the highly anticipated album from a global phenomenon whose dream has become reality.

She captured the hearts of millions and became a worldwide YouTube phenomenon with over 300 million hits. An inspiration for those who have a dream, the talented Susan Boyle presents her stunning debut album. Susan surprised the world with her powerful, heart stopping voice when she walked onto the Britain's Got Talent stage. Now with a beautiful and diverse album she will, once again, defy preconceptions. I Dreamed a Dream, the album, crafted by world acclaimed producer Steve Mac, demonstrates Susan Boyle's extensive musical ability. Featuring her signature songs, `I Dreamed a Dream' & `Cry me a River' the album also includes a haunting rendition of Rolling Stones "Wild Horses", Madonna's `You'll See, The Monkees `Daydream Believer' and "Who I Was Born To Be" an original recording written specially for Susan. Susan enthused; "It was my greatest ambition to release an album and I have finally achieved it. This amazing journey has helped me find my own identity and fulfill my wish. There is happiness out there for everyone who dares to dream."

Susan Boyle Photos

Brightman, Sarah

Britney Spears Jive, 9220392, Jewel Case 13 Track 2000

Bush, Kate

Busted UNIVERSAL, MCD60096, 13 Track

Butler, Bernard

C & C Music Factory

The Calling THE CALLING Camino Palmero (2002 UK 12-track CD album including the singles Wherever You Will Go and Adrienne plus the Bonus Live Version of Wherever You Will Go housed in the original hype-stickered jewel cases complete with picture /lyric booklet)

Cardigans, The 13 Tracks - 1. Carnival 3:37 2. Gordon's Gardenparty 3:22 3. Daddy's Car 3:35 4. Sick & Tired 3:24 5. Tomorrow 3:05 6. Rise & Shine 3:30 7. Beautiful One 3:28 8. Travelling With Charley 4:09

Cardigans, The CARDIGANS THE FIRST BAND ON THE MOON

Cardigans, The The fifth studio album from the Swedish superstars is "an uptempo beautiful pop song", per lead singer Nina Persson. The group have created a warm, intimate album filled with great songs that expand their musicianship and collective songwriting talents. The organic production give the material a "live in the studio" feel, spearheaded by Persson's voice, which is more expressive and colorful than ever. "Long Gone Before Daylight" is a musical labour of love, with cameo appearances by Pelle Almqvist (The Hives), Ebbot Lundberg (Soundtrack Of Our Lives) and Nick Royale (Hellacopters).

Carlisle, Belinda

Cascada

Cast of Glee, The 1. Proud Mary (Glee Cast Version)2. Endless Love (Glee Cast Version)3. I'll Stand by You (Glee Cast Version)4. Don't Stand So Close to Me5. Young Girl (Glee Cast Version)6. Crush (Glee Cast Version)7. (You're) Having My Baby (Glee Cast Version)8. Lean on Me (Glee Cast Version)9. Don't Make Me Over (Glee Cast Version)10. Imagine (Glee Cast Version)11. True Colors (Glee Cast Version)12. Jump (Glee Cast Version)13. Smile (Glee Cast Version) (Cover of Lily Allen Song)14. Smile (Glee Cast Version) (Cover of Charlie Chaplin Song)15. And I am Telling You I'm Not Going (Glee Cast Version)16. Don't Rain on My Parade (Glee Cast Version)17. You Can't Always Get What You Want (Glee Cast Version)18. My Life Would Suck Without You (Glee Cast Version)

Cast of Glee, The

Cast of Glee, The

Cast of Glee, The

Catatonia So finally, everyone realised what all the fuss was about. International Velvet saw Catatonia finally go overground, mainly down to the success of "Mulder And Scully", which stormed the charts when it was released and became an instant karaoke classic. There's much more to the album than the X Files' resident alien worriers though: "I Am The Mob" is a highlight, including the unforgettable line "Stop blowing the Don, put his kecks back on", while "Strange Glue" sees them in a more reflective, broken-hearted frame of mind. Undoubtedly a singles album, every song here stands up on its own. "Road Rage" is pure guitar filled pop, while "My Selfish Gene" has such a broken, torch singer quality, you could almost imagine Cerys singing it into her gin in a deserted Parisian piano bar. But it's the title track itself which sees the band refusing to be anyone but themselves, as they bluster "Every day / when I wake up / I thank the Lord I'm Welsh". If their nationality plays any part in how they sound, we should be thankful too. —Emma Johnston

Catatonia If International Velvet was Catatonia exploding into the public sights, Equally Cursed And Blessed is the sound of a band realising what's happened, and as such it is a much more personal album. Opening track "Dead From The Waist Down" is the view of America from a tour bus window, while "Bulimic Beats" is glassily fragile and backs Cerys' voice with a harp. Not that it lacks humour, even given the subject matter; The line "A front line with labels where I witness custard's last stand" shows a continued and healthy approach to taking the piss. In other places, Catatonia stomp in wittily as they always have, particularly with "Londinium" ("I come alive outside the M25") and the wonderful, Clash-tinged "Storm The Palace", an anti-Royalist song suggesting what we can do with the Queen and her house ("Turn it into a bar, let them work in Spar"). Plus, on "She's A Millionaire", Cerys has the best pronunciation of the word gynaecology ever put to record. —Emma Johnston

Chapman, Tracy With Let It Rain, Tracy Chapman has found a perfect platform for her potent voice. She and coproducer John Parish have opted for a muted approach where guitars and tambourines stir among simple, unadorned rhythms. The singer's once-strummed-acoustic-guitar is replaced by a more constant tidal flow, with handclaps, gospel-tinged choruses, and an open-barrelled bass drum marking time. Chapman even goes trip-hopping on "In the Dark"—a strangely shadowy highpoint featuring her artfully quavering vocal melody. The jumpy interludes on "Hard Wired" and the chamber interlude of "Over in Love" (that is reminiscent of the gorgeous interstitial tunes on Hem's debut) add colour. This is an awesomely crafted folk-soul creation for seasoned fans and for those who love Beth Orton and Norah J ones. —Andrew Bartlett

Chapman, Tracy

Cher She-who-has-only-one-name has been responsible for some of the biggest, world-swallowing hits of the late 20th Century and they're all collected here in one convenient, 19-track package: "Believe", "If I Could Turn Back Time", "Walking In Memphis", even the duet with ex-husband Sonny Bono "I Got You Babe". An excellent career overview of one of pop's premier divas. —Ted Kord

Cher CHER Love Hurts (Scarce 1991 12-track CD album including Love And Understanding Save Up All Your Tears and the Bonus Recording The Shoop Shoop Song [Its In His Kiss] housed in the original song-hype stickered picture sleeve GED24427)

Cherry, Eagle-Eye The offspring of jazz-trumpet great Don Cherry and half-brother of both Neneh Cherry and Swedish pop diva Titiyo (who duets with her brother on "Worried Eyes"), Eagle-Eye proves that we are not who we're related to. He was born in Stockholm to Cherry and Swedish mixed-media artist Moki, and one might suppose a member of this clan to be as innovative as the rest of his brood, especially given such an idiosyncratic moniker. But it turns out that that's the only eccentric thing about this musician. Cherry offers up a low-key, melodic diary of tales of his misspent youth in New York. And despite the music's soft-focus part-Cat Stevens, part-Ben Harper leanings, occasionally you realize that Eagle-Eye must have pasted posters of Ozzy Osbourne and Jimi Hendrix on his bedroom wall. "Indecision" (supposedly a rejoinder to Stockholm neo-Nazi "White Noise" bands like Swastika) rides on a searing Richie Blackmore lick. "Save Tonight" is a bittersweet reworking of Peter, Paul and Mary's "Leaving on a Jet Plane" theme. The title song updates his late father's "Desireless", which is revitalized via sparse piano, a haunting trumpet, and Cherry's hypnotic, repetitive vocals. Here it's clear that, even though he is dabbling in the shoals of alt-folk-rock, Eagle-Eye can claim a limb on the family tree anytime he wants. —Jaan Uhelszki

Choir of St Paul's/Lucas/Williams

Church, Charlotte

Clapton, Eric Clapton caught the "unplugged" trend just at the right time, when the public was hungry to hear how well rock stars and their material could hold up when stripped of elaborate production values. Clapton himself seemed baffled by the phenomenon, especially when picking up the armload of Grammys Unplugged earned him, including Record and Song of the Year for "Tears in Heaven", the heart-rending elegy to his young son, Conor. That song and a reworked version of "Layla" got most of the attention, but the rest of the album has fine versions of acoustic blues numbers such as "Malted Milk", "Rollin' & Tumblin' and "Before You Accuse Me" that make it worth investigating further. —Daniel Durchholz

Clarkson, Kelly KELLY CLARKSON - BREAKAWAY CD 14 TRACKS (61430)

Clarkson, Kelly CD OPENDISC EDITION

Clayderman, Richard

Clayderman, Richard

Clayderman, Richard

Clayderman, Richard Candle in the Wind

Clinton, George C.

Cohen, Leonard Even the production, laden with synthesized strings and cooing female choruses, is wry on I'm Your Man, a definitive Leonard Cohen album. Though still touched with the tragic ("Take This Waltz," based on a Garcia Lorca poem), the album often achieves its high points by combining Cohen's world-weariness with black-humoured evocations of social and romantic ills and artistic quandaries. "I was born like this, I had no choice," the gravelly Cohen intimates at disc's end. "I was born with the gift of a golden voice." —-Rickey Wright

Coldplay Coldplay Photos        

More from Coldplay

X&Y
Parachutes
Live 2003

Cole, Cheryl International pressing. 2010 debut solo album (released in 2009 for the UK market) from the Girls Aloud member and UK TV personality. Cheryl, who has been working on Three Words since the start of this year, recorded the album in London and Los Angeles. Producers on the album include Will I Am (who Cheryl first teamed up with on the #2 single 'Heartbreaker'), Syence (Beyonce), Fraser T Smith (James Morrison) and Soulshock and Karlin. Includes the single 'Fight For This Love'. Universal.

Collins, Phil For better or worse, Phil Collins's "In the Air Tonight" was the "Stairway to Heaven" of the 1980s, winning radio stations' listener polls and even lending its designer threat to an episode of Miami Vice. Hits recalls the days when the Collins name on a disc ensured its immediate embrace by programmers and the public. How you feel about these songs will depend on how you felt about them then; despite the undeniable niceness of "Take Me Home" and "One More Night", they're unlikely to win over anyone who didn't adore them to begin with. Those who cared, though, will no doubt be gladdened to find most of Collins's biggest tunes together on one disc. —Rickey Wright

Collins, Phil I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

Connolly, Billy

Connolly, Billy

Connolly, Billy CD Pulse (3), PLS CD 269, 1998 7 Track

Corrs THE CORRS In Blue (2000 UK Special Edition 15-track CD album also includes a bonus 8-track CD featuring acoustic live and unreleased tracks including Love In The Milky Way & Looking In The Eyes Of Love and bonus track - So Young [Live] picturesleeve with original sticker)

The Corrs

The Corrs Formed in 1990, The Corrs are a multi-skilled Irish group comprising three sisters and a brother who each play a variety of modern and traditional instruments. Their second album, Talk On Corners, fuses pop, rock and Irish folk to produce an accessible musical mix. More melancholic but also more streetwise than their first album, three of the tracks on the album have been remixed by some of the most influential dance producers of the late 1990s. Their punchy, remixed cover of Fleetwood Mac's "Dreams" appeals equally to teenager clubbers and their parents. Combined with traditional instrumental track such as "Paddy McCarthy" and more dreamy vocal compositions such as "Only When I Sleep" and "Hopelessly Addicted", this album truly provides something for everyone. —John Galilee

Cranberries CRANBERRIES THE EVERYBODY ELSE IS DOING IT,SO WHY CAN`T

Craven, Beverly

Crowded House

Crowded House 14 Tracks - 1. Chocolate Cake 4:02 2. It's Only Natural 3:32 3. Fall At Your Feet 3:18 4. Tall Trees 2:19 5. Weather With You 3:44 6. Whispers And Moans 3:39 7. Four Seasons In One Day 2:50 8. There Goes God 3:50 9

Csakova, Ilona

Cybill Shepherd, Bruce Willis

Daft Punk Our product to treat is a regular product. There is not the imitation. From Japan by the surface mail because is sent out, take it until arrival as 7-14 day. Thank you for you seeing it.

Daft Punk

Darius Debut album from Popstars & Pop Idol contestant Darius Danesh. Co-written by himself & produced by Mike Hedges, The Misfits & The Matrix. 'Dive In' features his number one single 'Colourblind' & the follow up 'Rushes'. Catchy, chart orientated pop aimed solely at the chart buying public. 12 tracks. 2002.

Davidson, Jim

Dead Can Dance

Dennis, Cathy

Diamond, Neil 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 Singer remains one of Diamond's best albums. —Randy Silver

Dido Single Disk edition.

Dido Cheeky, 5459822, Jewel Case 11 Track 2003

Dido Dido's Safe Trip Home album was produced by Jon Brion (Kanye West, Fiona Apple), Rollo (Faithless, New Order) and Dido. This album's first single is 'Don't Believe In Love'. Propelled by the massive hit 'White Flag,' Life For Rent sold 8 million units worldwide, 2.1 million in the US. Dido is one of the world's best selling female artists of the new millennium, with only two studio albums and over 20 million in worldwide album sales. Dido's 2000 release No Angel has been certifi ed 4x Platinum in the US alone!

Dion, Celine

Dion, Celine

Dion, Celine

Dion, Celine Dion has released a lot of music in the last four years, which in lesser talents could generate a "got the last one, don't need this" yawn from the public. Every conceivable base is covered here—"Tell Me" is the iconic pop adult smash, "Treat Her Like a Lady" has sewn up Adult Contemporary Radio, and there are a half-dozen others to keep the party going well beyond 1999. The inclusion of the theme song to Titanic ("My Heart Will Go On") proves that nothing is likely to scuttle the unsinkable Ms. Dion. —Jeff Bateman

Dion, Celine

Dion, Celine Her voice can reach the upper levels of the stratosphere and her flexibility is undeniable. This, her second major label release after years of success as a French Canadian phenomenon, matches her trademark over-singing with overwrought love songs. "Love Can Move Mountains" is an inspirational number; "Beauty and the Beast", with Peabo Bryson, is a hit duet. She's at her most sentimental when she's down, as "Nothing Broken But My Heart" points out. With four producers and countless backing musicians, Dion's music suffers from over-indulgence of the worst kind here. —Rob O'Connor

Dion, Celine

Dion, Celine Queen of the power ballad, throughout the 1990s the Canadian diva Celine Dion bestrode the international pop charts like a colossus. But if her songs sailed into view with all the pomp and bombast of the Titanic, they would never be wrecked on the icebergs of critical scorn, kept buoyant by an audience's passion for tales of fidelity and true love. A Decade Of Song collects Celine's most memorable moments; check, for example, "Power Of Love", Celine belting out "Cause ahm your lady/ And you are mah maaaaaaayn" with such zeal that even the most inept wedding DJ should be able to fill any post-reception dancefloor. "Think Twice" and "My Heart Will Go On" pull ruthlessly efficient feats of epic grandeur, although it's evident that "I'm Your Angel"—a duet with R Kelly—is far from her finest moment. That niggle aside, A Decade Of Song proves Celine is one of our generation's most enduringly successful popular singers. —Louis Pattison

Dion, Celine

Dion, Celine

Dion, Celine

Dion, Celine EPIC, 474743, 15 Track

Dion, Celine One of the biggest selling female artists ever, Celine Dion's global appeal may seem incomprehensible to some but for those who appreciate her incredible voice and epic productions she has become a legend in her own lifetime. Dion's latest English language album A New Day Has Come is to a certain extent a very apt title since many of the 17 songs are filled with new ideas (well, new to Celine) and a sound more in keeping with the current trends. Take "Rain, Tax" for example, if it weren't for the theatrical vocal it could be mistaken for a rising pop/R&B number with a heavy emphasis on the stuttering rhythm and deep bass rather than sweet strings and weighty "power-ballad drums". Another experiment is the Cher-esque (minus vo-coder) "Sorry For Love" complete with pumping rhythm section and house pianos which is still very much Celine but not likely to ravage any dance floors across the land. But still, A New Day Has Come is still very much traditional vocal led pop-rock, heavy on the ballads, like the title track and lead single, with silky orchestration and enormous sounding drums complementing the theatrical presence of her voice in a style modern day easy listeners like Westlife will never match. —Georgina Collins

Dion, Celine

Dion, Celine Brand new 14-song studio album featuring such songwriters and producers as John Shanks, Ben Moody (formerly of Evanescence), Linda Perry, and Ne-Yo.

Dion, Celine

Dire Straits

Dire Straits Remastered 1982 album featuring "Private Investigations" & " Telegraph Road".

DJ Shadow DJ Shadow, a.k.a. Josh Davis, could be credited with bringing newfound introspection to the gloating sounds of hip-hop. Condensed with urban oscillations and scatological beats, Endtroducing shutters with eclectic samples and aural montages that reach beyond the constraints of hip-hop style. Enhancing the mix with fundamentals of rock, soul, funk, ambient, and jazz, the modern fusions fail to go unnoticed, even by the casual listener. While most of the tracks are compiled by layering samples from vinyl treasures found in used-record bins, the production quality of the mosaic is unmatched. Darkened melodies carry throughout the album with its eye on the end of the tunnel. The narration samples come from numerous sources and keep the listener involved and waiting for resolution. With a message as fragmentary as an overheard conversation, Endtroducing conveys no apparent conclusion, but begs the mind, body, and soul for some rewind. Universal. 2004.

Eamon Infamous for having the greatest number of expletives in a number one single, Eamon's debut album I Don't Want You Back doesn't hold any surprises and a glance through the song titles will confirm this. The music is fairly solid throughout; a soulful snare and kick with organ, guitar and bass providing an even backbeat with the exception of the percussion led "Get off My D**k" and resurrected G-funk of "I'd Rather F**k With You". However, Eamon's vocals are undoubtedly centre-stage, either by having a nasal voice that cuts through or for singing about little else than sex. The quality of the songs is consistent and while "F**k It" is a standout, it would be unfair to say any of it is filler as is often the case when one single does so phenomenally well. The brooding "Lo Rida" featuring N.O.R.E. and upbeat "Finally" are just two of the many highlights and as with the rest of the album are fairly tongue-in-cheek (one hopes).

The biggest drawback to I Don't Want You Back is where one could easily forgive the bitter laments of "F**k It", the endless references to "training" his girlfriends, or that women are just "bitches" and "whores" gets extremely tiring. However, among the bitterness, misogyny and nasal singing, we can see what South Park's Eric Cartman might be like if he ever grew up. —David Trueman

Electric Light Orchestra Medium 1Evil WomanLivin' ThingCan't Get It Out Of My HeadShowdownTurn To StoneRockariaSweet Talkin' WomanTelephone LineMa Ma Ma BelleStrange MagicMr. Blue Sky

EMF EMF Unbelievable (1990 UK 3-track CD single including The Sin City Sex Mix & EMF Live At The Bilson presented in a full picture sleeve CDR6273)

En Vogue If En Vogue looked like one-hit wonders after "Hold On", Funky Divas, their second album, confounded these expectations, and established them as serious contenders. Arguably the first "swing" band to achieve real success in the UK, they have paved the way for future all girl, black groups such as Jade, SWV, 702 and so on. However, this album, produced and arranged as always by Thomas McElroy and Denzil Foster (also responsible for Club Noveau's classic "Lean On Me", as covered in 1999 by 4 The Cause), is too varied to fit totally into the "swing" pigeonhole, including as it does the faux-Parliament heavy riffing of equality anthem "Free Your Mind". One of the best things about En Vogue is the sassy talking interludes between tracks, and this album is no exception. It also includes singles "Giving Him Something He Can Feel", "Give It Up Turn It Loose", and, most notably, the truly marvellous "Never Gonna Get It". —Ronita Dutta

Enigma Haunting, evocative, mysterious, and magnificent, Enigma's Cross of Changes offers nine musical explorations of sound and sensation that dazzle and amaze. The songs unfold in rolling waves, each more complex and richly layered than the last, yet each fully capable of standing alone as a musically satisfying experience. The standout track on this disc is "Return to Innocence", which combines Native American chanting, Celtic harmonies, and a deceptively simple lyric to devastating effect. At once esoteric and elemental, Cross of Changes is a fine example of the best the genre has to offer. —L.A. Smith

Enigma

Enya Enya's 1988 recording, Watermark, achieved landmark success with her groundbreaking use of multi-tracking technology to fuse new age and Celtic themes and instrumentation. The meticulous production defines her sound and achieves continuity even while weaving together tender ballads, piano pieces, massively layered vocal harmonies and symphonic synthesizer movements. Although Enya's pristine voice isn't especially strong, her lead vocals possess a vulnerability that reflects the lyrics' sense of personal searching. From the ubiquitous, frothy single "Orinoko Flow" to the hard, bold edge of "Cursum Perficio", Enya's style remains fresh and engaging. —Richard Price

Enya WEA 825646933068; WEA ITALIANA - Italia; Pop Internazionale

Estefan, Gloria GLORIA ESTEFAN Into The Light (1991 Austrian 16-track CD featuring the previously unreleased bonus tracks Language Of Love Dont Wanna Lose You Portugese Version and Words Get In The Way Live Version picture sleeve 467782-2)

Estefan, Gloria GLORIA ESTEFAN Into The Light (1991 Austrian 16-track CD featuring the previously unreleased bonus tracks Language Of Love Dont Wanna Lose You Portugese Version and Words Get In The Way Live Version picture sleeve 467782-2)

Estefan, Gloria

Eternal

Eternal 17 Tracks Including Angel of Mine, Stay, Save Our Love, Someday, Finally and More.

Extreme

Fairground Attraction

Fairground Attraction, Eddi Reader

Faithless "Insomnia" (Monster Mix) - 8:41 "Mass Destruction" - 3:32 "God Is a DJ" - 3:21 "Don't Leave" (featuring Pauline Taylor and Dido) - 4:00 "Muhammad Ali" (featuring Pauline Taylor) - 3:56 "We Come 1" - 3:56 "Reverence" (featuring Pauline Taylor and Dido) - 3:44 "Salva Mea" (featuring Dido) - 10:47 "One Step Too Far" (featuring Dido) - 3:52 "Bring My Family Back" (featuring Rachel Brown[disambiguation needed]) - 4:22 "Miss U Less, See U More" (featuring LSK) - 3:56 "Tarantula" - 6:39 "Fatty Boo" (featuring The Hiites) - 5:58 "Reasons (Saturday Night)" (featuring Ian Dury) - 3:37 "Why Go?" (2005 Remix) (featuring Estelle) - 3:17 "I Want More" (featuring Nina Simone) - 4:00

Fatboy Slim Biographers of Norman Cook should look no further than the title of this—his second album under the pseudonym Fatboy Slim. From humble beginnings as the bass player in prole rock band The Housemartins, through chart-topping fame with Beats International, and even a spell scraping a meagre living from writing computer game soundtracks in the early 90s, Norman Cook has done it all. You've Come A Long Way, Baby, though, is the Fatboy's culmination; the quintessential, and utterly essential big-beat album. "The Rockafeller Skank" is a manic collage of surf-guitar looped into ever-tightening spirals; utterly simplistic, but a work of devilish genius. "Gangster Tripping" and "Fucking In Heaven" are in a similar celebratory mood, but to prove that the Fatboy doesn't always work by a formula, try the purloined gospel of "Praise You", or the rave nostalgia of "Acid 8000". It's seldom poetry, but dumb dance music doesn't get much better. —Louis Pattison

Fine Young Cannibals With The Raw & the Cooked, the Fine Young Cannibals broke into the mainstream with their particular soul-injected sound. They were seemingly infatuated with late-1950s and early-60s Motown, and the musical influences on this album range from boogie ("Good Thing", on which Squeeze keyboardist Jools Holland goes to town with a foot-stompin' piano solo) to poodle-skirted slow dance ("As Hard As It Is", "Tell Me What"), then stretch as far as Prince-like funk ("Don't Let It Get You Down"). Possessing one of the most unusual voices in all of pop music, lead singer Roland Gift gives this album its distinction and the Fine Young Cannibals their identity. About half the songs (including the hit "She Drives Me Crazy") are graced with Gift's steady, crystal-clear falsetto, but it's his swollen-throated lower register, where he sounds like he is singing through a trumpeter's plunger mute, that really makes his voice unmistakable. —Beth Bessmer

Fleetwood Mac Thanks to the long shadow cast by the group's blockbuster Rumours, this 1987 effort was inevitably regarded as something of a letdown. That's too bad, since it's an underrated set that contains plenty of inventively catchy tunes, with a quirky sonic edge that gives the songs added sonic and emotional depth. Lindsey Buckingham's eccentric, vaguely menacing "Big Love" is a standout, as is Christine McVie's brightly bittersweet "Little Lies", along with such dark-horse winners as "Seven Wonders", "Caroline", "Mystified", and Stevie Nicks's typically mystical "Welcome to the Room ... Sara". —Scott Schinder

Fleetwood Mac

Fleetwood Mac The Very Best of Fleetwood Mac? Frankly, it depends where you live, in a sort of "I say tom-ar-toe, you say toe-may-doe" kind of way. Broadly speaking, the most notably interesting (and commercially successful) periods of Fleetwood Mac's episodic history remain the grubby blues of the original Peter Green-led incarnation of the late 1960s (big in Britain but a non-entity in America) and the refined, mid-1970s divorce-dissecting AOR of the Buckingham / Nicks Rumours era (big everywhere). It is fairly safe to assume that neither British nor American passport-holders are particularly interested in what happened in between. So then, the UK retail version of The Very Best of rightly condescends to throw in such Peter Green classics as the instrumental "Albatross" (a Number One single) and "Black Magic Woman" but—and here's the gripe—omits both "On Well" and "Green Manalishi" in favour of such peripherals as the less-than-spectacular 1988 Number 54 hit "Family Man".

It could be worse. The American Very Best of (unlike its British counterpart, a two-CD set available on import) incredulously neglects to include anything from the Peter Green line-up at all, not even the sulky brooding of the sensuous "Man of the World" (possibly the finest song ever written), a little matter that American audiences ought to find time to raise with the United Nations. Still, there can be no quarrel with most of what is on here, after all, there's a sizeable chunk from the Lazarus-style comeback of Tango in the Night and the multi-platinum Rumours(the gossamer-like timelessness of "Dreams" even managing to withstand a recent faux-folky mauling from the Corrs) it's just that there isn't enough of it. Can someone please hurry up and make CDs that play for two hours? —Kevin Maidment

Foo Fighters, The A major criticism of the Foo Fighters' self-titled debut was its supposed lack of, you know, passion among the well-crafted songs and well-crafted rock. This time out, if it's wreckage you want, it's wreckage you get. The Colour and the Shape grows deeper the more it's played, with the band's ripping power more than matched by Dave Grohl's fascinating examinations of pain and divorce. There is even a convincing long slow ballad, "November Stars", whose intensity should win over doubters. If that doesn't work, then the screaming "My Hero" will. —Rickey Wright

Foo Fighters, The Foo Fighters have confirmed that the making of their upcoming eighth album—due out this fall on Roswell/RCA—will be accompanied by an as yet untitled HBO series documenting the eight-city odyssey during which the record was created. In the series, directed by FF founder Dave Grohl, the Foo Fighters tap into the musical heritage and cultural fabric of eight cities—Chicago, Austin, Nashville, Los Angeles, Seattle, New Orleans, Washington, DC and New York—basing themselves at a legendary studios integral to the unique history and character of each location. One song was recorded in each city, every song featuring local legends sitting in, and every lyric written in an unprecedented experimental style: Dave held off on putting down words until the last day of each session, so as to be inspired by the experiences, interviews and personalities that became part of the process.

Freddie Mercury

Fugees, The

Fun Lovin' Criminals, The

Fun Lovin' Criminals, The FUN LOVIN CRIMINALS Welcome To Poppys (2003 UK 15-track CD album including the single Too Hot lyric booklet picture sleeve SANCD187)

Furtado, Nelly 1. Hey, Man! 2. ... On The Radio (Remember The Days) 3. Baby Girl 4. Legend 5. I'm Like A Bird 6. Turn Off The Light 7. Trynna Finda Way 8. Party 9. Well, Well 10. My Love Grows Deeper, Part 1 11. I Will Make U Cry 12. Scared Of You 13. Onde Estas 14. I Feel You - Nelly Furtado, Esthero 15. My Love Grows Deeper 16. I'm Like A Bird

Future Sound Of London, The FUTURE SOUND OF LONDON Lifeforms (Deleted 1994 UK issue Dutch pressed 19-track 2-CD single set the 4th album from Garry Cobain and Brian Dougans a truly ambient collection across both discs including Cascade Ill Flower and Domain picture sleeve CDV2722)

G, Kenny

Gabriel, Peter

Gabriel, Peter

Gabriel, Peter

Gabrielle GABRIELLE Dreams Can Come True - Greatest Hits Vol.1 (Deleted 2001 UK 16-track CD featuring all the classic hit singles from the multi platinum selling Brit award winner! Includes Dreams Sunshine Rise and Out Of Reach which was included on the film soundtrack to Bridget Joness Diary. Complete with picture sleeve booklet)

Gabrielle

Gaga, Lady

Gallon Drunk

Genesis

Genesis We Can't Dance is the final Genesis studio album to feature Phil Collins, and he is even more firmly in the driving seat than with their previous release, Invisible Touch. However, We Can't Dance has little of its predecessor's exuberant freshness. Over 70 minutes long, much of the album feels as though the inspiration and ideas have been spread too thinly, resulting in a new-found flabbiness in the arrangements and the lyrics. In particular, Collins' too-predictable vocal mannerisms can soon start to grate; in conjunction with the appallingly trite expressions of political concern that are "Tell Me Why" and "Way Of The World", they produce a rather distasteful spectacle. Of course this is not the whole story, and there are moments throughout when the carefully crafted choruses and smoothly integrated sound of later Genesis win through to great effect. The most effective tracks include "Dreaming While You Sleep", "No Son Of Mine" and "I Can't Dance". "Hold On My Heart" proves that Collins can still produce real emotion rather than mere shallow ballads of mid-life crisis. A thoroughly slick and professional offering, it's a shame that despite the self-mocking humour of the title, the album has rather a drab air about it. It's not surprising that this was the line-ups' last recording together. —James Swift

Genesis Invisible Touch was by far Genesis's most commercially successful album to date, going six times platinum, and signalled the consolidation of Phil Collins's hold over the band's now slickly-modernised, though still potent, sound. The singles were even more successful than the album itself, with all five of them reaching the top five in the US—the first time that any band had achieved this. Stand-out tracks include "Tonight Tonight Tonight", "Land of Confusion" and "Anything She Does", with their intricate jungle rhythms and overflowing energy. Throughout, in fact, Collins's drumming is very inventive and energetic. Low points include the ballads "In Too Deep" and "Throwing It All Away", both examples of Collins dominating centre stage without using the talents of the other band members effectively. "Domino", a Tony Banks number, is the nearest material to old-style Genesis in structure, but incongruously features the most modern synthesised instrumentation and metronomic rhythms on the album, as if embarrassed by associations with the past. "The Brazilian", though, hearkens back to an old Genesis tradition by closing the album with an instrumental. —James Swift

Gibson, Debbie

Girls Aloud Since forming at the end of 2002, Girls Aloud have created their own brand of electro-pop chic. During the past year, while releasing a trio of top three singles, they have also been working on the follow-up to their debut album ‘Sound Of The Underground’. The result is brimming with the same brand of amused knowingness and louche sexiness as its predecessor and features the biggest party single of last year, ‘Jump’, plus ‘The Show’, ‘Love Machine’ and their forthcoming Christmas ballad, ‘I’ll Stand By You’. Includes 2 UK bonus tracks 'I Say A Prayer For You' & '100 Different Ways'. Polydor. 2004.

Glitter, Gary Gary Glitter - Back Again: The Very Best

Gorillaz The Gorillaz claim to have found their motley crew of cartoon characters sleeping in Leicester Square but Blur's Damon Albarn (aka 2-D) and cult cartoonist Jamie Hewlett (Murdoc) are not fooling anyone. As the ultimate experiment in manufactured image, the Gorillaz are a virtual, cartoon-character-based hip-hop band which bring together some of the wittiest, silliest lyrics and the most seriously talented musicians. Infectious old school hip-hop rhythms, rhymes and effects courtesy of Deltron 3030's Kid Koala and Del Tha Funkee Homosapien (Russel) are combined with Albarn's passion for chugging lo-fi and edgy melodies to create a seemingly raw but ultimately slick blend of styles which is all their own. This is nowhere more evident than on hit single "Clint Eastwood", which is carried along by the sound of 2-D's slurred voice and a bluesy harmonica melody interrupted by Russel's punching rhymes. But the surprises do not stop there: Ibrahim Ferrer's appearance on "Latin Simone" could have come straight from Buena Vista Social Club but for the obvious Blur-influenced piano style, while the spooky intro to "M1 A1" wouldn't sound out of place on Michael Jackson's Thriller. Backed up by Jamie Hewlett's death-wish character on bass, Cibo Matto's Miho Hatori (Noodle) on guitar and occasional hyperactive vocals and produced by Dan "The Automator" Nakamura, it's hardly surprising that Gorillaz is marked both by a sense of playfulness and a passion for experimentation. —Caroline Butler

Grant, Amy Heart in Motion is the 1991 album that broke Amy Grant into the mainstream pop-music charts, yielding five top 20 singles and two No. 1 hits in the States ("Baby Baby" and "Every Heartbeat"). But while the release is filled with upbeat beboppin' singles, it also displays a more serious side and a depth of song-writing ability from Christian music's first lady. The urgent "Ask Me" introduces you to a sexually abused girl who miraculously grips tightly to her faith while struggling through a difficult history, while "I Will Remember You" and "How Can We See That Far" are haunting ballads dripping with echo-laden guitars. Indeed, Grant showcases a wide variety of sounds and flavours on this, her multiplatinum introduction to the secular music world. —Michael Lyttle

Gray, David Life In Slow Motion (CD Album) by David Gray - 10 Tracks: 1. Alibi 4:33, 2. The One I Love 3:30, 3. Lately 4:13, 4. Nos Da Cariad 4:10, 5. Slow Motion 5:00, 6. From Here You Can Almost See The Sea 3:39, 7. Ain't No Love 3:21, 8. Hospital Food 4:43, 9. Now And Always 6:45, 10. Disappearing World 5:04 - Co-producer : David Gray, Iestyn Polson, McClune - Engineer : Iestyn Polson - Mastered By : Bob Ludwig - Mixed By : Andy Bradfield - Producer : Marius de Vries - Programmed By : Iestyn Polson - Written By : David Gray, David Nolte (tracks: 3, 4), McClune (tracks: 2 to 5), Rob Malone (tracks: 3, 4, 8), Tim Bradshaw (tracks: 3, 4) - Format: CD, Album - Label: Iht Records (LC 01557) - Vertrieb/Company: Atlantic - Bestell-Nr./Catalog#: 5050467 9766 2 7 - VÖ/Released: 12/09/2005 - Land/Country: EU - Interpret/Artist: David Gray - Titel/Title: Life In Slow Motion - Genre: Singer/Songwriter - EAN/UPC: 5050467976627

Gray, Macy Brand new - we ship worldwide

Gray, Macy 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 Guyville days, 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 Is on 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

Green Day Nimrod came along two years after 1995's Insomniac and was the first indication of Green Day's willingness to stretch the boundaries of punk rock. The fullness of the record is first hinted at on "Hitchin' a Ride", which starts out chug-a-lugging and then breaks into a raging rocker. "Redundant" is accented with some psyched-out guitar work and has Billie Joe Armstrong singing a good deal more than usual. The wonderful "Platypus (I Hate You)" speed-rocks with abandon and recalls the early days of L.A. punk (a little Dickies here, a little Descendents there). The biting "Take it Back" is a snarling throwback to hard punk, and "Prosthetic Head" is an infectious ditty that counts among the very best on the album. Most surprising is "Last Ride In", an instrumental nod to the sensual surf-and-sun life. Of course, the crown jewel of the collection is the sentimental, acoustic "Good Riddance (Time of Your Life)", which seemed nearly inescapable when it was released. Beyond these standouts, even the "usual" Green Day fare here has punch. —Lorry Fleming

Green Day If you’re wondering how Green Day managed to become the biggest punk band in the world, take a look at Bullet In A Bible. Recorded at Green Day’s two-night run at Milton Keynes National Bowl in June 2005, this combined CD/DVD sees these former bong-hitting Californian drop-outs embracing political activism, pantomime hilarity, and all the fripperies of a rock opera – and excelling at all three.

The first half is essentially a run-through of the group’s 2004 album American Idiot, complete with anti-American rabble-rousing and a set of barbed insults tossed back at the "rednecks" across the pond. That out the way, the band careen into a sort of greatest hits set, with the likes of "Longview" and "Hitchin’ A Ride" sharing space with a brass-laden "King For A Day" that sees Billie-Joe Armstrong prancing the stage in crown and ermine cape, singing snatches of Lulu’s "Shout" and Eric Idle’s "Always Look On The Bright Side Of Life". Tremendously silly, but Green Day have managed to figure out how to play it like showmen without resorting to juvenile puerility or morphing into corporate yes-men, and that’s a way harder trick than it looks. – Louis Pattison

Green, Robson

Greenslade, Dave

Groove Armada GROOVE ARMADA Vertigo (Deleted 1999 UK 12-track CD album - Brilliantly crafted chill-out album that features the tracks If Everybody Looked The Same and At The River picture sleeve)

Groove Armada Cd > Popular Music > RockCD > POPULAR MUSIC > ROCK

Halliwell, Geri While hardly a masterpiece on the order of "Say You'll Be There", the former Ginger Spice's step into the solo arena does an acceptable job of refashioning her into a "grownup" diva. Generally underdeveloped material doesn't help but the thin-voiced Halliwell acquits herself well enough on some pop-funk numbers and when tweaking the sort of 60s high camp of which Robbie Williams is so fond—especially on saucy single "Look At Me". —Rickey Wright

Hanson Hanson—Silverchair by way of the Partridge Family—are the first pretty-boy fake alt rock group that doesn't pretend to be anything but. If only for truth in advertising, they deserve our admiration. But as it happens, Middle of Nowhere, the debut album from Tulsa brothers Isaac, Taylor, and Zachary Hanson, warrants attention for other reasons as well. At their best, as on "MMMBop" or "Thinking of You" Hanson makes perfect 1990s bubblegum, Jackson Five-vocal interplay offset by slick power pop guitars and sharp hip-hop production care of the Dust Brothers. Even the more questionable material, such as the cheesy ballads "Weird" and "I Will Come to You," is, at worst, music for, about and by kids aged 16 and under. Such songs are not only more palatable coming from a 13-year-old than from a post-grad, given the age of the writers, the lyrics are actually pretty darn sharp. Granted, these lads had help with both the songwriting (including veterans Barry Mann and Cynthia Weil on the weakest track) and instrumentation (a full cast of session men) on "Middle of Nowhere". Still, as young writers and musicians with an indisputably authentic three-part harmony, Hanson are as real a band as it needs to be. Real enough, at least, to be a perfect antidote to MTV's other poster boys, Marilyn Manson. —Roni Sarig, Amazon.com

Hayes, Darren Following his acrimonious split with musical partner Daniel Jones, Spin is the debut long-player from Savage Garden's Darren Hayes. The soft rock influences of the Jones era, are dumped in favour of superbly crafted pop and R&B numbers but with some more familiar sounding ballads thrown in too ("Insatiable" and "I Can't Ever Get Enough Of You"). In true Savage Garden style though, Darren's lyrics regularly descend into a confessional, cataloguing of his popular cultural tastes such as "Occasionally I can be caught dancin' to Britney... I like every single thing that Spielberg's done" ("Good Enough"), and also on the witty, 80s-tribute tune "1980 (Me)" ("...studded denim, big hair, acid wash, Rubik's cube, my boom box...") As on Affirmation Hayes manages to combine intelligent lyrical commentary on global politics and social issues, with the catchiest of backing melodies. On title track Spin, diverse issues ranging from Bosnia to HIV/AIDS are sensitively dealt with within a couple of verses over a funky George Michael-style "Faster Lover" tune. "Creepin' Up on You" sounds more Jacko, than the "King of Pop" does himself these days. This is a five-star album, which is guaranteed to give such established stars (as Jackson and Michael) a "run for their money".—John Galilee

Hayes, Darren Following his acrimonious split with musical partner Daniel Jones, Spin is the debut long-player from Savage Garden's Darren Hayes. The soft rock influences of the Jones era, are dumped in favour of superbly crafted pop and R&B numbers but with some more familiar sounding ballads thrown in too ("Insatiable" and "I Can't Ever Get Enough Of You"). In true Savage Garden style though, Darren's lyrics regularly descend into a confessional, cataloguing of his popular cultural tastes such as "Occasionally I can be caught dancin' to Britney... I like every single thing that Spielberg's done" ("Good Enough"), and also on the witty, 80s-tribute tune "1980 (Me)" ("...studded denim, big hair, acid wash, Rubik's cube, my boom box...") As on Affirmation Hayes manages to combine intelligent lyrical commentary on global politics and social issues, with the catchiest of backing melodies. On title track Spin, diverse issues ranging from Bosnia to HIV/AIDS are sensitively dealt with within a couple of verses over a funky George Michael-style "Faster Lover" tune. "Creepin' Up on You" sounds more Jacko, than the "King of Pop" does himself these days. This is a five-star album, which is guaranteed to give such established stars (as Jackson and Michael) a "run for their money".—John Galilee

Hill, Lauryn After the massive success of the Fugees' The Score, the popularity of any Refugee Camp solo project was guaranteed. No one, however, was prepared for the massive response to Lauryn Hill's debut album. Apart from the chart-topping singles "Doo Wop (That Thing)" and "Everything Is Everything", the album includes collaborations with D'Angelo, Carlos Santana and soul diva Mary J Blige. Her unique blend of Motown vocals and hip hop proved remarkably addictive, and the tracks are sweetly interspersed with classroom conversations on love. From the autobiographical and emotional lyrics of her own tracks to the stunning reinterpretations of "Can't Take My Eyes Off Of You" and "Tell Him I Love Him" (a secret bonus track), Lauryn points to a new melodic direction in hip hop. An album reminiscent of the classic soul records of Stevie Wonder and Marvin Gaye, The Miseducation of Lauryn Hill deserved every one of its Grammies. —Ed Potton

Housemartins, The

Iglesias, Enrique CD INTERSCOPE, 493182, 14 Track

Il Divo

Imbruglia, Natalie A cross between Alanis Morissette and Kylie Minogue, you couldn't engineer a more likely late 1990s pop star than Natalie Imbrugila if you tried. Blessed with a stunning bone structure and a passable voice, Australian soap star Imbruglia and producer Phil Thornally turned Ednaswap's gritty "Torn" into a swirling pop confection. Nothing else on her debut quite matches it, in part because Left of the Middle sticks closer to the centre than it cares to admit. Imbruglia manages to touch on a wide range of female styles—angry ("One More Addiction"), electronica ("Big Mistake") and yearning ("Smoke")—without leaving her fingerprints on any of them. —Steven Mirkin

Imbruglia, Natalie (74321913422)

Iron Maiden

Jackson, Michael

Jamiroquai

Jamiroquai

Jamiroquai In the liner notes to Jamiroquai's debut album, lead singer and mastermind Jason Kay delivers a sincere, if oversimplified, screed about distributing the wealth and saving the rainforests. The lyrics follow suit: except for a single love tune ("Blow Your Mind"), Kay bemoans war, greed, racism, and conformity, or extols the power of music as a drug ("Hooked Up") or as a catalyst for social revolution. This is not Jamiroquai's most eloquent album, nor their strongest musically, what with most songs structured as long-form, open-ended jams weighing in at six minutes or more. Though interesting as a chronicle of Kay's musical vision taking shape, overall it's a document that will appeal most to Deadheads and jam-band fans. —Suzanne McElfresh

Jamiroquai In the liner notes to Jamiroquai's debut album, lead singer and mastermind Jason Kay delivers a sincere, if oversimplified, screed about distributing the wealth and saving the rainforests. The lyrics follow suit: except for a single love tune ("Blow Your Mind"), Kay bemoans war, greed, racism, and conformity, or extols the power of music as a drug ("Hooked Up") or as a catalyst for social revolution. This is not Jamiroquai's most eloquent album, nor their strongest musically, what with most songs structured as long-form, open-ended jams weighing in at six minutes or more. Though interesting as a chronicle of Kay's musical vision taking shape, overall it's a document that will appeal most to Deadheads and jam-band fans. —Suzanne McElfresh

Jewel

Jewel Korea Edition / 13 Tracks CD / Jewel Case / Manufactured and Distributed by Warner Music Korea / A Warner Music Group Company / Made in Korea May 2006 / Track List: 01 Again And Again 02 Long Slow Slide 03 Goodbye Alice In Wonderland 04 Good Day 05 Satellite 06 Only One Too 07 Words Get In The Way 08 Drive To You 09 Last Dance Rodeo 10 Fragile Heart 11 Stephenville, Tx 12 Where You Are 13 1000 Miles Away

John, Elton

Jools Holland & His Rhythm & Blues Orchestra Given the range of music that has echoed around the "Later With Jools" TV studio, Jools Holland ought to be one of the most versatile musicians in Britain, and so he needs to be in the star-studded Small World Big Band. Among other things, he does Georgie-Fame-style rock & roll with Sting, Memphis soul with Paul Weller, slow blues with a hollering Joe Strummer, chugging R&B with Dr John (who gives one of the most colourful vocal performances here), some largely unreconstructed Beatles with Stereophonics, some sunny ska with Suggs, a reverb-drenched blues with Mark Knopfler (sadly without a guitar break) and an epic Anthony Newley style lament with Marc Almond. The biggest news is probably the debut of the late George Harrison's first new song for 10 years, the evocative "Horse To The Water". However, despite the variety, Jools's natural inclinations and his ever-present Rhythm & Blues Orchestra lead much of the music towards big band boogie. Sometimes the blues piano clichés pop up in places that perhaps they shouldn't, but would it be a Jools Holland party without them? —Mark Gilbert

Keys, Alicia: In the crowded world of female R&B you need a unique selling point. Songs in A Minor's creator Alicia Keys is no different. She plays the piano. She's classically trained. She was a child prodigy. And at 20 years she's incredibly soulful, harking back to the old-skool R&B of Aretha Franklin and even further to that of Nina Simone, with a very strong dose of James Brown thrown in (the fantastic "Fallin'" is a dead ringer for "It's a Man's World"). This retro-ism is further reinforced in her collaboration with 70s soul legend Isaac Hayes on "Rock Wit U". However this reliance on strong historical figures is as much a problem as an asset. In truth this fine talent is being plucked too early. At 20 she's hardly lived enough life to find herself. While she's got a great voice and exquisite musical skills this album lacks the type of individuality that shines so strongly in artists such as Erykah Badu, Jill Scott or India.Aria. This is perhaps why Keys (surely an invented name) has been well hooked up. Jermaine Dupri, Prince and Brian McKnight are all involved in the song writing process. There's a lot of classically trained artists out there, from R Kelly to MJ Cole, but as this shows it's no guarantee of success. There are a few tracks on Songs... that hit the right chord but there's some bum notes too. —Jake Barnes

Killers, The Sam's Town is a tremendous departure for the Killers. Whereas their first album, Hot Fuss, was the work of Anglophiles trying to sound like their musical heroes, particularly Pulp and the Smiths, their second album has set its sights much higher. The Killers are clearly not content with their indie-rock status; from the explosive introduction of the title track, Sam's Town sounds huge. But, thanks to the earnest vocals of frontman Brandon Flowers, and lyrics still rooted very much in the real world, Sam's Town still manages to sound completely heartfelt and honest. In that respect, the Killers show themselves as potential heirs to U2, with an album packed with soaring guitars and driving basslines. First single, "When You Were Young", is a fist-pumping anthem that has all the catchy bombast of Bruce Springsteen's 1980's commercial heydey. Best of all though is "Bones", a song whose crooning chorus and bright horn breaks could only have come from the Killers' hometown of Las Vegas. Hot Fuss may have launched the Killers onto the global stage, but Sam's Town looks set to launch them into orbit. —Ted Kord

Knight, Beverley Beverley Knight's third album, Who I Am shows how far the "girl from Wolverhampton" has come from her admittedly brilliant debut, B Funk. Knight, whose bright up-tempo R&B songs have crossed age and genre barriers, is clearly making the most of being Britain's most popular soul singer since Sade. Knight has surrounded herself with some impressive producers and guests such as Musiq Soulchild flexing his Stevie Wonderish voice on the lovely ballad "Beautiful Contradiction". Produced by James Poyser and Che Guevara, who between them have worked with Lauryn Hill, D'Angelo and Jill Scott, Beverley revels in impressing us with her gospel-great voice and her tight songwriting. The reggae-tinged "Get Up" and the funky "Shoulda Woulda Coulda" showcase Beverley's command of the dance floor and bear witness to her stunning range (vocally, emotionally and texturally). While her playful and sexy challenge of "The Shape of You" to the multifarious sounds of "Same (As I Ever Was)", along with the Prince-esque "Ambition (It All Comes 2 U)", demonstrate her undeniable hip-hop sensibility as well. Knight is obviously more comfortable with herself, as the push-me-pull-you tension of second album, Prodigal Sista, has given way to a much more upbeat direction. Who I Am quickly proves why Knight, unlike many of today's studio-enhanced artists, is the real deal.—Reuben Dessay

Lacuna Coil

Ladysmith Black Mambazo Whether they are singing hymns or secular songs, Ladysmith Black Mambazo always raise their voices in glorious harmony. They are the unmatched masters of the South African a cappella form known as isicathamiya or mbube, and this CD demonstrates their vocal prowess. The Zulu songs are ornamented by trills, yips, humming and tra-la-las and punctuated by the rhythmic clicks that are particular to the language. The English-language songs instruct and advise on the fine moral points of human relationships. While the mbube song form lends a certain similarity to the pieces, this group is so good that the music never seems redundant and the generous selection of 16 songs seems to go by too quickly. —Jeff Grubb

Lavigne, Avril Self-professed skate punk Avril Lavigne sings that she'd "rather be anything but ordinary" on her debut. While the fact that she had a record deal by the age of 16 separates her from the pack, too often Let Go's lyrical shortcomings drag the teenager's musically impressive recording entrée into the realm of the typical. The catchy choruses of Let's Go are substantial, though, thanks to Lavigne's riff-driven melodies and powerful vocals, which at times adopt the unorthodox intonation quirks of fellow Canadian Alanis Morissette. The nuanced, dynamic "Losing Grip", "My World" (which perfectly captures the ennui of suburbia) and the buoyant power-pop blast "Sk8er Boi" are the collection's highlights. But Lavigne's honest yet awkward words weigh down the likes of "Mobile", "I'm with You" and "Naked". "Nobody's Fool", which displays her Pink-like take-me-as-I-am credo, hints that someday Lavigne's lyrics will match the strength of her music. —Annie Zaleski

Lavigne, Avril Under My Skin, the second album from Avril Lavigne, doesn't stray too far from the formula that made her debut, Let Go, a multi-million seller. Acoustic guitars bolstered by rock riffs in the chorus and sing-along vocals for angst-ridden teens confirm Lavigne's reputation as Alanis Morrisette's mini-me.

Although similar in style to her debut, it is clear that Lavigne has matured greatly as a singer and in some cases, songwriter. Lead single "Don't Tell Me" may not have the instant appeal of "Complicated" but has a greater depth and just gets better with every listen. Opening song "Take Me Away" sets the style for much of Under My Skin—sounding like Stiltskin's "Inside", it's a grandly over-produced power ballad by numbers. However, with 80s rock still on the rise and no-one new out there doing it nearly this well, it can only be a good thing. "He Wasn't" and "I Always Get What I Want" break the mould of the album and are high-energy pop-punk of the highest order, the latter an obvious standout—one would imagine it'll become a huge live favourite.

It may not be anything new, exciting or different but Under My Skin is so well written and executed it'll undoubtedly propel Avril Lavigne into a whole new stratosphere of rock stardom. —David Trueman

Lennox, Annie Although traces of her synthpop roots certainly showed through, Annie Lennox's solo debut, Diva, made it abundantly clear that her new material would veer away from gender-bending robotics of the early Eurythmics sound and continue towards the more emotionally grounded soul of later releases. On Diva, Lennox infuses each song with tenderly perceptive lyrics, hypnotic rhythms, and irresistibly soulful wailings. Her arrangements are clean and simple, utilising bare instrumentation and sometimes-languid chord work. The singles "Walking on Broken Glass", "Little Bird", and "Why" became radio mainstays, while gems such as the Eastern-influenced dream ballad "Primitive", the hauntingly autobiographical pop-lament "Legend in My Living Room", and the cheerfully satirical "Keep Young and Beautiful" gave the album a plump maturity. —Sally Weinbach

Let Loose

Lewis, Leona 2008 deluxe edition re-issue, features the newly recorded single, 'Forgive Me', along with a new version of 'Homeless' as well as the bonus tracks featured on various other pressings, Moment Like This, Missing Glasses and Run. 17 tracks in all are featured on the album. The bonus DVD (PAL/Region 0) features the music videos to, Bleeding Love (UK Version), Bleeding Love (US version), Better In Time, Footprints In The Sand, Forgive Me (UK version), A Moment Like This and 'Making of 'Forgive Me'. Sony/BMG. 2008.

Lighthouse Family, THe

Lightning Seeds, The

Little Angels

Llorenna, Kelly If Kelly Llorenna was ever to become a global mega-star (judging by the standard of material All Clubbed Up she's got one hell of a mountain to climb), she would one day face the indignity of having to watch herself on one of those "Before They Were Famous…" programmes. At the tender age of 12 her first taste of fame was performing on British breakfast TV's naff but legendary "WAC-A-Day". Perhaps her brief brush with Timmy Mallett explains why all her musical projects have always been such trashy-pop affairs, right from her earliest collaborations with N-Trance. Luckily the album features the palatable original of "Set You Free", along with the more recent N-Trance/Llorenna recordings such as "Forever" and the No Mercy, Latino style "Te Quiero". Precariously top-heavy, the second half features newer, less familiar tracks, which perhaps unsurprisingly sound like re-hashed versions of her earlier drivel. Only on the gospel "Reaching Out" is Kelly allowed to stray from the tried and tested, Euro-pop path. As the album dawdles to its climax, the similarity of all the album tracks leaves you unnaturally wishing for some Celine Dion ballads. —John Galilee

Loeb, Debbie

Loeb, Lisa

London Cast of Chicago, The In perfect condition a crease on the front cover and a crease on the back cover.

Lopez, Jennifer Lopez Jennifer - J Lo - cod:6318

Madness

Madonna MADONNA CONFESSIONS ON A DANCE FLOOR

Madonna Cd > Popular Music > RockCD > POPULAR MUSIC > ROCK

Madonna Vinyl edition of her 1998 & latest smash album —unavailableon this format in the U.S. Features the hit 'Frozen' & thetitle track. Black wax. The sleeves include full lyrics. AMaverick/ Warner Brothers release.

Madonna Track listing 1. Music 2. Impressive Instant 3. Runaway Lover 4. I Deserve It 5. Amazing 6. Nobody's Perfect 7. Don't Tell Me 8. What It Feels Like For A Girl 9. Paradise (Not For Me) 10. Gone 11. American Pie

Madonna MADONNA American Life (2003 UK issue German manufactured 11-track CD album) With her deft touch for keeping up with trends Madonna has kept the production of Mirwais and Jacques Le Cont giving that electro sound everyone else leapt on after her that flawless midas poptouch again.

Manic Street Preachers, The

Manic Street Preachers, The

Mann, Aimee

Marc Bolan & T. Rex MARC BOLAN & T.REX The Essential Collection (2000 UK 24-track CD compilation including Get It On Jeepster Ride A White Swan & Debora - Original Full Length Version picture sleeve)

Marina & The Diamonds

Marlin, Lene When Lene Marlin stepped up onto the podium at the 1999 MTV European Music Awards to collect the award for best Scandinavian artist, anyone outside of the icy hinterlands could have been forgiven for thinking, "But that's not the woman out of the Cardigans..." Five months later and Lene Marlin's single "Sitting Down Here" was a big hit throughout Europe and now everyone knows her name, even if they can't pronounce it (it's "Le-nay", by the way). Her debut album Playing My Game fittingly opens with the hit single, which sets the tone for the rest of the album—deceptively sweet melodies topped with bittersweet lyrics of lost loves and youthful alienation. Musically it is hardly challenging, combining the angst of the likes of Fiona Apple with the gentle harmonious vocals of the Corrs. It does beg the question what young, successful, attractive women like Lene and Fiona have to complain about, but if it leads to pretty, folk-tinged pop like this, who's complaining? —Helen Marquis

Marlin, Lene

Marsalis, Wynton

Marsh, Kym After Hear'Say's dismally short-lived success, remarkably, Standing Tall suggests that for Kym Marsh at least, there might be fame after Popstars. Older, wiser and no doubt looking for a career a little longer lasting than Hear'Say's, her debut solo album is sweet, sentimental and unmistakably for grown-ups. Equally unmistakable is the inspiration for her new direction. With every song shuffling to a country pop backing of strummed acoustic guitars, lazy beats and the big, arms-in-the-air, sing-a-long chorus, Standing Tall sounds like the sunnier, smiley version of Natalie Imbruglia's Left of the Middle. Indeed, the singles "Cry" and "The Girl I Used to Be" are uncannily similar to Imbruglia's debut single "Torn" so shamelessly so that even she wouldn't be able to spot the difference, which is by no means a bad thing; what they, and most of her tracks lack in originality they makeup for with great tunes. For sure it's not all pop genius; there are a handful of painfully drippy ballads and she could do without all the naff lyrics about being an "ordinary girl in an extraordinary world". But when the all conquering choruses of "Sentimental", "Come on Over" and "Tempted" kick in, Standing Tall is impossible to dislike. —Dan Gennoe

Martika

Mavericks, The Few country artists of the 1990s have been able to meld a pronounced pop sensibility with the core elements of classic country as effectively as Miami's Mavericks. Their 1992 major-label debut displays a band mature well beyond its years, one not afraid of either tantalizing melodies or country music history. Here the Mavericks reprise four tunes from their eponymous indie debut and toss in four new Raul Malo originals along with covers of Hank Williams (a lacklustre "Hey Good Lookin'") and Buck Owens (a much more engaging "Excuse Me"). Their deft mix of old-school honky-tonk, Orbisonesque sob stories, and punchy modern country-rock serves notice of a band with enormous commercial and artistic potential. —Marc Greilsamer

MC Hammer

MC Hammer EMI, CDP7981512, Jewel Case 13 Track 1991

Meat Loaf CD Virgin, cdv2710, Jewel Case 11 Track 1993

Meat Loaf CD Note The Track-Listing: "I'D Lie For You (And That'S The Truth)", "If This Is The Last Kiss (Let'S Make It Last All Night)". Those Titles Alone Would Be Enough To Do An Average Singer In, Let Alone Interpreting, Emoting, Living These Songs As Mr Loaf Is Wont—In His Inimitable Way—To Do. This Successor To Bat Out Of Hell Ii: Back Into Hell, Must Confront The Very Same Problem He Faced Years Before, After The Staggering Success Of The Original: How To Follow Up A Worldwide Smash? How To Avoid A Nagging Sense Of The Anti-Climactic? Particularly Given The Absence, This Time Around, Of Songwriter And All-Round Svengali Jim Steinman. Admittedly, Two Of His Cast-Offs—"Original Sin" (From Paradise Lost) And "Left In The Dark" (From Bad For Good)—Take Up A Little Of The Slack; Otherwise, The Void Is Filled By Diane Warren, Power-Ballad Hitmaker For Whitney Houston, Celine Dion, Et Al., Whose Penchant For Orchestral Flourishes, Choral Rhapsodies And Wayward Metaphors, Exceeds Even The Master'S. Preposterous, Of Course, But Oddly Hard To Dislike. —Andrew Mcguire

Meat Loaf

Meatloaf

Melanie C

Melua, Katie

Michael, George Since the break-up of teen duo Wham! in 1986, George Michael has constantly had to reinvent himself as a credible master of various musical styles. Ladies And Gentlemen charts this journey, from his duets with pop elite such as Aretha Franklin ("I Knew You Waiting (For Me)") and Elton John ("Don't Let The Sun Go Down On Me"), to dance floor classics such as "Too Funky" and "Fastlove" and bleak, evocative numbers such as "Jesus To A Child" and "A Different Corner". The songs are arranged on two complementing discs: the slower, ballady productions are on the first disc ("for the heart"), and the more dancey, poppy numbers are on the second ("for the feet"). The compilation also includes three tracks specially recorded for the album, most notably his duet with Mary J Blige on the Stevie Wonder classic "As". —John Galilee

Michael, George On Songs From The Last Century, George Michael seems determined to demonstrate just how much he's matured since the carefree days of Wham!; by offering his own interpretations of some of the century's classic songs, he manages to shake off any lingering remnants of his boyband past. Michael has one of the most versatile and beautiful voices ever recorded—a voice more suited for jazz or soul than pop—a fact that his own records have often only glossed over. Much better, therefore, to have him cover songs made famous by the likes of Nat King Cole and Bing Crosby. "The First Time Ever I Saw Your Face", "Brother Can You Spare A Dime", "Where Or When" and other standards are all performed to stunning effect, lushly backed by an orchestra that's as restrained and powerful as Michael's voice. He also manages to toss some surprisingly inspired choices into the mix: on "Roxanne", he wisely realises that no one can sing like Sting and opts for a more delicate approach, while his version of "Miss Sarajevo" (from the U2/ Brian Eno collaboration Passengers) elevates this obscure track to the classic status of the other standards. —Robert Burrow

Michael, George "Well I guess it would be nice, if I could touch your body..." Given George Michael's restroom high jinks in early 1998, those words from "Faith" sound pretty funny, but they sounded fresh and exciting blasting out of car radios in 1987. Michael's stunning solo debut (after four years in the lightweight British duo Wham!) sold seven million copies and yielded a plehora of hits. Some of those were among the decade's best pop, including the hiccuping title track, the heartfelt ballad "Father Figure" and the wicked R&B groove of "I Want Your Sex". Unlike so much 1980s treacle, this album hold ups surprisingly well—even if Michael hasn't always done so himself. —Michael Ruby

Midler, Bette

Mika The stunning debut album from MIKA, one of the stars of 2007. Features the single Grace Kelly, a UK bonus track and exclusive digital content. Track listing 1. Grace Kelly 2. Lollipop 3. My Interpretation 4. Love Today 5. Relax (Take It Easy) 6. Any Other World 7. Billy Brown 8. Big Girl (You Are Beautiful) 9. Stuck In The Middle 10. Happy Ending/Over My Shoulder 11. Ring Ring (bonus track)

Mike, the Mechanics

Miles, Robert

Minogue, Kylie

Minogue, Kylie Thirteen is considered an unlucky number by some, but Light Years is the album that marked the miniscule Miss Minogue's 13th year on the pop scene and with it a remarkable return to form. The pint-sized girl-next-door had been delivering teen-pop to an insatiable public year after year with ever diminishing success. Her previous album Kylie Minogue was both a critical and commercial failure despite collaborations with some of music's most eminent and respected songwriters and producers. It certainly looked like Kylie's chart days were numbered. Light Years is Kylie's somewhat unexpected return to form as she goes back to her roots in full-on-feather-boa-disco-diva mode (à la "Step Back In Time") on tracks like "So Now Goodbye" and "Under the Influence of Love". This is an album brimming with songs that wouldn't sound entirely out of place on a Donna Summer album. There's plenty to boogie down to and if you liked the number one single "Spinning Around" you won't be disappointed. The Village People style "Your Disco Needs You" will have you stomping around the lounge with your mates in no time, while the easy-listening style "Loveboat" is the perfect soundtrack to a camp cocktail party. This is most certainly her best effort since 1990's Rhythm of Love and just goes to show that she's still got it. —Ronita Dutta

Minogue, Kylie Between her late 1980s reign as the "I Should Be So Lucky" Aussi soap star turned pop princess and her iconic re-emergence heralded by No.1 "Spinning Around" and Robbie Williams Duet "Kids", Kylie Minogue had an altogether different kind of pop career. In the mid-1990s the miniature star released two, very grown-up and exquisitely sophisticated albums, both simply titled Kylie Minogue, for the now defunct dance label Deconstruction. It is the best tracks from that period, plus a handful of previously unreleased songs and remixes that fill Hits. Although the title's somewhat misleading, given that the albums from which the tracks come were deemed commercial flops, it's not overstating things to say that in "Breathe", "Did It Again" and "Automatic Love", this collection contains some of the most stylishly executed pop the UK has ever heard. But it's haunting singles "Confide In Me", "Put Yourself In My Place" and Nick Cave duet "Where The Wild Roses Grow", graced by the sumptuously breathy vocals that transformed cute-bubblegum-pop-Kylie into a pop seductress and institution, that are the jewels of this retrospective and her career, and prime examples of just how exhilarating pop can be. —Dan Gennoe

Minogue, Kylie PARLOPHONE, 3580421, 12 Track

Minogue, Kylie BMG, 895762, 17 Track

Minogue, Kylie International edition of Kylie's ninth studio album features 12 tracks including the first single 'Slow' (co-written by Kylie). 'Body Language' was recorded in London, Ireland & Spain. EMI. 2003.

Minogue, Kylie

Moby Cd > Popular Music > RockCD > POPULAR MUSIC > ROCK

Moby The great iconoclast of techno returns with a smooth, sacred and exhilarating record. Play's concoction of breakbeat rhythms, ambient mixology and inspired blues and gospel samples cry out across musical genres and histories, imparting a time-tested wisdom to beat-driven ears. Moby's devout faith—in both God and his own musical whims—give this approach a sort of legitimacy that another, less sincere artist would never have. That sincerity reverberates through the beats and instrumental eclecticism like a pulse. The soulful refrains and proclamations in "Find My Baby" and "Natural Blues" somehow nestle between straight-up dance-floor rave-ups ("Bodyrock") and melt-in-your-mouth ambience ("Inside") with an effortless grace. Moby reaches across his turntables and finds something pure—almost organic. In fact, the album feels more natural than techno is ever supposed to feel, more spiritual than DJs are supposed to be able to muster and more alive than it has any right to be. Check out the spellbinding compilation Natural Blues to hear the original source material from blues and spiritual singers such as Etta James, Vera Hall and BB King. —Matthew Cooke

Moby The great iconoclast of techno returns with a smooth, sacred and exhilarating record. Play's concoction of breakbeat rhythms, ambient mixology and inspired blues and gospel samples cry out across musical genres and histories, imparting a time-tested wisdom to beat-driven ears. Moby's devout faith—in both God and his own musical whims—give this approach a sort of legitimacy that another, less sincere artist would never have. That sincerity reverberates through the beats and instrumental eclecticism like a pulse. The soulful refrains and proclamations in "Find My Baby" and "Natural Blues" somehow nestle between straight-up dance-floor rave-ups ("Bodyrock") and melt-in-your-mouth ambience ("Inside") with an effortless grace. Moby reaches across his turntables and finds something pure—almost organic. In fact, the album feels more natural than techno is ever supposed to feel, more spiritual than DJs are supposed to be able to muster and more alive than it has any right to be. Check out the spellbinding compilation Natural Blues to hear the original source material from blues and spiritual singers such as Etta James, Vera Hall and BB King. —Matthew Cooke

Moby

Moby

Monks and Choirboys of Downside Abbey This second release from the assembled musical forces of Bath's Downside Abbey and school follows in the admirable footsteps of their previous collection, The Abbey' The first thing that should be pointed out is the slight deception of this album's title. The opening track is Fauré's Cantique de Jean Racine. There follows, spread throughout the 19 tracks, pieces by Bruckner, Elgar, Mozart and Brahms, all admirable composers following, in these musical instances, the religious tradition laid down by Gregorian chant but hardly monkish characters of the mediaeval period. The pieces included, sounding especially sensuous and dynamic thanks to their context are all, naturally, beautifully performed, the recording making the most of the Abbey's lush acoustic and the softly luxurious tones of the Boys' choir. The Gregorian chant fares slightly less well than in their previous recording, the mass of voices occasionally getting lost and smudged in the Abbey's cavernous sonic space, the stark melodies softened by the more modern sound of an organ. Despite this, Gregorian Moods is a fine disc, more of an exploration of the Gregorian tradition as part of the musical life of contemporary churches and Abbeys than a venture into the past. —Robert Heller

Monty Python MONTY PYTHON

Moore, Gary

Morissette, Alanis

Morricone, Ennio Ennio Morricone anthologies come and go, and there are always several to choose from. But as so many recycle the same tracks, one might be forgiven for thinking Morricone had only scored a dozen or so movies rather than something over 300. This makes picking a collection difficult, but this disc can be recommended for particularly polished remastered sound and, with 20 tracks, a lengthy 75 minutes' playing time. Nine cues come from the Sergio Leone movies with which Morricone is indelibly associated, including the Clint Eastwood "dollars" trilogy and Once Upon a Time in the West. With their eclectic orchestrations and infectious melodies these landmark scores set film music in an entirely new direction. The more recent music concentrates on the hauntingly romantic side of Morricone's talent, ranging from the fatalistic "Chi Mai" to two cues from the lushly exotic The Mission and the lovely theme from Cinema Paradiso. Leone's final film, Once Upon a Time in America enabled Morricone to pen some of the most heartbreakingly nostalgic music in all cinema, while a selection from Mission to Mars reveals that after four decades the Italian master is still writing some of Hollywood's most imaginative and heartfelt music. —Gary S Dalkin

Movie Soundtrack (Various Artists) Medium 1
Love Is In The Air (ballroom mix) - YOUNG, John Paul
Perhaps Perhaps Perhaps - DAY, Doris
Medley: La Cumparsita/Tango Please - D. HIRSHCFELDER & BOGO POGO O.
Medley: Tequila/Sinful Samba - D. HIRSCHFELDER & BOGO POGO O.
Rhumba De Burros - JONES, Ignatius
Doug's Tearful Waltz/First Kiss - D. HIRSCHFELDER & BOGO POGO O.
Time After Time - MARK WILLIAMS & TARA MORICE
Medley: Standing In The Rain/Scott's Sinful - J.P. YOUNG & D. HIRSCHFELDER
Solo
Yesterday's Hero - JONES, Ignatius
The Blue Danube - D. HIRSCHFELDER & BOGO POGO O.
Scott & Fran's Paso Doble - D. HIRSCHFELDER & BOGO POGO O.

Mullins, Shawn Shawn Mullins is a 1990s acoustic troubadour whose lyrics, at their worst, read like overly precious journal entries ("The road is my home / And my spirit is wild"), making him seem sometimes like Jewel with a Y chromosome. (According to his song "Twin Rock, Oregon", Mullins has lived out of his van, too.) But some of the 13 songs that comprise Soul's Core have bite, especially the restless "Ballad of Billy Jo McKay" and the gritty "Gulf of Mexico". Mullins is at his best when he plays to his strengths, which include an affinity for working-class characters and an eye for detail. Best of all is his sweet Georgia drawl, which pours honey over the aching "Soul Child" and the memorable chorus of his breakthrough hit, "Lullabye". Mullins produced the album, his major-label debut, and even though it's his eighth title (he sold its predecessors out of that storied van), he is an artist whose skills are still on the rise. —Daniel Durchholz

Musica Donum Dei I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

Myers, Billie

N'Dour, Youssou

NUrding, Louise

Nutini, Paolo 1. Jenny Don't Be Hasty
2. Last Request
3. Rewind
4. Million Faces
5. These Streets
6. New Shoes
7. White Lies
8. Loving You
9. Autumn
10. Alloway Grove

O'Connor, Sinead Chart-topping 1989 album featuring "Nothing Compares 2 U"

O'Connor, Sinead

Oakenfold, Paul

Oasis Be Here Now (CD Album) by Oasis - 12 Tracks: 1. D'you Know What I Mean? 7:42, 2. My Big Mouth 5:02, 3. Magic Pie 7:19, 4. Stand By Me 5:56, 5. I Hope, I Think, I Know 4:23, 6. The Girl In The Dirty Shirt 5:49, 7. Fade In-Out 6:52, 8. Don't Go Away 4:48, 9. Be Here Now 5:13, 10. All Around The World 9:20, 11. It's Gettin' Better (Man!!) 7:00, 12. All Around The World (Reprise) 2:08

Oasis With Standing On The Shoulder Of Giants, Oasis—the self-professed "biggest rock & roll band in the world"—continue exploring their fascination with Great British Bands of the late 1960s. Paying homage to your heroes is one thing, but many of Standing On The Shoulder's best moments sound like their icons' worst. However, this is Oasis, and they do manage to pull some stunners out of their hats: "Gas Panic" and "Where Did It All Go Wrong?" demonstrate the command of catchy hooks and epic anthems that made their first two albums—Definitely Maybe and (What's The Story) Morning Glory?—such classics. Elsewhere, their influences are more obvious. The psychedelic "Who Feels Love?" is a perfect example of George Harrison in full Eastern Mystic mode, complete with sitars, tablas and tape-loops. Outright rocker "Put Yer Money Where Yer Mouth Is" has the strut and stomp of vintage Doors or Rolling Stones, but is ultimately let down by its weak songwriting ("Ready or not, come what may/The bets are going down for judgement day"). The most dubious lyrics are saved for the Liam Gallagher-penned "Little James", his paean to paternal love which—perhaps unintentionally—contains some of rock's most laughable couplets ("You live for your toys, even though they make noise"). Standing On The Shoulder Of Giants doesn't represent a major step forward for Oasis, but it is a definite improvement on the band's previous album, Be Here Now. For stronger evidence as to why Oasis is credited with resurrecting Britpop in the late 20th century, newcomers to the band would do well to investigate Definitely Maybe or (What's The Story) Morning Glory?. —Rob Burrow

Oasis Familiar to Millions

Oasis

Oldfield, Mike

Oldfield, Mike

Oldfield, Mike

Oldfield, Mike

Original Soundtrack ELVIS PRESLEY/VARIOUS Always On My Mind (Included on a 1997 UK 15-track A Life Less Ordinary original soundtrack compilation CD album also features tracks by Ash REM Sneaker Pimps The Podigy & Faithless picture sleeve)

P!nk M!ssundaztood is the follow-up to Pink's platinum selling debut. On Can't Take Me Home Pink established herself as one of the biggest R&B/pop acts of 2000; a status she later confirmed by stealing the limelight from fellow divas-with-attitude Missy Elliott, Mya and Christina Aguilera on their No. 1 cover of "Lady Marmalade". M!ssundaztood, however, reveals an ambition that extends far beyond the massed ranks of R&B's feisty female fraternity. Pink wants to be a pop star, pure and simple. Consequently, as well as the tried and tested R&B groove of first single "Get The Party Started" and funky hip-hop of "Respect", she adds a random yet brilliant selection of full-blown radio rock ("18 Wheeler", "Numb"), sassy pop ("M!ssundaztood") and emotionally charged laments ("Dear Diary", "Family Portrait", "Eventually"). Stylistically confused as it is- "Misery", a woozy bar room blues duet with Aerosmith's Steven Tyler is perhaps the most out of character—with some great tunes and a voice just as capable of fragile emotion as it is attitude, she somehow manages to pull it off. —Dan Gennoe

Paul, Tall Various Artists ~ Clubber's Guide To Ibiza - Summer 2001 (Mixed By Tall Paul And Fergie)

Pearl Jam

Pearl Jam

Pearl Jam

Perry, Katy Includes The Smash Hit 'I Kissed A Girl' Katy perry is storming the charts at the moment with 'I kissed a girl'. Here is her debut album 'one of the boys', one for the girls!

Pet Shop Boys, The

Pet Shop Boys, The PET SHOP BOYS Very (Scarce 1993 UK Special Edition 12-track CD album housed in a unique custom stickered & embossed lego style jewel case CDPCSD143)

Pet Shop Boys, The The reason dance-pop sustains greater longevity than wordless dance music is because dance-pop is about something. Albums released by the great ones—New Order, Depéche Mode, Erasure and, of course, the Pet Shop Boys—maintain their appeal throughout the years because the lyrical content is intelligent, clearly narrative and forever relevant. With Nightlife, the Pet Shop Boys continue to write startlingly honest and lyrically pointed songs, despite 13 years of cultivating an image of vacant boredom and smug indifference. Likewise, Neil Tennant and Chris Lowe need not follow trends to keep current. Nightlife is uniquely a Pet Shop Boys album and arguably the zenith of their career. Mid-tempo techno tracks build out from a disco sensibility. Body-rocking rhythms are softened with sorrowful swells of strings, synthesised vocal choruses and Tennant's sandy, monotone recite-singing. Conversely, the Boys augment the album's ballads with fat blips of bass line and elusive back beats. Lyrics are as innuendo-laden as ever, although this time out (ahem) the veil is thinner than ever. Think the Pet Shop Boys' records will ever get stale? Oh, please. —Beth Massa

Pink Floyd

Piper, Billie

Planets, The The title of the Planets' debut album, Classical Graffiti, aptly encapsulates the latest project by Mike Batt, whose career has long steered a path between camp & classical, from serious orchestral concerts to pop hits, from film scores to masterminding the Wombles. Recently Batt gave the world Bond, & the Planets are even more of the same—four classically trained young women, this time partnered by four classically trained young men. The result is 16 Batt-arranged & produced tracks, both originals & covers of famous classical melodies, some acoustic, most given a polished MOR rock-dance twist. The Planets made their public debut supporting Deep Purple's 2002 UK tour & there's more than a hint of 1970s prog-rock, which, combined with an energetic feel, should go down a storm with an enthusiastic audience. This special Asian pressing includes a bonus Audio/Video CD which features an Electronic Press Kit (Video viewable on most DVD players), 'Rodrigo (Music Video viewable on most DVD players) & two non-LP audio tracks, 'Rodrigo' (WIP Extended Version) & 'Contradanza (Almighty Radio Edit Mix)'. 21 tracks in all. Standard & single jewel cases in a slipcase. 2002.

Potts, Paul 2007 debut album from the winner of the first season of Britains Got Talent. Potts winning performance of Puccinis Nessun Dorma is now one of the most watched clips in You Tubes history (10 million+). The album includes that track as well as the equally captivating Time To Say Goodbye, a Spanish version of My Way and Italian version of REMs Everybody Hurts. 10 tracks. RCA.

Powter, Daniel Daniel Powter confirms Powter's fine songwriting talents with standout tracks such as the memorable opening track "Song 6", the driving melodies of "Suspect" and the delicate ballad "Jimmy Gets High". It was produced by Mitchell Froom (Elvis Costello, Crowded House) and Powter's long-term collaborator Jeff Dawson.

Powter, Daniel After hitting the big time in 2005 with his ubiquitous single 'Bad Day', Daniel Powter returns with 'Under The Radar, his third full-length effort. Produced by Linda Perry (who has worked with the likes of Pink, Courtney Love and Christina Aguilera), this release is something of a career-reinvention for Powter, taking in a much more instrumentally diverse palette than his previous adherence to piano-led pop. Features the single 'Next Plane Home'.

Presley, Elvis

Presley, Elvis As per title

Presley, Elvis RCA ND 89474 1987 Track listing: O Come, All Ye Faithful, The First Noel, On A Snowy Christmas Night, Winter Wonderland, The Wonderful World Of Christmas, It Won't Seem Like Christmas, Santa Claus Is Back In Town, White Christmas, Here Comes Santa Claus, I'll Be Home For Christmas, Blue Christmas, Santa Bring My Baby Back, I'll Be Home On Christmas Day, If I Get Home On Christmas Day, Holly Leaves And Christmas Trees, Merry Christmas Baby, Silverbells, O Little Town Of Bethlehem, Silent Night, (There'll Be) Peace In The Valley (For Me), I Believe, Take My Hand, Precious Lord, It Is No Secret

Prodigy, The Strictly Limited Edition 2CD, Including "The Fat of the Land" CD plus an Interview CD Packed as a Double CD!

Prokofiev

Pulp The quintessential Pulp album that never was, Intro comprises three singles and their B-sides released on Sheffield's Gift label during 1992-3, just as the band perfected the brand of kitchen-sink pervorama pop that His 'N Hers would take into those same pink Dralon-curtained living rooms depicted by Jarvis Cocker. Besides the immortal "Babies", the unflinching "Razzmatazz" is one of Intro's highlights: a caustic pay-off to an ex where even the "na-na-na"s are vicious enough to guarantee it a place on any break-up compilation tape. Yet it's the B-sides which really show the group taking off after their 11-year run-up. "Styloroc (Nites of Suburbia)" is a wry look at the band's native Sheffield, a "strange exotic land of happy hours / where the sky is always grey and the food exceptionally greasy". Meanwhile the sprawling "Sheffield: Sex City" sees Jarvis wandering through the salacious suburbs, the band soundtracking his lustful desperation with a sultry electro-pop that pays tribute to Sheffield's other pop alumni: the Human League and Heaven 17. All this, plus more one-liners than you could shake a pair of corduroy flares at: Intro's low-rent glam and high-drama passion make it essential for more than just Pulp completists. —Abi Bliss

Pulp It became increasingly apparent during 1995 that the answer to the question "Blur or Oasis?" was, in fact, "Pulp". Different Class was the sound of a band so on "it" that they defined "it". Thirty years of fury, frustration, sexual longing, class angst and observations about girls' skirts was rammed into the grand Brechtian/Brel-like drama of "Live Bed Show", "I Spy" and, of course, "Common People"; and sure enough it has the impact of crashing head-on into someone's entire sordid, suppressed secret life. When Jarvis hisses "I can't help it / I was dragged up / Grass is something you smoke/ Birds are something you shag / Take your 'Year In Provence' and shove it up your ass," it sounds like mustard gas escaping over the trenches in the class war. And he wins. If music had a class system, this would be our ruler. —Caitlin Moran

Quatro, Suzi I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

Quaye, Finley

Queen It's doubtful whether Queen would have been able to sell out Wembley stadium prior to their Live Aid performance. A year later though, it made perfect sense to return to the scene of that famous victory, if only to finish the job off. Inevitably, many of the greatest moments of this double CD will already be familiar: the Nuremberg-style clapping on "Radio Ga Ga", the bowel shaking "We Will Rock You" and the silly-yet-moving "We Are the Champions". Over two hours though, you can really be audacious. And Freddie Mercury, a man not known for his restraint, clearly understood his role. "Hey Big Spender", in particular, is a gas—as is "I Want To Break Free", assisted by 72,000 eager backing vocalists. Best of all, though, is the finale. With every song a drama in itself, it takes something a bit special to conclude a Queen show. Hence a quite Freddie-tastic "God Save the Queen". Truly, we may never see their like again. —Peter Paphides

Queen Japanese exclusive 2001 remaster of 1984 album. 9 tracks.

R.E.M. Though R.E.M. titled a later album Monster, this 1991 smash was the true monster, with the little Athens, Georgia, quartet graduating once and for all from its jangling independent-rock roots. The confusion Michael Stipe communicates in the catchy "Losing My Religion" and the dark-and-dreamy "Low" hit the mainstream-rock audience when it was most primed for uneasy angst. (Nirvana's Nevermind was released a few months later.) There are also odd but successful experiments, such as ceding the opening "Radio Song" to rapper KRS-One (with Stipe playing the moaning straight man) and going peppy for the surprisingly non-sarcastic "Shiny Happy People". —Steve Knopper

R.E.M.

R.E.M. R.E.M. pushed the jangle out of the picture with Monster, replacing it with reverberating snaps, crackles, and pops. An album that wraps itself to 1970s glam finery while reaching out to the flannel-clad post-Nirvana throngs, it largely succeeds at demonstrating that these Georgians still know how to rock. The MTV fave "What's the Frequency, Kenneth?" kicks things off on a high note as Peter Buck's distorted power chords set the tone for the 12-song set. "Strange Currencies" may be alarmingly reminiscent of the Automatic for the People hit "Everybody Hurts," but it's actually the superior song. "Let Me In" is a heavily distorted nod to the fallen Kurt Cobain. While Monster is far from R.E.M.'s most consistent effort, it stands as a ragged and risky respite from safe and sound alterna-rock. —Steven Stolder

R.E.M. WARNER, 47112, 14 Track

R.E.M. REM have no right, at this advanced stage in their career, to be making such spirited and beautiful music as that on Reveal. Twenty years after "Radio Free Europe", they're still jiggy as year-old pups. Reveal is the sound of a band who have moved beyond feeling the need to change or to prove themselves to each new generation, but still want to make music that expresses a passion for life. Michael Stipe's voice has never been more evocatively beautiful than it is on "I've Been High", and Peter Buck's eclectic tunesmithery has continued in the highly accessible vein it was mining on their previous album, Up. Those who yearn to hear the Stipe of old, mumbling incomprehensibly behind murky Byrds-u-like chords, will remain disappointed by his increasing emergence as an upfront vocalist whose lyrics, if never entirely self-explanatory, now make ingenious use of phrases, images and vignettes that anybody can identify with. Hovering over much of the album is the spirit of Brian Wilson, whose melodic and harmonic genius is echoed in "Beachball" and almost transcended in the astonishingly plangent "Summer Turns to High". With so much to live up to from "Losing My Religion" to "Man On the Moon", it's not far short of astonishing that REM can still come up with a song like "Imitation of Life", whose gorgeously chiming and shimmering chorus sets the heart soaring and the eyes misting over. That song alone would be worth the price of admission but, fortunately, from the first synthesiser swirls of the album's opener, "The Lifting", there's not a dud to be heard in the entire dozen cuts. —Johnny Black

Radiohead After the massive success of Pablo Honey—or, more specifically, the single "Creep"—had made them a household name, most had written Radiohead off as one-hit wonders. That they could return with an album as awesome and monumental as The Bends, therefore, must have been particularly unexpected. Not that Pablo Honey is a bad album, but rather, when compared to the epic grandeur of The Bends, it's obvious that the five Oxford-based boys had matured immensely since the release of their debut. "High And Dry", "Just", "Street Spirit", "Fake Plastic Trees": nary a pop song among them, yet it's testament to their greatness that they all were hit singles. And really, it's easy to see why: Thom Yorke's falsetto crying over a wall of acoustic and electric guitars, as lyrics and music blend to create a masterpiece of melancholy beauty. The Bends is one of the most essential albums of the 1990s, and a spectacular indicator of further greatness to come. —Robert Burrow

Reader, Eddi

Red Hot Chili Peppers, The Massive 1992 album fts "Give it away " & " Under the bridge"

Reeves, Jim Title: JIM REEVES: TWELVE SONGS OF CHRISTMAS

12" Vinyl Record LP 33rpm, Label: INTERNATIONAL (Camden), Cat. No. INTS1188, Published 1963

SIDE ONE
[1] JINGLE BELLS
[2] BLUE Christmas
[3] SENOR SANTA CLAUS
[4] AN OLD CHRISTMAS CARD
[5] THE MERRY CHRISTMAS POLKA
[6] WHITE CHRISTMAS

SIDE TWO
[1] SILVER BELLS
[2] C-H-R-I-S-T-M-A-S
[3] O LITTLE TOWN OF BETHLEHEM
[4] MARY'S BOY CHILD
[5] O COME, ALL YE FAITHFUL
[6] SILENT NIGHT

Jim Reeves, whose guitar and mellow voice spread his fame throughout the pop music world of Europe and the Americas, was bom and brought up on a farm in East Texas. The story goes that he traded a bushel of pears for his first guitar. When Reeves attended the University of Texas, the guitar went along with him and helped pay his tuition. And when he was a pitcher for the St. Louis Cardinal baseball team farm system, by which minor players of promise are trained in the junior leagues, the guitar went along for relaxation.....

REM Cd > Popular Music > RockCD > POPULAR MUSIC > ROCK

Rey, Lana Del STANDARD EDITION : Highly anticipated new 2012 album! Includes 'Video Games' & 'Blue Jeans'.

Richard, Cliff I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

Rimes, Leann UK version has seven different tracks than the USA version titled Greatest Hits. Includes 20 tracks including Last Thing On My Mind (featuring Ronan Keating) & Written In The Stars (featuring Elton John), as well as 2 bonus tracks, How Do I Live (Mr. Mig Dance Radio Edit) & Cant Fight The Moonlight (Latino Mix). Curb/London. 2004.

Robson & Jerome The mid-1990s may go down as that period of history in which Britpop and trip hop battled it out for supremacy, but that would be to deny what was really shifting from the record shops of Britain. Here's the story then: two actors from the ITV drama Soldier Soldier are approached to record a couple of standards for a spin-off single; before you know it, a flat-faced man and his diminutive Geordie friend are serenading the nation from the top of the charts with "Unchained Melody". (In fairness, no-one ever claimed that it was as good as the original.) The point of Robson And Jerome as musical project was not to improve on classics like "Daydream Believer", "Up On The Roof", "This Boy" and ... well you can guess the rest—rather to reproduce them as faithfully as possible using a couple of familiar faces. In fairness, orchestras are lavishly deployed and the boys can certainly hold a note. If Robson Green fulfils his ambitions of a Hollywood career, this'll be enough to make it a kitsch classic of the 21st Century. —Peter Paphides

Robson & Jerome

Rollins, Sonny

Rumer

Santana The Arista debut of Carlos Santana and band gives fans of the soulful guitar vet two albums in one, but it's a decidedly good-news, bad-news proposition. First, there's a fine collection of late-1990s-model Santana—tastefully tooled songs driven by Latin jazz and Afro-Cuban rhythms ("[Da Le] Taleo", "Africa Bamba", "Migra", "Primavera" and the emotionally charged instrumental "El Farol") that allow Carlos plenty of elbowroom for his passionate soloing. Then there's the collection of tracks featuring a lineup of de rigueur alternative and hip-hop stars, including Dave Matthews, Everlast, Lauryn Hill, Wyclef Jean and Eagle Eye Cherry. To their credit, Matthews ("Love of My Life") and Eagle Eye Cherry ("Wishing It Was") muster enough chemistry to make the fusion work. But the rest of the collaborations feel like an unnecessary stretch to reach out to a younger demographic that El Jefe has little trouble attracting on his own terms. —Jerry McCulley

Sash! CD Multiply Records, MULTYCD 1, 1997, 12 Track Title It's My Life

Saturdays, The

Savage Garden

Savage Garden Following the successful formula of their eponymous debut album, Savage Garden's Affirmation is made up of classic pop melodies and sleepy ballads. The title track cracks open the album—a song that sees Hayes philosophising about the inequalities of the world from a liberal minded perspective (and in true Alanis Morissette "Ironic" fashion). Although it leaves the boys open to claims of pretentiousness, the song is a high-powered introduction to an album which somehow manages to alternate between safe and risky. For example, "The Animal Song" is a menagerie of popular music sounds, which manages to be challenging while remaining comfortably familiar. Affirmation is an album that affirms why Savage Garden are one of the world's most important pop duos. —John Galilee

Scherzinger, Nicole CD Pussycat Dolls Singer

Scherzinger, Nicole CD Pussycat Dolls Singer

Scooter Jumping All Over the World

Sex Pistols, The The Sex Pistols' only proper album has become one of those records that is far more talked and written about than listened to. Only a handful of rock & roll bands can genuinely claim to have changed the world, and only one of those can claim to have done it with such a tiny discography (though any number of retrospective albums have been issued since the band met their messy end, this was the only one released while they were still a going concern).

It is impossible that any serious fan of modern music is not familiar with at least the singles collected here ("Pretty Vacant", "Anarchy In The UK", "God Save The Queen"). Jamie Reid's lurid yellow-and-pink sleeve artwork is also an enduringly influential cultural artefact. Mostly, though, what should never be forgotten about Never Mind. . . is that when all the mischief and mayhem it inspired or caused has been stripped away, it is a truly great rock & roll album: guitars as angry and adrenalised as any ever recorded, killer tunes, and Johnny Rotten's inimitable voice—the definitive articulation of disgust. Altogether perfect. Every era, and every home, should have one. —Andrew Mueller

Shakira Colombian superstar Shakira's first English-language disc, Laundry Service, carries the pointed credit "Entire Album Produced by Shakira". That might be a signal to US fans who helped two of her previous discs go platinum under the media radar—a sign that this planned breakthrough has more to offer than the input of a score of image makers and outside writers. And it does; even the occasional clunky lyric comes directly from her overflowing heart. Laundry Service's meld of danceable pop and rockier ideas and textures follows the similar path of the singer-songwriter's previous work. Indeed, for all its high-end production values, the record is ultimately one of the least glossy crossover vehicles imaginable. Despite an occasional lean toward Celine Dion territory ("Underneath Your Clothes"), it has a freshness that's sure to win over new listeners even after the first single, the sly "Whenever, Wherever", has reached the saturation point. While still not fully formed as an artist, she's getting close to something of her own—something that may flower after she dumps the vocal Alanis-isms. For now, it's still a pleasure to watch her grow. —Rickey Wright

Shakira CD 'Greatest Hits In Spanish'

Shamen, The Historically speaking, it was at about this point that the Shamen drifted away from their traditional constituency—the rave crowd who'd supported them up to and including the En-Tact album—and began to make serious inroads on the UK and European charts, courtesy of a string of glossy, lightweight singles: "LSI (Love, Sex, Intelligence)", "Ebeneezer Goode" (with its notorious "Eezer good" chorus—perhaps the most crashingly unsubtle drug reference in pop history) and "Phorever People". The difference? Simply the increased prominence of vocalist Mr C. With his plummy, enunciated "raps", his fey, finger-waving dances, and his apparent lack of anything even vaguely resembling a groove, there was a lot of unkind speculation in the music press as to just what that "C" stood for—accompanied by much moaning on the part of the longtime fans—but as the group's sound shifted from techno to euro-pop, its bank balance never looked healthier. —Andrew McGuire

Shepard, Vonda

Shepard, Vonda The writer of the theme tune for Ally McBeal, Vonda Shepard has become a fully-fledged American celebrity. She's no major-label diva, though—after being unceremoniously dumped by Warner Brothers when her first two albums didn't sell, Shepard was plucked from a tiny stage by David E Kelly, the creator of Ally McBeal, and within a year had attained stardom as Ally's muse, forever hovering in the background with a musical truism and some scraps of wisdom. Fans will be disappointed that Heart & Soul doesn't include McBeal theme tune Searchin' My Soul but there's much else besides; a strutting duet with Al Green, on "To Sir With Love", the world-against-the-girl blues of "World Without Love" and the bouncy pop of "Confetti". A collection of reserved, polished white-soul songs that are pleasingly lacking in bombast, pretension, or rough edges; this is perfect listening material for America's most neurotic lawyer. —Louis Pattison

Shirehorses, The Catalogue, 5030492, Jewel Case 14 Track 2001

Simon, Garfunkel

Simone, Nina Nina Simone has probably got one of the most recognisable voices in music. One, which can pick up a song and mould it into the meaning she wants it to have. This was especially true in the late 1960s when, influenced by Martin Luther King and the civil rights movement, her interpretation of numbers such as the title track, "Don't Let Me Be Misunderstood" and "Ne Me Quitte Pas", reflected the black American's experience. As did the self-penned "Mississippi Goddam" and her cover of "Strange Fruit", with which she is the only one who can compare with Billie Holiday's. Elsewhere in this collection, she is more playful but just as stunning with George Harrison's "Here Comes the Sun", the Bee Gees' "To Love Somebody" and "Ain't Got No (I Got Life)". Not to mention, the classic Simone numbers "My Baby Just Cares" and "Love Me Or Leave Me". The latter pair proving that in addition to having a superb voice she is also an emotive pianist. —Phil Brett

Simone, Nina

Simply Red Limited Collector's edition holographic disc. with "For Your Babies", "For Your Babies" (edition francais), "Me & The Devil Blues" and "Freedom" (How Long Mix).

Simply Red Such was the omnipresence of Britain's biggest selling album in 1992 and 1993, that Stars sounds like a Greatest Hits in its own right. It's always been fashionable for critics to sneer at Simply Red's phenomenal success, but there's no denying the sumptuous clarity which pervades everything here, from the doting, devotional "For Your Babies" to the deliciously understated "Wonderland". Even clumsy forays into social commentary—"Model" and the Tory-baiting "Your Mirror"—are partially redeemed by a couple of cracking tunes. Lest we forget, Stars was Simply Red's last album as a fully functioning band. Hucknall may well have since written songs to equal "For Your Babies" and "Stars", but bereft of Fritz McIntyre's sunny keyboard sound and Heitor T.P.'s crisp, angular funk playing, he's never quite sounded so Simply Red. —Peter Paphides

Skunk Anansie If you were to judge this album just by its thrashy third track "Yes It's Fucking Political", you would miss out on the rich diversity of musical styles on this release. As highlighted on their first album, Paranoid & Sunburnt, the group have a tendency for being frank, explicit and often militant. However, as well as the hardcore rants, Stoosh also shows off the band's softer side, especially on bittersweet tracks like "Hedonism (Just Because You Feel Good)". Full of postmodern flourishes, the songs flitteringly deal with lifestyle politics, sung with equal parts rage and tenderness by their striking frontwoman, Skin. A phenomenal and mature sophomore effort, perfectly showcasing their now-trademark funk and metal sound.—John Galilee

Skunk Anansie

Smashing Pumpkins, The

Smith, Will Will Smith is the future of hip-hop—in the sense that Willennium, his follow-up to 1997's Big Willie Style, is sure to dominate pop-rap airwaves and sales. Proud of his kid appeal but also self-mocking (he carries the title concept with the single "Will2K," a party jam built on a sample of the Clash's "Rock the Casbah"), Smith carries forward the early-rap values of good-natured boasting and fun-fun-fun. His desire to remain part of the community is reflected in his savvy choice of guests, who number everyone from K-Ci (some convincing vocal licks on "Will2K") to rappers new-school (Lil' Kim, Eve) and old (Slick Rick, Biz Markie); past and future partner DJ Jazzy Jeff even gets his own four minutes of funk on the scratch-happy "Pump Me Up". Smith also attempts cinematic storytelling on "Afro Angel" and "The Rain", which are admirably solemn, if far from the best things here. Smith may not be the hippest hip-hopper around, but as Chuck D once said of another, very different figure, "Don't tell me that you understand until you hear the man." —Rickey Wright

Smith, Will

Snow Patrol Limited edition reissue of the British indie rockers' third album features 14 tracks including the singles 'Run' & 'Spitting Games', as well as 2 bonus tracks, 'We Can Run Away Now They're All Dead & Gone' & 'Half The Fun'. Polydor/Universal. 2004.

Sonique SERIOUS, 159612, 14 Track

Sophie B. Hawkins

Sophie B. Hawkins

Sophie Ellis-Bextor STANDARD EDITION : New 2014 album from the UK's pop survivor! Co-written and produced by Ed Harcourt. Includes "Young Blood".

Spears, Britney 17 at the time of this release, Louisiana's teen dream Britney Spears works her guts out for every vowel and yearning growl on this impeccable slice of middle America. Partly produced from the same stable as the Backstreet Boys, Britney's songs have a strange, submissive twist: the full title of the mind-blowing debut single should be "Hit Me Baby One More Time." Obviously "Hit"'s got an okay slang meaning now but the song and much of the mood of this album strikes a direct line to the Ronette's "He Hit Me And It Felt Like A Kiss" in its desperate need to keep a boy by her side. Britney may be the young front for some middle-age money-makers but that's beside the point. She puts her life into this record; whether you like her teen pop or not, that dedication cannot be ignored. —Charlie Porter

Springsteen, Bruce About as complete a selection of fan and artist favourites as any single-disc Bruce collection could be, this is a surprisingly coherent listen given the many stylistic and attitudinal shifts it charts. The inclusion of only four of Born in the U.S.A.'s obvious hits leaves space for less obvious choices like "Atlantic City" and four new cuts, among them songs recorded by a briefly reunited E Street Band. The pace lags a bit near the end—"Secret Garden" is turgid enough to take its place on a Sting album—but Greatest Hits earns its place in the CD player with stuff like "Born to Run," "The River" and "Dancing in the Dark." —Rickey Wright

Steps

Steps Gold-Greatest Hits (CD Album) by Steps - 20 Tracks : 1. Tragedy 4:32, 2. One For Sorrow 4:21, 3. Stomp 3:22, 4. Better Best Forgotten 3:43, 5. Loves Got A Hold On My Heart 3:21, 6. Deeper Shade Of Blue 3:46, 7. Last Thing On My Mind 3:05, 8. Better The Devil You Know 3:49, 9. Summer Of Love 3:54, 10. 5, 6, 7, 8 3:22, 11. Chain Reaction 3:57, 12. Baby Don't Dance 3:52, 13. It's The Way You Make Me Feel 3:18, 14. After The Love Is Gone 4:35, 15. Here And Now 3:28, 16. Say You'll Be There 3:32, 17. Only In My Dreams 4:18, 18. Words Are Not Enough 3:25, 19. When I Said Goodbye 3:33, 20. Heartbeat 4:24

Steve Hackett This suite of pieces, by the former lead guitarist of Genesis, are less incidental music for Shakespeare's play than meditations for guitar and orchestra inspired by various lines and characters from it. The emphasis is very much on the play's classical setting and dreamy qualities rather than on the more rumbustious world of Bottom and his rustic fellow actors—the musical portraits are of fairies and young lovers, and there is no sense here of the play's occasional menace. The sound world of the guitar writing is crisp, clear, attractive and unadventurous, rather more in the vein of Joaquin Rodrigo's works for guitar and orchestra than that of the pomp rock with which Hackett made his name. The orchestral accompaniments are efficient and intelligent—John Hackett provides a number of pleasant flute solos. This is an excellent performance of likeable, unambitious music. —Roz Kaveney

Stewart, Rod

Stiltskin

Stone, Joss CD > POPULAR MUSIC > ROCK

Studt, Amy The timing of Amy Studt's debut album, False Smiles, couldn't be better. Building on a solid foundation established by the likes of Natalie Imbruglia and Lene Marlin in the late 1990s and carried forward by Gemma Hayes and a glut of young, brokenhearted pop stars since then, Studt's songs combine piano-driven, acoustic laments with Avril Lavigne's polished angst. "There's a hell of a lot more to me," she growls in "Just a Little Girl". Well, maybe. But what's this? She's managed by Simon Fuller, the man behind the Pop Idol phenomenon, and a man who knows a thing or two about ready-made pop for the masses. So maybe the timing isn't a coincidence. For that matter, neither is Studt's frilly dresses, dark eyeliner and "misfit" personality.

There's no denying the genuine talent at work here. As cowriter to all of the songs on offer (an unusually prolific fourteen), she brings a teenage playfulness and daddy's little girl sweetness to the heartache her cowriters are unnecessarily inflicting upon her. In fact, you can't help wondering what some of these songs would have turned out like without the middle-aged meddling of Cathy Dennis and the like. Perhaps a young Tori Amos (particularly with the vocal leaps of "Gonna Be Fine")? False Smiles is a debut with potential, but Studt's own innocence and personality needs to shine through more in the future if anyone is to believe she's more than the superficial flash-in-the-pan that she denies being. —Cortman Virtue

Sugababes, The Island, Records, cid8122 Jewel Case 14 Track 2002

Sugababes, The (READILY AVAILABLE) CD

Sugababes, The

Sugababes, The 2007 album from the UK Pop trio, the most successful UK female act of the century Change is their fifth album overall and is destined to be one of their greatest musical triumphs to date. Standout tracks include ‘Never Gonna Dance Again’, another relationship breakdown anthem set, as many dramas tend to be, on a dancefloor - a sober reflection on the carefree first dances and final careless whispers of a failed relationship. ‘Change’, all gurgling electronic synths and William Orbit-esque production is a trademark Sugababes ballad while 'Denial’ revels in the Sugababes’ raw, rockier edge, with a nod to ‘Standing In The Way Of Control’ coupled with the trio’s unmistakable harmonies. ‘Goodbye’, meanwhile, has some of the catchiest vocal hooks you’ll hear all year. Island.

Sugababes, The Artist: Sugababes
Manufacturer: Island

Summer, Donna

Supergrass

Sweeney, Claire Since former Brookside star Claire Sweeney grabbed the UK population's affection in March 2001 following her appearance on Celebrity Big Brother she seems to have done everything and appeared everywhere. From presenting primetime television shows, to starring in Chicago on the West End stage, Claire, her debut solo album, is yet another thing to add to her already bulging CV. Like Ms Sweeney's wholesome image, Claire is a cute, populist collection that will appeal to many but also annoy countless scores too. Judging by the familiar album cover design and the collection of cruise-ship cabaret favourites, Sweeney's being unashamedly nurtured as a loveable Dion-Montgomery hybrid. For example, an unadventurous rendition of "My Heart Will Go On" is included, along with other late-night love favourites such as "One Day I'll Fly Away" and "Too Much Love Will Kill You". There is no disputing that she does have a great voice but the album is dragged down by the over-popularity of the song selections, most of which have been covered to death already. However on the excellent "When You Believe" (especially written for Claire by Wendy Page and Jim Marr) and the equally impressive "I Hope You Dance" (recently recorded by Lee Ann Womack) there is some originality and style. —John Galilee

Sweet, The

T'Pau

Take That The definitive 1990s boyband, Take That may have set the blueprint for a million copycat groups since—Five, Boyzone, Backstreet Boys—but they had an all-important advantage right from the start: bucketloads of fantastic pop songs. In terms of sheer quantity alone, their chart successes racked up more sales than any other British artist since the Beatles, and this Greatest Hits package has them all, including "Relight My Fire", "Back For Good" and "Pray", spanning an impressive eight number ones in five years. From the hi-energy rush of "It Only Takes A Minute Girl" to the smoochy "A Million Love Songs" to Mark Owen's heartfelt rendition of "Babe", it is a well-trodden wander down memory lane, but the impeccably polished production and Barlow's relentless ear for a catchy tune ensure it's a highly entertaining one. —Amber Cowan

Take That 2008 album from the mega-selling British boy band. After successfully effecting one of the greatest Pop comebacks in history, Take That release their fifth studio album, the second after their return. Led, as ever, by the songwriting talents of svengali Gary Barlow, this release is similarly epic and romantic to its predecessor (2006's Beautiful World), with songs such as 'What Is Love', 'How Did It Come To This' and the single 'Greatest Day' standing out most. Producer John Shanks returns for a second collaboration with the boys, repeating the success of his work with them on Beautiful World. Universal.

Talking Heads

Teletubbies, The

Texas Great pop music is driven as much by raw emotion as it is classic textures. While this Scottish band excels in the latter trait, Texas has grappled with finding its own voice ever since making its 1988 debut. White on Blonde is the perfect example of an album that sounds right, but feels wrong. The band may borrow key traits from pop history in constructing its gentle blues style, but it woefully fails to give its songs any resonance. From the Motown influenced "Black-Eyed Boy" to the delicately gritty "Halo", the grooves fall into place just fine, but the sentiments ring hollow. Singer Sharleen Spiteri's voice—radiating warmth and soft-focus edginess—is still sweet on the ears; and the band's impenetrable sound will make radio programmers get down on their knees and praise the album-oriented rock gods. —Aidin Vaziri

Texas Original Mercury Records 199 release of 'The Hush', including 'Summer Son'.

Thunderbugs, The

Tori Amos For Tori Amos, sex can be a weapon, a spiritual offering, or an act of protest. It's certainly been the singer/pianist's big subject since her 1989 debut Little Earthquakes. But while her earliest compositions tried to punch every emotional hot button at once and came off sounding turgid and overblown, her new album packs a greater punch by toning down mock-symphonic excess in favour of stark, haunting tracks that contain veiled mysteries. Love cuts both ways on Choirgirl. Songs such as "She's Your Cocaine" and "Cruel" view relationships as vicious power plays, while the protagonists in "Playboy Mommy" and "Northern Lad" desperately seek salvation via emotional connection. Hypnotic, affecting, and frequently gorgeous, From the Choirgirl Hotel is Amos's most accomplished album to date. —Marc Weingarten

Travis The ultimate slow-burner, Travis's second album infused its way into the psyche of post-Radiohead Britain with an endearingly humble grace. It's not quite certain how Travis went from being the happy-clappy Britpop also-rans of their debut Good Feeling to becoming the gifted pop craftsmen that moulded the gentle emotional trough of the chart-topping The Man Who, but it would seem that the tired, lonely lovelorn niche is one that suits Travis rather well. So, "Writing To Reach You", "Driftwood" and "Why Does It Always Rain On Me?" are the meekest songs to ever eat daytime radio alive. Elsewhere, "As You Are" sounds like Thom Yorke swaddled in blankets, and the closing "Slide Show" punctures rock mythology with an impossibly beautiful lyric: "There is no design for life/ There's no devil's haircut in my mind/ There is not a wonderwall to climb, or step around". —Louis Pattison

Travis The Invisible Band marks no major change in direction for Travis but this is no bad thing. That Travis are the most simplistic of the post-Radiohead groups may not sound like the heartiest of compliments but it undoubtedly accounts for their massive appeal. The Man Who became one of the most popular indie-rock records of the 1990s by virtue of its cheery accessibility and its way with a simple weather metaphor and judging by the lyric to "Side"—"The grass is always greener on the other side/The neighbour's got a new car that you wanna drive"—it's immediately obvious that come their third full-length album, Travis have twigged their fans are not waiting for a brave sonic crusade. Which doesn't matter a jot, because The Invisible Band is such a natural, instantly lovable and thoroughly unforced record, it seems thoroughly churlish to knock it. The opening "Sing" sounds like since their inception, all Travis have been missing is a banjo; the florid "Flowers In The Window" harks back to McCartney's finest Beatles compositions; and the synth-led "The Humpty Dumpty Love Song" lays Travis' sentimental heart bare. "I'd pray to God if there were heaven," sings Fran Healy on "Pipe Dreams", "But heaven sounds so very far from here..." And that's exactly why Travis are so popular; they're the humble down-to-earth boys from next door, still singing the simplest songs, still making the mundane sound beautiful. —Louis Pattison

Travis The ultimate slow-burner, Travis's second album infused its way into the psyche of post-Radiohead Britain with an endearingly humble grace. It's not quite certain how Travis went from being the happy-clappy Britpop also-rans of their debut Good Feeling to becoming the gifted pop craftsmen that moulded the gentle emotional trough of the chart-topping The Man Who, but it would seem that the tired, lonely lovelorn niche is one that suits Travis rather well. So, "Writing To Reach You", "Driftwood" and "Why Does It Always Rain On Me?" are the meekest songs to ever eat daytime radio alive. Elsewhere, "As You Are" sounds like Thom Yorke swaddled in blankets, and the closing "Slide Show" punctures rock mythology with an impossibly beautiful lyric: "There is no design for life/ There's no devil's haircut in my mind/ There is not a wonderwall to climb, or step around". —Louis Pattison

Twain, Shania

Tyler, Bonnie

U2 Even though it was greeted at the time as U2's reinvention as a dance/rock post-modern revue, with a bit of post-Wall Berlin thrown in for luck, distance now shows that Achtung Baby is in fact a suite of extraordinarily perceptive and tender songs on the breakdown of the Edge's marriage. "Who's Gonna Ride Your Wild Horses", "The Fly", "One", "So Cruel"—it's as if Bono shuffled into the studio and said "Er, Edge. Was it a bit like this?" And the Edge wept until his hat became soggy. U2 fans will argue until the end of "Until The End Of The World" which is the best album in the band's exemplary canon, but with Bono sounding like a scorched St Paul, the Edge augmenting those electrified sheets of sound with deft funk-flicks and producer Brian Eno keeping it spacious, hot and holy, chances are, this is it. —Caitlin Moran

U2 Exclusive import edition of their record includes one bonus track, 'The Ground Beneath Her Feet' taken from the Million Dollar Hotel soundtrack that was released earlier this year.This import also comes in a limited, numbered slipcase to the initial pressing only!

U2 U2 How To Dismantle An Atomic Bomb (2004 UK edition 12-track CD album recorded in the bands studio at Hanover Quay Dublin and in the South of France and produced with long-time collaborator Steve Lillywhite. Includes the monster singlesVertigo City Of Blinding Lights and Original Of The Species. Complete with picture sleeve lyric booklet CIDU214)

Utah Saints Straddling the gap stylistically and historically between the cut-and-paste acid house of Bomb the Bass and the big-beat explosion, this U.K. DJ duo fashioned recognizable samples from established classics into equally exciting contemporary dance singles. "What Can You Do for Me" mates Gwen Guthrie with the Eurythmics, while "Something Good" lifts a hook from Kate Bush's "Cloudbusting" (the first time she approved such a usage). Both those club hits appear on the Saints' sole full-length to date, rounded out by notable tracks including a shockingly traditional rendition of Simple Minds' "New Gold Dream" and "Trance Atlantic Glide" (designed to be spun at either 33 or 45 rpm). — Kurt B. Reighley

Vangelis 16 VANGELIS TRACKS. 65 MINS.

Vangelis Cd > Popular Music > Movie SoundtrackCD > POPULAR MUSIC > MOVIE SOUNDTRACK

Vangelis

Vangelis

Vangelis Principally fêted for his film scores—of which Chariots Of Fire, Blade Runner and 1492: Conquest Of Paradise are the most noted—Vangelis was composing music for wildlife documentaries as far back as 1972. So it's little surprise that Oceanic began life as part of a film project about whales before waxing into an electro-symphonic poem about all things deep, aquatic and Aegean-blue in hue. At face value, a concept album about the ocean from a Greek keyboard maestro, who once almost joined Yes, sounds as ominous as a tidal-wave warning. But Oceanic is not, to the chagrin of long-standing fans, topographical prog-rock twiddle but cleansing New-Age navel-gazing hydro-hypnosis—and pure Greece travel-brochure-perusing therapy to boot. With tracks as titularly enticing as "Dreams Of Surf", "Siren's Whisper" and "Fields Of Coral" and the whole album awash with pleasurable synth-strings, harps, pianos and blissed-out Clannad-style choristry, Oceanic gently beckons a finger and says "Come on in, the water's lovely". —Kevin Maidment

Vangelis

Various Julia Stiles (The Devil's Own) and Sean Patrick Thomas (Cruel Intentions) star in "Save the Last Dance", this romantic musical drama about an interracial couple drawn past cultural barriers and united by music and dance. The soundtrack has no shortage off notable R&B and hip-hop performers. However, as the Save the Last Dance implies, this is primarily a platform for the art of the slow dance. Rappers Snoop Dogg, Ice Cube and the Notorious BIG (featured as part of 112's track "Only You") represent the harder end of the spectrum (however, Snoop is paired with Q Tip and Lucy Pearl for a smoother ride than usual). But the dramatic shuffle of the soundtrack's first single, K-Ci & Jo-Jo's "Crazy", represents the best of what's offered here. Pink's playful "You Make Me Sick" and Donnell Jones's "U Know What's Up" are among the other tuneful highlights. —Rob O'Connor

Various

Various, Jason Donovan, Lee Mead CD Really Useful Records, 1746352, 2007 24 Track

Various (NTWICM!)

Various (NTWICM!)

Various (NTWICM!) EMI/Virgin, cdnow33, Jewel Case 39 Track 1996

Various (NTWICM!) VIRGIN EMI,CDNOW36 , Disco Bag Jewel Case 40 Track 1997

Various (NTWICM!) EMI/Virgin, nowcd38, Jewel Case 40 Track 1997

Various (NTWICM!) 2CD EMI/Virgin, cdnow39, Jewel Case 41 Track 1998

Various (NTWICM!)

Various (NTWICM!) EMI/Virgin, cdnow41, Jewel Case 40 Track 1998

Various (NTWICM!) 42nd installment in this series chronicling international contemporary pop hits. 40 tracks, including smashes from Robbie Williams, Boyzone, Blur, Cher, The Corrs, All Seeing I, Billie, Spice Girls, A Plus, Sash!, Lenny Kravitz, Fatboy Slim, Armand Van Helden, Cardigans, The Beautiful South, Roxette, 911, Dru Hill, All Saints and Dusty Springfield. Double slimline jewel case. 1999 release.

Various (NTWICM!) 43rd installment in this series chronicling international contemporary pop hits. This set has 1998-9 chart smashes from Baz Luhrman, Backstreet Boys, Texas, New Radicals, Fatboy Slim, Vengaboys, Supergrass, Chemical Brothers, Geri Halliwll, Blur, Melanie

Various (NTWICM!) Virgin/EMI, CDNOW44, Jewel Case 42 Track 1999

Various (NTWICM!) EMI/Virgin, CDNOW45, Jewel Case 45 Track 2000

Various (NTWICM!) Since its inauguration in the early 1980s, the Now That's What I Call Music compilations have provided a constant barometer of the tastes of the British music-buying public. As such, Now 46 is no exception, with a great cross section of chart topping tracks. On the pop front, there are such luminaries as S-Club 7, Steps, Britney Spears, Kylie and Gabrielle to provide some great summery sounds. Meanwhile, on the rock front, Coldplay, Richard Ashcroft and The Bloodhound Gang are on hand to show the diversity of people's preferences. On the dance side of things, there's a good spread of the two contemporary passions on the club floor: trance and two-step. Trance is represented by Darude's "Sandstorm", along with York's revamping of Chris Rea's "On The Beach". On a two-step tip, there are essential cuts from MJ Cole, MC Neat & DJ Luck and the awesome stylings of The B15 Project on the superb "Girls Like Us". All in all, for a pop music fan, this is an essential purchase. —Helen Marquis

Various (NTWICM!) EMI/Virgin, CDNOW47, Jewel Case 47 Track 2000

Various (NTWICM!) Virgin/EMI/Universal, cdnow48, Jewel Case 41 Track 2001

Various (NTWICM!) The cream of the pop compilation is back once more as Now That's What I Call Music Vol.49 serves up another double disc of hits from the UK pop charts. As ever it holds a plethora of number ones from the likes of DJ Pied Piper ("Do You Really Like it"), Robbie Williams ("Eternity") and Hear'Say ("The Way to Your Love"). Also included are some of those global, all-conquering hits which lingered for ages like the soulful hip hop of Outkast's "Ms Jackson" which was actually released a few months before the previous instalment of the series, Now 48. The only downfall of this great compilation is as with the inclusion of Outkast or S Club's "Don't Stop Movin", much of the material is quite old at the time of release or already heavily featured on other albums like Smash Hits Summer 2001. Maybe they're saving themselves for the half century but having said that, apart from some bizarre inclusions at the tail end of disc one (don't even go there), almost every song is a classic of 2001. —David Trueman

Various (NTWICM!) EMI/Virgin, cdnow50, Jewel Case 44 Track 2001

Various (NTWICM!)

Various (NTWICM!) Full title - Now That's What I Call Music 52. 2002 compilation featuring 42 tracks, Ronan Keating 'If Tomorrow Never Comes', Liberty X 'Just A Little', George Michael 'Freeek!', Sugababes 'Freak Like Me', Kylie Minogue 'Love At First Sight', Enrique Iglesias 'Escape', Sophie Ellis-Bextor 'Get Over', S Club Juniors 'One Step Closer', Nigel & Marvin 'Follow Da Leader', Scooter 'The Logical Song', Dee Dee 'Forever', Flip & Fill 'Shooting Star', Paffendorf 'Be Cool', Kelly Llorenna 'Tell It To My Heart', Shy FX & T-Power feat. Di 'Shake UR Body', Tim Deluxe feat. Sam Obernik 'It Just Won't Do', Shakedown 'At Night', Moony 'Dove (I'll Be Loving You)', Intenso Project 'Luv Da Sunshine', 4 Strings '(Take Me Away) Into The Night', Mad'House 'Like A Prayer', S Club 7 'You', Atomic Kitten 'It's OK!', Britney Spears 'I'm Not A Girl, Not Yet A Woman', Ashanti 'Foolish', Mary J Blige 'No More Drama', N Sync 'Girlfriend' (Album Version), Christina Milian 'When You Look At Me', Nelly feat. Dani Stevenson 'Hot In Here', Ms. Dynamite 'It Takes More', Omero Mumba 'Lil Big Man', Aaliyah 'Rock The Boat', The Reelists 'Freak Mode', 1 Giant Leap 'My Culture', Amy Studt 'Just A Little Girl', Sheryl Crow 'Soak Up The Sun', Doves 'Pounding', The Space Cowboy 'I Would Die 4 U', Idlewild 'American English', Puddle Of Mudd 'Blurry', Moby 'We Are All Made Of Stars' & Oasis 'Stop Crying Your Heart Out'.

Various (NTWICM!) NOW 53 - (COMPILATION) CD 43 TRACKS (60631)

Various (NTWICM!) Full title - Now That's What I Call Music Vol. 54. Import exclusive compilation featuring 42 of the latest hits from t.A.T.u., Justin Timberlake, Nelly feat. Kelly Rowland, Richard X vs Liberty X, Junior Senior, Melanie C, Appleton, Atomic Kitten, Jay-Z feat. Beyonce Knowles, Daniel Bedingfield, Robbie Williams, Coldplay, Massive Attack & many more. Virgin. 2003.

Various (NTWICM!)

Various (NTWICM!) Now That's What I Call Music Vol.56 is another double-CD triumph compiling the best music from the UK pop charts. Featured here are the massive number ones "Where is the Love?" by the Black Eyed Peas, "Slow" by Kylie, "Be Faithful" by Fatman Scoop and "Crazy in Love" by Beyoncé. Other highlights include "Mad World" by Michael Andrews, "Rock Your Body" by Justin Timberlake and "Are You Ready for Love" by Elton John. —Steve Beefmark

Various (NTWICM!) The latest in the long line of 'Now' albums is probably the most exciting yet. Overflowing with poptastic hits, 'Now 57' is the document of the best in popular music over the past six months. Don't settle for imitators - 'Now' is the original & still the

Various (NTWICM!) EMI/Virgin, cdnow58, Jewel Case 42 Track 2004

Various (NTWICM!) The Christmas edition of NOW never fails to please - packed with the best singles in the run up to the Christmas season. 2 CD set featuring Blue, Maroon 5, JoJo, Ronan Keating, Daniel Bedingfield, Black Eyed Peas, Joss Stone, Dannii Minogue vs FlowerPower and more. Virgin. 2004.

Various (NTWICM!)

Various (NTWICM!)

Various (NTWICM!) Brand new - we ship worldwide

Various (NTWICM!) now that's what i call music! 64 [import]various artists (artista), various producers (produttore) | formato: audio cd —-descrizionebranidisco 11.crazy - gnarls barkley2.maneater (radio version) - nelly furtado3.from paris to berlin (radio edit) - infernal4.voodoo child - rogue traders5.don't stop me now - mcfly6.who knew - p!nk7.i wish i was a punk rocker (with flowers in my hair) - sandi thom8.she moves in her own way (radio version) - the kooks9.fill my little world (radio version) - the feeling10.is it any wonder? - keane11.you're all i have (radio edit) - snow patrol12.in the morning - razorlight13.bright idea (radio edit) - orson14.valerie - the zutons15.bang bang you're dead - dirty pretty things16.monster - the automatic17.faster kill pussycat - oakenfold featuring brittany murphy18.stoned in love (radio edit) - chicane featuring tom jones19.country girl - primal scream20.who says you can't go home (radio edit) - bon jovi21.up all night - matt willis22.dance, dance (album version (edited)) - fall out boydisco 21.smile (radio edit) - lily allen2.sos (radio edit) - rihanna3.pump it (radio edit) - black eyed peas4.buttonz (uk edit version) - the pussycat dolls featuring snoop dogg5.so sick - ne-yo6.touch it (uk radio edit) - busta rhymes7.say i (clean) - christina milian featuring young jeezy8.mas que nada (radio edit) - sergio mendes featuring black eyed peas9.nine2five - the ordinary boys vs. lady sovereign10.red dress (radio edit) - sugababes11.somebody's watching me - beatfreakz12.first time (radio version) - sunblock featuring robin beck13.world, hold on (children of the sky) - bob sinclar featuring steve edwards14.tell me why - supermode15.horny as a dandy (mousse t's radio mix) - mousse t vs dandy warhols16.sensitivity (radio edit) - the shapeshifters & chic17.piece of my heart (radio edit) - beverley knight18.you give me something (eg version) - james m

Various (NTWICM!)

Various (NTWICM!)

Various (NTWICM!)

Various (NTWICM!)

Various (NTWICM!) Now That's What I Call Music 74 - Various - Cd

Various (NTWICM!) I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

Various (NTWICM!) I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

Various Artists

Various Artists

Various Artists

Various Artists

Various Artists This 1991 companion to German director Wim Wenders's film sets a high water mark for the intelligent use of cutting-edge popular (and we are using that term in its broadest sense) music on film, deservedly cracking onto critical lists for the best releases of that year, period. The contemplative thriller's setting at the end of the millennium is answered by a remarkable repertory of artists including Talking Heads, Neneh Cherry, Lou Reed, Elvis Costello, REM, Nick Cave and The Bad Seeds, Patti Smith, Jane Siberry with k.d. lang, T-Bone Burnett, Daniel Lanois and U2, a de facto dream team. Nearly all these performances were unheard at the time of release, and beyond the evident marquee lustre there is an underlying cohesion to the sense of yearning that prevails. Both Cave and U2 build powerful songs around the title theme, Elvis offers a brilliant Ray Davies cover, and the Siberry/lang classic, "Calling All Angels", summarises the spiritual underpinnings of this thoroughly modern, ultimately timeless classic in film music. —Sam Sutherland

Various Artists The movie is a 1970s take on 1950s musicals, providing all the kitsch anyone could hope for. It's John Travolta as Danny Zuko as Olivia Newton-John's pompadoured main squeeze, and the kids go crazy. Fresh from his astronomical success with Travolta in Saturday Night Fever, Bee Gee Barry Gibb penned the title track (sung by Frankie Valli). Sha Na Na is over-represented, and actress Stockard Channing struts her, um, versatility, singing a couple of tracks. This has become a touchstone in American culture, and so isn't likely to improve its standing in the world's eyes. Maybe the point is that it's supposed to sound amateurish, but it does manage to eke out some fun, most notably on the hit "You're the One That I Want". —Scott Wilson

Various Artists Track Listing 1. Jessica - Allman Brothers 2. Killer Queen - Queen 3. Sharp Dressed Man - ZZ Top 4. You Took The Words Right Out Of My Mouth - Meat Loaf 5. Two Princes - Spin Doctors 6. We Don't Need Another Hero - Turner, Tina 7. More Than A Feeling - Boston 8. Big Log - Plant, Robert 9. Inside - Stiltskin 10. Wishing Well - Free 11. Roll Away The Stone - Mott The Hoople 12. Maggie May - Stewart, Rod 13. Tuff Enuff - Fabulous Thunderbirds 14. Because The Night - Smith, Patti 15. Call Me - Blondie 16. Rhiannon (Will You Ever Win) - Fleetwood Mac 17. You - Frampton, Peter 18. When Tomorrow Comes - Eurythmics 19. Power Of Love - Lewis, Huey & The News 20. Do Anything You Wanna Do - Eddie & The Hot Rods 21. 2468 Motorway - Robinson, Tom 22. Bad Case Of Lovin' You (Doctor Doctor) - Palmer, Robert 23. Boys Are Back In Town - Thin Lizzy 24. Brown Eyed Girl - Morrison, Van 25. Rocky Mountain Way - Walsh, Joe 26. Talking Back To The Night - Cocker, Joe 27. Show Me The Way - Frampton, Peter 28. I Want You To Want Me (live) - Cheap Trick 29. Long Train Runnin' - Doobie Brothers 30. American Pie - McLean, Don 31. Black Magic Woman - Santana 32. Everybody Wants To Rule The World - Tears For Fears 33. Walk On The Wild Side - Reed, Lou 34. Wicked Game - Isaak, Chris 35. Venus In Furs - Velvet Underground Details Number of CDs: 2 Recording Type: Mixed Distributor: Sony Music/Arvato Services

Various Artists Soul Devotion

Various Artists

Various Artists Friends ~ Friends (Television Series)

Various Artists titolo-trainspottingetichetta-emin. dischi1data-2 marzo 1996supporto-cd audiogenere-pop e rock internazionalecolonne sonore——brani1.iggy pop - lust for lifeascolta2.brian eno - deep blue dayascolta3.primal scream - trainspottingascolta4.sleeper - atomicascolta5.new order - temptationascolta6.iggy pop - nightclubbingascolta7.blur - singascolta8.lou reed - perfect dayascolta9.pulp - mile endascolta10.bedrock feat. kyo - for what you dream ofascolta11.elastica - 2:1ascolta12.leftfield - a final hitascolta13.underworld - born slippyascolta14.damon albarn - closet romanticascolta

Various Artists

Various Artists

Various Artists

Various Artists Kathryn makes a bet that her step-brother, Sebastian, won't be able to bed Annette (a virgin, who wants to wait until love). If he loses, Kathryn gets his Jaguar, if he wins, he gets Kathryn.

Various Artists This souvenir from the popular teen television drama contains several high-profile pop smashes tied to the show (Sixpence None the Richer's "Kiss Me", Paula Cole's "I Don't Want to Wait", and Shawn Mullins's "Shimmer"), along with a number of other tracks similar in tone and style. That is to say, if those songs' (or the show's) slightly wounded romanticism appeals to you, you're likely to find something else here you'll dig. —Rickey Wright

Various Artists

Various Artists

Various Artists

Various Artists

Various Artists

Various Artists

Various Artists

Various Artists "They're producers of throw-away, candy floss pop which won't be remembered" was one of the kindest comments made about the work of pop supremos Stock, Aitken and Waterman during the 1980s. Responding to this regular onslaught Pete Waterman always maintained that their songs would follow the same route as Motown compositions—they would stand the test of time and become classics. With the release of The Hit Factory, there is further evidence that Waterman may have been right all along. Stretching from Waterman's earliest work with Nik Kershaw and Hazel Dean, to his more recent protégés Steps, you realise how influential he has been in shaping the British pop music scene. One annoying factor about this otherwise essential collection is that the record company, in their quest to highlight the contemporariness of Waterman's work, have included tracks with some very loose connections. Even though signed to his label PWL, he had no production ties with artists such as Opus III & Undercover. However, how can you resist reliving those days of old when you watched Dead or Alive playing live on Razzmatazz, or Sonia performing "You'll Never Stop Me From Loving You" on the Hit Man and Her Roadshow? —John Galilee

Various Artists I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

Various Artists

Various Artists One of the more high profile and successful chillout compilations of 2001, The Classic Chillout Album is a double-disc affair with all the right hits in all the right places. The big guns are here on disc one with Kinobe's "Slip Into Something...", Groove Armada's "At the River" and Jakatta's "American Dream" to name but a few. Disc two is a bit more new-age with Deep Forest's "Sweet Lullaby", "Sadness" by Enigma and "Silence" by Delerium but there are some genuinely beautiful pieces from the likes of Morricone ("Chi Mai") and Robin Young-Smith ("Flower Duet") which sit more than comfortably with their downbeat dance cousins. —Georgina Collins

Various Artists CD Universal Music TV, 014 947-2, 2001 14 Track

Various Artists It's hard not to start feeling sentimental after hearing the loose collection of love ballads that comprise the Notting Hill soundtrack. The romantic comedy starring Julia Roberts and Hugh Grant is filled with the modern sounds of love—as sung by everyone from pop harmonisers (Boyzone, 98 Degrees) to classic soulsters (Bill Withers, Al Green). The Spencer Davis Group's "Gimme Some Lovin'" adds a garage-rock edge, but if you're not up for slow-burning love tunes, this soundtrack probably isn't for you. Two guitar-based score tracks from composer Trevor Jones fill out the soundtrack and add a nice instrumental touch to the disc. —Jason Verlinde

Various Artists

Various Artists

Various Artists BMG, 5525121, DBL 40 Track

Various Artists titoloultimate dirty dancingetichettarcan. dischi1data27 gennaio 2004supportocd audiogenerepop e rock internazionalecolonne sonorecompilation——braniascolta 30''1.be my babyascolta2.big girls don't cryascolta3.merengueascolta4.trot the foxascolta5.johnny's mamboascolta6.the time of my life (instrumental)ascolta7.where are you tonight?ascolta8.do you love meascolta9.love manascolta10.stayascolta11.wipeoutascolta12.hungry eyesascolta13.overloadascoltaascolta 30''14.hey babyascolta15.de todo un pocoascolta16.some kind of wonderfulascolta17.these arms of mineascolta18.cry to meascolta19.will you love me tomorrowascolta20.love is strangeascolta21.you don't own meascolta22.yesascolta23.in the still of the nightascolta24.she's like the windascolta25.kellerman's anthemascolta26.(i've had) the time of my life

Various Artists

Various Artists

Various Artists JAMES BOND The Best Of Bond.... James Bond (2006 US 22-track CD album featuring a collection of James Bond classic hits from Shirley Bassey Carly Simon Duran Duran Sheena Easton Louis Armstrong Paul McCartney & Wings Tom Jones Tina Turner The John Barry Orchestra & many more...)

Various Artists

Various Artists BBC Radio 1's Live Lounge 2014 - Various Artists [CD]

Various Artists, Cher, The Miracles, Lesley Gore, Doris Troy, Mickey & Sylvia, Santo & Johnny, Jimmy Soul, Shelley Fabares, Four Seasons

Various Artists, Judge Jules (mixed by), Tall Paul (mixed by) Mixed by the nations two most popular DJs - Judge Jules & Tall Paul - the Ibiza Annual is the definitive roundup of the seasons biggest tracks. Artists include: Darude, Storm, Different Gear vs the Police, Marc Et Claude, Bob Sinclair, Sonique, Angelic and much more.

Vengaboys, The

Verve, The

Vivaldi, David Nolan, Lpo

Wakeman, Rick

Warbeck

Wet Wet Wet Wet Wet Wet released this 2 CD set in 1993 to highlight the transformation that has taken place since their first single in March 1987, "Wishing I was lucky". The first CD, titled "End of part one:their greatest hits" contains hit songs such as Wishing I was lucky,Sweet little mystery,Sweet surrender,More than love, Shed a tear, etc. The 2nd CD was put together by the band to show their own favourite songs, some re-mixes, some rarities, some never before released. Also, it contains some live versions of songs that Wet Wet Wet have played, songs that have been written by some of their heroes: Bob Marley's "Jammin'", Stevie Wonder's "I wish" plus a studio version of Carole King's "You've got a friend". This 2 CD set truly shows their song-writing maturity and also their emotion during their live gigs.

Wet Wet Wet The sales of Wet Wet Wet's fifth album had everything to do with Four Weddings And A Funeral (featuring, of course, "Love Is All Around") but not a terrible amount to do with the quality of the record. Thirteen weeks at number one with a cover version can place an awful lot of pressures on a band, and, at some level, the Glasgow quartet must have been aware that their songwriting style simply didn't lend itself to providing a natural follow-up. That said, there are moments here that remind us where Wet Wet Wet's roots do lie. "She's All On My Mind" and "Somewhere Somehow" return to the gentle Memphis inflections that occasionally seeped into earlier albums, but they're all too often swamped by the kind of lavish production that bands usually turn to when they're feeling self-conscious. One wonders to what degree the pressures of stardom eventually turned the band in on each other and Mart Pellow to drugs. But for all the money spent on it, Picture This could do with some of the youthful joie de vivre found on 1986's Popped In Souled Out. —Peter Paphides

Whelan, Bill

Williams, Robbie When Life Thru A Lens came 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 Lens is 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

Yankovic, Weird Al Weird Al Yankovic ~ Running With Scissors

Yello

York, Bird I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

Zimmer, Hans