(16 October 2005) Recognized as one of the leading voices in electronic music and a pioneer in the early 90s trance music scene, Kirsty Hawkshaw has finally come full circle with the release of The Meta-Message (Nettwerk Productions (USA/Canada) 2005). It is an absolutely stunning collection of some of her best collaborations and unreleased material.

Kirsty first came to prominence as the front-woman for ambient/trance outfit Opus III. Their track "Fine Day," became a global smash and helped usher in a new era of electronic dance music. Thereafter, discerning artists and DJs such as Orbital, Spooky, BT, DJ Tiesto, Clashing Egos, Sandor Cardon, Swayzak, Pole Folder, Silent Poets, Slovo and Hybrid tapped Kirsty to provide vocals for a wide-range of projects.

In 2000, Kirsty surprised fans when she released her acclaimed solo album On Ultimate Things (O.U.T). Moving away from her dance roots and showcasing Kirsty's considerable songwriting skills, O.U.T. remains a beautiful collection of thought-provoking tracks that would appeal to fans of Tori Amos or Sarah McLachlan.

With such an extensive body of work, Kirsty decided to release The Meta-Message, a restrospective album of sorts that features some of her most well-known collaborative efforts and some new tracks as well. The upbeat yet contemplative "Just Be Me" opens the album. Re-recorded and re-released as "Just Be" with DJ Tiesto, this original version of the song is arguably more engaging than the Tiesto version.

James Holden's recent remix of the original "Fine Day" is a vibrant and contemporary take on the original track that first brought Kristy's voice to a worldwide audience. With spacious ambience and throbbing electro pulses, "Fine Day" is as gorgeous a listen as it was over a decade ago. Kirsty shifts gears with "Reach for Me," a mature and catchy acoustic/pop number in the vein of Michelle Branch or Sheryl Crowe. Returning to blissful ambience on the dreamy Delerium collaboration, "Nature's Kindgom," Kirsty's unconventional but always breathtaking voice reaches angelic heights.

Two Tiesto collaborations follow: "Walking on Clouds" is a club-friendly number with heavy kicks and high-hats sure to please fans of melodic trance while "Battleship Grey" is a stark and chilled-out downtempo piece of epic proportions. "Sincere for You" is a sweeping club masterpiece featuring arp synths and a driving groove. The quirky and cinematic track "Blackout" is one of Kirsty's most acclaimed collaborations, this time with Hybrid. With a backing tribal beat and swelling string lines, Kirsty's voice soars with intensity and passion.

The DJ Sam collaboration "Split" is arguably one of the standout tracks--beginning with adagio-flavored strings and Kirsty's lush recitation, the song moves into ghostly territory with a chillout beat and swaths of electronic accents. When Kirsty sings: "For I must learn to live no longer as a fugitive; and I will endure bravely the space you left in me" one can feel the genuine heartbreak of the moment.

"All I Want" returns the listener to familiar "trance-Kirsty" territory with strong programming, undeniably addicting hooks and intelligent lyrics. "Beautiful Danger" feels like a companion piece to "Split" with a seductive beat and trippy energy. The closing track, "Whisper" is a Dido-esque piece of positivity that Kirsty performs with Slovo. Easy-going acoustic guitar and a jaunty beat make this sunny track a pleasing wrap up to the album.

It is hard to pinpoint what is about Kirsty Hawkshaw's voice that is so appealing. It may be the genuineness and clarity of her voie...or possibly its lovely range and unique character. Whatever it is, let's hope that with the release of The Meta-Message, many more will have the opportunity to hear one of the most talented female artists working today.--Justin Elswick in Provo, Utah and Russ Elliot in New York

(25 October 2005) Dayna Hollins and Benny Steele are the pop/rock duo, Hollins Steele, and recently have released their debut album, Songs from Vanderbilt Avenue (Hollins Steele (USA) HS002, 2005). They wrote, arranged, recorded and mixed their own album at their co-owned and operated recording studio, The Steele Factory, in Brooklyn. This well produced collection of thirteen original tracks are filled with lush, harmonic arrangements that touch the soul.

Dayna performs the vocals while Benny handles the drums, percussion and keyboards. Her vocals are crisp and clear and the instrumentals complement their incredible sound. They are joined by some prominant musicians: Matt Beck (Matchbox 20, Rob Thomas), Tomás Doncker (The Neville Brothers, Defunkt), Alec Berlin (Rent, The Lion King) on guitar, Booker King (Santana, Kelis) and Buster Hemphill on bass, Michael Cain (Meshell N’DegeOcello, Jack DeJohnette) on keyboards/piano, and Daniel Sadownick (Steely Dan, Meshell N’DegeOcello) on percussion, with orchestration by Michael Picton.

Hollins Steele came together from contrasting backgrounds. While both were attending an East Coast conservatory, Dayna was studying to be a classical singer, and Benny was training as a jazz drummer. They became friends and recognized that they shared a common goal in their approach to songwriting. "Writing songs that mean something to us and other people was much more appealing", according to Dayna. They combined their unique talents and have created their own original pop sound that has an infectious appeal.

This CD has taken two years to create and their hard work has certainly paid off. Benny said, “Pursuing a career in music is challenging, and being self-sufficient is helpful. It's great to have a hand in as much of the process as possible. We want to put the meat back on the bones of pop music and with our varied musical backgrounds and training, we quickly discovered that we were a perfect pairing to do just that. For me, it was ideal to move away from singing someone else's writings from centuries ago, to expressing my own contemporary ideas and emotions. And it makes for a more relatable song as well." Dayna added, "We complement each other and have, with very hard work, managed to do it all ourselves."

The opening track, "Prelude: Vanderbilt Ave in C Minor," engages the listener from the very first notes. Dayna's gentle and soaring voice along with the lush instrumental grooves are top notch. The beat picks up with "Tongue Tied," which has a captivating and contemporary sound. There is a wonderful layering of vocals, enhanced by the appealing pop arrangements. Their sound continues to tantalize the senses with the powerful "Falling." The song is enriched by sumptuous orchestra accents, complementing Dayna's full bodied vocals.

"Fill Me In" has fantastic guitar solos that serves to create a winning tune. They have an eclectic side that resonates through their edgy rock sound. Another gem is "Between the Lines." Dayna's beautiful vocals and harmonies skyrocket within the percussive and harmonic progressions. "Worst Enemy" bursts through with its refreshing and slick melody. Some classical choral background introduces "Interlude in a Minor" which flows beautifully into the next track, "In Dreams." Dayna has a huskier tone to her vocals in this song, showing her versatility of sound.

"Funny" has a wonderful clarity and striking simplicity. Dayna's astounding voice and the appealing accompaniment places this song on another level. There is an urgency to the beat in "I'll Move On." The precise vocal sound is hard-hitting and spot-on. "Stuck On You" is percussion driven and has a powerful tonal quality. The gorgeous and flowing "20/60 Eyes" is an exquisite track with sensitivity in the lyrics and wonderful harmonization. Lovely keyboards energize the effect of this song. The final track is the "Postude: Vanderbilt Ave in C# Minor," ending their stellar debut album with grace and beauty.

There is no doubt that Hollins Steele's Songs from Vanderbilt Avenue is a smash contemporary pop/rock hit. The vocals and accompanying music are powerful and wonderfully melodic. The production is top-notch and the variety of songs are superbly engaging. This duo has brought together a superior blend of lush harmonic sounds that you'll want to listen to again and again.

(02 October 2005) On Love Changes Everything: The Andrew Lloyd Webber Collection Volume 2 (Decca Broadway (USA), B0005570-02, 2005) multi-platinum chanteuse Sarah Brightman sings a selection of rarely heard tracks from ex-husband Andrew Lloyd Webber's musicals. This fourteen track album features six previously unreleased tracks by Sarah as well as duets with stars such as Michael Ball, John Barrowman and Cliff Richard.

Sarah puts her own magical spin on these memorable songs reminding her fans why she is so beloved. Having made her mark with her role as Christine Daaé in The Phantom of the Opera, her career skyrocketed and she launched an internationally successful concert and recording career. She has quite a number of famed solo recordings including Encore, Classics, Fly, La Luna, Timeless, Eden, Fly 2, Dive, As I Came of Age, Songs That Got Away and Sarah Brightman Sings the Music of Andrew Lloyd Webber. Of note was her duet with famed tenor Andrea Boccelli, "Time to Say Goodbye," which was certified gold in the U.S. and was number one on the Billboard charts for over 30 weeks.

She was born August 14, 1960 in Berkhampstead, England and began dancing at the age of three. At age twelve, she made her London theatrical debut in Charles Strouse's I and Albert. Sarah was a dancer on the television series Pan's People in 1976, and later fronted the pop group Hot Gossip, which in 1978 had a UK number one hit with the single "Starship Trooper." She met Andrew Lloyd Webber in 1981 when she was cast in the role of Jemima in Cats. They married in 1984 and stayed together through 1990. During that time period, Sarah appeared as Christine in The Phantom of the Opera making her a household name. She also appeared in Lloyd Webber's Requiem and Aspects of Love. After divorcing, she toured in The Music of Andrew Lloyd Webber: A Concert Spectacular and released many renowned solo recordings. She currently maintains an active touring schedule, her most recent being the Harem World Tour in 2004.

Her current album immediately kicks off with a previously unreleased track, "Probably on Thursday," from the 1982 musical Song and Dance. The song takes a step back in time from the songs that Lloyd Webber wrote in the 1970's. Sarah makes this pop song a delight from this obscure musical. "The Perfect Year" from Sunset Boulevard is another previously unreleased hit, and she has a distinctively more mellow approach to this wonderful ballad than the original star, Patti LuPone. The melodious vocals continue with her duet with Sir Cliff Richard in "Only You" from the blockbuster hit Starlight Express. Sarah certainly takes a gentle and subtle approach to these wonderful tunes.

"Love Changes Everything" and "Seeing is Believing" from Aspects of Love are two other previously unreleased songs. "Love Changes Everything" had huge popularity and really is the most memorable song from that ill-fated musical. The latter song is a terrific duet with Britain's leading musical star and multi-platinum recording artist Michael Ball. Another duet, "Think of Me," from The Phantom of the Opera follows with Steve Barton, who was in the original 1986 London cast along with Sarah. This song certainly makes one realize why she is the fabulous star she is.

The catchy "Any Dream Will Do" from Joseph and the Amazing Technicolor Dreamcoat is a wonderful rendition. The sentimental "I Don't Know How to Love Him" from the rock-opera Jesus Christ Superstar is sung with exquisite sensitivity and Sarah's stunning, soaring vocals. Broadway and West End singing sensation John Barrowman joins Sarah in the wonderful duet, "Too Much in Love to Care" a previously unreleased recording from Sunset Boulevard.

The title song from Phantom, "The Phantom of the Opera," takes centerstage in this soaring duet with Londoner and renowned singer Steve Harley. The richness of the vocals is heavenly as Sarah showcases her incredible soprano range in this most famous melody. The fifth unreleased song, "Make Up My Heart," from Starlight Express is a lovely, tender tune. Her multi-lingual talents are evident in "No Llores Por Mi Argentina" (Spanish version of "Don't Cry For Me Argentina") from Evita. Even if you don't speak Spanish, it doesn't matter since everyone knows the lyrics and the tune, and the song is a pure delight.

Another well-known song, "Everything's Alright" from Jesus Christ Superstar is a terrific song. The only complaint is that the male vocalists are not given credit on the CD for their participation in this much recognized song. The final track on this fine album is "Whistle Down the Wind" from the musical of the same name. The musical was only in the West End for a mere three years, which is most minimal for one of Lloyd Webber's works. The lilting tune is performed to perfection.

Anyone who is familiar with Andrew Lloyd Webber's musicals will be singing along and tapping their toes to the beat of these terrific songs. This wonderful collection of fourteen tracks showcases the magnificent and soaring vocals of Sarah Brightman. She is a shining star of ultimate magnitude, and she certainly performs these illustrious melodies flawlessly. But, who would expect anything less from the splendid Sarah Brightman!--Audrey Elliot in New York

(27 October 2005) Hailing from Victoria, British Columbia, Canada, singer Camille Miller has released her second and powerful CD, Carnarvon Street (Camille Miller (Canada) FOD056, 2004). Her first album, She Knows, initiated her listeners to her evocative vocals and lush instrumentals. Her style is pop/rock and she shows strength in her hard-hitting vocals in her current production. There is an intensity to her music backed by great instrumentals and a healthy influence of raunchy blues guitar.

Carnarvon Street has a classic rock base, complementing Camille's sensual and alluring voice. She expresses passion in her singing, and the musical hooks capture the listener. All the songs on the album were written by Camille and her partner, Nick Haggar, with the exception of "Get In, Get Out" which was written by Marc Robichoud. Camille states, "There's a commonality to the lyrics (Carnarvon Street) and the feel of the music that makes it so affecting and ultimately satisfying. Not too many artists can write such soul-searching lyrics and mix them with such accessible and memorable music."

This ten track album begins with the power-driven "Carnarvon Street." The flowing melody supports the beautiful and intense vocals. "Eva" has a raw energy and great percussive backing. The liveliness continues with "Get In, Get Out," in this fresh pop tune. One can just imagine her live performance through her magnetic presentation. Her sultriness comes through in "Nobody Knows" with a more bluesy effect to the music and her husky tone.

The stunning standout track "What Are You Waiting For" and "Make You Believe" showcase Camille's songwriting ability and her stunning vocal appeal. There is an emotive pull to her singing that embraces these songs. "Sun Too Long" explores a diverse landscape, followed by the energy driven and poignant "Tranquilize." The beat is contagious and expressive. It is no wonder that the influences from The Verve, Stereophonics and Eurythmics have inspired this robust CD.

"Into Closed Doors" has a freshness and vigor to its rocking presentation. In contrast, her last track, "Breakable," delivers lush and passionate vocals in addition to the wonderful supporting harmonies and instrumental arrangements. A quick word to Balligomingo fans: expect a significant departure on this lushly arranged rock music album. The track "Make You Believe" will draw the strongest comparison to her contribution to "Lost" on Beneath The Surface.

Camille continues to impress with her stunning voice and strength in her music. She has a magnetic appeal and you just want to move and sing along with the captivating melodies. With practically no vocal training, Camille touches on the heart and soul of her music. Listen to the full range of Camille's talent, powerful and soaring vocals with alternative and rock arrangements, on Carnarvon Street.

(16 October 2005) Canadian rocker Bif Naked has been a staple in Canadian rock fans CD players since the mid-nineties. In the late nineties she broke through to United States' audiences with her highly successful sophomore album, I Bificus, released by Atlantic Records to critical acclaim. Bif toured with the Snocore tour alongside some of rock's most successful acts, has found herself hosting MTV shows more than a few times, her video for "Moment of Weakness" made the regular video rotation list, and the world seemed as if it were at her feet.

Changes at Atlantic Records found Ms. Naked stalled in America and was eventually freed from her contract. If there is one thing Bif Naked is though, it's driven. She re-emerged with Purge (released in Canada nearly a year before making a United States release), one of the most powerful rock albums ever released, to little fanfare and is now set to build a fire with her fourth album Superbeautifulmonster. We caught up with Bif Naked earlier this month and have captured the results in this exclusive interview.

That's not to say that Bif doesn’t explore uncharted waters on the album however. Her cover of Metallica's smash "Nothing Else Matters" rivals the original combining equal parts beauty and unsettling eeriness. Her voice sounds as if it’s floating on the music with an innocent, girlish charm that few rockers could pull off so effortlessly.

The mainstream radio friendly "Henry" is one of the most surprising moments on Superbeautifulmonster. The song has a rolling vibe to it, with a few country-tinged pieces that are certainly new to Ms. Naked's reptoire. The epic "After a While" that ends the album is an emotional roller coaster of both self-deprecation and victory and takes the album out in a very intimate and revealing way lyrically.

The album is undoubtedly the most complete album Bif Naked has released to date. While it blends elements of her previous releases together, a more mature Bif, both musically and lyrically, springs forth from it and that only enhances the total experience. This is a great record that will unquestionably appeal to rockers everywhere. Canada’s best kept secret is out.--Mark Fisher in West Virginia

(23 October 2005) Maria Taylor has one of those voices that is instantly recognizable and full of paradoxes, sounding both fragile and unflinching, disembodied and earthy, dispassionate and intense at the same time. Along with Orenda Fink, Maria Taylor comprises one-half of Azure Ray--the highly acclaimed duo credited with bringing the sound of "southern gothic" music to a new audience. In fact, Moby is such a big fan of the duo that he got involved with their project.

With 11:11 (Saddle Creek (USA) LBJ-74, 2005), Maria Taylor breaks into refreshing new territory with an album that--like Orenda Fink's solo project, Invisible Ones--is actually stronger musically and vocally than her work with Azure Ray. Those who are somewhat disenchanted with the overabundance of sensitive female folk singers need only to listen to the opening track "Leap Year" to be persuaded: this is not a typical angel-voiced singer singing acoustic ballads.

First of all, Maria Taylor writes and sings with an elegant intensity that is unique and captivating. On "Leap Year," lush string arrangements and military drums combine with synthetic pulses and heavenly harmonies to create a feeling of cinematic luminosity. "Song beneath the Song" has a touch of 1980's OMD aesthetic mixed with Maria's folk influences. "Two of those Two" is a sweetly meandering piano/guitar tune made all the more beautiful for its simplicity.

"Nature Song" is another spellbinding and magical song full of melancholic wonder. Sounding like a Tennessee folk song from the 50's Maria's acoustic guitar and stark harmonies are wonderfully backed by lilting strings. The listener is instantly transported to another place and time. "Light House" is an evocatively rendered musical vignette recalling summer evenings in the countryside.

Taking the music in an effectively groovy direction, "One for the Shareholder" is a retro-clash piece of electronic cynicism that calls to mind Heather Duby's remote amibence. Both enjoyable and unexpected. "Xanax" is a guitar driven song laden with dream-etherealism and a melody of regret. Slightly Beatle-esque with touches of Roy Orbison, "Birmingham 1982" is straightforward folk-rock of the highest quality.

"Speak Easy" is such a simple and marvelous resurrection of bluegrass/americana that it is hard to believe that it was not written in the 30s or 40s. Maria saves the best for last with "Hitched," a knockout slice of irresistible musical ingenuity. With earnest and touching lyrics evoking a deep south wedding, "Hitched" jaunts along with almost honky-tonk restlessness but transforms into a glorious hymn-like song with celestial choir. This song is not to be missed.

If 11:11 is an indicator of things to come, we eagerly anticipate future Azure Ray albums as well as an further solo efforts by Maria Taylor. What she has done is create an album that may well become a "classic." With its timeless quality, impeccable musicianship, and, of course, Maria's divine voice, 11:11 deserves to become a standard example of excellent American neo-folk music.--Justin Elswick in Provo, Utah and Russ Elliot in New York

(23 October 2005) Carmen Rizzo is an LA-based, two-time Grammy nominated producer, remixer, musician and programmer who has has worked with a veritable "who's-who" in the music industry including Alanis Morissette, Coldplay, Seal, BT, Delerium, Ryuichi Sakamoto, Cirque du Soleil, Marius de Vries, Trevor Horn, David Foster and Don Was. With such an estimable resume, it only seemed natural that Rizzo would eventually look to releasing his own material. In 2000, Rizzo helped form "Povi," a chillout act that drew influences from trip-hopsters Portishead and Massive Attack. More recently, Rizzo joined forces with "Vas" vocalist Azam Ali and "Axiom of Choice's" multi-instrumentalist Loga Ramin Torki to form the highly acclaimed world-beat/electronic group "Niyaz."

According to his biography, Rizzo grew up in northern California moving to Los Angeles at 19 with $1,000 and the phone number of a friend of a friend of a friend in the music business. He got a job at Westlake Studios as a janitor in the morning, a runner during the day. At night, he hung out with producers and musicians, discovering that he wanted to be involved in making records behind the scenes. His first break came producing Kristin Vigard in 1990 for Private Music/ BMG, which helped him break into a Los Angeles music scene that included up-and-coming bands such as the Red Hot Chili Peppers, Fishbone, N'dea Davenport of The Brand New Heavies and Amp Fiddler. Since then, he has been in high demand as a producer, mixer and remixer.

Apparently Rizzo's endless well of creativity is nowhere near empty. The Lost Art of the Idle Moment is a sumptuous and atmospheric collection of electronic gems featuring guest vocalists Esthero, Jem, Kate Havnevik, Inga Liljestom, Grant Lee Phillips and the Digable Planets' Ladybug Mecca, Diedre Dubois (of Ekova) and Thomas Hanreich. Other musicians include long-time friend and co-writer Jamie Muhoberac and Andy Jenkins and Corin Dingley of retro-chillout band Alpha.

With its eclectic and hip roster of collaborators onboard, The Lost Art of the Idle Moment proves to be an exceptional listening experience chock-full of aural beauty and bliss. Canadian downtempo diva Esthero provides vocals for the sensual and languid "Too Rude." Fans of Alpha's music will definitely hear the creamy 70's Burt Bacharach influence as Esthero croons over jazzy breaks and orbiting synth swells. The whispery sweet voice of Kate Havnevik graces the retro-fabulous "Travel in Time," a Bond-esque, filmic piece of work and the more dense and aqueous "Bring it Back to Me." Kate Havnevik is currently enjoying considerable notice for her work with Rizzo, Royksopp and Guy Sigsworth (Frou Frou). It is easy to see why such well-known producers are intrigued by Kate's voice--a subtle blend of Bjork's exotic iciness, Anneli Drecker's clarity, and Goldfrapp's quirkiness. Welsh popstress Jem is featured vocalist on the self-introspective "Easy Way Out." With Dido-esq! ue calmness, Jem's pleasing voice situates itself perfectly in Carmen's meshwork of synth waves and casual beats.

"I'll Carry You" is another strange and lovely piece with Inga Liljestrom's strongly-accented and rich voice rolling over a dramatic soundtrack backdrop. This track particularly recalls Mono's "Formica Blues" album with spacey grooves and arresting orchestration. Rizzo also finds space for two male-vocal fronted tracks: "As the Day Breaks" with former Grant Lee Buffalo frontman, Grant Lee Phillips and "Next Life" featuring Thomas Hanreich. Surprisingly, both tracks are quite strong, proving that the world of ethereal electronica can work just as well with male lead singers.

Diedre Dubois takes the helm on "Farther," the only truly "trance" inspired track on the album. With her near-operatic vocalizations over swirling industrial synths and grinding beat, Diedre shows herself to be an incredibly gifted singer. Ladybug Mecca of Digable Planets lays down a tight and smooth rap on the funky "Indigo." The instrumental tracks "Overlooked Happiness" and "Amborella" are both fine ambient numbers that compare favorably to the best Delerium instrumental numbers.

What makes "The Lost Art of the Idle Moment" such an exceptional album is Rizzo's willingness to step outside the bounds of the ordinary--to take familiar elements of electronica and arrange them in a wonderful new light. While many remain content to adhere to long-established trends in the genre, Rizzo is comfortable enough with his abilities to explore elements of rap, jazz, and rock. The fusion of these elements is what makes The Lost Art of the Idle Moment a supremely pleasurable listening experience.--Justin Elswick in Provo, Utah

(25 October 2005) Taiwan-born Tima Montemayor has released her debut album, Until Now (Monasera Records (USA) 8-2415-88811-2 6, 2005), which reflects her diverse musical and cultural influences. This fourteen track CD is a conglomeration of rock, jazz, world and classical song styling. All but four of the songs were written by Tima and Rick McComas on this lovely, eclectic CD.

This singer/songwriter grew up in Taiwan, studying piano and Chinese opera. She dreamed of becoming a singer before her family immigrated to the US. She had many obstacles to overcome when she arrived in her new country, and eventually she developed her love of writing while exploring the southern California beaches. Tima spent many long hours listening to rock and roll music while writing down her thought, feelings, dreams, memories and desires. She didn't really recognize her musical destiny for quite some time.

Tima became successful in the business world, working in advertising and design, investing in real estate, and running her own business. She eventually made a decision to follow her musical desires while caring for her dying father-in-law, who was an old time drummer and singer. He was no longer able to sing and tap out music and watching his struggle affected Tima. His strong desire to play music when was unable to made her feel ashamed that she was not doing anything with music when she had all of this unutilized energy.

She gave up her career, her business, her houses and security to pursue her dream of music. She returned to working on her music and writing. An excerpt from her journal says, "One last glance at the 'American Dream' life that I had so methodically planned for myself, …Without hesitation, I close that door and open a new chapter in my life. So quiet my voice, until now."

Tima has a gentle approach to her music, with touching and evocative lyrics. There is a melancholic edge to her songs as she takes the listener on an emotional journey through failed relationships, regret, betrayal, hope and regaining faith. She incorporates mellow instrumentals that include piano, guitar, drums as well as some African, Indonesian and Indian percussion. She fuses many sounds together throughout her album with varied rhythms and textures.

The CD opens with "Steps Away" which introduces the listener to her unique blend of sounds, with the hint of an Asian influence. "Raining" is a moving pop song with a memorable, catchy chorus. The mystique continues with the moving ballad, "All I Need." Tima has an ethereal sound that intertwines with her stirring, emotive vocals. The gentle percussion in "How Long" has a hypnotic beat while "Empty Spaces" has a lovely Spanish influence. Her vocals seem a bit restrained at times and tend to become slightly buried under the instrumentals.

"Do Ya" and "Sincerely Yours" continue with similar sounds. She has a subdued passion in her singing, allowing the listener to become mesmerized by her softness of tone. Tima sings effortlessly in "You Forgot the Girl" about heartbreak. The sorrowful title track, "Until Now," is a very introspective type of song, where she wears her heart on her sleeve. She brings forth heartfelt emotion throughout this melody.

The calm tones in "What Do I Have to Do" are soothing with its jazzy beat. You can feel the coffeehouse atmosphere throughout many of these tunes. The piano intro to "Like an Angel" has a compelling sound that draws you in to the genuine lyrics. The song has a hauntingly beautiful aura. The relaxed and rhythmic beat of "Tempt Me" is spellbinding while "This Dance" has a slow and tender moodiness to its melody. The beat picks up in the final track, "Can't Let Go." There is a beautiful, mystical feel to this last song that opens up to some soaring vocals that showcase her unique talents.

It seems that Tima's drive and determination will take her quite far in her musical career, or rather, her musical passion. This passion certainly comes through in her music, evoking an intensity of sound and deep emotions. She has certainly made an wonderful start in the music world with her debut album, and it will be interesting to see her progression as she matures musically.--Audrey Elliot in New York

(30 October 2005) Joselyn Wilkinson made a name for herself as the founder of world music band ADAAWE. ShapeShifting (Self-released (USA), 2004) is her solo debut and finds her expanding her sound while staying true to her roots. Socially conscious funk/soul practically permeates from Joselyn as she delivers each song, taking care to treat each song uniquely. Joselyn is certainly a nice change of pace for fans always on the lookout for something creative and unique. Our indepth interview provides a unique insight into the artist's background.

Founder of World music wavemakers ADAAWE, Joselyn Wilkinson makes her solo debut with the funky, percussive, jazz-influenced ShapeShifting. Already a veteran artist/performer, you have every right to expect a lot more than the average debut from this album and Joselyn certainly delivers. While her world music roots are still felt on this album, much of the album is focused on a sort of funk/soul hybrid that is certainly reminiscent of 70s funk.

Joselyn's biting lyrics give the funk a socially conscious sting that indie music fans will definitely appreciate. As a matter of fact the socially conscious lyrics play a large part in the throwback feel of Shapeshifting. Joselyn's lyrical approach sort of bridges the gap between the hippie movement and the social awareness raised in early rap music.

One of the highlights here is the acoustic "By & By," Joselyn's voice shines throughout its duration and if you were having trouble getting into the album still at this point, this one will grab you. A large part of the reason why is the straightforwardness of the song, there is something magical about a single voice and an acoustic guitar and this song is very much evidence of that fact. The songs bring some definite focus to both the strength of Joselyn's voice and the beauty of her songwriting at its very heart.

Other highlights include the inspirational sound and circular movement of "Wild Roots Women," a unifying anthem for the likeminded. "Shine Like That," with its laid back horn work and deep bass is another moment of funkadelic goodness. While ShapeShifting doesn’t have universal appeal--largely due to its heavy funk leanings--people looking to break the monotony of the latest trends should not be afraid to check out Joselyn & Wild Roots.--Mark Fisher in West Virginia

(30 October 2005) Stunning vocals are prominent in Dianne Corbin's recently released sophomoric effort We Dance (Olde Bear Music Publishing (USA) DC9937, 2004). Her music varies between classical crossover and alternative pop, and she fits other genres in as well. Grammy award-winning producer Paul Hoyle co-produced this album with her and commented, "She has a voice with a range and texture that is very hard to find. Her phrasing is fresh and honest." Her polished and dynamic talents are clearly seen on this eleven track CD that encompasses an eclectic mix of pop, pop/rock, dance, Latin, blues, and inspirational styles.

Dianne's interest in performing began at the tender age of four. She trained with various vocal coaches in Massachusetts and New York, and studied ballet, jazz, tap, modern, and Broadway styles of dance, and choreography with Carl Morris, former Boston Ballet dancer Beryll Balzotti, and former New York Rockette Beverly Brown. She was also discovered by producer/songwriter Bill Bellamy while performing in a local concert. She recorded radio jingles and sang backup vocals for his first album. She also received theatre training from acclaimed actor Geronimo Sands, and instructors Carol Kastendieck and Robert Weiner.

Dianne was inspired to write and record some original music while performing with some Boston pop/rock and dance bands. Her writing centered on motivational lyrics and tunes that were unforgettable. Her background in dance, musical theater and performing in bands have helped develop her into a dynamic singer and songwriter. She takes inspiration from the likes of Celine Dion, Toni Braxton, Melissa Etheridge, Barbra Streisand, Whitney Houston, and Mariah Carey.

Her stylistic versatility is evident from her very first title track, "We Dance," which touts a flamenco flair. She has a beautiful and distinct voice, singing with passion and verve. There is an outstanding fresh quality to her vocals in this song she co-wrote with Paul Hoyle. She slows the beat in "Before You Go" with some touching and tender lyrics. She seems to flow easily from pop, to R&B, to show tunes and to rock songs. "Just Open Your Eyes" is another co-written track by Dianne and Paul. She radiates the lush, rich tones throughout this piece. You can feel her passion and enthusiasm in her music.

"Set Me Free" and "If I Was Falling" showcases her soaring tones. She has a kindhearted approach to her music and has emotive, genuine feelings that come across in her songs. Dianne's music is very easy to listen to, with its catchy and memorable sound. More pop reverberates in "I Know." The ballad "At The End of My Life" has sensitive lyrics and tugs at your heartstrings.

"Bailamos (We Dance)" is a wonderful Spanish tune where you can't help but move to the infectious beat of the music and imagine yourself being surrounded by the tapping of flamenco. The flamenco guitar and percussion set the tone for this inviting melody. A more Broadway type melody, "What Would It Take" is a lovely song that continues to highlight Dianne's magnificent voice. Backed by simple keyboards, her clear vocals take center stage. "My Love Was Not Enough" has Dianne singing with a mellowness that oozes in this R&B tune. Her bluesy tone is exquisite and resounds throughout. A fitting close to this superb album is "The End" where she continues to demonstrate her versatile style and artistry.

Dianne is currently touring through New England, honing her wonderful talents and gathering a bevy of fans. She has a unique vocal styling and she loves to conquer the varying musical genres. Her individualistic approach to her music is certainly appreciated with her rhythmic and fresh quality. Dianne's power and range come through like gangbusters in We Dance showing a wonderful sophistication in this outstanding CD.--Audrey Elliot in New York

(30 October 2005) Chicago born singer/songwriter Julie Lavender has released two albums, Good Woman (Covenant Records (USA), 081891-95, 1996) and her sophomoric effort, Never Felt The Sun ( Covenant Records (USA) 122201-02, 2002) which showcase her contemporary jazz inspired music. Good Woman captures a wide range of emotions throughout her poignant works. Julie is a classically trained guitarist and pianist, and is accompanied on this recording by producer/arranger Kamau Kenyatta, nationally recognized keyboardist Greg Phillinganes and guitarist Hank Easton. On Never Felt The Sun, Julie has again combined her talents along with producer, arranger and keyboardist-saxophonist Kamau Kenyatta, renowned virtuoso flutist Hubert Laws, famed Broadway composer Hugh Martin and acoustic guitarist Peter Sprague on this delightful album.

Her debut album, Good Woman, showcases her lovely soprano voice on ten of her own compositions. She also adds some keyboards and guitar as well as producing and arranging two songs. Never Felt The Sun exhibits a conglomeration of sounds including Brazilian and classical music, Latin rhythms as well as contemporary and mainstream jazz sounds blending with pop music. Julie's beautiful and soaring soprano vocals strike an inspiring note throughout this set of compositions. Varied moods and emotions are captured in her music reflecting her innermost thoughts and feelings. Her gentle renditions are soothing to the soul.

Julie was born in Chicago, but was raised in California. She comes from a musical background with her mother being a professional opera singer and her father a trumpet player in a big band. At the age of five, Julie began studying piano and started playing classical guitar at age eleven. When she was fourteen, she won the Central California Bach Festival piano performance competition. Her interest in classical guitar took precedence and during high school she performed in folk groups, traveled to Holland where she performed on national television, and she traveled throughout the Middle East.

In trying to perfect her craft, she moved to Toronto, enrolling at the Canadian Royal Conservatory of Music in order to study under Eli Kassner, a prominant professor of classic guitar. She later transferred to the University of Toronto and got her Bachelors of Music degree in music performance. She earned many scholarships during her college years enabling her to study under some of the great guitarists such as John Mills, Alice Artzt, George Sakallerio, Vladimir Mikulka and Sergio Arbreo.

She opted for a career in jazz and pop rather than classical guitar after graduating. After extensive travels in Europe, Julie returned to the US and put together a band in California, performing in clubs for a couple of years. She released her first album, Good Woman in 1996. Julie feels that Never Felt The Sun is an autobiographical "life painting" that outlines her personal journey of "awakening to life and love."

Julie said, "In writing the lyrics to the songs, there were moments of great risk for me as I let people see where I have truly been. At times I felt achingly vulnerable. But the journey I am on involves not only the personal experience, but the sharing of it with others." There is a freshness of tone to her blend of jazz, classical and pop melodies. She sings with a lovely clarity and simple pureness. Her soothing tones harmonize with her wonderful storytelling ability.

Some standout tracks on Never Felt The Sun include the charming and original "Tin Man" and her more acoustic and classical "Bachianas Brasileiras No. 5." The latter is a cover by Hector Villa-Lobos. The addition of cellos, acoustic bass and percussion with Julie's gorgeous vocals transforms this classical piece into a jazz work beautifully. "Here Come the Dreamers" is the final track and was written by Hugh Martin as a special arrangement for this album. Julie says this tune "is such an optimistic song. It ends the CD by opening a portal into what can come next for the awakened soul. It evokes a dreamy vision for an abundant life teeming with possibilities."

All of these melodies are soothing and sumptuous, embracing the soul. She makes the most of her expertise to woo the listener in mainstream jazz to Broadway, smooth jazz, and revealing folk singing. The music envelops you and creates a peaceful, passionate atmosphere. These are albums that cause you to just want to sit back, kick up your feet and relax.--Audrey Elliot in New York