Trans-Siberian Orchestra – Beethoven’s Last Night (2000)

FrontCover1Trans-Siberian Orchestra (TSO) is an American rock band founded in 1996 by producer, composer, and lyricist Paul O’Neill, who brought together Jon Oliva and Al Pitrelli (both members of Savatage) and keyboardist and co-producer Robert Kinkel to form the core of the creative team. The band gained in popularity when they began touring in 1999 after completing their second album, The Christmas Attic, the year previous. In 2007, the Washington Post referred to them as “an arena-rock juggernaut” and described their music as “Pink Floyd meets Yes and the Who at Radio City Music Hall.” TSO has sold more than 10 million concert tickets and over 10 million albums. The band has released a series of rock operas: Christmas Eve and Other Stories, The Christmas Attic, Beethoven’s Last Night, The Lost Christmas Eve, their two-disc Night Castle and Letters From the Labyrinth. Trans-Siberian Orchestra is also known for their extensive charity work and elaborate concerts, which include a string section, a light show, lasers, moving trusses, video screens, and effects synchronized to music.

Trans-Siberian Orchestra01

Both Billboard Magazine and Pollstar have ranked them as one of the top twenty-five ticket-selling bands in the first decade of the new millennium. Their path to success was unusual in that, according to O’Neill, TSO is the first major rock band to go straight to theaters and arenas, having never played at a club, never having an opening act and never being an opening act.


And here´s their third album:

Beethoven’s Last Night is a rock opera by the Trans-Siberian Orchestra, released in 2000. The album tells the fictional story of Ludwig van Beethoven on the last night of his life, as the devil, Mephistopheles, comes to collect his soul. With the help of Fate and her son Twist, Beethoven unwittingly tricks the devil and is allowed to keep his soul which he had thought lost, but that the devil had no claim on. The album is a rock opera featuring many classical crossover rock songs which are clearly based on melodies from classical music, particularly Beethoven’s works. It is the first Trans-Siberian Orchestra album that does not feature Christmas themes. The original cover art was created by Edgar Jerins, and re-issued cover art was created by Greg Hildebrandt.

Late one night in spring 1827 (presumably March 26, the night he died), Ludwig van Beethoven has completed his masterpiece, his tenth symphony (which in reality, was never completed).


Just as this work is finished, Fate and her deformed son Twist (as in ‘Twist of Fate’) arrive in the composer’s home, and inform him of what he had expected for a long while: that this night was the night of his death.

After this explanation, the devil Mephistopheles arrives to claim Beethoven’s soul. He offers the composer a deal; Mephistopheles will allow Beethoven to keep his soul if he may erase the memory of Beethoven’s works from all mankind. Beethoven is given one hour to consider, and Mephistopheles leaves the room.

Beethoven turns his anger to Fate at having been dealt a hard life, and now, this decision. In consolation, Fate allows Beethoven to travel back through his life in order to review it and make any changes that he wishes. Beethoven accepts this, and they begin with Beethoven’s experiences as a child.


Beethoven comes into his room while the young Beethoven has just been slapped by a tutor for failing to receive appointment to the Imperial Court. Beethoven turns to Fate and informs her that he did not need the hardships that he had faced, with his mother dead and a painful childhood. He requests that she remove the experience from his life. After being told that such a request would remove the inspiration for his sixth symphony, he changes his mind.

Fate and Beethoven then go to one of Beethoven’s happier moments, meeting the composer Wolfgang Amadeus Mozart in the city of Vienna. Fate then reminds Beethoven of his “immortal beloved” Theresa, and after experiencing a fond remembrance, Beethoven explains his reasons for needing to leave her.


The pair venture to when Beethoven first realizes his deafness, and Beethoven explains that Theresa would not love him were she to know. He is then shown Theresa’s reaction to his unexplained absence, and he realizes that his deafness is the cause of all his problems. Fate explains that if she cures his deafness, his music will suffer, as the Muses would not be heard as easily through the everyday sound. He thus withdraws his request.

Beethoven is then shown that Theresa would have loved him forever, and he becomes very sorrowful. But Fate then offers visions of the countless musicians of the future who would be influenced by Beethoven’s works. As one last, ultimate vision, he is allowed to improvise with the musicians of the past and future who were inspired by him. Realizing that removing the hardships from his life would destroy his music, Beethoven informs Fate that he will not change any part of his life.


At this point, Mephistopheles returns and Beethoven informs the devil that he will not allow his music to be destroyed. Desperate to receive the Tenth Symphony, Mephistopheles makes another deal: if Beethoven will give over only the Tenth Symphony, then Mephistopheles will not take the composer’s soul. After an appearance by Mozart’s ghost, Beethoven refuses this offer as well. As a final tactic, Mephistopheles points out the window to a young orphan, and describes the tortures that she will receive if Beethoven refuses to hand over his music. Heartbroken, Beethoven agrees to hand over his Tenth Symphony. After Twist’s prompting, a contract is drawn up by Fate, stating the following:


It is agreed upon this night, March 26, 1827, between the undersigned, that the music of the Tenth Symphony, composed by Ludwig van Beethoven, first born son of Johann and Maria van Beethoven, of the city of Bonn, shall henceforth be the property of Mephistopheles, Lord of Darkness and first fallen from the grace of God. It is also understood that it is his intention to remove any signs of this music from the memory of man for all eternity. In exchange for the destruction of the aforementioned music it is also agreed that Mephistopheles and all his minions will remove themselves from the life of the child presently sleeping in the gutter directly across from the window of this room. This removal of influence is to be commenced immediately upon signing and to be enforced for all eternity.


The contract is signed by both the parties, after which Mephistopheles thrusts the Tenth Symphony over a lit candle. When it does not burn, the fact is revealed that Beethoven is in fact the second-born son of his parents by the name Ludwig van Beethoven, and thus, the contract does not apply to his music.

After Mephistopheles leaves in a fit of rage, it is revealed that the true destination of Beethoven’s soul is actually heaven (as Twist explains, the devil was simply lying to him all along). Fate tells him to rest, and Beethoven’s soul leaves his body for the great beyond. However, Twist also hides the manuscript for the tenth symphony. (wikipedia)


The Trans-Siberian Orchestra’s first non-holiday-themed album, Beethoven’s Last Night, incorporates some of the composer’s most noted pieces with original ones that peer into Beethoven’s psyche. Pieces like “What Is Eternal,” “What Good This Deafness,” and “Last Illusion” update Beethoven’s dramatic, portentous style, while “Requiem (the Fifth)” and “Fur Elise” lend themselves surprisingly well to the orchestra’s stylized fusion of classical and rock music. Fans of the Trans-Siberian Orchestra’s other work won’t be disappointed by Beethoven’s Last Night’s theatrical, orchestral song cycle. (by Heather Phares)


Though this rock opera by TSO contains their usual sound, blending symphonic metal, hard rock, classical music and elements of Broadway music, it’s not a Christmas story as their most popular records are. Nonetheless, the shadow of “A Christmas Carol” hangs heavily over this story, but with a Faustian twist: Beethoven is given the chance to look through his past, present and future and alter anything he wishes, in order to save his soul.


Since a large portion of TSO Christmas albums was always the interpolation of classical melodies, focusing an entire story on the world of classical music was a smart choice. Like all the other rock operas they’ve created, the story to this one seems nonsensical until you read the liner notes, see the live show, or pick up the “full narrated version” which contains the narrator’s speeches from the tour between tracks. Bryan Hicks, the company’s speaking voice, is still an acquired taste, with his over-the-top, stentorian delivery sometimes grating; but there’s still no denying that at the serious moments, his gravity and palpable emotion helps put the story over. (He’s still not great at doing character voices, though.)

The instrumentals here are better than the vocal tracks, and “A Last Illusion” takes the cake, blending Mozart, Beethoven and Rimsky Korsakov with nods to Styx and Liberace (both of whom were also known to interpolate classical music in virtuosic pop form, making them unlikely ancestors of TSO).  (by Greg Kerestan)

If you like this theatrical rock ala Meat Loaf or Queen … you should definitely listen to this album !


Chris Caffery (guitar)
Bob Kinkel (keyboards)
Johnny Lee Middleton (bass)
Jon Oliva (keyboards)
Paul O’Neill (guitar)
Al Pitrelli (guitar)
Jeff Plate (drums)

Jody Ashworth (Beethoven)
Dave Diamond (The Muses)
Guy Lemmonnier (Young Beethoven)
Jon Oliva (Mephistopheles)
Patti Russo (Theresa)
Zak Stevens (The Muses)
Doug Thoms (The Muses)
Jamie Torcellini (Twist)
Sylvia Tosun (Fate)
Orchestra conucted by Mark Wood


01. Overture (Beethoven/O’Neill/Mozart) 2.57
02. Midnight (O’Neill/Kinkel) 2.10
03. Fate (O’Neill) 1.15
04. What Good This Deafness (O’Neill/Kinkel) 1.47
05. Mephistopheles (Oliva/O’Neill) 3.43
06. What Is Eternal (O’Neill/Kinkel) 4.40
07. The Moment (Oliva/O’Neill) 2.47
08. Vienna (Oliva/O’Neill/Kinkel) 3.32
09. Mozart / Figaro (Mozart) 3.18
10. The Dreams Of Candlelight (O’Neill/Kinkel) 4.05
11. Requiem (The Fifth) (Beethoven/O’Neill/Mozart) 2.59
12. I’ll Keep Your Secrets (Oliva/O’Neill/Kinkel) 4.15
13. The Dark (Oliva/O’Neill/Caffery) 4.23
14. Für Elise (Beethoven) 0.41
15. After The Fall (Oliva/O’Neill) 4.35
16. A Last Illusion (Beethoven/O’Neill/Kinkel/Mozart/Rimsky-Korsakov) 5.26
17. This Is Who You Are (Oliva/O’Neill) 3.59
18. Beethoven (Beethoven/O’Neill/Kinkel/Mozart) 2.56
19. Mephistopheles’ Return (O’Neill/Kinkel) 4.25
20. Misery (O’Neill/Kinkel) 2.44
21. Who Is This Child (Oliva/O’Neill) 4.34
22. A Final Dream (Oliva/O’Neill) 1.56



More from the Trans-Siberian Orchestra:More

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Al Di Meola – The Grande Passion (2000)

FrontCover1An acclaimed fusion guitarist, Al Di Meola first rose to prominence in the 1970s as a fiery jazz-rock pioneer before embracing a globally expansive mix of sounds. A key member of Chick Corea’s landmark fusion band Return to Forever, Di Meola established his reputation on many of the group’s classic dates before coming into his own on albums like 1977’s Elegant Gypsy and 1980’s Splendido Hotel. Along with tours in his all-star guitar trio with John McLaughlin and Paco de Lucia, Di Meola has collaborated on projects with luminaries like Stanley Clarke, Larry Coryell, Paul Simon, Luciano Pavarotti, Gonzalo Rubalcaba, Charlie Haden, and others. He has continued to expand his sound on albums like 1990’s World Sinfonia, 2011’s Pursuit of Radical Rhapsody, and 2018’s Opus, balancing his fusion roots with forays into Argentinian tango and Spanish flamenco, as well as Middle Eastern, North African, and Afro-Cuban traditions. (by Matt Collar)


World Sinfonía III – The Grande Passion is an album by jazz guitarist Al Di Meola that was released in 2000.

A rich, moody tapestry with flashes of fire, this CD incorporates elements of jazz, fusion, classical, Latin, tango, and Middle Eastern music. Sounding like the romantic soundtrack to an excellent foreign film, it’s full of splendid moments, like the wash of colors on “Double Concerto,” a sinuous composition by Al di Meola’s “musical father and friend,” Astor Piazzolla. Di Meola interprets two more beauties from the late Argentine tango legend — the tender “Soledad” and the churning, incendiary “Libertango,” where he uses MIDI technology to approximate the classic bandoleon sound — and offers six of his own. One of them, the title track, could be the most gorgeous, soulful melody of 2000, stated in ways alternately delicate and powerful; when it finally crescendos it’s like the ocean lifting, with the sun sparkling on it.

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His “Opus in Green,” written with fine Argentine pianist Mario Parmisano, is very Return to Forever-like. Di Meola has phenomenal technique and a gift for unhackneyed writing; his famous blistering runs are in here, but only when they further the music — not gratuitously added for their own sake. The arrangements by di Meola and Parmisano make optimal use of the Toronto Symphony Orchestra and soloists, creating an organically textured whole rather than the stringy soup that too often drowns such collections. (by Judith Schlesinger)


Gilad Dobrecky (drums)
Oscar Feldman (saxophone)
Al Di Meola (guitar, dumbek, percussion)
Michael Philip Mossman (trumpet)
Gumbi Ortiz (percussion)
Mario Parmisano (piano, synthesizer)
John Patitucci (bass)
Hernan Romero (guitar, charango, vocals)
Arto Tunçboyacıyan (vocals, percussion)
Toronto Orchestra conducted by Fabrizio Festa


01. Misterio (Di Meola) 7.54
“Double Concerto” (Ástor Piazzolla) – 5:55
“Prelude: Adagio for Theresa” (Di Meola, Parmisano) – 1:22
“The Grande Passion (Di Meola) – 9:04
“Asia de Cuba (Di Meola) – 8:57
“Soledad” (Piazzolla) – 7:37
“Opus in Green (Di Meola) – 10:18
“Libertango” (Piazzolla) – 5:06
“Azucar (Di Meola) – 3:12



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B.B. King & Eric Clapton – Riding With The King (2000)

FrontCover1B.B. King & Eric Clapton: No introduction necessary !

Riding with the King is a collaborative album by B.B. King and Eric Clapton that was released in 2000. It was their first collaborative album and won the 2000 Grammy Award for Best Traditional Blues Album. The album reached number one on Billboard’s Top Blues Albums and was certified 2× Multi-Platinum in the United States. Riding with the King was also released on a DVD-Audio in higher resolution and with a 5.1 surround sound mix in 2000.

The album was generally well received by reviewers, although some felt that it could have been better, and that the sound on the CD was too polished for a blues album.

B.B.King & Eric Clapton in the Sixites:

Riding with the King was the first collaborative album by Eric Clapton and B.B. King. They performed together for the first time at Cafe Au Go Go in New York City in 1967 when Clapton was 22 and a member of Cream, but did not record together until 1997 when King collaborated with Clapton on the song “Rock Me Baby” for his duets album, Deuces Wild. Clapton looked up to King and had always wanted to make an album with him. King said they had discussed the project often, and added: “I admire the man. I think he’s No. 1 in rock ‘n’ roll as a guitarist and No. 1 as a great person.” At the time of recording Riding with the King, Clapton was 55 and King 74.

Clapton initiated the recording sessions for Riding with the King and included some of his regular session musicians on the album. He also chose the songs and co-produced the album with Simon Climie, who had previously worked on several of Clapton’s albums. While this would appear to be a Clapton album recorded with King, Clapton gave center-stage to King, who took the lead on many of the songs with his singing and his solos.


The album contains five “vintage” King songs from the 1950s and 1960s: “Ten Long Years”, “Three O’Clock Blues”, “Help the Poor”, “Days of Old” and “When My Heart Beats Like a Hammer”.[3] Other standards include the Big Bill Broonzy-penned “Key to the Highway” (which Clapton had recorded in the early 1970s with Derek and the Dominos), Chicago pianist Maceo Merriweather’s “Worried Life Blues”, a cover of Isaac Hayes’s composition “Hold On, I’m Comin'” originally a 1966 single for Sam & Dave, and “Come Rain or Come Shine” from the 1946 musical St. Louis Woman. Two of the songs, “I Wanna Be” and “Marry You”, previously appeared on guitarist Doyle Bramhall II’s 1999 solo album, Jellycream. The album’s title track, “Riding with the King”, is a John Hiatt composition that came about when producer Scott Mathews recounted to Hiatt a strange and abstract dream he had of flying on an airplane with Elvis Presley. It is also the title track of Hiatt’s 1983 album of the same name that Mathews co-produced. The balance of the tracks were written especially for the album.


The tracks are a mixture of acoustic (“Worried Life Blues”) and electric songs (“Three O’Clock Blues”), and vary from slow numbers (“Ten Long Years”) to “mid-tempo stomps” (“Help the Poor”).

Steve Futterman at Entertainment Weekly called the “father” and “son” collaboration “triumphant”.[6] Louis Gerber wrote in Cosmopolis that Riding with the King “goes directly to the heart and soul” and is a “refreshing and sensational album, the best in the popular music genre since the release of Santana’s Supernatural”.

Dave Ferman wrote in the Mobile Register that while the album was a “great idea well-executed”, it is not as good as it could have been. Ferman complained that, in his opinion, Clapton has never been a very good blues vocalist, that Joe Sample’s keyboards were far too prominent in the mix, and that the CD sounded too “squeaky-clean, … antiseptic and clinical” for a blues album.


Nicole Bode wrote in the Columbia Daily Spectator that on the album, King takes Clapton “deeper into blues territory than he has ever gone alone”.[8] She said that King’s presence draws out a “raw, growling” side of Clapton’s voice that will surprise most Clapton fans.[8] She was particularly complimentary of “Come Rain or Come Shine”, on which she said King uses “a mournful vibrato so tender it almost breaks your heart”.[8] Bode also liked the call and response guitar and vocal duet of Clapton and King on “Hold On, I’m Comin'”, although she did add that Clapton’s vocals are not of the same calibre as King’s.[8]

Riding with the King peaked at number one on the Billboard Top Blues Albums in 2000,[9] and was certified 2× Multi-Platinum in the United States. The album also won a Grammy Award for Best Traditional Blues Album in 2000.

A 20th Anniversary reissue of the album was released on June 26, 2020. The reissue will feature two previously unreleased tracks, “Rollin’ and Tumblin'”, the video of which was released on Clapton’s YouTube channel on May 21, 2020, and a cover of “Let Me Love You Baby” written by Willie Dixon. (wikipedia)


The potential for a collaboration between B.B. King and Eric Clapton is enormous, of course, and the real questions concern how it is organized and executed. This first recorded pairing between the 74-year-old King and the 55-year-old Clapton was put together in the most obvious way: Clapton arranged the session using many of his regular musicians, picked the songs, and co-produced with his partner Simon Climie. That ought to mean that King would be a virtual guest star rather than earning a co-billing, but because of Clapton’s respect for his elder, it nearly works the other way around. The set list includes lots of King specialties — “Ten Long Years,” “Three O’Clock Blues,” “Days of Old,” “When My Heart Beats Like a Hammer” — as well as standards like “Hold on I’m Coming” and “Come Rain or Come Shine,” with some specially written and appropriate recent material thrown in, so King has reason to be comfortable without being complacent.


The real danger is that Clapton will defer too much; though he can be inspired by a competing guitarist such as Duane Allman, he has sometimes tended to lean too heavily on accompanists such as Albert Lee and Mark Knopfler when working with them in concert. That danger is partially realized; as its title indicates, Riding With the King is more about King than it is about Clapton. But the two players turn out to have sufficiently complementary, if distinct, styles so that Clapton’s supportive role fills out and surrounds King’s stinging single-string playing. (It’s also worth noting that there are usually another two or three guitarists on each track.) The result is an effective, if never really stunning, work. (by William Ruhlmann)


Doyle Bramhall II (guitar, background vocals on 04. + 07.)
Tim Carmon (organ)
Eric Clapton (guitar, vocals)
Nathan East (bass)
Andy Fairweather Low (guitar)
Steve Gadd (drums)
B.B. King (guitar, vocals)
Joe Sample (piano)
Paul Waller (programming)
Jimmie Vaughan (guitar on 06.)
background vocals:
Susannah Melvoin – Wendy Melvoin
01. Riding With The King (Hiatt) 4.23
02. Ten Long Years (Taub/King) 4.40
03. Key To The Highway (Broonzy/Segar) 3.39
04. Marry You (Bramhall II/Melvoin/Ross) 4.59
05. Three O’Clock Blues (Fulson) 8.35
06. Help The Poor (Singleton) 5.06
07. I Wanna Be (Bramhall II/Sexton) 4.45
08. Worried Life Blues (Hopkins/Merriweather) 4.25
09. Days Of Old (Taub/King 3:00
10. When My Heart Beats Like A Hammer (King/Taub 7:09
11. Hold On, I’m Comin’ (Hayes/Porter) 6.19
12. Come Rain Or Come Shine (Arlen/Mercer) 4.11
13. Let Me Love You (Dixon) 5.07
14. Rollin’ And Tumblin’ (Traditional) 4.32



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VA – Moulin Rouge!- Music from Baz Luhrmann’s Film (2001)

FrontCover1Moulin Rouge!  is a 2001 jukebox musical romantic drama film directed, co-produced, and co-written by Baz Luhrmann. It follows a young English poet, Christian, who falls in love with the star of the Moulin Rouge, cabaret actress and courtesan Satine. The film uses the musical setting of the Montmartre Quarter of Paris and is the final part of Luhrmann’s “Red Curtain Trilogy,” following Strictly Ballroom (1992) and Romeo + Juliet (1996). A co-production of Australia and the United States, it stars Nicole Kidman and Ewan McGregor. John Leguizamo, Jim Broadbent, and Richard Roxburgh feature in supporting roles.

Moulin Rouge! premiered at the 2001 Cannes Film Festival and was released in theaters on 18 May 2001 in North America and on 25 May 2001 in Australia. The film was praised for Luhrmann’s direction, the performances (particularly from Kidman), its soundtrack, costume design, and production values. It was also a commercial success, grossing $179.2 million on a $50 million budget. At the 74th Academy Awards, the film received eight nominations, including Best Picture, and won two (Best Production Design and Best Costume Design). In BBC’s 2016 poll of the 21st century’s 100 greatest films, Moulin Rouge! ranked 53rd.


Moulin Rouge! Music from Baz Luhrmann’s Film is the soundtrack album to Baz Luhrmann’s 2001 film Moulin Rouge!, released on 8 May 2001 by Interscope Records. The album features most of the songs featured in the film. However, some of the songs are alternate versions and there are two or three major songs that are left off. The original film versions and extra songs were featured on the second soundtrack.

The soundtrack consists almost entirely of cover versions—”Come What May”, composed by David Baerwald and Kevin Gilbert, is the only original song on the album. The opening track, “Nature Boy”, is performed by David Bowie, though in the film the song is performed by actor John Leguizamo as the character Henri de Toulouse-Lautrec. Originally by American singer-songwriter eden ahbez, the song is reprised as the last song on the soundtrack with performances by Bowie and Massive Attack, along with a dialogue by Nicole Kidman.


“Lady Marmalade”, written by Bob Crewe and Kenny Nolan, was made famous in the 1970s by the girl group Labelle. The song contains the sexually suggestive lyric “Voulez-vous coucher avec moi, ce soir?”, which translates to “Do you want to sleep with me tonight?”[7] Labelle’s version of the song was inducted into the Grammy Hall of Fame in 2003.[8] The version for the soundtrack is performed by Christina Aguilera, Lil’ Kim, Mýa, and Pink, with production and additional vocal credits by Missy Elliott. The song topped the Billboard Hot 100 in the United States and earned a Grammy Award for Best Pop Collaboration with Vocals.


“Because We Can” is credited to Norman Cook, with performance and production credits given to his stage name Fatboy Slim. The song contains portions of “Zidler’s Rap”, performed in the film by Jim Broadbent as the character Harold Zidler, and has been called the “‘Can Can’ for the next generation”. “Sparkling Diamonds” is performed by Kidman, Broadbent, Caroline O’Connor, Natalie Mendoza and Lara Mulcahy. The song is a medley featuring “Diamonds Are a Girl’s Best Friend”, written by Jule Styne and Leo Robin and introduced by Carol Channing in the Broadway production of Gentlemen Prefer Blondes (1949), and “Material Girl” by Madonna. “Rhythm of the Night” was made famous in 1985 by the American R&B group DeBarge. The track reached number one on the Billboard Hot R&B chart and number three on the Billboard Hot 100, and is said to have “jumpstarted” the career of songwriter Diane Warren. The soundtrack version is performed by Valeria, and includes a dialogue by Kidman.


Moulin Rouge! Music from Baz Luhrmann’s Film debuted on the US Billboard 200 at number five on 16 May 2001. Four weeks later, the album reach its peak position at number three. The soundtrack reached number one on the Top Soundtracks chart and number 33 on the Top Pop Catalog chart. On 23 April 2002, it was certified double platinum by the Recording Industry Association of America (RIAA).

In Australia, the soundtrack debuted on the albums chart at number four on 11 May 2001. The following week, it reached number one and remained there for 11 consecutive weeks and upon the albums chart for 58 weeks. It was the highest-selling album of 2001 in Australia and has been certified five-times platinum by the Australian Recording Industry Association (ARIA). Moulin Rouge! Music from Baz Luhrmann’s Film also reached number one in New Zealand, where it remained on the albums chart for 16 weeks. The soundtrack reached the top five in Austria, Denmark, France, and Norway. (wikipedia)


At the very least, director Baz Luhrmann has created something different here. His modern-day musical weaves new cover versions of songs from the past three decades into one story about a brothel in turn of the century Paris. Its an odd combination to begin with, and the soundtrack itself bounces back and forth between very hip, modern tracks from artists at the top of their game and big Broadway-style ballads from the cast of the film. Some of the most well-respected names in music signed on for the project, including Beck, Bono, Timbaland, and David Bowie. Fatboy Slim created a “Can Can” for the next generation with “Because We Can,” and Christina Aguilera, Lil’ Kim, Pink, and Mya teamed up for a surefire hit with their naughtier version of Patti Labelle’s “Lady Marmalade.”


In stark contrast to these edgy tracks, the album spends the rest of its time on love songs from Ewan McGregor and Nicole Kidman. They perform big-voiced, orchestra-backed versions of sentimental favorites like Elton John’s “Your Song.” The “Elephant Love Medley” strings together some of pop’s sappiest hits, including “Up Where We Belong,” “One More Night,” and “I Will Always Love You.” Perhaps to many people’s surprise, Kidman and McGregor can really sing, and maybe in a different environment it would be easier to take these songs seriously, but standing here outside the context of the film and next to Beck covering David Bowie, they seem more comic than creative. (by Brad Kohlenstein)


Many many musicians … too many to mention …


01. David Bowie: Nature Boy (Ahbez) 3.26
02. Christina Aguilera, Lil’ Kim, Mýa & Pink: Lady Marmalade (Crewe/Nolan) 4.25
03.  Fatboy Slim: Because We Can (Cook) 3.27
04. Nicole Kidman, Jim Broadbent, Caroline O’Connor, Natalie Mendoza & Lara Mulcahy: Sparkling Diamonds 2.52
04.01. Diamonds Are A Girl’s Best Friend (Styne/Robin)
04.02. Material Girl (Brown/Rans)
05. Valeria: Rhythm Of The Night (Warren) 3.49
06. Ewan McGregor & Alessandro Safina: Your Song (John/Taupin) 3.39
07. Bono, Gavin Friday & Maurice Seezer: Children Of The Revolution (Bolan) 2.59
08. Nicole Kidman: One Day I’ll Fly Away (Jennings/Sample) 3.19
09. Beck: Diamond Dogs (Bowie) 4.34
10. Nicole Kidman, Ewan McGregor & Jamie Allen: Elephant Love Medley 4.13
10.01. All You Need Is Love (Lennon/McCartney)
10.02. I Was Made For Lovin’ You (Stanley/Child/Poncia)
10.03. One More Night (Collins)
10.04. Pride (In the Name Of Love) (Bono/Clayton/The Edge/Mullen Jr.)
10.05. Don’t Leave Me This Way (Gamble/Huff/Gilbert)
10.06. Silly Love Songs (McCartney)
10.07. Up Where We Belong (Nitzsche/Sainte-Marie/Jennings)
10.08. Heroes (Bowie/Eno)
10.09. I Will Always Love You (Parton)
10.10. Your Song (John/Taupin)
11. Nicole Kidman & Ewan McGregor: Come What May (Baerwald) 4.48
12. Ewan McGregor, José Feliciano & Jacek Koman: El Tango de Roxanne 4.44
12.01. Roxanne (Sting)
12.02. Le Tango du Moulin Rouge (Mores/Luhrmann/Pearce)
13. Rufus Wainwright: Complainte de la Butte (Van Parys/Renoir) 3.07
14. Nicole Kidman, John Leguizamo & Alka Yagnik: Hindi Sad Diamonds:
14.10. Chamma Chamma (Sameer)
14.02. Diamonds Are A Girl’s Best Friend (Styne/Robin)
14.03. The Hindi (Sharples)
15. David Bowie & Massive Attack: Nature Boy (Ahbez) 4.24
16. Christina Aguilera, Lil’ Kim, Mýa & Pink: Lady Marmalade (Thunderpuss radio mix) (Crewe/Nolan) 4.10





Robbie Williams – Sing When You’re Winning (2000)


Robert Peter Williams (born 13 February 1974) is an English singer, songwriter, musician, and record producer. He found fame as a member of the pop group Take That from 1990 to 1995, but has achieved greater commercial success with his solo career since 1996. His discography includes seven UK No. 1 singles, and all but one of his 12 studio albums have reached No. 1 in the UK. Six of his albums are among the top 100 biggest-selling albums in the UK, with two of them in the top 60, and he gained a Guinness World Record in 2006 for selling 1.6 million tickets in a single day during his Close Encounters Tour.

Robbie Williams01

Williams has received a record 18 Brit Awards, winning Best British Male Artist four times, Outstanding Contribution to Music twice, an Icon Award for his lasting impact on British culture, eight German ECHO Awards, and three MTV European Music Awards.[2][3] In 2004, he was inducted into the UK Music Hall of Fame after being voted the Greatest Artist of the 1990s. According to the British Phonographic Industry (BPI), he has been certified for 19.9 million albums and 8.2 million singles in the UK as a solo artist.[4] Five of his albums have also topped the Australian albums chart, and has sold 75 million records worldwide. He additionally topped the 2000–2010 UK airplay chart. His three concerts at Knebworth in 2003 drew over 375,000 people, the UK’s biggest music event to that point.[5] In 2014, he was awarded the freedom of his home town of Stoke-on-Trent, as well as having a tourist trail created and streets named in his honour.

Robbie Williams02

After a 15-year hiatus from Take That, Williams rejoined the group in 2010 to co-write and perform lead vocals on their album Progress, which became the second fastest-selling album in UK chart history and the fastest-selling record of the century at the time. The subsequent stadium tour, which featured seven songs from Williams’ solo career, became the biggest-selling concert in UK history when it sold 1.34 million tickets in less than 24 hours. In 2011, Take That frontman Gary Barlow confirmed that Williams had left the band for a second time to focus on his solo career, although he stated that the departure was amicable and that Williams was welcome to rejoin Take That in the future. Williams has since performed with Take That on three separate television appearances, and collaborated with Barlow on a number of projects such as the West End musical The Band.

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Sing When You’re Winning is the third studio album by English singer-songwriter Robbie Williams. It was released on 28 August 2000 in the United Kingdom by Chrysalis Records and in the United States by Capitol Records. Following the critical and commercial success of I’ve Been Expecting You (1998), the North American release of The Ego Has Landed (1999) and the subsequent promotional tours for both albums, Williams reteamed with producers Guy Chambers and Steve Powers to create new material for his next record. Whereas I’ve Been Expecting You used the Britpop genre for its overall sound, Sing When You’re Winning incorporates a more post-millennial dance-pop approach while utilizing classic British rock elements. The album garnered positive reviews from critics. Sing When You’re Winning debuted at number one in the UK, Germany, Ireland and New Zealand, as well as the top 10 in countries like Australia, Finland, Sweden and Switzerland. It spawned six singles: “Rock DJ”, “Kids” (with Kylie Minogue), “Supreme”, “Let Love Be Your Energy”, “Eternity / The Road to Mandalay” and “Better Man”.


Following the 1998 release of his album I’ve Been Expecting You, and in the middle of promotion and touring in 1999, Williams found time to start the work on what would be his third studio album.

The sound of the album was described as seeing Williams move “farther away from the increasingly dated visions of Oasis-style Britpop to embrace post-millennial dance-pop, complete with the bruising beats and extroverted productions to match.” The album features a variety of styles, “conjuring a panoply of classic British rock touchstones like psychedelia, slick country rock, Ian Dury, the Who, Elton John, and Madchester.”

The album’s title is a reference to a popular football chant of the same name that goes to the tune of “Guantanamera”, Williams being a fan of Port Vale. The cover art features multiple images of Williams celebrating winning a trophy at Chelsea’s stadium Stamford Bridge.


Initial releases do not feature Williams’ name or the album title on the front cover, nor is a track listing featured on the back cover; these were all changed for future releases. The images were taken by photographer Paul M. Smith and, along with Williams’ complete football strip, were later sold at auction to raise money for his charity Give It Sum. Williams toured the United Kingdom with Kylie Minogue in October and November 2000 to promote the album, selling out in every venue.

The album contains a hidden message put on the album for humorous intent. After 24 minutes of silence following track 12, “The Road to Mandalay” (4:08 – 28:08), a spoken message from Williams saying “No, I’m not doing one on this album” is heard, which means that no hidden track on the album. This is a reference to how Williams’ past three albums (including the compilation album The Ego Has Landed) each contain hidden tracks at the end of the album.


When the album was released in August 2000, it immediately became a hit in the United Kingdom, debuting at number-one and being certified 2× Platinum in the first week of release. The album also topped the charts in New Zealand, Ireland and Germany, and secured top ten placings in Argentina, Austria, Australia, Finland, Mexico, Sweden, Switzerland. Sing When You’re Winning failed to reach the top 20 in Spain, reaching number 22. The album spent 91 weeks on the UK chart, going on to sell 2.4 million copies in the UK alone, being certified 8x Platinum by the BPI. The album became the best-selling album of 2000 in the UK, and the 51st-best-selling album in UK music history. The album found little success in the United States, however, peaking at 110 in the Billboard 200.

Initial critical response to Sing When You’re Winning was positive. From Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream critics, the album received an average score of 69, based on 11 reviews. (wikipedia)


Poised for global domination with his third album, Robbie Williams and producer Guy Chambers hardly dared mess with the formula of their 1998 crossover hit I’ve Been Expecting You. As such, Sing When You’re Winning has plenty of introspective balladry akin to “Angels,” and a few irresistible party time tracks in similar company to “Millennium.” The album also moves Williams farther away from the increasingly dated visions of Oasis-style Brit-pop to embrace post-millennial dance-pop, complete with the bruising beats and extroverted productions to match. And Chambers certainly knows his production playbook well, conjuring a panoply of classic British rock touchstones like psychedelia, slick country-rock, Ian Dury, the Who, Elton John, and Madchester. Despite a small drop in songwriting from its predecessor,


Sing When You’re Winning ultimately succeeds, and most of the credit must go to Williams himself. Amidst a few overly familiar arrangements and lyrical themes, Williams proves the consummate entertainer, delivering powerful, engaging vocals — no matter the quality of the material — and striking the perfect balance between tongue-in-cheek, self-mocking humor (“Knutsford City Limits”) and genuine feeling (tender ballads like “Better Man” and “If It’s Hurting You”). The radio-ready single “Rock DJ” is a piece of immediately gratifying pop candy floss with a surprisingly endless shelf life, though “Kids,” a vivacious, vacuous vamp of a duet with Kylie Minogue, doesn’t even hold its own after one listen. Toss in a few beautiful album tracks (the opener “Let Love Be Your Energy,” “Love Calling Earth,” “Singing for the Lonely”), but then counter them with a few bland singalongs (“Supreme,” “Forever Texas”), and the result is a scattered, entertaining album whose real star is Robbie Williams’ personality. (by John Bush)

This is a nice pop album – not only for scoccer fans.


Dave Bishop (saxophone on 03.)
Winston Blissett (bass on 03. + 09.)
Pauline Boeykens (tuba on 12.)
Dave Catlin-Birch (bass, guitar on 07.)
Guy Chambers (keyboards, , synthesizer, clavinet, omnichord (12), guitar on 02., 06. + 12.)
Pete Davies (keyboards on 09.)
Alex Dickson (guitar om10.), autoharp on 12.)
Melvin Duffy (pedal steel guitar (6, 12)
Andy Duncan (percussion on 01. + 02.)
Fil Eisler (bass on 01. + 10.)
Mark Feltham (harmonica on 10.)
Edgar Herzog clarinet on 12.)
Bob Lanese (trumpet on 12.)
Brad Lang (bass on 08.)
Steve McEwan (guitar on 10.)
Kylie Minogue (vocals (on 05.)
Gary Nuttall (banjo on 06.)
Phil Palmer (guitar on 02.)
Steve Power (vocoder on 03., glockenspiel on 12.)
Chris Sharrock (drums, ambient kit on 04, percussion on 05.)
Neil Sidwell (trombone on 03.)
Steve Sidwell (trumpet on 03.)
Phil Spalding (bass on 01., 04. + 05.)
Jeremy Stacey (drums on 07. + 11.)
Neil Taylor (guitar)
Robbie Williams (vocals)
background vocals:
Crystal Adams – Andre Barreau – Andy Caine – Dave Catlin-Birch – Guy Chambers – Derek Green – Marielle Hervé – Katie Kissoon – Sylvia Mason-James – Steve McEwan – Tessa Niles – Gary Nuttall – Pauline Taylor – Claire Worrall


01. Let Love Be Your Energy (Williams/Chambers) 4.59
02. Better Man (Williams/Chambers) 3.22
03. Rock DJ (Williams/Chambers/Andrews/Pigford/Paris) 4.18
04. Supreme (Williams/Chambers/Perren/Fekaris) 4.18
05. Kids (with Kylie Minogue) (Williams/Chambers) 4.46
06. If It’s Hurting You (Williams/Chambers) 4.10
07. Singing For The Lonely (Williams/Chambers) 4.31
08. Love Calling Earth  (Williams/Chambers/Andrews) 4.05
09. Knutsford City Limits (Williams/Chambers/Andrews) 4.45
10. Forever Texas (Williams/Chambers) 3.37
11. By All Means Necessary (Williams/Chambers) 4.45
12. The Road To Mandalay (the song ends at 3:57, and includes the outro hidden track, which begins at 28:09) (Williams/Chambers) 28.15




More from Robbie Williams:

The official website:

Anastacia – Not That Kind (2000)

FrontCover1Anastacia Lyn Newkirk (/ˌænəˈsteɪʒə/ AN-ə-STAY-zhə; born September 17, 1968) is an American singer-songwriter, producer and former dancer. Her first two albums Not That Kind (2000) and Freak of Nature (2001) were released in quick succession to major success. Spurred on by the multi-platinum, global smash “I’m Outta Love”, Anastacia was awarded as the ‘World’s Best-Selling New Female Pop Artist’ in 2001. Her commercial success continued with international hits such as “Paid My Dues”, “One Day In Your Life” and the official song of the 2002 FIFA World Cup, “Boom”. After recovering from cancer, she returned with 2004’s Anastacia which deviated from previous albums into pop-rock. Peaking at number one in 11 countries, it became Europe’s second-biggest-selling album of the year. Its lead single “Left Outside Alone” remained at number one on the European Billboard chart for 15 weeks and helped Anastacia launch the most successful European tour by a solo artist that same year. The album also provided another three singles: “Sick and Tired”, “Welcome to My Truth”, and “Heavy on My Heart”.

In 2005, the multi-platinum compilation project Pieces of a Dream was released, which spawned the chart-topping duet with Eros Ramazzotti, “I Belong to You (Il Ritmo della Passione)”. Her fourth studio album Heavy Rotation (2008) produced the songs “Absolutely Positively”, “Defeated”, and “I Can Feel You”. Her cover album It’s a Man’s World (2012) was followed by a sixth studio album Resurrection (2014), which reached the top ten of several European charts. Her Ultimate Collection was released in 2015 and peaked in the top ten of the UK charts, giving the singer her sixth top-ten album in Britain. In 2017, Anastacia released the studio album Evolution and its lead single “Caught in the Middle”. Anastacia has established herself as one of the best-selling international female singers of the 2000s and 2010s. As of 2016, she has reported worldwide sales of more than 50 million. She has had five top ten singles on U.S. Billboard’s Dance Club chart and three albums on its Top Album Sales chart.


Known for her powerful mezzo-soprano voice and her small stature of 5 feet 2 inches (157 cm), she has been dubbed “the little lady with the big voice”. She underwent corrective LASIK surgery in August 2005, although she still frequently wears the glasses for which she became noted when she first became famous.

During her life Anastacia has battled many health problems. She was diagnosed with Crohn’s disease when she was 13, breast cancer at the age of 34, and supraventricular tachycardia aged 39. In 2013, Anastacia was diagnosed with breast cancer for a second time. In recognition of her decade-long charitable efforts in breast cancer awareness, Anastacia became the second woman ever to be presented with the Humanitarian Award at the GQ Men of the Year Awards in 2013.

Anastacia was born in Chicago, Illinois; her late father Robert Newkirk (of German descent) was a club-singer and her mother Diane Hurley (of Irish descent) an actress on Broadway. Her parents split up when she was five years old. After her father (who had bipolar disorder) left the Newkirk family, they moved to New York City when she was a teenager. She enrolled at the Professional Children’s School in Manhattan. After graduation, she worked jobs at restaurants and hair salons while pursuing a career in the music industry.


Anastacia was diagnosed with Crohn’s disease when she was thirteen. Despite her ongoing health problems Anastacia continued to pursue her ambitions for the next decade. Anastacia started her career in 1983 as a dancer for hire. Her first claim to fame was as a professional dancer (dancer for hire), making regular appearances in the mid-1980s and early ’90s on MTV’s Club MTV. She appeared in two videos for American hip hop trio Salt-N-Pepa (“Get Up Everybody (Get Up)” in 1988 and “Twist and Shout” in 1989). In 1990, she started her musical career as a backing vocalist. She sang back-up vocals on pop star Tiffany’s New Inside album in 1990. In 1991, she featured in music video My Fallen Angel of Dominican singer/actor Coro. In 1992 she gained her first break as a solo singer on BET’s ComicView, singing Oleta Adams’ “Get Here”.


In 1993 she moved to Los Angeles to record the song One More Chance for the producer OG Pierce, it resulted however in no record deal. That same year the singer recorded a collaboration with David Morales called “Forever Luv”. Throughout the mid 1990s producers claimed to be intrigued by her voice’s unusual tone, Anastacia would be continuously told that ‘her sound just didn’t quite fit into any category’. In 1994, she sang back-up vocals on Jamie Foxx debut album Peep This, and in 1995 Anastacia sang back-up vocals on Paula Abdul’s third studio album Head Over Heels. By 1997, Anastacia had become a member of a band called The Kraze which she remained a part of until 1999. In 1997 she also sung in the background choir for Kurt Carr’s gospel vocal ensemble called The Kurt Carr Singers on their album No One Else. She had two duet songs with Cuban composer Omar Sosa in 1998, performing “Mi Negra, Tu Bombón” and “Tienes Un Solo” in 1999. Eventually in 1998, before turning 30, Anastacia attracted the interest of record labels after making the finals of the short-lived MTV talent show The Cut hosted by rapper Lisa “Left Eye” Lopes . Anastacia signed a contract with Daylight Records, a custom label of Sony Music Entertainment’s Epic Records in March 1999.

Anastacia05Anastacia met Lisa Braude (who later became her manager) in 1997. She encouraged her to join MTV’s talent show The Cut in 1998. She made her way to be one of the ten finalists, performing her own composition entitled “Not That Kind”. Even though she did not win the contest, she had successfully impressed some notable artists, such as Elton John and Michael Jackson as well as the show’s judges that included David Foster and Faith Evans. This afterwards led her to sign with Daylight, one of Epic’s labels, by March 1999. Backed up by leading American producer/writers, she released her debut album, Not That Kind on June 13, 2000. The album reached the top ten in eight countries in Europe and Asia. It went four times platinum in Europe and triple platinum in Australia; her debut single “I’m Outta Love” was a global smash hit in 2000, topping the charts in Belgium, Australia and New Zealand, peaking at number two in France, Switzerland, Italy and Ireland as well as also reaching number six both in Germany and the UK. In the U.S., it was only a minor radio hit. The second single “Not That Kind” reached number 11 in the UK[29] and became a top 10 hit in Italy. It also entered the top 20 in Switzerland and France.[30] “Cowboys & Kisses” was released as the third single from the album, charting in the top forty in some European countries. As the last promotional only single, “Made for Lovin’ You” charted in the UK at number twenty-seven and in France at number seventy-two. While “I’m Outta Love” was a top ten hit on the Hot Dance Club Play chart in the United States, “Not That Kind” did not chart on the Billboard Hot 100; however by the end of the year Anastacia would go on to be the World’s Best Selling New Female Pop Artist at the 2001 World Music Awards.


Not That Kind is the debut studio album by American singer Anastacia. It was released on June 16, 2000, by Epic Records and Daylight Records. The album features production by Sam Watters, Louis Biancaniello, Ric Wake, Evan Rogers, Carl Sturken, Rickey Minor, and The Shadowmen.

Not That Kind failed to make an impact in the United States, where it peaked at number 168 on the Billboard 200. Nevertheless, it was commercially successful overseas, reaching the top 10 on the majority of the charts in Europe and Oceania. By May 2002, the album had sold over seven million copies worldwide. (wikipedia)


As revealed in the multiple pictures in the CD package and in the video featured as part of the disc’s multi-media content, Anastacia is, in appearance, yet another teen dream with cascades of blonde hair and an exposed navel (though perhaps her ever-present, and ever-changing, spectacles are supposed to signal a higher intellectual content). But her musical models aren’t Britney Spears or Christina Aguilera, they are Aretha Franklin, Tina Turner, and Martha Wash. Anastacia possesses a big, expressive alto voice that her many co-writers and producers (primarily Rik Wake;Celine Dion, Mariah Carey) and the team of ex-Color Me Badd member Sam Watters and Louis Biancaniello, though Carl Sturken and Evan Rogers, authors of ‘N Sync’s “God Must Have Spent a Little More Time on You,” have two tracks) use in updated R&B, dance, and funk tracks. “I’m Outta Love,” which just missed topping the dance charts, is an aggressive dancefloor item, and its follow-up, the title song, is in a funk style reminiscent of Aretha Franklin’s ’80s work.


“I Ask of You” is one of those slow, deliberate big ballads that recalls “And I Am Telling You I’m Not Going” as well as that song’s singer, Jennifer Holliday. And so it goes. The only real misstep on the album is the inevitable Diane Warren adult contemporary romantic ballad, “Late Last Night,” which forces the singer to rein in her voice, though even then she doesn’t really negotiate its lyrical complexity. Despite her toothsome appearance, Anastacia may be too old school to break through in the U.S., though this album has been a commercial success overseas. (The American version has been altered from the foreign one, with a couple of tracks added and dropped.) But Macy Gray demonstrated that a broad audience may respond to an older style if the singer herself is distinguished enough. Anastacia doesn’t have the kind of unique timbre that Gray does — in fact, the minute she opens her mouth she starts reminding you of other singers, especially Aretha Franklin — but she is clearly a big talent, and that should count for something. (by William Ruhlmann)


Anastacia (vocals)
Rob Bailey (guitar)
Tom Barney (bass)
Louis Biancaniello (drums, keyboards)
Vernon Black (guitar)
Chris Camozzi (guitar)
Kevin Cloud (drums)
Luis Conte (percussion)
Russ DeSalvo (guitar, keyboards)
Chris Goercke (guitar)
Rayford Griffin (drums)
Gary Haase (bass)
Loris Holland (organ)
Herman Jackson III (piano)
Paul Jackson Jr. (guitar)
Bashiri Johnson (percussion)
Richie Jones (drums)
Eric Kupper (guitar, keyboards)
Ricky Lawson (drums)
Diane Louie (keyboards)
Rickey Minor (bass)
Chieli Minucci (guitar)
John “Noodle” Nevin (bass)
Leon Pendarvis (piano)
Carl Potts (guitar)
Carl Sturken (all insruments on 04., 09. + 12.)
Sam Watters (drums, background vocals)
Steve Wolfe (drums)
Ann Leathers – Belinda Whitney-Barratt – Joel Pitchon – Regis Iandiorio – Shirien Taylor
background vocals:
BeBe Winans – Audrey Wheeler – Craig Derry –  Cindy Mizelle – Evan Rogers, Katreese Barnes – Kevin Owens – Valerie Pinkston – Keith Fluitt – Nicky Richards – Rob Mathes- Sam Watters – Audrey Martells – Barbara Laurie – Angela Brusegar – Sharlotte Gibson -Lynn Davis – Lynne Fiddmont-Linsey – Valerie Pinkston – Katreese Barnes

01. Not That Kind (Anastacia/Wheaton/Young) 3.21
02. I’m Outta Love (Anastacia/Watters/Biancaniello) 4.03
03. Cowboys & Kisses (Anastacia/Jive/Pennachio) 4.41
04. Who’s Gonna Stop The Rain (Rogers/Sturken) 5.00
05. Love Is Alive (Wright) 4.07
06. I Ask Of You (Anastacia/Watters/Biancaniello) 4.27
07. Wishing Well (Jive/Rich/Bieck) 3.58
08. Made For Lovin’ You (Anastacia/Watters/Biancaniello) 3.36
09. Black Roses (Anastacia/Rogers/Sturken/Ruffin) 3.37
10. Yo Trippin’ (Anastacia/Potts) 3.35
11. One More Chance (Anastacia/Pierce) 4.39
12. Same Old Story (Anastacia/Rogers/Sturken) 5.32




More from Anastacia:

The official website:

The Corrs – In Blue (2000)

FrontCover1The Corrs are an Irish family band that combine pop rock with traditional Irish themes within their music. The group consists of the Corr siblings, Andrea (lead vocals, tin whistle, ukulele), Sharon (violin, keyboards, vocals), Caroline (drums, percussion, piano, bodhrán, vocals) and Jim (guitar, piano, keyboards, vocals). They are from Dundalk, County Louth, Ireland.

The Corrs have released seven studio albums and numerous singles, which have reached Platinum in many countries, and have sold 40 million albums worldwide. Talk on Corners, their most successful album to date, reached multi-Platinum status in Australia, and in the UK it was the highest selling album of the year. The band is one of only a handful of acts who have held the top two positions simultaneously in the UK album charts, with Talk on Corners at number one and Forgiven, Not Forgotten at number two. The latter was the year’s third highest selling album in Australia. Their third studio album, In Blue, went to number one in seventeen countries.

The Corrs01

The Corrs have been actively involved in philanthropic activities. They have performed in numerous charity concerts, such as The Prince’s Trust event in 2004 and Live 8 alongside Bono of U2 in 2005. The same year, they were awarded honorary MBEs for their contributions to music and charity. The band was inactive for almost ten years because Jim and Caroline were raising families, while Andrea and Sharon were pursuing solo careers while raising families of their own. According to Sharon, it was uncertain if and when The Corrs would reunite. Rumours of a reunion sparked in early 2015 and in a radio interview with Chris Evans in June 2015, Andrea confirmed that The Corrs were working on a new album and would play the BBC Radio 2 Live in Hyde Park festival.[6] Their sixth studio album, White Light, was released on 27 November 2015, and was accompanied by a European tour. After two years, their seventh studio album, Jupiter Calling, was released on 10 November 2017.

The Corrs02

In Blue is the third studio album by Irish pop rock band The Corrs, released in 2000 which saw the band become known in the United States. The title of the album comes from a lyric in the song “Give Me a Reason”. As well as the UK number one single “Breathless”, the album also contains new versions of “Radio” and “At Your Side”, which had appeared on their previous album The Corrs Unplugged. Mutt Lange co-wrote and produced three songs from the album.


Several of the tracks were used in various television programmes and films: “Rebel Heart” as the theme for the TV miniseries of the same name; “One Night” in Mad About Mambo; “At Your Side” in Say It Isn’t So and the trailer for the film The Holiday; and “All the Love in the World” in the film America’s Sweethearts. As of 2017, the album has sold 9 million copies worldwide. (wikipedia)


A very straightforward release from the Corrs, who spend the majority of this outing in full-blown pop mode, with the Celtic elements mostly being relegated to the backgrounds of several songs. The one exception is the closing instrumental, “Rebel Heart,” which stirs itself up full-bloodily to provide the album with an anthem. In Blue is a bright, peppy set that bears more than a few comparisons to the work of bands such as the Bangles and Fanny, though the Corrs have an additional advantage in that Caroline Corr is an impressively muscular drummer. (by Steven McDonald)


I’ve heard so many fans saying they dislike it. Yet the songs are catchy, the band sounds they are enjoying. For me, it is their second best album, only behind “White Light” which was also made this kind of way. When the band sounds enjoying it, I am more willing to enjoy it. Their first two albums are good but this one sounds prefessional, and there are not many fillers. The Celtic elements are not as strong as during the first albums. The music should be about melodies and vocals, and lyrics – and rhythm of course – the opening song “Breathless” has their best rhythm – my favorite song from this band.

“Give Me A Reason”, “All the Love in the World”, and “Irresistible” are songs most fans like. “Radio” is good too but the unplugged version is better.

“No More Cry”, “At Your Side”, “Hurt Before”, and “Rebel Heart” are my favorite non-hit songs. (by Reijo Piippula)


Andrea Corr (vocals, tin whistle)
Caroline Corr (drums, bodhran, piano, vocals)
Jim Corr (guitar, keyboards, piano, vocals)
Sharon Corr (violin, vocals)
Anthony Drennan (lead guitar)
Keith Duffy (bass)
Ronan Dooney (trumpet)
Paul Duffy (saxophone)
Billy Farrell (keyboards)
Mitchell Froom (keyboards)


01. Breathless (A.Corr/C.Corr/J.Corr/S.Corr/Lange) 3.28
02. Give Me A Reason (A.Corr/C.Corr/J.Corr/S.Corr) 3.29
03. Somebody for Someone (A.Corr/C.Corr/J.Corr/S.Corr) 4.01
04. Say (A.Corr/C.Corr/J.Corr/S.Corr) 4.34
05. All The Love In The World (A.Corr/C.Corr/J.Corr/S.Corr/Lange) 4:22
06. Radio (A.Corr/C.Corr/J.Corr/S.Corr) 4.14
07. Irresistible (A.Corr/C.Corr/J.Corr/S.Corr/Lange) 3.40
08. One Night (A.Corr/C.Corr/J.Corr/S.Corr) 4.38
09. All In A Day (A.Corr/C.Corr/J.Corr/S.Corr) 3.43
10. At Your Side (A.Corr/C.Corr/J.Corr/S.Corr) 3.55
11. No More Cry (A.Corr/C.Corr/J.Corr/S.Corr) 2.59
12. Rain (A.Corr/C.Corr/J.Corr/S.Corr) 4.15
13. Give It All Up (A.Corr/C.Corr/J.Corr/S.Corr) 3.28
14. Hurt Before (A.Corr/C.Corr/J.Corr/S.Corr) 4.05
15. Rebel Heart (instrumental) (A.Corr/C.Corr/J.Corr/S.Corr) 4.06



Emmylou Harris with Spyboy feat. Buddy Miller – Live In Germany 2000 (2011)

Emmylou Harris (born April 2, 1947) is an American singer, songwriter, and musician. She has released dozens of albums and singles over the course of her career and has won 14 Grammys, the Polar Music Prize, and numerous other honors, including induction into the Country Music Hall of Fame. In 2018 she was presented the Grammy Lifetime Achievement Award. (wikipedia)

Her work and recordings include work as a solo artist, a bandleader, an interpreter of other composers’ works, a singer-songwriter, and a backing vocalist and duet partner. She has worked with numerous artists.

12-time Grammy Award winner Emmylou Harris has, in the last decade, gained admiration as much for her eloquently straightforward songwriting as for her incomparably expressive singing. Few in pop or country music have achieved such honesty or revealed such maturity in their writing.

In this 2000 concert, Emmylou Harris combined tasteful choices from her early repertoire with newer work, often her own compositions, backed by the band she called Spyboy, which featured the hard-working guitarist and singer Buddy Miller.

Harris came as an emissary to commercial country from the 1960’s folk and rock toward which Nashville mavericks were already leaning. With her dark, natural, hippie-ish beauty, her ethereally powerful soprano, and her fascination with the grittier roots of country music, Harris broke molds established for both women and new artists in Nashville country. With the Hot Band, she brought virtuoso rock-influenced chops to country picking and helped introduce a new audience of young, college-radio fans not only to her own take on country, and to the rock-friendly work of songwriters like Rodney Crowell, but also to the virtues of great artists like George Jones, Merle Haggard, Buck Owens, the Louvin Brothers, and Dolly Parton.

She sings some of those early album favorites here: Crowell’s “I Ain’t Living Long Like This,” Gram Parsons and Chris Hillmans’ “Wheels,” and Parsons and Bob Buchanan’s beautiful “Hickory Wind.” Combined with classic songs like the Louvins “If I Could Only Win Your Love,” which gave her a top-five country hit, Harris quickly established herself as a new kind of country artist, with both radio-single and album-oriented appeal. She had number-one country hits with the chestnuts “Together Again” and “Sweet Dreams,” and her second album on Reprise, “Elite Hotel,” reached number one on the country album charts while also finding its way into many college record collections. Later albums in the vein, including “Luxury Liner” and “Blue Kentucky Girl” established Harris as a crossover star.

In 1980, she made further innovations, releasing a bluegrass album, “Roses in the Snow,” which was distinguished by placing her characteristic solo and harmony singing in bluegrass arrangements and bringing new listeners to country’s acoustic forms. For the rest of her career, Harris would remain an important exponent of older and more traditional styles in country music.

Yet this 2000 concert finds her in what was then yet another new mode. In the early 1990’s her commercial radio success had diminished, in part, and ironically, because of the rise of “new traditionalist” artists whom she’d played a strong part in influencing. Harris became a trademark of country authenticity, appearing on albums by Steve Earle and other innovators with deep respect for bluegrass and classic country. In 1995 she released the album “Wrecking Ball,” launching Spyboy as a touring band with Buddy Miller and moving fairly assertively away from traditional country, with songs like “Deeper Well,” featured here. The 2000 follow-up “Red Dirt Girl,” widely acclaimed, featured Harris’s own songs, many of them also heard here.

“Though other performers sold more records and earned greater fame, few left as profound an impact on contemporary music as Emmylou Harris. Blessed with a crystalline voice, a remarkable gift for phrasing, and a restless creative spirit, she traveled a singular artistic path, proudly carrying the torch of “cosmic American music” passed down by her mentor, Gram Parsons. With the exception of only Neil Young – not surprisingly an occasional collaborator – no other mainstream star established a similarly large body of work as consistently iconoclastic, eclectic, or daring; even more than four decades into her career, Harris’ latter-day music remained as heartfelt, visionary, and vital as her earliest recordings.” (William Hoghland)

Recorded live in Baden-Baden, Germany on October 31, 2000.

Brian Blade (drums)
Tony Hall (bass, vocals)
Emmylou Harris (guitar, vocals)
Buddy Miller (guitar, vocals)

01. The Pearl (Harris) 5.22
02. I Don’t Wanna Talk About It Now (Cunniff/Harris/Johnson) 4.46
03. I Ain’t Living Long Like This (Crowell) 4.19
04. Raise The Dead (Harris) 3.27
05. Red Dirt Girl (Harris) 4.50
06. Love Hurts (Bryant) 3.00
07. Hour Of Gold (Harris) 5.00
08. Deeper Well (Harris/Lanois/Olney) 6.22
09. Michaelangelo (Harris) 4.50
10. Boy From Tupelo (Harris) 3.34
11. Wheels (Hillman/Parsons) 3.11
12. Born To Run (Kennerley) 4.45
13. Hickory Wind (Buchanan/Parsons) 4.55


Savoy Brown – Live From The House Of Blues (2000)

FrontCover1Part of the late-’60s blues-rock movement, Britain’s Savoy Brown never achieved as much success in their homeland as they did in America, where they promoted their albums with nonstop touring. The band was formed and led by guitarist Kim Simmonds, whose dominating personality led to myriad personnel changes; the original lineup included singer Bryce Portius, keyboardist Bob Hall, guitarist Martin Stone, bassist Ray Chappell, and drummer Leo Manning. This lineup appeared on the band’s 1967 debut, Shake Down, a collection of blues covers. Seeking a different approach, Simmonds dissolved the group and brought in guitarist Dave Peverett, bassist Rivers Jobe, drummer Roger Earl, and singer Chris Youlden, who gave them a distinctive frontman with his vocal abilities, bowler hat, and monocle.

With perhaps its strongest lineup, Savoy Brown quickly made a name for itself, recording originals like “Train to Nowhere.” However, Youlden left the band in 1970 following Raw Sienna, and shortly thereafter, Peverett, Earl, and new bassist Tony Stevens departed to form Foghat, continuing the pattern of consistent membership turnover. Simmonds collected yet another lineup and began a hectic tour of America, showcasing the group’s now-refined bluesy boogie rock style, which dominated the rest of their albums. The group briefly broke up in 1973, but re-formed the following year.

Throughout the ’80s and ’90s Simmonds remained undeterred by a revolving-door membership and continued to tour and record. Their first album for the Blind Pig label, Strange Dreams, was released in 2003, followed by Steel in 2007. Subsequent LPs include the compilation Too Much of a Good Thing, Voodoo Moon, Goin’ to the Delta, and 2015’s The Devil to Pay. In 2017, the band returned with the full-length Witchy Feelin’, which hit number one on the Billboard Blues Albums chart. Buoyed by that success, Simmonds and Savoy Brown returned with the group’s 40th career album, City Night, in 2019. /by Steve Huey)


And here´s a pretty good live bootleg (excellent broadcast quality) from The House Of The Blues.

Kim Simmonds & Savoy Brown were on tour to promote their “The Blues Keep Holding Me On” from 1999.

20 years after … this show is still another highlight in the history of Savoy Brown bootlegs … old songs, new songs… high class Blues-Rock !


Dave Olson (drums)
Nathaniel Peterson (bass, vocals)
Kim Simmonds (guitar, vocals)

Nathaniel Peterson

01. Too Much Of A Good Thing (Simmonds) 7.37
02. A Hard Way To Go (Youlden) 7.32
03. Little Red Rooster (Dixon) 11.23
04. I’m Tired (Youlden) 6.56
05. Stay While The Night Is Young (Youlden/Simmonds) 10.20
06. Mississippi Steamboat (ubknown) 7.42
07. Headline News (Traditional) 10.53
08. When You’ve Got A Good Friend (Johnson) 8.24
09. Shake For Me (Dixon) 9.50
10. Bad Shape (Simmonds) 7.11
11. Wang Dang Doodle (Doxon) 11.32
12. Little Wheel ( 10:41



Dave Olson

Allman Brothers Band – Peakin’ At The Beacon (2000)

FrontCover1Peakin’ at the Beacon is a live album by the rock group the Allman Brothers Band. It was recorded at the Beacon Theatre in New York City in March, 2000, and released later that year.

Peakin’ at the Beacon was the first Allman Brothers Band album to include Derek Trucks on guitar and Oteil Burbridge on bass, and the last to include founding member Dickey Betts. (by wikipedia)

When Gregg Allman was asked why Dickey Betts was kicked out of the Allman Brothers Band in the spring of 2000, he is reported to have suggested the answer lay in the tapes from the group’s two-week stand at the Beacon Theatre in New York. That makes it surprising that the Allmans would turn to those tapes to assemble their first new album release in five and a half years, Peakin’ at the Beacon. Happily, however, there is no evidence of Betts’ alleged shortcomings on the disc, though it must be admitted that, since he is one of two lead guitarists (the other being Derek Trucks, making his recorded debut with the band), it isn’t always easy to tell who is playing. There is plenty of guitar work, and it is up to the Allmans’ usual standard.


Following the instrumental opener, Gregg Allman sings lead on seven straight songs, all of which come from the band’s first three studio albums. Betts finally appears as a vocalist on the ninth track, the 1990 folk-country tune “Seven Turns.” Finally, there is a 27-and-a-half-minute version of the 1975 Betts instrumental “High Falls,” a typical extended workout complete with jazzy interludes and a lengthy percussion section. The Allmans may not have been due for another live album (two of their last three releases being concert recordings), but the series of Beacon shows has become an annual event, and the disc serves as a souvenir from the March 2000 shows. Fans who attended those shows, or who just want to be reassured that the Allmans sound much the same as ever, may enjoy the album; less devoted listeners probably shouldn’t bother. (by William Ruhlmann)


Gregg Allman (keyboards, guitar, vocals)
Dickey Betts (guitar, vocals)
Oteil Burbridge (bass)
Jaimoe (drums, percussion)
Marc Quiñones (percussion, vocals)
Butch Trucks (drums, percussion)
Derek Trucks (guitar)


01. Don’t Want You No More (Davis/Hardin) 3.06
02. It’s Not My Cross To Bear (Allman) 5.13
03. Ain’t Wastin’ Time No More (Allman) 5.46
04. Every Hungry Woman (Allman) 5.57
05. Please Call Home (Allman) 4.31
06. Stand Back (Allman/Oakley) 5.45
07. Black Hearted Woman (Allman) 6.30
08. Leave My Blues At Home (Allman) 5.07
09. Seven Turns (Betts) 4.49
10. High Falls (Betts) 27.28


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