Callaghan // A History Of Now

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It’s been three years since we last had an album release from Callaghan and now we get presented with her latest offering in the form of A History Of Now.

Opening with a bright & breezy number that is Crazy Beautiful Life it only take one track to get us back to more tenderness in the form of Who Would I Be. Noah’s Song is another bright track & it should be given that it was written for her nephew! I’ll Take You Away could in some instances be seen as a slower continuation of a track that we’ve just heard.

The 2015 updated version of her track Best Year is up next (see our review here) before we slow things down with the beautiful Lost (which we’re not going to lie, we first thought it might have been a cover of Birds Of A Feather opening theme….sorry Callaghan!) Green Eyes comes up next followed by another little bouncy number in Free To Be that we’re sure you’ll be tapping your feet along to (if not swaying too!)

Guitar driven When You Loved Me brings the mood down for a slow and tender number with Parachute continuing this feeling. Last Song which ultimately is actually second last is another tap along track with We Don’t Have To Change The World another bright track (that has us thinking of an Errol Brown’s cover of TLC’s Unpretty)

A History of Now just feels like catching up with an old friend in that it seems to start off where her debut album, Life In Full Colour left off. There a mix of tracks that show off Callaghan’s song writing and vocal skills. And  talking about the tracks, there are a number of them that we could see fitting in on TV shows with ease! Callaghan might not yet be a household name, but with a sound that will appeal to folks of all ages, she should be!

Rating: 5/5

Symphobia // Noc-Turn

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The album opens with the last single, We Are (Feat. Daniel Dice) with a slight addition to the orchestra tune up at the start of the track and additional vocals over this. This is quickly followed by second single, I Do and Rachmaninov. Lightening the mood is the debut single Brand New Day before things are slowed down with the lovely Hungry.

Dark & loud are on the agenda with the track Total Eclipse, again featuring Daniel Dice before we’re back to light & airy with the track I Need Air. Just as quick it’s back to the loud & brash with Play, who’s classical piece (Chopin’s Nocturne) we can’t help feeling has been twisted & distorted into something sinister. 3rd single, What’s Done Is Done is next (see that review here)

We’re not entirely sure what to make of Trigger while SupahFreakinMarvelous & Prove Me brings us back to a more accessible sound. Victory once again features Jade sharing vocals (last heard on What’s Done Is Done) and if we’re honest, we would have swapped this and the final track, Still Standing, featuring Marinoux, again, who featured on What’s Done Is Done, around as Victory has more of a final feeling.

Overall, we’d really like to like this album but we’re struggling to get behind it and we think it comes down to few points: the first is that the majority of the tracks rely heavily on classical pieces and feel that there is just an overload here. The second is that the tracks have too much of a familiarity to each other. Hungry seems a little out of place on the album and we’d love to have seen a few more original tracks like What’s Done is Done just to break the album up a bit more. The third point is simply this: we can’t view this as an album. For us, when listening to tracks mixed with others from other genres altogether, individually, the tracks aren’t that bad. But viewing them together, is when we have issues.

But it’s not all bad. We love Adeesha vocals and think that the duets works well, particularly with Jade & Marinoux as we’ve said previously.While we get a small look at what Adeesha is capable of, it would be interesting to see her step outside of what seems to be a comfort zone as we suspect that there is more to come. There is however a danger of just becoming another voice in the crowd so to speak in doing so. For that reason, we’re going to sit on the fence just now.

Rating: 3/5

Various Artists // The Lion King Legacy Collection

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Celebrating the 20th anniversary (has it really been 20 years already?) and the first in the new Legacy Collection, is the 1994 film The Lion King. Split across 2 discs this is probably as close to a complete soundtrack as we are going to get (when you compare it to the original & the special edition).

Disc 1 is essentially the film with familiar vocal tracks of Circle of Life, Just Can’t Wait To Be King etc. all here but interspaced with Hans Zimmer’s score which beautifully accompanied the film but that we didn’t, in parts, really get to appreciate at the time. Disc 2 contains demo tracks of score segments, two songs omitted from the original film (The Morning Report, which later made an appearance in the re-release and of course, in the stage version of the show and Warthog Rhapsody, the song that Hakuna Matata replaced), an instrumental version of Circle Of Life and of course, Elton John’s versions of Circle of Life, Just Can’t Wait To Be King & Can You Feel The Love Tonight.

As we said, this is probably as close to a complete soundtrack as we’re going to get. It’s a big improvement on the original release as well as the re-release special edition. But who will it apply to? That is the question. For us we could see those who grew up with the film originally or those that have an interest in the lesser heard score. We love the idea of having the score and vocal tracks mixed meaning, in essence and assuming you know the film well enough, you could just stick this on, close your eyes and you’d be there in the film. Now…why can’t all soundtracks be like this?

Rating: 4/5

Alex Cornish // Beyond The Serenade

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It’s been 3 years since we’ve had an album from Alex Cornish (we had a little release in the Play Your Part EP back in 2013) but now he’s back with album no. 4, Beyond The Serenade

Opening track, Footnotes on the Page opens softly but as if progresses it builds to a crescendo before heading back down to close just as softly as it opened. Easy going verses and attention demanding choruses & bridges make up the DNA of First & Last. Everywhere I Go again seems to use building blocks, introducing each instrument on a new layer before reaching a crashing chorus and then going uphill from there (for some reason we're imaging a crazy car tour for a video...)

Work the Fields uses the first minute & a half as an instrumental, layering the instruments which, for us, conjures images of busy city life before Cornish's smooth vocals come in with piano, with a reminder of that busy feeling kept by the quick intermittent beat, before giving way to rising strings and a calmer, gentler feel of getting away from it all.

Something a bit calmer and sedate in the form of Downstream with a similar theme continuing in How I'm Meant To Be. A bit of sombreness creeps into the album in the form of I'll Never Learn. The Pine & The Birch brings a little rock to the proceedings and took us by a bit of a surprised when we first heard it on a well known streaming service but after that initial entrance, it's not too far from what we know of Alex's work. After that wake up call, things are taken down for a bit with Drives Me On.

We're not entirely sure if Cornish is channelling his inner Billy Joel with a piano driven track Again & Again that reminds us a little of Always A Woman & The Piano Man but this gives way to Give Me Time, a track similar in style to Everywhere I Go in terms of how it's built, from gentle to a demanding roar. Closing the album is Nothing In Return which a song of two half, the first with vocals while the second is an instrumental with some interesting sounds at the end of it.

For fans, there is a little bit of everything from Alex's past releases as well but at the same time, it feels as if he's experimenting without deviating from what he knows works. This would be the album that we'd recommend for anyone not familiar with Alex's previous releases...and it makes for a good show live too!

Rating: 4/5

Bentley Jones // Defying Gravity

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It’s been 2 years since Bentley Jones last album release but between then and now we’ve had a sprinkling of single & EPs. And now it finally time to get our hands on the album release that has been teased for months.

The album opens with the first single Evolve before heading into Follow You Down to maintain the pace before we slow things for two uptempo ballads in the form of
Without You (Come Back) & I Have Loved.

Next we have 夢のしずく or the Japanese version of the single Nothing. Everything. Next we make a return to a sound that shows that there is still the naughty streak there (R1D31T) before taking a punt of the title track of the album, a cover of a song from the Wicked musical,  Defying Gravity which we can’t help think sums up Bentley and his career to a t.

Once again we slow it down for One Too Many Goodbyes before it’s back to the more uptemponess with Talk 2 U.  Axiomatis is a bit of an odd track given that it was actually composed between Jones and his fans (known as The TruthST4LK3RZ) and also features them on instruments, backing vocals…pretty much this is their anthem and it’s a bit of feat to have pulled off in what some might determine as a short timeframe.

As almost a reward for buying the physical release we have an additional track.Devil's Cry (Shall Never Surrender) is Bentley take on the theme from Devil May Cry 4, originally planned from a now scrapped project, the song has been given a spit & polish to bring it into line with the rest of the album. The One on the standard edition (read downloadable from other sites) brings the album full circle and end it’s off perfectly.

However, if you’re like us and opted for the deluxe physical edition, then you’ve still got a few tracks to go. 残酷な天使のテーゼ (Theme from "Neon Genesis Evangelion") is a modern taken on the 90s anime theme. Next we’re given the English version of a tracks a few back. Yes we are talking about Nothing.Everything, a track that if we’re honest, we weren’t keen on until hearing the Japanese version. And in closing we have the Japanese version of the album title track Defying Gravity, known here as 自由を求めて.

The accompanying DVD of the deluxe comes with videos for Evolve, I Have Loved, Nothing.Everything, Axiomatis and two tracks previous released on an EP, What Now…? and The Place Where Dreaming Ends. Live ukulele versions of Evolve & Nothing.Everything, a track by track and message from Ben wrap the DVD up.

Looking at the release, there is probably more falsetto here than we were expecting and sometimes it does feel as if he is reaching the top end of his range for it. However, it is probably because it’s not something that we are entirely familiar in hearing from Jones, except in the occasional track. That aside, it feels a very personal album from him but that the imagery constructed from the lyrics may resonate with those listening.

Rating: 4/5

Various Artists // BBC Radio 2 Presents Sounds Of the 80’s

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It was probably only a matter of time before an album was released in…celebration of the revival of BBC Radio 2 show. But this is not the original tracks…as you might have guessed given the tag line: Unique covers of classic hits.

Now when it comes to covers, for us, we like to hear a song respect the original but at the same time be given something that make it’s their. There’s a few example of this with the likes of the The Script’s take on Drive, Ed Sheeran’s Atlantic City, Caro Emerald’s Walk Like An Egyptian, James Blunt’s I Guess That’s Why They Call It The Blues, The Pierces Don’t Give Up.

Then you’ve got the tracks that sound a bit more samey as the original but work for the vocalist like Arthur’s Theme (The Best That You Can) by Rummer, Smalltown Boy by Dido, Train’s Holding Back The Years & The Overtones take on the Wham! classic Wake Me Up Before You Go. And then at the other end of the scale, you have the tracks that either sound too similar and no imagination like Kian Egan’s Run To You, Boyzone’s Whole Of The Moon & Level 42’s Need You Tonight or you have to wonder what they were thinking at the time (Christina Perri’s Turn Back Time, Birdie’s Lucky Star)

Overall, it’s a bit of mixed bag but the better tracks outweigh what in our opinion is some of the weaker tracks on the double cd release. On the most part, the covers are done well, but some need a good looking at whilst some just need someone to plug them into the National Grid to give them a bit of a jump start.

Rating: 3/5

Peter Hollens // Peter Hollens

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Frequent visitors to this blog will know that we’ve featured some of Hollens’ singles. Well, now he’s only gone and got an album released on a major label!

Opening the album is I See Fire (of Ed Sheeran fame) which automatically reminds you that, for the majority if not all the tracks on this album are made using only voices. Next is a take on The Elder Scroll’s Skyrim theme fearuring another of this blogs favs, Lindsey Stirling, which is for one track features over 100 seperate tracks to produce the sound. A take on Jason Mraz’s song I Won’t Give Up, delivered with the same passion as heard in the original.

Next we head to Broadway for a Les Miserables Medley featuring Hollens’ wife Evynne before another collaboration, this time with Sabrina Carpenter in the form of the U2 classic, I Still Haven’t Found What I’m Looking For. Things take a tender moment with the American folk song, Shenandoah before changing location for another folk song, this time from Ireland in the form of She Moved Through The Fair.

Hallelujah comes next and is a duet with Jackie Evancho (you might know her name if you watch America’s Got Talent) and leads into a duet with Brian Wilson (of Beach Boys fame) in Our Special Love. Back to the folk songs and first we have The Parting Glass that we’ve previously reviewed before he have Black Is The Colour of My True Love’s Hair featuring Avi Kaplan (of Pentatonix) on vocal duties as well.

Ashland’s Song is Peter’s own composition, written for his recent newborn son, and is a track that parents will no doubt be able to relate to. The final track on the album is Misty Mountains (as heard The Hobbit: An Unexpected Journey) and for us, we feel it leaves you waiting for more.

Overall, we find difficulty in finding fault with the album when you consider that it is all recorded using, for a number of them, just one voice. It would be easy to say ‘oh but he’s already released some tracks individually’ (which he has and the majority can be bought over on Loudr) but ignoring that fact, this album is quite a nice introduction into Peter’s world particularly for those who may not be as familiar with his works. That said, it’s also a nice collection for fans as some of the songs featured are from the fan favourite videos. We, meanwhile wait to see what next in store.

Rating: 5/5

Jonathan Antoine // Tenore

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It’s just been short of a year since Jonathan’s last outing with then partner in music, Charlotte (who herself released her own album this year too) but now it’s time for Jonathan to take centre stage with his own solo outing in the form of Tenore.

The opening tracks do sort of set the tone & style for the album, that being quite operatic and it shows with the likes of La donna è mobile from Rigoletto, followed by
Torna a Surriento & Nel blu, dipinto di blu (Volare) (though we’re used to hearing this at a slightly quicker tempo!)

Be My Love is the first track that we get to hear Antoine put that voice through English before head back into Italian with Parla Più Piano  followed by Panis Angelicus
& Una furtiva lagrima from L'elisir d'amore

So Deep is the Night (Arranged from Chopin's Tristesse, Etude Op. 10/3) brings things back to a slightly lighter tone before to head into a little bouncy track with Arrivederci, Roma. Fanfare is called for with Core 'ngrato as well as with Granada before ending the album on a high with Love Changes Everything from Aspects of Love with a simple piano accompaniment leading in.

Overall, this album seems to suit Jonathan and feels much more natural than what we’ve heard in previous outings. Once again we can hear him growing in confidence and utilising that powerful voice. There are still some moments where he is a little rough but these are few and far between and just shows that he still has some things to learn. But that aside, the arrangement of the tracks have been sympathetic to his voice with neither drowning the other at any point.

Some may see the tracks as safe but to us, this album says, this is me. We look forward to seeing where or maybe what Jonathan gets up to in the future

Rating: 4/5

Various // A New World: Intimate Music from Final Fantasy

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For over a decade, Distant Worlds has been enchanting the world as it brings the music of Final Fantasy from the screens of all sizes to the stage. And now, a new interpretation is upon us with A New World: Intimate Music from Final Fantasy.

This is a live recording from the London premiere back in February. Bringing together 18 tracks from across the Final Fantasy series, here will be found a mix of well known themes (One Winged Angel from VII & Zanarkand from X to name but two) as well as bringing lesser known tracks. All the tracks have been given new arrangements for this event and, although not having the power and gusto that would be expected with a full orchestra, these renditions still have that something special and are suited for the intimate nature of this event.

Highly recommend a listen to this if you’ve ever heard Distant Worlds live or on CD or even just a fan of music of Final Fantasy

Rating: 5/5

John Barrowman // You Raise Me Up

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Apparently it's been 3 years since John Barrowman's last release (Tonight's The Night) and now he's back with his latest release, You Raise Me Up.

Opening with Christina Perri's A Thousand Years we immediately hit a snag with the opening verse as it's too proper (ever word pronounced instead of allowing to flow) but this seems soon rectified as the song progresses. From ballad to more upbeat with Doobie Brothers Listen To The Music and this makes for a more comfortable listen. All too soon though we're back to a ballad in the form of Raise Me Up before heading into Demi Lovato's Skyscrapper which we can't make our mind up what side of the tempo is wrong, the lyrics or the melody.

Barry Manilow's Mandy is next and for fans, they already that John can deliver this as he's previously performed it live on tour. Back to upbeat track with That's Just The Way It Is (we originally know it done by Celine Dion) but all too soon we're back to ballads with Simon and Garfunkel's classic Bridge Over Troubled Water (beautifully performed we might say) and Goodbye My Friend

The Broadway classic This Is The Moment is up next and proves no difficulty for Barrowman, given his theatrical background. Back to an upbeat track with a cover of Michael Buble's Hollywood before finally closing with a classic Scottish track Loch Lomand although we do have mixed feelings over it.

Overall, we feel that there's a bit of hit and miss here with the track selection. Some work well while other just seem not to suit at all and whether this is just down to the arrangements or the songs themselves is difficult to say. For the adoring fans out there, they will probably enjoy. For us, we think the albums of cover is that comfortable jacket that's getting a little frayed. We'd love to see something a little different...like an album of original material. We'll even settle for an EP for starters.

Rating: 3/5

Charlotte Jaconelli // Solitaire

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Recognise the name? You’re probably more used to seeing it as part of Jonathan & Charlotte but late last year, the pair went their separate ways due to creative differences. So what is Charlotte’s debut album like?

Opening with the ballad Feels Like Love, we hear what sounds more like a pop vocal with a classical edge. Title track Solitaire is next and is more classical in feeling before we head straight into complete classical mode with Pie Jesu.

I know Him So Well (from the musical Chess) is next and comes in the form of a duet with West End star Kerry Ellis which, for the most part works well. Off to the movies now with When Somebody Loved Me (from the Disney Pixar classic, Toy Story 2) before the classic Richard Marx track Right Here Waiting For You, again delivered with that pop but classical edge voice.

Lascia ch’io pianga is another classical track that showcases Jaconelli’s voice before heading back to the musicals with another duet, this time Daniel Koek in the form of All I Ask Of You and this time works well for the entirety of the track.

Staying with the musicals, we head off to Les Miserables for On My Own but seems sang ‘too proper’ for it to sound natural, however this proper voice works for the next track in this list which is I Dreamt I Dwelt in Marble Halls and flows better. Finally the album closes with I Could Have Danced All Night but it leaves you feeling like there should be another track after this. Maybe swap the last two tracks for a more natural ending?

We had a feeling given the last release with Jonathan, Perhaps Love that there was a difference in direction with the pair, and while it’s sad to them split, this now give them the chance to flourish. It’s a mixed bag of songs which is obviously leaving Jaconelli open to experiment and find her niche. Our only complaint is something we picked up on the last time and that is the over pronunciation of words which makes the flow in certain songs feel unnatural. It feels as if at times she is trying too hard, almost like a need to say ‘I can do this on my own’.

Should there be a second solo album, we really hope that she can find a focus on what she’d rather be doing. This shows she can do a variety but we suspect that she also needs a variety of vocals to match the variety of tracks

Rating: 3/5

Gareth Malone // Voices

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We’d be surprised if anyone hadn’t heard of Gareth Malone. He’s already had a no.1 thanks to the Military Wives, has got workplaces singing together and now he brings a new choir of young talented people together to produce Voices.

This collection of songs bring a number of modern tracks (Alicia Key’s Try Sleeping With A Broken Heart, Bon Ivor’s Calgary & Lana Del Ray’s Video Games to name a few),some older tracks (Erasure’s A Little Respect, The Moody Blue’s Night’s In White Satin & Fleetwood Mac’s Go You Own Way) and some more choral tracks (Now Sleeps The Crimson Petal on the standard with the addition of O Magnum Mysterium & Passion Chorale on the deluxe version).

Many of these tracks do work well in a choral arrangement though the version of Death Grip’s Guillotine may lead to feelings of sea sickness while Go Your Own Way shows potential but seems to get lost along the way. It’s an interesting take on the genre but at the same time, it shows not everything works. It’s a shame too, as we were really taken with the live EP from the Supperclub last year (available on Amazon) but this doesn’t seem to capture what you hear live.

If it was a school report it would probably read, shows potential but could do better

Rating: 3/5

Shakira // Shakira

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Has it really been 4 years since Shakira’s last album, Sale El Sol? Seems a bit longer to be honest but we need not wait any longer as her new album, simply titled Shakira, is now here for our listening pleasure.

Before we start, we should point out that in regards to track listing, the physical & download have the same tracks just in a slightly different order but for the purpose of this review, we’ll be referring to deluxe download.

Opening with a samba beat is Dare (La La La) that feels like it’s a little bit of everything from Shakira’s past. Next it’s the first single from the release in the form of Can’t Remember To Forget You featuring Rihanna whilst Empire brings a mix of soft notes flowing into big powerful ones in the chorus.

You Don’t Care About Me takes a dark turn with a tale of a toxic and unreciprocated love. But from the dark it’s time to get down with a wee bit of reggae in Cut Me Deep featuring MAGIC! before we hit the rock with a Avril Lavigne sounding track in the form of Spotlight

A beautiful guitar driven track comes in the form of Broken Record before we go a little country along side fellow The Voice judge Blake Shelton with Medicine which proves to a great combination. Continuing with the guitar is on the beautiful ballad 23 with a cheeky little appearance from Shakira’s baby at the end.
And to finish this trio of guitar tracks is The One Thing.

On the standard release, the last three tracks are in Spanish; Nunca Me Acuerdo De Olvidarte (Can’t Remember To Forget You), Loca Por Ti & La La La

On the deluxe side of things, there are an additional three tracks starting with Chasing Shadows which reminds us a little of something that the Eurthymics would release while That Way is a beautiful piano driven ballad. Finally we have….wait for it….yes, another version of La La La this time subtitled Brasil 2014 and featuring Carlinhos Brown and of course is her offering for the up coming World Cup. The question for this track is what version came first? The Spanish, the English or the World Cup version….

Shakira herself describes this as an album of going back to her roots but there is still the chance to hear a sound that has run through many of her past works. Hopefully this album may be more accessible than Sale El Sol (as that was predominantly Spanish vocals) and we feel that there is a little something for everyone here. Will be interesting to see where things go from here.

Rating: 4/5

Lindsey Stirling // Shatter Me

 
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It doesn’t seem that long since the release of Lindsey Stirling’s self titled debut but now she’s back with the follow up album, Shatter Me. So what’s in store with it?

Opening with the first single Beyond The Veil, with it very unassuming intro, we’re soon back to the familiar sounds of Stirling’s work. Mirror Haus. is another which builds into a roaring track whilst V-Pop at first seems to be a bit of sample (of a dance related track we can’t remember) but keeps the pace set by the previous tracks.

A first for Stirling’s solo work is a collaboration with Lzzy Hale (of Halestorm fame) who provides vocals on Shatter Me on what proves to be a stellar match. Heist has the tempo and emotion of one to open with but then there are moments of almost calm before the heist is back on. Roundtable Rival reminds us a little bit like a song from the shows Riverdance or Lord of the Dance whilst Night Vision has a sort of mid-tempo.

Take Flight is this albums Song of the Caged Bird though with a bit more edge as Acendance continues with the edge. We Are Giants feats vocal talents of Dia Frampton, which to us feels a bit like a tame Shatter Me. Swag just has plenty of that with a great little hip hop beat before coming to an end with Master Of Tides which does have a bit of a nautical feel to it.

At least, that is where it would end unless you buy the deluxe version which has three bonus tracks Eclipse (which implies a feeling of watching such an event), Sun Skip (which reminds us of the theme song from the Japanese animated film Paprika) before ending on an orchestrated version of Take Flight.

Overall it’s not a bad little album. It has a bit more edge than her debut and it was hard to see where Stirling would go with this album after the success of her debut. This album is a first in which her solo works involved lyrics. It’s one of few albums in recent years that we’ve managed to listen from start to finish without skipping. The question is: where does Lindsey Stirling go next?

Rating: 5/5

Sam Bailey // The Power Of Love

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From the outset, Sam Bailey had been marked as a winner on the 2013 X Factor, and now she’s released her debut album, The Power of Love.

Opening with the title track, we’re reminded on how powerful Sam vocals are as she wastes no times in putting that voice to good use. Next it’s to Shania Twain’s From This Moment, which is a little odd hearing it as a solo effort instead of a duet, but Sam handles it without any trouble.Faith Hill’s There You’ll Be again allows that powerful voice to put to good use.

And I Am Telling You comes in as a duet with mentor Nicole Scherzinger which works to a point but with similiar vocals it’s hard to determine who is who at times. A beautiful string intro into Compass slows the tempo before heading into another slow number in Lord Is It Mine. This leads beautiful into a beautiful rendition of Oleta Adams hit, Get Here complete with strings and choir.

Treasure is another slow but powerful track before heading into a duet of Ain’t No Mountain High Enough with Michael Bolton, in which their vocals complement each other beautifully.Coming into the final tracks we have Superwoman before ending with what was her winner’s single Skyscraper, although we getting the feeling that it has had a little make over (it reminds us on the original Demi Lovato track vs. the Wizz Dumb Remix)

Overall, yes it’s an album of covers, and yes that does seem to be the standard for X factor Winners (Little Mix are the exception to this rule). Whilst beautiful sung, we can’t help thinking that there is too many songs making use of the fact that she has this big powerful voice. We’d have liked to have seen maybe one or two new tracks or maybe something a little softer to show another side of her. These things aside, it’s not a bad little number, but maybe a little more variety if next time comes around.

Rating: 4/5

Kian Egan // Home

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2013’s King of the Jungle and former Westlifer Kian Egan release’s his debut solo album, Home.

Before we go any futher, let’s make it clear; this is an album of covers. Opening with the title track, Daughtry’s Home we get a sense of where this album is going before we head into Rascal Flatt’s What Hurts The Most. Hoobastank’s The Reason slows the tempo before heading into the piano driven Not A Day Goes By.

The tempo picks up with Lady Antebelum track I Run To You, a duet with Jodie Albert, that works pretty well with their voices harmonising well. Guitar driven I’ll Be follows before I’m Ready, which has a bit of a celtic feel to it.

Waiting For Superman has the feeling of a general pop ballad before the 3 Doors Down track Here Without You. Finally, the album closes with a slow number in the form of Wanted.

As we said at the start, this is an album of covers and therefore makes it feel very safe. It feels very much in his comfort zone, nothing to challenge him. And there just seems to be a little issue of balance between instruments and vocals. It feels at times as if he is being drowned by the music, which sadly distracts from what could have been an alright album

Rating: 3/5

Nicholas McDonald // In The Arms Of An Angel

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Doesn’t seem that long ago that this Scottish singer was in the final of the 2013 X factor and came off as runner up. Now, just a few short months after it, Nicholas McDonald releases his debut album, In The Arms Of The Angel.

Opening with Superman (what would have been his winner’s single) next it’s what did become his debut single, Answerphone (see it’s review here). When The Stars Go Blue reminds us of The Corrs version although vocally it does sound as a few notes are just a edge of a comfortable range for him.
The title track of the album, In The Arms Of An Angel is up next, but there is really no other way to sing this.

Christina Perri’s track A Thousand Years pops next before the second original track, Smile, which has a bit of an Olly Murs feeling to it. Adele’s Someone Like You comes in as a nice little acoustic number with just voice & guitar while Westlife’s Flying Without Wings feels like a note per note version.

Bruno Mars’ hit Just The Way You Are but just seems a little slow and a little karaoke-ish. The Daniel Beddingfield classic If You’re Not The One which does seems to suit his voice. And finally, we have the last of the original tracks, Solid Gold,is another Olly Mur sound a like track to close the album.

In a way, we’re a little disappointed at how rushed this has been. It almost feels like with this release they wanted to ride the X Factor wave and covers were the quickest way to get it out there. And those fall into pretty much the same genre, ballad. The other issue with these tracks is that it feels that he is trying to emulate the same sound & performance as the original instead to putting his own mark on it. Whereas the 3 original, though they have touches of sounds we’ve heard from other artists (One Direction & Olly Murs spring to mind), they tend to showcase his voice off a little better. Had there been more originals & less of the covers, and just a teenie bit of variety this might have been a decent release.

Rating: 2/5

Westlife // The Love Songs

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Breaking up is so hard to do…but never fear because you’ve now got all those lovely compilations for every occasion to look forward to! And that’s exactly what this is just in time for Valentine’s….awww!

Yes, Westlife parted ways in 2012 & Shane’s gone on to release his solo effort last year and Kian is due to release his in March but in the meantime, we can “enjoy” this. Yes we use the term enjoy loosely seeing as there is nothing here that hasn’t previously been released on their studio albums (although notably, Unbreakable, Swear It Again, My Love & When You’re Looking Like That are the radio/single mixes)

Collectors will probably pick up just for completeness but if you’ve bought their previous works, there’s no need…unless you want to remind yourself why you may actually be the 2nd love of somebody’s life.

Rating: 1/5

The Piano Guys // The Piano Guys

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You may not be familiar with these YouTube sensations, but presently, their version of One Republic’s Secrets (known as Beethoven’s 5 Secrets) in the current Thomson’s advert (search Simon The Ogre), taken from their debut self titled album (released only at the start of 2013 in the UK). But what is it exactly?

Well, some of the titles give the game away, for example, the first one Titanium/Pavane. This track takes the David Guetta track and mixes it with Faure’s classical piece. The same goes for other tracks such as the previously mentioned Beethoven’s 5 Secrets & Michael Meets Mozart. Other tracks aren’t so obvious that they are mixed with classical pieces (their cover of Rolling In The Deep features sections from Holst’s Jupiter). There are some straight covers in an African flavoured version of Coldplay’s Paradise, Christina Perri’'s A Thousand Years and One Directions What Makes You Beautiful as well as a medley of music from Star Wars, tactfully named here as Cello Wars.

In a way, this could be looked at as an album of almost classical music for people who don’t do classical music. The classical pieces actually work well when in included with the more recent counterpart, with no disjointedness…you’d almost swear the tracks were made for each other. Their take on the all of the works is respectful to it’s original yet brings a bit of zing to them.

Rating 5/5

Susan Boyle // Home For Christmas

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Would anyone have believed that 5 years ago that this Scot would become the sensation that she is? Yes, Home For Christmas is Boyle’s 5th album, and if you haven’t guessed from the title, there’s a bit of a Christmas theme to it.

The album opens with her current single O Come All Ye Faithful, a virtual duet with none other than the King himself, Elvis Presley and it works very well. We’re then led into a rendition of The Lord’s Prayer, beautifully orchestrated. A single drum beat with backing from The Overtones opens the classic Little Drummer Boy before building into full flair with what sounds like a military drum and bagpipes.

The beautiful I’ll Be Home For Christmas comes up next followed quickly by another duet in the form of When A Child Is Born with Jonny Mathias (and apparently, she appears on his new album performing Do You Hear What I Hear!). Strings lead us into The Christmas Song (or as some might know it, Chestnuts Roasting On An Open Fire) before being joined by piano and just a nice a nice little addition from the drum kit.

The Greg Lake track I Believe In Father Christmas is next and has a slightly slower tempo than the original but suits Boyle’s voice before giving way to another Christmas classic in Have Yourself A Merry Little Christmas. Hark! The Herald Angels Sing presents itself as the first carol of the album with organ and backing choir.

The Christmas Waltz with what sounds like just piano and guitar is delicately portrayed (we’re thinking we could see this of Strictly Come Dancing) as too is In the Bleak Midwinter. Finally, the album is brought to a close with an original song, led in the same as with Hark! The Herald Angels Sing, titled Miracle Hymn that will feature in the upcoming film The Christmas Candle (in which Susan will make her film debut)

Overall, the album is well delivered with the arrangements of the songs suited to Boyle’s voice. Yes there’s not much here that hasn’t been heard on previous Christmas albums by other artists (minus the last track) but there is something about Boyle’s voice that makes you want to listen, even if you know the songs. A beautiful little album for the upcoming season.

Rating 5/5