Electrotango is "en vogue", but unfortunately a lot of Albums are either made of second rate house music with tango snippets or second rate piazzolla interpretations with unhip beats.

Bajofondo is different, and their second album is even better than the first one. Cool beats and music that lives, not as repetitive as most electronic music styles. And a lot more danceable tracks thanks to beats that are more downtempo (in contrast to the house-flavoured first album)

If you ask me: the best Electrotango-CD released so far!
A must for innovative Tango-Djs and Electrotango-Lovers in the world.

This is Sarah Brightman's first Christmas album.
This holiday season, Sarah is releasing her first-ever Christmas album.

A Winter Symphony will bring her virtuosity and originality to many of the season's classics. Her angelic voice will glide through an array of season favorites, including "Silent Night," "In the Bleak Midwinter," a resplendent performance of "Ave Maria," and others.

A pearl….

This, of course, is the album on which the international smash hit “Time to Say Goodbye” feels most at home. This platinum breakthrough topped the Billboard Classical Crossover chart in the U.S. for a staggering 35 weeks, sold three million copies worldwide and went gold or platinum in 21 countries.

If one's notion of "world music" promises a touch of the exotic and indigenous, often overlooked is the fact that the influence of western pop music has seeped into every corner of the globe, creating a hybrid that's often more than merely the sum of its influences. Theater vet Brightman steps into that pan-cultural hall of mirrors here, wedding her fascination with the music and rhythms of the "forbidden places" (the title's Arabic meaning) of the Middle East to her own oft ethereal vocal charms and rock-solid sense of drama. And if the diva's equally sound crossover sensibilities (and that of longtime producer Frank Peterson) sometimes mire it in familiar world-beat pastiche, Brightman's charmed muse manages some transcendent moments nonetheless. Her musical borrowings (Borodin for the title track; Puccini's *Madame Butterfly* for "It's a Beautiful Day") are as compelling as her choice of collaborators: classical violin star Nigel Kennedy and Iraqi vocalist Kadim Al Sahir add compelling touches to the weary timeliness of "The War is Over." The musical influences range from Europe across the Mediterranean and as far East as the Indian roots of "Bollywood" composer A.R. Rahman's "The Journey Home" and Brightman's own "You Take My Breath Away" to evocative recastings of the emblematic standards "Stranger in Paradise" and Louis Armstrong's "What a Wonderful World," while ex-Killing Joke keyboardist Jaz Coleman provides the savory East-meets-West orchestrations that ensure Brightman's star turns the seamless foundations they deserve. –Jerry McCulley

While the sales of Sarah Brightman's ambitious, Middle Eastern-themed 2003 album Harem may have fallen short of its predecessor, the veteran UK chanteuse's popularity as a live performer has only mushroomed. This live recording of her ambitious, sold-out Harem World Tour engagement at Las Vegas' MGM Grand Arena is testament to that appeal, begging the question: Will Brightman become the Grateful Dead of classical crossover? Indeed, abetted by the rich sonic textures of longtime producer/collaborator Frank Peterson, the worldbeat conceits of her recent studio recordings are folded into a larger, even more expansive live vision here. Brightman's overt dramatic instincts and oft-chaemeleonic vocal abilities drive a slate of material that stretches from the Arabian Nights/Madame Butterflypastiche of Harem's seductive "It's A Beautiful Day" through surprisingly effective classical/rock reinventions of Kansas' "Dust in the Wind" and The Moody Blues' chestnut "Nights in White Satin" to expected classical bowings "Nessun Dorma" and the obligatory nod to "Phantom of the Opera"Harem's East-meets-Eurodisco sensibility will also welcome the melodic new studio bonus cut, "Snow in the Sahara."

–Jerry McCulley

In 2005, James Blunt was everybody's favorite overnight success story. In 2007, he's the guy who's making rock meaningful again. All the Lost Souls,, the sophomore effort from the Brit responsible for restoring the seriousness of "beautiful" as a compliment, brims with big build-ups, epic-sounding ballads, and lyrics to lose yourself in. The vibe, laid out neatly on first single and opening track "1973," is clear-eyed and heavy-hearted; in anybody over 35, it'll produce nostalgia tempered by hopefulness–here's a set that suggests rock has got its head screwed on straight again, that the path to real feelings need not necessarily be led by Norah Jones. In anybody younger, it'll cause the unsinkable suspicion that a lot of modern balladeers should be digging deeper. But in both cases it will satisfy. Compared with David Gray and Damien Rice last time out, this time Blunt seems to owe a debt to Barry Gibb–his voice quavers as sweetly and with the same delicate reach. Stand-outs on a brief but dud-less set include "I Really Want You," in which the sound of Blunt's breaking heart is set sparely and elegantly to something approximating the chirp of a cricket, the poignant and desperate "Give Me Some Love", and the VH-1 ready "Same Mistakes."

-Tammy La Gorce

In this follow-up to the smashing success of her 1997 CD Time to Say Goodbye, Sarah Brightman continues down the primrose crossover path, blithely gliding from covers of Hooverphonic (the title track) and Kansas ("Dust in the Wind") to Puccini and film scores (Titanic and The English Patient). Sometimes, as in "Anytime, Anywhere," the crossover happens within the same song–in this case welding a rhythm track to the somber harmonies of Albinoni's "Adagio." But there's nary a stylistic speed bump to jolt her listeners, as Brightman focuses her tiny, seraphic voice like a beam of light on each melody. The result, bless her heart, may be the invention of a whole new form of kitsch. Like plastic surgery, Brightman's years of specialized vocal training have helped refine her ability to float confidently well-rounded, sparkling tones in her upper range. These have a Dresden china-like, touching fragility in such songs as "So Many Things" and are well-suited to the gauzily romantic (and overproduced) gloss of the string-heavy arrangements that predominate. Eden also introduces Brightman as songwriter ("In Paradisum," with its mix of sitar and modal chant) and features a bonus track unavailable on the album's European-released version ("The Last Words You Said"). –Thomas May

This collection CD, released in April 2002 by Andrew Lloyd Webber's Really Useful Group Ltd., contains songs from musicals, taken from Sarah Brightman's CDs The songs that got away (1989) and Surrender, The unexpected songs (1995) plus four tracks previously unreleased by Sarah. Most of the songs come from Andrew Lloyd Webber musicals.