Mariay Carrey

Beatles producer George Martin was hanging up his earphones after several decades of making legendary recordings, and decided to make one more where he called all the shots. Settling on a selection of Beatles tunes he had originally produced, he set about pairing up unlikely accomplices with specific tunes and arrangements in mind. The results are in the true George Martin orchestrated tradition, with several interesting twists and turns along the way…

This album, along with Aqualung and Thick As A Brick, constitutes Ian Anderson's thrust for serious music credibility–unlike the two Tull albums, however, this one started out with a serious intent and seems to be roughly Anderson's equivalent to Paul McCartney's Liverpool Oratorio, except that there's nothing remotely as embarrassing here as there was in that piece of overblown North England drivel (also done for EMI, on should recall). The familiar voice is absent, as Anderson confines his work to the flute and, with keyboard player/arranger Andrew Giddings, gets backing from various size classical ensembles.

In Randy Newman’s musical version of Faust, not even God is safe from the poison baton. Newman has rounded up a bunch of his friends to sing the parts — James Taylor, Don Henley, Elton John, Bonnie Raitt and Linda Ronstadt. And that’s pretty close to the roster of the band playing in my idea of hell. Yet Faust turns out to be the best work in years for all involved. The musical poses a question Newman first raised in “God’s Song (That’s Why I Love Mankind),” from 1972’s Sail Away, one that Christianity can’t adequately answer.

DANCER AND THE MOON is BLACKMORE’S NIGHT’s 8th original studio album, with each disc topping the European and American Billboard's New Age charts. …

The soundtrack for Son of the Mask, the ill-fated sequel to the 1994 Jim Carrey hit, is a by-the-numbers collection of classic rock (Neil Diamond's "Thank the Lord for the Night Time"), oldies staples like "The Twist" and Paul Anka's "Puppy Love," and one strategically placed single, Ryan Cabrera's magnificently forgettable "Inside Your Mind" – you could paste it over his current hit "On the Way Down" without any noticeable change to either. These tracks are augmented by a cover of the jazz standard "Baby Face" by Tony Award winning actress Marissa Jaret Winokur, poor uncomfortable Jamie Kennedy singing "Can't Take My Eyes Off You" and a dialed in score from composer Randy Edelman. Dreadful.