Simply Divine

"To celebrate the centenary of the divine Sarah Vaughan (1924-1990) here is the best double-CD survey available of her career during her golden heyday, displaying the full range of her phenomenal artistry in both jazz and popular settings. “The Divine One” (as she was known) was quite simply one of the great vocalists of the last century. As a jazz singer of the post-war era, Ella Fitzgerald was her only rival, yet she achieved even greater success when she breathed life into romantic ballads. With her wide vocal range, precise timing, perfect pitch, command of colour, effortless swing and ability to interpret a lyric she was indeed a phenomenon.

"To celebrate the centenary of the divine Sarah Vaughan (1924-1990) here is the best double-CD survey available of her career during her golden heyday, displaying the full range of her phenomenal artistry in both jazz and popular settings. “The Divine One” (as she was known) was quite simply one of the great vocalists of the last century. As a jazz singer of the post-war era, Ella Fitzgerald was her only rival, yet she achieved even greater success when she breathed life into romantic ballads. With her wide vocal range, precise timing, perfect pitch, command of colour, effortless swing and ability to interpret a lyric she was indeed a phenomenon.

"To celebrate the centenary of the divine Sarah Vaughan (1924-1990) here is the best double-CD survey available of her career during her golden heyday, displaying the full range of her phenomenal artistry in both jazz and popular settings. “The Divine One” (as she was known) was quite simply one of the great vocalists of the last century. As a jazz singer of the post-war era, Ella Fitzgerald was her only rival, yet she achieved even greater success when she breathed life into romantic ballads. With her wide vocal range, precise timing, perfect pitch, command of colour, effortless swing and ability to interpret a lyric she was indeed a phenomenon.

“The funny thing is,” Neil Hannon tells Apple Music, “for all my high-minded objectives in lyrics, I'm really just trying to sing in tune most of the time. You'd be surprised how hard it is.” Self-deprecation has been at the heart of The Divine Comedy’s appeal since Hannon emerged in the late 1980s. But 11 often exquisite and always arch indie-pop albums in, the band is a low-key national treasure. Hannon’s 12th Divine Comedy offering is “roughly based around the nonsense that goes on in the workplace”—and the irrepressible rise of machines. “The machines thing is really born out of my frustration with my own inability to communicate with them,” Hannon says. “They literally don’t like me.” Negotiate Office Politics here, with his track-by-track guide.