The Queen Album

The Queen Album is a solo cover album of the band Queen by Elaine Paige. It was released in 1988 and peaked at No. 51 in the UK in November 1988. This is the only album from Paige to be released on Siren Records and distributed by Virgin Records. The album was re-issued with different artwork on CD in 1990 on Virgin VIP by Virgin Records. This is the only Paige album compiled of songs written and recorded by one composer or group. The album is a covers album of ten songs previously recorded by the rock group Queen, a favourite of Paige. The selected songs are a combination of hits and lesser-known album tracks, taken from Queen's entire back catalogue.

The Queen Album is a solo cover album of the band Queen by Elaine Paige. It was released in 1988 and peaked at No. 51 in the UK in November 1988. This is the only album from Paige to be released on Siren Records and distributed by Virgin Records. The album was re-issued with different artwork on CD in 1990 on Virgin VIP by Virgin Records. This is the only Paige album compiled of songs written and recorded by one composer or group. The album is a covers album of ten songs previously recorded by the rock group Queen, a favourite of Paige. The selected songs are a combination of hits and lesser-known album tracks, taken from Queen's entire back catalogue.

The Queen's Six return to Signum with a new album of romantic pop song arrangements. Conceived with US producer TJ Armand, the album of new a cappalla arrangements sets traditional classics such as Bob Dylan’s ‘Make you feel my love’, and Young and Heyman’s ‘When I fall in love’, next to more unusual songs such as Huey Lewis and the News’ ‘The Power of Love’, and Limahl’s ‘Never Ending Story’.

The juxtaposition of old and new which lies at the heart of much Christmas music lends this recording by the mixed-voice Choir of The Queen’s College Oxford its theme. The repertoire ranges in period from Hildegard of Bingen to pieces composed during the last few years. The central work – Britten’s A Ceremony of Carols – vividly encapsulates the intersection of ancient and modern, setting medieval and Renaissance texts, and drawing on plainchant as musical inspiration, while – in its series of fresh, vivid, and sharply-etched miniatures – eschewing the sentimentality which had become attached to Christmas and its music.