Jackie Lomax - "Is This What You Want?" Vinyl, LP, Album, 1969 (Apple)

It seemed that a new world was opening up for The Beatles when they started their own record company Apple Records. One of the key releases from that label in 1969 is Jackie Lomax's "Is This What You Want?"  In the spirit of the times, like Leon Russell's first solo album, this is a record that had many big-named musicians playing along with Jackie, mostly due to its producer, George Harrison.   Who is also listed as arranger and wrote "Sour Milk Sea" for his old Liverpool pal.  Somewhere in the background, there's George, Paul, Ringo, Hal Blaine, Nicky Hopkins, Tony Newman, Klaus Voormann, Eric Clapton among others.  

Still, it's very much a Lomax album, due to his songwriting and voice.  He had a beautiful soulful voice, that's rich in quality and tailor-made for soul, but his work is very much crafted in the sense that it's a proper form of songwriting.  "Speak To Me," the opening cut, is very much Lomax pleading to a lover, and the Harrison production kicks in with the female backup vocals and almost a Spector like intensity.  The title song "Is This What You Want?" is my favorite piece here.  A perfect marriage of melody and Lomax's voice, which builds as the song becomes more intense.  

For an artist-run label, Apple was pretty good and had artists like Badfinger, James Taylor, Ronnie Spector, and of course Jackie Lomax.  It's a shame (or not) that Harrison didn't produce more artists.  His work with others I think are some of the strongest aspects of his talent. Lomax's album is a very solid work.  The famous names help, but in actuality, it's Jackie's presence that makes this album essential. 

Paul McCartney - "Chaos and Creation in The Backyard" Vinyl, LP, Album, Reissue, 2018/2005 (Capitol)

Online I have been chatting away about the subject matter of Lennon and McCartney songs and the aspect that both of them have (or had in John's case) an incredible amount of craft in getting from point A to B.  That alone is almost if not on a genius level.  What they do lack in their solo career work is a lack of passion or doing things by the number, which again, in the hands of these two, that alone can be awarding experience.  For me, the solo work of both one time Beatle members is that without the inspiration or passion, their work suffers greatly.  On the other hand, both had or has a very long career in the music writing business.  There will be the dips and heights, and one should acknowledge that, even if they are heroes of some sort.   "Chaos and Creation in The Backyard" strikes me as a Paul masterpiece.  For one, I can feel the sadness that wraps around the voice and melodies.  There are albums such as Lennon's "Plastic Ono  Band" that hits your heart and head in an equal manner, due to its frankness and skills of putting a great collection of songs together for an album.   "Chaos and Creation" is such an album where it was either the right series of moments or a reflection that McCartney was going through at the time; nevertheless, this all added up to a superb album.

McCartney chose to work with people who were sympathetic to his heritage as well as the 'Paul' sound. Produced by long-term Radiohead producer Nigel Godrich, shows a respectful but a strong hand in getting that sound perfectly, and with the addition of Joby Talbot, who worked with Divine Comedy" doing some of the string arrangements was an excellent choice as well.  Talbot is the contemporary walking version of Baroque Pop sounds.  He did remarkable work with Divine Comedy, and his light touch on the arrangements is very sympathetic to the McCartney aesthetic.  Paul had outside help, but it's mostly him on most of the instrumentation on the album, and it doesn't have the first solo album feel, but still, when he's devoted to a recording, it comes clear that he is working fully with his talent and vision.  

McCartney is very much a collaborative artist.  Still, he sometimes falls behind the wrong people in recordings, especially in his solo years.  Godrich, I think pushed him for excellence, and I have read that their relationship was tense, or that could be just gossip.  What I do hear is an artist who is pushing himself in a manner that is frank, but skilled with brilliant musical skills and chops to convey a world that is sad and reflective.  In other words, "Chaos and Creation" is very much a middle-aged man's type of record.  Not far off from Frank Sinatra's brilliant "September of My Years."  It's an album of deep feeling but with the light and upbeat melodies of songs such as "Fire Line," "Promise To You Girl," or the beautiful rumba ballad "A Certain Softness."  There is a range of feelings, but all of them looking back in a manner that comes with age and experience.  Some sections remind me of The Beatles "Revolver" where I feel certain songs "Promise To You Girl" or "A Certain Softness" comes to mind, that would fit perfectly in that Beatle album.  This is not nostalgia, but an artist working with what he has, which of course, is remarkable.  At the moment in my life, this is my favorite Paul McCartney album.  

Paul & Linda McCartney - "Ram" Vinyl, LP, Album, 1971 (Apple Records)

Some days I find Paul & Linda McCartney's "Ram" a masterpiece, and if my mood is a bit down a disappointment or the first signs of aesthetic weakness in the world of Paul.   I remember at the time that "Ram" was going to be the ultimate Paul album, after the low-key first solo album, which I think is still an incredible record.  The up aspect of this album is "Too Many People," some say it's about Lennon, which at this time was the height of their series of poison letters to each other in the press, and in their music.   Still, it's a beautiful production that is off-kilter and a great mixture of noise and pop.  I like the entire side one, but there is a danger sign of "Uncle Albert/Admiral Halsey" that has elements of Paul's spiritual poison against himself.  The word 'cute' comes to mind, and cuteness is not flattery in the hands of this musical genius. 

"Smile Away" is an underrated Paul masterpiece, and I like the mixture of Linda's 'girl-group' back up vocals as well as it being a very driven 'rock' song.  Side two is the so-so side, with "Heart of the Country" being a serviceable throw-a-way song. But then comes the eccentric "Monkberry Moon Delight" and then, work that is almost there on a high level, such as the last song "Back Seat of My Car," but is just product at the end of the day.  

Paul wrote six of these songs by himself, and the others are co-credited with Linda.  I'm not sure what she contributed to the songwriting or the making of the album besides her backup vocals.   When Yoko Ono added material or vocals, you know it's 100% Ono, but Linda's contribution to the Paul McCartney post-Beatle years is a mystery to me.   Not saying that Linda is not essential to the songs or recordings, but I'm curious how the relationship works in the making of music.  

As a Beatle fan, I supported financially to the John and Paul solo years up to the mid-1970s, but then I woke up from my daze and realized that this is work that is not as good or interesting as their early solo work.  The early singles and The Plastic Ono Band are masterpieces, and I feel that Paul's first album and "Another Day/"Oh Woman" are masterpieces as well.  But when it came to "Imagine" and "Ram," it was a formula that dried up.  What stayed consistent with the duo is their craftsmanship in writing proper songs.  But the genius spark went missing.   Their voices (singing) was fantastic, and everything was top-notch in backup musicians, and once in awhile they had a tremendous single or a song on an album; but very uninspiring in its scope and focus. 

"Ram" is an album, on a good day, that I look back as a wonderful album. But once I dig into it, I find troubling aspects that became larger in his later work.  Ironically enough, I love Wings "Wild Life," the album after "Ram," and also another back-to-basics work by him, as his first solo album.  There is a conflict in McCartney's work that is between inspiration/experimentation and then pop poop.  The dangerous thing is that he's very talented in making listenable pop poop, but needs to be pushed to make brilliant sonic art.  Perhaps that's the beauty of The Beatles.  That combination was magical, and once you leave the family you make music with, you are trying to replace that magic with real family members or listening or respecting too much the craft of putting together a song or record.  Still, "Ram" has crucial moments of true greatness. 

The Beatles "Rubber Soul" Vinyl, LP, Album, Reissued, Remastered, Mono, 2014/1965

As a gentleman (if I may call myself that) born in 1954, The Beatles were truly a band that I grew up with, as the albums were released.   It's so odd for me to hear such a sophisticated album "Rubber Soul" when I was 11 years old.  How could I possibly understood "Norwegian Wood" at that age, yet, on its original release I played that song over and over again.  Even as a young child I like songs that sounded sad, that somehow I felt was a reflection of my being at the time.   Of all the Beatle albums, "Rubber Soul" is an album that I can listen to in my head by just reading the songs off the back cover.  They're etched not in color, but in black and white, just like the photos on the back cover of the album.  A very contrast black & white, compared to high definition images replaced by "Revolver" their next album. After that, it was all bright technicolor photos of The Beatles from "Sgt. Pepper" to "Abbey Road."

The sound I hear on "Rubber Soul" is four men, who seemed to be older (of course) and perhaps wiser, yet, in reality, it's a record of reflection of men still young.  Almost like a soldier who came from the front lines of a war, young, but bitter from the experience.   In reality, there is not one bad song on this album, yet, it's not my favorite Beatles album anymore.  I recently purchased the album in mono (all the Beatle records I own are in mono, except "Abbey Road") and as I played it, I didn't feel any emotional attachment to "Rubber Soul" whatsoever.  Yet, as a child, it had a huge impact on me by how it brought a sense of sophistication into my world.  If you think of the pop music (almost all great) being made in 1965, especially by the British Invasion bands of the time, "Rubber Soul" in comparison is a rainy day with thick clouds in the sky type of record.  "Michelle" is probably the first time I heard a song that is sung in partly French.   How could I possibly relate to that, except I loved how the language was sung by Paul in that song.  Not exotica in the sense of an American tourist in a foreign part of France, but conveyed a sense of bitter romanticism just by Paul's voice and instrumentation.  

"Rubber Soul" is an important album, and when you think of it as being released in 1965, the Fab Four were somewhat distanced from all the others in the music market at the time.  It reminds me image-wise of Fellini's early film "I, Vitelloni" (1953) when one of the characters at the end of the film moves on from his childhood/teenage friends to a new world, but traveling alone.  In a sense, The Beatles were waving goodbye to their contemporary fellow musicians and some fans, that they are moving on, to territory that is not yet formed or idealized at the time. 

Wings - "Wild Life" Vinyl, LP, Album, 1971 (Apple)

In my heart (or what's left of it) my favorite Paul McCartney album is Wings' "Wild Life."  An album he made pretty much after "Ram," which is very good, but in a way, I felt he was trying to make a 'proper' McCartney album, in light of being in the shadow of The Beatles.  There are three albums by Paul I adore.  "McCartney," his first solo release, his brother Mike McGear's album "McGear" and of course, the first Wings album.   After that, I pretty much lost interest in his work until the criminally underrated "Chaos and Creation in The Backyard" album.  But to focus on "Wild Life," this is an amazing album from Paul and Linda (and Denny & Denny).  For one, I'm not sure what Denny Laine's role was at the time.  I think he played bass and I'm not sure if there were overdubs during the recording of this record.  It has a rough sound where one imagines that each musician was looking directly into each other eyes.  And Linda, did she actually co-wrote these songs?

This is the real "Get Back" album.  Unlike The Fab Four, the new Fab Four wanted to tour, and tour hard.  The baroque pop of The Beatles were history, and Paul wanted to rock out, in a manner that reminds me of Neil Young and Crazyhorse.  The title song "Wild Life" is very much the spirit of Neil's "Down By The River."  Melody is different but both songs are simple and very guitar orientated.  It's a beautiful sound and I suspect Paul is playing guitar on this track.  The beauty of pretty much side one is that it is one throwaway track after another until "Wild Life."  "Mumbo," "Bip Bop" and a reggae version of "Love is Strange" probably considered the low points of a McCartney recording, but due to that, they're my favorite Paul songs.   The one song that is total brilliance is "Tomorrow."  The ultimate solo Paul song.  It's odd to me that this wasn't neither a single nor a popular McCartney song.  It's up there with "Lady Madonna" or "Oh Darling" The other songs on side two are very much the throwaway Paul songs as well, but they're very pretty.  His brilliance around a melody is for sure unhuman in his manner to reach that point.  The thing is, he doesn't have the genius of a David Bowie or mid-60s period Ray Davies.  There is a very little bite or intensity, except for his mastering of making a great noise.  I suspect many feel "Wild Life" is not a good McCartney album, but I say tsk tsk to that opinion.  "Wild Life" is wildly amazing. 

The Beatles "Revolver" Vinyl, LP, Album, The Beatles in Mono Series, Reissue, Remastered (Parlophone)

I already have the original American Mono edition of this album, which has fewer songs than the British version.  I bought the new remastered / reissue mono "Revolver" mostly out of boredom while waiting for a bus in Pasadena, and I was nearby the great Canterbury Records store on Colorado Boulevard.   For new year's day, and in a quiet series of moments during the early evening, i put this album on the turntable with my headphones on my ears.  It wasn't like visiting an old friend, in fact, I haven't listened to this album for some years. More of a meditation on what seems so perfect, and marveling what must have been so new in 1966.

"Revolver" always struck me as a violent title for an album.  Especially considering how John Lennon died years later, yet for some reason, I now see the title in a new light or awareness.   I think of it more as "revolve" as in moving in a circle on a central axis.   As one grows older they change, in other words, they revolve as in a verb.  Yet, it's a clever title, because most of us will think of the title as a revolver gun.  I have to imagine it was John Lennon who thought up of the title as a pun of sorts. Then again it could have been Ringo!  Nevertheless, this is an album in motion.  Their next album "Sgt. Peppe"r strikes me as a beginning, middle, and end.  Revolver just keeps turning round and round, with no start or no stop.  

"Revolver" may be the first proper 'modern'  power-pop format album. The guitars, the aggressive but melodic bass playing (by Paul) is upfront and always driving the song.  Also, incredible piano playing throughout the entire album as well.  Not sure if it's Paul or George Martin handling the keyboards, but it's an essential part of the overall sound, and especially when you included Indian instrumentation here and there.  Their previous album "Rubber Soul" is the first Beatle album to sound grown-up, and "Revolver" is made by wise men who tasted life in their own time-frame.  It exposes the inner world of 1966 than say the news of the day or time.  "Taxman" by Harrison is a bitter song about of course, the rich man's number one hatred 'paying taxes.'   Harrison's songs are always odd because at one point it can deal with spirituality and then make a sharp turn about the bitterness of romance or being pissed off about taxes.  I suspect the average Beatle fan in 1966 could care less about the tax issues among the wealthy.  Still, Harrison was an amazing songwriter when he was good.  "Taxman" is a funk machine of sorts that is mechanical in format, but driven by it's seductive (not necessarily sexual) rhythm.  

The only song that makes me frown is "Yellow Submarine" not due that it's a bad song, because it's not horrible, but just tattoed on my brain from so many years ago.  I never need to hear that song again.  On the other hand "Here, There, and Everywhere" is like butter melting on a hot biscuit, it's a perfect melody word combination that is classic Lennon/McCartney.   "Tomorrow Never Knows" is the perfect ending or beginning of "Revolver."  As mentioned, the circle is completed but I feel it can go on until one has enough of the album.   I reviewed the American edition, writing that it's an old friend that one doesn't need to really revisit anymore.  Hearing the full British version (and in mono) the album is not new, but I realize the delights that come up on "Revolver" is consistently fresh (except for "Yellow Submarine") and one just marvels at the tightness of the playing and the brilliance of George Martin's production.  

Paul McCartney - "McCartney" Vinyl, LP, Album, 1970 (Apple)

If memory serves me correctly, this album was made secretly and released once Paul McCartney announced that he's leaving The Beatles.  Which caused a poop-storm in the Fab Four world for them and the fans.  Also one could not help notice the contrast between John Lennon's first solo album (Plastic Ono Band) and Paul's.   As an 'oh my god' it was clearly Lennon that won the what's the hell? A brilliant outrage that Lennon was going through at the time, and then Paul's record which is "Lovely Linda."   To this day there is still the Beatle debate of who's the heavier of the two.  Lennon had the chops, but McCartney had both the genius ability for melody and eccentricity.  This is an album made by a man who is on a vacation of some sort, and he's in the garage working on carpentry or fixing things around the house - except it's not a home but a music project. 

Low-fi, and no ambition whatsoever, this is an album of great charm, and McCartney stretching out not musically really, but almost trying out the new reel-to-reel tape machine he bought to make this album.   What I find essential is "Teddy Boy" which is one of my favorite Paul songs.  Totally a post-war song about losing a dad and dealing with mom's love life afterward.  Of course one would think of the 'Teds' but in actuality, it's a boy name Ted, but the song takes place in the generation of the Teddy Boys.  McCartney writes a lot of his lyrics as a narrative, a story, where Lennon is often more fragmented.  Of all the Paul albums, "McCartney" is very loose in structure.  There are three instrumentals here that touch on exotica as well as Link Wray.   The guitars on this record (everything played by Paul) are heavy sounding.  There are undoubtedly roots to music from the 1950s, specifically rockabilly, but circa Paul's take on that form of music.    Paul throughout his career has been attracted to the rough side of rock but against his middle-of-the-road nature.  It's an interesting tension throughout all his solo work.   For me, he's very hit-or-miss, but I can't deny his greatness.  It just comes in unexpectedly. 

Mike McGear - "McGear" Vinyl, LP, Album, 1974 (Warner Brothers)

Mike McGear is a McCartney, meaning he's the younger brother of Paul.  He was in a band called The Scaffold, which was a Liverpool super group that consisted of Poet Roger McGough and comic talent John Gorman.  "McGear" is Mike's second solo album, and it's produced and co-mixed (with McGear) by Paul.  The album is pretty much co-written with Paul as well. "McGear" is also the best Paul McCartney related project outside the Beatle or solo Paul world.  Perhaps, the best Paul record of all time!

"McGear" is backed by Wings circa 1974, which includes Linda (of course) as well as Denny Laine and Jimmy McCullogh (Thunderclap Newman).   Perhaps due to Mike's input, these songs are superior to anything recorded by solo Paul.  "What Do We Really Know?," "Have You Got Problems," "Norton," and the beautiful "The Man Who Found God On The Moon" are songs that fell through the cracks of Beatleolgy.  McGear is just as good as a vocalist as his big brother, and they even do a fantastic (Beatlesque) version of Bryan Ferry's (Roxy Music) "Sea Breezes."   Why this record is not more known is beyond my comprehension.  

There's a whole category of an album that seems to be throw-away or second-thought recordings.  The essence of the b-side of a 45 rpm single.  I find these records either unusual or exceptional.  "McGear" I suspected was recorded in a downtime for Paul and Wings.  Still, "McGear" is an intriguing piece of music making.  I strongly suggest for all Paul or Beatles' fans to check out "McGear."   And why this hasn't been re-released is beyond the ability to think.  

The Beatles - "Abbey Road" Vinyl, LP, Album, 1969 (Apple)

Under the illusion of the last work or even death, "Abbey Road" is a suitable end to one of the iconic bands of all time.   Not the final Beatles release ("Let it Be" I believe is the official last album, although recorded before "Abbey Road") this is the one where they held their breath to make sure they get everything down before departing to other adventures.  After their Sgt. Pepper/Magical Mystery Tour year, the Fab Four went out of their way to look minimal, not only with the White Album but also with the cover of "Abbey Road."   Four guys are walking across the street looking like they're going to work.  Not on a vacation, or a place of pleasure, but a sharp direction toward labor or work mode.  Or even coming back from lunch but now the lunch hour is over, and it's back to the mines of creating some new Beatle sounds.

The music within "Abbey Road" is very much the finalization of what they were working on at the time.  Side two is a suite of songs that are half-finished or short bursts of creativity.  Almost like a sketch book, but one made by sonic geniuses.  "Abbey Road" is very much the escape route after recording/filming their failure "Let It Be" (or "Get Back") and realizing that it will take a great amount of focus to do "Abbey Road."  It's an album of energy or focus, and it's an amazing document as well as a work of pop perfection.  

When I bought this album as a teenager, I thought nothing could be better than this.  I also didn't realize that it was the end of The Beatles as well.  The news came to a shock to me, but of course, the press at the time were reporting troubles in the Apple offices and homes of The Beatles.  Listening to it now, I'm impressed with how fresh some of the music is.  To me, it's John Lennon's last great umph in his songwriting talents (besides his early Plastic Ono singles and first solo album).  "Come Together," "I Want You (She's So Heavy)" on side one is a fantastic beginning and ending for that side of the disc.  The McCartney associated songs are not bad, but not dynamic as the opening and closing number on side A.   McCartney comes through the second side as parts of the suite/melody becomes an urgent sense of tension such as "She Came In Through the Bathroom Window" and "You Never Gave Your Money."  "Golden Slumbers" and "Carry That Weight" is also a sign of relief on the part of the band, or more accurately (at least musically) McCartney.   

Lennon also shins with "Mean Mr. Mustard" and "Polythene Pam."   What is beautiful at this point in my life, I'm not sure which is the Paul or John songs.  I suspect I can tell, and I'm not cheating by reading the backup material.   Also noted is the strong presence of George Harrison's work on the album.  Still, it is a sound of people cleaning up their closet, or wiping the table clean before leaving the room for the last time.  

10cc - "Sheet Music" Vinyl, LP, Album, 1974 (UK Records)

In the early 1970s, I was intrigued with the band 10cc, due that two of the musicians were very much part of the music business or scene of the 1960s.  Graham Gouldman wrote hits for The Yardbirds, The Hollies, and Herman's Hermits, while Eric Stewart was a member and writer for Wayne Fontana and the Mindbenders.   The new guys in the band (at the time) Kevin Godley and Lol Creme came out of nowhere but soon became prominent music video directors as well as working with the group Art of Noise.  What made 10cc interesting is the creative tension between Godley/Creme and Gouldman/Stewart.   Generally speaking, the veterans had a classic songwriting approach to their material, but Godley/Creme always had a visual flair to their songwriting which was cinematic and ambitious.  

10cc at their weakest are sometimes a parody act, or a very pretentious reach to expand their pop sensibilities. "Sheet Music," their second album plays on both sides of the coin and succeeds greatly.  "The Wall Street Shuffle" and "Silly Love" are classic songwriting with a broad sense of satire and the Beatleastic (mostly on the Paul side of the world) touches of melody and production makes them a witty counterpoint to McCartney's blandness at the time. "The Worst Band in the World" and "Clockwork Creep" are fantastic pieces of pop fun, with "Creep" showing its sinister side of being a song about a bomb and that object's point of view.  

At the time, I purchased all the early 10cc albums, but "Sheet Music" stayed with me because it was fresh and it still sounds vital.  I think due to the intensity of four very creative guys working together to make a pop album that had serious issues but done ironically or humorously.  It's worth noting that Paul McCartney used the same recording studio as 10cc when they recorded "Sheet Music."   Paul was co-writing and producing his brother's solo album "McGear," which is a great Paul album.  There is a sound that goes back and forth between "Sheet Music" and "McGear."  For sure, a sense of adventure and playfulness. 

Various - "Twentieth Century Blues: The Songs of Noël Coward" CD, Compilation, 1998 (EMI)

Noël Coward always represent a different time, even a different world to me.  I know his works mostly through his plays because I think they're great.  I was introduced to his music due to the Brit-Pop era.  Who would have thought that Suede would be a perfect vehicle for a Coward song?  The truth is I sort of became fans or at least admired Suede and Robbie Williams due to their work here on this compilation of Noël songs. 

This album is very much a snapshot of the British music world of 1998.  Suede, Williams, Damon Albarn with Michael Nyman, the Pet Shop Boys -it yells out an era to me, that puts focus on another time in music and cultural history.  It's one of the reasons why this is a very good album.   First, of all, it is really truthful to the Coward aesthetic in that all the arrangements on this album are true, not to the times, but the feeling that Noël's songs convey to an audience.   Coward wrote incredible love songs of great yearning, but also to listeners who were going through hard times due to the war and the economy of the World War II years. 

The album is very much of a Neil Tennant (Pet Shop Boys) project.  Not all the songs share the same producer or arranger, but everyone here captures the essence of Coward's work.  The big surprise for me is Robbie Williams' take on "There are Bad Times Just Around the Corner" is uber-pop, but tinged with a large amount of dread and concern.  Yet, like Coward, very uplifting at the same time.  There is something very passive/aggressive about Coward's work.  There are humor and joy but tinged with sadness.  Suede's "Poor Little Rich Girl" actually sounds like a Suede original, in fact, a lot of the songs here are a perfect fit for the artist and song.   Another standout is The Divine Comedy's "I've Been to a Marvellous Party," which turns into a techno workout.  Yet, fits perfectly with the song.  The whole album is very well-thought out, in that it shows the roots of Coward's work in that era's (1998) time.  

Tracklist Hide Credits

1	–No Artist	Introduction Contractor [Orchestral Contractor] – Isobel GriffithsProducer – David Hartley*Vocals – Neil Tennant	1:07
2	–Texas	Parisian Pierrot Engineer – Kenny MacDonaldPerformer [The Band] – Ally McErlaine, Eddie Campbell, Johnny McElhone, Richard Hynd, Sharleen SpiteriProducer – Johnny McElhone	3:39
3	–The Divine Comedy	I've Been To A Marvellous Party Piano – Joby TalbotProgrammed By, Electronics [Electronica] – Steve Hilton*Vocals – Neil Hannon	3:39
4	–Paul McCartney	A Room With A View Engineer – Eduardo PequeñoFeaturing – Slick Willie GuitarPerformer [Band] – Mellow T. Ron And His Mood MenProducer – Paul McCartney	2:07
5	–Pet Shop Boys	Sail Away Engineer, Mixed By – Pete SchwierProducer – Pet Shop BoysProgrammed By – Pete Gleadall	4:31
6	–Shola Ama With Craig Armstrong	Someday I'll Find You Bass – Chris Laurence, Mike BrittainCello – Cathy Giles, Paul Kegg, Tony Lewis (2)Cello [1st] – Martin LovedayContractor [Orchestral Contractor] – Isobel GriffithsEngineer – Andy Bradfield, Rupert CoulsonHarp – Skaila KangaHorns – Hugh SeenanHorns [1st] – Richard WatkinsKeyboards, Programmed By – Stephen HiltonMixed By – Andy Bradfield, Craig ArmstrongMixed By [Assistant] – Ricky Graham (2)Oboe – John Anderson (4)Producer, Arranged By [Orchestra Arranged By], Conductor [Orchestra Conducted By] – Craig ArmstrongProgrammed By [Additional Programming] – Richard NorrisViola – Bob Smissen, George Robertson, Katie WilkinsonViola [1st] – Peter LaleViolin – Alison Kelly, Boguslav Kostecki*, Dave Woodcock*, Dermot Crehan, Mike McMenemy*, Perry Montague-Mason, Peter Oxer, Rolf Wilson, Vaughan Armon*, Wilf GibsonViolin [1st] – Gavyn WrightViolin [Leader Of 2nd Violins] – Roger Garland	3:39
7	–Robbie Williams	There Are Bad Times Just Around The Corner Engineer – Pete GleadallEngineer [Assistant] – Matt GregoryMixed By – Bob KraushaarOmnichord – Brian EnoProducer, Performer [Played By] – Neil Tennant, Pete Gleadall, Tom Stephan	4:36
8	–Bryan Ferry	I'll See You Again Arranged By – Colin GoodEngineer, Mixed By – Ash HowesProducer – Bryan Ferry, Robin TrowerProgrammed By – James Sanger	2:40
9	–Marianne Faithfull	Mad About The Boy Arranged By – Bill GeldardBass – Simon Benson, Tom Martin (2)Bass [Bass Guitar] – Andy PaskCello – Gillian Thoday, Justin Pearson, Michal KaznowskiDrums – Ian ThomasEngineer – Dick Lewsey*Guitar – Colin Green (2)Mixed By – Bob KraushaarPiano – Geoff EalesProducer – Carl DaviesTrombone – Neil SidwellTrumpet – Guy Barker, Simon GardnerViola – Levine Andrade, Roger Benedict, Steven Wright (5)Violin – Chris Bevan, Clive Dobbins, Dermot Crehan, Iain King, Jo Frohlich*, Michael Davis (5), Mike McMenemy*, Pan Hon Lee, Paul Willey, Sue HendersonWoodwind [Reeds] – Dave White, Pete Ripper	5:18
10	–Space (4)	Mad Dogs And Englishmen Performer [The Band] – Frannie Griffiths*, Jamie Murphy, Leon Caffrey, Tommy Scott*, YorkieProducer – Simon Denny, Space (4)Trombone [Session Musician] – Neil SidwellTrumpet [Session Musician] – Steve Sidwell	3:10
11	–Suede Featuring Raissa*	Poor Little Rich Girl Engineer [Assistant] – Ben GeorgiadesEngineer, Mixed By – Bruce LampcovProducer – Bruce Lampcov, SuedeVocals [Guest Vocals] – Raissa*	7:12
12	–Sting	I'll Follow My Secret Heart Engineer, Mixed By – Simon OsbourneHarp – Skaila KangaProducer – David Hartley*, Sting	2:33
13	–Damon Albarn With Michael Nyman	London Pride Arranged By – Michael NymanContractor [Musicians Contractor] – Isobel GriffithsEngineer – Ben Kape, Jason Cox, Tom GurlingPerformer [Musicians] – Michael Nyman Band*Producer – Damon Albarn, Michael Nyman	4:42
14	–Vic Reeves	Don't Put Your Daughter On The Stage Mrs Worthington Arranged By [Strings, Assistant] – Jon BailyArranged By [Strings] – David ArnoldBass [Bass Guitar] – Vic ReevesCello – Anthony Pleeth, Cathy Giles, Dave Daniels*, Paul Kegg, Philip De Groot*, Tony Lewis (2)Contractor [Orchestral Contractor] – Isobel GriffithsDrums, Percussion – Pablo CookEngineer – Neil Tucker, Rupert CoulsonGuitar – Roddy FrameProducer – Antony GennRecorded By [Strings] – Geoff FosterViola – Bill Hawkes, Katie Wilkinson, Peter Lale, Rachel BoltViolin – Benedict Cruft*, Bill Benham, Boguslav Kostecki*, Dave Nolan*, Dave Woodcock*, Dermot Crehan, Eddie Roberts (2), John Bradbury (2), Maciej Rakowski, Mike McMenemy*, Peter Oxer, Rebecca Hirsch, Roger Garland, Rolf Wilson, Wilf GibsonViolin [1st] – Gavyn WrightWritten-By [Music Written By] – Antony Genn, Vic Reeves	4:57
15	–Elton John	Twentieth-Century Blues Alto Saxophone – Jamie TalbotAlto Saxophone [Solo Alto] – Andy MacintoshBaritone Saxophone, Clarinet – Dave BishopBass [First] – Chris Lawrence*Bass Guitar – Steve PearceBass Trombone – Dave Stewart (2)Cello [First] – Anthony PleethContractor [Orchestral Contractor] – Isobel GriffithsDrums – Ralph SalminsFlute – Jamie Talbot, Stan SulzmannMixed By – Bob KraushaarProducer, Piano, Arranged By [Original String Arrangement] – David Hartley*Tenor Saxophone – Iain Dixon, Stan SulzmannTrombone – Mark Nightingale, Peter Beachill*, Richard Edwards (2)Trumpet – Derek Watkins, John Barclay, Steve Sidwell, Stuart BrooksViola [First] – George RobertsonViolin [First] – Gavyn WrightVocals [Intro And Outro Vocals] – Neil Tennant