Charlotte Martin

This is a wonderful antidote to the terrible renditions on Christmas music one hears at malls and on television. Anne Sophie von Otter, the Swedish mezzo soprano, has both a wonderful voice, and great taste in selecting Christmas music to feature. She sings in English, Swedish, German and French. Her selections range from standards like "White Christmas" to Swedish folk songs.

Sophie Von Otter's rendition of Tomorrow Will Be My Dancing Day is the best rendition of this song I've ever heard. It turned me into a Von Otter fan!
Ruth Ott

I've been in charge of holiday music for the extended family for the last decade or so, and I generally buy a half-dozen or so CDs every year from a wide range of genres. This is perhaps my favorite of them all. It manages the almost impossible feat of engaging an audiophile like me who's looking for something different while simultaneously enthralling more tradition-minded family members. The CD stands out in most of the critical areas in the holiday field. First, the selection of songs is brilliant--a few English-language standards with some foreign-language songs people may know (Il est ne, le divine enfant) and a handful of really engaging Swedish tunes. Second, the spare but warm instrumentation conveys the coziness van Otter is seeking. Last, and most important, van Otter's low mezzo is put to incredibly expressive use. For those who are turned off by overly operatic recordings that sound completely alien from the renditions of carols that we know and love, this is a much more low-key, accessible form of art music.

This disc is worth buying for the first and last tracks alone, a haunting Swedish number that is now so much part of my Christmas that I can't believe I'd never heard of the song until a few years ago (one track is the Swedish version, the other an English translation). Much as I love holiday music, I have to say that this is one of the only holiday discs I'll listen to throughout the year.

I did never take my time to write a review but for the cd time is worth it.

This cd is superb. I also saw her concert with his cd life.
It gives you a old fasioned feeling of a warm /close Christmas.

Christmas with a heart.

With her voice Anne Soie does do magic.

She is classical singer number 1 !
It's my best Christmas cd!

Yopu will have a lot of good feelings with this cd,

It is really, really by far worth it's money.
What is money in this case...

Good Luck,
Peacefull Christmas,

Alfons Bosch
The Netherlands

Home for Christmas is not your run-of-the-mill "listen to me, I'm an opera singer lavishing my gorgeous voice on these pretty Christmas songs" recording.

Anne Sofie von Otter's fans have long-since learned to expect the unexpected from this exceptional singer and, on this recording, now several years old, that's what she offers - the unexpected. With only a couple of exceptions, the songs are traditional Christmas fare, though usually with an added twist: the distorted rhythm that makes "Tomorrow will be my dancing day" really dance, or the jazz blue notes that take "Have yourself a merry little Christmas" to the cocktail lounge. (In this, as well as White Christmas, Ms. von Otter bears more than a passing resemblance to another great cross-over artist, the late Eileen Farrell.) In this free rhythmic treatment, Deck the Halls, arranged for accordion and violin accompaniment, is much less a fa-la-la madrigal than an introspective folk-song that builds on its own momentum. In contrast, the simple hymn, Beautiful tone Star of Bethlehem, which Ingvar Wixell recorded many years ago on his Christmas offering, shows Ms. von Otter's lush voice to full effect.

Her subtle use of vibrato in "I wonder as I wander" (along with a provocative arrangement) captures the Scotch-Irish influence on the folk music of Appalachians without being a condescending parody while the marimba accompaniment and fiddle obbligato to the French "Il est le divin enfant" evoke an unidentifiable folk music - is it Spanish or French countryside? Or, is the point that it is universal?

True, a couple of the arrangements stretch beyond my endurance: Although Ms. von Otter does lavish some beautiful tone on Cantique de Noel (O, Holy Night) I found the over-echoed, new-wave arrangement irritating and White Christmas, rather than being nostalgic verges on surreal.

In total, there are twenty songs, each a little gem of interpretation. As I mentioned above, sometimes I don't really like the interpretations or arrangement; however, I never doubt for a moment, that Ms. von Otter believes what she is singing; her commitment to communicating through music is never in doubt. By the way, her English diction is exemplary - a lesson for many singers for whom English is first language.

I don't need to comment much except to say it's a unqualified masterpiece. I was a bit apprehensive at first, but I had no reasons for anxiety. It's like she's on autopilot genius mode here. Good news for the competition she's on hiatus for a while, or it'd be all over for them!

Absolute standouts:

Stromata - Grammy song of the year, #1 on the Billboard single chart*
Cut the Cord
Drip
Little Universe
Four Walls
Keep My In Your Pocket(Fiona Apple, eat your heart out!)
Pills
Just Before Dawn(wow Opera!!!)
The Dance(3:30 to the end is some of the most sublime music I've ever heard, Charlotte learned her choral lessons well)
Redeemed

* if there were any justice in the world

Charlotte seems so talented it's unfair, she's like the second coming of Kate Bush, except she can't dance. But she has a secret weapon - that opera singing. We'll see if she unleashes it fully on the next album. She's definitely risen to the top tier of female singer-songwriters in my eyes.

On Charlotte Martin's latest album, Stromata, the songstress presents her most experimental work to date. Stromata presents Martin's typically earnest and honest lyrics against a complex background of synthesizers and electronic beats. Her influences on the album are so varied - from techno to folk to Middle Eastern - that the album lacks a sense of cohesion. Martin is a classically-trained singer with a powerful voice that cuts to the core, but even her aggressive vocals get lost in overproduced techno-infused tracks like "Little Universe."

It is when Martin strips the background - and gets back to her On Your Shore roots - that she shines brightest. Tracks like "A Hopeless Attempt" and "Inch" have simpler melodies, which showcase her adept vocals and create a more intimate sound. At times her vocals echo those of Bjork and Tori Amos - fans of Amos' From the Choirgirl Hotel will appreciate the album's melancholic sound. Lyrically, Stromata is an intriguing and insightful examination of sexual desire and love, the "forbidden fruit" and "demons" she acknowledges in "Redeemed." One of Martin's greatest strengths in this album is her refreshing candor. In "Keep Me In Your Pocket" she asks her lover to "sink your teeth into the taste of me and squeeze hard/til you can feel me splitting and you want more." "The Dance" is a mediation on a relationships end, in which she decides she "better stop crying/hello and goodbying...you get your time and the other half's mine."

Stromata features some lyrical misfires; "Drip" being the worst offender with "can't train myself to hold back any longer/breath mint fornicator." Despite this transgression, however, the album is largely intriguing and insightful. With infectious hooks ("Four Walls") and lyrical gems ("Redeemed" and "The Dance"), Stromata is worth your attention.

I first listened to "On Your Shore". This shows her independence and amazing song writing.

I confess. I like Tori Amos. If you're willing to make the same confession, you'll like Charlotte Martin. Charlotte has the same breathless choir-girl to screaming diva vocal range that Tori does, and the same disturbing to incomprehensible lyrical style - and it is all powered by strong piano chords and keyboard prowess.

This former Miss Teen Illinois' latest release, "Stromata" is an album filled with power and a wit that seems to hearken back to the same places of other "solo girls" like Tori, Anne Sexton (poet) and Emily Dickinson.

Spiritually speaking, Stromata is pretty much awash in spiritual vaguery - which makes sense because she seems pretty spiritually vague in most of her interviews, (read "I'm spiritual but not religious."). There are some bright points that can be reinterpreted or properly interpreted by the Christian listener in songs like "I Am Redeemed" and "Four Walls."

There is a very disturbing side to many of Charlotte's lyrics. The song "Pills" is a playful tune that seems to communicate death's grin as it is seen by people caught by addiction. "Cut the Cord," a song about leaving an abusive relationship captures the pain as well as the journey to freedom from slavery to another person not only with its lyrics but with its percussion-fronting style.

Stromata is an album worth your time and Charlotte Martin is an artist who deserves a couple of listens.

Charlotte Martin's second record, "Stromata" is much different from "On Your Shore," but just as good. Charlotte continues her foray into the electronic world which she began on her first EP "Test Drive Songs" back in 2002.

The album begins with "Stromata", the most powerful song on the album, with mysterious lyrics and harsh, thrashing vocals.

"Cut the Cord" smashes in with resonant tribal drum beats and a crazy rocking sensibility.

"Drip" follows with flowing keyboard/piano work and tounge-twister lyrics.

"Little Universe" is the most experimental song on the album, and she definitely gets her Bjork on here. Listen to this song with headphones. It's a sonic and epic journey.

"Civilized" is rocking with fast piano work reminiscent of Fiona Apple and Ben Folds. You get to hear angry Charlotte in this song too: "Why can't we keep this civilized? / Why can't the girl just shut her mouth?"

"A Hopeless Attempt" is a lullabye-like song that will bring the well-versed fan back to "Bones," the second track from her 2005 EP "Veins."

"Four Walls" is the most accessible song on the album, with a catchy chorus and dance-inducing beats.

"Inch" is a piano ballad that she's played live many times before finally releasing it, and it's as good as it always was. I could do without the dream-like guitar in the background though.

"Keep Me In Your Pocket" is a fun, clap-along song with a great chorus.

The album takes a bit of a downhill slip at this point, which is why I give the album 4 stars. "Pills" is a cute, playful song with lyrics like "Pills that make the boys a little frisky / Pills the help the girls fight PMS". Kind of a throw back to the live, loosen-the-crowd-up songs like "I'm Normal, Please Date Me" and "Uncomfortable Things." But it probably would have been better suited as a b-side, because it kind of interrupts the flow of the album.

"Just Before Dawn" shows off her classically trained opera skills. Impressive, but I find myself skipping it most of the time.

"Cardboard Ladders" is a thought-provoking song whose lyrics are the most important element, but aside from the beautiful bridge, musically this song is a little boring.

Charlotte brings it back with "The Dance," which is THE song of the album, and most Charlotte Martin fans will agree with me, with echoeing drums and soaring vocals.

"Redeemed" is another live-favorite that finally got a studio version, and is a great note to end the album on.

All in all, this is a wonderful album. Buy it. For the record though, while I love and am very impressed with Charlotte as an experimental artist and producer, I hope the third album has a little bit more acoustic piano songs, because that's what made me fall in love with her on "On Your Shore."

An odd assortment of singers you never thought of putting together, come together to produce a truly delightful Christmas concert. The visuals are beautiful to look at as well.

My favorite holiday music performed by top professionals and the gifted Charlotte Church. The amazing abilities of the featured artists supported by the magnificent orchestra and chorus make this an album that I wait all year to hear.

Maybe you had to be at the performance to appreciate it. Perhaps the concert itself, with the presence of these four performers, had some sort of flow and dazzle.

But this CD is merely a strange assortment of singers, songs, and stylings, in no particular order. For instance: Placido Domingo's Jesus de Nazareth (the reason I'm giving this three stars instead of two) - followed by Tony Bennett and Vanessa Williams warbling a swinging "Winter Wonderland." Which detracts from my enjoyment of both those pieces.

And then there are the inexcusable versions of "Angels We Have Heard on High" and "Silent Night," in which Tony Bennett's voice is just not up to the music anymore. It should have been obvious during rehearsals, and Bennett removed from the ensemble or given easier solos, or other songs selected. (And I still love him as a singer, just hate to see his aging voice be bested by the wrong music. In public.)

It is an odd little CD, as is suggested by the cover. I found it in a bargain bin and was puzzled by the selection of these four performers, and decided to buy it and find out how well it worked. I'm so glad I didn't pay full price.

ONE AT A TIME IF YOU PLEASE!!!!

This disc includes four of the best voices of our day, BUT they simply do not belong together in one program!!!!Somehow hearing 'O Holy Night' by two classical sounding singers following 'The Christmas Song' sung by a jazz-pop singer doesn't 'light my fire'. Now if you offered me a complete album of anyone of these singers, I probably would take it and enjoy it. Obviously, this is a money-making venture of the extreme sort; after all(say the great commercial powers) if you don't like Tony Bennett, then you have Placido Domingo etc. etc. etc. As I recall the same type disc was recorded 2 years ago (1998) with four diverse singers, Domingo again included.

Oh well, the individual contributions are, for the most part enjoyable, but you will notice I did say: for the most part.

Placido Domingo has done several holiday concert special for PBS over the years. The ones I've seen usually pair him with Jose Carreras on the classical end and maybe one pop diva like Dionne Warwick or Diana Ross. That makes for a mixed bag, and maybe a few awkward moments when the vocal styles don't quite mesh. But with the visuals, the glitz and glamour of the stars usually make these spectacles enjoyable enough.

I've never seen the DVD version of this concert, which also aired of PBS, as I understand it. But I'll wager it works better with the visuals. As a pure listening experience, OUR FAVORITE THINGS comes up short. Domingo is really the only singer who is in top form for the occasion, and his Spanish language carols (probably unfamiliar to most American listeners) are a real treat. Tony Bennett, who has been fine in other recent broadcasts and recordings, sounds a bit hoarse here. He improves as the concert progresses, but he relies more on phrasing than chops and is at a disadvantage when duetting with Domingo. (On the other hand, Domingo's noticeable discomfort with idiomatic American English weakens his performance on tracks like "My Favorite Things" and "I'll Be Home For Christmas").

On the distaff side we have Charlotte Church and Vanessa Williams, whose work I am less familiar with. Church sounds a little nervous and out of her depth when duetting with Domingo. She has a pleasant enough voice, which I hope she does not subject to too much strain before reaching her potential. I am not an expert in these matters, but I have been told by classical singers that too much too soon can be disastrous for a developing voice.

Williams is less distinctive a pop singer than, say, Dionne Warwick or Diana Ross, who could at least begin to hold their own against the classical singers in those previous holiday concerts. She has her moments, but even her duet with Tony Bennett on "White Christmas" seems a bit strained.

Fans of the individual singers featured here may well want to purchase this CD, but (even without having seen it), I'm betting that the DVD would be a wiser purchase. With the visuals of Vienna, the concert hall, the gowns and the glitter, I'm guessing it holds up a bit better. Strictly on a musical level, though, this is none of the stars' shining hour.

I didn't realize when I purchased it what it meant to be "copy-protected," as I'm not very computer or tech-savvy. I was so excited to receive this CD since the music samples available on amazon.com sounded amazing. However, when I put it in my computer to download to my I-tunes (I don't own a CD player and listen to all my music either on my computer or on my I-Pod) it completely froze up and it has taken two days to get it functioning properly!

I can't imagine why a record label (RCA/BMG in this instance) would restrict listeners from listening to music on the computer, let alone with I-Pods. I live in NYC where every other person walking down the street has the tell-tale white earpieces hanging out of their ears and I-Pods are so ubituitous nowadays. I simply wanted to listen to the CD through my computer - for my own personal use- not to copy or take away from their profits (I purchased it instead of downloading it illegally, right?).

Out of principle I will not support this record label or artist, and urge others to do the same. Record labels are controlling/restricting too much these days and not keeping with the times- people listen to music now on computers and portable devices (MP3 players and I-Pods). However, even if you disagree with my and decide to purchase this CD, make sure not to try to use it in your computer or it will likely cause problems, as it did for me!

I actually heard a song by Charlotte on "So you think you can dance" and thought, wow, who is that?!?! I ran to the computer and ordered her cd Veins. EVERY song is great, so I ordered Stromata. Every song kicked butt!! So I ordered On your shore. Wow!!! I too am a huge Tori fan, but I wouldn't call Charlotte a knock off, why can't there be more than one piano playing chick? Gives us more to listen to and enjoy! Charlotte is extraordinary, touching, and angelic. Run fast, and get her cd's today!!

Love the music but will never buy this CD. The few cd's i've had that were copy protected i've still copied. It was a pain though so i just don't buy them anymore.

Even though this album is a little hard to find new, I encourage you to buy it used here at Amazon. It is an incredible album, filled with emotion-packed songwriting and impressive delivery. Charlotte is a classically trained opera singer, and her vocal ability is one of her best attributes. This is showcased in songs like "On Your Shore" and "Every Time It Rains." Comparisons to Tori Amos are inevitable, especially with songs like "Steel" which seem in terms of piano structure very influenced by Tori. But I do not believe the comparisons are a bad thing, because the music is reminiscent of Tori rather than a copycat version. Charlotte loves layering vocals, and that is a constant theme throughout the album, especially in "Something Like a Hero"--this is one of On Your Shore's definintive tracks that will give you goosebumps by the end of it. The production value of this album is incredible. Many people were involved in the recording and producing of this album, but it was mainly produced by Charlotte and her husband Ken Andrews.



This is an incredible album that did not receive the promotion it deserved from RCA Records. Had they pushed "Every Time It Rains" as a single and officially released "Limits of Our Love" as the second single which they planned, she would have gained more exposure in the mainstream world. But she is doing great on her own now as an independent artist, and I encourage you to check out her second album "Stromata" as well, which was released on her own record label Dinosaur Fight in 2006.

not a bad little cd. Nowadays getting an album with at least 3 good songs on it is a score. she is like a more rock based tori amos, but not a knock off. Individual and unique. Not an amazing ALBUM , but has some great songs on it. DO IT!

I was suprise becuase takes you to a very pleasure journey throw music with beatiful singing voices.

At the risk of not being Politically Correct, the London cast, while not bad, is simply not as good as the American cast. It's that simple.

This remake is crisper, and slightly different than the original, but I still like the original better.

CHITTY CHITTY BANG BANG, the cheerfully-mindless musical by the Sherman Brothers, was mounted for the West End stage in 2002, opened at the London Palladium and enjoyed a run of nearly three and-a-half years (the subsequent Broadway production fared less well). The Sherman Brothers score sparks either rapture or revulsion depending on whom you ask, but the musical does offer some quaint charms.

The stage version of CHITTY operates almost like a glorified pantomime, the story remains the same but the score has been re-jigged and altered. In this cast album of the original 2002 London Palladium cast, Michael Ball adds his own special touch to the eccentric inventor Caractacus Potts, with newcomer Emma Williams as Truly Scrumptious. Ball is at his best with the plaintive lullaby of "Hushabye Mountain". Emma Williams doesn't get all that much to warble as Truly (her big movie number "Lovely Lonely Man" was mercilessly cut from the stage score), however Williams has a charming way with "Doll on a Music Box".

Brian Blessed and Nichola McAuliffe push the 'camp' gear into overdrive with their performances as Vulgaria's hideous Baron and Baroness ("Bombie Samba", one of the additions to the stage score, has to be heard to be believed). Richard O'Brien of ROCKY HORROR fame plays the equally-odious Child Catcher with yet another bland addition, "Kiddy-Widdy-Winkies". Carrie Fletcher and George Gillies play Jeremy and Jemima. Stage veteran Anton Rodgers is wonderful as Grandpa Potts.

Happily though, all the best movie songs ("Me Ol' Bamboo", "Toot Sweets", "Posh", "The Roses of Success" and the Oscar-nominated title song) are all here, making the new additions to the score even more inferior by their presence.

[Sony Music/Chitty Records MRBB001]

Sickly, effeminate broadway adaptations of the movie soundtrack. The rendition of Hushabye Mountain is... it makes me sick thinking about it. Don't purchase if your looking for anything remotely similar to the original movie soundtrack. When in a rush, I mistakenly purchased thinking it was the original.

WOW!! I have no clue what is happeneing to broadway? What is with the boring show of this year like, Little Women, The Light in the Piazza, The woman in White and this crap, Chitty Chitty Bang Bang.
Now just from the title this show should be a romping, roaring, good-time musical. Instead we get half-assed atempts at being cute which in turn are syrupy enough to keep New York in pancakes FOR-EV-ER! The sappy-ness goes way overboard when the KIDS, sing "Truly Scrumptious" to , you guessed it! Truly Scrumptious.
Other AWFUL songs include:
You Two
Them Three
Toot Sweets
Think Vulgar!
Hushabye Mountain
Come to the Funfair
Me Ol' Bamboo
Posh
Vulgarian National Anthem
The Roses of Success
Kiddie-Widdie-Winkies
Teamwork
Chu-Chu Face
The Bombie Samba
Doll on a Music Box/Truly Scrumtious (Reprise)
You Two/Chitty Prayer
Chitty Flies Home

The only good song in the entire show is the title one and it came from the original movie, As did some of the others but you would never be able to tell because they are done so badly.

PLEASE SAVE YOU MONEY AND GET A GOOD MUSICAL FROM LONDON'S WEST END LIKE
MARY POPPINS OR ALMOST ANY THING FROM ANDREW LLOYD WEBBER.
OR SOME GOOD ONES FROM BROADWAY LIKE
SPAMALOT
DIRTY ROTTEN SCOULDRELS
THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE
AVENUE Q
WICKED
HAIRSPRAY...ANYTHING!!!

Being a fan of both game and movie scores this was a must buy. It easily sits in my top 3 soundtrack/score list of all time. Great composition and the tracks flow wonderfully. I enjoyed the game and I continue to enjoy this disc. The story for this game was first class and the music compliments it perfectly. If only they'd make another one. :)

There is abviously a butt-load of talent and money behind this soundtrack. But it's married with very little originality. I will say that the score works extremely well within the gameplay itself with plenty of bombast and a few quieter, reflective pieces, but there's really nothing that hasn't been heard before.

I'd be tempted to point a curious game soundtrack collector to the "Mass Effect" OST (although, it does have an admitedly anemic 3-note main theme, but hey, "Jaws" did pretty well on 2!) which has a more inspired take on the melding of 80's electronic work (think "Tron", "Bladerunner", "Escape From New York") and orchestral elements. Or maybe even check out "Before Crisis - Final Fantasy VII" OST, and although not technically a game soundtrack the "Final Fantasy VII - Advent Children" movie OST is stunning in its unique take on standard western composition and counterpoint. One could always go back to such classics as "Total Annihilation" OST by Jeremy Soule, "Halo" by O'Donnell and Salvatori (but these are givens if you collect game soundtracks or soundtracks of any kind).

More video games should have well directed soundtracks like this. Right up there w/ the ranks of the Halo franchise.

By far the best Score for any video game or movie I have ever come across (with perhaps 2 possible exceptions) This score matches beutifully with what the gamemakers were trying to create, an emotionally touching storyline, and increidble breathtaking gameplay.

Lets face it, anything Orson Scott Card is affiliated with is bound to be outstanding.
I loved the use of Latin and Italian in the score as well, extraordinarily nice touch.

Not many games, or movies, seem to put forth a real effort into their soundtrack. This disc starts off great and tapers down a bit since it would be unrealistic to expect the entire disc to be awesome. Still, the first half of the disk is great while the second half is good, which in fairness had to hold back the 5th star. I would still recommend this disk to anyone. It has power were many discs have mediocraty. I know a few who dont quite share my taste in this disc but agree it is a good-great background music selection for doing work.

What we have in Charlotte Martin is quite possibly the most invigorating new voice music has seen in a long time. Her music is fresh and, for the most part, simple enough, her ability on the piano is a wonderful treat and her voice impresses me every time I hear it. She has the raw grittiness but also seems so fragile at times. And, aside from Your Armor, the other three tracks are new (in the sense that they weren't released on her full-length debut On Your Shore) and rank among her best for sure.

Can four songs really be worth your time or money? Few musicians can pull off a four song EP and make it a must have but Charlotte Martin has done just that. Your Armor is a beautiful song with the piano being the main instrument sported. Your Armor is more downplayed, being the only 'true' ballad. In Parentheses begins slow but towards the middle the pace really picks up and Charlotte really shows how amazing her voice really is. Pretty Thing acts as the most driving song throughout its duration with some excellent lyrics and delivery. Monster is more off-beat than the other tracks but rounds out the listen nicely.

Basically Charlotte Martin proves to be our next Tori Amos. Her lyrics are spiteful at times, quirky others, but always meaningful. Her skills on the piano, much like Amos, is incredible, and she doesn't shy away from using additional instruments to create a different feel for each song. Charlotte has huge talent and I'm sure with each new release she'll surprise everyone more and more. As for beginnings though, In Parentheses is among the best EPs I've heard all year.

I bought this because it was recommended by Amazon. Sometimes I find that buying recommendations is a waste, but this was delightful. Of all the recommended music this is my absolute favorite - I have now bought other CDs by her. I was so thoroughly impressed with the music. Lyrically she is very developed for her age. The music is thoughtful and overall pleasing.

I think this could be recommended to any Fiona Apple, Liz Phair or Tori Amos fan. This is a female voice that is beautfully strong instead of merely pretty.

With her emotionally charged performances, her beautiful voice, enchanting songwriting, and masterful piano playing, Charlotte Martin has forged quite the reputation for herself. I first caught on to her with "On Your Shore" which I bought on a whim not really knowing anything about her and only having heard some song clips through the record stores listening station. I instantly fell in love with her. Everything about her is beautiful. Her degree in opera has helped her to carve out quite a niche. Her songs are a rich blend of opera, pop, dance, alternative, and a touch of goth. Her one girl army performances are divine. You can really feel the emotion in her songs as they come alive on stage. If you like to try something refreshingly different than your typical bubble gum, cookie cutter music, then give Charlotte a good listen. I think you'll enjoy.

I actually agree with what the reviewer from WA wrote here, in a less harsh manner. I think Charlotte sounds "pretty", she's "pretty" and her voice is "pretty", but everytime I listened to one of her songs, I ALMOST fell in love... always that *almost* feeling of "note quite". I actually like the song "Sweet Chariot". I think, since I have been wonderfully tainted by Tori, I was forcing myself to fall in love with her voice/music like I did with Tori's, but I just can't. Her piano playing is pretty like her voice, and in some songs I was feeling the music, but her voice is always the same. I think it is a tad too "whiny" and "proper-sounding" (for lack of better words) for me. I'm sorry to say, but the end of her cover song Wild Horses was almost painful to listen to, when she silences the piano and literally "blows". I think she tries too hard to be phenomenal and riveting, and I just don't find solace in her stuff and I'm not really moved by it. As far as easy, good listening music, I think she is a nice choice. She's not trashy, cheap and annoying like so many "fresh new faces." I really like her website.


I guess I am spoiled by having Tori's music as my solace, where you can really feel that ripping emotion, and it's not always "pretty" to the ear, but it somehow always soothing to the soul.

I will admit that Charlotte sounds better than a lot of the new little "teenie boppers" who's images and music seem so cheap and commercial, watered down compared to the greats. I do like the "earthy", mellow style she portrays, but I think she is just starting off. I honestly think that her own essence won't shine through her work and feel true until she's a little older and been doing this a little longer. I think she would sound better if she were more "weathered".

I was lucky enough to stumble across Charlotte Martin when she popped up in my recommendations here on amazon. After listening to the sound clips, I immediately had to purchase both On Your Shore and In Parentheses. Though I'm generally not a fan of EP's, preferring to spend my money on full-length albums, On Your Shore left me craving more from this amazing up-and-coming artist.

For those not familiar with Charlotte Martin's music, it can easily be compared to that of my other favorite female musician, Tori Amos. Both have impressive vocal ranges in addition to incredible talent with the piano. However, Charlotte Martin's lyrics are slightly more down-to-earth, though no less enticing or moving. Her music is highly accessible without being overly "pop-esque."

Though only four songs, In Parentheses is definitely worth the tiny price. Here's a break-down of the included tracks:

Track 1; "Your Armor" - This song, featuring only Charlotte Martin and her piano accompaniment, is extremely gorgeous and moving. This song is also on the full-length On Your Shore, but with added string accompaniment.

Track 2; "In Parentheses" - Playful, teasing piano with fun, cute lyrics, and drum and bass accompaniment that adds to the song without drowning out the main focus on vocals and piano.

Track 3; "Pretty Thing" - More accompaniment in this song than the previous two, as well as more emotion. Probably the most up-beat song included in this EP.

Track 4; "Monster" - Decent lyrics, though a little repetitive. The accompaniment in this song tends to drown out a little of the piano, but it's still an intriguing, catchy tune.

If there are any downsides to this EP, they would include the fact that these songs don't showcase her talent as much as they could. It's easy to tell that Charlotte Martin really developed her talent and skill between the production of In Parentheses and the later On Your Shore. Furthermore, these songs are all fairly mellow, and none really stand out above any of the others.

Anyone who is a fan of great female vocalists, heartfelt lyrics, and magnificent piano accompaniment needs to buy both On Your Shore and In Parentheses (though I would recommend On Your Shore first, as it's a slightly more encompassing display of Martin's talent). This is just a mere flickering of the bright future ahead for Charlotte Martin, and I anxiously await anything this rising star produces.

This was a brilliant indiction of how the Threepenny Opera sounded off Broadway. The orchestrational sounds were clear and gave true atmosphere.Accompanying booklet gave excellent history of piece plus recording information. Used for 3rd year music undergraduate presentation.

I happen to think this is a grand performance and the Blitzstein lyrics right on target, but forget all that for a moment and consider this:

This Theater de Lys program captivated a young and very hip New York City audience for three significant years---from 1954 to '57. There are two basic elements here that I find terribly important.

First, the essentially hostile attitude of the performers toward their public. When I saw it I recall the musicians coming out and actually thumbing their noses at the audience. Hey Mick Jagger, were you there by any chance? I assumed this was part of the atmosphere of the first production in Berlin back in the pre-Nazi Weimar days. But why was that relevant to New Yorkers in the "silent generation" 1950s?

Secondly, there is the basic concept around which the entire work is constructed---The poor, the hopeless, the great unwashed, taking to the streets in all their wretchedness to confront and seek to embarass and humiliate the establishment (read U.S. federal government instead of British Royalty). And of course the goal is to make it coincide with an important establishment politicaal event: Coronation Day.


Does anyone still remember the opening of the New York World's Fair in the mid-sixties? THe reverend Al Sharpton's threats of violence in the streets meant almost no one turned out to see or hear Lyndon Johnson's appearance at the World's Fair site.

Given the time frame, this version of the Threepenny Opera was more than prescient. It helpled create the methodology for the anti-war and pro-civil rights demos that followed just a few years later. Quite an achievement for an off broadway version of a 30 year old German musical comedy!

Don't be fooled by the featuring of Lotte Lenya great though her Pirate Jenny may be. This is a sanitised showbiz version of Brecht which fails entirely as satire or political comment.

This production showcased the brilliance of Mr. Brecht, Miss Lenya, and Mr. Blitzstein. It also perfectly captured a slice of 1954 that was not well known-something dark, dramatic, humanistic and thoughtful. I remember my parents coming home after seeing this production, totally entranced. They immediately bought this album, and I wore it out over the years-thank goodness for CDs!

I've been looking for this CD for years (I played my LP to groovy death). I'm overjoyed. It's conventional wisdom these days to knock the Blitzstein translation of Dreigroschenoper as tamer than the Brecht original. So what we get instead are closer to Brecht's literal meaning and a long way from his wit. Blitzstein is the only translator so far to actually produce decent lyrics in English. His translation is freer, in both senses of the word, though it's still pretty close to Brecht. Furthermore, it actually gets the blood racing. Add to this a terrific performance, headed by Weill's widow, keeper of the flame, and one of the greatest actress of the 20th century, Lotte Lenya and including Jo Sullivan, Bea Arthur, John Astin, a host of others, and a crisp, brash chamber ensemble, all wonderfully seedy, and you have the finest English recording of this visionary score.