Keane

I have listened to this album about 20 times so far, and while at first I didn't care for it, upon listening to it a couple more times, it started to grow on me.

The band is growing, they are trying new things, and this is all good news. The worst thing a band can do is be stagnant and have all of their albums sound the same. A couple of tracks on the album are reminiscent of what we know and love of Keane, however the album as a whole is a different sound.

I think overall, if you enjoy the band, you will like the album and the songs, they are written well, the lyrics are powerful (as always), and the orchestration is often clever.

To keep this short, I am a huge Keane fan. A lot of their fan base is drawn to their sound for their RadioHead, Coldplay, Beatles "Wall of Sound" effect they pull into their music. Their arrangements are complex and beautiful, simple but really potent. I'd suspect a lot of classical music fans also like Keane for these reasons. That said, this fan base would probably lot listen to a lot of Flock of Seagulls or Wham! records.

This album, unfortunately, is more along those lines than what I described from Keane's first two records.

Hey, I'm all for artists trying new sounds, but this one just didn't resonate with me. I found the lyrics to be pretty ridiculous, the melodies to be not very well thought-out, and most of the tracks to be pretty much unmemorable.

I'm confident their next effort will be better.

My journey with Keane started when I heard Everybody's Changing on the radio and I immediately demanded to know what sort of band could make such a beautiful song. I quickly found out it was Keane and I promptly went out and purchased Hopes and Fears. After playing that album from start to finish over and over again, I began to develop an appetite for some new music from them. After a long wait (in my mind), Keane finally released their follow up effort Under The Iron Sea. I purchased it on the release date, went home and popped it into the player. I was greeted by Atlantic, one of the most haunting, beautiful songs I've ever heard. I actually replayed the lead track about 5 times before I went on to the rest of the album (which was utterly fantastic, start to finish).

In my opinion, Keane took far too much time between discs. I was wondering when they would release another album. I read about the trials and tribulations online regarding the band members and hoped and prayed that Tim and the guys would pull it together to release another disc.

Well, they did. And here we are with Perfect Symmetry. This album clearly demonstrates the natural progression a talented group makes while developing through their existence. It holds true to their roots while they experiment with new methods and techinques in writing new material. This is clearly evident within several tracks on the record, especially on Better Than This. It represents elements of the Keane we have all grown to know and love, but it also contains a sounds that is unfamiliar to what we have been exposed to. Tracks like this are very necessary in the natural development of the group, but ultimately keeps the disc from receiving 5 stars from me. In other words, they're breaking eggs to make omelets.

Don't get me wrong, this album contains numerous options for the fan who wants to hear the classic sound. They deliver that, plus an added new bonus to demonstrate their progression, in the title track. All of the melodious harmonies, crafty lyrics and piano power chords (if such a beast exists) are all front and center here. No fan could turn this song away as the needle slips into the run-out groove.

I read another review here that compared You Don't See Me to U2. I actually got chills as I read that because that's EXACTLY what I thought when I heard the first piano notes in the song. I thought to myself, "Damn, this is not far off of what U2 has done."

It's not U2, though. I've played it for many other people, most with somewhat of a music ear, and none were able to draw that connection at all. But it's there. That's not to say they're ripping off U2. It's to say that this band is approaching that level. Not by popularity, but by musical abilities.

In a nutshell, this is fine release by a fine band. It's not a slam dunk from start to finish like their two previous efforts, but the songs are very strong as the band continues to trek towards legendary status. In my opinion, they have not recorded a bad song yet. However, due to the explorative aspect of this disc, I rate this album at 4 stars with my guarantee that they have taken a mandatory step back in order to make a ridiculously giant leap forward.

Buy this album. Enjoy this album. But please don't make this album your initial exposure to this wonderful, talented trio.

This could be the best Keane album. Initially it really sounds different, especially the tracks Spiralling, Better Than This and You Haven't Told me Anything. But it has some typical "Keane songs", like Again And Again and Black Burning Heart.

All of this stuff sounds pretty good for me, as good as the previous album Under the Iron Sea (which has some great songs, like Leaving, Put it Behind and Frog Prince, but has some really boring stuff as well) but not at the Hopes and Fears level. I would highlight Black Burning Heart ... really great, reminds of Bend & Break.

But what really puts this album at another level is the title song, Perfect Symmetry. A masterpiece that seems too good even for them. One of the best I have ever listened to, you have to go back years (or decades) to really see someone doing things as good as this.

I am sorry but I too am a huge keane fan. I am listening to their B Sides right now as I type this. Who told Keane that 80's synth music was good for them? That it was the right path to take? The first four songs are devoid of the Keane passion and beautiful sounds I have just absolutely grown to love. The rest of the album is a little better and may grow on you but it is still not up to par for Keane. Is this the end? Are there no more "Bedshaped" quality songs left? H and F is an album you can play from beginning to end without skipping a song. Same with UTIS. Not even close with this album. I know there are some here who say this album is great. In truth, it is not. Keane are as one of the new songs title says "better than this". I waited two year for this. Hopefully this is something they had to try and will go back to making quality music.Music where you can hear Tom's voice, Tim's piano and Richard's drums clearly and with a sound that is theirs not Bowies.

I have been a Keane fan since the early days. I have everything they released and I could buy. I never understood the comparison to Coldplay. Is it solely because the two bands love keyboards? So did later Van Halen and neither British import sounds like the 80s rockers. Is it because both are British? So is Amy Winehouse, and neither band shares much in common with her except the accent - and the ability to innovate innovatively (i.e., unlike most others.)

Coldplay's orchestration and lyrics - and their artistic sensibilities - differ quite significantly from Keane's, except that both bands are children of the 80s - the U2, Fixx 80s, not the Debbie Gibson 80s, and as such, both infuse their music with a bit of darkness, edginess, desperation.

I love Coldplay, let's be clear. This isn't a "which Brit band is better?" This is about a solid, sensitive, searching band being misunderstood and dismissed too quickly by us all-too-knowing, too-influenced-by-radio listeners on this side of the Pond. (And let's be clear. I love America.)

So, Perfect Symmetry. Tom Chaplin's voice is clear and more nimble than ever. Tom can wrap his vocal chords around a note and nail it then sustain it, caress it, love it. (Could be catty here and ask if Chris Martin could do so? No, his signature, like Sheryl Crow is to miss the note so compellingly you have to listen to the genius lyrics - it made Bob Dylan a mint, so why not? And all three are gifted songwriters and musicians.) He stretches without sounding stretched or strained, he yearns and gasps for breath and you yearn and gasp along with him.

The band has tried to shake things up without shaking away what makes Keane special - the distorted sounds that sound normal after a few spins of the CD, the slightly off-kilter beats that keep the song in line. This is, perhaps, their most political album, though these are not the typical politics of Left v Right. They are the politics of people understanding people, people in conflict, in chaos, in fear. In this sense, Keane is like Coldplay, whose Viva La Vida also is a searing commentary on the current state of affairs. It's not mimicry, but rather symptom of the times, much like the music of U2, the Fixx, Depeche Mode and other bands of the 81-85 era. How can a band not be influenced by the fear and chaos around them?

The album opens with this jarring, dissonant yet musical whoop - Ooooh! We're spiralling down. It contrasts sharply with the pure musicality of Tom's voice, which is the point, and even Tom's voice is a bit distorted, processed, which, again is the point. Tim Rice-Oxley has a brilliant ear - he hears what none of us hear until he plays it for us and we nod our heads and say, "Ah, yes! Tinny sound, full sound, edgy sound...play it again!" And drummer Richard Hughes is no less creative and restless, creating a beat, beat, beat-up backdrop without which we cannot do.

Spiralling is edgy, the edgiest I've ever heard Tom's voice. There's an impatience, an anger, an irony. "I know you people," he seems to be saying, and Tim's keyboards echo, "Yeah! I know you posers," and Richard's drums pound like a fist in your face. But who is posing - them or us?

Talk about political, angry, sad and warning. That's the song around which the album is built: Perfect Symmetry. Listen to it. Again. Again. Who is and isn't implicated? This is and should be an anthem for this time. Why it isn't, I don't understand, and that's why I am not a record company exec.

My favorite tracks are Spiralling, The Lovers are Losing, Perfect Symmetry, Again and Again, Playing Along.

Do I miss the heartwrenching songs like Bedshaped, She Has No Time? Yes, I do. But I also recognize that now is a time for being pushed, for being questioned, for being energized and enraged, and it is a time of deep, wonderful musical exploration.

I highly recommend this CD. It isn't perfect, but then again, are any of us? Do any of us produce perfect work? Might we find lessons and inspiration in the fragile imperfect world in which we live? Keane says yes. Oh, and the bonus DVD is interesting. Not as deep as the DVD for Under the Iron Sea, but if you like or love Keane, what's to lose? Love Richard's dog costume!

When Keane released 'Spiralling,' the first track and first single from 'Perfect Symmetry,' on the Internet for fans to preview, I was--as any Keane fan would be--eager to download and preview the track. I quickly snagged the free file and listened, letting the sound fill my ears. After the last beats left my speakers, I was left scratching my head. "What ... is this?" I thought. "This is Keane?"

It would take another listen or two for my feelings to shift from mild disappointment to something much more positive. I had been conditioned, as a Keane devotee, to expect a certain sound, and it took a shift in perspective for what I heard from 'Spiralling' to really strike me as something decidedly fulfilling, especially as a Keane track. The sound of 'Spiralling,' and the rest of 'Perfect Symmetry''s tracks, is a dramatic stylistic departure from Keane's previous offerings, and it will take some time to warm up to for those expecting a repeat of those first two albums.

What Keane had done with their first single is take all the creative energy built up from their exploits throughout Berlin and Paris and channel it into something exciting and fresh. 'Spiralling' is something very different from the Keane sounds of old, but I found it to be a very good thing. After all, how can a band evolve and grow without taking risks and trying new things? Keane swung at that fastball and hit it right out of the park.

This same exciting 'let's go for it' attitude extends to the rest of the album.

Right from the get-go, Perfect Symmetry sounds like the boys of Keane sought to stretch out and just have fun. And that's what Perfect Symmetry gives you--a wonderful mix of fun, 80's-inspired electronic sound with the fit and finish that this band brings to an album. Fans of Keane's piano-centric sound need not worry--'Perfect Symmetry' does not dispense of piano in favor of synths. They have, instead, complemented the pure, acoustic sound of the piano, and it shines.

Many tracks, from the previously mentioned 'Spiralling' with it's fun, hard-hitting, relentless charge, to 'Again and Again,' are up-tempo and fun, a startling contrast from the dark, brooding tones of 'Under the Iron Sea.' That being said, the men of Keane have not neglected their talent for deep, moving ballads, such as with 'You Don't See Me,' which serves up a bit of softness to give you a break after the edgy sounds of the album's other up-tempo selections.

The perfect blend of the hard-and-fast and introspective sounds of 'Perfect Symmetry' comes with the disc's title track, which is an absolute masterpiece, which blends ever-building, harmonious refrains with a soaring, deeply-moving chorus that gave me goose bumps the first time I heard it. It is truly one of Keane's best songs, and--while just a teensy bit over-the-top at times--is the crowning jewel of 'Perfect Symmetry.'

Long-time Keane fans may have to take a step back and approach this one with fresh eyes, but this effort is well worth it. 'Perfect Symmetry' is not a revolution in the world of pop, but it certainly may be for Keane, and that's certainly enough.

Like many others, I first heard Keane's single "Somewhere Only We Know" on the radio four years ago and I was hooked. The song wasn't nearly as mature or well-developed as some of Coldplay's music from the same time (like "Politik", "Warning Sign" or even "The Scientist"), but I heard some real potential (ignoring some critics who dismissed Keane as mere Coldplay-imitators). This potential I believe is fully realized in their latest album Perfect Symmetry (released October 14th). It is the next phase in their evolution since Hopes and Fears and Under the Iron Sea and is no longer likely to be confused with aforementioned English rockers.

Songs like "Spiralling" and "Better Than This" are both immediately accessible and musically complex and surprising. The vocals are especially fun (if you like the unexpected as much as me) - some oddly enough remind me of Freddie Mercury, I'm not really sure why... I think in the past, Keane's slow songs have had a hard time catching on with the public (like "She Has No Time" or "A Bad Dream" - both songs I enjoy, but they're easily lost with other nondescript titles like "Try Again", "Sunshine" or "Bedshaped"). Though the song titles may still leave room for improvement, the music plays to the band's strengths with clever, moderate-to-quick tempoed songs that are marvelously long (most of the tracks break 4 minutes). My vote for the highlights are "Time To Go", "Perfect Symmetry", "Again and Again" and "Spiralling", but this really is one of those albums where you should just buy the whole album if you're a Keane fan (or if you're not, there's no better time to become one).

A great album of this amazing band. There is virtually no song that is bad to me , so artistic beautiful sounds , brilliant lyrics with a touch of 80's style. I am not a big fan but definitely this album is the best they have ever produce . Excellent purchase .

This is a different album from their second one, with a sound that's slower, with more ballads than Under the Iron Sea.

Since I haven't paid exact attention to some tracks, I'll do a "key lyrics" type review - with my favorites on the album, which are quite a few.

Somewhere Only We Know - the single. This song is midtempo, but has emotional lyrics which can make an effect on you later in life. Great for those who like to "escape the world" and stay in a little hideout that "only you know".
Key lyric: "I walked across, a fallen tree, I felt the branches are they looking at me? Is this the place, we used to love, is this the place that we've been dreaming of?"

This is the Last Time - I didn't like this song before because it was a bit loud for me - but gradually I looked at the lyrics and it's my new favorite now! Great for those who let people "lean on them" mentally.
Key lyric: "The last time, you fall on me for anything you like."

We Might As Well be Strangers - It isn't the lyrics that make this song, but the basslines and power balladry. Powered with a good subwoofer, the bass just POUNDS out. For those who are in a tough relationship crisis.
Key lyric: "I don't understand your heart - it's easier to be apart."

Everybody's Changing - Another power-driven song. About changes in people. Good for those going through changes in life.
Key lyric: "You say you wander your own way, but when I think about it I don't see how you can."

Your Eyes Open - It's the simplicity and beauty of the chorus that makes this song. Nice and relaxing - for those who are truly seeing another person in another light.
Key lyric: "I don't know you, I don't want to till the moment your eyes open and you know all the things I ever wanted you to know."

Can't Stop Now - Power rocksong. The melody and musicality, especially Rice-Oxley's power piano are amazing. As with the bass - simply phenomenal. For those in a rush and are feeling bad about letting others down about their promises because of that rush.
Key lyric: "And I can't slow down, for no one in town, and I can't stop now, for no one."

Sunshine - I just like it. So...bizarrely interesting!
Key lyric: "Can anyone find their home?"

Bedshaped - Perfect - musically brilliant, instrumentally perfect, technically amazing, vocally stunning and lyrically beautiful. if this was out of 10 I'd give it 10/10. Great for those tired of a relationship but are getting back together with their partner. Rice-Oxley has crafted an ethereal melody which is nice and slow, Chaplin reaches a great high register with straining his voice which can be a bit hard on the ears to me, and that bass drum from Hughes goes great with a subwoofer.
Key lyric: "But what do I know? What do I kno-ow? I know."

BONUS

I got the special DVD edition, so there is one more track which is actually my favorite
Snowed Under: Upbeat, but it's the most relevant song I've ever heard, and is absolutely perfect in every way. As an album closer it's actually like Pt. 2 of Bedshaped, because it ends the album for me on a high note, like the sun coming out after a storm. The end is just where it belongs - it's be out of place anywhere else. PHENOMENAL bass thump, drum beat and the best piano on the album - tied with Bedshaped. It's about letting insults after a relationship or hard words bounce right off you.
Key lyricS:
"I don't know why I waste my time, getting hung up about the things you say when I open my eyes and it's a lovely day."

"Now you think that you're alo-ne, and you make your way back ho-me. I'd love to greet the weary traveler, but your time has gone and I'm glad it's over."

THANKS!

I've heard good things about Keane, and had heard the debut single "Somewhere Only We Know". I finally got around to giving "Hopes and Fears" a good few listens, and for me it just boils down to this: this is musical wallpaper for the uncritical listener's lifestyle schemata. It's safe mid-tempo rock music that all sounds perfect, it's been auto-tuned and beat-corrected and tweaked within an inch of its life, with soaring melodies by a singer who can obviously sing but who's voice lacks a distinctive character (unlike Bono, or Thom Yorke, or even Jeff Buckley) that sets him apart from a throng of imitators.

Proclamations of wonder about the fact that there aren't guitars and it still sounds great are pretty pointless, because drums and vocals are so dominant in this kind of music... turn the volume down real low and see what you hear... vocals and drums. It would be far more impressive if they could have a massive hit with guitar, keyboards and bass and took away the drums. The recording studio (and producer, engineer, mixing engineer) should get a cut of the profits from this, actually, it's SO important to the sound of this record.

Anyway, kudos to Keane for sticking it out and to the main songwriter for not joining Coldplay when he had the chance long before this record came out. Their efforts have paid off, and I'm always glad when musicians can make a living at their craft. I just hope they invest wisely, in case they don't last.

I highly recommend getting this cd - every song is worth listening to, over and over again. It is that good. All relatable lyrics and the melodies are fantastic. A must have in any ipod/mp3...

I have just recently discovered Keane and love their music. After listening to song samples on Amazon I decided to buy this one as my first CD of theirs but will buy more I'm sure.

This CD has so many great songs, not your typical one or two hits. It's so worth it -- I'm looking forward to purchasing their other CDs!

One word...phenomenal. These are some of the most beautiful and delicious songs I have ever heard. I can't help but crank up the volume on these songs to get the full force.

The lead singer's voice is so clear and fine.

The melodies...yum! Like I said...just delicious.

Thank you Keane! This is definitely one of the best albums I have ever heard.

Keane's sophomore kicks off in high spirits, bringing in small electronic overtones to the emotionally arresting Brit-rock chemistry which turned many heads on HAF. Quickly though, the modern U2-esque second track begins demonstrating the band's songwriting thresholds. Where the majority of Hope's songs we're memorably beautiful, here it is the far exception to a majority of less-memorable albeit satisfyingly straightforward rockers.

Keane is a favorite band of mine, so this review is going to be totally and unabashedly biased. (As if my other reviews aren't.) If you're trying to get a feel for what Keane is like, maybe this can help: They're a little bit of Coldplay, a little bit of U2, and a whole lotta original.

Their sound is just...completely innovative, and yet classic. If you're looking for shallow, fluffy lyrics, please go elsewhere. Every song has a purpose on the album--and a deep, sometimes dark, meaning--and not one of them disappoints. I highly recommend, and urge anyone who loves good music to discover this band for themselves. Just when you think Keane can't get any better, they do. As long as they don't muck it up for themselves by breaking up or anything of that sort, they're going to be unstoppable in the music world.

I don't give out a lot of 5 star reviews, but this album has made cracked my top ten list and is now one of my all time favorites.

I think it is not for everyone, but if you like piano rock albums that can flow from trippy ballads to poppy upbeat tunes without you might give this a try.

phenominal album, i am a convert to the british sound. I really dig this sound.

this is one of the better cds i have found for my wedding and it shipped fast

I purchased this CD for my 78 yr old mother, a widow, who is getting remarried this Sept. and needed some recorded music to play before the ceremony and for the processional and recessional. She absolutely loves the CD and plays it over and over and over! It is a beautiful CD and I would highly recommend it for anyone needing this type of music.

This was a great resource for prelude music as well as music for the ceremony. It is a nice blend of classical and contemporary. I used it for a friend's wedding and we were all very pleased with it.

I am in the process of selecting music for my daughter's wedding and wanted to listen to a variety of music. This CD provided that for me. Now I have a better idea what selections we will use through the ceremony.

I bought this CD hoping to find some background music for my wedding reception and (fingers crossed) ceremony. While the music and recordings are high-quality and the cd does sound great, it sounds a little "father-of-the-bride."

It sounds a little like the kind of music that would be the stereotypical background music in a movie about weddings. Much of the tracks are 4 piece string quartet and, because of this, it lends itself to a more traditional wedding ambience. I recommend this piece for anyone looking for purely traditional, and possibly stereotypical wedding music. If you want something more upbeat, I recommend anything by Michael Buble or standards like Frank Sinatra and Dean Martin.

This is my first movie score by Thomas Newman and I'm looking forward to picking up some of his other ones. Frankly, while the period pieces work in the film, I don't include them on my playlist on my iPod because they just seem unnecessary by themselves. The score itself is stunning and I particularly love the moving cellos and basses of track 5. Just beautiful stuff.

Ok, now that you know how I feel about Thomas Newman, let me say that even if you're new to purchasing film scores, this is a spectacular piece of work. Yes, the "sound" is typical Thomas Newman ...swelling orchestras, haunting distant whistles, tumbling drums... but why shouldn't it be? Mozart sounds like Mozart, Hendrix sounds like Hendrix. That said, there is A LOT of versatility going on here. Compare the theme "Cinderella Man" to the track "Turtle" for example. These aren't just noodling variations on a theme, they are great songs that stand on their own.

For a real treat, I recommend you listen to the soundtrack several times, then watch the movie (even better if it's for the first time). This is a composer who can work the magic of creating something that is both perfect for a film maker and delicious for a listener.

Cinderella Man is one of my favorite movies of all time. And the soundtrack does not disappoint. They have all of the powerful songs heard on the DVD. It even has the songs that you could barely hear in the movie because they were simply background music to the scenes. For instance, when Mike Wilson and Jim Braddock sit down together after work and have a drink and discuss the troubled times their nation was facing during the depression, you can faintly hear a song called, "We've Got to Put that Sun Back in the Sky" by Roane's Pennsylvanians. That song is on here in its entirety.

The other example is found in the scene where Joe Gould is seen driving off after just speaking with Jim about his hopes of getting him another fight after Jim had defeated Corn Griffin. Joe is trying to leave before Mae can see him because he knows she would not approve of his talking with Jim and the potential of another fight for her husband. Anyway, just as he gets in the car, and as he drives off, you can here Bud Freeman's "Tillie's Downtown Now" being played--another great song from that era.

Every sound of Cinderella Man is found on this soundtrack. The lone downside to this CD is that the songs are not found in the order they appear in the movie. The first four songs are in order and the last five or so are in order, and the rest is thrown in the middle. They are all there, but as is typical for most soundtracks, they don't all coincide with the order presented in the picture.

This soundtrack is a terrific purchase for any fan of this movie. You will not be disappointed.

Thomas Newman is becoming quite the composer. He has such a unique style, but is able to use it to compliment the movies he scores without the music sounding out of place or out of period. The tracks "Turtle" and "Pugilism" are fun to listen to. The first track is short and yet somehow moving. There are enough songs from the period to lend the right flavor to the soundtrack (including a track of Paul Giamatti whistling "Londonderry Air"). This one's definitely worth having if you're a fan of Thomas Newman.

I dearly loved the movie, "Cinderella Man," and the music in it. However, why on earth, on the CD, did they play only a minute, or less, of some of the best music? Like, "Hope of the Irish," I liked that so much, but 52 seconds dosn't do it. In the film it was at least 3 minutes or more. I have decided not to buy the soundtrack simply because of this.

If you have not heard this CD, you have missed a gem! The selection,
American Open Reprise, is one dynamite beauty, powerful and inspiring.
Play this beauty on surround sound with the volume up and lead the symphony. When you play this selection, it will make you a true audiophile. It is forward moving, just like a heavy take-off on a 747-400ER. You will not be disappointed.

It is hard to imagine that this was a soundtrack to a documentary - even though I've seen the film. This is a perfect blend of music for any time of day, but I particularly enjoy it with my morning coffee.

This, of course, was background music for a television production, and served the program very well. However, it stands on its own very well, too. The orchestration is particularly lush and the performance is very sensitive and introspective.

This music is cheerful and uplifting. Heard it on the radio over 12 years ago and finally tracked it down with Amazon. Recommend it to anyone who likes unusual music for a change of pace. Check out the other albums from Brian Keane and Omar Faruk Tekbilek, they are fantastic. Get them all.

I ordered this Suleyman The Magnificent CD because of the item description and I wasn't disappointed! It's a wonderful soundtrack for those who enjoy Middle Eastern music. Now I want to see the documentary that this was written for!

Performed by Omar Faruk Tekbilek, Brian Keane, Dincer Dalkilic and Emin Gunduz, this CD provides a soundtrack to the film Suleyman the Magnificent. And what a wonderful job it does. The music captures the mood and feel of the royal courts of the 16th century Ottoman Empire. From the stately, dignified "Istanbul'dan Goruntuler" to the lively "Egeli Gemici" and "Kuzeydeki Koy" to the classical sounding "Rast Medhal" and "Hicaz Taksimi" to the mystical "Mevlana", each song carries with a deep, beautiful ambience. The use of classical instruments such as the ney, kevel, kanun, rabab, tanbur, def, darbuka and saz (sometimes accompanied by Tekbilek's own vocals) suits the film wonderfully. I'm glad that I bought this CD, and strongly advise anyone who loves classical and religious Turkish music to do the same (and, for that matter, to see the film as well).

Brian Keane is one of my favorite tastes of the middle east, along with Michael Danna, Omar Tekbilek and Hossam Ramzy. I recommend these artists if you want to create an ambience of another world.

Amazing, wonderful for middle eastern dance. It's good to watch the video for which it is the soundtrack to understand the swirling emotions and destinies of it's characters. I have worn out my tape, I love painting to it and dancing to it.

After traveling to Ireland last year, I discovered how haunting and beautiful the Irish singers are. Dolares Keane is one of the best and this CD is her best.

Where can one start to tell the story of the great Dolores Keane?
This Best Of Dolores Keane collection is long overdue.Dolores inherited her singing from her famous Sean Nos (old gaelic singers)Aunts, Rita and Sarah.Based in Galway in the West of Ireland.Dolores possibly came to prominence while doing lead singing with Irish Trad specialists De Dannan.Her rendition of Galway Bay is unbelievable here,also Far Away In Australia,Never Be The Sun,and Mick Hanleys My Love Is In America,all exellent.Some of the older tunes like Lili Marlene are nice too,and Let It Be by the Beatles is fantastic.All in this as I say was long overdue.I personally consider Dolores as the greatest Female Irish Vocalist of them all,yet commercially she hasn't been marketed very well.When one considers that Emmylou Harris is her greatest fan,and also Nathalie Merchant(ex 10,000 Maniacs)has said in the past that Dolores has been a big influence on her,well then what are you waiting for?Just go and purchase the hauntingly beauitiful voice of the legend Dolores Keane.Guranteed not to dissappoint.

This is very good Irish folk music. I have most of her CD's and I am very happy with them. "Caledonia" and "Never Be The Sun" are two of my favorites from this recording. Be sure to try her other music. It is wonderful.

Dolores' brother, Sean Keane, is also an excellent choice to listen to. "The Man That I Am" and "No Stranger" are my favorites.

I listen to a lot of music. I listen to a fair amount of Irish music, mostly haphazardly. Probably my favorite recorded sounds are memorable female voices (no, not Streisand among them, good Gawd!), a random sample might include early Supremes, Emmylou Harris, Renee Fleming, Etta James, Kate and Anna McGarrigle, Sleater Kinney, very early Grace Slick and, before her, the first female singer with Jefferson Airplane, Signe Toly Anderson. Given all that, how the hell did I come this far in life without encountering Dolores Keane? It's inexplicable, but all that matters in the end is to have finally stumbled on her phenomenal singing. You should too, post-haste. My first hearing was in John Prine's duets CD on A Town This Size. Then, almost immediately thereafter, I found When Irish Girls Grow Up, the best thing on Tom Russell's uneven CD, The Man From God Knows Where. On Best Of the voice is younger, with some of the songs probably more than a decade old. I find its full-throated huskiness even more attractive now, but this CD is a spectacular introduction to her work. Lion in a Cage is a vibrant Afro-beat tribute to Nelson Mandela. Most of the other songs are ballads of what we Irish do best -- longing for places and people or both that are far distant in time and space. My Love is in America, Galway Bay, Teddy O'Neill, and Far Away in Australia are the best examples. She includes three covers -- Let It Be, Van the Man's Have I Told You Lately, and Linda Thompson's Telling Me Lies. For my taste, only the latter matches up to the other tracks here. Similarly, The Island -- contrasting the horror of conflict with the personal peace of love -- is a concept which just doesn't quite come off as a song. Those, however, are quibbles too inconsequential to be even minor. Do yourself a favor and get your hands on this CD now. It will be weeks before it comes out of your player. As for me, I'll be sampling all her other work. Sometimes the later discoveries in life are the best of all.

I was not familiar with Ms. Keane until I heard her in duet with John Prine on In Spite of Ourselves CD, and was totally intrigued with her voice. Now, after listening to the "best" of Delores (which is a modest description of the tunes on this CD)....I am totally enthralled with her music. I have played the CD over & over and find it more enchanting each play. I can't believe I have, at the age of 50, just discovered the delights of celtic music. It is a most pleasing listen.