The voice of Edith Piaf carries with it perhaps more national identity than that of any other recorded artist in the world. Tiny, frail, and tragic in her... read more

The voice of Edith Piaf carries with it perhaps more national identity than that of any other recorded artist in the world. Tiny, frail, and tragic in her life, Piaf brought French identity to the rest of the world in a way that was understandable to all. Known as "the Little Sparrow" in her country, her voice was strong, bold, and passionate, even as she grew more infirm. The archetypical torch singer, she had massive popular success with songs like "Milord," "Non, Je Ne Regrette Rien," and "La Vie, L'Amour," included here with 18 other classics. While this is a great compilation of some of her best material, the complete lack of enclosed notes or biographical material may frustrate those not familiar with her fascinating career. However, the work of one of the most original songbirds of all time speaks loud and clear for itself. --Derek Rath (hide)

Norah Jones Photos (by Danny Clinch) More from Norah Jones Not Too Late Come Away With Me The Little Willies

Norah Jones Photos (by Danny Clinch)

More from Norah Jones

Not Too Late

Come Away With Me

The Little Willies

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Abandoned as a baby and raised in a brothel, Piaf was dicovered singing in the streets of Paris by a club owner, who started her 30-year career during... read more

Abandoned as a baby and raised in a brothel, Piaf was dicovered singing in the streets of Paris by a club owner, who started her 30-year career during which time she became France's best-loved and best-known songstress, with major hits from beginning to end. At times singing in front of the band with no microphone, her powerful voice and emotional delivery was a striking contrast to her diminutive size. Nicknamed "the Little Sparrow," Piaf was plagued by controversy, from implications in a clubowner's death to multiple affairs (including Yves Montand and Charles Aznavour), drugs, and alcohol. Her torchy cabaret and dramatically theatrical songs eventually won her global recognition. This two-CD set covers highlights of her career up to her death in 1963, many of which are now standards. Described in France as "the greatest figure in the history of song," her voice still rings with a passion for life, something that eventually consumed her. --Derek Rath (hide)

The movie version of Kander and Ebb's Chicago was long in the making, but it's well worth the wait. Director Rob Marshall's main change was to turn the... read more

The movie version of Kander and Ebb's Chicago was long in the making, but it's well worth the wait. Director Rob Marshall's main change was to turn the classic musical numbers into fantasy sequences, but of course this isn't obvious on CD. Most importantly, the arrangements are bursting with life while being true to the show's spirit, and the casting is simply inspired. Catherine Zeta-Jones actually started her career on the British boards (she was in The Pajama Game and 42nd Street), so her turn as slinky Velma Kelly isn't that surprising; Renée Zellweger as Roxie Hart is more of a leftfield choice, but she shows she can handle the singing demands with pizzazz. The real revelation may well be rapper Queen Latifah, who belts out "When You're Good to Mama" with a marvelous affinity for the material. OK, so the R&B reprise of "Cell Block Tango/He Had It Coming" by Queen Latifah, Macy Gray, and Lil' Kim fails to convince, while Anastacia's "Love Is a Crime" is just blah (rest easy, purists, it's over the end credits). On the other hand, the CD provides two bonuses: "Class," which was cut from the movie, and "I Move On," a great duet written by Kander and Ebb for the final cut. It's really easy to mess up film adaptations of Broadway shows. Happily, Chicago proves it can be done right. --Elisabeth Vincentelli (hide)

A romantic's collection if ever there was one, this cachet of songs graced the equally heart-tugging film. King of the Croon and Swoon, Nat King Cole's "Stardust" is... read more

A romantic's collection if ever there was one, this cachet of songs graced the equally heart-tugging film. King of the Croon and Swoon, Nat King Cole's "Stardust" is probably the most obvious of the young lovers' themes here. Louis Armstrong and Jimmy Durante, ordinarily not the most romantic of sorts, prove themselves worthy contenders with "A Kiss to Build a Dream On" and "As Time Goes By," respectively. "In the Wee Small Hours of the Morning" gets an elegantly simple treatment from Carly Simon, and Tammy Wynette's "Stand by Your Man" confirms her status as the late, great Queen of Country. The only disappointments with this collection are the absence of heart-wrenching numbers by Frank Sinatra, Tony Bennett, or even Johnny Mathis; and the inclusion of the horrendous rendition of "When I Fall in Love" by the over-rated Celine Dion with Clive Griffin. --Steve Gdula (hide)

It's nice to see Bette Midler putting her spin on an American classic after less-than-convincing detours through adult-contemporary cheese. This tribute focuses on Rosemary Clooney in the early... read more

It's nice to see Bette Midler putting her spin on an American classic after less-than-convincing detours through adult-contemporary cheese. This tribute focuses on Rosemary Clooney in the early to mid-1950s--so we don't get any of the fabulous Nelson Riddle material--but it's a fairly strong offering. It was produced and arranged by Midler's old musical director, Barry Manilow--who actually dueted with Clooney on a couple of songs in the 1990s and here replaces Bing Crosby on the duet "On a Slow Boat to China." Mostly, the CD is about hits: "Hey There" and "White Christmas" are done in straightforward manner, while Linda Ronstadt fills in for Rosemary's actual sister Betty on a slinky version of "Sisters." Happily, Midler plays "Come On-A My House" down instead of up (the old Bette would have milked its comic aspect) but the singer lets loose on "Mambo Italiano." That's pretty much the only time the Divine Miss M peeks out from behind Clooney's elegant persona, and it's a delight. --Elisabeth Vincentelli (hide)

Everyone grows up... even rappers. Pioneering female MC Queen Latifah shows a newfound level of maturity on The Dana Owens Album. A set of standards the rapper/actress decided... read more

Everyone grows up... even rappers. Pioneering female MC Queen Latifah shows a newfound level of maturity on The Dana Owens Album. A set of standards the rapper/actress decided to cover, the album features a host of jazz classics and R&B favorites.

Latifah is at her seductive best when playing the sultry siren on Al Green's "Simply Beautiful." With a little help from Green himself, Latifah's vocals slide over the warm, organ-drenched instrumental. The result is one that works today as well as it would have several years ago. Similarly, the big band-backed "Baby Get Lost" swings with bluesy groove that is pure nostalgia.

However, it's when Latifah mines more standard fare that the album seems to hita snag. Fans of James Moody's "Moody's Mood for Love" may want to skip Latifah's version, as it misses the subtle perfection of the original. Her rendition of "I Put a Spell On You" doesn't falter, but it's not impressive either. It ends up being the kind of performance that finds you constantly waiting for more but never getting it. The same can be said for her cover of the Mamas & the Papas' "California Dreamin'."

That said, with Latifah's recent critically acclaimed turn in the film Chicago, this album's timing couldn't have been better. And with help from legendary producer Arif Mardin (Aretha Franklin), The Dana Owens Album is an interesting and impressive new chapter in the star's diverse career. --Rashaun Hall

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