Hometime

From the bold opener 'Yesterday's Flame' serving to introduce us to the all new Moyet in much the same way as Drowned World heralded a new 'direction' for Madonna, this album is richly textured, warm , sultry , and very very sexy ( yes, it's good to have 'that' voice back!).

With help from The Insects who have worked with Goldfrapp and Massive Attack amongst others, Alison has pushed herself to the top of her game and surely established herself as one of the U.K's most talented singer / songwriters... influences draw on the aforementioned Goldfrapp and Massive Attack and the very best of Dusty , Aretha , Dionne , almost lifting Phil Spector , Burt Bacharach and the best of Motown from the page and breathing new life into the torch song.

This is a collection of songs that serve to remind us how brilliant Alison has been : -

Only you, Don't Go, Love Resurrection, All Cried Out, That Ole Devil Called Love, Is This Love?, Weak In The Presence Of Beauty, Love Letters, It Won't Be Long, Whispering Your Name, and Ode To Boy are just a handful of the delicious slices of sublime music that Alison has treated to in the past, and on the basis of this fantastic return to form, there is even better to come.

Hot on the heels of Yesterdays Flame comes the new single 'Should I feel That It's Over' which glides from the r.e.m-esque opening chords on a cool string arrangement into the vast breezy expanse of a chorus that threatens to wedge itself in your head and become immovable.

The intense restrained performance of 'More' complete with lilting, disorientating squelchy electronica beckons you closer to the speaker. Title track 'Hometime' capitalizes and builds on this theme with a low bluesy tone and pace complete with languid, sleazy, breathy vocals. 'Say It' is another highlight, creeping up on you but having no intention of letting you go until you've lasted all four minutes of a song that builds into Phil Spector wall of sound proportions with Alison beconing you back, and really letting go on the chorus.

The production on 'Ski' is something special - moving along on a rolling bass and more squelchy electronica noises & piano, very funky spacey sounding track with Alisons vocals to the fore whilst all else swirls and distorts around her.

The heartbreaking 'If You Don't Come Back to Me' is something close to how Portishead might sound if they had carried on making great records - dripping with strings, clipped guitar, and beautiful lyrics.

The jewel in the crown is saved til last : 'You Don't Have To Go' is pure torch song, yearning, aching, and imploring as did all the best Dusty and Aretha songs, building from a lone organ to a crescendo with Alison lost in a swirl of distortion, with the words 'You Don't Have To Go' in repetition.

'Mary, Don't Kepp Me Waiting', 'Do You Ever Wonder', and 'The Train That I Ride' only build on all of these themes, to create one excellent set of songs.

So , don't wait until Alison is once again voted Best British Female at The Brits 2003. Go now, and spend an hour in the company of this joyous piece of music, go on , treat yourself!!

Well done Alison, and welcome back!!

...Mx

Hometime, recorded in Christchurch, Bristol, where the finest Massive Attack and Portishead redcords have emerged from, positively GLOWS.

If you're looking for the saccharine pop of Alison's yesteryear, you'd be best off with the Singles collection. Nothing here harks back to the heady days of the 80s. And that, let's be frank, is a good thing.

This all-new Alison sounds more confident, happy and comfortable with these songs. In fact, she's never sounded in better voice. Or looked more beautiful.

Released in mid 2003, the record surprised everyone by getting rave reviews across the board, selling far more than expected and also gathered Ms Moyet a nomination for the Best Female Vocalist at the Brits, an award she's already won several times. How Sony must have been biting their knuckles. Fools.

Starting off with the murky, swampy Yesterday's Flame, it appears Alison's explaining her absence: "If your heart isn't in it, pull away and start again". It's a shame Alison hasn't been commended for her lyrics before now - often heartbreaking, often downright rude, some of the couplets on Hometime are certainly worth flicking the booklet for.

Including the singles 'Do You Ever Wonder' (a glorious Dusty-like song that could have been written by Bacaharach or Spector), which begins with a harpsichord, and the more midtempo commercial 'Should I Feel that it's over', the album sounds like a collection of standards...the songwriting, from start to finish, is really that good. The album isn't an instant one at all, but, like all the greatest records, it creeps up on you...and stays there.

The sheer mastery of the musicianship on this album is beautiful, too. The intricate, finely detailed backing tracks become more apparent with each listen.... the Insects, the album's producers, follow up fine work with Massive Attack (Karamacoma), Alpha, Spiritualized and others with possibly their greatest production work. Rich, velvety and sparse in parts....exquisite. Plus there's an appearance from the marvellous but elusive Geoff Barrow, Mr Portishead.

Highlight of the set is the James Bond theme that never was, 'If You Don't Come Back To Me', a song that Shirley Bassey would have burned Wales down for, the icy, gorgeous 'Ski' and the heartstopping final track 'You Don't Have To Go' which quite simply shows why there's not a single female artist in the world, nevermind Britain, to compete with this lady.

A fine collection that you simply should own.

A triumph.