I Dreamed a Dream [CD]

This is a seriously good album from a lady with loads of vocal talent - this is going to be a global smash hit. Susan's performances are just sublime and the arrangements are perfect. 'Wild Horses' is simply wonderful, but there is much more. Susan has a great range, but her smoky, bluesy lower register comes to the fore here ('Cry Me River' is superb). 'How Great Thou Art' has a purity that Enya would be proud of. The joy goes on - there is not a duff track on this album. I predict it will go straight to No. 1 in the charts on both sides of the Atlantic and beyond. A MUST buy (and I really mean that!)

Stop Press (14 Dec): Susan achieved the No. 1 slot in Britain and the USA with record sales of her album.

GREAT CD BY SUSAN BOYLE, LOVE HER MUSIC AND BOUGHT IT FROM AMAZON AS IT WAS CHEAPER AND THE AMAZON SERVICE IS JUST 1ST CLASS THANK YOU THIS CD IS SO LOVELY HER WORDS ARE SO CLEAR NICE TO HEAR WHAT SHE IS SINGING ABOUT,LOVE IT.

Susan Boyle is an overnight phenomena. Rising from the show, `Britain's Got Talent', Boyle's performances swept the world with millions upon millions of people watching them. The media went ballistic for her, as did every comedian and chat show host across the globe. Be it due to her original appearance, her intriguing personality, or her undeniably charming voice, Boyle has become one of the most sought after superstars in the world.

Although Boyle may not have the biggest voice in `popera', her style is distinctive: an earthy highland tone that provides believability; a particular phrasing that is thoroughly original, and an innate emotion to her vocal. On this, her debut album, Boyle shines through as a sincere balladeer, and someone with more conviction in her delivery than most. The production is however a pitfall in this offering. As are some song selections.

`Wild Horses' kicks off the set with a poignant song. The lyrics are a masterpiece, originally a Rolling Stone cut, and are hauntingly inspired. It is a simple melody that allows Boyle's delivery to reign true: the range needed limited, the emotion and lyrics the main things. Boyle's voice evokes this song incredibly well - you can feel she has lived a version of this, and it is beautiful.

`I Dreamed a Dream' is of course the song that has become Boyle's signature. A `Les Miserables' track, the melody is theatrical and fully suited to operatic singer. Boyle's vocal on CD is the best of her performances of this song - her unique phrasing captured perfectly, and, probably due to many takes and a touch of autotune, the higher notes are expressed impeccably with both strength and conviction. The arrangement is flawless - it's not overly heavy, nor is it catered to sound inspirational or `big': it stays true to Boyle's artistry, and the song itself. Subtle, but defiantly effective. `Cry Me a River' is a pop standard, and an interesting choice. For this track, the delivery either needs to be theatrical, or classy, to remain believable and enthralling. Boyle places within an odd nomads-land between the two. Although the production is very sophisticated, and Boyle's phrasing is too tasteful, the affair becomes peculiar with Boyle's register and key. Way up in that operatic range, the instant connotations the listener gains are of drama, tragedy and heightened emotions. The two don't match.

`How Great Thou Art' is a religious standard, put down on record by millions. Unfortunately this doesn't compare to the greats. The vocal is strong, but it isn't stirring. It could have been very mountain sounding - a Celtic feel almost if that awful choir wasn't in company: the opening minute or so displaying the best arrangement for her on this song. Boyle's vocal is one that needs to stand alone to stand out, and this is the perfect example on the album where poor production is unjust to her vocal. `You'll See' is a fine, fine track. An impeccable choice of song: a Madonna number. The melody is incredibly exposed thanks to the production; the lyrics possess a lot of substance and deep themes. The arrangement obviously builds from a piano lead to a generic `popera' crescendo, but it is welcome here. Her vocal is fantastic, with her most passionate persona on the album. This kind of conviction in delivery is rare for a pop/opera vocal, but it is an absolute standout on the album, showing some much needed versatility on Boyle's behalf.

`Daydream Believer' hands down wins most peculiar song choice on the album: The Monkees of course, and probably their signature song. Stripped down to the piano melody, the arrangement is flawless for Boyle. Considering the song's thematics and innate personality however, this version feels almost `demo', rather than masterpiece. There isn't much original about the re-arrangement, and it doesn't add anything to the song. It's raw, and possibly that's the problem. An inconsistency. `Up To The Mountain' is a Patty Griffin pen, that has instantly become a classic. The song is flawless; the lyrics inspirational. Boyle's tone shines doubtlessly here: her highland purity really sets against the melody perfectly. The arrangement leaves a little to be desired for, however. A fairly irrelevant backing choir that provide a grander sound than required joins halfway through, and takes light away from that purity in Boyle's delivery. Something that would summarise the defect in production here, would be that an organ is used, not a piano. It's alright if you're a soul singer top to toe, or an original singer/songwriter with blues in your voice, but when you're a `poperatic' artist, it doesn't calculate. Perhaps an even more stripped approach would have provided better goods.

`Amazing Grace' is the second religious standard on the collection. Again, the highland, earthy nature to Boyle's vocal is exposed in the beginning, BUT, AGAIN, the production is over exaggerated with a big, gospel choir joining midway. It is truly frustrating, as it appears to be the formula the production/record company are determined to push Boyle into. Some points of this song are breathtaking, and if only the arrangements would cater to her voice better, she could be constantly breathtaking. `Who I Was Born to Be' is the only original track on album. With a standard pop melody, the lyrics are endearing, and seem to be almost autobiographical. Although Boyle's delivery is sincere, the track is just too generic to be taken over seriously. A couple of cliché lines don't hand any favours to the song; neither does the bland arrangement that builds gradually to an `X Factor' style choir, backing an oversang melody. Boyle's honesty element helps this song, but it pales in comparison to the standout tracks.

`Proud' is a haunting track. With a stunning note progression, the lyrics are touching and deeply emotional. The thematics tackled here are some of the most heartfelt on the album. A basic arrangement that stays true to the melody - the bridge is handled perfectly: it stirs with undercurrents of orchestra, but doesn't allow it to enter the forefront. Perhaps a bit of computer work on the higher end of the vocal was undertaken, as the tone slides from earthy to cyborg at the top of the chorus. Other than this, a standout. `The End of the World' is a Skeeter Davis track, and is another highlight on the album. A quality choice of song - it was a huge hit back in its time. A very theatrical cover, and will inevitably expose the song enough to become part of a musical. The sincerity of the song is captured in a different way, and people's opinions on it will definitely come down to personal preference. A `poperatic' version of a country song? Sounds bizarre, but it's stellar.
`Silent Night' is a bizarre end to the album. Incredibly strange choice, considering what preceded. A solid vocal, another believable delivery. But, Lord behold, another annoying choir join. Whatever possessed whosoever to include this is beyond me, but we'll take it as it is.

Unsurprisingly, this album has gone #1 all over the globe. Boyle will make another album: she just has to. Her popularity will be maintained with this album, so long as the right single choices are made. There are some absolutely phenomenal tracks offered here - one's that are potentially world class. The problem this album possesses though, is that devastatingly frustrating, formulaic production that plagues around half of the songs. Boyle needs to seriously consider what kind of artistry she wants to convey on her next album: if it be of the `Wild Horses' and `You'll See' demeanour, she will be an undisputed superstar.

3.5 Stars.