New age love songs in New Age Music

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"Love Songs & Lullabies" (08/06/2002) New Age Brickman, Jim, Windham Hill RecordsPersonnel includes: Jim Brickman (vocals, piano); Amy Sky, All-4-One, Jane Krakowski (vocals); Anthony Anderson, Dane Deviller (guitar); Tracy Silverman (violin, viola, keyboards); Thea Suits (flute). Producers: Jim Brickman, Anthony Vanderburgh, Tracy Silverman, Brian D. Stewart, Dane Deviller, Sean Hosein. One part George Winston, one part J. Crew model, Jim Brickman purveys easy-listening piano ballads with tender themes and upbeat lyrics. On this 2002 release the "love songs" of the title are not solely romantic in nature--they could easily be addressed to a child or even to God. And the "lullabies" are not just for children, but for adults in need of a soothing respite from the world. With the help of guest vocalist Amy Sky (and musical inspiration from J. S. Bach), lines from I Corinthians:13 become the graceful "Love Never Fails." The traditional children's song "I See the Moon" gets a sweet, lush treatment and a rare vocal turn from Brickman himself. Vocal group All-4-One gives its all on "Beautiful (As You)," a silky ballad that shares a hook with "The Greatest Love of All." The instrumentals--with titles like "Night Prayer," "Dreamland," and "Safe and Sound"--are all mid-tempo hymns of safety and comfort. While Brickman stands firmly in the pop music realm, his music inspires the same sense of wellbeing as many of the most acclaimed new age recordings.

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"Love Songs" (01/23/2001) New Age Lanz, David, NaradaPersonnel includes: David Lanz (keyboards); Eric Tingstad (guitar); Nancy Rumbel (winds). Engineers include: Hal Sacks. Digitally remastered by Trevor Sadler.

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"Love Songs" (04/13/1999) New Age Yanni, Private MusicIncludes a free Yanni calender. Personnel: Yanni (keyboards); Charlie Bisharat (violin); Charlie Adams (drums, percussion). Recorded between 1987 and 1993. Composer/keyboardist Yanni is such a prolific artist that it behooves Private Music to bring together some of his finest moments for a compilation. He's such an unabashedly romantic artist that it seems only natural for such a compilation to be called LOVE SONGS, and to contain delicately constructed, lovingly performed pieces that convey a world of emotion without a single word being sung. Drawn from various Yanni albums from the late '80s to the mid '90s, LOVE SONGS unsurprisingly centers around the simple, melodic piano work of the Greek pop star, and the lush, emotive arrangements by which his melodies are surrounded. The mood is uniformly soft and dreamy, and will appeal to fans of contemporary instrumental pop along the lines of John Tesh and Jim Brickman.

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"Songs of the Lords Love" (1978) New Age Kaur, Singh, Invincible

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"Love Songs & Lullabies" (07/01/2003) New Age Brickman, Jim, BMG (Hong Kong)Personnel includes: Jim Brickman (vocals, piano); Amy Sky, All-4-One, Jane Krakowski (vocals); Anthony Anderson, Dane Deviller (guitar); Tracy Silverman (violin, viola, keyboards); Thea Suits (flute). Producers: Jim Brickman, Anthony Vanderburgh, Tracy Silverman, Brian D. Stewart, Dane Deviller, Sean Hosein. Asian edition adds four songs. One part George Winston, one part J. Crew model, Jim Brickman purveys easy-listening piano ballads with tender themes and upbeat lyrics. On this 2002 release the "love songs" of the title are not solely romantic in nature--they could easily be addressed to a child or even to God. And the "lullabies" are not just for children, but for adults in need of a soothing respite from the world. With the help of guest vocalist Amy Sky (and musical inspiration from J. S. Bach), lines from I Corinthians:13 become the graceful "Love Never Fails." The traditional children's song "I See the Moon" gets a sweet, lush treatment and a rare vocal turn from Brickman himself. Vocal group All-4-One gives its all on "Beautiful (As You)," a silky ballad that shares a hook with "The Greatest Love of All." The instrumentals--with titles like "Night Prayer," "Dreamland," and "Safe and Sound"--are all mid-tempo hymns of safety and comfort. While Brickman stands firmly in the pop music realm, his music inspires the same sense of wellbeing as many of the most acclaimed new age recordings.

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"Love Songs & Lullabies" (06/09/2003) New Age Brickman, Jim, BMG (Japan)Personnel includes: Jim Brickman (vocals, piano); Amy Sky, All-4-One, Jane Krakowski (vocals); Anthony Anderson, Dane Deviller (guitar); Tracy Silverman (violin, viola, keyboards); Thea Suits (flute). Producers: Jim Brickman, Anthony Vanderburgh, Tracy Silverman, Brian D. Stewart, Dane Deviller, Sean Hosein. Japanese version features five bonus tracks. One part George Winston, one part J. Crew model, Jim Brickman purveys easy-listening piano ballads with tender themes and upbeat lyrics. On this 2002 release the "love songs" of the title are not solely romantic in nature--they could easily be addressed to a child or even to God. And the "lullabies" are not just for children, but for adults in need of a soothing respite from the world. With the help of guest vocalist Amy Sky (and musical inspiration from J. S. Bach), lines from I Corinthians:13 become the graceful "Love Never Fails." The traditional children's song "I See the Moon" gets a sweet, lush treatment and a rare vocal turn from Brickman himself. Vocal group All-4-One gives its all on "Beautiful (As You)," a silky ballad that shares a hook with "The Greatest Love of All." The instrumentals--with titles like "Night Prayer," "Dreamland," and "Safe and Sound"--are all mid-tempo hymns of safety and comfort. While Brickman stands firmly in the pop music realm, his music inspires the same sense of wellbeing as many of the most acclaimed new age recordings.

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"Pianoforte 4: Love Songs" (09/24/1996) New Age Daub, Eric, Pure & Simple

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"Love Songs" (04/13/1999) New Age Yanni, Private MusicIncludes a free Yanni calender. Personnel: Yanni (keyboards); Charlie Bisharat (violin); Charlie Adams (drums, percussion). Recorded between 1987 and 1993. Composer/keyboardist Yanni is such a prolific artist that it behooves Private Music to bring together some of his finest moments for a compilation. He's such an unabashedly romantic artist that it seems only natural for such a compilation to be called LOVE SONGS, and to contain delicately constructed, lovingly performed pieces that convey a world of emotion without a single word being sung. Drawn from various Yanni albums from the late '80s to the mid '90s, LOVE SONGS unsurprisingly centers around the simple, melodic piano work of the Greek pop star, and the lush, emotive arrangements by which his melodies are surrounded. The mood is uniformly soft and dreamy, and will appeal to fans of contemporary instrumental pop along the lines of John Tesh and Jim Brickman.

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"Pianoforte 4: Love Songs" (09/24/1996) New Age Daub, Eric, Pure & Simple

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"Heart of Perfect Wisdom/A Sufi Song of Love" (10/24/2000) New Age Gass, Robert, Spring Hill Music2 LPs on 1 CD: HEART OF PERFECT WISDOM/A SUFI SONG OF LOVE. HEART OF PERFECT WISDOM: Personnel includes: Randy Armstrong (acoustic guitar); Sharmane Eve Simard (harp); Ken LaRoche (wooden flute). A SUFI SONG OF LOVE: Personnel icludes: Robert Gass (vocals); Paul Kli (violin). Recorded at Inner City Sound, Boston, Massachusettes and FTM Studios, Denver, Colorado. Includes liner notes by Jonathan S. Goldman, Robert Gass, Sasdi, and Neil Douglas-Klotz. With his imaginative arrangements and stunning use of choral harmonies, Robert Gass has carved a special place for himself in the world of spiritual music. Here, he offers his interpretation of two important Buddhist chants and a Sufi hymn. The Heart of Wisdom Sutra is a key Buddhist scripture containing one of the essential Buddhist mantras, "Gate gate, para gate para sam gate, bodhi svaha." In an arrangement gleaming with all the eerie beauty of medieval polyphony, Gass and his chorus intone the mantra, as well as a condensed English translation of the entire sutra, as a celestial chorale with a low, droning background of overtone chanting. Wooden flutes and harp weave through the airy tapestry. More overtone chanting accompanies the mantra "Om mane padme hum." This second track is entirely vocal, a dense blanket of sound perfect for meditation. The third track is a lovely choral recitation of a Sufi declaration of faith, or "Kalama." Gass and his choir start out in a reserved, almost polite fashion. About 13 minutes in, a lively instrumental break marks a shift into more primal territory. Percussive acoustic guitar and spirited grunting take center stage, eventually surrendering once again to the mildness of the opening third.

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"Heart of Perfect Wisdom/A Sufi Song of Love" (10/24/2000) New Age Gass, Robert, Spring Hill Music2 LPs on 1 CD: HEART OF PERFECT WISDOM/A SUFI SONG OF LOVE. HEART OF PERFECT WISDOM: Personnel includes: Randy Armstrong (acoustic guitar); Sharmane Eve Simard (harp); Ken LaRoche (wooden flute). A SUFI SONG OF LOVE: Personnel icludes: Robert Gass (vocals); Paul Kli (violin). Recorded at Inner City Sound, Boston, Massachusettes and FTM Studios, Denver, Colorado. Includes liner notes by Jonathan S. Goldman, Robert Gass, Sasdi, and Neil Douglas-Klotz. With his imaginative arrangements and stunning use of choral harmonies, Robert Gass has carved a special place for himself in the world of spiritual music. Here, he offers his interpretation of two important Buddhist chants and a Sufi hymn. The Heart of Wisdom Sutra is a key Buddhist scripture containing one of the essential Buddhist mantras, "Gate gate, para gate para sam gate, bodhi svaha." In an arrangement gleaming with all the eerie beauty of medieval polyphony, Gass and his chorus intone the mantra, as well as a condensed English translation of the entire sutra, as a celestial chorale with a low, droning background of overtone chanting. Wooden flutes and harp weave through the airy tapestry. More overtone chanting accompanies the mantra "Om mane padme hum." This second track is entirely vocal, a dense blanket of sound perfect for meditation. The third track is a lovely choral recitation of a Sufi declaration of faith, or "Kalama." Gass and his choir start out in a reserved, almost polite fashion. About 13 minutes in, a lively instrumental break marks a shift into more primal territory. Percussive acoustic guitar and spirited grunting take center stage, eventually surrendering once again to the mildness of the opening third.

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