Music by PJ Birosik

Oi, you! Put on your traveling shoes and slip this one into your car stereo system as you prepare to commute on an aural journey from London to Loch Ness accompanied by consummate pianist Gettel. Bypass the unmemorable "Ceud Mile Failte" and sink easily into the rhythm of the rails on the title track as the tight and tasty ensemble sound is powered by Brian Thiessen's emotive electric guitar solos. And don't forget to stop off to savor the pastoral vistas from "Hadrian's Wall" (all appropriately soft rolling piano lines and delicately flowering percussion) and the exquisite mid-tempo rambler "Galloway" with its sparkling pipe accents and nostalgic melody. When you're ready for a tea-time break, melt into the mysterious "Memory Stone" through foggy bass-lines and impressionistic piano-guitar strains heightened by Jerry O'Sullivan's impeccable pipe performance. No accidental tourist, Gettel's succinctly captured many subtle aspects of this ancient island, then brought them home for us all to share. Home movies were never so entertaining! Instrumentation: piano, synths, bass, drums, percussion, acoustic and electric guitars, whistles, Uillean pipes.

Intuitively interlaced vibrations recorded in a studio overflowing with museum-quality crystals manifest a deep exploration of nine familiar gemstones noted for their ability to stimulate the mind. In the deluxe booklet included, noted English crystal worker Clinton explains that for thousands of years, the benefits of stones like lapis lazuli, quartz and amethyst have been known to disperse negative energy and heal harmoniously. Similarly timeless, the soothing and tranquil music presented here has the ability to foster well-being both consciously and on more subtle planes. It becomes a potent tool for transformation when listened to all the way through, progressing from one state of awareness to the next until the listener is filled with creative euphoria. As each crystal and mineral possesses its own soul note, it is possible to resonate to a desired mental "tuning" by re-playing certain tracks. For example, carnelian is composed in the key of D to break through writer's block or open clogged creative pathways. But most of all, this is exquisitely lovely music that vibrates good feelings from the inside out, softly encouraging all manner of positive expression. Instrumentation: keyboards, guitars, flutes, panpipes, strings, chimes, birdsong.

Where one is from isn't as important as where one is headed, and good friends make the journey that much sweeter. This simple sentiment forms the basis for an exceptionally beautiful selection of instrumental acoustic music that helps one enjoy the adventure of everyday living. Morgan is an incredibly articulate guitarist blessed with the gift of being able to convey in four minutes of music what it would take several books to relay. His musical "stories" describe beloved imaginary characters who dance in "Luminescent Shoes," and embrace "The Unexpected Stranger" as they share the marvels of their travels. One is quickly immersed in this good company as the brightly hued music flows smoothly like a water-color, pausing now and then for a fun and funky time-out "By the Well of Joy" or a romantic rendezvous to express "What Words Can't Say." There's many a good instrumental tale here, much to bring a secret smile, a private dance step. This is feel-good music of the finest grade for anyone open to inspiration. Instrumentation: guitars, fretless bass, wordless vocals, flute, chimes, percussion.

Even if you're not a dancer, this delightfully exuberant music will have you kicking up your heels in no time! Making music as refreshing as a walk in a newly green wood, this acoustic ensemble mixes instrumentals like "John Marr's Fancy/Glass of Beer" with old folk vocals such as "Star of the County Down." But they also create innovative arrangements that mix classical suites with modern ballads ("Handel's Water Music/Over the Moor to Maggie/Staten Island Hornpipe") with such dexterity and grace that it seems as if these disparate pieces were always played together. When the tempo gets a bit hot, the consort smartly cools down the pace a bit with a few delicate airs evoking a sense of hopeful yearning in their measured paces. But soon the spirit of celebration takes over again to put a skip in your step ("Foggy Dew/Tolkein's Draught"). An admirable blend of Celtic, folk and early music (classical, medieval), this album is a wonderful kickstart to the imagination. Instrumentation: fiddles, guitars, mandolins, whistles, bozouki, banjos, acoustic bass, oboe, accordion, cello, percussion, drums.

Woven by the man responsible for the hugely successful Chant, this relaxing musical journey provides a haven of gentle calm in the midst of millennium madness. Presenting the work of eight visionary musicians, this recording starts softly with a haunting piano solo by Sinisha Mitrovic that speaks volumes through its emotion-filled melody; then it slides forward on sinuous violin strains as Richard Brooks' "Loops No. 1" takes a contemplative tone poem to ethereal new heights through innovative use of echoes and tranquil repetition. Its melody darts and swoops like a swallow on gossamer wings, eventually drifting from view into the big blue sky as the last note fades. Changing direction, the music becomes more intimate and personal with the contemporary ensemble sound of "Rites of Passage" by Euphoria, followed by the exquisitely pretty guitar-woodwind duet "Changes" by One Alternative, a rich and warmly resonant exploration into quiet contentment. Bringing us full circle is a short cinematic suite by Saw Revenge; its "Overture" is a darkly urban commentary on midnight streets and gleaming neon lights, brimming with strutting confidence as the new era emerges. Instrumentation: piano, violin, keyboards, guitars, woodwinds, percussion.

Exotic and mysterious, deeply transformative, this album is nothing less than a musical vision quest that embraces all that is on and under the earth. From the sacred desert songlines of aboriginal Australia to the loftiest Tibetan mountain peak, the sounds of Inlakesh will whisk you away to imaginary landscapes that reside in the hidden corners of your mind. Even their name is mystical, taken from the ancient Mayan greeting that means "I am another yourself." Aided by critically acclaimed sonic shaman Steve Roach on "Eat Flowers, Breath Light," Tanya Gerard and Rob Thomas manifest an 18-minute extended journey into the land of the lotus eaters whose dramatic visions have been re-told for centuries. But for the deepest excursion, savor the undersea song of whales and didgeridoo as they mingle in low frequency conversation on "Subterranean Deep." This potent dream of Earth's oceans is enhanced by the slow trance grooves of Nigerian clay pots as liquid atmospheres flow in smooth, undulating waves. This perfumed music is as intoxicating as incense, as rare as amber, and a precious reminder that we are connected to everyone, everything, all the time, naturally and effortlessly, as we float through the cosmos. Instrumentation: didjeridoo, bilma, rattles, shakers, ethnic drums, hand percussion, breath, spoken word, mantras, water textures and atmospheric textures.

Let's face the ugly truth: to many Westerners, Asian singing styles often sound like two cats slugging it out in a burlap bag. In America specifically, few Asian artists have made significant sales impact; Dadawa, Najma, and Sheila Chandra are among the rare exceptions (if you exclude the occasional Japanese pop/rock export). Yet Asian music boasts some of the most exquisitely delicate and hauntingly beautiful tunes ever created to support the female voice! This bold and visionary collection cuts a wide swathe through prejudice and pre-conception to introduce listeners to some of the best traditional and cutting edge music made by Asiatic women today. Let's start with overtly intellectual Yoko Ono-ish Liu Sola whose hard-edged style drove her from Hong Kong to the UK's Bill Laswell, who paired her with jazz/experimental players for an innovative take on Chinese opera by way of Japanese Noh theatre. For those preferring a softer sound, check out Java's Euis Komariah (whose lilting soprano is accompanied by the Jimi Hendrix of zither players) or Uzbekistanian superstar Yulduz Usmanova's plaintive Euro-pop spiced with long-necked lute accents. Instrumentation: vocals with unspecified accompaniment on contemporary Western and Asian instruments.

For extended reverie, few instrumentals can match the color and spice of "The Morning Dew," an 11-minute opus based on an ancient Celtic blessing for travelers. The delicate sound of Irish whistle intertwined in melody with flute yields before a plaintive Celtic harp solo that introduces angelic voices so sweet and childlike that the fairy-folk themselves would be enchanted by the sound. Returning to the Emerald Isle of his mother's people, Oldfield digs deep into the past and discovers the passion for living that has come to characterize this ancient culture. Through dances and dirges, lullabies and waltzes, his magical music enfolds one into listening "for something that may not be heard, that lies in the sound of the unspoken word." Moving beyond traditional forms, his compositions strive towards the heavens, "carried away on the winds of a moment." Adding inspiration to this graceful muse are renowned harpist Patricia Spero, singers Imogen Moore and Katherina Heinrich, and Dave Pash on guitar and mandolin. Instrumentation: vocals, flutes, guitars, mandolin, whistles, Northumbrian and Uillean pipes, Celtic harp, violin, bodhran (Celtic drum), percussion.

Hold down your hat, cause your mind is gonna blow! Tracking the path of Roma music from its North Indian homeland over 1,000 years of migration is a daunting task, but producer Dan Rosenberg has made the unmanageable manifest in this impeccable14 track disc that links Rajasthani love songs to Parisian "gypsy swing." Enslaved until 1855, killed by the hundreds of thousands during the Holocaust, and still discrimated against today in almost every country on the planet, the Roma ("gypsy" is considered a derogatory term) have strongly impacted folk, jazz, flamenco and other musical forms. We've all heard their impact: one listen to "Marquez de Porrina" brings to mind the chart-topping Gipsy Kings (Spaniards who popularized the gypsy rumba) -- or re-listen to Thierry Robin's "Pundela" from the deservedly-acclaimed Gypsy All-Stars, who broke through in 1993 with Gitans. For less familiar fare, sample the fiddle wizardry of Turkish maestro Cemal on "Gel Beriye Beriye" or Russia's Kolpakov Trio perkily singing "Grastoro." Instrumentation: vocals, guitars, accordion, oud (North African fretless lute), fiddles, bass, cimbalom (Hungarian dulcimer), mandolin, milkjug, trumpets, tubas, sax, clarinet, zurla (oboe), drums.

Submissions for review consideration may be sent to: PJ Birosik, MUSIK INTERNATIONAL CORP., 154 Betasso Road, Boulder, CO 80302-9606. Since 1977, Birosik has been a music industry consultant specializing in marketing, promotion, publicity and A&R/foreign licensing; she is a member of NARAS, NARM, NAIRD, CMC, IMA, and a past Board of Director of Los Angeles Women In Music who has been profiled in 11 international editions of Who's Who. Calls may be placed to her at (303) 444-9575 between 9:30am - 5pm MT regarding review criteria, consulting services for signed & unsigned musicians, and data list rentals.

SOURCES: Alula 800-932-5852
Grandma Katherine's Music 888-GRANNYK
Inlakesh Music 505-989-6642
J-Bird Records 800-568-8809
Narada 414-961-8350
New World Music 800-771-0987
Shanachie 212-334-0284

THE JOURNEY NORTH • MICHAEL GETTEL

CRYSTALS • ANN CLINTON & LIEWELLYN

WANDER THE WOODS • YANKEE CELTIC CONSORT

SPIRIT FOR THE MILLENNIUM • J-BIRDS RECORD

THE GATHERING • INLAKESH MUSIC

HOLDING UP HALF THE SKY: VOICES OF ASIAN WOMEN
• SHANACHIE

ALL THE RIVERS GOLD • NEW WORLD MUSIC

THE GYPSY ROAD • ALULA