====Quick stardom=====

The Susan Boyle phenomena would perhaps not have emerged the way that it has if it were not for second-generation Welsh warbler, Charlotte Church, who popularized it cool to be operatic even in the pop charts. Susan is an additional treble in the musical spheres, the X Factor saw her potential via the electric responses from the audience, who were astonished by the fact that a not so pretty woman could sing like a shrilling sparrow with more octaves than a sea echoing cave.

By the time that Susan had struck Gold by appearing on the X-Factor show as far back as a year ago, Julie Andrews look-a-like, Connie Fisher was performing in the UK Tour of The Sound of Music, but struggling with her vocal chords, she had to have an operation. Boyle's enigma was at fever pitch, so singers like Connie were drowning faster than a lifeboat in crisis, because that is how it all works in the fast lanes of instant success and why it is that Susan Boyle will also suffer the same fate once new talent arrives around the next block, which is good news for those who dislike her music.

=====Sounds unreal=====

Now before I am given a skull and cross in my review (hopefully not), I would like to point out that even though I am not moved by Susan's voice, does not mean that I don't admire her individual success and ambition, just her tonal artistry that seems to fluctuate according to whether she sings live or in a studio. Lastnight, she appeared on a televised show (I cannot recall the name of it or the channel) as was watching it in the break whilst waiting to find out the Eurovision results. Anyway, I was struck by just how raw her sound was compared with the "I dream a dream" album compilation, her voice in this sounds digitally mastered, so that it swipes out any imperfections.

The CD that features "Memory" "Wild Horses" "Amazing Grace", "You'll see" and so forth, are given their own unique character with Susan's voice, though lacks some fundamental diversity in vocal-expression that when she performs live, has a much more natural, sometimes off-key, yet richer and deeper quality, you are listening to what essentially is a falsified representation of her pure sound when you put on these latest tracks. The tempo in each song fits accordingly to the pace of the lyrics, Susan is often ahead of them or somewhere behind them, so you have plenty of opportunity to pick up on the velvet-perfected rendition of her technically adjusted voice. The background instruments try and carry her through in some places, though they get swallowed by her shrill, so they are not necessary compliments whilst she is in full chorus.

The technical-editing have virtualy stripped her pure voice and rendered her a new one, leaving the listener with a supernaturally-imposed smooth and manufactured gift, we are to assume that we can't tell the difference, yet I certainly can if no one else. Susan Boyle then becomes something else, but not the woman who sang live on X factor, but someone right out of the musical operatic societies, it takes considerable years to reach that level of vocal expertise, Susan had only taken fundamental singing lessons a couple of years before she became even nationally acknowledged.

=====Heavenly pure=====

Her ability to deliver a silk-effect yodeling in the studios, with all its sophisticated formatting and editing devices, cannot move me unless the music producers quit from taking extreme measures to manipulate great sounds that end up being far too sleek for their own good.

The thing about Susan Boyle, is that although she has an outstandingly stunning set of lungs that gifted us with her rendition of "I Dreamed a Dream" from the depths of depravity "Les Miserables" (Literally means The Miserables) from French to English translation: she gave us something spectacularly fluid that centered away from the headlights of persistent 'takes' on familiar conventional anthems such as "Ava Maria" or "Pie Jesu" most classical singers begin their careers on these as in the case of Charlotte Church. Susan did something different and picked on a less recognized melody, our multicultural society, haven't all grown up on French-Anglo classical pieces.

Whether she had the added advantage of cappella training before composing the tracks on this CD is not known, but given that she has had a very scheduled traumatic time in health retreats due to all the stardom stress, would seem highly improbable, so am more than convinced that the studios she performed, must have been solely responsible for the pristine outcome of her perfectly ironed voice that to me, sounds as if she has just risen from the heavens like a reincarnation of Karen Carpenter, the only harmonious female singer of the 20th century to have been born with the perfect sound outside of the Jazz arena, no other woman vocalist to date I am aware of, can ever top this, not even Carry Fisher.

But Boyle is no Karen Carpenter is certain when you listen to her live, so am left feeling betrayed by a voice that isn't entirely natural, however beautiful it may be after all the manipulation of it.

===Nostalgia=====

This disturbingly serene audio CD and all its legendary tracks, send you on a kind of mesmeric odd journey down nostalgia lane in some places and take you far away in others. There have been many cover versions for all of these tracks over time, but each band and solo artist adopting different sound mixes, tempo and instruments to create a unique interpretation.

The famous Madonna ballad "You'll See" in this album, drifts into oblivion for me because I cannot associate it with anyone but Ciccone singing it, with the barely there techno mixes in the background, gives us the full capacity of her humming rhythm that the song needs nothing more. When Susan sings it, it loses its original meaning when there are few instinctive pauses and absent passion for how it ought to sound, despite the fact that she does eerily sound rather like the queen of pop in this track and a few others. I particularly dislike the slow and deadly sad "Daydream believer" the chirpy Monkees made it a sensational cover hit in 1968, now it sounds like an injured memory sketch.

===producers and musicians====

Arranger: Steve Mac.

Personnel: John Parricelli (guitar); Steve Mac (piano, keyboards, synthesizer)
Dave Arch (piano); Chris Laws (drums); Mae McKenna (background vocals).
Audio Mixer: Ren Swan, he is the voice audio editing, enhancing, and mixing producer

====Conclusion=======
There is nothing pop about this album when all of the tracks are carefully deliberated classical hymns as opposed to moody ballads or racy numbers you want to get up and dance, so have no idea why it comes under that genre. A baronial identity is impossible to alter and we witness the predominate strength of her soprano lungs far more in this compilation than any non-classical sounds, she is simply not cut out to be something she isn't, but then, so has her voice been formatted so that does come across quite strongly and why other people listening to the CD, will be enamoured and lulled by its misleading rapture.