The phenomenal story of Motown has been told many times—so many in fact, that the notion of an untold part of its legacy seems far-fetched. But as the documentary film Standing in the Shadows of Motown demonstrates, there was more to the success of the Detroit-based label than singing babes in gowns and founder Berry Gordy's business acumen. There was also the self-named Funk Brothers: the session players putting the unforgettable guitar sounds into "You Keep Me Hangin' On" and the creeping bass line behind "I Heard It Through the Grapevine." These guys were a crucial piece of the puzzle but have remained largely anonymous. While the Standing documentary tells the Funk Brothers' story via interviews, stock footage, and still photos, the accompanying soundtrack takes liberties, pairing the surviving musicians with contemporary pop, R&B, and funk artists. Together, they faithfully recast Motown hits. What could have been a disaster—would you want to muck with "Ain't No Mountain High Enough"?—works beautifully, thanks both to the Brothers' chops and the thoughtful artist selection. While enlisting a soul brother like Ben Harper was a no-brainer, the inclusion of Joan Osborne was especially astute. After all, Osborne's deep connection to R&B is why her production of the Holmes Brothers'Speaking in Tongues disc was genius, and she acquits herself beautifully on "(Love Is Like A) Heat Wave" and "What Becomes of the Brokenhearted." Similarly, bass boss Meshell Ndegeocello gives Chaka Khan competition in the gospel diva department. Bootsy Collins, Gerald Levert, and Montell Jordan also contribute. Motown purists may balk at this concept, but they'd have to agree these readings are smart, respectful, and very, very soulful. —Kim Hughes

It's a pleasant surprise when a Hollywood sequel actually rivals the artistic success of its inspiration, but that's exactly what Dreamworks' second computer animated skewering of the classic fairy tale canon does with consistent wit and charm. It boasts a vibrant song-score (Harry Gregson-Williams' slyly humorous orchestral soundtrack is also available) to match, one that bristles with even more eclectic pop energy than the original, if not quite as many left-field surprises. There are takes on love with a contemporary edge from Eels and Dashboard Confessional, as well as more traditional romantic ballads from Joseph Arthur and Counting Crows, while veterans Tom Waits and Nick Cave offer up slices of their own typically moody melancholia. Covers of Bonnie Tyler's "Holding Out For A Hero" (in a dry techno revamp by Frou Frou) and Bowie's "Changes" (with a cameo by the author himself lighting up an otherwise mundane version) are also featured, though neither reaches the loopy orbit of Antonio Banderas and Eddie Murphy trashing Ricky Martin's kitsch-iconic "La Vida Loca."—Jerry McCulley

The culture-clash plot of filmmaker Gurinder Chada's surprise, soccer-girl-themed '02 hit Bend It Like Beckham couldn't offer American audiences much more than her bright, hand-picked sampler of India's pop music. But Chada's more traditional morality tale here (a limber adaptation of Jane Austen's Pride and Prejudice featuring Indian superstar Aishwarya Rai) shimmers with the intoxicating visual and musical splendors of a full-blown Bollywood-meets-Hollywood production. The song-score by noted Indian musical star Anu Malik is charged by propulsive folk rhythms ("Punjab Wedding Song,""Dola Dola"), yet laced with knowing Western pop conceits that range from Caribbean hip-hop ("No Life Without Wife") to the Broadway-suffused ballads "A Marriage Has Come to Town,""Take Me To Love (1&2)," and "Arrogance, Pride and Vanity." American R&B star Ashanti's sultry "My Lips Are Waiting" and "Touch My Body" complete Malik's enticing East-meets-West fusion, a delightful, dizzying primer to his country's most beloved film and music genre. —Jerry McCulley

Like The Muppet Show or The Simpsons, Shrek is tiered with visual appeal, fantasy, and sophisticated humor that appeals to children and adults on two mutually exclusive levels. Judging by the soundtrack alone, there is some genuine emotion coming from this movie; Rufus Wainwright, the Proclaimers, and especially the Eels all pen winsome, longing tunes. Dana Glover's "It Is You (I Have Loved)" represents the soundtrack's requisite glossy ballad, but it's better than most, and John Powell's climactic, orchestral "True Love's First Kiss" makes one wish there was a full score to accompany this soundtrack. On the flip side, Smash Mouth cover the Monkees'"I'm a Believer" with a groovy treatment of crunchy hip-hop beats, and Leslie Carter (sister of Aaron and Nick) gives a perky performance on the Britney-esque "Like Wow!" The soundtrack squeezes the last drops of juice from the overplayed Smash Mouth hit "All Star," but other than that, it strikes a great balance between cute-but-not-precious pop hits, and more grown-up songs that are well within reach of young ears. —Beth Massa

Sarah Michelle Gellar may be saving the world from vampires but her TV show is also helping a few worthy bands get some much needed exposure. Dayton, Ohio's ridiculously prolific Guided by Voices lead things off with the playful "Teenage FBI," a strong distillation of the band's knack for the irrepressible hook. The all-femme Hepburn protest in true "Maggie's Farm" fashion (as in "I ain't gonna work on...") for the quickstepping, bubble-gum punk-pop of "I Quit." Bif Naked's arena anthem "Lucky" is perfect for staring at candles. Garbage are in suitably psychedelic glam shades for "Temptation Waits." Rasputina, the gothic cello ensemble, include the appropriate "Transylvania Concubine." The only misstep is from virtual old-timers the Sundays, who deliver a lazy-day version of the Rolling Stones'"Wild Horses." But this is made up for with the inclusion of Nerf Herder's "Buffy" theme song and Christophe Beck's instrumental theme music, which round out this all-inclusive collection. —Rob O'Connor

The first time you listen to this disc you will undoubtedly be transported directly back to your childhood. Charles Schulz's Peanuts characters will go toe-tapping and funky-dancing through your mind's eye. Play it a few more times, though (ignoring the dialogue snippets, if you can), and you will begin to truly revel in Guaraldi's wonderful, humorous, deep piano playing. You'll hear why he's such an influence on new age ivory tickler George Winston, but you'll also realize that Winston's holiday music never quite sparkles with the underlying passion, and humor, that twinkles in these grooves. Buy it for the nostalgia—keep it because it will remain one of the most enchanting albums in your holiday collection. —Michael Ruby

The movie is a 1970s take on 1950s musicals, providing all the kitsch anyone could hope for. It's John Travolta as Danny Zuko as Olivia Newton-John's pompadoured main squeeze, and the kids go crazy. Fresh from his astronomical success with Travolta in Saturday Night Fever, Bee Gee Barry Gibb penned the title track (sung by Frankie Valli). Sha Na Na is over-represented, and actress Stockard Channing struts her, um, versatility, singing a couple of tracks. This has become a touchstone in American culture, and so isn't likely to improve our standing in the world's eyes. Maybe the point is that it's supposed to sound amateurish, but it does manage to eke out some fun, most notably on the hit "You're the One That I Want." —Scott Wilson

Masters Of Classical Music: Mozart by Vienna Mozart Ensemble; Herbert Kraus, conductor

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