Born [UK Bonus Track]

Bond: Haylie Ecker, Eos (violin); Tania Davis (viola); Gay-Yee Westeroff (cello, double bass).
Additional personnel includes: Carmen, Marta Sebestyen (vocals); Mark Wood, Ramon Ruiz (guitar); Pandit Dinesh, Michele Drees, Chucho Merchan (percussion); London Session Orchestra, Royal Philharmonic Orchestra.
Producers: Magnus Fiennes, Yoad Nevo, Gareth Cousins, Mike Batt.
Engineers include: Rick Featherstone, Pete Lewis, Gareth Cousins.
Recorded at Abbey Road Studios, Cubshack, Townhouse Studios, and Whitfield Street Studios, London, England; Oakleigh Music Studio, Strattford, England from November 1999-May 2000.
This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.
Bond: Haylie Ecker, Eos Chater (violin); Tania Davis (viola); Gay-Yee Westeroff (cello).
Producers include: Magnus Fiennes, Orion, Stuart Crichton, Andy Wright, Michael Cann.
Personnel: Anita Kelsey (vocals); Dave "Clem" Clempson (guitar, electric sitar); Ramón García Ruiz (guitar); Eos, Haylie Ecker (violin); Tania Davis (viola); Gay-Yee Westerhoff (cello, double bass); Joseph de Jesus (trombone); Gareth Cousins (synthesizer); Chucho Merchán, Dinesh, Michael Drees (percussion).
Audio Mixers: Gareth Cousins; Phil Da Costa.
Director: Brian Gascoigne.
Arrangers: Julian Kershaw; Gareth Cousins; Mike Batt.
BORN, the debut album by the sultry string quartet Bond, is many things but certainly not a classical record in the traditional sense. And that's the point. The group expertly mines the crossover territory mapped out by artists such as Vanessa-Mae and Adiemus, and despite the hype and marketing, Bond shouldn't be dismissed as merely a pretty girl group cloaked in classical music pretension. Along with their photogenic looks, the group boasts impressive classical and pop music credentials and canny commercial instincts. The result: a big, polished production that sets classically derived themes and traditional string quartet instrumentation in a variety of musical contexts.
The album's opening track, "Quixote," is indicative of the group's method--an ultra-romantic theme abruptly explodes into a high-energy pastiche of techno-style beats, electronically enhanced vocals, and Middle Eastern-flavored colorings. The foursome shows its multitude of musical influences in the worldbeat stylings of "Alexander the Great," the Abba-esque "Dalalai," the atmospheric "Oceanic" (with vocalist Marta Sebestyen), and "The 1812," the group's lavishly produced reworking of Tchaikovsky's well-known overture. The album closes fittingly with a remixed version of the anthemic "Victory," an apt declaration of Bond's take-no-prisoners approach.