Personnel: Eva Cassidy (vocals, guitar); Keith Grimes (electric guitar); Bruno Nasta (violin); Kent Wood (sythesizer strings); Les Owen (saxophone); Lenny Williams (piano); Chris Izzi (keyboards); Kent Wood (organ, synthesizer); Larry Melton, Chris Biondo (bass); Adrian Green, Racie McLeod (drums).

Recorded between 1987 & 1996. Includes liner notes by Bill Straw.

Following Eva Cassidy's 1996 death from cancer at the age of 33, word-of-mouth popularity in America by way of England led to a number of stellar posthumous releases mixing live and studio recordings. 2002's IMAGINE follows the same path and is no less impressive. Front and center is the late D.C. native's stellar vocal timbre that allowed her to interpret a wide range of songwriters. In the studio, she easily moved from a slinky version of Little Willie John's "Fever" (featuring interesting support on fiddle by brother Dan) to a soaring interpretation of "I Can Only Be Me," a Stevie Wonder composition originally recorded by Keith John for the SCHOOL DAZE soundtrack.

The most notable in-concert performances featured here come from intimate Annapolis venues like the King of France Tavern and defunct Pearl's. These gorgeous solo acoustic readings include the standard "Danny Boy" and Gordon Lightfoot's "Early Morning Rain." Most fitting is Cassidy's take on "Who Knows Where The Time Goes" by Sandy Denny, a singer she's most often compared to. In light of the acclaimed success of the stylistically similar Norah Jones, the mind boggles at the heights Eva Cassidy might have reached had she not died at such a young age.

Rolling Stone (9/19/02, p.110) - 4 stars out of 5 - "...An odds-and-ends collection culled from diverse sources that holds together, thanks to Cassidy's torchy interpretive genius."

Q (9/02, p.124) - 3 stars out of 5 - "...These 10 tracks are as emotionally moving as ever and will please those hungry for more of her work."

Mojo (Publisher) (9/02, p.115) - "...a warts and all collection of classic songs sung by a superb interpreter...the kind of performances that make audiences feel guilty about breaking the fragile time-stopping magic by breathing too loud."