Felt

Felt

Editorial Reviews
About the Artist
audio habitat = james wagner

Product Description
audio habitat began with the realization that everything is made up of frequency. through non-judgemental exercises, felt expresses the harmonic exchange between biological and logical, to achive a non-analytical state of bliss and beats.

Felt

Tracks:

Lovely Head
Paper Bag
Human
Pilots
Deer Stop
Felt Mountain
Oompa Radar
Utopia
Horse Tears

Amazon.com

You might expect the debut album from a woman who has collaborated extensively with Tricky and Orbital to be both wondrous and strange--and you'd be right to. What you might not expect is the depth of Alison Goldfrapp's beguiling, distracting 21st-century noir visions on Felt Mountain. She and her fellow composer Will Gregory can mix in Brechtian cabaret; classical instrumentation; left-of-field electronics; decadent, Gainsbourg-style French pop; and the odd piece of whistling on just one track ("Felt Mountain"). "Oompa Radar" almost reaches Tom Waits heights of infamy from the way familiar instruments come together in such a simultaneously comforting and alienating style. The baroque "Paper Bag," meanwhile, uncannily recalls Joe Meek's toy-town visions of 1960s grandeur. All this and a seductive vocal to die for. --Everett True

Customer Reviews:

Timeless.......2007-03-18

Sometimes you find a group of songs that create "that" kind of moments. For example, each time I listen to "pilots" (and mostly, all of the songs in this album) something beautiful is happening. It doesn't matter if I am at work or if I am just staring at the skies.
I had this one since its release date. But haven't pay enough attention until a couple of years after. I guess you have to find the right moment to enjoy it.
Sometimes I wish "Black Cherry" and "Supernature" where as fine as this one.

EH.......2007-01-03

I was not really impressed, a little to echoey for my taste. Some songs ok, but weird in a weird way.

goldfrapp rocks!.......2006-12-23

this is a strange and strangely familiar CD. the music is different - it takes you to a different place. i can't seem to stop playing it, it keeps growing on me. experience a strange haunting yet wonderful twist with this CD. it's almost like a sound track to a noir flick - really worth checking out!

Can not sing.......2006-11-24

This CD reflects a very soft voice that's off tune. The drawn out and slow lyrics might be great but the CD as a whole with excepton to one track with little or no singing is kind of lousy. I am pretty liberal when it comes to taste in music.

Atmospheric... oniric.. contemporary ambient .......2006-10-25

I am in my early forties, and this album I hear in a cd store some years ago while browsing.. i just could not help appreciating the surreal sound of this music, I just had to get it..

get some good wines, get together with your friends, this is perfect ambient music .. in the road while its raining and you really need your to be in a different world.. this is the music

Average customer rating:

2005......
Hopefully Vol. 2 of Many More Murs,Slug,&ANT Pairings
two great rappers, one awesome album
The ill duo continues...
AWESOME album!

A Tribute to Lisa Bonet
Felt
Manufacturer: Rhymesayers
ProductGroup: Music
Binding: Audio CD

General | Rap & Hip-Hop | Styles | Music

Pop Rap | Rap & Hip-Hop | Styles | Music
Similar Items:

You Can't Imagine How Much Fun We're Having
Felt - A Tribute to Christina Ricci
Lucy Ford
Headshots: Se7en
Shadows On The Sun

ASIN: B0009VI494
Release Date: 2005-07-12

Tracks:

Reintroduction
Employee Of The Year
Your Mans And Them
Lisa (Never Easty On My Nextel)
Morris Day
Dirty Girl
Early Mornin' Tony
Breaker Down Like A Shotgun
Marvin Gaye
Life Vegas
Bonet (Cement Angels)
Woman Tonight
Gangster Ass Anthony
The Biggest Lie
I Shot A Warhol

Customer Reviews:

2005.............2007-02-26

had some artist that were blowing up, but I would say not a lot of them had a better album then Felt(Murs and Slug). I mean every song on this cd is either great or really great, there is nothing on this cd that you will not like. Listening to "A Tribute To Lisa Bonet" is better then "Christina Riccu", and it will make you probably go out and check the twos solo projects because those are bangers too.

Hopefully Vol. 2 of Many More Murs,Slug,&ANT Pairings.......2006-12-24

As a fan of Murs & Atmosphere I knew this album would have to be good and after reading reviews between this Felt disc and Vol. 1 (Christina Ricci), I decided to go with this one. I thought it'd be good but damn, I don't know how they could even get better if they came out with another Felt album.

This album is bumping from start to finish. Great disc for anything from summer driving to partying to working out. There's energy apparent in every song whether it's the powerful lyrics (woman tonight, biggest lie) or the beats (employees of the year, marvin gaye). The beats ANT lays down are truly remarkable and as a fan of underground hip hop, I've never really heard any album with a feel like this. Some could be more radio friendly, some are just ridiculously funky, some are eerie, and some are just straight bumping. Has a west coast feel to it, somewhat similar to some Quannum stuff, but seriously doesn't compare to anything else in reality that I've ever heard. Only complaint with the album is that I feel like Murs gets a little shortchanged in the lyrics, meaning Slug has a lot more verses. Its sometimes heard to tell because they sound somewhat similar and their verse topics for each song are usually similar, but the more I listen to Felt 2 it still sounds that way.

Check out: Morris Day, Woman Tonight, Employees of the Year, and Breaker Down Like A Shotgun

If you're feelin this, you got a good idea of what this about is all about. Definite must buyfor any real hip hop heads.

Slug (Morris Day) - "I never had trouble with the lovable/walk down that hill and f**k all the buffalo/and by the time I get done with the small town/ashes and bridges and all the walls fall down"

two great rappers, one awesome album.......2006-10-24

Murs and Slug team up again.. Well, actually you could say that Murs and Atmosphere team up this time, with Ant makin' the beats. This is a fun album. Slug tends to put out darker material, but not this time. It just seems like him and Murs are just out to have fun and it sounds great. The music is far better than that on volume I and Murs and Slug flow a lot smoother than before as well. To me, this album sounds a lot more LA than MPLS, and I kinda like it. Every song on here is great, there's no filler. The only song I don't care too much for, contrary to almost everyone else, is Dirty Girl. I'm not a fan of the high-pitch chipmonk chorus.

tracks worth checkin' out (they're all worth checkin' out, seriously):
Employees Of The Year
Morris Day
Life Vegas (I love the beat)
Breaker Down Like A Shotgun
I Shot A Warhol

The ill duo continues..........2006-10-16

Did they continue to make your head nod on this second attempt? Yes! Are the beats just as good if not better? Yes! Every record they make is good. They have no competition, they're in a category of their own. They hold it down for all that appreciate dope hip hop music. Don't sleep, if you see it at the store buy it. It'll be one of your best purchases in a long time. Peace!

AWESOME album!.......2006-09-07

This is not only my favorite felt album to date, but it is also one of my favortie hip-hop albums period. IMO Ant is a MUCH better producer and this album flows much, much better than "A Tribute to Christina Ricci". Get this album, you won't be sorry!

Average customer rating:

garbage
Delicate, Beautiful
The Nude Empress drinks the Kook-Aid
Pure heaven
8.5/10

Until We Felt Red
Kaki King
Manufacturer: Velour Recordings
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | New Age | Styles | Music

Solo Instrumental | New Age | Styles | Music

General | Rock | Styles | Music

General | Rock Guitarists | Rock | Styles | Music

Pop Rock | Pop | Styles | Music
Similar Items:

Everybody Loves You
Dreaming Through the Noise
Ys
The Reminder
Half the Perfect World

ASIN: B000G2YCR4
Release Date: 2006-08-08

Tracks:

Yellowcake
...Until We Felt Red
You Don't Have To Be Afraid
Goby
Jessica
First Brain
I Never Said I Love You
Ahuvati
These Are The Armies Of The Tyrannized
Second Brain
Soft Shoulder
The Footsteps Die Out Forever
Gay Sons Of Lesbian Mothers

Amazon.com

It would be reaching to equate Kaki King's new direction with Dylan's electric debut at Newport. Yet there's no doubt the New York-by-way-of-Georgia musician has taken a sharp left turn with her third full-length. After two discs composed primarily of acoustic guitar, Everybody Loves You and Legs To Make Us Longer, King has added vocals to her arsenal (something she first experimented with on her last album). It could have been a disastrous move. Fortunately, King, who actually started out as a drummer, hasn't morphed into a standard issue singer/songwriter--just as Dylan didn't abandon his folk roots when he plugged in. Rather, her minimalist musings add texture to the atmospheric, post-rock proceedings. And just as her fret work has been described as "singing," her fragile voice is but one ingredient in the mix, which includes bass, bells, and brushes. On the eight-minute "You Don't Have to be Afraid," for instance, she only sings near the beginning and the end of the track. Most vocalists would surely do the opposite. While previous recordings garnered comparisons to axe-slingers Michael Hedges and Preston Reed, the John McEntire-produced Until We Felt Red more closely resembles the sweetly melodic sounds of Lush or Asobi Seksu. McEntire (The Sea and Cake, Tortoise) also provides drums and "things" (synth, vibes, programming, etc.). Once described by National Public Radio as "The Queen of Acoustic Guitar," Kaki King could use a new slogan. How about "The Queen of Lap-Steel Shoegaze Pop"? --Kathleen C. Fennessy

Album Description

Kaki King has never been one for convention. Her third album (following 2003's "Everybody Loves You" on Velour and 2004's "Legs To Make Us Longer" on Epic) is certainly no exception. Over the last few years, she's enjoyed well-earned status as the zeit-girl of instrumental acoustic guitar. Here she bests herself and defies expectation again, ditching her acoustic for an electric, lap steel, and perhaps the most unexpected instrument of all: her own voice; disarmingly winsome and sweet for a woman with so much attitude. The haunting melodies are sadder, the lush orchestrations are fuller, and the sharp edges can cut.

Customer Reviews:

garbage.......2007-03-12

Awful guitar playing. Awful singing. Ridiculous lyrics.

A melody would be nice. I remember one time I saw Kenny G, and Michael Bolton was the opening act. It was the single worst musical experience of my life - until I heard this record.

If Kaki King is the most important new musical visionary to emerge in 30 years, then surely it's a sign of impending Apocalypse. The truth of the matter is that Kaki King's relative importance in guitar music is equivalent to being the best jazz piano player in the National Hockey League.

If you're seriously interested in hearing the cutting edge of solo guitar music, listen instead to the brilliant Erik Mongrain. Kaki King is to guitar music what Richard Marx was to rock and roll.

Avoid this CD at all cost.

Delicate, Beautiful.......2007-01-27

Unfortunately, it's painfully obvious that most of the (negative) reviewers on this page are falling into the time tested art of ridiculing an artist for expanding their art form and trying something new. Like Elliott Smith and Bob Dylan, Kaki King is being subjected to judgment for moving from a stripped down, solo acoustic singer songwriter format, into a more fully fleshed out (and ultimately better) art form. It never ceases to amaze me how certain fans will turn against the artist they admire for trying doing something different instead of repeatedly releasing the same style of material.

This is the first record where Kaki King has had vocals over more than one track. For me, this is a very welcome change. Her previous records are wonderful in their own right, but tend to become background music after a few tracks of instrumental acoustic guitars.

Until We Felt Red is much more attention grabbing.
Songs are punctuated with interesting, experimental instrumentals. Kaki's vocals are beautiful, delicately sung, almost whispered. From "Jessica" - a touching track about Kaki's sister's relationships to "First Brain", Until We Felt Red maintains a wonderful quirky narrative, one that is unafraid to be unique. Her technical live track looping is absolutely incredible. I highly recommend any aspiring guitar player go see her play!

I have to address some of the complaints made about this record:
To say that it is not catchy is to state the obvious.
THIS IS NOT A POP RECORD. Its melodies are structured with a bluesy, jazzy progression. However, If you are looking for a delicate opera- rife with emotive, intricate guitar playing- please tune in. You will not regret it.

I was happy with everything about this record. I saw Kaki on tour in 2006, shortly before Until We Felt Red was released- and I must say that her reputation for "doing for the acoustic guitar what Hendrix did for the electric" is well deserved. She is an extremely talented musician, and I believe this is her peak record to date.

I cannot wait to see where she goes next.

The Nude Empress drinks the Kook-Aid.......2007-01-23

One headline I read a couple years ago said: Kaki King, the future of acoustic guitar, get used to it.

What a short future that was. For a time I scoffed because everything I'd heard was gimmicky and weird on purpose, with no real music going on. No real cohesive song structure, just a lot of right-hand hammer-ons and banging on the guitar body with her hands, I never really got a sense King was doing anything more than playing around. Her defenders insisted she had a musical vision. A lone woman with a guitar, using her imagination to wring from it her angst, joy, and spirit. A fierce innovator with a pure musical vision. So I thought maybe I should give her a chance to blossom in to a fully realized artist. Although I had my suspicions about whether she was doing anything more than exercises in purposeful weirdness for weirdness's sake, I decided to stay open minded.

And then she made this record. She subjected us to her cliched, trite, and wholly unoriginal "look how thoughtful and sensitive I am" lyrics, her laughable and disengenous singing (no wonder she started as an instrumentalist) and the height of F U to her defenders, she plays electric guitar with a band, and strangely with none of the fervor of her acoustic recordings. In her own words she said "I had nothing left to say with acoustic guitar." That means she really has nothing musical to say at all, because this record is a complete artistic surrender to the exact format she claimed to be rebelling against when she started.

How her die hard fans could defend this is beyond me. If you are truly a fan of her earlier efforts, this music should repulse you coming from the same artist. It should confound and dismay those who saw Kaki King as the future of solo acoustic guitar. For those who thought she was more than a cute young girl with some tricks and a lucky streak, this should have been a stunning betrayal. Yet her fans defend her change of style as a valid new musical choice, as if it remains as fresh and valid as her earlier recordings, remaining blind to the fact that if this were her first record, she would have none of the fans she has, and it would probably be her last record.

I urge those people to listen to this again without the cranial-rectal inversion of blind loyalty, with the ears that heard her as the acoustic maverick. If you continue to defend this record, you are admitting that it was her looks (or something else?) and not her sound that was important to you. For those looking for the rebellious queen of solo acoustic, able to mesmerize audiences alone on a stage, she has been replaced by an empress who never had clothes, and choosing lucre over creativity, she has given up hope of being a radical and drunk the Kook-Aid of mundanity. All hail the empress of the ordinary.

Pure heaven.......2007-01-05

I came across Kaki King quite randomly as I was browsing reviews on emusic. A longtime fan of "alternative" music in its myriad forms, I had never heard of her before. Thankfully, I know her now after being blown away by this album. The production by John McEntire is outstanding--and, yes, I do happen to love Tortoise and The Sea and Cake--but King's sound is uniquely hers. The album is mostly instrumental punctuated by delicate vocals, masterful guitar work, and lush soundscapes. As other reviewers have noted, each song creates its own, singular world and yet manages to fit seamlessly into the whole. Listening to this album from beginning to end is a rare treat--the songs are complete and they flow beautifully. If you have not heard of Kaki King before, do yourself a favor and discover her now!

8.5/10.......2006-11-22

Volume I, issue XIX

The multi-talented guitarist Kaki King is back with a new album that is completely different from anything she has ever done in the past. If you know Kaki, you probably know her best for her fret-tapping guitar styles, and unique style of acoustic-based song writing. But this album is really a complete change of sound and style for her. Edgy, diverse and dynamic, Until We Felt Red could very well be her best endeavor to date. In fact, as her previous albums were mainly solo instrumental projects, she now seemingly has a full band, and has moved beyond songs that are entirely guitar-centric. There are vocals--and lots of them; very good I might add--and many other instruments that make for a splendid show of Kaki's compositional skill and innovation. This album ranges in style from loungy jazz to haphazard (in a good way) post-rock.

"Yellowcake" starts the album out beautifully: Kaki, as it turns out, has a very pleasant, ethereal voice, and she harmonizes so elegantly it's a wonder that she never sang (much) on her previous albums. The title track brings back instrumentation, but it is at this point where you realize that things are a bit different: slide guitar accompanied by slow, heavy, fuzzy, electric guitars. When first listening to this album, and this track in particular, it became apparent that King was making an attempted reach into the realm of post-rock, whether she knew it or not. And it turns out, her attempt is rather successful. "You Don't Have To Be Afraid" features more pristine vocals, and a full array of amazing instrumentalization from organs to chimes all overlain over an acoustic guitar passage in an amazingly delicate sunshower of musical beauty. Later in the song (which clocks in over eight minutes, as opposed to the other songs on the album most of which are under five), the rest of the band starts in with drums, fuzz bass, and even a flugelhorn! Things just keep getting more and more interesting. "Goby" has a more jazz vibe to it, as does "I Never Said I Love You." "Jessica" is another vocal triumph for Kaki, with a background of multi-layered music. "First Brain" is a very organic instrumental piece featuring a trio of guitar, flute and flugelhorn blended to make a wonderful mystical soundscape. "Ahuvati" starts as a trademark King guitar work, but then is invaded by a string section--a welcome intruder that starts off as an abrasive hum and progresses to an ambient companion melody. The album just continues to progress. You almost forget that the songs are so short (relatively), because each one is truly a unique entity that paints a different picture when you hear it, and though each one is summed up perfectly in the time allotted, you can't help but wish it would go on longer. One thing becomes clear throughout the album though: Kaki's voice is an instrument, and she plays it well. Truly a colorful orchestra is displayed on this album.

Barring some edits, I wrote this review upon my first listen of the album, because I just had to describe the virginal experience, so I apologize if it is a bit helter skelter...and long. But this album came as a total surprise to me, and is really a pleasant and welcome change for Kaki King. Not that I don't like her previous material (I do), but this is such an interesting alteration of style, and an indication that King has no intention of stagnating herself by sticking to just one style of music. There really is no all-encompassing "label" for the style of music on this album, but more than anything, I get a experimental/post-rock vibe from it, at times almost reminiscent of Explosions in the Sky with vocals. It is a triumphant success to say the least, and I hope she continues on in this wise now that we know of what she is truly capable. I highly recommend this album.

Average customer rating:

A Real Treat!
I LOVE IT!!!

Movie Love Themes

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Jazz | Styles | Music

Vocal Jazz General | Vocal Jazz | Jazz | Styles | Music

Classic Big Band | Swing Jazz | Jazz | Styles | Music

General | Opera & Vocal | Styles | Music

General | Pop | Styles | Music

General | Easy Listening | Pop | Styles | Music

Orchestral Pop | Easy Listening | Pop | Styles | Music

General | Vocal Pop | Pop | Styles | Music

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

Solo Instrumental | New Age | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 Jazz | 4-for-3 Music | Stores | Music

4-for-3 Pop | 4-for-3 Music | Stores | Music

4-for-3 Soundtracks | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
Similar Items:

Beautiful Hollywood
Hollywood's Greatest Hits, Vol. 2
Classics of the Silver Screen
Better Together: The Duet Album
Cousins

ASIN: B000003CWT
Release Date: 1991-05-10

Tracks:

Main Theme From On Golden Pond
Unchained Melody From Ghost
Sooner Or Later From Dick Tracy
We're Losing Him From Somewhere In Time
Love Theme From Flashdance
Marion's Theme From Raiders Of The Lost Ark
Evergreen From A Star Is Born
Flashdance....What A Feeling
People Alone From The Competition
End Title From Shirley Valentine
Arthur's Theme From Arthur
The Last Time I Felt Like This From Same Time Next Year
Love Theme From Cousins
Waltz From Cousins
Through The Eyes Of Love From Ice Castles
End Title From Ghost
Cavatina From The Deer Hunter
The Way We Were

Customer Reviews:

A Real Treat!.......2007-02-16

As someone who works from home, this is a wonderful collection to put on during the day. The beautiful arrangements of some of film's most memorable music is a treat to listen to day in and day out. I was one of those looking for music from the "Cousins" soundtrack. I'm so much happier to have found this CD with more great music than I could've bargained for. I'm very glad to have this in my collection!

I LOVE IT!!!.......2005-09-11

I HAVE BEEN SEARCHING FOR THE SOUNDTRACK OF COUSINS... I KNOW BUT HEY I LOVED THE MOVIE AND WHEN I REALIZE THAT THE SOUNDTRACK WAS BEEN ASK $120 I JUST WENT NUTS LOL LOL BUT I WENT ON MY SEARCH AND FOUND THIS GREAT GREAT GREAT CD, THAT HAS THE SONGS I WAS SEARCHING FOR AND MORE.

FOR EXAMPLE, CAVATINA FROM THE DEER HUNTER, HMM GREAT MOVIE AND GREAT SONG. AND LETS NOT FORGET THE WAY WE WERE, COME ON THAT IS A CLASSIC. AND ITS HAS THE THEME FROM THE MOVIE ON GOLDEN POND, ALSO UNCHAINED MELODY FROM THE MOVIE GHOST.

BUT WHAT TOOK MY OFF MY SIT WAS THE SONG *WE ARE LOOSING HIM, FROM THE MOVIE SOMEWHERE IN TIME. LOOK THIS IS A GREAT CD, AND IT IS WORTH ALL.

I HAVE ALL THE SONGS I EVER WANTED AND MORE. BELIEVE ME YOU ME, IT IS A GREAT BARGAIN. WONT BE DISSAPOINTED.

Average customer rating:

Smooth Grooves!
Great Mix! Check it out...
Gift to Self
Solid Compilation of San Francisco Artists

San Francisco Under a Groove, Vol. 1

Manufacturer: Newhouse
ProductGroup: Music
Binding: Audio CD

General | Dance & DJ | Styles | Music

Electronica | Dance & DJ | Styles | Music

Trip-Hop | Dance & DJ | Styles | Music

General | Dance Pop | Dance & DJ | Styles | Music
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Paris Under A Groove - Vol 1
Hotel Costes, Vol. 8
Hotel Costes, Vol. 9
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Hotel Costes, Vol. 6

ASIN: B000AP2YR2
Release Date: 2005-09-27

Tracks:

Night Train (Intro) - Andre Castano
Day by Day - Irina Mikhailova & Mr. Untel
Two Hours - Tetris
Bubbles in my Soul - Will Felt
Running Away - Derrick Berry feat. Raoule
Closer (Loveslap Gets Closer Remix-Radio Edit) - Goapele
Wondering - Superbacana
Avisa - Andre Castano
You Know it's You (radio edit) - Movido feat. Li'sha
Era Verdade - Superbacana
Do it for You (Original Vocal)- Miguel Migs feat. Li'sha
Where's the Tape - Triangle Orchestra
Entities - Will Felt
Spontaneous Love - Maximillian feat. Rev. Cecil Williams
Masterplan Remix (radio edit) - Karmacoda

Album Description

San Francisco Under a Groove is the second installment in the "Under a Groove," series. This series focuses on uncovering new electronica from hotspots around the globe. The concept was created after a trip to Paris in 2001. There we came across some French artists who fused electronica with funk and jazz. The resulting album, Paris Under a Groove received some critical buzz. We decided next to begin a San Francisco project, and in the process found some great talent. The SF sound has a more mellow side compared with New York and Chicago. In capturing that vibe, the album, focuses in on a funk/jazz electronica sound, deep basslines and sultry vocals. Perfect for kicking off any cocktail hour. The album's back side includes soulful breakbeat and deep house tracks played in Soma clubs.

Featuring unreleased tracks from Miguel Migs and Lisa Shaw, a deep house remix of Goapele's hit track "Closer," and introducing, Andre Castano, Superbacana, Irina Mikhailova & Mr Untel, Triangle Orchestra, Will Felt, Tetris, Movido, and Karmacoda. Plus Maximillian's unreleased deep house track, with spoken word by Rev. Cecil Williams. 74 minutes total time.

Customer Reviews:

Smooth Grooves!.......2007-05-16

im not someone who hosts cocktail parties, but I am beginning to love the Lounge/House/downtempo genre. Listening to this, I imagine myself in a lounge bar, the lights dimly lit with martinis everywhere. You dont have to have cocktail parties to enjoy this kind of music. I slip this disc in when I get home from a long day at work. it seriously helps me relax!

Great Mix! Check it out..........2006-04-07

Fans of electronica, jazz, deep house, and just plain good music will love this one. I also bought the special edition on itunes because it has some extra tracks not included here.

Anyway, definitely worth the purchase...

Jeff

Gift to Self.......2006-02-05

I originally purchased this album as a birthday gift for a friend. Well, that friend ended up with some scented candles. I just had to keep this little gem for myself. The first time I slipped SF Under a Groove into my stereo, I was mesmerized.

I love the deep-house and jazz undertones running through each song. And my very favorite (I hit repeat and listen to it about a million times a day,) is Spontaneous Love by Maximillian. It's the Rev. Cecil Williams put to a powerful mix of echoes and rhythmic sounds.

This album is the best gift I've ever didn't give to someone else.

Solid Compilation of San Francisco Artists.......2005-12-07

I bought this album on a whim, and was very pleasantly surprised. It starts off pretty chill, with great melodies, sultry vocals, and a good deal of diversity from the widening electronica genre.

I've listened to the album in my car on the way to work, and just hanging out with friends over a couple of drinks at home. It's a good mix, and makes for a great addition to my music collection.

Average customer rating:

A Must Buy
H & O still groovin' -- wow!
ONE OF MY FAVORITES!
Get this album and "Do it for Love"
Their best since Big Bam Boom

Do It for Love
Hall & Oates
Manufacturer: U-Watch Records
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

Blue-Eyed Soul | Soul | R&B | Styles | Music

General | Rock | Styles | Music

Pop Rock | Pop | Styles | Music

Contemporary | Vocal Pop | Pop | Styles | Music
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Our Kind Of Soul
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ASIN: B000083JT6
Release Date: 2003-02-11

Tracks:

Man on a Mission
Do It For Love
Someday We'll Know
Forever For You
Life's Too Short
Getaway Car
Make You Stay
Miss DJ
(She) Got Me Bad
Breath of Your Life
Intuition
Heartbreak Time
Something About You
Love Ina Dangerous Time

Amazon.com

VH-1's Behind the Music may signify the final curtain for some acts, but Hall and Oates aren't so easily confined to the dustbins of pop history. With a chart run that spanned most of the '70s and '80s, Philadelphia's most enduring purveyors of blue-eyed soul went on to keep a fairly low profile until "Do It for Love," a newly recorded track for their 2002 VH-1 retrospective, crept up to the top of the adult contemporary charts. Nearly a year later, the duo reprises the track and title on a full album that aims to recapture the best aspects of their glory days. Among its highlights are a sublime cover of New Radical's "Someday We'll Know" that teams them up with War Babies collaborator Todd Rundgren, and the funky "Miss DJ," a playful pop confection that avoids the excessive novelty of their more calculated '80s hits. After three decades, Hall's remains one of pop's most expressive voices. And while the album as a whole may lack the edge and energy of the pair's earliest work, it's still a promising collection from a rock duo that's earned a place in Philly soul history. --Bill Forman

Album Description

2003 album, their first in six years, it's everything you love about them. U-Watch Records.

Customer Reviews:

A Must Buy.......2006-04-30

Hard to believe that this CD is just as good as their many hit albums from the 1980s. Their ability to create hooks, songs you can't get out of your head, is at their absolute best. If you are an H&O fan, or if you just want great pop music to listen to - over and over - I can't recommend this highly enough. If only it could airplay instead of the junk you hear today on the radio!

H & O still groovin' -- wow!.......2005-08-16

More than 100 reviews here, almost all five or four stars, what does that tell you?! Simply that Hall & Oates are still just a great group. The blend of their voices, the instrumentation, the songwriting -- it's all here. This is as good of album they've ever made, and they've made some legendary ones.

This is an epic CD -- and I just picked it up at the library and need to buy it this week. It truly is wonderful. Favorites include "Man On A Mission," the title track, and "Heartbreak Time."

Wow! Thanks H & O for keeping your music alive. Please, don't take so long between albums next time.

ONE OF MY FAVORITES!.......2005-03-12

I'm a big Hall and Oates fan and I recommend this selection. Not only is Do It For Love a contagious hit that you'l want to play over and over again, but this CD is full of other terrific tracks as well. My second favorite off this CD would be Man On A Mission. Daryl Hall is one of the smoothest vocalist of all time, half of the most popular duo in recording history...so what else would you expect from this talented pair!

Get this album and "Do it for Love".......2004-11-13

I have been following Daryl and Johns music since the late 70's and they seem to be like fine wine. They get better and better with age! I should know! I have even met them in person! This album is definately a hit! As I proceeded to pick up this album the day it went on sale I did not know how much of a good thing I was going to get. Man was I pleased when I found out all 14 tracks are great hits in themselves. I would elaborate on all of them, but just the title one "Do it for Love". It is definately a Hall and Oates song! The vocals of Daryl just make the song come alive as if your actually living the song. Daryl is THAT good! Johns background vocals as well as the blend of the vocals of Tom "T-Bone" Wolk, Charlie "Mr. Casual" DeChant and the rest of the band really make this song a hit! On one final note, I am engaged to be married. My fiancee and I both agreed that this will be 'our' song at our wedding. Thats how good this song is and the album is just as good!

Their best since Big Bam Boom.......2004-11-02

This is a really solid album. Most of the songs on here are very good. My favorite one is Life's Too Short. I think it would have been a big hit if it had been released as a single.

My only beef with this album, and it's a small beef, is that I wish John Oates was on here more. There's some songs on here that he doesn't appear on at all. Not that the songs sound bad, but come on, it's supposed to be Hall AND Oates.

P.S. - Does anyone else think that Love In A Dangerous Time sounds a LOT like Bonnie Raitt's Nick Of Time? It's not a bad song, but I prefer the non-Bonnie-sounding version on John's solo album Phunk Shui.

Average customer rating:

Mixed feelings
Your love for this superb collection will be here to stay...
He's done it again
Absolutely 'S WONDERFUL!
A beautiful 2 disc CD-another hit for Michael

The Michael Feinstein Anthology

Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

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General | Oldies | Pop | Styles | Music

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Romance on Film/Romance on Broadway
Nice Work If You Can Get It: Songs by the Gershwins
Hopeless Romantics
Isn't It Romantic
Michael & George (Feinstein Sings Gershwin)

ASIN: B000065DVH
Release Date: 2002-05-21

Tracks:

Nice Work If You Can Get It
Isn't It Romantic
Swinging On A Star
Ask Me Again
Rhode Island Is Famous For You
'S Wonderful
Wonder Why
Too Marvelous For Words
Where Do You Start
Theme From The Bad And The Beautiful
Easy To Love
Alexander's Ragtime Band
Who Are You Now?
You're An Education
You Are There
Sophisticated Swing
Love Can Change The Stars
Come Out, Come Out Wherever You Are
Half Of April (Most Of May)
Marianne
They Can't Take That Away From Me
I Love A Piano

Tracks:

That's Entertainment
My Favorite Year
Ten Feet Off The Ground (With Rosemary Clooney)
I Never Felt Better
Someone To Watch Over Me
Kiss Her Now
The Ugly Bug Ball
For You, For Me, Forever More
The Mole People
And So To Bed
You're All The World To Me
Old Friend
Isn't It A Pity (with Rosemary Clooney)
Pattisserie
Open Your Eyes
For Love Alone
I Won't Send Roses/Time Heals Everything
Get Out And Get Under The Moon (with Page Cavanaugh)
My Romance
Love Is Here To Stay
Violin (with Liza Minnelli)

Amazon.com

The line between evangelist and entertainer has always been somewhat indistinct. But as showcased on this 43-track, double-disc collection culled from his '87-'96 recordings for Elektra/Nonesuch/Atlantic, Michael Feinstein's dedication to spreading the gospel of the American song often blurs it beyond recognition. While the singer's pedigree for the task is impeccable (a long-term stint as Ira Gershwin's assistant and early career sponsorship by Liza Minnelli), his interpretations often succeed by playing off a tense axis of fervent emotionalism and a joyous sense of irreverence.

If his readings of romantic standards can sometimes tend toward the precious, they're often balanced here by sheer dramatic power and telling insights ("Isn't It Romantic" fairly bristles with ironic chauvinism) and a few loopy curves ("The Mole People," the Sherman Brothers' "The Ugly Bug Ball," and the previously unreleased "Rhode Island Is Famous for You"). Feinstein's dedicated song archaeology is also showcased on several gems: "Violin," a duet with Liza Minnelli; "My Favorite Year," a rejected ballad for the film of that name; the sublime "lost" Gershwin classic "Ask Me Again."

Sprinkled with live performances (the forum where Feinstein's talents seem most energized) and studio outtakes and featuring a lengthy print interview with the singer, the set chronicles both the pioneering efforts of one of pop music's most successful revivalists and, crucially, the cream of his beloved American songwriters, from stalwarts Gershwin, Berlin, and Porter to later legends like Herman, Styne, Lane, Martin, and Mercer. --Jerry McCulley

Album Description

The definitive collection of performances by the Grammy nominated singer features 43 tracks from 14 albums released by Elektra, Elektra Nonesuch, and Atlantic labels from 1987-1996. Plus 8 previously unreleased live tracks only available here 'Rhode Island is Famous For You', 'S Wonderful', 'Alexander's Ragtime Band', 'I Love A Piano', 'Patisserie', 'Get Out And Get Under The Moon' (with Page Cavanaugh), 'Love Is Here To Stay' & 'Violin' (with Liza Minnelli). 2 Digipacks housed in a slipcase with a booklet. Rhino Records. 2002.

Customer Reviews:

Mixed feelings.......2005-10-05

This album has some GREAT songs on it; sophisticated swing being one of my favorites. However many of the other songs are too operatic and lame. I give three stars but this album is definatly worth it just for some of the better songs.

Your love for this superb collection will be here to stay..........2002-07-18

The magnificently talented Michael Feinstein has made one wonderful album after another for nearly two decades. Now that Elektra and Rhino have put together this anthology, I am blown away by the versatility and diversity in Feinstein's recorded output. Such amazing rare gems, combined with the most beloved favorites in the history of American Popular Song. Assembled with wit, intelligence, and obvious affection on the part of the record company, this set is a keeper. You'll love it!

He's done it again.......2002-07-15

Is there anything this man can't sing? This collection is so varied as to be the definitive collection of songs for any occassion.

This is perfect background music for a dinner party for a whole group but especially for two. Light, romantic and just gorgeous. You just can't go wrong when Michael Feinstein is your musical choice.

Way to go Michael, you've done it again!

Absolutely 'S WONDERFUL!.......2002-06-10

There are very few contemporary performers who can hold their own with the truly great interpreters of American popular song. Michael Feinstein is truly the ONLY performer of the "younger" generation who really understands what these songs are all about. His incredible knowledge of this music, and his enthusiasm and passion for it have fueled his career. Rhino Records has done a truly outstanding job of putting together an anthology that exemplifies why Mr. Feinstein has become so beloved by audiences around the world. The packaging is excellent, and filled with interesting photos and background information about many of the selections.

This collection not only contains all the favorites one would expect, but a neat group of surprises too. I especially love the duets with people like Liza Minnelli and Rosemary Clooney, and the various collaborative efforts with songwriters like Jule Styne and Burton Lane accompanying Michael at the piano.

This collection is a classic to be treasured. Bravo Michael!
Bravo Rhino!

A beautiful 2 disc CD-another hit for Michael.......2002-06-09

I have every CD Michael has ever made and this is by far one of the best ones because of Michael's range in singing and his wonderful singing voice. I love his duets with Rosemary Clooney and Liza Minelli. He is a wonderful performer on this double CD and am looking foward to the next CD.

Average customer rating:

A Tribute to Christina Ricci
Felt
Manufacturer: Rhymesayers
ProductGroup: Music
Binding: Audio CD

General | Rap & Hip-Hop | Styles | Music

Pop Rap | Rap & Hip-Hop | Styles | Music
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000

ASIN: B0009VI49Y
Release Date: 2005-07-12

Tracks:

Christina Intro
The Two
Anneurysm
Hot Bars
Suzanne Vega
Rick James
Corey's Interlude
Another Knight
All I Can Do
Ricci Outro

Product Description

Tracks:

Act I.: Prld - Barry Tuckwell
Act I., Scene 1: Wearisome Labour! - Gregory Dempsey
Act I., Scene 1: Hoiho! Hoiho! - Alberto Remedios/Gregory Dempsey
Act I., Scene 1: Well, There Are The Pieces - Alberto Remedios/Gregory Dempsey
Act I., Scene 1: A Whimpering Babe - Gregory Dempsey
Act I., Scene 1: Much You've Taught To Me, Mime - Alberto Remedios/Gregory Dempsey
Act I., Scene 1: I Found Once in The Wood - Gregory Dempsey/Alberto Remedios
Act I., Scene 1: And Now These Fragments - Alberto Remedios/Gregory Dempsey
Act I., Scene 1: He Storms Away! - Gregory Dempsey
Act I., Scene 2: Hail There, Worthy Smith! - Norman Bailey/Gregory Dempsey
Act I., Scene 2: I Sit By Your Hearth - Norman Bailey/Gregory Dempsey
Act I., Scene 2: What You Needed To Know - Norman Bailey/Gregory Dempsey
Act I., Scene 2: The Fragments! The Sword! - Gregory Dempsey/Norman Bailey

Tracks:

Act I., Scene 3: Accursed Light! - Gregory Dempsey
Act I., Scene 3: Hey There! You Idler! - Alberto Remedios/Gregory Dempsey
Act I., Scene 3: Have You Not Felt Within The Woods - Gregory Dempsey/Alberto Remedios
Act I., Scene 3: Give Me These Pieces - Alberto Remedios/Gregory Dempsey
Act I., Scene 3: Notung! Notung! Sword Of My Need! - Alberto Remedios/Gregory Dempsey
Act I., Scene 3: Hoho! Hoho! Hohi! - Alberto Remedios/Gregory Dempsey
Act II.: Prld - Barry Tuckwell
Act II., Scene 1: In Gloomy Night By Fafner's Cave I Wait - Derek Hammond-Stroud
Act II., Scene 1: To Neidhohl By Night I Have Come - Norman Bailey/Derek Hammond-Stroud
Act II., Scene 1: Not My Plan! - Norman Bailey/Derek Hammond-Stroud
Act II., Scene 1: Fafner! Fafner! You Dragon, Wake! - Norman Bailey/Derek Hammond-Stroud/Clifford Grant
Act II., Scene 1: Now, Alberich! That Plan Failed! - Norman Bailey/Derek Hammond-Stroud
Act II., Scene 2: We Go No Further! - Gregory Dempsey/Alberto Remedios
Act II., Scene 2: So He's No Father Of Mine - Alberto Remedios

Tracks:

Act II., Scene 2: Could I But Know - Alberto Remedios
Act II., Scene 2: See My Mother - Alberto Remedios
Act II., Scene 2: Ha Ha! At Last With My Call - Alberto Remedios/Clifford Grant
Act II., Scene 2: Who Are You, Youthful Hero - Clifford Grant/Alberto Remedios
Act II., Scene 2: The Dead Can Tell No Tidings - Alberto Remedios/Maurine London
Act II., Scene 3: Hehe! Sly And Slippery Knave - Derek Hammond-Stroud/Gregory Dempsey
Act II., Scene 3: Tarnhelm And Ring, Here They Are - Alberto Remedios/Maurine London/Gregory Dempsey
Act II., Scene 3: Be Welcome, Siegfried! - Gregory Dempsey/Alberto Remedios/Derek Hammond-Stroud
Act II., Scene 3: You Lie There Too, Mighty Dragon - Alberto Remedios/Maurine London
Act III.: Prld - Barry Tuckwell
Act III., Scene 1: Waken, Wala! Wala! Awake! - Norman Bailey
Act III., Scene 1: Strong Is Your Call - Anne Collins/Norman Bailey
Act III., Scene 1: You Unwise One, Learn What I Will - Norman Bailey
Act III., Scene 2: I See That Siegfried's Near - Norman Bailey

Tracks:

Act III., Scene 2: My Woodbird Fluttered Away - Alberto Remedios
Act III., Scene 2: Young Man, Hear Me - Norman Bailey/Alberto Remedios
Act III., Scene 2: Child, If You Knew Who I Am - Norman Bailey/Alberto Remedios
Act III., Scene 2: With His Spear in Splinters - Alberto Remedios
Act III., Scene 3: Here in The Sunlight - Alberto Remedios
Act III., Scene 3: Come, My Sword! - Alberto Remedios
Act III., Scene 3: Hail, Bright Sunlight! - Rita Hunter/Alberto Remedios
Act III., Scene 3: Siegfried! Siegfried! Glorious Hero! - Rita Hunter/Alberto Remedios
Act III., Scene 3: And There Is Grane, My Sacred Horse - Rita Hunter/Alberto Remedios
Act III., Scene 3: Oh! I Cared Always - Rita Hunter/Alberto Remedios

Customer Reviews:

Goodall's Siegfried.......2007-06-22

This is completely worth it. Other reviews aptly pointed out everything good, and this *is* good--brilliant. Alberto Remedios is the best Siegfried I've ever heard, and Rita Hunter is a stunning and convincing Brunnhilde. If I could give this more than five stars, I would.

"Do you know what Wotan wills?".......2007-06-12

Okay, so we have the Solti, Bohm, Karajan, Goodall, Boulez, Janowski, Levine, Haitink, and Sawallisch Rings on the market (I haven't listened to the other Ring recordings yet, sorry to say). And all of these leave me to one conclusion: the many differences lead me to believe that all of these ring sets have their own authenticities and setbacks. And here they are:

TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 minutes
Sawallisch's Ring: 14 hours, 0 minutes

CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.

Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.

Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.

Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.

Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works only if you hear AND see it (the DVD's work best).

Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".

Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.

Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).

Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.

ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.

Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.

Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.

Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act Two Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.

Boulez's Bayreuth Festival: While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Mime's motifs) fares better than Berlin's and English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness. Beauty makes up for the irritatingly quick "Wotan's Farewell".

Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Boulez's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are heard clear in this Ring. The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.

Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.

Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, only this sounds much more poignant. The strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.

Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.

SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).

Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.

Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".

Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.

Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.

Levine and Haitink: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's and Haitink's Ring.

Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.

-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.

Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).

Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."

Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).

Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.

Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).

Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".

-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Three exceptions, though: Goldberg and Schunk don't sound heroic enough, and Norman for Levine doesn't sound young and innocent enough.

-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.

Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.

Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.

Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. Again, the DVD's are your safest bet.

Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.

Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.

Haitink: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm. Bravo!

-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").

Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.

Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.

Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.

Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.

Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.

Haitink: No offense, but Theo Adam as Alberich? Come on . . .

-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.

Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.

Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.

Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. He is equal to Zednik when it comes to humaneness and lyricism. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.

Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).

Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.

-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on during the Trilogy.

Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Again, another Loge that's marred by lack of cunning.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.

Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.

Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief!

Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt and Zednik depend only on vengeance and deviousness, Stolze only imagination and deviousness, Windgassen and Svanholm only peril. His odd conversations with Alberich and the gods/goddesses are classic.

Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.

Sawallisch: Robert Tear is on par with Stolze and Zednik. Sometimes he takes things too low, but all is forgiven with his management of character development.

-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.

CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation, Neuhold's Badische version, and the essential mono recordings (Furtwangler, Krauss, etc.), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.

The Box Set: Wagner: The Ring Cycle (Box Set)
-The Rhinegold (Part 1): Wagner: The Rhinegold
-The Valkyrie (Part 2): Wagner: The Valkyrie
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Slow and steady wins the race.......2007-02-07

Yes, we all know that Reginal Goodall's Wagner is VERY deliberate (read slow) at times. When I heard the late Rita Hunter singing in Sydney in the 80s, I asked her about working with Maestro Goodall, she said he was one of the most thorough and demanding conductor's you could wish to work with.

For me, this whole cycle is desert island material because the English translation is just superb. Fine singing and marvellous playing from the ENO orchestra.

Absolutely better than you think, the best of Goodal's Ring!.......2005-05-03

As good as his die Walkure is, Goodall's Siegfried is even better. For me this is the most difficult opera of the entire Ring and Goodall pulls it off with honors indeed. Remedios is a wonder! Wish we had had him in the Met Ring Cycles of the past decade. Hunter again is a wonder with beauty and strength of tone. Once more I enjoy Bailey. I found That Alan Blyth in Gramophone 5/01 and I seem to appreciate him. It would seem that Goodall gives this opera all the wonderful performance it needs. Not an easy show to pull off. This recording absolutely belongs in any Wagnerian's collection. Had I been at this live performance, I definitely would not have fallen asleep and would have regretted its coming to its inevitable end. And the orchestra rises to the occasion splendidly. From Siegfried's climb to Brunhilde's rock until the end of the duet, the orchestral playing is rich, very moving bordering on the monumental just because it is live and thus more of a risk than a studio recording. Hunter is nothing short of stunning. The duet alone makes the recording a must have. Too bad artists are not fully appreciated until we no longer have them around to enjoy. Thank God this is on CD to be enjoyed at the listener's command.

Better than you might think...........2002-03-17

I had to think more than twice before purchasing this recording, especially since it isnt at a budget price, but I dont regret having done so. Wagner's original German language opera sung in English might seem more like a novelty recording (or a horrifying experience to hardcore Wagner fans) than a serious approach to the music, but surprisingly it works (for the most part). For the listener who doesn't speak and understand German this is a great way to understand Wagner's opera, as the connection between text and drama is made clearer--though I sometimes wish the singers diction and pronunciation were a bit clearer--but hey, its still opera and a complete English only libretto is included (along with a scene by scene summary of the drama, a summary of the preceding two operas, and an essay and photos of this particular project). Overall the orchestra and conducting is up to par and the sound is clear, balanced, and spacious, the only annoying thing being the audience clapping after the end of each act--its a live 1975 recording. While this is no substitute for the original in German, think of it as a great resource ... to understanding Wagner's opera cycle for listeners without the time or inclination to learn German.

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