Sister Power

Sister Power

Track Listings

1. Give Me Back My Love Afair 7:38

2. Sister Power 9:09

3. Love Potion 7:07

4. Help Me Love Again 5:01

5. I like Watcha Do 3:58

Editorial Reviews
Product Description
First time on CD the release of the Sister Power, who's lead vocalist was Gwen Jonae, was album also produced by Paul Sabu (Debbie Jacobs, Gwen Jonae, Ann Margret). This remastered album release contains the top 40 hit single Give Me Back My Love Afair.

Tracks:

Kizza Me
Thank You Friends
Big Black Car
Jesus Christ
Femme Fatale
O, Dana
Holocaust
Kangaroo
Stroke It Noel
For You
You Can't Have Me
Nightime
Blue Moon
Take Care
Nature Boy
Till The End Of The Day
Dream Lover
Downs
Whole Lotta Shakin' Goin' On

Amazon.com

By the mid-'70s, Alex Chilton's glistening pure-pop group Big Star had hit the rocks, ignored by the public and beset by internal problems. Chilton, backed mostly by session musicians playing both rock and chamber-music instruments, responded with this wracked, bizarre collection of deeply personal songs, venting oblique visions of terror (the much-covered "Kanga Roo" and "Holocaust"), sarcastically envisioning an imaginary circle of supporters ("Thank You Friends"), and covering the odd rock & roll classic in his messed-up teen-idol voice. The album was eventually abandoned and released in unfinished form years later, but the weird gaps in its arrangements make it even stranger and more powerful. --Douglas Wolk

Customer Reviews:

deserves it status as a classic........2007-02-26

a beautifully weird record, big star's "third/sister lovers" is full of magic. rockers, ringing guitar chords, gentle piano touches, chaotic piano banging, string quartet flourishes, spirited saxophone, percussion that at times sounds like things simply bumping into each other, a whole hodge-podge of sound. completely wonderful. my favorite five tracks: "thank you friends," a great melodic anthem of a song, the whole thing, backing vocalists and all, swelling to a heartpounding finish. "big black car," a song filled with quiet beauty, a slightly off-kilter melody that drifts along in a dreamy soundscape. "o, dana," a great tune with a wistful bouncy melody. "holocaust," slow and chilling, the darkest piece on the record. a completely harrowing glimpse at someone's self-destruction. and finally, "nightime," a gorgeous psychedelia-tinged ballad. all 14 tracks of the original album are fine, the five i mentioned are classics, not to be missed. the cd version includes four bonus tracks which do nothing for the original release and really should not have been included. a classic album, that deserves the place it has carved out in rock history.

Depressing .......2007-02-15

After listening to #1 Record/Radio City, this album is just depressing. That may be the intended or unintended point of Third, but that is not what attracts me to music. Some of the songs, such as Kizza Me and a few others, seem like a waste of space, and the best song on here, Till the End of the Day, is not even a Big Star song. Also, the inclusion of Whole Lotta Shakin' Going On is completely pointless. There are a few good moments, and the album would have been a lot better if the length had been cut in half. In general, Third has absolutely no direction and is a cult classic simply because it is the product of a crazy, albeit influential, guy in a band on the verge of collapse. By far Big Star's worst album.

Best Big Star - start here.......2006-10-01

I burned Big Star's first two records from a friend and felt incredibly disappointed. While I had huge expectations from reviews I'd read and talking to a few people, I was sorely disappointed. I thought the songs were often great, but I didn't get what the big deal is. In my opinion, the only songs that didn't sound derived from Byrds/Beatles rock sounded a bit crappy - especially the rockier stuff. I can understand why people like the stuff, but other than "September Gurls" it wasn't for me. I wrote them off as a good but overrated band.

Then I heard songs like "Big Black Car," "Kangaroo," "Take Care" and "Holocaust" and could barely believe my ears at the gorgeous, tired melancholy. If you want slick production or want more of the old Big Star, this is not your thing, but I prefer my productions a bit ragged at times because it ups the emotional factor. There are only a couple of songs here that don't strike me as perfect, most notably the POINTLESS inclusion of "Whole Lotta Shakin' Goin' On." But ignoring that, I think that it may be one of the best albums ever. The amount of influence this has had on modern music can not be underrated. If the early Big Star did not impress you (or even if it did), please give this one a try.

Yes, Big Star is brilliant but..........2006-08-20

The fact is that this album is totally hit and miss. For every brilliant 5-star ahead of its time song (Holocaust, Thank You Friends, Oh Dana) there is an equally bizarre, poorly recorded song. I would unhesitatingly recommend this album for the songs that are deathless, but even a psycho Big Star fan like myself has to admit that this album is full of half-formed ideas, experiments, and poor production. However, having said that, I would once again say that the good songs on the album are AMAZING and the album as a whole (weirdness included) is still leagues better than 95% of the music that's out there. Big Star are absolutely amazing, even as they're disintigrating.

"Take Care Not To Hurt Yourself".......2006-06-13

Alex Chilton is one of rock's most fascinating mysteries wrapped in an enigma. He has been worshipped by Paul Westerberg to the point of having a song written about him. According to a man I spoke to in a bar - a highly articulate, well-informed, and obviously intelligent man - Chilton was a janitor somewhere in Tennessee not too long ago. Most recently, this New Orleans resident was reported missing in the wake of Hurricane Katrina. Fortunately, the reports of his possible demise were exaggerated. Musically, he was the teenage vocalist on the classic #1 single "The Letter", the unlikely producer for The Cramps, and a major influence on the folky, cryptic alternative rock of R.E.M., the trashier rock of The Replacements, and the more straightforward power pop of Teenage Fanclub. (And that's just to cite the ones who are keen enough to know that they were influenced by him and his band.)

Although Big Star is thought of as the quintessential American power pop band, you would never know it from their third CD, which I will hereafter refer to as Sister Lovers, because I like that title better. Granted, the disc contains "Thank You Friends", which is in the tradition of their classic "September Gurls". (Neither of which are, in my opinion, as perfect as the greatest power pop song ever, "Shake Some Action" by The Flamin' Groovies, who are also a strong candidate for the quintessential American power pop band.) Apart from that, almost all of the songs on Sister Lovers are stark affairs, ones which stick in your head not because they are catchy but because they're haunting. The range of the band's - or just Chilton's, as the case may be - are indicated nicely by the covers on the record, which include the sparse "Nature Boy" (made famous by Nat "King" Cole), an even slower (and French-flavored) version of The Velvet Underground's "Femme Fatale", and a spirited take on "Till the End of the Day" by The Kinks (which they start off with the opening riffs to The Who's "Anyway, Anyhow, Anywhere"). Chilton is clearly the star of this CD, as he wrote all but one of the original songs. But drummer Jody Stephens gives him a run for his money with his single contribution, "For You". This track speaks as much for the tone and brilliance of Sister Lovers as any of Chilton's songs do.

There are a few weaker tracks, like "Kizza Me", "You Can't Have Me", and the cover of "Whole Lotta Shakin' Going On". If nothing else, at least they lighten the mood of the record a bit. The absence of Chris Bell, whose presence was so strongly felt on their debut #1 Record, may explain the lack of higher quality soul and power pop. (Bell had left the group in 1972, and was killed in a car crash in 1978.) However, this same absence allowed Chilton to make Sister Lovers the tormenting masterpiece that it is. This may have disappointed many Big Star fans, but the band was never obligated to be a pop group, and they had very little chance of coming out of this record intact anyway. Hence, the result is a record full of frightening tales of despondency, like the horrifically unsubtle "Holocaust" - "you're a wasted face/you're a sad-eyed lie/you're a holocaust" - and loneliness, like "Nighttime" - "I hate it here, get me out of here". Other songs seek comfort and salvation in whatever may offer it, be it driving ("Big Black Car"), religion ("Jesus Christ"), or love ("Blue Moon"). And that is hardly where the great songs end. The string-laden "Kangaroo", "Strike It Noel", and "Take Care" are all amazing and probably unlike anything you'll ever hear in popular music.

Given the anguished tone of the record, one does have to wonder - as many already have - if the triumphal sounding "Thank You Friends" is sincere or bitterly ironic. In this sense, it reminds me of The Kinks' song "All of My Friends Were There". While this also sounds celebratory, the lyrics indicate otherwise: "And just when I wanted no one to be there/All of my friends were there/Not just my friends, but there best friends too/All of my friends were there/To stand and stare". Alex, meanwhile, says "without my friends I got chaos". Well, if the remainder of the record is any indication, chaos is what he's got a lot of! Is Alex in fact friendless, or were the friends he had simply not there when he needed them to be?

Whatever the case, lonely is something that Alex Chilton will never be in the world of popular music, as evinced by a couple of tribute albums and dozens of artists who admire Big Star. Sister Lovers was a departure from the snap crackle pop of their first two records, but arguably even more ambitious and fully realized than either of them. But while it may be the masterpiece of the band called Big Star, it can't really stand as their most representative opus, as #1 Record and Radio City are just as essential. Alex Chilton once said that he felt that he was joining Chris Bell's band when he became a member of Big Star, and that Bell was the biggest Anglophile in Memphis. With Bell's departure, Big Star clearly became Chilton's band. Thus, Sister Lovers might more accurately be his personal masterwork, while remaining a fascinating piece of the Big Star puzzle.

Average customer rating:

Well...
Incredible talent that's still developing...
These kids can rock.
Smoosh are Smashing
Great job!

She Like Electric
Smoosh
Manufacturer: Pattern 25 Records
ProductGroup: Music
Binding: Audio CD

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Got Hits, Vol. 2
Into the Rush
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Acoustic Hearts of Winter

ASIN: B0002VEWVA
Release Date: 2004-09-21

Tracks:

Massive Cure
Its Cold
Its Not Your Day to Shine
Rad
Take it Away
La Pump
Pygmy Motorcycle
About the Picture
Bottlenose
Make it Through
Ive Got My Own Problems
The Quack
To Walk Away From
But Now I Know

Amazon.com

Somewhat unfortunately, it's impossible to access Smoosh's arresting debut without taking into account the ages of the group's two members at the time of its release: keyboardist/vocalist Asya is 12 and the drummer is her 10-year-old sister, Chloe. Try to get past the pre-teen status of the duo and listen to She Like Electric on its own terms and you'll encounter a striking collection of 14 playful, adventurous, eclectic indie-pop originals. Recalling everything from Ben Folds to Quasi to a young Joni Mitchell, Asya exhibits talent that's matched by considerable ambition as she glides through songs that draw on pop (the bouncy "It's Not Your Day to Shine), punk ("La Pump"), hip-hop (the truly rad "RAD"), and, honestly, `70s No Wave (the shrill, screeching "Bottlenose"). Strikingly unselfconscious and inventive, and yet oddly mature, She Like Electric delights at every turn. --Steven Stolder

Album Description

Seattle's Smoosh are a sister duo who make exceedingly endearing, piano/synth-based indie pop and have shared the stage with Death Cab for Cutie, The Presidents of the United States of America, Cat Power and Sleater-Kinney. Oh… and they're 10 and 12 years old.

But these self-directed musical prodigies can hold their own against any fully grown bands. ROCKRGRL magazine compared their sound to "a stripped down version of the first side of Pet Sounds." Seattle's The Stranger puts it even more succinctly in saying "Smoosh is awesome." We think you'll agree.

She Like Electric, their debut album, was recorded at the legendary Egg Studios (Posies, Young Fresh Fellows, Presidents of the USA.) in Seattle in a mere three days (with 2 more days for mixing) under the steady hand of engineer/producer Johnny Sangster. And, yes, every note of this album was written and performed by Asya and Chloe with no adult intervention.

The band has already gained a wide following of fans, including Cat Power's Chan Marshall, who has been finishing her shows of late by lip synching to a live version of Smoosh's song "Rad."

From the joyful and contemplative ("To Walk Away From") to the silly and giggly, ("The Quack") to the angry and bittersweet ("But Now I Know"), urgency prevails.

Customer Reviews:

Well..........2006-09-27

I don't know. They tried...but failed. 'Bottlenose' was just...it actually reminded me of the music they put on those Anime shows. It was crazy...really...the rapping is cheesy...what else? I have to give 'em props for the music they actually play. They are good at that. But otherwise...I just don't know what to say.

Incredible talent that's still developing..........2006-09-14

I have listened to this band only during their interview with Nic Harcourt on KCRW's Morning Becomes Eclectic. I just think that it's awesome that some kids with potential and some success don't have huge egos and are still pretty wholesome. I don't think it's appropriate to compare their music to the other indie rock bands out there, being that they're 12 or 13 and they don't have any pedigree or training. The interview says it all. They're just starting out. I look forward to their music five years from now when they've had more experience.

These kids can rock. .......2006-08-07

"Free to Stay"
by Smoosh
Barsuk Records
3½ (rounded up to 4)(out of 5) stars

When one looks into the genre of young musical groups, most of what you'll find is fluffy pop fare. Groups from Boyz II Men to Hanson to Britney Spears have become commonplace on today's musical radar. That's one of the things that make Seattle's Smoosh so impressive. They've managed to shed the fluffy pop sound of their contemporaries and do something wholly original. They may be the first mainstream child indie rock band.
Smoosh, a duo featuring thirteen year-old Asya (their parents refuse to give out their last names to try and grant their children and a normal childhood) on keyboards and vocals and her eleven year-old sister Chloe already have a resume that would make the most seasoned musicians blush. They've still got a few more years before they can drive, but they've already opened for Jimmy Eat World, Rilo Kiley, Sleater-Kinney, and spent the last summer touring with the eels. Their newest release, "Free to Stay" has been released on the quickly emerging Barsuk Records (also home to They Might Be Giants, Rilo Kiley and Death Cab for Cutie).
Asya's keyboards roar with a grungy flair closest to fitting a Sleater-Kinney record on the opening track "Find a Way". Songs like this is what makes young teen bands stars. With their big sound and catchy melodies, Smoosh picks up right where they left off from their debut album, 2004's "She Like Electric". Asya's sound is quite overpowering, especially using to two different keyboard effects at once. This creates a beautiful wall of sound behind Smoosh. Smoosh manages to make music that has an eccentric mix of Sarah Sleans, voice, beautiful harmonies, and piano-work, Hanson's incredibly smart, radio-friendly pop, with Le Tigre's grunge-movement rock. The record is never really groundbreaking (especially in lyrical continent), but it's great pop music from a duo with nothing but infinite possibilities of ahead of them.
Drummer Chloe's work, while not being very technical is very clean. She has a lot more control than drummer I've seen that are twice her age. Tracks like "Organ Talk" showcase both the bands humor and their musicianship as we can the start of the band branching off, ever so slowly, into other genres.
The record does have it faults though. "I Would Go" has some blatantly auto-tuned vocals. Asya's voice is still developing and with some more work, she's dto do more with her voice, but she seems a bit bound by her lack of experience. Tracks Clap On", would greatly benefit from Asya throwing in a bit of gravel into her voice. The sloppiness of the record, for the most part, offers irrereplacable charm, but can be a bit too much for musical perfectionists. The lyrical content is also very repititivie, but the fact is, Asya's a better writer than people three times older than her. Once these early emotions, the ones that a there in every teenage child grow up, she'll be better for it and finally read to leave foll
I recommend Free to Stay for any pop junkee. It's a good listen, a good record, and a lot of fun. I've gotten this record many spins before finishing this review and I'm likely to have many more in the near future. Shortcomings notwithstanding, music like this is exactly what the state of modern music needs right now. And just think. Their eight year-old sister just started bass lessons.

Smoosh are Smashing.......2006-07-10

The pure innocence of this project is most appealing. In a day & age when provocative images and negative messages prevail in music, Smoosh are very refreshing. But never mind that, these girls ROCK! Highlights for me are "Pygmy Motorcycle," which demonstrates solid, sophisticated song writing, "Make it Through," a brilliant catchy single, and "The Quack," a playful creative cut that just makes you smile. The entire album shines, but I just decided to highlight a few personal favorites. Smoosh are extremely talented, fun, and passionate. The older you are, the further back they take you to a day when life was more simple and fun. The song writing is even better on the 2nd album, but this is an incredible debut. Good show, girls!

Great job!.......2006-04-19

I found this album to be honest and genuine. Many of the tracks display real budding talent and intellect that is not often seen in 9 and 11 year olds. Other tracks are silly, with screaming and giggling, and there are moments when Asya doesn't sing on-key or mumbles the sometimes-repetative lyrics. MTV material they are not. But one thing I can't call them is bad. For a pair of youngsters who accidentally fell into the music scene with zero formal training, this is a fantastic piece of work. No, the songs on this album won't be winning any awards, but compare them to your average teen/pre-teen pop singer, and Smoosh is a refreshing breeze. If you're looking for manufactured-sounding music, digitally enhanced vocals, and generic love songs, look elsewhere, because what you're going to get with "She Like Electric" is two girls having a lot of fun.

Since releasing this album, the girls have grown up a bit, and their musical skills have improved vastly. Catch them live, or find some footage of them live on Google video or YouTube. "Sucks"? "No talent"? I think not.

Great job, girls; eagerly awaiting your next album!

Average customer rating:

< <3>> Stars because of her BOLDNESS, I have much much Respect.
This album deserves its obscurity

360 Degrees of Power
Sister Souljah
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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No Disrespect
The Coldest Winter Ever

ASIN: B000008KQY
Release Date: 1992-03-17

Tracks:

African Scaredy Katz in a One Exit Maze
360 Degrees of Power
Hate That Hate Produced
State of Accomodation: Why Aren't You Angry
Nigga's Gotta
Wild Buck Beer
Final Solution: Slavery's Back in Effect
Killing Me Softly: Deadly Code of Silence
Umbilical Cord to the Future
Tom Selloutkin Show
Brainteasers and Doubtbusters
My God Is a Powerful God
Survival Handbook Vs Global Extinction

Customer Reviews:

< <3>> Stars because of her BOLDNESS, I have much much Respect........2005-12-22

(First Star taken off) because the sister cannot rap lol.. She either too angry or too eager to display any real talent... I am a HUGE fan of sister souljah as a person, as a political and activist figure representing our People... but I had to pop this CD out, I felt like she was screamin at me... Just yellin and angry (obviously)... But, I will simply hold on to it as a collectible out of respect and admiration for this woman of Power and Dignity. Some of the lyrics were a lil extra hateful, but you know... to each his own... I prefer to hear More about Resolutions than Problems.. but We can't address one without the other.. (Second Star taken off for that) This album didn't have enough of a balance for me, too much blame, not enough positive reinforcement of how we're going to overcome some of these obsticles Anyway.. I'm a proud black woman so I can do is respect the sister for her opinions. No regrets with this purchase.

This album deserves its obscurity.......2005-07-30

Forget the politics, the album is just musically poor. Most of it boils down to pretty talentless, often amusical whiny chatter.

At the time, this lady was a girlfriend of one of the members of Public Enemy. She did get one song from them--Final Solution: Slavery's Back in Effect, and it is just so much better than anything else on the album that it's embarrassing. If you have to get anything from her, get the single.

Average customer rating:

Change of Heart
Underrated
Overlooked Power Pop Gem

Learning Curves
Einstein's Sister
Manufacturer: Yummy Pop Tunes
ProductGroup: Music
Binding: Audio CD

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HUMBLE CREATURES

ASIN: B00005K9QD
Release Date: 2000-01-01

Tracks:

Jealous Time (Intro)
Jealous Time
Come Saturday
My Secret Life
Mr. Genius
No Laughing Matter
Destiny Will Ride
Country Song #5
Castles
See You Again
Together We're Alone
Memory Waiting To Happen

Customer Reviews:

Change of Heart.......2005-12-31

I'm sorry, but I have to correct myself. The last review I wrote was a long time ago, and Bill is an excellent vocalist. I dont know what I was thinking.

Cheers!

Underrated.......2004-06-29

I'm usually not too into pop, but Einstein's Sister is a whole other story. I learned about them because Kerry Tucker, Einstein's lead guitarist, is my guitar teacher, and he hooked me up with some CDs, and they're absolutely great. Described as "neo-beatles" by Tucker, they have great songwriting, guitars, drums, and bass. The vocalist, Bill Douglas, is average, and sounds better on the album than he does live. The only complaint I have is that Bill's vocals sometimes don't fit the music; his vocals are very pop and sugar coated, so when he comes in on one of the more crunchy, power chord driven songs, it just doesn't mix. This is a rare occurance, however, and can be easily overlooked. This album is great, as is their other album Humble Creatures. I would recommend getting Learning Curves first, though, as it has more stand-out, grab your attention songs. This band deserves WAY more credit and fame than they get.

Overlooked Power Pop Gem.......2004-05-28

Wow! I bought this CD at a discount, its one of the best I have ever heard. If the early Beatles, Elvis Costello and Squeeze had a love child band Einstein's Sister would be it. Now I've got to buy the rest of their CDs.
Very catchy hooks and melodies, lead vocals....great voice!

Average customer rating:

Sister Power

Sister Power
Sister Power
Manufacturer: getdisconnected.com
ProductGroup: Music
Binding: Audio CD

General | Dance & DJ | Styles | Music

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Fly Me On The Wings Of Love

ASIN: B0009XTY0K
Release Date: 2005-09-06

Tracks:

Give Me Back My Love Afair 7:38
Sister Power 9:09
Love Potion 7:07
Help Me Love Again 5:01
I like Watcha Do 3:58

Product Description

First time on CD the release of the Sister Power, who's lead vocalist was Gwen Jonae, was album also produced by Paul Sabu (Debbie Jacobs, Gwen Jonae, Ann Margret). This remastered album release contains the top 40 hit single Give Me Back My Love Afair.

Customer Reviews:

Sister Power.......2006-01-25

I'm soooo happy that I found this rare gem. This is classic Disco!! Much like the 2 Debbie Jacobs albums that Paul Sabu also produced BUT better! Great vocals and excellent songs. "Gimme Back My Love Affair" (nearly 10 minutes long), "Sister Power" and "Love Potion" my favorites. The quality of this CD is great too. If your looking for that great Disco album, this is it.

Average customer rating:

The most important albums of my life
A good CD with some Awesome songs
No need to be 'Humble'

HUMBLE CREATURES
Einstein's Sister
Manufacturer: Yummy Pop Tunes
ProductGroup: Music
Binding: Audio CD

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Learning Curves

ASIN: B000051TSB
Release Date: 2000-10-24

Tracks:

DANDELION HEART
SOLAR CIRCLE GIRL
BIG BROTHER EYE
HEY NAPOLEON
THIS WON'T BE HOME SOMEDAY
SOMETHING TRUE
NEVER CAN TELL
MERMAID PARADE
COME ON PARIAH
BELOVED INFIDEL
THIS IS THE DAY

Album Description

New release from this mid-west power-pop band. They have been compared to Squeeze, Crowded House, The Posies, XTC, etc...

Customer Reviews:

The most important albums of my life.......2007-06-15

This and Learning Curves, that is. These albums made me hear music in a completely different way. God only knows where I would be right now if it hadn't been for these albums. These albums honestly are the most important in my collection, right up there with Blood on the Tracks and Abbey Road.

A good CD with some Awesome songs.......2000-10-27

As with all albums by most artists there are songs that particularly stand out to you and you listen to over and over again. And there are others on the album that are still good songs but don't hit you quite the same way. And those songs are different for each person. I must say that Something True, Never Can Tell, and Beloved Infidel hit me in that way. I have already listened to them dozens of times. Come On Pariah is also a very good tune that I have listened to many times. The other tracks have there own attractive qualities, some are poppy sunny summer day songs and others just a good tune. Some have lyrics that stand out like, "My death defyin' dandelion heart," "Black and blue cartoon," or the dual melody sung in Solar Circle Girl. I recommend purchasing this work. I would definately advance to the self-titled and Learning Curves, in that order, and then, despite the arguably poor renditions of some great tunes, move on to Oceanus. ES will have an extraordinary Greatest Hits!

No need to be 'Humble'.......2000-10-26

Following on the heels of last years' melody-filled 'Learning Curves'. Einstein's Sister has reached in the cookie jar to extract another handful of tasty tunes.

The songwriting team of Bill Douglas and Kerry Tucker are only getting better - and they were already very good. The band is tighter, the harmonies brighter.

Einstein's Sister (1st Album)
Average customer rating:

Ya just can't sit still!

Ya just can't sit still!

It's rockin' in the free world!

A blast from the past

Thank You E.S.

Einstein's Sister (1st Album)
Einstein's Sister
Manufacturer: Yummy Pop Tunes
ProductGroup: Music
Binding: Audio CD

Pop Rock | Pop | Styles | Music
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ASIN: B00003ETQR
Release Date: 1999-11-09

Tracks:

JULIETTE'S IN WAITING
SECOND TIME AROUND
PUT ME TO THE TEST
DON'T LET OUR EYES MEET
PLAY GOD
MY OWN COUNTRY
KING IN NAME ALONE
GIRL CALLED LOVE
LOVE IS HABIT
LITTLE KNOWN FACT
TOWN OF PAIN
ALL I WANT FOR CHRISTMAS IS YOU
KING IN NAME ALONE (HOME DEMO)
GIRL CALLED LOVE (HOME DEMO)
MY OWN COUNTRY (LIVE)
LITTLE REMINDERS (HOME DEMO)
HOUSE OF LIARS (BAND DEMO)
FALLEN ICON (BAND DEMO)

Album Description

Einstein's Sister (1st Album) was originally released under the name Douglas and Tucker - Einsteins Sister in 1996 on the Oil Records label.

We refer to this CD as the demo on steroids. The original intent was to demo some of our acoustic-based songs with a band sound. So, we called up some drummers and locked ourselves in my basement for about a month.

We were pleased with the results and started selling tapes of these demos at our shows. After the demo started to gain some local media attention, we began toying with the idea of releasing a CD. So, we returned to the basement, recorded five more songs and took the tapes to a real studio to be mixed. When the CD was released, we put together a band for the release party and have continued as a band ever since.

The CD has been recently re-mastered and includes new artwork, as well as several bonus tracks that were not included on the original release.

Customer Reviews:

Ya just can't sit still!.......2000-07-21

There is so much going on in all the Einstines sister recordings. The talents of Bill Douglas and Kerry Tucker are only made better by the addition of the other three guys. It is hard to believe that several of the songs on this c d were done in a basement. Even the demo cuts are pure professional. With a blending of harmany, meaningful lyrics and right on the mark music these guys give you your monies worth.

Ya just can't sit still!.......2000-07-21

It's rockin' in the free world!.......2000-01-24

This album melts in your mouth, not in your hand! These guys are totally awesome! They have a great sound, great lyrics... I recommend singing along with this album in the shower and in your car as well as dancing to it in your living room.

A blast from the past.......2000-01-06

I have been into Einstein's Sister for the past year. I have purchased all 4 albums and once again they have blown away the competition with another great album. The remastering is excellent and the addition of 7 bonus tracks make it all worth buying again. Keep up the great work!

Thank You E.S........1999-12-23

I would have given the previously released CD 5 stars. I have had the CD for over a year and listen to it several times a week and still haven't gotten bored. Now they go and add bonus tracks! This CD has the perfect mix of acoustic and electric guitars, bass, drums, and vocals. I enjoyed the first CD so I anxiously awaited the remastered version. Now I have it and anyone familiar with the songs on the fist CD will love the remastered version since many of the bonus tracks are previously recorded, or at least recorded differently, versions of the songs on the first CD, plus a few new ones. All I have to say is "Thank you!" to Einstein's Sister. Keep it up!

Average customer rating:

"The death-doomed alone are destined to look on me."
Breathtaking, powerful, accessible, not just an alternative
Absolutely Breathtaking!
A powerful reading of the most moving opera in the Ring.
The power of Wagner's music drama is now fully accessible

Wagner: The Valkyrie

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
Similar Items:

Wagner: The Rhinegold
Siegfried (Goodall Ring Cycle/Chandos Opera in English)
The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)
Mozart - Don Giovanni / Garry Magee · Cullagh · Banks · Plazas · Shore · Tierny · PO · David Parry

ASIN: B00004YU6Z
Release Date: 2000-11-28

Tracks:

Act I: Prld - English Nat Opr Orch/Reginald Goodall
Act I, Scene 1: The Storm Drove Me Here - Alberto Remedios/Margaret Curphey
Act I, Scene 1: This House And This Wife - Margaret Curphey/Alberto Remedios
Act I, Scene 1: Evil Fortune's Never Far From Me - Alberto Remedios/Margaret Curphey
Act I, Scene 2: There He Lay, Feeble And Faint - Margaret Curphey/Clifford Grant/Alberto Remedios
Act I, Scene 2: Through Field And Forest - Alberto Remedios/Clifford Grant/Margaret Curphey
Act I, Scene 2: Friedmund No One Could Call Me - Alberto Remedios/Clifford Grant/Margaret Curphey
Act I, Scene 2: The Neidings Raided Again - Alberto Remedios
Act I, Scene 2: So The Norn Who Dealt You This Fate - Clifford Grant/Margaret Curphey/Alberto Remedios
Act I, Scene 2: I Know A Troublesome Race - Clifford Grant
Act I, Scene 3: A Sword Was Pledged By My Father - Alberto Remedios
Act I, Scene 3: Are You Awake? - Margaret Curphey/Alberto Remedios
Act I, Scene 3: My Husband's Kinsmen - Margaret Curphey
Act I, Scene 3: Yes, Loveliest Bride - Alberto Remedios/Margaret Curphey
Act I, Scene 3: Winter Storms Have Vanished (Siegmund's Spring Song) - Alberto Remedios
Act I, Scene 3: You Are The Spring - Margaret Curphey
Act I, Scene 3: Oh Sweetest Enchantment - Alberto Remedios/Margaret Curphey
Act I, Scene 3: The Stream Has Shown My Reflected Face - Margaret Curphey/Alberto Remedios
Act I, Scene 3: Siegmund Call Me, And Siegmund Am I! - Alberto Remedios
Act I, Scene 3: Siegmund, The Walsung, Here You See! - Alberto Remedios/Margaret Curphey

Tracks:

Act II, Scene 1: Go Bridle Your Horse, Warrior Maid! - Norman Bailey
Act II, Scene 1: Hoyotoho! Hoyotoho! (Brunnhilde's Battle Cry) - Rita Hunter
Act II, Scene 1: The Usual Storm, The Usual Strife - Norman Bailey/Ann Howard
Act II, Scene 1: Pretend That You Don't Understand! - Ann Howard/Norman Bailey
Act II, Scene 1: Now It's Come To Pass! - Norman Bailey
Act II, Scene 1: So This Is The End Of The Gods And Their Glory - Ann Howard
Act II, Scene 1: You Never Learn What I Would Teach You - Norman Bailey/Ann Howard
Act II, Scene 1: What Must I Do? - Norman Bailey/Ann Howard
Act II, Scene 1: Hiaha! Hiaha! Hoyotoho! - Rita Hunter/Ann Howard/Norman Bailey
Act II, Scene 2: Fricka Has Won The Fight - Rita Hunter/Norman Bailey
Act II, Scene 2: When Youth's Delightful Pleasures Had Waned - Norman Bailey
Act II, Scene 2: She Refused To Reveal More About It - Norman Bailey/Rita Hunter
Act II, Scene 2: There's More To Tell - Norman Bailey
Act II, Scene 2: Yet One Can Accomplish What I May Not - Norman Bailey
Act II, Scene 2: But The Walsung, Siegmund - Rita Hunter/Norman Bailey
Act II, Scene 2: Then Siegmund Must Fall In His Fight? - Rita Hunter/Norman Bailey
Act II, Scene 2: I Give You My Blessing, Nibelung Son! - Norman Bailey/Rita Hunter
Act II, Scene 2: No, Have Mercy - Rita Hunter/Norman Bailey

Tracks:

Act II, Scene 2: So I Obey His Command - Rita Hunter
Act II, Scene 3: Rest Here For A While; Stay By My Side! - Alberto Remedios/Margaret Curphey
Act II, Scene 3: Away! Away! - Margaret Curphey/Alberto Remedios
Act II, Scene 3: Where Are You, Siegmund? - Margaret Curphey/Alberto Remedios
Act II, Scene 4: Siegmund! Look At Me! (Announcement Of Death) - Rita Hunter/Alberto Remedios
Act II, Scene 4: And If I Come - Alberto Remedios/Rita Hunter
Act II, Scene 4: Then Greet For Me Walhall - Alberto Remedios/Rita Hunter
Act II, Scene 4: Woe! Woe! Sister And Bride - Alberto Remedios/Rita Hunter
Act II, Scene 4: Two Lives Now Lie In Your Power - Alberto Remedios/Rita Hunter
Act II, Scene 5: Charms Of Sleep Are Sent To Still - Alberto Remedios
Act II, Scene 5: I Hear Your Call - Alberto Remedios/Margaret Curphey
Act II, Scene 5: Wehwalt! Wehwalt! - Clifford Grant/Alberto Remedios/Margaret Curphey/Rita Hunter/Norman Bailey

Tracks:

Act III, Scene 1: Hoyotoho! Hoyotoho! (Ride Of The Valkyries) - Katie Clark/Anne Evans/Elizabeth Connell/Helen Attfield/Shelagh Squires/Anne Conoley
Act III, Scene 1: Shield Me And Help - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
Act III, Scene 1: Hear While I Tell You - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
Act III, Scene 1: Pray Suffer No Sorrow For Me - Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne...
Act III, Scene 1: Fly Him Swiftly, Away To The East! - Rita Hunter
Act III, Scene 1: O Radiant Wonder! (Parting Salute) - Margaret Curphey
Act III, Scene 1: Stay, Brunnhild! - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Where Is Brunnhild? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Weak-Spirited, Womanish Brood! - Norman Bailey
Act III, Scene 2: Here I Am, Father - Rita Hunter/Norman Bailey
Act III, Scene 2: No More Will You Ride From Walhall - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Did You Not Hear What I Decreed? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 3: Was It So Shameful - Rita Hunter/Norman Bailey
Act III, Scene 3: I Know So Little - Rita Hunter/Norman Bailey
Act III, Scene 3: You, Who This Love Into My Heart Revealed - Rita Hunter/Norman Bailey
Act III, Scene 3: You Indulged Your Love - Norman Bailey
Act III, Scene 3: Unworthy Of You This Foolish Maid - Rita Hunter/Norman Bailey
Act III, Scene 3: You Fathered A Glorious Race - Rita Hunter/Norman Bailey
Act III, Scene 3: In Long, Deep Sleep - Norman Bailey/Rita Hunter
Act III, Scene 3: Farewell, My Valiant, Glorious Child! (Wotan's Farewell) - Norman Bailey
Act III, Scene 3: These Eyes So Warm And So Bright - Norman Bailey
Act III, Scene 3: Loge, Hear! Come At My Call! - Norman Bailey
Act III, Scene 3: Magic Fire Music - Norman Bailey

Customer Reviews:

"The death-doomed alone are destined to look on me.".......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
Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Breathtaking, powerful, accessible, not just an alternative.......2005-05-03

This is one of three Walkure's in my collection: the very underrated Leinsdorf, the thrilling Boehm and this one with Goodall. I believe Goodall is right up there with the best of them. Remedios, Hunter and Bailey sing beautifully and with sufficient drama. I'll go out on a musical limb and say I believe Bailey is one of the finest Wotan's on disc. Many will disagree but I think he has the measure of the role, the power to pull it off and a burnished timber that never becomes coarse under powerful climaxes... Remedios may well be the star of the trilogy along with Hunter and Bailey. His Siegmund is beautifully sung and his Siegfried by the way, is no mean stint either. Would that we had tenors that could sing Siegfried without sounding stretched beyond their limits. I am continually puzzled by the bad reviews that the orchestra playing receives from ARG, Classics Today and a few others. The ENO is not a Concertgebouw or Vienna Philharmonic but I think they play beautifully, a few clinkers notwithstanding. For a live show, they do a pretty d..... good job. THe sound from both orchestra and singers is exceptionally fine. This set belong in your collection if you like Wagner and, Die Walkure, in particular. If I had been at the performance in the 1970's I would have come home very happy, satisfied and richer for the experience.

Absolutely Breathtaking!.......2002-09-13

I had long cringed at the thought of this magnificant masterpiece recorded in English. Even after reading several rave reviews on this cylce that I've read by authoritive Wagnerites and critics, I was still skeptical. Finally, I decided to add Goodall's 'Ring' as my third complete cycle (after Solti & Bohm) for one reason: because it was in English and I felt it would enhance my understand of 'The Ring.' In fact, after achieving that "higher understanding" I was planning on selling this set on Ebay. That was, of course, before I heard this magnificant recording.

During the course of my research on 'The Goodall Ring' most of the praised seemed to heighten around 'Siegfried,' which is my absolute favorite of the cycle. That also helped to seal the deal. As the critics said, 'Siegfried' under Goodall is excellent, but not as monumental as Solti's reading, which IMHO is the greatest recording of 'Siegfried.'

The set that stands out, to me, in 'The Goodall Ring' is this recording; The Valkyrie. It is absolutely breathtaking. Not only is it my favorite of this set, it is my favorite Valkyrie recording period (I am very familiar with Boehm's, Solti's, Karajan's, Furthwanglers, Levines, and others). Alberto Remedios (Siegmund here and Siegfried in the last two operas) is truly magnificant. It is the best Siegmund I have heard on disc (and his Siegfried rivals Windgassen). Coupled with Margaret Curphey (Sieglinde), you get the most beautiful and moving duo I have heard on record. The duet in Act I is simply glorious. You also get the bonus of Norman Bailey's triumphant Wotan (and Wanderer too). He has such command and prescene. He sounds like a God. Throw in Rita Hunter, who holds her own as Brunnhilde, Goodall's miraculous conducting, and excellent playing by the orchestra and it all adds up to a stunning recording.

I can only say that in a way it's a shame this set is in English. Were it not, I believe Goodall's 'Ring' would be one of the most talked about, popular, and sought after complete recordings of the cycle. I can only say that I am so happy that I finally opened up to opera recorded in a different language than written.

I have fallen completely in love with Goodall's entire cycle. And, I have fallen in love with 'The Ring' all over again.

A powerful reading of the most moving opera in the Ring........2001-08-30

This performance of *Die Valkure,* the second and most popular opera in Wagner's Ring Cycle, is musically splendid. Its special significance, however, is that it is sung in English. An English performance of the Ring is perhaps more important than that of any other opera(s), because Wagner's libretti are suffused with his ideas about society, fate, justice, and love. Even if (at times) you need to read along to understand what the singers are saying, *hearing* the lyrics in English is truly stirring in a way that performances in your non-native language cannot match.
A particular stand-out on this recording is the Wotan. His timbre, diction, and delivery perfectly embody the troubled god who tries desperately, and in vain, to keep the world under his control. His angst and wrath are utterly convincing.

The power of Wagner's music drama is now fully accessible.......2001-01-30

I have never been a fan of opera in translation, but I must say that Andrew Porter's rendering of The Ring in English is amazing. He uses modern, not archaic, English, and the word choice is so very earthy and Germanic that the noble yet somewhat severe atmosphere of the Teutonic myths is conveyed perfectly. The sound, in other words, is an elegantly Germanic, and totally appropriate for the music and the Story it tells. It is not true that you can't understand the English anyway, because you can understand if you care to pay any attention at all. The translation is lucid, and so it the marvelous singing that conveys it.

Goodall's sense of music drama is lush, and takes some getting used to after the crash-and-burn Solti set, but after a time or two it seems just right. Goodall is not always slower than the rest, either; for example, the famous Ride of the Valkyries that begins Act III is quicker than Solti's surprisingly slow and heavy account. It is the most exciting that I have heard--and I have heard quite a few--but it is not so fast that the power is lost in favor of urgency.

This is not an urgent Die Walkure, and it is all the better for it. Goodall takes the time to actually tell the story, and is sensitive to the drama's needs over what could be called convention. For example, Wotan's Farewell doesn't thunder out after Brunnhilde's final declamation, like in so many recordings; rather, Goodall's interpretation is more dreamy, mysterious, and appropriately trance-like, in keeping with the action on stage.

I own the complete Solti Ring, but I must say I will be the first in line to get each new installment of this remarakable Ring as soon they hit the shelves. If you are new to Wagner, and are willing to make the plunge into a complete Ring, then start with this one and see if you want to continue. This recording is definitely one of the great Rings, and the superb translation will open up the work in ways that following the libretto just won't. I promise that you won't be able to put this one away easily. Get it!

Switchblade Sister
Average customer rating:

Great Redd Kross EP

Switchblade Sister
Redd Kross
Manufacturer: Cargo Records
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music
General | American Alternative | Alternative Rock | Styles | Music
Punk-Pop | Hardcore & Punk | Alternative Rock | Styles | Music
General | Rock | Styles | Music
Power Pop | Rock | Styles | Music
Pop Rock | CD Singles | Pop | Styles | Music
ASIN: B000057R0G
Release Date: 1995-04-16

Tracks:

Switchblade Sister
What's Wrong With Me?
I Don't Know How to Be Your Friend [Live]

Customer Reviews:

Great Redd Kross EP.......2005-09-24

The title track of the Switchblade Sister EP, one of the band's greatest compositions and a staple of its live set for many years to follow, contained the lyric "swinging like a new phaseshifter." The sounds on the Switchblade Sister EP would bridge the gap from the fuzzy bubblegum of its major-label debut Third Eye, and the hyper-confident after-school power pop of its next album Phaseshifter; the title most likely lifted from the aforementioned lyric. Every track on this extended-play recording is a gem, a fine example of a band that reached full speed on Neurotica and never stopped running. Included here is a great live version of "I Don't Know How To Be Your Friend." Also, not to be missed is the infamous cover photo of "Sister." The Switchblade Sister EP is absolutely essential for any fan of Redd Kross, and if you can get the Canadian version instead of the U.K. offering, you will find it includes two additional songs: "Trance" and "Byrds & Fleas"; both Redd Kross classics. The cover photo on the Canadian EP replaces "Sister" with a peek inside her purse - itself, quite an eye-opener. - Terrance Miles, AMG

Average customer rating:

Bill Douglas speaks:
You under estimate this CD. Cut your self some slack!
Einestines Sister , It's All about the music.

Oceanus
Einstein's Sister
ProductGroup: Music
Binding: Audio CD

Alternative Pop | Alternative Rock | Indie Music | Stores | Music

Power Pop | Rock | Styles | Music
ASIN: B00004U2HU
Release Date: 2000-06-13

Tracks:

Welcome to your life
Routine
Chameleon Girl
Solitaire
House of liars
Firefly
Gates
Fallen Icon
Face of midnight
Living in the world
Pull of the tide

Album Description

For fans of Squeeze and XTC

Customer Reviews:

Bill Douglas speaks:.......2000-09-06

If you've never heard our music, buy 'Learning Curves' or 'Humble Creatures' from Amazon first - listen to 'em a few times, then pick up 'Einstein's Sister' (rereleased and remastered on CD with 7 bonus tracks) - and listen to THIS one a few times. If that's not enough, check out 'Changing Heart,' our contribution to Not Lame Record's 'Full Circle - a Tribute to Gene Clark' 2-CD set.

After all those songs, you'll have a good idea on what Einstein's Sister is all about...namely, bubbling power-pop from Illinois with refreshing lyrical play and a twist of melody.

If you've got any money left over (and you're one of the legion of card-carryin', dyed-in-the wool E.S. fans that have to have every bit of commercially-released music out there), THEN pick up a copy of 'Oceanus.'

The guys at Amazon and OarFin will be glad you did.

Cheers!

You under estimate this CD. Cut your self some slack!.......2000-09-05

This is a great assortment of songs and I agree that they are some of your best. Unless a person is involved with the business I don't think they would guess there are things about this cd the artists don't like. Give your fans the chanch to decide for them selfs if it is good. When you point out the negative things, that is all a person can focus on. This cd is a good bunch of songs and your talent show's through. Can't wait for the next one.

Einestines Sister , It's All about the music........2000-07-21

I have all three of the Einestines sister cd's and there is not one song in the bunch that I don't like. I am lucky enough to live in the area they come from and I make it a habbit to know where and when they play. They put on one heck of a show and the guys realy know how to entertain. I can't wait till this fall when their new cd hits the stores.

Music:

Music

music

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