Stand Back [CD-single] [Import]

Stand Back [CD-single] [Import]

Editorial Reviews
Product Description
A Stunning Remake of Stevie Nick's Seminal 80's Cut "Stand Back". It's Produced by Syndey Boy Glenn Humphries and featuring the Amazing Vocals of South African Chanteuse Louise Carver, "Stand Back" is Destined to Set Both Dance Floors and Radio Alight.

Tracks:

Don't Want You No More
It's Not My Cross To Bear
Trouble No More
Dreams
Whipping Post
Revival
Midnight Rider
Hoochie Coochie Man
Statesboro Blues
In Memory Of Elizabeth Reed
One Way Out
Ain't Wastin' Time No More
Melissa
Stand Back
Blue Sky
Little Martha

Tracks:

Wasted Words
Ramblin' Man
Come And Go Blues
Southbound
Jessica
Can't Lose What You Never Had
Win Lose Or Draw
Crazy Love
Just Ain't Easy
Hell & High Water
Never Knew How Much (I Needed You)
Good Clean Fun
Seven Turns
End Of The Line
No One To Run With
High Cost Of Low Living

Customer Reviews:

Simply definitive, even without Don't Keep Me Wonderin'.......2007-07-01

If you're looking for an introduction to the group, start here! Two discs, and unlike a certain OTHER compilation one isn't a straight-up reissue of Enlightened Rogues (though you get close to a straight-up reissue of the debut: that would've been cool if they threw on Every Hungry Woman and did that, since they were quite close). This collects all the group's big hits and radio staples: Dreams, Whippin' Post, In Memory of Elizabeth Reed (the live version, too!), Midnight Rider, Revival, Statesboro Blues, One Way Out, Ain't Wastin' Time No More, Melissa, Blue Sky, Little Martha, Wasted Words, Ramblin' Man, Southbound, Jessica (though unfortunately it's the single edit, not the essential full version) and Crazy Love; mixes in lesser known fan favorites like It's Not My Cross to Bear, Stand Back, Come and Go Blues (well I'm a fan and it's one of my favorites, at least), and mixes in a few of their comeback hits (Seven Turns, Good Clean Fun, End of the Line, No One to Run With, High Cost of Low Livin'). That's really the only area this album needed improvement in. I mean, who needs the Arista songs? (Hell and High Water and Never Knew How Much I Needed You, that is). I'd rather hear Get On With Your Life, Back Where It All Begins, True Gravity or Old Before My Time (though I think this came out a year before Hittin' the Note, which explains the sinlge edit of High Cost of Low Livin'). Still, Stand Back is a perfect premeire for the Brothers, even if it misses a couple good songs here and there, mostly from Idlewild South (Don't Keep Me Wonderin', Please Call Home), wouldn't that just defeat the purpose of buying the album?
I would like to lament the lack of the Fillmore East Stormy Monday, though. Even pathetic, budget-priced compilations such as Legendary Hits and Essential (AKA half partially essential, half Enlightened Rogues) find room for it.

Blast From The Past.......2007-06-08

A very nice gathering of Allman Brothers' songs with their timeless Southern rock/blues....for those who are die hard Allman Brothers fans...and even for those who aren't....you will simply LOVE this CD....a huge "thumbs up"

Great overview of a great band.......2007-04-12

This 2 disc comp is an excellent way to listen to a very talented band. From early classics like "Statesboro Blues", "Melissa", "Jessica" and "Rambling Man" to ther newer material like "Seven Turns", "End of the Line" and "No One to Run With anymore". It's all good. They also have a 2-disc set called GOLD that focuses primarily on their seventies output, so if you prefer that to their later stuff then check that out too. Two thumbs up!

Wonderful!.......2007-01-13

I love this Allman Brother's compilation, it's got so many great, essential songs from their career, plus excellent linear notes! I think the Allman Brothers were underrated, as part of rock history and this anthology gives them the credit they so rightfully deserve. It's the definitive Allman Brothers and has excellent sound. You won't be disappointed!

~Glorious~.......2006-10-26

Glorious, what more can be said. Gregg Allman is really the only white guy that can sing the Blues. He is the only one. Others try and there is always something missing, Allman lacks nothing. Combined with Gregg Allman's vocals,the genius musicianship of the other players in this band and the writing skills, the Allamn Brothers Band is one of the best bands in the history of music. This offering captures their greatness, enjoy !

Stand Back! Here Comes Charley Musselwhite's Southside Band

Average customer rating:

The Real Thing
stand back! here comes charley musselwhite's southside band
Imprescindible en cualquier colección de blues
2 1/2 stars - extremely overrated
This is one of the BEST

Stand Back! Here Comes Charley Musselwhite's Southside Band
Charlie Musselwhite's Southside Band
Manufacturer: Vanguard Records
ProductGroup: Music
Binding: Audio CD

Chicago Blues | Blues | Styles | Music

General | Blues | Styles | Music

Electric Blues Guitar | Blues | Styles | Music

Modern Blues | Blues | Styles | Music

Harmonica Blues | Blues | Styles | Music

General | Blues | Indie Music | Stores | Music
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Harmonica According to Charlie
Tennessee Woman
Delta Hardware
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Sanctuary

ASIN: B000000EJ7
Release Date: 1991-09-19

Tracks:

Baby Will You Please Help Me
No More Lonely Nights
Cha Cha The Blues
Christo Redemptor
Help Me
Chicken Shack
Strange Land
39th And Indiana
My Baby
Early In The Morning
4 P.M.
Sad Day

Customer Reviews:

The Real Thing.......2005-12-09

I bought this record when it first came out and have listened to it consistently since then. It's one of the real classics, in the same group as the 1st generation Chicago blues classics - a desert island record. Great blues has a soul that all fans can identify - this record has that soul to burn. And burn it does, mostly. The singing, harmonica and guitar work are peerless - equalled by electrified white bluesmen only a few times, for example, in the first two Paul Butterfield Blues Band records and maybe parts of John Hammond's "I Can Tell." Harvey Mandel's guitar solo on 4PM makes my hair stand on end (the longest bent note in the blues!), even after almost 40 years. Charley's hard driving vocal style and aggressive harp fills and solos against that solid simple back beat are the essence of hard rocking.

My favorite Musselwhite story - at a rock festival in 1970 filled w/ hippie comunards, somewhere in rural Oregon, Charley, with slicked back short hair and a white short sleeve shirt surveys the frolicing multitudes - swirling, colored clothes, flowing long hair everywhere, wildly high, like a chemically enhanced group of 18th century utopians at an outdoor picnic- looks at the audience - knowing how incongruous his blue collar band must look, and growls, "SOMEbody got to play the blues." So true. He did. The harp wailed and the crowd went wild. He rocked then and he rocks now.

stand back! here comes charley musselwhite's southside band.......2005-01-20

attention blues lovers, stand back is fresh and hard and real in 2005 as in 1967. this album has magic as it captured a real and lasting feel for the blues.the harp and electric guitar and organ were meant for each other. musselwhite vocals are in top form for crying the blues. if you collect blues music, this is the leader of the pack...and blues is my main music...graffitiglenn

Imprescindible en cualquier colección de blues.......2004-04-14

Junto a Paul Butterfield, Charlie Musselwhite es una de las figuras más notables del despegue del blues rock americano de mediados de los 60's. hay muchas similitudes entre ambos músicos y sus respectivas bandas (Blues Band y South Side Band), lo que no debería extrañar si se consideran los paralelos en su formación y el común denominador del blues de Chicago. También se hacen acompañar por secciones rítmicas de avezados músicos negros y por virtuosos solistas an guitarra y órgano.

Si hay que escoger, la ventaja la tiene Butterfield, que presentó su revolucionario sonido en 1965. Pese a que Musselwhite venía tocando por la misma época, su debut se produce en 1967, con el fenomenal East West a sus espaldas. En términos de búsquedas sonoras, la South Side Band se mantiene fiel al estilo, pero ese apego no le quita densidad y calidad a su música.

Virtuoso de la armónica y con un timbre semejante al de Butterfield (en especial cuando fuerza la voz), Musselwhite alterna números lentos con otros dinámicos y potentes, acompañado por el futuro Canned Heat Harvey Mendel, de sólo 22 años, el que deslumbra con un manejo envidiable e irresistibles solos (No More Lonely Nights y 4 P.M por nombrar algunas). Barry Goldberg tampoco se queda atrás, aportando y por momentos tomando el control, como ocurre en el tema de su autoría que cierra el álbum, algo desacostumbrado para un tecladista, usualmente relegados a un papel secundario. Es que en este álbum ho hay actores menores, sino una suma de talentos nada sencilla de igualar.

2 1/2 stars - extremely overrated.......2004-03-08

I had heard nothing but good about this supposedly seminal blues record, recorded in 1967, and featuring none other than blues drummer par excellence Fred Below.
So I went and bought it. And, well, it's not a bad record, I suppose. But it sure as hell isn't a great one, either.

Charlie Musselwhite's vocals are dull and expressionless, and most of the arrangements bland and stereotypical, with too much annoying organ playing, and the rhythm section mixed waaay into the background.
Musselwhite's renditions of "Early In The Morning" and "Help Me" are okay, but no match for Junior Wells or Sonny Boy Williamson's recordings, and the harp playing is good, but it's not _that_ phenomenal.
To me, there is not a whole lot here to warrant the praise that has been lavished upon this album...most of the songs are repetitive and predictable, sounding like a thousand other electric blues tunes. The least of Sonny Boy Williamson II's singles have twice the grit and character of this entire record.

Now, I know that "classic" Chicago blues like Muddy Waters, Elmore James, Howlin' Wolf, or Rice Miller isn't everybody's thing. But I fail to see why even fans of more, shall we say, "urbanized" electric blues would go for this one.
Is it the great melodies? Nope, can't be. There are maybe two.
The phenomenal harmonica playing? Not if you've ever heard Rice Miller or Junior Wells or Big Walter Horton play.
The superb band? No way, you can barely hear what the rhythm section is playing.
As I said, "Stand Back" is not really a bad record, it's just bland. I certainly don't mind listening to it, but it's not one that I'll feel compelled to play every week. Or every year.

This is one of the BEST.......2000-08-05

blues albums to emerge from the 1960s. Charlie Musselwhite had been paying his dues back in the '60s on the South Side of Chicago, learning from the Blues Giants and doing session work with the likes of John Hammond and Tracy Nelson, but he really emerged as a FORCE and a TALENT with this album. Musselwhite just shows impeccable instincts, and the result is something rare: a white who plays the blues in an overwhelmingly convincing way. Listen to "Strange Land" or "Baby Won't You Please Help Me" and you will sense NOTHING trivial, and much that is deeply moving, about this music. A real hidden talent on this CD is Harvey Mandel on guitar--the man was and is a creative genius, bringing his own style of feedback and sustain--a highly idiosyncratic manner--to a pure understanding of the blues. I have had this album/CD for over 30 years, and when I play it today, I can still feel the fresh drive, energy, and authenticity that startled me when I first bought it back in 1967 (?).

Average customer rating:

Stand Back
April Wine
Manufacturer: Wounded Bird Records
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | Pop | Styles | Music

Pop Rock | Pop | Styles | Music

General | Rock | Styles | Music

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Hard Rock | Hard Rock & Metal | Styles | Music
Similar Items:

Electric Jewels
April Wine
Frigate
On Record
Roughly Speaking

ASIN: B000GPIFII
Release Date: 2006-10-17

Tracks:

Oowatanite
Don't Push Me Around
Cum Hear the Band
Slow Poke
Victim of Your Love
Baby Done Got Some Soul
I Wouldn't Want to Lose Your Love
Highway Hard Run
Not for You, Not for Rock & Roll
Wouldn't Want Your Love (Any Other Way)
Tonite Is a Wonderful Time to Fall in Love

Album Description

April Wine was a rock group from Montreal, Canada, lead by vocalist Myles Goodwyn. They issued numerous successful albums throughout the 70s and 80s. Stand Back was originally issued in 1975 on Big Tree Records. This CD reissue is a newly remastered version. Wounded Bird. 2006.

Average customer rating:

A Rose By Any Other Name...
"Thus I salute the stronghold, safe from dread and dismay!
Free at last!
I Love This Recording
The Goodall Ring - 1975 - Restored and Remastered

Wagner: The Rhinegold
English National Opera
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:

Siegfried (Goodall Ring Cycle/Chandos Opera in English)
Wagner: The Valkyrie
The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

ASIN: B00005B550
Release Date: 2001-05-22

Customer Reviews:

A Rose By Any Other Name..........2007-07-02

The figure of speach may not be completely correct in this instance, but, well, I hope you get the point. In any case, for a Dutch speaking person, like I, to hear 'The Ring' in a language other than the original German feels - almost shockingly(?) - natural. Certainly, this modern English translation, to me, is as least immediate, and probably even more immediate, than the original (archaic) German text. And in music drama, immediacy is essential. Maybe it is also the wonderfully natural translation, I don't know, but it works for me, the Ring in English.
But most of the credit has to go to the music, the singers, and the recording as such. I believe that this (originally analogue) remastered recording has one of the best recorded sounds and acoustics of any Ring, studio or 'live'. It is wonderfully clear but warm, kind of velvety (very unlike Solti), with beautifully natural balaces between voices and orchestra. Audience noises can be heard (including a delightful little ripple of laughter) but never really obtrusively so, thankfully. And I love the thunderclap-sound effect when Donner strikes his hammer against the rocks - very tastefully done, and lending extra power to the scene.
All the time one reads in reviews everywhere of the very slow speads at which the music is conducted by Sir Reginald Goodall. Well, that may be so, but I, for one, am certainly endeared to Sir Reginald Goodalls 'caressing' of the music, as a result of which wich the Leitmotifs come out more clearly than ever. The slow - but nonetheless very concentrated, and always involved - playing has, to me, an almost mesmerizing effect. Certainly, compared to many other recordings, the music may sound stretched almost beyond breaking point. But in the end, I think it is really just that: a matter of speed, no more. The concentration never falters and the dramatic arc never saggs. There is live 'music magic' going on here, I feel, even if the English National Opera Orchestra may not be (as precise or as diciplined as) a Wiener Philharmoniker or a Bayreuther Festspielorchester. Certainly, Sir Reginald Goodall must have loved this music and these opera's: one feels a slowly beating but constant loving pulse that energizes the drama and the music.
But we also have the singers. And what a great singers! While the best may be yet to come (with Alberto Remedios as Siegmund and Siegfried, and Rita Hunter as Brunnhilde), we here, in The Rhinegold, already have one of the most commanding of Wotans (Norman Bailey, with wonderful burnished timbre). Also, Emile Belcourt stands out as a wonderfully sleek but full-voiced Loge. Derek Hammond-Stroud's Alberich may not be as black as Gunther von Kannen's (for Barenboim), for example, but there is enough anguish, frustration and anger to lend his character a convincing reality and depth. And the giants too, are a winning pair. Especially Fafner (Clifford Grant) is as imposing and powerful as one may ever wish.
With all the rave reviews, here and elsewhere I can't wait to hear The Valkyrie, (especially) Siegfried and Twilight of the Gods. This certainly is a winning 'Ring', to be kept alongside any other 'great' recorded 'Ring' out there, IMHO. To me, it can hold its own alongside any other favorite recordings.
Please, sample this Ring (try for example the Chandos website for fragments of all of the music) and decide for yourself. Highly recommended.

"Thus I salute the stronghold, safe from dread and dismay!.......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 Valkyrie (Part 2): Wagner: The Valkyrie
-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)

Free at last!.......2004-09-18

I've enjoyed listening to the Ring cycles by Solti, Bohm, and Furtwangler, but my pleasure has always been dampened by the necessity to follow the dramas with a German/English libretto. This performance freed me from that burden and allowed me to listen to the Ring with my ears alone for the first time. And what a delightful experience it was! I found I could understand about half the words the first time through. but that was enough for me to understand what the characters were saying and concentrate on Wagner's great music. Some of the characters (Loge and Alberich, for example) are almost perfectly comprehensible, while others (Fricka in particular) might as well be singing in German. The sound itself is superb, with perfect balances between orchestra and voices. Goodall's conducting is famously slow (about half an hour longer than usual), but he is never slack and he reveals a wealth of detail in the orchestration. The singers are a mixed lot, with Loge, Alberich, and Mime particularly effective. Bailey is hardly the grandest of Wotans, but he is solid and convincing. In any event, for us non-German listeners, this recording is a real treat. I would not recommend it as a first Ring (Bohm is a good choice, though some of his tempi are rather hectic), but as a supplement to a recoding in the original language, it is hard to beat. Give it a try! As for me, I'm ready to go on to "Die Walkure" (pardon me, "The Valkyrie").

I Love This Recording.......2002-04-05

I was a little suspicious when approaching this English-language version of Das Rhinegold. I was considering assembling this as my third RING set (behind Solti and Levine) and had listened to THE VALKYRIE (Die Walkure) with a little initial disappointment. Although the live sound quality was very interesting, the tempo was much slower than I was used to and thus a little disconcerting, and the English words were harder to understand than I had hoped. Nevertheless, I persevered and listended to THE RHINEGOLD (probably my favorite of the four RING operas, although I know this puts me in a minority) and was amazed. Best of all, after listening to this album I revisited the Goodall VALKYRIE and discovered a new appreciation! Now the Goodall set ranks as one of the best I've heard. It just needed to get under my skin a bit.

What's so good about it? Three things stand out for me: First, the slow tempi that were a litle rough at first actually allow, upon repeated listenings, a new discovery and understanding of Wagner's unfathomable genius. Every nuance is slowed down just enough to be fully accessible. Second, the modern English translation really does make this a different experience...my initial mistake was thinking that English lyrics could allow me to listen to this as background music, and that's not the case. However, if one devotes the same attention to this as a German recording, the time wil be richly rewarded. Finally, the smaller orchestra creates an almost chamber music-esque setting, which compliments the music in an undefinable way. Despite being in English, this is almost more Germanic than original-language recordings.

I still probably wouldn't get this as the first foray into Wagner's RING (I still think Solti or Levine are the choices for that). But for someone who already has some familiarity with the work, this will provide a lifetime's enjoyment. Cudos to Chandos for resurrecting these recordings!

The Goodall Ring - 1975 - Restored and Remastered.......2001-06-08

I have been curious about this for years. When I saw the packaging, I wondered whether this was the same Ring that has been kicking around for a couple of decades from the Sadler's Wells performances of the mid-70s. News flash: It's the same. However, the box says that it's been re-mastered with something called 24-bit digital mastering. Since I never heard the old records, I have no idea if this is better. Judged on its own, the sound is terrific. This live recording really places the listener in the theater with clarity and authentic spaciousness. So often, a live recording will capture the audience up close, then the orchestra, then the singers, cataloguing every throat being cleared and every bow being tapped. Somewhere in the distance, the singers voices follow their heavy tread over the stage. Not here. There is an intimacy to the sound here that approximates sitting in about the tenth row back in a large hall. It doesn't sound like the opera's being played in your room; it sounds as though your room has been transformed into a medium sized theater. I found it uncanny.

As to the experience of the drama in English, that too is remarkable, at least for someone like me whose home-tongue is English. The drama takes on an immediacy that I have never experienced before. This factor alone is why you should explore this Ring. I can't overemphasize the impact on me that this recording had on me because it was in English and because it was well-acted. Surely this is what Wagner meant, at least dramaturgically (obviously allowing that you can't actually see the action).

Overall, the singing is competent, and in some places, it's excellent. None of the cast really stands out musically. Norman Bailey's wobbly Wotan could have certainly benefitted from a deeper, richer tone. Still, and perhaps more importantly, he creates a god who is clearly unsure of where the moral highground is, even when he's standing on "an open space on a mountain summit." Everyone, for that matter, is dramatically convincing, especially Emile Belcourt (Loge) and Derek Hammond-Stroud (Alberich) and Robert Lloyd (Fasolt), all of whom, by the way, have excellent diction. And speaking of diction, I almost could have done without the libretto when the men were singing. Not so with the women, whose diction was uniformly wanting.

Goodall's pace is notoriously glacial. Still, it's interesting to hear it parsed in this way, and I never had the feeling that I was going to fall off the world. Which is to say that the tempos were deliberate, not affected. This was definitely a labor of love for RG and the English National Opera. The orchestra is a little thin sounding, and perhaps, not entirely up to the score. Occasionally a horn mis-blew and a cello creaked. This is unavoidable in live performances, I suppose. Still, there is a surprising sense of smallness to the ensemble, even though there's never a moment when the balance between singers and players is lost. As a result, the overall effect is a balance of clarity and urgency that is clearly the upside of Goodall's idiosyncratic "vision" of the score. Not a huge or "erotic" sound, but always committed, intelligent, and sometimes impassioned.

Tracks:

If Only He'd Talk To Me
I Did An Experiment
Tom Goes To The Den
Gabe And Tom Say Goodbye
I'm In The Mood For Love
Beth Drives Home
Beach Painting
The Scare
It's Their Job
I'm Happy For You
Dinner With Friends
I Know Where I Stand
I Cling To Her
Don't You Ever Miss Me?
Gabe And Beth Talk
Beth Breaks Down
Tom Gets His Sheets
Tom Checks On The Kids
Tom Leaves Gabe's House
I Don't Like Him Anymore
Back At The Vineyard
Every Karen Needs A Beth
Did You Get To Rome?
Too Much Vanilla?
Don't Dream It's Over - Crowded House

Amazon.com

Instead of a Sopranos-style album loaded with evocative songs, this HBO-movie soundtrack offers Dave Grusin's workmanlike score. What might be appropriate in the context of Norman Jewison's domestic drama is a listening experience with limited appeal. That is, fans of Grusin's work as a smooth-jazzer will probably enjoy--or at least find unobtrusive--the likes of "I Did an Experiment" and the guitar-and-vibes-heavy "I'm Happy for You." Not that the composer has no flair for reflecting the drama of a moment; "Tom Goes to the Den" is a masterful limning of that early turning point. Other snippets, including the title track, could fit into any tasteful suburban-based film. As for the disc's two vocal tracks, star Dennis Quaid's "I'm in the Mood for Love" is the musical equivalent of an actor's wandering accent, while Crowded House's 1986 "Don't Dream It's Over" brings the truest emotion to be found here. --Rickey Wright

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A band you're sure to love...
The very heartbeat of New Orleans....coming from Los Angeles
The very heartbeat of New Orleans....coming from Los Angeles
Great live show to boot!
Let's Get Back

Let's Get Back...
The Delgado Brothers
Manufacturer: Mocombo Records
ProductGroup: Music
Binding: Audio CD

General | Blues | Styles | Music

Latin Pop | Latin Music | Styles | Music

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A Brother's Dream
Delgado Brothers

ASIN: B00000JLIX
Release Date: 1999-02-14

Tracks:

Come With Me Baby (Can't Go Wrong)
Let's Get Back
Real Deal
If I Don't Get Home
No Regrets
Finally Home
Mixed Signals
L.A. Ellie
Something About My Baby
Blue Line
One For The Children
Struttin' Joey "D"
Church Of El Monte

Customer Reviews:

A band you're sure to love..........2001-12-30

This is a CD not to miss! The brothers incorporate all styles of music into their groovin' tunes. With influences from many blues artists, they still add their own style to give you songs that you'll never forget. I'm wondering when their next CD will come out, but I've recently seen them live playing some of their new stuff. It sounds great! Get ready for some great guitar playing from brother Joe!! If you get a chance to see them live go do it. They'll add a little comedy in with their meaningful lyrics. Their the best group I've ever seen! But if you can't- buy their CD. It's just as great! Also catch them on John Mayall's new release called "Along for the Ride." He does a cover of two of the brothers' songs. I'm glad they're finally getting some recognition! Maybe this will boost their well-deserved popularity. Make sure to check the Delgado Brothers out-they'll blow you away!

The very heartbeat of New Orleans....coming from Los Angeles.......2001-12-12

Just like the sultry, crawling Mississippi River...the aroma of seafood gumbo in a cast iron pot...pecan pralines from an old Creole kitchen...and the sights, sounds and mystique of Bourbon Street in the New Orleans French Quarter, the "Delgado Brothers" bring "Blues" to where they belong. Their "Let's Get Back" selections entice my senses with passion...the kind of passion felt while becoming "one" with the Vieux Carre.

I encourage you to experience this CD...take it along in a carriage ride around Jackson Square in New Orleans....or while riding the St. Charles Street Car...or while aboard the Delta Queen as she teases the muddy waters along her winding backbone...Stroll down Royal Street on your way to the Cafe' du Monde while listening to the Delgado Brothers and you will experience "Blues" like it was meant to be experienced.

This is truly a great find.

The very heartbeat of New Orleans....coming from Los Angeles.......2001-12-12

This is truly a great find.

Great live show to boot!.......2001-06-03

Yes they do give an extra giddyup in your boots. Saw them at the KPIG Blues Festival in Santa Cruz County and they blew my socks off. Best band of the day in my opinion, but you know about opinions. Sooo, instead of buying a used CD of these guys, I bought a new one so they get the money. Hope they spend it wisely on some new music and I will be seeing these fellers at Moe's Alley when they come back to town. Good job men!!

Let's Get Back.......2000-11-07

The Delgado Brothers w/Juke are just too awesome...I walk around at work with an extra little giddy up in my step every time I hear 'Finally Home' and 'Blue Line'...their East L.A. Blues sound is very powerful and addicting...they have a groove that will make you moove...and don't miss the chance to enjoy them 'Live' whenever you can...I play their music for others and the reaction is always the same, who's that and where can I get it?! I'll place my order now for their next CD...Mahalo

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Invaders
Bitches Sin
Manufacturer: Metal Nation Records
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

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ASIN: B000B8Q8ES
Release Date: 2007-05-21

Tracks:

Aint Life a Bitch
Invader
Bitches Sin
No More Chances
Day in Day Out
Out of My Mind
Heavy Life
Ice Angels
Round-A-Bout
Dawn of Destruction

Album Details

Bitches Sin Produced Some of the Most Influential Heavy Metal Music of the 80's with their First Album Charting in the Sounds and Melody Maker Top 30 Back in 1982. This Culminated in the Cult Classic, 'invaders' Album, Released in 1986.

Average customer rating:

Chateau Debris-Venus Has Seen Us

Manufacturer: Chateau Debris
ProductGroup: Music
Binding: Audio CD

General | Blues | Styles | Music
ASIN: B000CAGBSS
Release Date: 2001-01-09

Average customer rating:

Stand Back
Linus Loves
Manufacturer: Ultra Records
ProductGroup: Music
Binding: Audio CD

General | Dance & DJ | Styles | Music

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4-for-3 Dance & DJ | 4-for-3 Music | Stores | Music

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ASIN: B0002CX19S
Release Date: 2004-05-04

Tracks:

Stand Back [Radio Edit]
Stand Back [Vocal Club]
Stand Back [Instrumental]

Average customer rating:

Watch out for Sugarland!
I do... yes, I do love that Baby Girl!
Twice The Speed Of Life
Great Single can't wait for the album

Baby Girl/Stand Back Up
Sugarland
Manufacturer: Mercury Nashville
ProductGroup: Music
Binding: Audio CD

General | Contemporary Country | Country | Styles | Music

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Twice the Speed of Life
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ASIN: B0002T7ZC0
Release Date: 2004-08-17

Tracks:

Baby Girl
Stand Back Up

Customer Reviews:

Watch out for Sugarland!.......2004-08-23

I was at Sugarland's first show and fell in love with them! Kristen Hall is amazing and together with Jennifer Nettles and Kristian Bush they are UNBELIEVABLE. I have passed along their first cd to all of my friends. Listen to them and you will be left wanting more.

I do... yes, I do love that Baby Girl!.......2004-08-22

I have been a big follower of Sugarland since I first heard them in early 2003, beginning with their first two "homemade" CDs. My admiration for this group (and lead singer Jennifer Nettles) only continues to grow. They've taken a good, long, honest look at life - then chose to write about the GOOD times, and what matters most in life... and you can tell they are having fun doing it!

Be on the look-out for this band... they are not only going to take the country music world by storm, but the world as a whole.

Twice The Speed Of Life .......2004-08-20

"Baby Girl" is one of the best country songs since sliced bread! It reminds you a bit of when Trisha Yearwood first came out with "She's In Love With The Boy"... small town girl made it big... [or atleast in love]. The B-side "Stand Back Up" is a ballad from the forthcoming album [10.26.04]. Ladies and gentlemen, let me [re]intorduce you [the world] to SUGARLAND. Watch out Shania, Faith Hill, and the Dixie Chicks.... your time is limited... jennifer nettles [and company] has arrived.

Great Single can't wait for the album.......2004-08-19

I bought Sugarland's demo as soon as I heard about it, I've been a Kristen Hall fan since her first album. "Baby Girl" is a great song, and "Stand Back Up" is good too.

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