I Don't Care [CD-single] [Import]

Track Listings

1. I Don't Care

2. Seed (Live)

3. Stay Cool (Live)

Editorial Reviews
Product Description
Legendary Philadelphia Hip Hop Crew the Roots, Widely Regarded as the Greatest Ever Live Hop Hop Band, Follow the Release of their Acclaimed Sixth Album "The Tipping Point" and their Inspirational Reading and Leeds Festival Appearances, with the Release of their Single "i Don't Care".

I Don't Care,Roots,Universal/Geffen,Rap

Average customer rating:

Baby I Do Care..
Best of a Good Lot
Wandy Vamp
aesthetic nihilism
hey sister moon...

Baby I Don't Care: Collection
Transvision Vamp
Manufacturer: Umvd Import
ProductGroup: Music
Binding: Audio CD

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The Best of Voice of the Beehive
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Platinum Collection

ASIN: B0000647HH
Release Date: 2002-09-09

Tracks:

I Want Your Love
Baby I Don't Care
Tell That Girl to Shut Up
Revolution Baby
Sister Moon
(I Just Wanna) Be With You
Only One
Landslide of Love
If Looks Could Kill
Kiss Their Sons
Every Little Thing
Bad Valentine
Velveteen
Born to Be Sold
Revolution Baby [Electra Glide Mix]
Tell That Girl to Shut Up [Knuckle Duster Mix]
Baby I Don't Care [Abigail's Party Mix]

Album Description

UK budget-price compilation for the British alternative pop-rock act. Highlights include two versions of their first single, 'Revolution Baby' (including the Electra Glide Mix), two versions of their hit cover of Holly & The Italians' 'Tell That Girl To Shut Up' (including the Knuckle Duster Mix) & two versions of 'Baby I Don't Care' (including Abigail's Party Mix). 2002.

Album Details

The Brainchild of Wendy James and Guitarist Nick Sayer, Along with Ex-x-ray Spex Drummer Tex Axile and Bassist Dave Parsons. Includes their Hits "Revolution Baby" and a Holly Vincent Cover of "Tell that Girl to Shut Up", as Well as "i Want Your Love", "if Looks Could Kill" and Many More.

Customer Reviews:

Baby I Do Care.........2006-08-29

I bought this CD just because of the song "Baby I don't care" which I really like. However, to my surprise other songs in this cds are equally good as well.
Price of this cd is also reasonable. A must have for those who only know Transvision Vamp because of their hit song "Baby I don't care". You'll definitely love all the songs..A recommended buy.

Best of a Good Lot.......2006-04-28

The format may be bubblegum, but the arrangements, musicianship and even the lyrics are generally brilliant. The selection of tracks here is astute, including all the band's biggest hits. But if you liked this collection, you probably should have bought all their regular albums instead, because it's basically all this good. (Or nearly.) Best thing about this Best Of is the price... some of their original albums seem to be insanely expensive.

Wandy Vamp.......2005-10-20

Da li se secate Transvision Vamp? Da li mozete da ih zaboravite?
Tesko! Za samo tri godine postojanja od 1988 do 1991 bend je pruzio i vise nego sto je prosecni slusalac mogao da prihvati. Kompilaciju otvara singl I Want Your Love uz seksipilni glas Wendy James, a onda se hitovi samo redjaju jedan za drugim bez predaha. Velicanstveno.
Pravi dokument da legende ostaju legende.
Idealni poklonici PopArt koji su uspeli za samo tri godine da naprave kult i mit.
Ako ste ih ikada culi, znate vec da im je tesko odoleti.

aesthetic nihilism.......2004-06-16

this music is so vacuous it almost breaks you heart, but it sounds so F-ing good. "baby I dont care" is one of the most nihilistic bubble gum songs of the 1980's.

hey sister moon..........2002-11-20

transvision vamp is a band i remember, but never really heard during their peak. mostly i remember them from reading the british music teen rag smash hits'...american version. after hearing about them on a kylie minogue message board, i decided to give them a shot. i came across this best of release and i must say i was pleasantly surprised.

Tracks:

Calf
I Don't Care Where I Go When I Die
Hospital Fat Bags
Gristle
Sire
Slutmaker
Hell Crown
Moth
Cult
Pork Finder

Customer Reviews:

Credible Metalcore? What is This, 1999?.......2007-06-30

Sounding like what 'Bless the Martyr and Kiss the Child' would have if Stephen O'Mally was twisting the knobs (well, minus a good bit of the breakdowns) or perhaps if Botch came from the swamps of Louisiana, 'I Don't Care Where I Go When I Die' is as dense and noncommercial as metalcore gets. Though they have a bit in common with the rest of the Blackmarket Activities roster (Animosity, Ed Gein, From a Second Story Window) - the heavier, more intelligent riffs, not-too-clean-but-just-right production, and vocals that have a tendency to dabble in the more death realm - Gaza stands quite far above their aforementioned - if not utterly mediocre - peers. Perhaps it is the more sludge oriented sound complimented by the scattered Kurt Ballou-esque progressive parts (see the end of "Hospital Fat Bags"), maybe it's the Hydra Head circa 2001 guitar sound? The idea of keeping the sounds a bit more on the midpaced side, not relying on all out speed every moment to keep things interesting (not at all sure why the term "grindcore" is thrown around so much, this record has absolutely nothing to do with the genre)? It could even be the fact that the vocals are strongly reminiscent of, ex-Norma Jean / current The Chariot frontman, Josh Scogin at his strongest. Whatever the reason, this is one of those records that should appeal to both the record buying masses as well as the jaded metalhead who would like something a tad different. At the very least, it beats the living hell out of recent releases by Job for a Cowboy, Ion Dissonace, and their ilk. A worthy listen.

wow.......2007-05-14

hands down, the best band i've listened to this year. sludge/technical/grind/doom. often a wall of noise that punches you right in the gut from the hellish title track, I Don't Care Where I Go When I Die, to the crushing finish of Hospital Fat Bags, and the piercing emotion that explodes from tracks such as Slutmaker. It's absolutely the best. on top of that the layout of the booklet is looks like one of lucifer's art projects. Brutal band, check 'em out. SEE THEM LIVE.

My plants are dying...my cat is trying to eat my soul .......2007-05-08

A goat on the cover. I'm sold. I'm so easy. But this is not. Gaza is Dis-ease music. A+ for the flippant album title, especially considering they are from Utah. (Which I shall steer clear of, thanks Gaza!) The early eighteenth century term "Diabolus in Musica" (the devil in music) certainly lends credence to the whole abominable atmosphere of this ugly chunk of eeeeevil. Exploding in your ears at the outset in bursts of serrated tritones and detuned disharmony, this is probably the most genuinely frightening album I have heard since Today is The Day released Sadness Will Prevail. Death metal is probably a little too timid of an identifier for this band. I usually joke around with playing death metal or what scream you around my very sensitive and lady-like woman, but I know better with this album.

This music nourishes nightmares. Even the breakdowns sound like the harbingers of Gog and Magog; the two guitarists torturing ill shrieks from callously tapped fingers and twisted chords, the drummer trying to beat his kit into pulp, and the screamer making his point clear, even if most of it is incomprehensible, except for the track "Gristle" a stop start roaring.."Pray it's malignant!" God I hope not! Its all very unnatural and hopeless. The only times of respite away from the the ear clawing screams of anguish, or the monstrously dissonant dual guitar scraping and slashing is when they slow down for a doom crawl, not really bringing the succor. I Don't Care Where I Go When I Die is overwhelming to say the least, and if you haven't been immersed in grind and filth for years, this is probably about as appealing as drinking the oily after-film from the bottom of a bucket of fish guts.

That said, this is for those who find that very thing delicious. The musicianship of all players is refreshing in their quest to find new permutations of bad and worse. The drummer thrashes his kit in constructing and deconstring cascades, off-timing his snares to create a jarring effect that settles in nicely with the rest of the cacaphony. Being that I am a guitarist, it is rather exciting to hear two guitarist make excellent use of a variety of intermediate to expert techniques, especially their multiple fingered chord tapping, and slides of evil and misdirection. As far as the vocalist is concerned, he needs to take a step back and really ask himself, is it that bad? I mean it must be. There is nothing in this record that would give you a conclusion otherwise. his lyrics are funny and disturbing, evoking images of rot and licentiousness in a world with no pity and less light. He also aims a few jabs at emo fans and apparently hardcore too. Not sure what its all about, I am out of the loop, but I am sure the kids kow what's what. The bassist is buried a bit in the mix, but maybe because he's tuned to like Z sharp or something.

I am pretty sure there is some riffage that may have been copped from Mr. Austin, but they tune down so low that the transposition renders said theft unrecognizable. And thats ok, because really, there is nothing new under the sun, and I believe it when Gaza proclaims they don't care where they go when they die.

a musician's perspective.......2007-04-12

this is the heaviest thing since Mare, which is quite an accomplishment. they have the same f'ed up melodic sense that makes it intensely emotional. except they grind it. which is awesome. even more awesome is the fact that they occasionally let the melody slowly impale you. (the end of 'hospital fat bags' for example)

there are also a few lyrics the really stand out for me: 'dumber than a bag of hatebreed fans' is pretty great to hear.

the highlight of the album for me, though, is a very satisfying expression of disgust for our "culture" which climaxes with a VERY ironic "seacrest out." i think it's in 'hell crown.' anyway, it's amazing.

IF YOU ARE DISGUSTED BY THIS CULTURE'S BANALITY, HYPOCRISY, AND COMPLACENCY, BUY THIS RECORD. or just do it because it's genuinely, beautifully, creatively heavy.

CRAZY................................2006-10-07

coming from someone who loves grind and extreme music in all forms,
this is by far the best, most brutal, pissed off emotional release I have heard in a long time (since there ep "east"). the vocals are sick the riffs are insane and the experimental element is unreal. and the songs are long also, esp. for a grind album, they average from 4 mins. to over 6 mins long. overall one of the best extreme metal releases of the year.

The Essential Songs of Andrew Lloyd Webber

Average customer rating:

Okay, but kind of disappointing
Not quite what I expected...
Some great performances, some not so great...
Disappointed
Musical Talent at Its Best

The Essential Songs of Andrew Lloyd Webber

Manufacturer: Metro Music
ProductGroup: Music
Binding: Audio CD

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The Very Best Of Andrew Lloyd Webber: The Broadway Collection
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ASIN: B00005Y47E
Release Date: 2002-02-22

Tracks:

Any Dream Will Do
Close Every Door
Heaven On Their Minds
Everything's Alright
Gethsemane
I Don't Know How To Love Him
Jesus Christ Superstar
Could We Start Again Please?
Don't Cry For Me Argentina
Another Suitcase In Another Hall
Buenos Aires
Rainbow High
High Flying Adored
Memory
Jellicle Cats
Mister Mistofeles
Unexpected Song
Last Man In My Life
Rolling Stock
U-N-C-O-U-P-L-E-D

Tracks:

Only You
Starlight Express
There's Me
Pie Jesu
Angel Of Music
Masquerade
Wishing Somehow You Were Here Again
All I Ask Of You
The Phantom Of The Opera
Music Of The Night
Love Changes Everything
The First Man You Remember
Seeing Is Believing
As If We Never Said Goodbye
Sunset Boulevard
With One Look
Too Much In Love To Care
Half A Moment
Whistle Down The Wind
Our Kind Of Love

Album Description

Full title, 'Essential Songs Of Andrew Lloyd Webber'. UK budget-price compilation. 40 superlative performances featuring songs from every one of Andrew Lloyd Webber's hit musicals. Guest artists include John Barrymore, Issy Van Randwyck, Dave Willetts, Maria Friedman, Kim Criswell, Graham Bickley and the National Symphony Orchestra. Housed in a slipcase. 2002.

Customer Reviews:

Okay, but kind of disappointing.......2006-04-17

This isn't a bad recording, but the tracks are not the actual performances off of any cast recording of any of Andrew Lloyd Webber's musicals. The reditions of the songs on the disc are of varying quality. Some are pretty good. Some are borderline awful.
It is a good collection for inexpensively getting a lot of Andrew Lloyd Webber's most popular songs in one place and having them there to be able to listen to get the idea of what a certain song sounds like and is about. It isn't the collection of definitive recordings for certain roles. In fact in a couple examples, I wonder if the performer fully understood the context of the song he or she was singing &/or what it was about. Overall, the album is good, for the most part, if not excellent.

However, the liner notes for "The Essential Songs of Andrew Lloyd Webber" is another matter. I don't mean to be unkind, but the author of the comments on the different tracks (one Rexton S. Bunnett) is blatantly WRONG in multiple instances. I don't mean just in nit-picky details, but in major plot details/context of songs, like the fact that Bunnett identifies "Wishing You Were Somehow Here Again" as being sung by "our heroine" (who he does not even identify by name as Christine Daae) as she thinks about her lover, not as being sung about Christine's dead father. He also says that the Phantom has found his perfect love and "Angel of Music" in Christine... because HE is the Angel of Music who Christine believes has been sent to her by her dead father, and because although the Phantom is obsessed with Christine, that relationship is far from "loving" (even if Christine shows him compassion. I feel like these (and a couple other mistakes) are major plot points to get wrong. A good amount of the commentary reads as if Bunnett might have written it at the last minute, fudging his way through entries on musicals of which he had little knowledge; like what an essay I might write on a book I never read for my college class but had quickly looked up on Cliff's Notes would sound like. In terms of sheer editing, there are spelling mistakes, run-on sentences and spacing errors ("Any DreamWill Do")in the liner notes. Where was the copy editor?
And the most frightening fact of all, under Bunnett's credentials, it says "Harper Collins has just published his revision and updating of the Collins Book of the Musical."
I am being very critical, but I think that for a widely-released CD it is reasonable to expect the liner notes to be at a professional level, as they were most likely supposed to be.

Not quite what I expected..........2005-04-23

I was looking for a CD of the original performances and this CD doesn't have them. I suppose it was my fault for not looking closer, but the songs just weren't the same. Personally, I was not impressed. If you don't care that they aren't the originals then it is nice to listen to.

Some great performances, some not so great..........2005-04-18

This CD is actually pretty good, considering you get 40 songs for less than $16. Let's evaluate the pros and cons.

Pros:

Two classic songs that are performed excellently are Phantom of the Opera and I Don't Know How to Love Him.

Of course you want to compare Phantom to the classic Michael Crawford/ Sarah Brightman version. Well, guess what? This version is BETTER. The woman has a deeper voice than Brightman, and her singing style is just awesome. The ending of this version (you know, the "Sing, my angel of music, sing for me!") is different, but in a good way... I think.)

And of course, the standard for I Don't Know How to Love Him is Yvonne's version. This version is different, but it grew on me quickly. This version has a country feel to it, almost. Somehow it works and sounds great.

There are a lot of great performances in this collection. My favorites include: Heaven on Their Minds, Everything's Alright, Could We Start Again Please, Another Suitcase in Another Hall, Buenos Aires, Rainbow High, Only You, Starlight Express, Angel of Music, Masquerade, All I Ask of You, Half a Moment, and Whistle Down the Wind. I think they're all great versions of their more famous counterparts.

Cons:

First of all, there are some technical problems that are kind of disappointing. A few of the songs have a very echoey sound. Any Dream Will Do, Another Suitcase in Another Hall, Wishing You Were Somehow Here Again, and There's Me are the songs that come to mind that are the worst in this regard. It isn't really bad, just enough to be slightly annoying, more so when the volume is turned way up on your CD player.

A few songs are worthy of skipping over when listening to this collection. In my opinion, Superstar, Sunset Boulevard, and Gethesmane are the biggest disappointments.

Superstar just doesn't cut it for me. The singer really overdoes it, making it overstylized... really makes you yearn for Murray Head. I can't stand listening to it. Just my opinion.

Sunset Boulevard is one of my very favorite musicals, so I was really hoping that the singer would do justice to its title song. Unfortunately I don't think he did. You can't help but compare it to Alan Campbell's fantastic version. This guy has a very choppy way of singing, when I'm used to it being sung so smoothly. Maybe it would grow on me, but I don't think I'll give it a chance to. However, that last note is much stronger than Alan Campbell's. It doesn't make up for the rest of the song, though.

Finally, Gethsemane. The inevitable fact is that NO ONE can sing this song like Michael Ball. This guy tries, he really does. But he doesn't have the right voice or the right style. So please listen to Michael Ball's performance of Gethsemane if you want to know how breathtaking of a song it can be. It's on the Royal Albert Hall DVD, and I'm sure he's got it on one of his CDs.

Anyway, overall, this is a good CD if you like quantity over quality. Don't buy it for the classics, you'll probably end up disappointed with many of them. Buy it for the lesser known songs. You probably won't like every song, especially if you're a big ALW fan, but for the price, it's worth it.

If you want classic versions of classic ALW songs, you might prefer something like "The Very Best of Andrew Lloyd Webber: The Broadway Collection".

Disappointed.......2005-03-11

The singer(s)does not do justice for the lyrics. It was grating to the ears. Save your money for the originals.

Musical Talent at Its Best.......2003-01-03

What a pleasure to hear a collection of Andrew Lloyd Webber's beautiful music from such wonderful voices accompanied by an outstanding symphony. This sensational CD is a treasure to own.

Average customer rating:

NEGATIVE FIVE stars would be a better rating
No, this is a FIVE star CD
Dummies' best album, a real mood piece.
What are you talking about?!
Popylupyshoopy

I Don't Care That You Don't Mind
Crash Test Dummies
Manufacturer: V2
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005AQ0K
Release Date: 2006-04-03

Tracks:

I Don't Care That You Don't Mind
On And On
The Day We Never Met
Let It Feel Like Something Else
Little Secret
Sittin' On A Tree Stump
Buzzin' Flies
Yer Devil Ways
Hangin' Tree
Every Morning
Never Comin' Back
Put Me In A Corner Of Your Mind
Shoot 'Em Up, Shoot 'Em Down
I Never Fall Asleep At Night

Customer Reviews:

NEGATIVE FIVE stars would be a better rating.......2004-02-20

Sadly, Brad Roberts has laid another rotten egg with this boring , uninspired drivel.
The first two Dummies albums were works of genus (Ghosts that Haunt Me and God Shuffled his feet)
Brad has either run out of ideas or motivation as every work since has been a collection of monotonous droning.
He needs to get back to his roots or give it up.

No, this is a FIVE star CD.......2003-10-18

this is a welcome refreshing outing by CTD. I really enjoy the freshness to it. many folks have noted that it sounds like they didn't spend too much time editing these songs.. and I agree. They really sound garage bar like but wonderful none the less.

I think that the fans of CTD will enjoy this recording due to the fact that the bass rattling baratone of Brad Roberts is back, after a hiatus on GYAH.

The songs do have a Chris Issack meets the Eagles type of sound, but not really. All CTD's here.

Have ye fun.
**************************
Update...

I had originally bought this CD a couple weeks ago. I listened to it and reviewed it. I oringally gave it four stars. but after two good solid weeks of listening to this CD, I really think it is outstanding and deserving of a 5 star rating. I have not taken this CD out of my stereo in quite some time... and if I do, it is to play the new Elvis Costello 'North' CD. They rotate. both are great.

Dummies' best album, a real mood piece........2003-08-05

With this album, the latest work from the Crash Test Dummies (barring the rehashed Christmas album Jingle All The Way), megalomaniac (read: Brad owns the band name, but Brad's band is NOT the actual Crash Test Dummies on this album... however, since a few of them appeared on the tour, it was renamed as a CTD album during production) singer Brad Roberts may have constructed the ultimate concept album for one of two situations, the first being hanging out, or driving in, the rain (as contemplated in "On And On"). The second is proposed in "Buzzing Flies": the days when you're sitting on your arse in 100+ degree heat and lamenting your life. Therefore, the whole album has become a soundtrack to my life, as I find myself in both situations frequently. Here are some highlights.

The title track opens, featuring a "we're rolling now" intro. It appears they didn't spend a lot of time on some of these tracks in the mixing and editing process. However, these sort of little studio insights give us a real, dare I say, insight to the album itself, and Brad Roberts' mind as well, if you're bold enough to go there. This title track is traditional Dummies with a new country sound, a very minimalist and low-key sound. Ellen Reid delivers an excellent backup vocal performance, as always.

Track 2 and second single "On And On" is a simple little number with a catchy melody and one of Roberts' more vibrant lyrical/sonic performances on the album. This is about as loud as it's going to get. Third single and only video "The Day We Never Met" has very clever lyrics about actually falling in love with someone who really doesn't exist. It features an extended piece of music from Brad's Band at the end, which balances the lyrics nicely. One of the nicer pieces of music on the album.

"Let It Feel Like Something Else" and "Little Secret" are two countrified tracks that could have come off of Give Yourself A Hand, with their keyboard leads and bassier sound. However, they're still rooted in twang, so don't get your hopes up if you want more GYAH.

"Buzzin' Flies", my personal favorite, features Brad singing over a minimalist guitar line, some drums, and a squeaky old transistor radio. These are some of the best lyrics in the band's catalog IMO. However, it sounds a lot like "On And On" and the next track "Yer Devil Ways", which is again slow and has a rainy-driving feel.

First single "Every Morning" is nearly as catchy as "On And On", but from hearing this song on the radio a lot when the album came out, I don't listen to it very often. Has a verse about masturbation, which is the ultimate topic to prove Brad Roberts' megalomania.

If you like the sixth album, Jingle All The Way, you'll like "Never Comin' Back". Featuring Ellen Reid and a big bright organ front and center, Brad Roberts jumps in with an excellent vocal and content that juxtaposes nicely against the far-too-upbeat organ line. The band has always been famous for pulling such tricks.

"Shoot 'Em Up..." is the climax of the record, and one of my favorites. I recommend that readers go and download this song to get at the essence of the album before you buy it. A typical Brad Roberts number. Nothing like it: "I shot an ol' bottle with my favorite gun just last night/
It shattered and the sound made me feel like the king I am". It doesn't get much better than this. Crack open a beer with Brad, sit back, and watch the stars shine. Get them devil women out of yer town. Drive your car faster than you should through a late afternoon rainshower. Get a hangover the next day and try to take your mind off it by sitting out in the sun.

But you won't be able to exploit any of these moments till you buy the Crash Test Dummies' best album.

What are you talking about?!.......2003-04-03

This is an incredible album - great lyrics, excellent guitar breaks, another new Dummies sound - a melancholy 'Southern feel that works great, and is a sharp contrast to the funky hard rock of Give Yourself A Hand. Ellen Reid's harmonies are as beautiful as ever, and hear me now you - BRAD ROBERTS IS STILL AND HAS ALWAYS BEEN THE CRASH TEST DUMMIES LEAD SINGER. A reviewer 'helpfully pointed out' that CTD had a new lead singer who tried to sound like the old one. Yep, looks like him too. And has the same name! Hey! Wait a second....could it be..? Why not check your cd sleeves before you make absurd claims like that.

Popylupyshoopy.......2002-06-24

This new CTD album, or should I say Brad Roberts album, is decent. Not as bad as the messy and shallow (yet strangely intriguing) Give Yourself a Hand, but nowhere near as rich and emotionally charged as the first 3 CTD albums (all classics, especially A Worm's Life). My problem with the new Dummies image is. . .WHERE ARE ALL THE STORIES??? The earlier albums always contained Brad's quirky tales about household appliances, Biblical figures, garbage, scabs, ducks, pulling teeth, etc. I'm all for groups reinventing themselves, but these songs are just too cynical and commonplace to warrant multiple listenings.

Average customer rating:

Must Own
So in Love With Broadway
beautiful album
Ron Raines Continues His Beautiful singing

So in Love With Broadway
Ron Raines
Manufacturer: Jay Records
ProductGroup: Music
Binding: Audio CD

General | Musicals | Broadway & Vocalists | Styles | Music

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ASIN: B00068CUQI
Release Date: 2004-11-02

Tracks:

So in Love from Kiss Me, Kate!
If I Can't Love Her from Beauty And The Beast
Begin the Beguine from Jubilee
Stars from Les Miserables
Gigi from Gigi
Some Enchanted Evening from South Pacific
They Call the Wind Maria from Paint Your Wagon (with Men Chorus)
I Don't Remember You from The Happy Time
My Cup Runneth Over from I Do! I Do! (with Karen Ziemba)
Bless Your Beautiful Hide from Seven Brides For Seven Brothers
There But for You Go I from Brigadoon
All I Care About from Chicago (with The Criswell Sisters)
My Time of Day / I've Never Been in Love Before from Guys And Dolls (with Emily Loesser)
Anthem from Chess

Customer Reviews:

Must Own.......2007-05-20

Another absolutely fabulous listening experience. Ron Raines' voice is truly sensational, and you will be captivated by his renditions.

So in Love With Broadway.......2005-10-12

Ah,yes, Ron Raines expresses his love of Broadway music with a beautiful baritone voice which possesses all of the passion of a great lover! A magnificent performance throughout the CD. A must for every true lover of Broadway music. It rates a Ten Star on a five star scale!!

beautiful album.......2005-04-23

Ron Raines does a fabulous job singing broadway songs. His voice is truly fantastic. He has a perfect voice for broadway songs and ballads. I think the song selection he chose is really wonderful and a great variety from different musicals. His first album was fantastic and so is this one. I'd highly recommend both albums. His voice is truly wonderful and a beautiful experience to listen to.

Ron Raines Continues His Beautiful singing.......2005-04-01

This is the second in Ron Raines series of Broadway Classics. It is just as beautiful as his first one. Close your eyes when you listen to him and you will believe that you are in a theater. You won't be disappointed if you like Broadway! The more I listen to Ron Raines sing, the better I like him. I hope he will make a new CD soon. He sings the songs that men sing in the original Broadway shows. It is great! This singer should be in everyone who likes music's collection

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

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

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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:

Phantom of the Opera: Phantom of the Opera
Phantom of the Opera: Music of the Night
Phantom of the Opera: Wishing You Were Somehow Here Again
Phantom of the Opera: All I Ask of You
Jesus Christ Superstar: Everything's Alright
Jesus Christ Superstar: John 19: 41 [Instrumental]
Jesus Christ Superstar: I Don't Know How to Love Him
Jesus Christ Superstar: The Last Supper
Evita: Another Suitcase in Another Hall
Evita: Buenos Aires
Evita: High Flying Adored
Evita: Don't Cry for Me Argentina
Cats: Memory
Cats: Magical Mr. Mistofelles
Joseph and the Amazing Technicolor Dreamcoat: Pharoah's Story
Joseph and the Amazing Technicolor Dreamcoat: Any Dream Will Do
Sunset Boulevard: Too Much in Love to Care
Sunset Boulevard: As If We Never Said Goodbye
Song and Dance: Take That Look Off Your Face
Song and Dance: Tell Me on a Sunday

Customer Reviews:

A good shot at a 'Best Of' Album........2006-01-16

I was pleasently surprised at this CD. The singers were all pretty good, and the music was great. My only complaint is with the 'Phantom of the Opera' tracks. "Christine" does fine on the title song and 'All I Ask of You', but on 'Wishing Your Were Somehow Here Again', she falls a little short of a good preformance.

The thing that impresses me the most on this CD are the 'Jesus Christ Superstar' tracks. They all sounded superb, and I prefer them to my original broadway cast soundtrack.

I was dissappointed that they only chose two songs from 'Cats', one of Lloyd Webber's crowning acheivements as a composer. THe show was remarkably successful and is the second longest running show in Broadway history, only topped by 'Phantom'. Also, I felt the songs they chose were a bit...odd. 'Memory', of course, is a given. But why throw 'Mister Mistoffelees' into the mix? Why not the Prolouge,'Jellicle Songs for Jellicle Cats'?

All in all, I was very impressed with this CD. I give it 4 out of 5 stars, and I recommend it for any fan of Lloyd Webber's music.

Average customer rating:

Great duet
The dance track of the year 2004!

I Don't Care
Milk Inc
Manufacturer: F-Active Music
ProductGroup: Music
Binding: Audio CD

General | Dance & DJ | Styles | Music
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ASIN: B0002E80LK
Release Date: 2004-06-21

Tracks:

Radio Mix
Trance Mix

Customer Reviews:

Great duet.......2006-10-08

I had the video version of this single from a few years ago. This CD single is good, but could have been better. I prefer the original version, to the "Trance" mix, which isn't that trancey, but is ok for an alternate version.

It would have been better having an extended original version and the video version. I love the begining on the video where Linda (from Milk Inc.) calls up Silvy (from Sylver) on the phone and they have an honest conversation about men who p!ss them off.

The dance track of the year 2004!.......2004-08-05

This is a great offering from the belgian dance band Milk incorporated (Milk inc). Milk inc's Regi Penxten & Linda Mertens (this time together with Sylver's vocalist Sylvie) scored another top 3 hit in Belgium!It is a must for all european dance music fans! Go get it!

Average customer rating:

The Essential Songs of Andrew Lloyd Webber

Manufacturer: Metro Music
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music

General | Musicals | Broadway & Vocalists | Styles | Music

General | Broadway & Vocalists | Styles | Music

General | Soundtracks | Styles | Music

General | Pop | Box Sets | Stores | Music
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Centennial Gala Concert
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Songs From Grease (1994 London Studio Cast)
Putting It Together: A Musical Review

ASIN: B000B9G6O4
Release Date: 2005-10-03

Tracks:

Phantom of the Opera/All I Ask of You
By Jeeves/Half a Moment
Beautiful Game/All the Love I Have
Jesus Christ Superstar/I Don't Know How to Love Him
Phantom of the Opera/Think of Me
Aspects of Love/The First Man You Remember
Starlight Express B'way/Starlight Express
Starlight Express/Only You
Tell Me on a Sunday/Unexpected Song
Aspects of Love/Seeing Is Believing
Beautiful Game/Our Kind of Love
Tell Me on a Sunday/The Last Man in My Life
Phantom of the Opera/Wishing You Were Somehow Here Again
Sunset Boulevard/Too Much in Love to Care
Tell Me on a Sunday/Tell Me on a Sunday
Aspects of Love/There Is More to Love
Evita/Don't Cry for Me Argentina
Aspects of Love/Love Changes Everything

Tracks:

Sunset Boulevard/With One Look
Evita/Another Suitcase in Another Hall
Cats/Memory
Jesus Christ Superstar/Could We Start Again Please?
Requiem/Pie Jesu
Phantom of the Opera/Angel of Music
Joseph and the Amazing Technicolor Dreamcoat)/Close Every Door
Jesus Christ Superstar/Gethsemane
Whistle Down the Wind/Whistle Down the Wind
Sunset Boulevard/As If We Had Never Said Goodbye
Starlight Express/U-N-C-O-U-P-L-E-D
Phantom of the Opera/The Point of No Return
Aspects of Love/Anything But Lonely
Joseph and the Amazing Technicolor Dreamcoat/Any Dream Will Do
Joseph and the Amazing Technicolor Dreamcoat/There's Me
Jesus Christ Superstar/Pilate's Dream
Evita/High Flying Adored
Phantom of the Opera/Music of the Night

Tracks:

Cats/Macavity
Jesus Christ Superstar/Heaven on Their Minds
Evita/Rainbow High
Starlight Express/Rolling Stock
Phantom of the Opera/The Phantom of the Opera
Jesus Christ Superstar/Hosanna
Evita/Oh What a Circus
Phantom of the Opera/Masquarade
Starlight Express/Starlight Express
Jesus Christ Superstar/King Herod's Song
Evita/Buenos Aires
Cats/Jellicle Cats
Sunset Boulevard/Sunset Boulevard
Jesus Christ Superstar/Everything's Alright
Cats/Mr. Mistoffelees
Phantom of the Opera/Prima Donna
Cats/The Jellicle Ball
Jesus Christ Superstar/Jesus Christ Superstar

Album Details

Lovesongs, Ballads and Show Stoppers. 54 Tracks, Including Some Brand New Titles Released Here for the First Time.

Average customer rating:

Beat and Rhythm

I Don't Care
Ricky Martin
Manufacturer: Sony / Bmg Import
ProductGroup: Music
Binding: Audio CD

Puerto Rico | Caribbean & Cuba | International | Styles | Music

General | Latin Music | Styles | Music

Latin Pop | Latin Music | Styles | Music

General | Pop | Styles | Music

General | Dance Pop | Dance & DJ | Styles | Music

Latin Music | Imports | Stores | Music

Pop | Imports | Stores | Music
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Life
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Sorry

ASIN: B000B9EWX6
Release Date: 2005-10-24

Tracks:

I Don't Care
Que Mas De (I Don't Care) Spanish Version
I Don't Care (Ralphi & Craig's Club Radio Edit)
I Don't Care (L.E.X. Reggaeton Mix)
In Don't Care (Rishi Rich Mix)

Customer Reviews:

Beat and Rhythm.......2006-02-19

There happens to be just so much when a act is away from the spotlight for so long, many people seem to forget about somebody. Ricky Martin is one of those examples. Although many considered him as a teen idol with Livin' La Vida Loca, and She's All I Ever Had, he has been away from making a English pop album for such awhile. His latest single does showcase his growth as a artist in that light. I Don't Care with Amerie and Fat Joe is a upbeat mix of Latin dance with the essence of Hip Hop. The song delivers well and Ricky makes it mostly worth while. Although I like the beat of the song, I just don't know if others will like the song too. Nevertheless, I just hope that Ricky can try to deliver better with his next single.

Song: B-

Rap Music:

Rap Music

rap music

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