Dungeon of Bass [Explicit Lyrics]

Track Listings

1. Dungeon of Bass

2. Play With

3. Funky Drums from Hell

4. Into the Chamber

5. Bass Electricity

6. Bio-Sphere Bass

7. Anybody Falling

8. X-Ray Delta 1

9. Deep Thrust Telescopic Bass

10. Needle on da Record

11. Xtra Heavy Bass

12. Listen to the Bass

Dungeon of Bass,Bass Shock,Priority Records,Bass Music,Pop,Rap & Hip-Hop,Soul/Reggae/Rhythm & Blues

Average customer rating:

great, great!!!
ALL THE MUSIC YOU EVER NEED!!

Sacred Music Complete
Purcell , King , and Kings Consort
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Imports | Stores | Music
Similar Items:

The Complete Odes and Welcome Songs of Henry Purcell / King's Consort
Complete Secular Songs (3cd)

ASIN: B00006RHQJ
Release Date: 2002-12-10

Customer Reviews:

great, great!!!.......2006-12-05

This is the way ,I think, Purcell should sound. No pomp and surcomstance but only great music.

ALL THE MUSIC YOU EVER NEED!!.......2003-05-23

This boxed set is by far one of the best purchases I have ever made. As a Purcell freak, this hits every button I have. The cast of characters include the inequitable Robert King, New College Choir, Bowman, and a host of other venerable persons. Likewise the attention to period performance of these works makes it an essential addition to the library of any serious anglophile/Musicologist etc. Now if only the Britten Realizations of all Purcell's songs could be recorded alongside the originals! You will Love this set!

Purcell: Harmonia Sacra / McCreesh, Gabrieli Consort and Players

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Purcell: Harmonia Sacra / McCreesh, Gabrieli Consort and Players
Henry Purcell , Johann Heinrich Schmelzer , Paul McCreesh , Gabrieli Consort and Players , Timothy Roberts , Paula Chateauneuf , Susan Hemington Jones , Katherine Philips , Fred Jacobs , Tessa Bonner , Peter Harvey , John Patrick , Christopher Purves , Francis Quarles , and Simon Berridge
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

Voluntaries | Sacred & Religious | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Tracks:

Harmonia Sacra: 'Lord, What Is Man, Lost Man' (Z.192)
Harmonia Sacra: 'O Solitude' (Z.406)
Harmonia Sacra: 'In The Black, Dismal Dungeon Of Despair' (Z.190)
Harmonia Sacra: 'Lord, I Can Suffer Thy Rebukes' (Z.136)
Harmonia Sacra: Voluntary In G (Z.720)
Harmonia Sacra: 'In Guilty Night' (Z.134)
Harmonia Sacra: Voluntary In C (Z.717)
Harmonia Sacra: 'Plung'd In The Confines Of Despair' (Z.142)
Harmonia Sacra: 'Awake, Ye Dead' (Z.182)
Harmonia Sacra: 'The Earth Trembled' (Z.197)
Harmonia Sacra: 'My Op'ning Eyes Are Purg'd' (Z.D72)
Harmonia Sacra: 'With Sick And Famish'd Eyes' (Z.200)
Harmonia Sacra: Ground In C (Z.D221)
Harmonia Sacra: 'O, I'm Sick Of Life' (Z.140)
Harmonia Sacra: 'Close Thine Eyes' (Z.184)
Harmonia Sacra: Funeral Sentences (Z.27)

Amazon.com essential recording

This is one of the finest Purcell discs around, but it isn't one of the most cheerful. It's an anthology of pieces for one to four voices with continuo on spiritual themes--pieces such as "With sick and famish'd eyes," "The earth trembled," "In the black, dismal dungeon of despair," and the famous "O solitude." It really is top-notch Purcell, with much better texts than he usually had to work with, and it's performed to Paul McCreesh's usual high standard, but Baroque-for-Brunch it is not. The highlights are the deeply comforting meditation "Close thine eyes and sleep secure," and the riveting "In guilty night," effectively an eight-minute chamber opera enacting Saul's visit to the Witch of Endor, with a sensational performance by Charles Daniels as Saul. --Matthew Westphal

Henry Purcell: The Complete Anthems and Services, Vol. 7

Average customer rating:

Excellent performance (not everybody will like this music)

Henry Purcell: The Complete Anthems and Services, Vol. 7

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

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

Te Deum | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music
Similar Items:

Henry Purcell: The Complete Anthems and Services, Vol. 2
Purcell: The Complete Anthems and Services, Vol. 3
Purcell: The Complete Anthems and Services, Vol 6 /King's Consort * King
Henry Purcell: The Complete Anthems and Services, Vol. 1
Purcell: The Complete Anthems and Services, Vol. 5

ASIN: B000002ZTB
Release Date: 1994-03-01

Tracks:

The Complete Anthems And Services - 7: I Was Glad When They Said Unto Me
The Complete Anthems And Services - 7: O Consider My adversity
The Complete Anthems And Services - 7: Beati omnes qui timent Dominum
The Complete Anthems And Services - 7: I was Glad When They Said Unto Me
The Complete Anthems And Services - 7: In The Black Dismal Dungeon Of Despair
The Complete Anthems And Services - 7: Save Me, O God
The Complete Anthems And Services - 7: Te Deum In B Flat
The Complete Anthems And Services - 7: Julibilate In B Flat
The Complete Anthems And Services - 7: Thy Way, O God, Is Holy
The Music For The Funeral Of Queen Mary 1695: Drum Prosessional
The Music For The Funeral Of Queen Mary 1695: March
The Music For The Funeral Of Queen Mary 1695: Man That Is Born Of A Woman
The Music For The Funeral Of Queen Mary 1695: In The Midst Of Life
The Music For The Funeral Of Queen Mary 1695: Thou Knowest, Lord, The Secrete Of Our Hearts
The Music For The Funeral Of Queen Mary 1695: Thou Knowest, Lord, The Secrete Of Our Hearts
The Music For The Funeral Of Queen Mary 1695: Canzona
The Music For The Funeral Of Queen Mary 1695: Drum Recessional

Customer Reviews:

Excellent performance (not everybody will like this music).......2000-06-13

Henry Purcell is regarded as the most gifted of England composers of all times. His genius reveals in all his music - ceremonial, operas, semi-operas, secular songs, religious and instrumental. This series of King conducting Purcell's anthems and services follows up the success of King's odes and welcome songs recordings. While all the performances in this series are excellent it's the quality of the music that counts and number 7 of this series arguably includes the best music. The booklet enclosed with King's notes is also very illuminating. The rating of four stars and not five is because not all admirers of purcell will enjoy this music as much as they enjoy his operas, semi-operas and wellcome songs as it's more on the melancholic side.

Look She Said 4: Complete Works for Bass (Comp)

Average customer rating:

a fascinating instrument with mixed creative problems

Look She Said 4: Complete Works for Bass (Comp)
Christian Wolff , and Robert Black
Manufacturer: Mode
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B000068QWD
Release Date: 2002-07-23

Tracks:

Look She Said
Look She Said
Look She Said
Look She Said
Look She Said
Jasper
Jasper
Jasper
Jasper
String Bass Exercise Out Of 'Bandiera Rossa'
String Bass Exercise Out Of 'Bandiera Rossa'
String Bass Exercise Out Of 'Bandiera Rossa'
Dark As A Dungeon
Untitled
Untitled
Untitled

Customer Reviews:

a fascinating instrument with mixed creative problems.......2002-11-27

"Look She Said" is a suite for the contrabass a rare event in its repertoire its exergue, the music materials are drawn from folk songs,long a humanist dimension of the radical avant-garde,of representation that Wolff has practiced. Here of the five parts, the first, second and fifth draw from the the lullabies "All the Pretty Horses", and "The Grey Goose", a black slave song that migrated (so Wolff tells us) through Southern prisons. It is about a tough heroic creature who keeps returning to life. Also the disarming fiddle tune "Cindy" is utilized here. When you hear pure unadulterated,unembellished melodies played on the contrabass it is indeed a heavy forebearance, a lumbered constitution of timbre,sometimes boring, straighforward,and penumbral here. Wolff gets both lifeworlds of content, that of struggle, of pain, yet immersed in life's challenges of being a slave,of hope. There are some very touching gentle evocative moments here in the utilization of harmonics, this gives a nasal threadbare content to the proceedings.Yet overall the work comes across as convoluted as dense,but without the high modernity focus,as say the high,intense complexity of a Ferneyhough would have imparted to his materials.I know Wolff has his own musical language that is indeed highlt convoluted, unfinished, and complex,more like Charles Ives had lived through the Second World War.
"Jasper" is a tribute to painter Jasper Johns, long a imaginative successful icon within the John Cage lifeworld of expression of creativity here animates Wolff to prepare a fascinating graphic score. This work is in four sections/movements,Long Short,Long Short, so it may suggest some classical shape. Here Robert Black is joined by Violinist Robin Lorentz. The opening here has a "sickly" abandoned, quality to it,painful but not in an expressionistic way, more dry melos. This gives way to extended passages with full utilizations of plucked moments, double stops. Indeed two instruments fill the musical space.The second section here of "Jasper" has more playfullness harmonics yet with the same focused anxiety-ridden melos at work. Johns was an introspective man not easily moved to conversation. He has been known when travelling merely to pack, a pack of cigarettes, a skecthbook and a deck of cards to play solitaire.

With Wolff turn to Democratic Socialism as many composers turning to radical forms of politics,and means of expression in the late Sixties Wolff always thought of his music as an educative function,something leftover as well from his earlier creativity situated within the Cage mileau of purposeless purpose. This "String Exercise out of "Bandiera Rossa"" is the earliest work here from 1975, a time when Wolff wrote many studies. But here the work comes across, the gestures are really more as a stepping stone,rather than a completed work. It is not an interesting means, a vehicle as a solo. It was written for Contrabassist virtuoso Fernando Grillo who he had met in Darmstadt in 1974. The tune here "Bandiera Rossa" is like the anthem of the Left in Italy,sung by literally millions over the years. Here the work comes across as tenuous,and is played too straight forward,too convoluted,no freedom of time, of durational pacings. I would have preferred some liberties, some performative freedoms takened. Politics is about freedom,getting it and keeping it so Mr. Black should have improvised on this tune, as Rzewski has done to great affect.

"Dark as a Dungeon" also from this period weritten in 1977,is from a Merle Travis tune about Kentucky coal miners. The interesting aspect here is that the tune never appears directly,but more its outline,which is a wonderfull way of handling folk materials. Of these political composers, Rzewski, Cardew, Smith, if you follow their work it has been a renewed art of arrangement of the utilization of folk materials in fascinating ways. This was also a subversive alternative to the coldly abstract concotions of the avant-garde at the time, namely Berio(who also tried his hand at fold stuff,but erasing the political content, more for its coffee-table conversational value).Here in this version (I've heard another for Bb Clarinet solo) a trombone is added,played herein by Julie Josephson. The result is a lumbering like piece, deeply lyrical,yet too self-consciousthere is no sense of the magical,of the image, but too fragmented adhering to leftover modernity. I would think one ,a composer would let the mysteries, and magical dimensions of a tune to allow it to work its own charmes. But Wolff here is interested in the fragmented moment,and the graphic interface and topologies of what is on the page, rather than what is actually heard.This fragmentariness to my ears grows somewhat thin musically very quickly.At one point there is a stupid call and response area. I don't know if this was to be "tongue n'cheek" humor or not, perhaps parenthetical in musical import.And the trombone at times seems like it is simply filling space for no purpose. It wasn't timbrally interesting, and the trombone phrasings fell into the time honored trap of sounding "Wah-Wah,Wah", rather than a crisper more precise articulation."I like to think of Christian Wolff" as an interesting mixed creatorhad departed the Cage mileau, if in fact he conceptually did,if in fact he did we need more thought then when folk melos is utilized,and placed at the service of the musical proceedings otherwise the tune is merely nothing, homo sacer, a sacrificed object, abjected to what?, to high modernity. I thought that is what this radical movement implied, holding the achievements of modernity(John Cage, indeterminacy,graphic notation) at a distance.When Wolff allows its/his materials to work its/their own charms as in his "Piano Preludes", the results are wonderful, like storming the heavens.
Lastly, the Untitled" for Electric Bass, was like a warm up exercise more for its ecucative value than musical, and it didn't exploit or engage the timbral extensions possible with the electrification.

The Dungeon Tapes
Average customer rating:
The Dungeon Tapes
Medieval Steel
Manufacturer: Medieval Steel
ProductGroup: Music
Binding: Audio CD

General | Hard Rock & Metal | Styles | Music
ASIN: B000CA2SM6
Release Date: 2005-09-06

Tracks:

Eye's of Fire
Ghost from the Battlefield
To Kill a King
Lost in the City
Tears in the Rain
Battle Beyond the Stars
Echoes
Warlords
Medieval Steel

Christian Wolff: (Re:) Making Music - Works 1962-99

Average customer rating:

great imagery in seldom heard settings

Christian Wolff: (Re:) Making Music - Works 1962-99

Manufacturer: Mode
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Avant Garde & Free Jazz | Jazz | Styles | Music

General | Opera & Vocal | Styles | Music

Experimental Music | Miscellaneous | Styles | Music
ASIN: B0001CCX7A
Release Date: 2004-04-06

Tracks:

Violist Pieces: Piece #1
Violist Pieces: Piece #2
Violist Pieces: Piece #3
Violist Pieces: Piece #4 -- Resonant
Violist Pieces: Piece #5 -- Clear
Violist Pieces: Piece #6 -- Freely
Kegama
Peace March 1 ("Stop Using Uranium")
Peace March 2
Emma: Movement 1
Emma: Movement 2
Emma: Movement 3
Emma: Movement 4
Emma: Movement 5
Emma: Movement 6
Emma: Movement 7
Emma: Movement 8
Emma: Movement 9
Emma: Movement 10
Emma: Movement 11
Digger Song
From Leaning Forward: A Woman Invented Fire
From Leaning Forward: Drowning (II)
From Leaning Forward: The Women Let the Tide Go Out
From Leaning Forward: Note to the Grandparents
From Leaning Forward: Mulberry Street Ends in Good Works
From Leaning Forward: The Sad Children's Song
From Leaning Forward: This Is About the Women of That Country
From Leaning Forward: That Year

Tracks:

Three Pieces: Rock About
Three Pieces: Instrumental
Three Pieces: Starving to Death on a Government Chain
For 5 or 10 Players
Exercise 15
Exercise 16
Exercise 17
Exercise 18
For 5 or 10 Players
Dark As a Dungeon
Schoenen Met Veters

Customer Reviews:

great imagery in seldom heard settings.......2004-10-13

It is many times difficult to comprehend why a composer, a creative artist turns to the lifeworlds of politics to find him/herself,to locate and appraise materials to transform them into dramatic works.We are taught in our "democratic" institutions never to mix the dangers of politics and art, the two have no real affinity for each other, we are told. But the post-war avant-garde grew elitist,wrote a music for no one, harboring the torch of modernity. Soon however the modern grew institutionailzed the very places it loath to be and monopolies of commissions and opportunities became commonplace as you may find in France today, right now,or the marginalization of creative artists from lack of funds(mostly the USA)where the lion's share of funds is saved for establishment venues, who merely stick out their hand for money.
Christian Wolff's turn to a politics, Democratic socialism to be specific in the later Sixties, was logical move, a committed one, one that would prove to bear much fruit, with the ant-War rebellions on USA campuses and streets and in the major capitials of Europe, something we see again.

For Wolff emerged from the New York John Cage mileau of creativity,where his music(the Fifties and Sixties) was process oriented allowing performative freedoms to the musician with graphic notations and minimal instructions with many times mixed musical results, however the results here(the aesthetic object) was not the only end of this music. It was not until he began adopting these same techniques and approaches now attached committed to the political image where (to my mind) Wolff's imagination found fertile ground.

The ensemble pieces included on these two CDs is music seldom heard in any performative venue, in fact here is the only place you will ever hear this music.
Wolff's music we hear has a raw unfinished quality to it,somewhat like Chas Ives in concept and gesture, opaque much of the time with a plaintive simple melody sometimes emerging from the welter, the texture of things. It continues to be truly modern in its ongoing affinity for timbre, the love of pure timbre, of exposed lines not really resolving themselves just pure tension to equal the subject matter, as the anxiety-ridden life of Emma Goldman here. Emma once said, "If I can't dance I don't want a revolution" meaning that a revolution does not really transform every dimension of the lifeworld.

As you work your way through these disks the probelm emerges that Wolff many times leaves many performative decisions to the musicians themselves which does not make for interesting listening. I overall did not find myself bored however, sometimes the length of the piece is too long, overextends its premise. I found this here in the viola solos. Perhaps Wolff should discover the concept of the musical miniature.

The Barton Workshop are a committed bunch to Wolff's music and have done and performed live this repertoire numerously.

It is difficult music to listen to many times for Wolff's contrapuntal lines may look wonderful on paper but not when commenced in the real auditory world. Still you struggle through this music for you sense the imaginative power the political subject imparts here as "Dark as a Dungeon" after a tune of Kentucky coal miners,You sense Wolff's ongoing creativity that enriches the chamber music genre, gentle,questioning and fully enamored over what the instrument can offer the imagination.

Average customer rating:

Dungeon of Bass
Bass Shock
Manufacturer: Priority
ProductGroup: Music
Binding: Audio CD

Bass | Rap & Hip-Hop | Styles | Music

General | Rap & Hip-Hop | Styles | Music
ASIN: B000A2GYOO
Release Date: 2004-06-01

Tracks:

Dungeon of Bass
Play With
Funky Drums from Hell
Into the Chamber
Bass Electricity
Bio-Sphere Bass
Anybody Falling
X-Ray Delta 1
Deep Thrust Telescopic Bass
Needle on da Record
Xtra Heavy Bass
Listen to the Bass

Product Description

Tracks:

Dungeon Of Bass
Play With?
Funky Drums From Hell
Into the Chamber
Bass Electricity
Bio-Sphere Bass
Anybody Falling
X-Ray Delta 1
Deep Thrust Telescopic Bass
Needle On Da' Record
Xtra Heavy Bass
Listen To The Bass

Average customer rating:

not good synergy, trombone and Wolff's aesthetic

Christian Wolff: Works for Trombone

Manufacturer: Etcetera
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B00004YRZU
Release Date: 2005-12-27

Customer Reviews:

not good synergy, trombone and Wolff's aesthetic.......2006-01-23

The Trombone,Tenor,Bass or otherwise does not make a good expressive synergy with the unfinished textures and linear non-developments of Wolff's music. Much of the playing here sounds arbitrary predictable,nothing seems to be shaped in melodic direction is even attempted,to give life and impetus to a melodic line; nor is there interesting articulation deployed or use of dynamics even attempted, the primarily melodic lines in and of themselves are quite interesting and simply played without expressive interferance sounds more like a trombonist warming up on doodles,for what? Who knows!.
Wolff's music has always had this paradigm of performing problems as part of its aesthetic,more so than the exquisite lyrical floating Feldman ormore solidly conceived music of Earle Brown or Cage.Wolff's music doesn't seem to turn the corner from the phanthom dimesions of writing it to what is actually played, and this is in fact the most interesting aspect of playing Wolff's music that he allows performative freedoms, that as a composer he cannot think of all the interpretive possibilities. Wolff allows the performer much freedoms seldom giving dynamics of articulations, and tempi are suggested but can be changed at places or sometimes changed ad infinitum. This is an aesthetic largely defined within the Cage philosophic that of merely presenting materials to players, to musiicans to construct a work, and the performative freedoms here has a point of libratory moment about it, But Fulkerson I found did not fill in the object of the performer on the other side of the tracks. In Wolff you simply cannot play the tones and materials as given and expect for it to sound mildly interesting.The performer really needs to think through the entire work. Of course I doubt if anyone still beleives that the Zen canon is at work here that there is no wrong or right way to play this music, well that's self-indulgent to believe that, we have lived through the avant-garde now and we know how to make any points within this repertoire as interesting objects for contemplation and enhancing the listening experience.The pianist Sally Pinkus is an excellent example of what I am saying herein of readings of Wolff's piano "preludes" for example or Ursula Oppens is also very good interpreter of Wolff's piano music, the piece "for the disappeared".
" Ruth" here for piano and trombone(a neglected genre) dedicated to Ruth Crawford Seeger is simply not an interesting piece,20 minutes long the trombone merely sounds arbitrary, and the melodic lines carry no weight of interest, at least not the way they are played here. The trombone has a point of boredom to it when it is utilized as a solo instrument or with accompaniment.You simply cannot write anything. There is too much of the unwanted blah-blah,sloppy slide technique timbre that teachers advise students to avoid. . . Perhaps this is why Wolff's music succeeds the most when a singable knowable tune is engaged within the discourse, as in "Dark as a Dungeon" this is a Kentucky Coal Miner tune and originally written for Solo Bb Clarinet by Wolff. It works quite well in that context, the Clarinet rendering a plaintive, lonesome expressive ambience, like the coal miner's lifeworld, deeply repetitious working the dangerous mines,where your lungs become filled everyday with coal dust,lonely and dull. The addition of the contrabass helps the music along very much the indeterminate unintended coincidences make for more interest than Fulkerson's boring solos.
The "Tuba Song" was written for Tuba Solo but it can have additional tropes juxtaposed with itself. It also has a plaintive gentle melody,very seraching,and again the piece works quite well as a solo. Here the bass trombone and its phanthom pre-recorded "mirror" has interesting possibilities, but Fulkerosn seems to simply let the melodic materials be what they are without much interferance. The odd, muting throughout here and summoning of "dirty" trombone sounds has points of interests, but without a context proclaimed the events are arbitrary.
The borrowed materials from Wolff's "Exercise #17" for a bass trombone solo ( a neglected genre) is a great idea this Bach-like transferring of materials between instrumental concepts. But the results again are questionable.
"For 1,2,or 3 Players" is now an early pre-political classic, largely written in Wolff's quite unique graphic notations where the performer's follow graphics up and down the page,lines with arrows,functions and numbers indicating numbers of tones to be played in real time. Here we have the old avant-garde at work again, and perhaps these players hear haven't heard much of what can be done with this music with more attitude, greater flair and imagination for instrumental timbre of interest, instead we get the same predictable like gesturing, and I know if you are being true to the legitimacy of the musical graphics this in some respects holds you back but still there are approaches that could have made this piece simply more than a reading. You really need to play therse pieces as on-going reperoire to know them,so you can finely tune what works like you are building developing a vocabulary from the piece. That is an interesting part of Wolff's more indeterminate period,that the work becomes like a "working" diary of perfomative readings itself.
"Peggy" for Tenor Trombone I heard two trombones here, and I purchased this for the interest in neglected genre of works for solo trombone, and or solo bass trombone, but again the playing was as above, quite straight uninterestingly.But the Four Stars are for the attempt to perform this difficult music.

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