Don't Sleep [CD-single]

Track Listings

1. Don't Sleep - Radio Edit

2. Don't Sleep - Inst.

3. Korrupted - Radio Edit

4. Korrupted - Orig. Vers.

5. Korrupted - Drum Mix

6. Korrupted - Inst.

7. Korrupted - Remix

8. Korrupted - Baseline

Don't Sleep,Chamba,Ichiban,Gangsta Rap,Hardcore Rap,Hip-Hop

Average customer rating:

Worth Checking Out
I love Matthew Ryan!!!
Strays
Video accompanying Audio? Interesting Concept
I saw them on Conan!

Strays Don't Sleep
Strays Don't Sleep
Manufacturer: Hybrid Recordings
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | Rock | Styles | Music

Pop Rock | Pop | Styles | Music

Adult Alternative | Pop | Styles | Music
Similar Items:

From A Late Night High Rise
Regret Over the Wires
Concussion
East Autumn Grin
May Day

ASIN: B000FIHJMO
Release Date: 2006-06-13

Tracks:

Love Don't Owe You Anything
Pretty Girl
Martin Luther Ave.
Night Is Still
For Blue Skies
Spirit Fingers
April's Smiling At Me
Cars And History
Falling Asleep With You

Customer Reviews:

Worth Checking Out.......2006-07-27

I'm not a huge Matthew Ryan fan, but I too saw them on Conan and was very impressed with their performance. The gritty voice and the guitar harmonies are a nice compliment to one another. The two outstanding songs from this album are "Love Don't Owe You A Thing" and "Martin Luther Ave." This album would get the full five stars if it was a bit more uptempo, especially on some of the later songs.

I love Matthew Ryan!!!.......2006-07-05

I have always been a huge Matthew Ryan fan, I can't seem to take his Regret Over The Wires CD out of my car. When I realized he was part of Strays Don't Sleep, I listened to their single and now I love them! The lyrics are great and the music is excellent. It's a CD you can listen straight through. I definitely recommend!!

Strays.......2006-06-30

A while back I heard this band on One Tree Hill. I just had to find their CD and listen to it over and over! Their sound is so amazing and is just the band that I have been waiting to hear.

Video accompanying Audio? Interesting Concept.......2006-06-30

I first heard of this group through their video microsite "The Film Den". Not only are the songs intriguing but the videos produced to accompany the music are breathtaking. After that I rushed to buy the album and it has been non-stop in my cd player. I have come to find that this cd is very relaxing and puts me in a very tranquil state. It is truly a masterful blend of styles that is sure to please any listener.

I saw them on Conan!.......2006-06-30

I saw them on Late Night with Conan O'Brien last night and they were amazing! I'm buying the cd right now. I thought the vocals were simple yet meaningful. I can't wait to listen to the whole album.

Average customer rating:

Makaveli & Daz Dillinger - Don't Go 2 Sleep Ep
4.5 star Daz & 2Pac collaboration

Don't Go 2 Sleep Ep

ProductGroup: Music
Binding: Audio CD

General | Rap & Hip-Hop | Styles | Music
ASIN: B000A297Q6
Release Date: 2003-04-22

Customer Reviews:

Makaveli & Daz Dillinger - Don't Go 2 Sleep Ep.......2007-02-04

Daz Dillinger (A.K.A. Delmar Arnaud) released "Don't Go 2 Sleep Ep" in 2001, which features material from 1995-96 when 2Pac and Daz Dillinger were label mates on Death Row. Pac's mom Afeni Shakur would go on to sue Daz for this unauthorized release and use of Pac's name, stating she had never been informed/given consent. The "Wake Up My People" (Intro) has Pac laughing and telling his enemies to go to sleep, the follow up title track "Don't Go To Sleep" has Pac kicking some thugged out rhymes, while Young Gotti (better known as Kurupt) drops some of his own. "First 2 Bomb" features the background singing of Tanya Herron, while Dillinger and Pac drop lyrical bombs. Pac and his brethren the Outlawz provide an outstanding cut with "They Don't Give a Fucc About Us" (a track found on the better dayz album) - Pac's hunger and raw emotion are definitely evident on this cut. "Let's Fight" & "I'm Dumpin" are similar thugged out track which lack decent production. "Only Move 4 Tha Money" is the Ep's last standout track, good lyrics, solid production. This release was shelved and has been released with different versions over the years. Rest of album consists of mostly originals and mixes (depending on which version you have). I posted the album cover, as well as the original picture which influenced the artwork. The "Don't Go 2 Sleep Ep" is a decent release, which die hard fan's (like myself) of Pac's music may want to check out. 3.5.

4.5 star Daz & 2Pac collaboration.......2005-08-08

A few new tracks from the late great 2Pac & Daz ar eon this one. A lot of the songs are the same on here, just having a different beat or different guests, but it's a banging album. Also I heard most of the songs before on other albums or mixtapes but I still had to pick up a copy (and a few of the songs on here the quality is not the best). The beats are tight on most of the songs, and guest appearances from the Outlawz, Kurupt, and Young Assassins (Roscoe, Eastwood and 2 other cats). A great album to have for fans of Daz & 2Pac if you don't have the songs already.

#2 - 8.5 (Daz, 2Pac, Kurupt)
#3 - 10 (CLASSIC w/ great beat -- Daz & 2Pac f/ Tanya Herron)
#4 - 9 (Daz & 2Pac w/ Young Assassins)
#5 - 5 (Daz & 2Pac)
#6 - 8 (original version of #3 & the beat isn't as good -- 2Pac, Napoleon, Kadafi, Edi Amin)
#7 - 7.5 (Daz & 2Pac f/ Edi Amin)
#8 - 9.5 (2Pac, Kadafi, Kastro, Napoleon, Edi Amin --- also on 2Pac's "Better Dayz" album)
#9 - 7 (remix of #2 --- Daz & 2Pac & Kurupt -- also on Kurupt's "Against the Grain" album from Gangsta Advisory records not the Death Row one)
#10 - 10 (CLASSIC w/ great beat -- Daz & 2Pac f/ Bad Azz --- also on Daz' "I Got Love in These Streets" EP)
#11 - 10 (same as #3)

Delmar Arnaud -- b. 5/25/73 -- b. Mississippi moved to Long Beach, CA moved to Atlanta, GA
Tupac Amaru Shakur -- b. 6/16/71 d. 9/13/96

Check all my reviews

Average customer rating:

The Cream of the Pop from 1967

1967 Am Gold

Manufacturer: Time Life Music
ProductGroup: Music
Binding: Audio CD
Similar Items:

AM Gold: 1966
AM Gold - 1965
AM Gold: 1969
AM Gold: 1968
Am Gold: 60's Generation

ASIN: B000A3YEGS

Product Description

Track List: 1. Up-up and away~The 5th Dimension, 2. Happy Together~The Turtles, 3. Daydream Believer~The Monkees, 4. Dedicated to the One I Love~The Mamas and The Papas, 5. How Can I Be Sure~The Young Rascals, 6. Sunday Will Never Be The Same~Spanky and Our Gang, 7. I second That Emotion~Smokey Robinson & The Miracles, 8. 98.6~Keith, 9. I say Little Prayer~Dionne Warwick, 10. To Love Somebody~The Bee Gees, 11. Tell It Like It Is~Aaron Neville, 12. Windy~The Association, 13. Don't Sleep in the Subway~Petula Clark, 14. Come Back When You Grow Up~Bobby Vee & The Stangers, 15. Different Drum~Stone Poneys, 16. The 59th St Bridge Song(Feein' Groovy)~Harpers Bizarre, 17. The Rain The Park and other Things~The Cowsills, 18. Love is Here and Now Your Gone~The Supremes, 19. (The Lights Whent Out In) Massachusetts~The Bee Gees, 20. Green, Green grass of Home~Tom Jones, 21. Then You Can Tell Me Goodbye~The Casinos, 22. Ode To Billie Joe~Bobbie Gentry.

Customer Reviews:

The Cream of the Pop from 1967.......2007-07-11

Time/Life has another series that covers the late Sixties much better than this one called Classic Rock. In that series there are four 1967 compilations: 1967, 1967 Blowin in the Wind, 1967 Shakin' All Over, and 1967 Blowin' Your Mind. All of them are better than 1967 AM GOLD, which focuses on the AM hits, but it does have songs the Classic Rock CDs do not include and that makes it worth seeking out for those of us who cherish our memories of the Sixties.

The Classic Rock CDs include many of the more important songs, mostly album cuts, the hits that have survived the test of time and are what we now call "Classic Rock." Nineteen Sixty-Seven was the beginning of the transition from AM to FM radio and music revolution was well underway.

As a baby boomer, I bought this release because it included a lot of the radio tunes that I never purchased back in the day, and wouldn't want to buy now on 20 different crappy CDs. However, there are half-a-dozen songs that I want to include on my own compilation 1967 CD-Rs... In retrospect, as primarily a Stones, Hendrix, Doors and Zep fan, these AM friendly songs sound a lot better from the distance of 40 years! And, it goes without saying, kick the crap out of the drek they play on 'today's' AM/FM radio.

John

Average customer rating:

Dj hurricane is phat
not a debut
It should've been a little bit better.....
Very good debut

Don't Sleep
DJ Hurricane
Manufacturer: Tvt
ProductGroup: Music
Binding: Audio CD

East Coast | Rap & Hip-Hop | Styles | Music

General | Rap & Hip-Hop | Styles | Music

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

General | Rap & Hip-Hop | Indie Music | Stores | Music
ASIN: B00004Z3T0
Release Date: 2000-10-10

Tracks:

Ghost (Intro)
Make Things Better
Connect
Keep It Real
Come Get It
Interlude
Freeze The Frame
The Life
How We Doin' It
Hurra's So Fly
Blow It Up
Conjunction Verb Interlude
Can't Stop Us Now
Kickin' Wicked Rhymes
Shake 'em
Paint My House Interlude
We Will Rock You
Background

Customer Reviews:

Dj hurricane is phat.......2001-03-12

This cd is so hot u need to go cop it

not a debut.......2000-11-02

This album is not hurricane's debut album. Check out the album titled "The Hurra". It was released in 1995.

It should've been a little bit better............2000-10-23

It's a good CD to buy. There are some slamin' tracks and a lot of cameos from other well known atrist. Though "Connect" is the best song on it, there are other good ones and quite a few so-so tracks. Only buy this if you're really prepared to hear some good and some not so good beats.

Very good debut.......2000-10-22

Dj Hurricane of Beastie Boys fame makes good on his first album attempt. The list of rappers is incredible, but there are some lackluster performances (by AdRock in particular). I wish there would have been a new b-boys track. That would have been great. Overall, a good listen, with tracks 3,4,7, and 15 being the standout tracks.

Average customer rating:

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

Wagner: The Rhinegold
English National Opera
Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

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

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

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:

Misans Klagolat
Teaterrattan Emmas Visdomsord
En Gudlos Bon
Man Borde Inte Sofva
Vinden Drar - Elisabeth Soderstrom/Robert Sund/Karin Axelsson Parkman/Hakan Sund/Robert Von Bahr
Viktoria - Clas Pehrsson
Godmorgon, Min Docka
Visa Vid Midsommartid
Ekovisan
Sana Metoder (Vals)- En Dod I Skonhet (Unken Vals I Chopin-Stamning)-Glom Inte (Ettrig Vals)
Vallat
Prastkrage, Sag...
Nar Skonheten Kom Till Byn
Onskan
Midsommarblomster
Den Stora Kometen
Vem Kan Segla Forutan Vind?
Byssan Lull

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It Is A Real Tribute
Randy Garibay, San Antonio Best Westside BluesSound
"Barbacoa Blues"

Barbacoa Blues
Jr. & Cats Don't Sleep Randy Garibay
Manufacturer: Ce Distributors
ProductGroup: Music
Binding: Audio CD

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Invisible Society

ASIN: B00000IFJM
Release Date: 1997-05-30

Tracks:

Chicano Blues Man
Barbacoa Blues
Too Close to the Border
What Did You Think
I Can't Stop Loving You Baby
Viuda Negra (Black Widow Woman)
Two Steps from the Blues
El Chupacabra
Tell Me Why
Curandera

Album Description

"Barbacoa Blues", the most recent CD of Chicano blues man Randy Garibay has been described as "at once solidly traditional and refreshingly out of the ordinary." Produced by Randy Garibay and Jim Waller, the CD showcases Garibay's soulful voice, which many compare to Bobby Blue Bland, his equally impressive guitar playing, and his creative songwriting. Eight of the ten tracks are originals by Garibay and five of his originals ("Chicano Blues Man", "Barbacoa Blues", "Too Close to the Border", "Viuda Negra" and "Curandera") are in Garibay's hallmark style of Chicano Blues--horn-driven R&B delivered with sometimes bilingual lyrics and born of his South Texas Chicano experience. The CD also includes a beautiful original country song ("What Did You Think"), an original salsa ("El Chupacabra"), an oldies style original ("Tell Me Why") and two classic cover songs--traditional blues song "Two Steps from the Blues" and the jazzy "I Can't Stop Loving You Baby".

Customer Reviews:

It Is A Real Tribute.......2005-09-15

Randy is incredible. Being a native from San Antonio and growing up in the same barrio makes me proud to be a Chicano from San Anto! I, like so many, can associate to the music and lyrics. Man...I could go for a pound of barbacoa con tortillas de maiz con chilito - and a ice cold 'Big Red'. Those from the barrio might still remember Maya's Molina. Randy keeps the memories alive...Atta boy chu chu boy, no que no!

F. Medina

Randy Garibay, San Antonio Best Westside BluesSound.......2005-03-12

Being a Randy Garibay fan I feel I must say that everything I have heard by Randy is nothing short of sensational! From his Randy & the Westside Sound cassette songs such as "Brown Eyed Girl", "Goodbye Love", "Let Them Talk", "Honkey Tonk Saloon" as well as his take on "Bartender and "Today I Heard a Song", this is when I really got into Randys music. From his early start in the 50's with the Pharoahs and his time with the Dell Kings and his time he spend with his friend Doug Sahm another great blues man also from San Antonio. There's more music by Randy that will never be heard by no one else except the few lucky ones that own some of his first songs recorded and possessing that music such as myself. I can hear his music all the time: it's that good! Randy encompasses all that is the Westside Sound of San Antonio!!

"Barbacoa Blues".......2000-08-14

I sought out this album after hearing the title song. The album "Barbacoa Blues" principally features the vocals and guitar of Randy Garibay, along with a band that includes skillful keyboard, drums, brass, Saxophone, etc. The album includes an Hispanic twist on traditional blues and rock music. Randy's vocals and guitar are great. I must admit that I am surprised that this is a regional singer as the music is definitely national with a Spanish emphasis that may be pleasing to the Latino and traditional Blues fans.

"Chicano Blues Man" is more or less typical blues.

"Barbacoa Blues" is a classical blues tale based upon the local San Antonio barrio search for barbacoa, a Mexican weekend specialty breakfast taco and Big Red, a traditional red soft drink beverage. This is a humorous tune that is especially interesting due to my recognition of the geographical landmarks included in this tune.

As far as I am aware, "Barbacoa Blues" was the first Randy Garibay tune that I heard on a jukebox and made me search for the CD. I first heard the tune in a barrio cantina where "blues" is not typically among the songs of choice. Trust me when I say that I found this to be an especially novel number.

"Too Close to the Border" is an upbeat blues melody with a Tex-Mex theme while noting that he does not do "Tejano"! "What did you Think" is a mellow country-style ballad that is very pleasing. "What Did You Think" features a 50's rock-a-billy sound. "I Can't Stop Loving You" is an upbeat 50's ish blues tune. Viuda Negra is a late 70's or 80's ish blues tune with lot's of pleasing guitar. "Two Steps from the Blues" is a slower ballad featuring the vocals of John Brown. "El Chupacabra" is a nice salsa-like Latino number. "Tell Me Why" is a 50's or early `60's-like soft rock broken-hearted love number. "Curandera" is very 80's blues with a sort of Spanish "Stevie-Ray-Vaughn" sound.

When I found the CD Barbacoa Blues, I found another Randy Gariby CD titled "Chicano Blues Man" and felt that I would likely miss something if I did not buy both. I think that you will enjoy "Barbacoa Blues" and this artist, Tandy Gariby for quite some time.

Tracks:

Brundibar: Act I, Scene 1
Brundibar: Act I, Scene 2
Brundibar: Act I, Scene 3
Brundibar: Act I, Scene 4
Brundibar: Act I, Scene 5
Brundibar: Act I, Scene 6
Brundibar: Act I, Scene 7
Brundibar: Act I, Scene 8
Brundibar: Act II, Scene 1
Brundibar: Act II, Scene 2
Brundibar: Act II, Scene 3
Brundibar: Act II, Scene 4
Brundibar: Act II, Scene 5
Brundibar: Act II, Scene 6
Brundibar: Act II, Scene 7
Czech Songs For Children's Chorus With A String Quartet Accompaniment: I Was Waiting, I Did Not Sleep
Czech Songs For Children's Chorus With A String Quartet Accompaniment: You Look Beautiful To Me
Czech Songs For Children's Chorus With A String Quartet Accompaniment: Don't Even Think Of It, My Parents
Czech Songs For Children's Chorus With A String Quartet Accompaniment: What's With You?
Czech Songs For Children's Chorus With A String Quartet Accompaniment: Oh Mountain, How Tall You Are
Czech Songs For Children's Chorus With A String Quartet Accompaniment: You Are Not What You Pretend To Be
Czech Songs For Children's Chorus With A String Quartet Accompaniment: Lads, Don't Stand Under The Window
Czech Songs For Children's Chorus With A String Quartet Accompaniment: Black Wool On The White Lamb

Amazon.com

Czech composer Hans Krása wrote the children's opera Brundibar before his World War II incarceration in the Theresienstadt concentration camp. The opera not only became a big hit in the camp, but its theme of good against seemingly insurmountable evil served to reassure the doomed prisoners. This essential, lovingly produced recording is the first authentic and complete version, in the original Czech. --David Vernier

Customer Reviews:

Very nice 1st try in Czech.......2006-03-15

The performance in Czech is necessary to fully appreciate charm of songs and rhyme schemes, even if you don't know Czech. Good recording of a very decent (but not the very best) Czech children's chorus. To compound lack of libretto, the track titles for operetta are completely useless. Fortunately the pronounciation is very clear. The folk songs are a nice compliment to the opera and emphasize Czech children's connection.

Good performance, but no libretto in booklet.......2002-10-02

It's wonderful to be able to hear a recording of this piece, and this one is quite well done. I only wish that the text/translation were to appear in the CD booklet. You may find it very frustrating not to know what is being sung. I know I do.

Short and simple children's opera.......2000-06-14

This short (less than 25 minutes) children's opera was composed in 1938 by Krasa and was performed more than 50 times in the tragic circumstances in Terezin. As expected from a children's opera, the music is very simple, appealing and vivid. This performance is the first substantial performance and the music is delivered very convincingly. If you want to sample the music which was composed or performed in Terezin you shouldn't hesitate in srarting right here.

Average customer rating:

Superhits: 1967 (Time Life Music)
The Bee Gees , Stone Poneys , Harpers Bizarre , Bobby Vee and the Strangers , The Casinos , Petula Clark , The Monkees , Bobbie Gentry , The Young Rascals , and Spanky and Our Gang
Manufacturer: Time Life Music
ProductGroup: Music
Binding: Audio CD
ASIN: B000SJUXGE

Product Description

Released by Time Life Music . SONG LIST :1. Up-Up And Away---The 5th Dimension 2.Happy Together--The Turtles 3.Daydream Believer--- The Monkees 4. Dedicated to the One I Love---The Mamas and The Papas 5. How Can I Be Sure---The Young Rascals 6. Sunday Will Never Be the Same--- Spanky and Our Gang 7. I Second That Emotion---Smokey Robinson and The Miracles 8. 98.6--- Keith 9. I Say a Little Prayer--- Dionne Warwick 10. To Love Somebody---The Bee Gees 11. Tell It like It Is--- Aaron Neville 12.Windy---The Association 13.Don't Sleep in the Subway--- Petula Clark 14. Come Back When You Grow Up--- Bobby Vee and The Strangers 15. Different Drum--- Stone Poneys 16. The 59th Street Bridge Song (Feelin' Groovy)--- Harper's Bizarre 17. The Rain, the Park And Other Things---The Cowsills 18. Love Is Here And Now You're Gone---The Supremes 19. (The Lights Went Out In) Massachusetts---The Bee Gees 20. Green, Green Grass of Home---Tom Jones 21. Then You Can Tell Me Goodbye--- The Casinos 22.Ode to Billie Joe- Bobbie Gentry