Understand This [Explicit Lyrics]

Track Listings

1. Grand Puba - Grand Puba,

2. All Day - Grand Puba,

3. Issues

4. What U Gonna Do for Me - Grand Puba, Tiffany Johnson

5. Skit 1

6. Don't Lie to Me

7. Skit 2

8. What's Up Wit It - Grand Puba, Tiffany Johnson, Sadat X

9. Skit 3

10. Dreams

11. Skit 4

12. Understand This - Grand Puba,

13. Skit 5

14. Baby Mama Drama

15. Up & Down - Grand Puba, Sadat X

16. Skit 6

17. What U Want - Grand Puba, Tiffany Johnson

18. Keep It Movin' - Grand Puba, , Lord Jamar

19. Spazz Out 2 - Grand Puba,

20. How Many More

Understand This,Grand Puba,Koch Records,East Coast Rap,Pop,Rap & Hip-Hop

Understand This [Explicit Lyrics]

Do I Hear A Waltz? (1965 Original Broadway Cast)

Average customer rating:

You always will hear a waltz from Richard Rodgers
Much better than it's reputation.
An unappreciated score by a fine cast
"Someone Woke Up....."
You MUST hear a 'Waltz'!

Do I Hear A Waltz? (1965 Original Broadway Cast)
Richard Rodgers , Jane Manning , Sergio Franchi , and Stephen Sondheim
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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No Strings (1962 Original Broadway Cast)
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ASIN: B0000027WA
Release Date: 1992-11-24

Tracks:

Act I: Someone Woke Up - Elizabeth Allen/Sergio Franchi/Carol Bruce/Madeleine Sherwood/Julienne Marie/Stuart Damon...
Act I: This Week, Americans - Carol Bruce
Act I: What Do We Do? We Fly! - Madeleine Sherwood/Jack Manning/Elizabeth Allen/Julienne Marie/Stuart Damon
Act I: Someone Like You - Sergio Franchi
Act I: Bargaining - Sergio Franchi/Elizabeth Allen
Act I: Here We Are Again - Carol Bruce/Madeleine Sherwood/Jack Manning/Elizabeth Allen/Julienne Marie/Stuart Damon
Act I: Thinking - Sergio Franchi/Elizabeth Allen
Act I: No Understand - Stuart Damon/Fleury D' Antonakis/Carol Bruce
Act I: Take The Moment - Sergio Franchi
Act II: Moon In My Window - Julienne Marie/Carol Bruce/Elizabeth Allen
Act II: We're Gonna Be All Right - Stuart Damon/Julienne Marie
Act II: Do I Hear A Waltz? - Elizabeth Allen/Sergio Franchi/Carol Bruce/Madeleine Sherwood/Julienne Marie/Stuart Damon...
Act II: Stay - Sergio Franchi
Act II: Perfectly Lovely Couple - Stuart Damon/Madeleine Sherwood/Julienne Marie/Carol Bruce/Jack Manning/Elizabeth Allen...
Act II: Thank You So Much - Elizabeth Allen/Sergio Franchi

Customer Reviews:

You always will hear a waltz from Richard Rodgers.......2007-01-13

An example of Rodgers trying to fit in a new contributor of lyrics, but the match wasn't there, yet even so, his melodic mastery shone through.

Much better than it's reputation........2006-11-02

Despite being considered a flop by it's creative team, this is the one of Sondheim's "lyrics only" musicals I return to most often. It's melancholy charm is underlined by Rodgers' highly hummable tunes combined with Sondheim's reluctant lyrics. They are partly bitter and partly forced "happy". I love it.

An unappreciated score by a fine cast.......2004-02-04

Even though the show was not a success and the authors have all taken their turns at trashing it, this recording makes a strong case for DO I HEAR A WALTZ.

It's another fine record production by Goddard Lieberson. Rodgers (who was from all reports drinking and quite nasty to his collaborators) came up with many of his trademark melodies and the title song won deserved popularity outside of the show. Sondheim for his part creates some crackling good lyrics ("Someone Woke Up"; "What Do We Do We Fly!") but its an odd score... you hear the romantic older style love songs from Rodgers with fairly basic (dare we say dull) lyrics then some wonderful lyrics set to atypical Rodgers tunes. Then suddenly it all comes together in the final few numbers: The Title Song, "Perfectly Lovely Couple" and "Thank You So Much." Maybe it's a show that Encores will revive someday. In the meantime we can appreciate this original cast album and thank Sony for releasing it on Cd with good notes and a synopsis in the booklet!

"Someone Woke Up.....".......2003-10-04

So begins the delightful DO I HEAR A WALTZ?, one of Richard Rodgers' most accomplished post-Hammerstein scores. Not since his days with Lorenz Hart had Rodgers written such an energetic, youthful and joyful score. Stephen Sondheim's lyrics are witty and wonderful. DO I HEAR A WALTZ? received a lukewarm response from critics and audiences, lasting only 220 performances at the 46th Street Theatre.

Based on Arthur Laurents' play THE TIME OF THE CUCKOO (which turned into the film SUMMERTIME starring Katharine Hepburn), the story concerns a teacher, Leona Samish (played by Elizabeth Allen), who's holiday in Venice is dominated by her romance with the handsome Renato di Rossi (played by Sergio Franchi). There are also a host of colorful supporting characters including the ebullient hotelier Signora Fioria (Carol Bruce - SARATOGA).

The score is delicious with the opening number perfectly setting up the scene ("Someone Woke Up"), to Fioria's big number "This Week Americans", and the 11 o'clock number "Stay". There's also the Title Song, sung for all its worth by the delicious belt of Elizabeth Allen.

For all the problems that plagued the musical during its inception, nothing shows on the sparkling cast album, where it sounds like the biggest hit of the season. For Broadway fans, this CD is a must-own.

You MUST hear a 'Waltz'!.......2003-06-16

Please,give this a chance. Forget what you've read and just sit and listen. Read the libretto, available at lots of libraries, or read "Time of the Cuckoo" which Arthur Laurents based "Waltz" on. The combo of Rodgers and Sondheim is always sneered at--maybe, like me, you will see that Rodgers romanticism and Sondheim's sort of optimistic realism are actually the perfect mismatch for the endearingly troubled characters in the play.

Tracks:

This is the Moment
Great Cloud of Witnesses
Not a Tame Lion
Any Given Sunday
Getting Ready for Glory
Under the Gaze
Your Laugh
Half a Million Reasons
Fragile
Who You Are
Only Time Will Tell
May You Live

Product Description

This self-produced album has been a long time in many ways, a lifetime in the making. The projects 12 Songs explore everything from laughter to tears, from infancy to the elderly, from life to death, from here to the hereafter all under one overriding theme: Gods infinite, loving gaze. Under the Gaze documents an incisive, insightful artist at her literary best.

Average customer rating:

Any Brand Nubian fan will UNDERSTAND THIS is good.
Disappointing third release.
a couple of really good songs...
COMPLETE GAHBAGE
the beats are a little weak, but grand pu's on form!

Understand This
Grand Puba
Manufacturer: Koch Records
ProductGroup: Music
Binding: Audio CD

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2000
Reel to Reel
Fire in the Hole
Ventilation: Da LP
Everything Is Everything

ASIN: B00005NWP5
Release Date: 2001-11-06

Tracks:

Grand Pu
All Day
Issues
What U Gonna Do For Me
Skit 1
Don't Lie To Me
Skit 2
What's Up Wit It
Skit 3
Dreams
Skit 4
Understand This
Skit 5
Baby Mama Drama
Up & Down
Skit 6
What U Want
Keep It Movin
Spazz Out 2
How Many More

Customer Reviews:

Any Brand Nubian fan will UNDERSTAND THIS is good........2007-03-02

This is far from Grand Puba's best work but there's enough here that would please most Brand Nubian/Grand Puba fans. The major gripes I had with this were the average production by Puba himself, but the usual high standard of his rhymes more than make up for it MOST of the time. Also the amount of skits on this annoyed me b'cuz I hate them on albums, they ruin the continuity of the whole thing. Lastly, the guests on this are weak, apart from Sadat X+Lord Jamar, there's no other way to put it. His rhymes are much more socially conscious than on his 1st two solo albums, were battle raps and party joints were more of his focus. Tracks like "Issues" discuss the trials+tribulations that most of us go through day to day. "What U Gonna Do For Me?" talks about the type of women that are only in relationships for what they can get out of it. "Dont Lie To Me" goes into detail about the pitfalls of the industry if youre not prepared for them. "Dreams" talks about how you have to strive for better+earn yours instead of holding out for the lottery or a handout to save you. "Baby Mama Drama" is self-explanatory. The real highlights of this however are when the man just gets down and spits hot, metaphor laced, witty wordplay. The standouts for this were "All Day" (similar to "Very Special" from his "2000" album),"Whats Up With It?", "Understand This", "Up+Down"(my favourite) and "Keep It Movin'". With so much negative hiphop around back then, and right now for that matter, this acts as a nice breath of fresh air. Very mellow and laid back with afew nice uptempo moments. Lyrics-wise its tight as afacelift aswell.

Disappointing third release........2004-10-15

Grand Puba's third and long awaited album Understand This finds the Nowrule lyricist on a new label (Koch) and a very low budget. His lyrics are still on point and he still keeps it real, even though his beats don't match up to the rhymes. The album is produced almost entirely by Puba with guest appearances from his Brand Nubian partners Sadat X and Lord Jamar and MCs from Pubas label, Rising Son. If you are a devout Brand Nubian/Grand Puba fan this would be a good purchase, despite the heavily analog keyboarded tracks. But if you haven't heard of Puba, I would pick up 2000 and Reel to Reel before spending money on this release.

a couple of really good songs..........2004-04-15

...and the rest is pretty bland lyrically. I will give this cd credit for having great production. I just wonder if the Grand man finally lost his steam.

COMPLETE GAHBAGE.......2002-08-23

This by far had to be the biggest dissapointment of 2001. It's sad that one of the game's most entertaining as well as conscious brothers relesed an album that's as bad as this. The only standout out track and I mean the only decent track on the album is "Up & Down" where Puba spits that witty fire like we expect him too. The rest of the album is flooded with rushed (inexpensive) sounding keyboard beats and corny skits. If you're a Brand Nubian Fan or if you loved Grand Pu's 2 previous solo albums, Do not get this one... you will be very disapointed. I gave this one star since 0 stars wasn't available.

the beats are a little weak, but grand pu's on form!.......2001-11-23

I'm really surprised - this album has been out for nearly a month but no-one's written a review yet. Have you all forgotten Grand Pu??? After the superb Brand Nubian come-back album "Foundation" I couldn't wait for Pu's new solo outing. Got to be honest - I was well disappointed by the beats at first hearing - but Pu's flow and lyrics are the key here and they don't disappoint. Pu's got one of those voices that are so distinctive - you'd recognise him anywhere. He flows with the rythmn (not against it like some of these recent thug cats) and he always drops knowledge. My favourite track is "Dreams" in which Pu breaks down the different ways folks hustle for the paper. Lots of other intelligent tracks on this album too. Keep staying true Pu - you deserve that Land Rover that you're flossing with on the cover!

Average customer rating:

Wow
UNDERSTAND THIS IS A DREAM
Good, probably 4 and a half
mediocre emo-pop.
Utterly Amazing...

Understand This Is a Dream
The Juliana Theory
Manufacturer: Tooth & Nail Records
ProductGroup: Music
Binding: Audio CD

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Emotion Is Dead
Music from Another Room
Love
Deadbeat Sweetheartbeat
Live 10.13.2001

ASIN: B00000ICLO
Release Date: 1999-03-23

Tracks:

This Is Not A Love Song
Duane Joseph
August In Bethany
Music Box Superhero
Seven Forty Seven
The Closest Thing
Show Me The Money
For Evangeline
P.S. We'll Call You When We Get There
Constellation

Customer Reviews:

Wow.......2005-01-08

This CD was excellent. I recommend it highly.

To preview their songs go to the following link:

www.thejulianatheory.com

UNDERSTAND THIS IS A DREAM.......2004-11-10

this album sucks! although, you have to keep in mind they were alot younger when it first came out. their new stuff is awsome but i recomend downloading this one.

Good, probably 4 and a half.......2004-01-26

This is a very good cd, definitely the only JT cd you ever have to pick up. However, the vocals can get very annoying at times, which is why I would've liked to down-half a star it. But, songs such as 1, 2, and 7 and 8 totally compell this cd forward into awesomness. There's a lot of mixed feelings about this cd, but I feel it's a good one. Buy.

mediocre emo-pop........2003-10-20

my friends had told me this CD was wonderful, awesome, changed their lives, etc. it did not impress me much at all. the whole time i was listening to it, i kept thinking that many, many local bands have CDs like this, yet THEY can't get a record deal. i've heard better from TJT. the only standout track was #6, "The Closest Thing."

Utterly Amazing..........2003-07-21

This is the first cd I have heard from The Juliana Theory. But I must say, I am impressed. I popped this into my computers cd player and I found myself sitting there staring into my speakers in amazement. Buy their whole collection. From the sound of this record, I am positive the rest of theirs will be at this calibre.

Subways Are for Sleeping / Do I Hear a Waltz

Average customer rating:

"Broadway Shows from the 1960's ~ Percy Faith"

Subways Are for Sleeping / Do I Hear a Waltz
Percy Faith
Manufacturer: Collectables
ProductGroup: Music
Binding: Audio CD

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Born Free/Windmills of Your Mind
Kismet/Music From Hollywood
Great Folk Themes: American Serenade

ASIN: B000066JEB
Release Date: 2002-05-21

Tracks:

Ride Through The Night
I'm Just Taking My Time
When You Help A Friend Out
Who Knows What Might Have Been?
I Just Can't Wait
Getting Married
Be A Santa
How Can You Describe A Face?
Comes Once In A Lifetime
Now I Have Someone
I Said It And I'm Glad
What Is This Feeling In The Air?
Do I Hear A Waltz?
Here We Are Again
Moon In My Window
This Week Americans
Someone Like You
We're Gonna Be All Right
No Understand
Take The Moment
Thinking
A Perfectly Lovely Couple
Stay
Thank You So Much

Customer Reviews:

"Broadway Shows from the 1960's ~ Percy Faith".......2004-02-23

Percy Faith blends two award winning Broadway Shows together "Subways Are For Sleeping" (originally released on Columbia Records CS 8533 in 1961) and "Do I Hear A Waltz?" (originally released on Columbia Records CS 9117 in 1965), following the formula of previous albums from the vault of rare finds ~ two more winners are under the baton of the Maestro.

First twelve tracks "Subways Are For Sleeping", featuring the songs of Betty Comden, Adolph Green and Jule Styne with outstanding arrangements on very catchy tunes ~ like "BE A SANTA", "COMES ONCE IN A LIFETIME", "GETTING MARRIED", "HOW CAN YOU DESCRIBE A FACE?", "I JUST CAN'T WAIT", "I SAID IT AND I'M GLAD", "I'M JUST TAKING MY TIME", "NOW I HAVE SOMEONE", "RIDE THROUGH THE NIGHT", "WHAT IS THIS FEELING IN THE AIR?", "WHEN YOU HELP A FRIEND OUT" and "WHO KNOWS WHAT MIGHT HAVE BEEN?", all have the hallmark sound and the authentic "Percy Faith Touch" on every selections.

Second twelve tracks ~ "Do I Hear A Waltz", featuring the tunes of Richard Rodgers and Stephen Soundheim enhanced by the performances of arranger/conductor Percy Faith and his Orchestra ~ "A PERFECTLY LOVELY COUPLE", "DO I HEAR A WALTZ?", "HERE WE ARE AGAIN", "MOON IN MY WINDOW", "NO UNDERSTAND", "SOMEONE LIKE YOU", "STAY", "TAKE THE MOMENT", "THANK YOU SO MUCH", "THINKING", "THIS WEEK AMERICANS" and "WE'RE GONNA BE ALL RIGHT", enamored to the luxurious sound of Faith's string arrangements ~ you're immediately hooked on these tracks ~ marvelous performances enthralling listener's for some fifty years.

The people at Collectables should be commended for bringing back some of Maestro Faith's best works on compact disc ~ there is so much more in the vast vaults, hopefully there will be more to follow...gotta love it!

Total Time: 68:19 on 24 Tracks ~ Collectables 7480 ~ (5/21/2002)

Wagner: The Valkyrie
Average customer rating:

"The death-doomed alone are destined to look on me."

Breathtaking, powerful, accessible, not just an alternative

Absolutely Breathtaking!

A powerful reading of the most moving opera in the Ring.

The power of Wagner's music drama is now fully accessible

Wagner: The Valkyrie

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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Mozart - Don Giovanni / Garry Magee · Cullagh · Banks · Plazas · Shore · Tierny · PO · David Parry

ASIN: B00004YU6Z
Release Date: 2000-11-28

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Customer Reviews:

"The death-doomed alone are destined to look on me.".......2007-06-12

Okay, so we have the Solti, Bohm, Karajan, Goodall, Boulez, Janowski, Levine, Haitink, and Sawallisch Rings on the market (I haven't listened to the other Ring recordings yet, sorry to say). And all of these leave me to one conclusion: the many differences lead me to believe that all of these ring sets have their own authenticities and setbacks. And here they are:

TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 minutes
Sawallisch's Ring: 14 hours, 0 minutes

CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.

Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.

Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.

Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.

Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works only if you hear AND see it (the DVD's work best).

Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".

Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.

Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).

Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.

ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.

Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.

Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.

Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act Two Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.

Boulez's Bayreuth Festival: While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Mime's motifs) fares better than Berlin's and English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness. Beauty makes up for the irritatingly quick "Wotan's Farewell".

Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Boulez's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are heard clear in this Ring. The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.

Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.

Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, only this sounds much more poignant. The strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.

Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.

SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).

Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.

Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".

Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.

Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.

Levine and Haitink: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's and Haitink's Ring.

Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.

-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.

Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).

Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."

Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).

Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.

Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).

Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".

-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Three exceptions, though: Goldberg and Schunk don't sound heroic enough, and Norman for Levine doesn't sound young and innocent enough.

-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.

Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.

Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.

Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. Again, the DVD's are your safest bet.

Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.

Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.

Haitink: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm. Bravo!

-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").

Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.

Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.

Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.

Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.

Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.

Haitink: No offense, but Theo Adam as Alberich? Come on . . .

-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.

Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.

Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.

Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. He is equal to Zednik when it comes to humaneness and lyricism. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.

Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).

Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.

-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on during the Trilogy.

Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Again, another Loge that's marred by lack of cunning.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.

Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.

Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief!

Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt and Zednik depend only on vengeance and deviousness, Stolze only imagination and deviousness, Windgassen and Svanholm only peril. His odd conversations with Alberich and the gods/goddesses are classic.

Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.

Sawallisch: Robert Tear is on par with Stolze and Zednik. Sometimes he takes things too low, but all is forgiven with his management of character development.

-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.

CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation, Neuhold's Badische version, and the essential mono recordings (Furtwangler, Krauss, etc.), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.

The Box Set: Wagner: The Ring Cycle (Box Set)
The Rhinegold (Part 1): Wagner: The Rhinegold
Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sunyata
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Psykosonik is back...

A brilliant return from a longtime favorite

Amazing!!

Fantasmagorgasmlicious

Sunyata
Basic Pleasure Model
Manufacturer: ZDB Records, Inc.
ProductGroup: Music
Binding: Audio CD

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How to Live

Unlearn

Psykosonik

Searching for the End

ASIN: B0001ARVWY
Release Date: 2003-12-27

Tracks:

Sunyata (album version)
Lush79 Remix
KiloWatts Remix
3PM Remix
Pedestrian Remix
Lush79 Night Version
Sunyata (radio edit)
Sunyata (instrumental)

Album Description

Psykosonik founder/singer and Platinum Record-winning producer Paul Sebastien returns to the music world after 8 years, teaming with Wideband Network founder Caesar Filori to create Basic Pleasure Model (also known as 'BPM'), with a mission to add some lushness, intelligence and un-apologetic Hedonism to the current dreary rock music landscape that permeates you at every turn.

With their first CD Mega-Single, Sunyata, featuring incredible tracks by such remixers as Lush79, KiloWatts, 3PM, Pedestrian and others, Basic Pleasure Model delivers on the best of what was Psykosonik while forging brand new ground. The result is a highly original blend of lush intelligent electronic pop with early 80's British analog heaven, all wrapped-up in a tasty stew of heady Taoism-meets-Budhist-meets-Paganism.

Customer Reviews:

Psykosonik is back..........2004-10-16

...Kind of. After a long hiatus, Paul, founding member and singer for Psykosonik has returned with his new project, Basic Pleasure Model.

What we have here is a single from the fourth-coming album. On this single there is 8 total tracks of different versions of the song. BPM, is nowhere near as dark as Psykosonik was, but its very enjoyable never-the-less. Definitley something Psykosonik fans are gonna want to check out.

My personal favorite remix is the Lush79 version.

A brilliant return from a longtime favorite.......2004-01-18

The release of Sunyata marks not just the introduction of Basic Pleasure Model, but the return of 90's underground band Psykosonik. Founder Paul Sebastian returns here with Caesar Filori (aka Pedestrian and 1/2 of synthpop duo Wideband Network) to create what can only be described as a masterpiece of lush and epic proportions.

The original version sets the tone appropriately. The production is tight and clean, Paul's voice is clear and refined, the harmonies are appropriately layered, the bass is crisp, the effects are well-placed, and the atmospherics deserve a standalone release (and can be found on BPM's website). When you hit the chorus, Sunyata fires on all cylinders of a well-balanced engine.

The Lush79 Remix is actually a solo exploration by Paul Sebastian as I understand it. The mix, pushing close to deep house, utilizes bits and pieces of the the vocal chorus and intertwines enough new melodies that while it's far from my usual style, it unexpectedly became my favorite remix off the disc.

Third up is the KiloWatts Remix. Having heard his work prior to this (remixing DPP - m3x1k0 and working on an upcoming album with Vanek), I wasn't surprised to find the usual dizzying array of effects aided by a variety of destruction and granulation plugins. This mix is not for the feint of heart. Breaks are dropped unexpectedly, edits come from nowhere, and the first thing that comes to mind is how someone could possibly have envisioned a mix like this. Following a line of downtempo glitch-hop, it caters exclusively to a niche crowd of electronic enthusiasts (most notably fans of Telefon Tel Aviv and Prefuse73). Fellow producers will love it. For the average listener, it will take some growing. Give it time, it's worth it.

The 3pm Mix (Casey Clark, the other half of Wideband Network) is somewhat of an epic eurotech variant, flying along with a pulsing bass line, a new layer of melodies, unafriad to use the chorus hook. The effects are solid and the breakdown rocks. My only complaint is, clocking in at a mere 4:13, that it's too short.

Pedestrian Mix -- This is Caesar Filori's indy project, much like Paul's Lush79 music. Taking a totally different course, this mix gives a surprising package gift wrapped for fans of KMFDM, Nine Inch Nails, and Gravity Kills. It's industrial to the core. The key elements of the original are all there, but processed, filtered, and reinterpreted, paying homage to the goth scene from a very unexpected source. A great touch for rounding out the single.

Not much to be said about the final three mixes -- the Lush79 night version is a slightly different arranged version with less vocals, the radio edit is self explanatory (I much prefer the full five minutes), and the instrumental holds it's own during concentrated listening, not usually the case in many songs.

The original Psykosonik blueprint is still here, from the original ambient self indulgent intros to the mystical, escapist vocal work. What's new in this first reincarination in 8 years is a new level of technical proficiency and artistic harmony. Sunyata represents everything we loved of Psykosonik and the evolution of what we look forward to seeing it become.

To sum it all up -- it was ten dollars well spent, and I look forward to upcoming releases.

Amazing!!.......2004-01-18

This is the best music I've heard in a long time. "Sunyata" is truly rocking my world. I can't wait to hear more from these guys! Buy this single!!!!

Fantasmagorgasmlicious.......2004-01-17

If you were ever a fan of Psykosonik, and wished for a second coming, well here it is. This first CD is their springboard single to what is undoubtably going to be a fantastic album. If that wasn't enough, you have 5 outstanding remixes each with a distict flavor from the same tasty aural dish. Throw in 2 edits, one being an instrumental that shows off the fantastic production skills. If you thought Psykosonik was done, think again. It's better then ever. It's your Basic Pleasure Model.

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An English Silver Rose

R. Strauss: Rosenkavalier (Highlights)

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000J8QR
Release Date: 1999-06-22

Tracks:

Der Rosenkavalier: Act I. Opening - Introduction
Der Rosenkavalier: Act I. Opening - How You Were! How You Are! (Octavian, Marschallin)
Der Rosenkavalier: Act I. Conclusion - Ah, There He Goes... (Marschallin, Octavian)
Der Rosenkavalier: Act I. Conclusion - Ah! You Are Back Again? (Marschallin, Octavian)
Der Rosenkavalier: Act I. Conclusion - For Time Is A Mysterious Thing (Marschallin, Octavian)
Der Rosenkavalier: Act I. Conclusion - My Dearest Love, Why Do You Torture Yourself... (Marschallin, Octavian)
Der Rosenkavalier: Act I. Conclusion - I'll Go Now, Go To Church, And Pray (Marschallin, Octavian)
Der Rosenkavalier: Act II Opening - Introduction: A Solemn Day, A Wondrous Day
Der Rosenkavalier: Act II Opening - In This Most Wonderful And Serious Moment (Sophie)
Der Rosenkavalier: Act II Opening - It Is An Honor, An Enchantment (Octavian, Sophie)
Der Rosenkavalier: Act II Conclusion - Here I Am
Der Rosenkavalier: Act II Conclusion - Here (Ochs)
Der Rosenkavalier: Act III (Conclusion) - Leupold, Let's Go (Ochs)
Der Rosenkavalier: Act III (Conclusion) - Oh God! The Story Was A Masquerade And No More (Sophie, Octavian, Marschellin)
Der Rosenkavalier: Act III (Conclusion) - Now Or Tomorrow; If Not Tomorrow, Very Soon (Marschallin, Sophie, Octavian)
Der Rosenkavalier: Act III (Conclusion) - Marie Theres', How Good You Are (Marschallin, Sophie, Octavian)
Der Rosenkavalier: Act III (Conclusion) - Bliss Is Too Deep To Understand (Marschallin, Sophie, Octavian)
Der Rosenkavalier: Act III (Conclusion) - Bliss Is Too Deep To Understand (Octavian, Sophie)

Amazon.com

Not exactly a highlights disc, this, but a judiciously pruned and fully coherent presentation of a masterpiece that's arguably too verbose for its own good. All the hits are intact: Baron Ochs's rantings, the slithering presentation of the Rose, the velveteen final trio, and, of course, those indestructible waltzes. A little less of the drawn-out opening scene plus the inclusion of the extraordinary Act 3 Prelude would have made this splendid disc utterly perfect. Perhaps one loses the guttural edge and local color of Hugo von Hofmannsthal's German when rendered in the King's English, but the wonderful cast projects every word without sacrificing Strauss's liquid legato. David Parry plays up the composer's frothy textures, keeping his strings away from the unlimited schlag bar. Chandos supplies an excellent synopsis together with full English texts. In sum, the ultimate Rosenkavalier starter's kit, after which you'll want to try the legendary Karajan recording or Erich Kleiber's incandescent account. --Jed Distler

Customer Reviews:

An English Silver Rose.......2000-06-10

This "highlights" recording, one of the most recent of the Chandos "Opera in English" series, is a superlative issue that must be heard by all lovers of Richard Strauss and fine singing. Indeed, the singing is truly exceptional; mention must be made immediately of the silken voiced Octavian of Diana Montague - from start to finish she maintains a scrupulous control of legato and beauty of tone (similar to, but in my view surpassing, Susan Graham). Rosemary Joshua's Sophie surpassess most other more famous singers of this taxing role; she is truly a match for the likes of Lucia Popp and Elisabeth Schumann. Listen to the ravishing floated pianissimos in the presentation of the silver rose scene, and the final trio and duet, and I am sure you will agree. Yvonne Kenny is a Marschallin sensitive to the nuances of both text and music; vocally she is not in the class of a Schwarzkopf, Janowitz or Fleming, but this is a moving portrayal. And Tomlinson, the great Wotan and Hans Sachs of our age, is an amusing, cavernous voiced, (slightly too) boorish Ochs. The success of this performance is also due to the excellent musical support given by the London Philharmonic and conductor David Parry. Those concerned by the fact that this recording is given in English translation need not be; the translation is singer friendly (though not all the words are audible), and the standard of performance is such as to almost make no difference. If only the work were given complete - but this is still a "must buy"!

Average customer rating:

Understand This Groove
Sound Factory
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Dance & DJ | Styles | Music

House | Dance & DJ | Styles | Music

General | Soul | R&B | Styles | Music
ASIN: B00000E6QJ
Release Date: 1992-12-18

Average customer rating:

Great CD for all ages!

Awesome God

Manufacturer: Sovereign Grace Music
ProductGroup: Music
Binding: Audio CD

Gospel | Christian & Gospel | Styles | Music
ASIN: B000CAD7JY
Release Date: 2005-02-15

Tracks:

Almighty Creator
Forever God
You Are Always With Me
Who Is Like You?
Sovereign One
Mighty Mighty Savior
Jesus Came To Earth
Your Love
Three in One
For You Are Holy
The gospel Song
Have You Heard?

Customer Reviews:

Great CD for all ages!.......2006-07-26

This CD is outstanding! It is packed with solid theological truth about God. If you are looking for an upbeat, contemporary CD that has the doctrine of hymns, this is a great pick! It was designed for kids, but is great for all ages.

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