I Can't Stop
Track Listings
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1. Bounce Back
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2. I Can't Stop
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3. At the Mall
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4. R-U-A Player
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5. Dime Piece
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6. Got What You Like
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7. Do It Tonight
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8. Part of the Game
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9. Street Life
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10. Done Done It
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11. Do It Tonight [Bonus Mix]
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I Can't Stop
Average customer rating:
- Jackpot
- Landmark Ska
- Non Stop Fun!
- This IS the orginal complete album
- Ska done right - this album is so addictive!!!
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I Just Can't Stop It
The English Beat
Manufacturer: Rhino / Wea
ProductGroup: Music
Binding: Audio CD
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Similar Items:
- Special Beat Service
- Wha'ppen?
- Specials
- One Step Beyond...
- All the Rage
ASIN: B000021XS8
Release Date: 1999-10-26 |
Tracks:
- Mirror in the Bathroom
- Hands Off...She's Mine
- Two Swords
- Twist and Crawl
- Rough Rider
- Click Click
- Big Shot
- Whine & Grine/Stand Down Margaret
- Noise in This World
- Can't Get Used To Losing You
- Best Friend
- Jackpot
Customer Reviews:
Jackpot.......2007-05-08
This, along with The Specials (The Specials) is one of the two of the defining masterpieces of the 2nd Wave of ska. However, unlike the Specials, they give credit where credit is due -- crediting Prince Buster with "Rough Rider," whereas the Specials did *not* credit Toots & the Maytals with "Monkey Man," basically ripped off "Al Capone" by Prince Buster, threw some nonsense lyrics together, and voila "Gangsters". They kept the "Don't Call me Scarface," and in lieu of "Al Capone's Guns don't argue" at the beginning, "Bernie Rhodes (their manager) knows don't argue"...
Ok, enough of that. Both are masterpieces in their own right, but "I Just Can't Stop It" takes the cake, IMHO. And I've been listening to ska for quite a few decades now...and just came from seeing the Beat (as they're known in England; unfortunately an American band named the Beat had them precursor their name with thier country of origin...) for the 2nd time in 6 months. They played over 2.5 hours straight through, and are at the top of the list of energetic bands I've ever seen. And live, they are much different than they are on record -- both are brilliant, in their own special way. My favorite song off the CD, "Twist & Crawl," which is more new wave/mod meets ska, became an insane dub-fueled monster live.
If you are a fan of music, especially one of the 3rd wave of ska (e.g. Sublime, No Doubt, to name the most famous...and who blended punk rock with ska) and want to know some of the origins of the music, even though Sublime covers Toot's "54-46 Was My Number" and never covers any of the 2nd generation (even looking through my prodigious Sublime bootleg collection), this album is for you. And for those wondering what ska is, this is for you...it is a masterpiece. It's better than any ska anthology you'll find IMHO.
Landmark Ska.......2007-02-23
The Beat took up their task with relish and purpose, producing one of the most definitive ska albums of the 80's. Today, I Just Can't Stop It remains a timeless work a quarter century later...
Quibbles about the British edition aside (only the early American version of the cd has Tears of a Clown and Ranking Full Stop), this record is as socially conscious as it is fun. Ranking and Wakeling were not overly opinionated lads, but they made their points eloquently and with arresting honesty. It is quite often the case, however, that you find yourself singing along to a beautiful harmony, only realizing later on what the lyrics actually say. I only noticed the political overtones of 'Stand Down Margaret' after grooving to it for some two or three years. :)
It's a shame that a group of this caliber splintered after only three albums, but I suppose we should count ourselves lucky to have heard them at all.
Non Stop Fun!.......2006-06-18
First released in 1980, The English Beat's (known in the UK simply as The Beat they added the name English to their moniker to avoid confusion with a California based also band called The Beat) "I Just Can't Stop" it is not only possibly the single greatest album of the later 70's/early 80's ska revival, it is one of the greatest album of the late 70's/early 80's punk/new wave scene.
Already full of nonstop, infectious boppin' tunes the band's US label added two songs to the original album -- "Rankin' Full Stop," and a cover of Smokey Robinson and the Miracles' "Tears of a Clown" that had been stand alone singles in the UK. By omitting those songs from this CD reissue the album has been restored to its original running order and, as a previous reviewer noted, becomes the album the way the band intended for it to be heard.
But all of that is really pretty moot because this is still a great, great record with songs like "Best Friend," "Mirror in the Bathroom, "Hands Off She's Mine," and "Wine and Grind/Stand Down Margaret" (ah, the days of the anti-Thatcher/Reagan anthems) that compel you to hit the repeat button on your CD remote over and over.
Ignore the reviewers who don't know the history of this album and get this -- the complete and original version of one of the all time great albums.
This IS the orginal complete album.......2006-05-25
As has already been noted by one other reviewer, the original release of "I Just Can't Stop It" did not include "Tears of a Clown" or "Ranking Full Stop". These were added to the original U.S. release of the record due to the fact that these UK singles were otherwise unavailable in the U.S. Seeing as how they are compiled on multiple North American releases and were never supposed to be on the record, releasing the original UK version of the album on CD is perfectly justified.
Ska done right - this album is so addictive!!!.......2006-01-22
I'll be honest here - I used to HATE ska. I would go to my local concert hall to see some local musicians and there would ALWAYS be horrible ska bands playing (which is why I hated ska). I had just about given up on the genre when, to my surprise, I hear a sample of The English Beat's "Mirror In The Bathroom" on Coldcut's "Journeys By DJ: 70 Minutes of Madness" (also an excellent album) and was immediately intrigued. Lo' and behold, after I got this album, it was amazing! I never knew ska could be so fun and interesting! Every song here is great and all of them are pretty memorable - everything about them is fantastic. The vocals are very well done here as Dave Wakeling has a very appealing voice. The lyrics are also pretty interesting to listen to as well as catchy - "Mirror In The Bathroom" is but one of many songs that'll get stuck in your head. Musically it sounds like most other ska bands but with a little new wave and college rock thrown in. It's also very well-produced for an album that came out in 1980. Overall this is an album that most people will LOVE, not jsut ska fans. Absolutely recommended!
Highlights include:
the entire album!
Average customer rating:
- Fabulous for any Broadway-lover
- Top Shelf
- TERRIFIC CD'S
- Great Collection of Broadways greatest Songs
- Great Compilation!
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Broadway - The American Musical (PBS Series)
Manufacturer: Sony
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Similar Items:
- The Best of Broadway - The American Musical (PBS Series)
- Broadway: The American Musical
- Broadway: The American Musical
- Broadway - The American Musical (PBS Series)
- Somewhere over the Rainbow: The Golden Age of Hollywood Musicals
ASIN: B00064ADMK
Release Date: 2004-10-19 |
Tracks:
- Give My Regards To Broadway- Joel Grey
- Swanee- Al Jolson
- When The Moon Shines On The Moonshine- Bert Williams
- A Pretty Girl Is Like A Melody- John Steel
- My Man- Fanny Brice
- Fascinating Rhythm- Fred Astaire, Adele Astaire
- If You Knew Susie (Like I Know Susie)- 78rpm Version Eddie Cantor
- Someone To Watch Over Me- Gertrude Lawrence
- Bill- 78 rpm Version Helen Morgan
- Ol' Man River- Paul Robeson
- Ain't Misbehavin'- Louis Armstrong & His Orchestra
- Ten Cents A Dance- Ruth Etting
- Body And Soul- Libby Holman
- Brother, Can You Spare A Dime- Bing Crosby
- Night And Day- Fred Astaire
- Heat Wave- Ethel Waters
- Smoke Gets in Your Eyes- Tamara
- You're The Top- Ethel Merman
- Summertime- Anne Brown
- September Song- Walter Huston
- My Heart Belongs To Daddy- Mary Martin
- It Never Entered My Mind- Shirley Ross
- Bewitched, Bothered, Bewildered- Vivienne Segal
- Oh, How I Hate To Get Up In The Morning- Irving Berlin
- Oh, What a Beautiful Mornin'- Alfred Drake
Tracks:
- New York, New York- Cris Alexander,Adolph Green,John Reardon
- If I Loved You- John Raitt,Jan Clayton
- Come Rain Or Come Shine- Ruby Hill,Harold Nicholas
- There's No Business Like Show Business- Ensemble
- How Are Things In Glocca Morra? From "Finian's Rainbow"- Ella Logan
- Once In Love With Amy- Ray Bolger
- Wunderbar- Alfred Drake,Patricia Morison
- Some Enchanted Evening- Ezio Pinza
- Lost In The Stars- Todd Duncan
- Diamonds Are A Girl's Best Friend- Carol Channing
- Luck Be A Lady- Robert Alda,Guys
- Getting To Know You- Gertrude Lawrence
- Who Cares?- Jack Carson,Betty Oakes
- Stranger In Paradise- from " Kismet" Doretta Morrow,Richard Kiley
- Ballad Of Mack The Knife- Gerald Price
- Hey There- from "The Pajama Game" John Raitt
- Whatever Lola Wants- Gwen Verdon
- I Could Have Danced All Night- Julie Andrews
- Standing On The Corner- from "The Most Happy Fella, 1956" Shorty Long,John Henson,Alan Gilbert
- The Party's Over- Judy Holliday
- Glitter And Be Gay- Barbara Cook
- Tonight- Larry Kert, Carol Lawrence
Tracks:
- Seventy-Six Trombones- Robert Preston
- I Enjoy Being A Girl- from "Flower Drum Song, 1958" Pat Suzuki
- Everything's Coming Up Roses- Ethel Merman
- My Favorite Things- from "The Sound Of Music" Mary Martin
- Put On A Happy Face- from "Bye Bye Birdie" Dick Van Dyke
- Try To Remember- Jerry Orbach
- Camelot- from "Camelot" Richard Burton
- Love Makes The World Go 'Round- Anna Maria Alberghetti
- I Believe In You- Robert Morse And Co.
- The Sweetest Sounds- Diahann Carroll,Richard Kiley
- Comedy Tonight- Zero Mostel
- What Kind Of Fool Am I?- Anthony Newley
- As Long As He Needs Me- Georgia Brown
- Hello, Dolly!- Carol Channing,Cast
- People- Barbra Streisand
- Anyone Can Whistle- from "Anyone Can Whistle" Lee Remick
- If I Were A Rich Man- Zero Mostel
- Night Song- Sammy Davis, Jr.
- The Impossible Dream- Richard Kiley
- If My Friends Could See Me Now- Gwen Verdon
- Open a New Window- from Mame Voice
Tracks:
- Willkommen- from "Cabaret" Joel Grey
- Let The Sunshine In- James Rado,Lynn Kellogg,Melba Moore,Cast
- I'll Never Fall In Love Again- Jill O'Hara,Jerry Orbach
- The Ladies Who Lunch- from "Company" Elaine Stritch
- Tea For Two- Roger Rathburn,Susan Watson
- I'm Still Here- Yvonne De Carlo
- I Don't Know How To Love Him- Yvonne Elliman
- We Go Together- Adrienne Barbeau,Barry Bostwick,Walter Bobbie,Cast
- Corner Of The Sky- John Rubinstein
- Send In The Clowns- Glynis Johns
- Ease On Down The Road- Stephanie Mills,Tiger Haynes,Ted Ross,Hinton
- One- from "A Chorus Line" Cast
- All That Jazz- Chita Rivera,Ensemble
- Tomorrow- Andrea Mcardle
- Don't Cry For Me Argentina- Patti Lupone
- Come Follow The Band
- Lullaby Of Broadway- Jerry Orbach
- And I'm Telling You I'm Not Going- Jennifer Holliday
- The Bells Of St. Sebastian- Raul Julia
Tracks:
- Memory- Betty Buckley
- I Am What I Am- George Hearn
- Move On- Bernadette Peters,Mandy Patinkin
- Do You Hear The People Sing?- Michael Maguire,Cast
- The Music Of The Night- Michael Crawford
- You're Nothing Without Me- James Naughton,Gregg Edelman
- The American Dream- Jonathan Pryce,Cast
- Doctor Jazz- Gregory Hines,Company
- With One Look- Glenn Close
- On Broadway- Adrian Bailey,Frederick B. Owens,Ken Ard,Victor Trent Cook
- Le Jazz Hot- Julie Andrews,Ensemble
- Seasons Of Love-
- Hakuna Matata- Max Casella,Tom Alan Robbins,Scott Irby-Ranniar,Jason Raize
- I Wanna Be A Producer- Matthew Broderick,Ensemble
- Dancing Queen- Louise Plowright,Jenny Galloway
- Good Morning Baltimore- Marissa Jaret Winokur
- Movin' Out- Michael Cavanaugh,Band
- I Go To Rio- Hugh Jackman,Company
- Defying Gravity- Kristin Chenoweth,Idina Menzel
Customer Reviews:
Fabulous for any Broadway-lover.......2007-01-30
Packs into 5 CD's a sampling of Broadway tunes from the 20's thru (almost) today, mostly from original cast recordings. Includes not just well-known hits, but also some lesser-known gems. Sound quality is first rate, booklet is informative too. Have given this as a gift to several friends with rave reviews.
Top Shelf.......2007-01-04
This is THE definitive collection of Broadway hits. I have other collections, and none of them measure up. A great deal of care was obviously taken in compiling and presenting this box set. It covers a lot of ground, starting with some long-forgotten but still very enjoyable hits from the days of yore, and finishing with present-day favorites. To the best of my knowledge, the recordings are by those who made them famous. You won't be disappointed.
TERRIFIC CD'S.......2006-03-23
THESE BROADWAY MUSICALS CD'S ARE A BROADWAY LOVERS DREAM. WITH EACH SONG, MEMORIES COME FLOODING BACK. BOTH THE FAMILIAR AND THE FORGOTTEN SONGS ARE A TRUE LISTENING PLEASURE. IF YOU LIKE BROADWAY, YOU'LL LOVE THIS SET.
Great Collection of Broadways greatest Songs .......2005-06-14
This Collection was perfectly made it has almost all the most famous Broadway songs on this 5 cd set. The Music is great and has Broadways greatest treasures like "Memory""People""With One Look""Give my regards Too Broadway" just to name a few of this numerous cd set with over 100 songs. This is a great buy if you like musicals or The music of Broadway
Great Compilation!.......2005-01-17
If you are a fan of the Broadway Musicals, this is a collection that you should purchase. Since I got the 5 disc set I've enjoyed listening to it. The majority of the songs are done by the original singers. The collection is priceless considering that you will have over 100 songs from popular musicals since the beginning of Broadway
Average customer rating:
- didn't work for rehearsals
- Big for folks doing the Musical
- It's Awesome, It's Amazing, It's BIG!!!!
- a lost gem
- Ungodly awful
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Big: The Musical (1996 Original Broadway Cast)
Richard Maltby Jr.
Manufacturer: Decca U.S.
ProductGroup: Music
Binding: Audio CD
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Similar Items:
- Big: The Musical
- Little Women The Musical (2005 Original Broadway Cast)
- Curtains (2007 Original Broadway Cast)
- Baby (1983 Original Broadway Cast)
- The Drowsy Chaperone (2006 Original Broadway Cast)
ASIN: B000005AY0
Release Date: 2001-09-25 |
Tracks:
- Overture/Can't Wait
- Talk To Her/Carnival/Zoltar Speaks
- This Isn't Me
- I Want To Go Home
- The Time Of Your Life/Fun
- Josh's Welcome/Here We Go Again
- Do You Want To Play Games?/Stars, Stars, Stars
- Cross The Line
- It's Time
- Stop, Time
- The Nightmare
- Dancing All The Time/I Want To Know
- Coffee, Black
- The Real Thing
- One Special Man
- When You're Big/Skateboard Ballet
- I Want To Go Home/Stars, Stars, Stars (Reprise)/Finale
Customer Reviews:
didn't work for rehearsals.......2007-03-22
I used this CD to help me rehearse for the BIG production I was in, but it didn't match the libretto at all. I think there was one song on there that I could use.
Big for folks doing the Musical.......2006-03-20
If you're getting this CD to help prepare for your school or community group doing the musical, there are a lot of changes from the CD to the book. Aside from finding the book in a new key and some chunks added/deleted, Here We Go Again and When You're Big aren't included anymore.
Overall, the music's a little trite, but there are some nice moments -- mostly the stuff sung by the female leads.
It's Awesome, It's Amazing, It's BIG!!!!.......2006-01-22
My high school did "Big" my sophomore year, and oh my god, it was such a fun musical to do. I kind of forgot about it until my senior year, when I suddenly craved some of that music again. So I purchased this CD and I've been loving it since. They got rid of a couple of the songs and replaced them with others as the show progressed on Broadway, so I was suprised to hear new material (to me anyways), and for the most part, I actually enjoyed these original songs over their replacements that my production contained. This cast is phenomenal and the guy who plays Josh Baskin sounds so much like Tom Hanks at points, its crazy. It's a simple, yet a bit fantastic musical about growing up, and it's funny and romantic, and a lot of fun. I love all the songs, and it's a shame it didn't do too well on B-way. At least this recording will keep the music alive.
"This Isn't Me" is one of my favorite tracks, as it's a lot of fun and has a great beat, but suprisingly it was replaced with "Good Morning to Mom", which was only so-so. "I Want To Go Home" is a great ballad that Josh sings, and its simple, a bit funny, and the ending is the best, as its cute and sad. Another song they got rid of, "Here We Go Again", is a song Susan sings, and again, I like it alot. It has a quirky melody that I like. "Stars, Stars, Stars" is another great song, and is quite cute. One of the more popular songs. "Cross The Line" is the finale to Act I and is also very excellent and up beat, and makes you want to dance. "Stop, Time" is my favorite song on the album by far. Sung by Josh's mom, it is one of the more poignant moments of the show. Heartfelt, sad, and truly beautiful, it defiantely makes you appreciate your mom. Barbara Walsh sounds superb on this: she has a great voice. I love this one. "Dancing all the Time" is another good Susan song, and it leads into "I Want To Know" by Young Josh, which is another good ballad. "Coffee, Black" is another showstopper, fun ensemble song, and again, very comedic. "One Special Man" is Susan's ballad to Josh, and it is very beatiful. My only regret is that its only 2:21 so its a short one, and I just want her to start belting at the end, but no, its a quiet ending. Still, I love this one too. The finale is great too, and features an amazing duet between Josh and Susan. I love the harmonies they do.
All in all, this is a great album. Sample the songs and give it a try. This is a must have!!
a lost gem.......2004-10-14
i saw this musical at the local high school in 2001 and was plesently suprised i of course saw the movie and the only thing i knew about this musical was it didnt stay long on broadway, so when i saw it was i shocked this is a delight cross the line still resenates in my head 5 years later.
Ungodly awful.......2004-06-19
BEWARE. This musical is perhaps one of the five worst pieces of music I have ever experienced. I began to wonder if the composer was attempting to make the world's worst musical. Listen for yourself and enjoy the disjunct vocal lines, the desperate attempt at "fun music", and - worst of all - how the highlight of the entire show both dramatically and musically is the insipidly awful "Heart and Soul". Stick to the movie because this baby is horrendous.
Average customer rating:
- Irresistible
- "Some Enchanted Evening" with Kunzel and the Cincinnati Pops
- Excellent!
- Great Arrangments
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Rodgers & Hammerstein: Songbook for Orchestra (Orchestral Suites)
Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD
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Similar Items:
- Lerner & Loewe Songbook for Orchestra
- Rodgers & Hammerstein - The Complete Overtures ~ Opening Night / Hollywood Bowl Orchestra · Mauceri
- Puttin' on the Ritz: The Great Hollywood Musicals
- The Sound Of Music (1987 Studio Cast)
- Classics of the Silver Screen
ASIN: B000003CXQ
Release Date: 1992-01-28 |
Tracks:
- Oklahoma!
- Carousel
- State Fair
- South Pacific
- The King And I
- Cinderella Waltz
- Flower Drum Song
- The Sound Of Music
Customer Reviews:
Irresistible.......2005-07-29
From beginning to end this CD is pure delight. A great recording has great music, a great performance, and great sound; this one scores on all three counts.
Rodgers and Hammerstein's musicals dominated Broadway in the 1940s and 1950s, and American musical theater has produced no more consistently eloquent and durable voice than Richard Rodgers. From his fertile genius flowed a surprising number of memorable songs, many of which have passed into and become an accepted and beloved part of modern American culture.
This well-filled CD (77:36) features symphonic arrangements (all but two by Robert Russell Bennett) of the music from Oklahoma (1943), Carousel (1945), State Fair (1945), South Pacific (1949), The King and I (1951), Flower Drum Song (1958), and The Sound of Music (1959). All the great tunes are here in suites from each musical that average 10-12 minutes in length. The arrangements are expert: rich, varied, and colorful. The performances are polished, idiomatic, and irresistible; Kunzel and this orchestra are thorough masters of this kind of material. And Telarc's sound (recorded 1991) is state-of-the-art (engineer Michael Bishop deserves to take a bow).
In short, there's nothing here to cloud your listening pleasure (the only quibble I can imagine is that some of your favorites may not last long enough), so it's hard for me to envision anyone with ears and a taste for music who wouldn't enjoy this CD. Warmly recommended. Finally, if you like this one as much as I do, you might want to know that the same team has produced a companion volume, the Lerner & Lowe Songbook for Orchestra.
"Some Enchanted Evening" with Kunzel and the Cincinnati Pops.......2003-12-26
Erich Kunzel's Rodgers and Hammerstein anthology with the Cincinatti Pops Orchestra is one of the best and most ravishing instrumental Rodgers and Hammerstein albums of all time. With sumptuous arrangements and warm, natural Telarc recording, this glorious 77-minute CD presents sweeping, melodic arrangements of over 60 Rodgers and Hammerstein selections, spanning eight scores, and Kunzel allows the Pops to play with a characterful and polished understanding of the Rodgers and Hammerstein idiom. The disc is enough to cheer you up on a dull day and make you smile, and it might even want to make you feel like a convert to Rodgers and Hammerstein musicals.
This CD has all the scores arranged chronologically. The OKLAHOMA! suite that opens this disc promises a feast for the senses, Kunzel ably evokes the territory's "bright, golden haze" in the way he conducts the various excerpts, until you feel the atmosphere of the country charm of the show, and the love-affair between Curly and Laurey. Then, in CAROUSEL, he ably evokes the pathos of this tragic R&H masterwork, especially in the truncated Waltz, but he leads a wonderfully melodic "June is Bustin' Out All Over" and a devotional "You'll Never Walk Alone." Although this suite does not include Billy's pivotal Soliloquy, it includes "If I Loved You" as an expression of his love for Julie, and within minutes you could be soaked in the ups and downs of the show's mood.
After a brief STATE FAIR suite, with sweeping renditions of "It Might As Well Be Spring" and "It's a Grand Night for Singing", we are brought into the disc's showstopping highlights. These highlights are the excerpts from SOUTH PACIFIC, THE KING AND I, and THE SOUND OF MUSIC. But yet Kunzel conducts the rest of the disc until the various suites amount to a series of showstoppers. These three suites present wonderfully-arranged versions of their many familiar classic songs, with well-played solos. The SOUTH PACIFIC suite presents the songs in chronological order, yet preserves the atmosphere of the show at the same time. Kunzel ably brings out the romance in "Some Enchanted Evening" and "Younger than Springtime," and contrasts it with the exotic and dreamlike "Bali Hai'i" and the comic "There is Nothing like a Dame" and "I'm Gonna Wash That Man Right Outa My Hair". Although the suite ends quietly with a reprise of "Dites-Moi" rather than the reprise of "Some Enchanted Evening," within minutes we are swept into the KING AND I suite. Kunzel ably brings out the Oriental pathos in this score, and he captures the warmth of Anna's rapport with the King's Siamese children in "Getting to Know You", and with the King himself in "Shall We Dance." There is also romance in the love ballads "I Have Dreamed" and "We Kiss in a Shadow." Similarly, in the selection from THE SOUND OF MUSIC, Kunzel conducts this until the orchestra soaks itself in the atmosphere of this Austrian R&H score. This SOUND OF MUSIC suite has more of a feel of the score compared to the bonus track on Sony's reissued version of the Broadway recording. You can almost feel as if you are following the progress of the Trapp family and how it lifts its spirits with the joy of music. Kunzel gives us a soaring version of the title song, and spirited versions of "Do-Re-Mi" and "My Favourite Things." He balances it with the open-air quality of "Edelweiss" and "The Lonely Goatherd." Although this suite could have included "Something Good," the love ballad written for the film, the three recollections of the songs that were cut from the movie only last for a while. And, the towering version of "Climb Every Mountain" crowns this portion of the disc, and this sumptuously-produced recording. But, I should also mention the infectuous FLOWER DRUM SONG medley, where Kunzel turns this underrated score into a work of art, until it convinces you to buy the cast recording. And, don't forget about the brief CINDERELLA WALTZ, too, when Kunzel conducts it magically, until you feel like you are in the company of Cinderella and the Prince. He is able to show how this R&H score marked a comeback for R&H after the failiures of Me and Juliet, and Pipe Dream.
Overall, this glorious Rodgers and Hammerstein recording is guarunteed to make you want to pucker your lips out for a whistle or sing along (to paraphrase another revew for Kunzel's Disney Spectacular disc) - even if this recording is music only, and as long as you know the words to the songs (and you might know a large handful of them already.) There is always a certain magic in this fine CD that makes you feel like you're sitting in the theatre watching these musicals, until it makes you feel like it is truly, to borrow two R&H song titles, "Some Enchanted Evening" and "Something Wonderful" to be in Kunzel's company for this R&H offering. It would certainly be one recording that could make you feel willing to buy the complete cast recordings of the shows. And I guaruntee that it will make you feel willing to pull out your existing copies of the cast recordings to listen to them again. I also guaruntee that it will be a cornerstone in any Rodgers and Hammerstein collection, just as it is in mine. Recommended heartily to any Rodgers and Hammerstein enthusiast and to fans of Erich Kunzel's work. And, you can play it while reading the Richard Rodgers biography, Musical Stages, until Rodgers himself would count this as his favourite disc in the afterlife.
By the way, most of the arrangements for the suites on this CD were done by the veteran R&H orchestrator Robert Russell Bennett, and it surely adds to the appeal of this recording. This itself is enough to amount to the icing on the cake, since Kunzel conducts them well on here, and since this recording still allows the suites to have the original theatrical atmosphere. And, although this recording is like the Mauceri collection of the Rodgers & Hammerstein overtures in compiling orchestral suites of Rodgers & Hammerstein, I think that I like the Kunzel recording even more because Kunzel has more magic in his conducting of these suites.
Excellent!.......2003-04-08
This is one of the best Erich Kunzel/Cincinnati Pops collections we own! A must for Rodgers and Hammerstein fans, too.
Great Arrangments.......2001-09-02
This is a first rate album with great arrangments and orchestrations. If you're a Rodgers and Hammerstein fan, you can't afford to miss this specatacular album
Average customer rating:
- Okay to Listen To
- Ugh....
- The Rev. has healed me!
- Pretty good, but don't expect the magic of the 70s stuff
- Keepin' It Real
|
I Can't Stop
Al Green
Manufacturer: Blue Note Records
ProductGroup: Music
Binding: Audio CD
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- Everything's Ok
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ASIN: B0000DJZ9K
Release Date: 2003-11-18 |
Tracks:
- I Can't Stop
- Play To Win
- Rainin' In My Heart
- I've Been Waitin' On You
- You
- Not Tonight
- Million to One
- My Problem Is You
- I'd Still Choose You
- I've Been Thinkin' 'Bout You
- I'd Write A Letter
- Too Many
Amazon.com
The highlight of I Can't Stop, Al Green's reunion with producer-arranger Willie Mitchell, the architect of his deathless '70s hits, is "My Problem is You." Over six and a half minutes, Green roars, wails, and rambles through a midtempo exploration of a seemingly unsolvable riddle--the love of a woman and its hold on him. In great voice, his high-end barely touched by time, he makes every moment count over these dozen originals; often lacking the layer of eccentricity that colored tracks as diverse as "I Can't Get Next to You" and "Belle," the songs still ring with the Reverend's authority. Mitchell's grooves add to the ecstatic mood, especially when the thumping bottom-end syncopation of a track like "Million to One" suggests that of, oh, "Look What You Done for Me." The first time this pair has worked together since a 1985 gospel album, I Can't Stop blows away the dust and finds more life and gutbucket flash in a seemingly inexhaustible vein. --Rickey Wright
Customer Reviews:
Okay to Listen To.......2005-10-09
I Can't Stop is okay to listen to. I wanted to give five stars just because it is Al Green, but I gave four. My reasons are: Al doesn't sound relaxed and laid back enough, and those background singers sound kind of tacky. Al's voice still sounds great, but he sounds like he is just not putting enough of his soul into his singing. Maybe he'll sound better if he records another gospel album.
Ugh...........2005-06-08
"What a comeback".....come on. Maybe 1 or 2 decent songs off the whole cd. Sorry Al, you must to try again.
The Rev. has healed me!.......2005-04-27
The Rev. Al Green is back!! Whether you liked his tunes in the 70s or heard/saw him when Ally McBeal was on FOX, Al Green is back and doing what he does best. Great R&B...true to its style. It's like a trip to Memphis, without the sweltering heat. This one is classic soul music (some call it booty music), put together by the masters of the trade. Put the kids to bed and put this CD in the player, who knows what will happen?
Pretty good, but don't expect the magic of the 70s stuff.......2005-03-15
This is not only a reunion of Green and his arranger--quite a few of the original session players and singers are on hand, too. And let's face it--30 years have had an effect on Al Green's voice. It doesn't have quite the same velvet quality as before, but it's astonishing how much range and dexterity Green's voice has retained, particularly in the upper register. Similarly, his background singers sound a little grittier, not as silky smooth as before. What's a little disappointing to me are the songwriting and arrangements. Gone are the subtlety and gently insinuating quality of hits like "Let's Stay Together." The new songs and arrangements have a more aggressive, in-your-face quality, much more in sync with the new millenium's R&B. Sigh. On the other hand, there is more variety to the songs and arrangements than on Al Green's old albums. Actually, maybe it was wise to avoid slavish adherence to the old style. Why mess with perfection? Green's voice, as it stands, is better suited to the new material. Besides, why shouldn't musicians try new things? I guess it's too much to expect the pure magic of the synchronicity between Green, the arranger, background singers, material, and session musicians 30 years later. But hey, it beats the hell out of most R&B these days and it's pretty decent by any standard. Listen to the samples. If you like what you hear, go ahead and buy. Chances are won't be disappointed. Update 3/24/2005: After listening to I Can't Stop a few times, I feel a bit churlish giving it only three stars. On reflection, I'd give it four stars. Really, this cd is better than it has any right to be. Excellent work by all concerned, it's a pleasure in every way and only suffers in comparison to Green's immortal 70s work, which isn't a fair comparison at all.
Keepin' It Real.......2004-11-21
I almost fainted while reading one of the reviews and the reviewer (thank goodness only one) stated that this album could have used a little R. Kelly. OH H$%^ NO. It was good to hear that Al did not fall into the Ron Isley trap, even though I do enjoy some of his new stuff, and kept to his roots. There are a few songs on this album that are blah but the first 8 tracks are hitting, track 9 is decent, skip the last three songs. I would have rather had him cut some of the filler songs and extended the good stuff, old school style.
Rainin' In My Heart is a straight up classic in my opinion. And I could see any of the other first 8 tracks being considered classic depending on the tastes of the listener.
Average customer rating:
- skee-lo is real good
- Surprise Surprise
- He is Hot
- "I Can't Wait"
- Welcome back!
|
I Can't Stop
Skee-Lo
Manufacturer: Maddtrax
ProductGroup: Music
Binding: Audio CD
General
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- I Wish
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ASIN: B00005KA2I
Release Date: 2001-06-26 |
Tracks:
- Bounce Back
- I Can't Stop
- At The Mall
- R-U-A Player
- Dime Piece
- Got What You Like
- Do It Tonight
- Part Of The Game
- Street Life
- Done Done-It
- Do It Tonight (Bonus Mix)
- At The Mall (Urban Mix)
- When I Was Comin' Up
Customer Reviews:
skee-lo is real good.......2002-09-30
skee-lo is very original...skee-lo makes positive songs w/o explicit language
i recomend this cd 2 any1 skee-lo is a real good rapper and
hopefully this cd will sell alot and make it all over...
Surprise Surprise.......2002-03-13
I got Skee-Lo's original albumn off the success of the "I Wish" single, and I always liked it, but I didn't expect this. From what I've read this albumn is all original, no samples, and all live music, that's damn near unheard of now days in hip-hop. His flow is incredible, his voice is perfect. Like I said, I liked Skee-Lo, but this albumn blew me out the water. I listen to lots of hard core hip-hop, from Pac to Biggie to Twiztid to RBX to NytOwl to underground ish you never heard, and I'm still amazed by how good Skee-Lo brought it with this albumn. I highly recommend it.
He is Hot.......2001-10-25
The best hip-hop I have heard in a long time, plus no explicit langauage.
"I Can't Wait".......2001-10-17
The Chicago emigre, now securely ensconed in the sunny and presumably inspiring surrounds of Los Angeles, famous for his single 'Wish' ("I wish I was taller, I wish I was a baller...") and the two Grammy nominations that also came his way in 1995, is back after a rather protracted absence. While he raps his way around myriad topics from being "more exciting than movies with Samuel L (Jackson) innit" to shopping malls, a diverse and often wholly unexpected instrumentation belies the myth that all rap music sounds the same. Skee-Lo once again shows that rhythm and melody can happily sit together and create a new direction within rap, one that does not use gangland stories, profanity and absurd, irritating sexist diatribes.
When discussing his personal experiences, Skee-Lo's essence leans more towards R'n'B than hip-hop and, with acoustic guitars, electric drums and backing vocals from such as Jocelyn Buchanan, the instrumentation is unusually diverse and harmonious for the genre within which he operates. He seems to have actively chosen not to address the themes that the likes of The Notorious B.I.G. or Sean "Puff Daddy" Coombes made their names with but instead to get on down to matters sexual and lovey, offering much opportunity for smoochy lyrics and saccharine backing vocals. While some might immediately criticise him for not addressing the usual issues rap ordinarily faces, this album - and artist - benefits enormously from the original approach he takes.
The opening track, 'Bounce Back', is perhaps the best single of last year never to be released, with 'At The Mall' and 'R-U-A-Player' also getting the feet tapping and, definitively, the brain cells whirring, or whatever it is that brain cells do.
But what has he done for the last five years? It seems from the literature we've seen that he has co-written and produced other people's projects, hosted shows on MTV and worked with Californian drug charities. And after such a protracted absence, why all the optimism? "I was born in an urban environment," says Skee-Lo. "I've seen a wide range of two worlds. I've seen it on the downside and I've seen it on the upside. Just being alive is a lot to be happy for. Loving what you do and having the fortune of sharing it with others who appreciate it is all I can ask for."
Rare, indeed.
Welcome back!.......2001-10-17
Skee-Lo's sophomore lp "I Can't Stop" follows up his gold debut album which included that #1 hit "I Wish". After being overseas for a while, he's return to the U.S. to hit it big once again. The first single/music video "At The Mall" is an infectious radio jam that laces Skee-Lo's lyrical stories with smoothed out beats. Hopefully, radio will pick up this single and blow it up (along with making a comeback for Skee-Lo) just as radio did with Shaggy's career.
Average customer rating:
- Happy party music!
- It's About Time
- tight collection
|
Tighten Up/I Can't Stop Dancing
Archie Bell & The Drells
Manufacturer: Wea/Rhino
ProductGroup: Music
Binding: Audio CD
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- There's Gonna Be a Showdown
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- Express Yourself: The Best of Charles Wright
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- The Very Best of the Originals
ASIN: B0006B5ZVC
Release Date: 2004-11-22 |
Tracks:
- Tighten Up, Pt. 1
- Tighten Up, Pt. 2
- I Don't Wanna Be a Playboy
- You're Mine
- Knock on Wood
- Give Me Time
- In the Midnight Hour
- When You Left Heartache Began
- Thousand Wonders
- Soldier's Prayer, 1967
- Dog Eat Dog
- Tighten Up, Pt. 1 [Original Single Version]
- I Can't Stop Dancing
- Sittin' On) The Dock of the Bay
- Do the Choo Choo
- You're Such a Beautiful Child
- Monkey Time
- Do You Feel It?
- I've Been Trying
- Jammin' in Houston
- Love Will Rain on You
- Sometimes I Wonder [#]
- Low Down [#]
- Going Out of My Head [#][Demo Version]
- Who's Loving You [#][Demo Version]
Album Description
Remastered reissue combines two 1968 albums augemented with five bonus tracks, 'Dog Eat Dog' (non-LP single), 'Tighten Up Pt. 1' (non-LP single), 'Low Down' (prev. unreleased), 'Going Out Of My Head' (demo - prev. unreleased), & 'Who's Loving You' (demo - prev. unreleased). Rhino. 2004.
Album Details
Two Remastered 1968 Archie Bell and the Drells Albums, 'tighten Up' Includes the USA R&B and Pop # One Title Track plus the Northern Favourites 'a Thousand Wonders' and 'when You Left Heartache Began', and the Second Album 'i Can't Stop Dancing'. 'tighten Up' features Two Non-album Singles, the Withdrawn 'dog Eat Dog' and the Original Single Mix of 'tighten Up' . The Second Album is Boosted by Three Previously Unreleased Tracks, the Fantastically Funky 'low Down' plus Two Demos Taped at the Same Texas Sessions by Producer Skipper Lee Frazier. The Liner Notes Rely Heavily on the Input of Archie Bell Himself.
Customer Reviews:
Happy party music!.......2006-03-26
It's an interesting bit of irony that one of the happiest and joyful songs in R&B history-AB&TD's "Tighten Up," was #1 during one of Black America's saddest moments-the assassination of Martin Luther King. With that said-on to the review.
"Tighten Up" is simply impossible not to like. This record is all about joy and fun. Fortunately, this Cd has the long version that is not usually played on oldies radio, with the killer bassline intro. This also has the seldom heard (but just as wonderful) "Tighten Up pt. 2." The Drells doo-woppy background singing "Tighten up-do the tighten up" as well as the gritty-but pretty funk of the TSU Toronadoes (it's a shame that the Toronadoes' own CD is so mediocre, but this CD ensures their legacy as a great R&B band) give "Tighten Up Pt. 2" added dimension. The radio edit is also included for comparison.
"Do You feel it" continues the party with some excellent hammond organ from the Toronadoes (If you're a sucker for soulful, bluesy, and jazzy hammond organ like I am, then this is surely for you), while "I Can't Stop Dancing" (which I fondly remember from childhood) and "Jammin in Houston" covers similar ground.
Speaking of covers, AB&TD do some really good covers of some popular soul tunes of the time. Their version of "The Monkey time" is a bit too fast for those fond of the original, but they do a great job with "I've Been Trying" and "Goin Out of My Head," etc. Archie also does a good cover of Otis Redding's "Sittin on the Dock of the Bay" and personalizes it with lyrics about Archie's military service in Germany (Contrary to popular rumor, Archie never went to Vietnam. The reason he sings about Vietnam in "A Soldier's Prayer 1967" is because he thought he might be sent there, but was sent to Germany instead).
In either case, this is happy party music that's good for what ails you. In case of depression-break glass and play this!
It's About Time.......2006-03-16
This is Archie and the Drells' first two albums in their entirety plus bonus cuts. If you are interested in Archie and the Drells then buy this CD and skip the Greatest Hits CD on Rhino.
The linear notes are fantastic, most of them in Archie's own words. When Tighten Up reached #1 in the Spring of 1968 Archie was in a German hospital recovering from injuries suffered in Viet Nam. Lots of great stuff.
tight collection.......2005-02-28
Archie Bell&The Drells were bringing the feel good vibe on these albums. I Can't stop Dancing" has some nice Grooves on it.but everything gets almost overshadowed by "Tighten Up". I Mean that Jam is too tight&Still cold with the Breaking down of each Instrument.Props,Daps,Claps&soul Snaps on this Whole Collection.
Average customer rating:
|
Broadway: America's Music 1935-2005
Manufacturer: Decca Broadway
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Binding: Audio CD
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Similar Items:
- Broadway - The American Musical (PBS Series)
- Grey Gardens - A New Musical (2006 Original Broadway Cast)
- The Drowsy Chaperone (2006 Original Broadway Cast)
- White Nights
- Spring Awakening (2006 Original Broadway Cast)
ASIN: B000B8I93Q
Release Date: 2005-10-18 |
Tracks:
- Oh What a Beautiful Mornin'
- Summertime
- I Could Write a Book
- It Never Entered My Mind
- I Can Cook Too
- Make It Another Old Fashioned, Please
- If I Loved You
- My Heart Belongs to Daddy
- Thou Swell
- I Left My Heart at the Stage Door Canteen
- There's No Business Like Show Business
- South American Way
Tracks:
- Shall We Dance
- Ohio
- Luck Be a Lady
- Mack the Knife
- There's a Small Hotel
- Once in Love with Amy
- Yodel Blues
- Lazy Afternoon
- There Must Be Somethin' Better Than Love
- You're Just in Love
- Now Is the Time
Tracks:
- Impossible Dream
- Love Makes the World Go 'Round
- Try to Remember
- Put on a Happy Face
- I Say Hello
- Happiness
- She Loves Me
- What Kind of Fool Am I?
- Shy
- Consider Yourself
- Poor Little Person
Tracks:
- Magic to Do
- They're Playing My Song
- I Don't Know How to Love Him
- I Won't Send Roses
- Good Morning Starshine
- Don't Cry for Me, Argentina
- Hard Candy Christmas
- Diamonds Are a Girl's Best Friend
- Won't You Charleston with Me?
- Applause
Tracks:
- Phantom of the Opera
- Memory
- On My Own
- Muddy Water
- How Could I Ever Know
- American Dream
- I Know Him So Well
- Dr. Jazz
- Me and My Girl
- Suddenly Seymour
Tracks:
- Mamma Mia!
- Popular
- Seasons of Love
- Oh, the Thinks You Can Think
- Whatever Lola Wants
- Crazy
- How Deep Is Your Love
- Stars
- People Like Us
- I Go to Rio
Average customer rating:
- What do I need with This?
|
Broadway Today
Manufacturer: Sony
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Similar Items:
- Broadway: The Great Original Cast Recordings
- The Best Of Broadway (Cast Recording Anthology)
- Ultimate Broadway II: The Very Best of Broadway Now
- Aida (2000 Original Broadway Cast)
ASIN: B000096FUC
Release Date: 2003-06-03 |
Tracks:
- Good Morning Baltimore (Hairspray)
- The King of Broadway (The Producers)
- Circle of Life (Lion King)
- Movin' Out (Movin' Out)
- Goodnight Saigon (Movin' Out)
- Beauty and the Beast (Beauty and the Beast)
- Mamma Mia (Mamma Mia)
- O Soave Fanciulla (Baz Luhrman's La Boheme)
- What Do I Need With Love? (Thoroughly Modern Millie)
- I Wanna Be a Producer (The Producers)
- Elaborate Lives (Aida)
- You Can't Stop the Beat (Hairspray)
- Overture/ All That Jazz (from the motion picture soundtrack Chicago)
Amazon.com
This compilation gives a pretty good idea of what you'll hear if you buy a ticket for a Broadway show in 2003. Leaving revivals aside (there's no Man of La Mancha or Gypsy, for instance), the tracks tend to encompass contemporary songwriters on the Great White Way. Fittingly, the CD begins and concludes with numbers from Hairspray, arguably the most vibrant new pop musical to come down the pike in ages. Sandwiched between are songs by authors making a belated stage debut (Mel Brooks and The Producers, Billy Joel and Movin' Out), arty newcomers (Janine Tesori and ) and seasoned pros (Alan Menken and Howard Ashman with Beauty and the Beast). Of course, the most seasoned pro of them all may well be Giacomo Puccini, making a belated Broadway debut thanks to Baz Lurhrmann's production of La Boheme. The addition of Chicago's "All That Jazz" (from the movie, not the show!) reeks of opportunism, but overall it doesn't spoil a varied collection that should appeal to broad-minded pop lovers everywhere. --Elisabeth Vincentelli
Customer Reviews:
What do I need with This?.......2003-07-06
If you are a broadway passer-by, someone who looks to getting to know just what's on broadway and not what's it like, someone who says he's seen all of the broadway shows after reading the "what's on listings" in the papers this is a CD for you. I don't own the CD but own all of the Cds from which songs were taken to make this CD. every musical has it's own style and kind of music, and this CD doesn't even take all the highlights. If you are into really experiencing something when listening to a cd, if you are a real broadway-lover and you are interested in modern musical-writing, every one of the original cast recordings (from which songs were taken to this CD-hairpsray, producers, millie, aida, b&b, boheme, moving out) will be a much bigger enjoyment for you than this one. and most preferabely- all of them! :)
Average customer rating:
- A Rose By Any Other Name...
- "Thus I salute the stronghold, safe from dread and dismay!
- Free at last!
- I Love This Recording
- The Goodall Ring - 1975 - Restored and Remastered
|
Wagner: The Rhinegold
English National Opera
Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD
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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.
For all of its flaws, this is an astonishing and, for me, an indispensible recording because it made me listen to this opera with new ears. While it's not the most lyrically pleasing recording (Karajan) or musically authoritative (that would be Solti, IMHO), dramatically, this Rhinegold excells any recording I know of. I will definitely buy the rest of the set.
Rap Music:
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- Illegitimate Factors from the Bay [Explicit Lyrics]
- Illusions [Explicit Lyrics]
- In Real Life [Explicit Lyrics]
- It Takes a Thief [Explicit Lyrics]
- Jag in the Jungle (Screwed) [Explicit Lyrics]
- Jamboree [Import]
Rap Music
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