| 1. London (Berlin Radio Mix) |
| 2. London (Positive Role Model) |
| 3. London (Genuine Piano Mix) |
Editorial Reviews
Product Description
Taken from the 2002 album Release, includes 3 versions Berlin Radio Mix, Positive Role Model & Genuine Piano Mix. EMI. 2002.
It is a GREAT album and definitely a must have for any indie music fan.
Tegan and Sara have grown into some really outstanding musicians/lyricist. It's inspiring to see how much they've grow since "This Business of Art" and ""If It Was You."
Songs like: Back in your head, Hop a plane, and Nineteen WILL get stuck in your head!
Songs like: The con, I was married, soil,soil, like O like H show exactly how much this band has grown musically and lyrically.
Listen to this whole album 2 times and I GUARANTEE you'll be hooked!
This album was like a breath of fresh air that I so desperately needed.
The Con is definitely worth owning.
I Was Married (Sara): A more subdued and quieter opener than previous ones had, it's more of like a nice ditty or an introduction to the record than an actual song. 7.5/10
Relief Next to Me (Sara): Sonically it's interesting with so many things going on at once but as a song, it's alright. It's certainly a listenable song but as far as a hooky song that you can sing along to, it's not really developed that way. 7.5/10
The Con (Tegan): Probably one of their best songs period. From the dynamic changes to the vocals in the guitars, it's a great rock song that manages to be punchy and loud without being overbearing and has a great driving quality to it, excellent song. 9.5/10
Knife Going In (Sara): After a track like the Con, of course the next song might not seem as great. It's just that musically it's fine, I'm not a big fan of the vocal melody and it even sounds grating with the "I'm feeling anxIOUS!" line. 7/10
Are You Ten Years Ago (Tegan): Here's a nice surprise. Mainly bass and drums driven, it's more like a techno song than anything and while it won't light up the dance floors, it's one of the more enjoyable tracks simply because it's so quirky and different than they've done. 8/10
Back in Your Head (Sara): Not as repetitive a first single as Walking With a Ghost was, it's just a nice catchy rock song in its simplicity and despite its ironic title (since it will most likely not leave your head), it's just a great track period. 9/10
Hop a Plane (Tegan): Teased on the DVD that it's the most expendable track, it's also one of the more "So Jealous"-like tracks on the record. It's catchy, it's short but there's not much to it either. 7.5/10
Soil, Soil (Tegan): A quiet acoustic track, it was actually a grower track since on first listen I didn't like its more intimate, unhooky qualities than found myself liking it for that reason. 8.5/10
Burn Your Life Down (Sara): It's a likable track and its got enough qualities to make it a favorite for people but I didn't get into it that much. That all changed when the bridge came in and the vocals get more louder and forceful and I ended up liking it more. Good thing. 8/10
Nineteen (Tegan): Similar to the Con or I Bet It Stung from the last record where its more punchy and has a darker quality about it. This is mainly due to Tegan's vocals which haven't really changed much but they're just as emotive. 9/10
Floorplan (Sara): Similar to Knife Going On, the main hook is kind of grating which kind of deflates the song a bit. In this case it's the "presSURE!" which kind of takes away from the hook of "all eyes are on me now". Musically it's similar to that song as well. 7.5/10
Like O, Like H (Sara): When I first heard the track, I didn't like it but since most of them grew on me I thought I'd listen more. It still hasn't grown on me. Some songs suffer from lack of hooks and nothing to latch onto. Problem with this song is the main hook is just not that memorable. 6.5/10
Dark Come Soon (Tegan): Another great track where it starts out quietly and a great vocal melody than it gets more rock-y with a catchy but not overused synth riff and increasing pace. Would've made a great album closer but too bad it's buried way at the back of the record. 9/10
Call it Off (Tegan): Even though she didn't want it to sound like a singer/songwriter track, that's what this track sounds like. It doesn't really have the intimate qualities I Can't Take It had and it feels like less is more would've been the ideal approach since again there's tons of stuff going on. 7.5/10
What So Jealous has was very sparse in its instrumentation but there was hooks galore on that thing. Here the parts that people can latch onto are a little bit less obvious but the rewarding parts feel all the more satisfying when you "get" a song. From by-the-numbers albums from pop rock bands to half ***ed comebacks, it's nice to know there's at least a great rock record buried somewhere in your CD store.
On "The Con," Tegan and Sara show that they've matured a lot since their last outing, not only musically, but lyrically as well. Whereas "So Jealous" was largely a fast-paced rock album, this one is much more balanced. There are clearly songs that sound like classic Tegan and Sara, but at the same time there are also some beautifully composed and executed songs. Almost every track on the album features multiple layers of guitars and synthesizers. "Relief Next To Me" showcases this addition quite nicely, as does "Knife Going In" and the absolutely awesome title track. "Are You Ten Years Ago" forgoes the typical drum set for an electronic drum track, and the end result is a more effective song than it would've been otherwise.
It's clear that the Quin sisters wanted to make an album that branches out from their previous sounds and explores new territory. For any artist, it is always a tricky path to walk. However, Tegan and Sara have achieved their goal flawlessly. They no longer sound like little girls but women. Every second of "The Con" showcases their maturity as musicians and as lyricists, and I couldn't be happier.
"So Jealous" was always sort of a guilty pleasure for me. As a grown male, you better believe I faced some opposition from friends when I tried to show them Tegan and Sara. No longer. "The Con" is an album that I'm not only proud to own, but I'm trilled to say that it's one of the best, most surprising records to release in 2007. If you've ever been a Tegan and Sara fan, you absolutely have to check this one out!
Key Tracks:
1. "The Con"
2. "Hop A Plane"
3. "Soil, Soil"
4. "Burn Your Life Down"
5. "Like O, Like H"
8 out of 10 Stars
Think about this - what other 48 year old do you know who can perform aerobic dancing, sing simultaneously, and hold a note, all while wearing a bikini! Well, I certainly don't know anyone like that, and what is perhaps most astounding is just how classy the entire act is, even through the admittedly sexually charged bits.
The best thing on this 2.5 hour extravaganza is "Erotica", a completely reworked version (in actuality, Madonna sings the original version of `Erotica' she intended for release - with the lyrics of a track called "You Thrill Me"). My favorite part is the last four-song segment, where Madonna introduces her `Disco' persona. Her backup dancers as ever, defy gravity and are good-looking to boot. One dancer in particular stands out - a skinny long haired young man who is as flexible as a rubber band. However, "Erotica" has never looked so good in any of its' avatars, and I thought this version left the studio recording light years behind - its that good.
This is also the first Madonna concert to feature so much dancing. Madonna actually dances frenetically to many numbers, including a highly stylized and choreographed routine with two female backup dancers to "Music". There is also a special feature segment that shows her practicing this - unbelievable. I have had so many friends who were dancers in their 20s who didn't move like this. I still cannot believe this is a woman pushing 50.
Above all, there is the music. Tracks that seemed weak on the "Confessions" studio album, are made more accessible here. "Get Together" which I always used to skip, becomes a keeper. Similarly, weak track "Jump" is actually listenable on this one. Some of the more interesting portions of the concert involve Madonna's friend "Isaac" (who even wears a turban at one point). I thought this was Mirwais, but I could be wrong. Unfortunately, when she tries to make this concert `spiritual' or `soulful', it begins to unravel. They should have just kept this entire concert upbeat and energetic.
No review would be complete without telling you the downsides of the product, and there are three here. One is the godawful version of "Isaac" that Madonna tries to pull off here. This is a poor second cousin to "Frozen", with a similar `Eastern' tinge to it (I could see where they were going with this one, but it just doesn't work). This is followed by a dreary rendition of "Drowned World" (possibly Madonna's greatest ballad), which is followed by the hideous "Paradise (Not for Me)" (which is a beautiful song, but Isaac and Madonna ruin it beyond recognition here). This should be seen to be believed. How they could massacre a simple melody like this is beyond me.
However, we're back in action with singalong versions of "Hung Up" (including a four minute shout-out/call-back to the audience where Madonna asks them to repeat "Time goes back, so slowly" in her infamously fake British accent), and "Sorry" (which has Madonna kissing one of her female dancers, and some amount of funky dancing).
Madonna sometimes exits the stage every now and then, whereupon her dancers take the spotlight and dance to a variety of Madonna collages and flash images. This is not necessarily a good thing - in fact, its downright boring. However, the `special features' on the disc, aren't really special at all. In fact, they are at best footage of Madonna rehearsing, with a tremendous amount of time spent on her dancers waxing about her in French accents ("I can't believe I'm really here", "Oh My God, I'm dancing for Madonna!", and "This is a once in a lifetime experience!" etc.). Nothing out of the ordinary, and certainly nothing to write home about. But the great thing about these is watching Madonna actually dance. Without the makeup she sports on stage, she looks much, much older, and quite tired and haggard, but who can blame her, poor thing?
All in all, this is a must-buy, even if you're not really a Madonna fan. I'm sort of neutral about her, but if I consider that I like this much more than some of the Rock DVDs I have in my collection, then Madonna must have done something right. This is a fabulous, colorful and very entertaining concert, and no one I know has ever regretted purchasing this. Yes, its very `pink' and targeted towards a gay audience in so many subliminal ways, but no matter what your demographic, theres no way you can not enjoy the sheer fun this is. Get it now!
It has the classic Tegan and Sara vocal sounds and contorted enjambment. But in many regards, it sounds altogether different, but for the best. Some tracks miss the mark (like Floorplan and I was Married--neither of which I could seem to get my head around and like), but there are some true gems.
My favorites include:
The Con--the title track itself and single released is upbeat and snappy
Are You Ten Years Ago--a spinny, electronic feel that requires concentration
Back in your Head--similar to the Con, but with more sophisticated yet simple lyrics
Soil, Soil--short and sweet
Burn your Life Down--the end of this song is utterly enrapturing
Nineteen--superb lyrics and an appealing rawness
Call it Off--depressing, certainly, but again, great lyrics and a smooth sound (not always characteristic of Tegan and Sara) are at work here
I'd give it a strong recommendation.
For one, the Quins' writing has improved, evident in such songs as "Nineteen" when Tegan admits to an unknown "you", "I felt you in my legs before I ever met you/And when I laid beside you for the first time I told you/'I feel you in my heart and I don't even know you.'" Or when Sara's breathy voice lends itself to the haunting "Floorplan" with "I want to draw you a floorplan of my head and heart/I want to give you directions, helpful hints/what you'll be looking for".
The girls' musicianship has also taken a great leap. The variety of sounds weaved around disarmingly subtle, yet powerful voices may leave some listeners feeling alienated after the first listen. The alternation of beats and peculiarity of song structure on this record will not be an instant hit with most people, but after a few listens, appreciation is sure to blossom.
Overall, the Con is a triumphant record of love, loss, and healing. It's lyrics are uncomfortably honest, not necessarily obvious and they're placed upon a perfect backdrop of both haunting melodies and chipper beats (complete with bright piano, electric and acoustic guitars, thumping basslines--contributed by both Hunter Burgan of AFI and Matt Sharp of the Rentals, and the occasional steel guitar). It's the musical equivalent of having your lover tell you everything you ever wanted (and never wanted) to hear. The good, the bad, and the ugly. It hurts. But love always does.
They don't really have the vocal talent for this kind of music either, a kind of Juliania Hatfield sound without her power, which isn't saying a lot. "Knife" isn't a very good song, no real hook, but a deep set of pipes might have saved it. I think they'd be better over a shoegazer type sound, where it wouldn't matter what they were singing.
Overall I'm not really sure they are going to make it with this garage/techno/indie groove, their voices are too breathy and the songs too scattered. But I'm not writing them off entirely, they're young, and there are enough parts that show promise ("felt you in my legs before I met you"; nice), and besides . . . they're hot.
And the identical twins show even greater variety in their fifth full-length album, three years after the Juno-nominated "So Jealous." In "The Con," they basically polish their existing guitar pop, but fill the sprightly melodies with confusing experiences and sorrowful romances.
It opens with a delicate piano ballad, framing a pretty, poignant song about the confusion and struggles of gay people. "To my heart confusion rose against/the muscles fought so long/to control against the pull of one/magnet to another magnet to another magnet," Tegan and Sara Quin sing together in shifting melodies. "I look into the mirror/for evil that just does not exist..."
Things get much more sprightly for the swirling pop of "Relief Next to Me," or the songs that it lays the groundwork for: rapid-fire dancepop, mellow piano ballads, bouncy little indie melodies, mellow acoustics, dark urgent pop stabbed with drumbeats, and energetic powerpop that doesn't let its bounciness keep it from staying intense.
Don't listen to "The Con" just once. Listen at least twice.
On the first listen you hear a rush of peppy indiepop that's fun and catchy, even when it's being serious. But the second time around you hear all the delicate interweaving of acoustics and keyboard, and the wistful, mournful look back at love and growing to maturity.
The Quin sisters play some nimble, swirling guitars, with some bass guitar beefing up songs like the rock-y "Hop A Plane." Ted Gowans also underscores some of the songs with sprightly piano pop, and he also weaves ribbons of glimmering synth through the earthy pop melodies. There are moments of messiness like "Like O, Like H," but usually they smoothly twine into a layered, solid pop melody.
They sing everything in girlish, harmonized voices, but the sisters also provide "The Con" with its bittersweet, confusing songwriting. And they've gained more maturity here as well, with lots of enigmatic lines, recollections of the past and lovelorn memories ("If I forget or God forbid die too soon/hope that you'll hear me know that I wrote to you...").
The up-and-down of lyrical romantic angst ends with the painful "Call it Off," which is all about how one of them is in love still, but knows the relationship is doomed ("You take your time coming over here/I think that's for the best/Call, break it off").
Tegan and Sara reach a new level of musical skill with "The Con" -- it's brilliant pop, but filled with heartfelt problems and uncertainty. Definitely a winner.
Her combination of Dance-pop, synthpop and electronica produced some really memorable stuff, and she certainly makes sure today, as in the 80's that she is noticed.
But there is some really good stuff she produced and this album is her definitve greatest hits collection.
My personal favourites here include the overtly sexual Like A Virgin, the cabaret-dance-pop hit, Material Girl, the feel-good Into The Groove, the youthfully defiant Papa Don't Preach, and the feminine Like A Prayer.
This album combines the best of Madonna's talent during her 80's career.
This is an important addition to the collection of a fan of 80's pop.
Having said that, I certainly think its remix of Material Girl is an improvement and I like its slightly more tropical-sounding (to me) version of La Isla Bonita at least as much as the original as well; but in addition to my criticisms of Holiday and Lucky Star (and I'm not as keen on the Papa Don't Preach present on here either), I should perhaps mention that Like a Prayer has likewise undergone a little too much remixing for my liking, since it has given the song what I'd describe as a less haunting feel. Not that this means I consider it to be a poor remix though - on the contrary, I think it's rather good as far as radical remixes go. But I do still question whether it's appropriate for a hits album in view of how different it is from the version of Like a Prayer that was actually released as a single and which made this song so famous.
It would've been nice too if a few of Madonna's other pre-1991 hits (e.g. True Blue and Who's That Girl?) had been included, but I can understand why they weren't given the time constraint likely in place. Nevertheless, if at some point (maybe at the end of her official singing career) an even bigger collection of her hits is produced (a two- or three-part one no doubt), I do hope that the needless shortcomings of this one will not be replicated and that the 7" versions of Holiday and Lucky Star (or at least versions very similar to them) will be the ones it contains (though I do as I said prefer the Immaculate version of Material Girl and would be quite happy therefore for that one to appear again).
I own all four albums, and as avid a fan as I am of John Williams, I would have to say "The Goblet of Fire" rates up there with "The Philosopher's Stone" (which really did set the standard for the rest of the following albums). In fact, I would have to say that "The Goblet of Fire" is my favourite. The music is quite simply beautiful and atmospheric. Standouts are "Harry In Winter" (this particular track I can't help but have on repeat mode in the car), "Death of Cedric" and "Foreign Visitors Arrive". "The Quidditch Cup" makes me want to catch the next plane to Ireland! And call me old-fashioned, but "Neville's Waltz" and "Potter Waltz" are pleasant and lovely to the ear.
As for the rock songs at the end, I usually bypass them. Some complain about the jarring disconnect between the orchestral aspect of the soundtrack and the loud rock of the end - well, at least they're at the end and not in the middle! And let's face it. How many people would have grumbled that those songs that featured at the Winter Ball were left out?
I've always loved the work of Patrick Doyle (e.g. "Sense and Sensibility" and "Much Ado About Nothing"), and this soundtrack is no exception. He didn't 'fill' John Williams' shoes on this score. He pretty much created a new pair. Harry's story and personality have shifted on. It would be remiss of us to think the music wouldn't evolve as well.
So has this soundtrack lost that feeling of magic? I would have to say a resounding 'no'. It's certainly a lot more listener-friendly than "Chamber of Secrets"!
It starts brilliantly with the title track but then it's downhill fast, with lack-luster forays into r+b and reggae, rockabilly and jazz. Drifting and meandering all over the place in a vain attempt to find some badly needed cohesion, some sort of direction in among the painfully forced `diversity'.
It's a well known rock truism that Strummer and Jones weren't getting on at the time this was recorded, and you can tell, it sounds like they were in different rooms! It's sad to watch this once-great song-writing team align against each other in such an obvious (and childish!) way. Strummer with his slurry `rocka' pose, and Jones with his toe-curling `Americanisms`.
Strummer didn't recover `til `Combat Rock', and before you start scoffing, compare `Straight to Hell' with ANYTHING on here, and it'll be the stronger song by streets.
Anything with the inexplicably awful `Guns of Brixton' on it, just HAS to suck a big one,(now THERE'S a song worth a giggle or two) along with `This Is Radio Clash', their poorest song in a frustratingly inconsistent canon. (if ever a group's output was justifiably labeled `peaks and troughs' it's the Clash`s.)
If only `London Calling' the album was as good as `London Calling' the song, we would indeed have something special on our hands. As it is, we've got something tired, a bit derivative, and really rather tatty.
`London Calling' was voted the best album of all time in a poll. It's not even the best Clash album.
A LADY FRIEND ONCE TOLD ME SHE COULD NOT LISTEN TO THE DUET IN "MADAMA BUTTERFLY" WITH MIRELLA FRENI AND LUCIANO PAVAROTTI (RECORDED IN 1974, BY VON KARAJAN) WITHOUT CRYING. WELL, YOU CANNOT LISTEN TO SILLS IN "LA TRAVIATA" DRY-EYED, NO MATTER WHO THE TENOR IS. SHE PROJECTS THE SAME DRAMATIC FEELING OF "LA DIVINA" CALLAS WITHOUT THOSE SHRIEKED HIGHNOTES; SHE OFFERS THE SAME COLORATURA VOCAL GYMNASTICS AS "LA STUPENDA" SUTHERLAND BUT WITH WARMTH... WHEN BEVERLY SANG, AS IN EVERYTHING ELSE SHE DID, SHE ALWAYS GAVE HER UTMOST. SHE WAS "LA GENEROSA" TO BE SURE.
DON'T JUST SIT THERE READING WHAT OTHERS THINK.
ORDER THIS CD NOW AND MARVEL AT HOW THIS GREAT AMERICAN LADY, IN SO MANY OTHER WAYS, ALSO COULD SING!
Nearly all the original charm and SONGS from the Walt Disney film are missing. The new additional songs are DREADFUL and were not written by the Sherman Brothers (They weren't allowed to write new songs for this due to the miserable old broad author hating the film and having on her deathbed the proviso that Shermans were not to have anything to do with a stage version)
What a waste.
Sarah Brightman overpronounces to the point of absurdity with her hebrew "heard" and "operar" in "Why Have You Brought Us Here." In "Down Once More" I only know what she's saying because I already knew the words from Emmy Rossum in the film. Brightman sounds no more elegant than Carlotta, whose voice I actually prefer because, ironically, it's more pure and understandable. However, Brightman is a fabulous opera singer with wonderful vibrato and a very impressive range... but Rossum is still the preferable choice.
Michael Crawford... man or woman? He may be a high-flying tenor, but sometimes that just goes too far, making him sound whiny and weak. Another major note: he cannot act! He may be more operatic than Gerard Butler in his singing, but he is a horrendous actor. "Down Once More" was turned from the heart-wrenching ultra-powerful piece I know into a disappointment thanks to Crawford's terrible "acting." Also, "Music of the Night" is a disaster when he sings it. Not only does his bad acting tear it down substantially, but he tries to sing bass notes. Tries and fails, mind you. He ends up making the piece a strangled, overpronounced, over-legato mess. He is a wonderful opera tenor, with truly inspiring vibrato, but his sometimes whiny voice and horrible job with the role of the Phantom make him somewhat lesser than Gerard Butler.
As for Raoul, either one is just as skilled as the other. One is more youthful and soft, while the other is more masculine and bass. I think they are equally skilled in all categories.
Every piece in this soundtrack I prefer the film version of, although sometimes there are parts of songs which I feel differently about. The only full song I prefer from this over the film soundtrack is none other than "The Phantom of the Opera." The film version has too many drawn out instrumental bits, which can get tedious. Also, it is missing my favorite verse. The "Phantom" from this soundtrack has vastly better vocal performances from both singers, since Gerard is very strained and this song is all about singing, not really acting.
The only song I like more in this version is "Phantom of the Opera." All others are, for the most part, a disappointment. Just a plain disappointment.
Taken from the 2002 album Release, includes 3 versions Berlin Radio Mix, Positive Role Model & Genuine Piano Mix. EMI. 2002.
London,Pet Shop Boys,EMI Int'l,5"CD Singles,Dance,Pop,Rock
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The Con
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ASIN: B000RO9PY6 Release Date: 2007-07-24 |
Tracks:
- I Was Married
- Relief Next to Me
- Con
- Knife Going In
- Are You Ten Years Ago
- Back in Your Head
- Hop a Plane
- Soil, Soil
- Burn Your Life Down
- Nineteen
- Floorplan
- Like O, Like H
- Dark Come Soon
- Call It Off
Tracks:
- Bonus Material [DVD][*]
Customer Reviews:
Totally impressive - a sea change - surpasses even their sparkling previous albums.......2007-07-28
Such a great album!.......2007-07-24
It is a GREAT album and definitely a must have for any indie music fan.
Tegan and Sara have grown into some really outstanding musicians/lyricist. It's inspiring to see how much they've grow since "This Business of Art" and ""If It Was You."
Songs like: Back in your head, Hop a plane, and Nineteen WILL get stuck in your head!
Songs like: The con, I was married, soil,soil, like O like H show exactly how much this band has grown musically and lyrically.
Listen to this whole album 2 times and I GUARANTEE you'll be hooked!
This album was like a breath of fresh air that I so desperately needed.
The Con is definitely worth owning.
4.5; a stellar release from a reliable duo.......2007-07-24
I Was Married (Sara): A more subdued and quieter opener than previous ones had, it's more of like a nice ditty or an introduction to the record than an actual song. 7.5/10
Relief Next to Me (Sara): Sonically it's interesting with so many things going on at once but as a song, it's alright. It's certainly a listenable song but as far as a hooky song that you can sing along to, it's not really developed that way. 7.5/10
The Con (Tegan): Probably one of their best songs period. From the dynamic changes to the vocals in the guitars, it's a great rock song that manages to be punchy and loud without being overbearing and has a great driving quality to it, excellent song. 9.5/10
Knife Going In (Sara): After a track like the Con, of course the next song might not seem as great. It's just that musically it's fine, I'm not a big fan of the vocal melody and it even sounds grating with the "I'm feeling anxIOUS!" line. 7/10
Are You Ten Years Ago (Tegan): Here's a nice surprise. Mainly bass and drums driven, it's more like a techno song than anything and while it won't light up the dance floors, it's one of the more enjoyable tracks simply because it's so quirky and different than they've done. 8/10
Back in Your Head (Sara): Not as repetitive a first single as Walking With a Ghost was, it's just a nice catchy rock song in its simplicity and despite its ironic title (since it will most likely not leave your head), it's just a great track period. 9/10
Hop a Plane (Tegan): Teased on the DVD that it's the most expendable track, it's also one of the more "So Jealous"-like tracks on the record. It's catchy, it's short but there's not much to it either. 7.5/10
Soil, Soil (Tegan): A quiet acoustic track, it was actually a grower track since on first listen I didn't like its more intimate, unhooky qualities than found myself liking it for that reason. 8.5/10
Burn Your Life Down (Sara): It's a likable track and its got enough qualities to make it a favorite for people but I didn't get into it that much. That all changed when the bridge came in and the vocals get more louder and forceful and I ended up liking it more. Good thing. 8/10
Nineteen (Tegan): Similar to the Con or I Bet It Stung from the last record where its more punchy and has a darker quality about it. This is mainly due to Tegan's vocals which haven't really changed much but they're just as emotive. 9/10
Floorplan (Sara): Similar to Knife Going On, the main hook is kind of grating which kind of deflates the song a bit. In this case it's the "presSURE!" which kind of takes away from the hook of "all eyes are on me now". Musically it's similar to that song as well. 7.5/10
Like O, Like H (Sara): When I first heard the track, I didn't like it but since most of them grew on me I thought I'd listen more. It still hasn't grown on me. Some songs suffer from lack of hooks and nothing to latch onto. Problem with this song is the main hook is just not that memorable. 6.5/10
Dark Come Soon (Tegan): Another great track where it starts out quietly and a great vocal melody than it gets more rock-y with a catchy but not overused synth riff and increasing pace. Would've made a great album closer but too bad it's buried way at the back of the record. 9/10
Call it Off (Tegan): Even though she didn't want it to sound like a singer/songwriter track, that's what this track sounds like. It doesn't really have the intimate qualities I Can't Take It had and it feels like less is more would've been the ideal approach since again there's tons of stuff going on. 7.5/10
What So Jealous has was very sparse in its instrumentation but there was hooks galore on that thing. Here the parts that people can latch onto are a little bit less obvious but the rewarding parts feel all the more satisfying when you "get" a song. From by-the-numbers albums from pop rock bands to half ***ed comebacks, it's nice to know there's at least a great rock record buried somewhere in your CD store.
Tee and Ess are the greatest........2007-07-24
Tegan and Sara mature, and blow me away in the process!.......2007-07-24
On "The Con," Tegan and Sara show that they've matured a lot since their last outing, not only musically, but lyrically as well. Whereas "So Jealous" was largely a fast-paced rock album, this one is much more balanced. There are clearly songs that sound like classic Tegan and Sara, but at the same time there are also some beautifully composed and executed songs. Almost every track on the album features multiple layers of guitars and synthesizers. "Relief Next To Me" showcases this addition quite nicely, as does "Knife Going In" and the absolutely awesome title track. "Are You Ten Years Ago" forgoes the typical drum set for an electronic drum track, and the end result is a more effective song than it would've been otherwise.
It's clear that the Quin sisters wanted to make an album that branches out from their previous sounds and explores new territory. For any artist, it is always a tricky path to walk. However, Tegan and Sara have achieved their goal flawlessly. They no longer sound like little girls but women. Every second of "The Con" showcases their maturity as musicians and as lyricists, and I couldn't be happier.
"So Jealous" was always sort of a guilty pleasure for me. As a grown male, you better believe I faced some opposition from friends when I tried to show them Tegan and Sara. No longer. "The Con" is an album that I'm not only proud to own, but I'm trilled to say that it's one of the best, most surprising records to release in 2007. If you've ever been a Tegan and Sara fan, you absolutely have to check this one out!
Key Tracks:
1. "The Con"
2. "Hop A Plane"
3. "Soil, Soil"
4. "Burn Your Life Down"
5. "Like O, Like H"
8 out of 10 Stars
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The Confessions Tour - Live from London (CD+DVD)
Madonna Manufacturer: Warner Bros / Wea ProductGroup: Music Binding: Audio CD General
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ASIN: B000KGGLCU Release Date: 2007-01-30 |
Tracks:
- "Future Lovers/I Feel Love"
- "Like A Virgin"
- "Jump"
- "Confessions"
- ."Isaac"
- "Sorry"
- "Sorry (Remix)"
- "I Love New York"
- "Let It Will Be"
- "Music Inferno"
- ."Erotica"
- "Lucky Star"
- "Hung Up"
Tracks:
- "Future Lovers/I Feel Love"
- "Get Together"
- "Like A Virgin"
- "Jump"
- "Confessions"
- "Live to Tell"
- "Forbidden Love"
- ."Isaac"
- "Sorry"
- ."Like It Or Not"
- "Sorry (Remix)"
- "I Love New York"
- "Ray of Light"
- "Let It Will Be"
- "Drowned World/Substitute For Love"
- "Paradise (Not For Me)"
- "Music Inferno"
- ."Erotica"
- ."La Isla Bonita"
- "Lucky Star"
- "Hung Up"
Amazon.com
The world can't get enough of Madonna, and with CD/DVD sets like The Confessions Tour dropping regularly, it's little wonder why. As a thrower of fantasy dance parties, she is peerless. As a physical role model for the 40-ish women who grew up on her music, she rules. And as an arbiter of what's going to sound shockingly original in any given decade--well, duh. The Confessions Tour rounds up songs from way back--"Ray of Light" and "La Isla Bonita" make the DVD, and "Lucky Star" and "Like a Virgin" are on the CD as well as the DVD--but this concert, filmed in 2006 at London's Wembley Arena, aims its sturdiest spotlight on Confessions on a Dance Floor, Madge's 2005 disco disc. You could argue, then, that unless you're in it for the sheer DVD spectacle (and what a spectacle it is), there's no sense in owning this package. Only you wouldn't be right. Because as any on-the-ball Madonna fan knows, what she's doing musically is telling a story--you may already know the characters, but that doesn't mean she hasn't completely reworked the plot. To that end, "I Love New York" gets its rock on, "Let It Will Be" has a musical temper tantrum, and "Hung Up" goes for the drama queen award. You've heard these songs before, but you've never heard them quite like this, to borrow a bad informercial phrase. As twisted and hopped-up as they've become, they're all worth getting to know again. --Tammy La GorceAlbum Description
The Confessions Tour, filmed at London's Wembley Arena during her worldwide sold-out 25-city Confessions Tour (2006's top-grossing tour world-wide), features songs from throughout the dance diva's career but largely focuses on Confessions On A Dance Floor. Bonus Footage on DVD: Je suis L'art, They're naughty children, Rollerskating, Photo GalleryCustomer Reviews:
She does it again!.......2007-07-18
Best Madonna Ever.......2007-07-12
The Confessions Tour, Live from London.......2007-07-05
The Evolution of Madonna : Pink Elephants & Lemonade.......2007-06-26
Think about this - what other 48 year old do you know who can perform aerobic dancing, sing simultaneously, and hold a note, all while wearing a bikini! Well, I certainly don't know anyone like that, and what is perhaps most astounding is just how classy the entire act is, even through the admittedly sexually charged bits.
The best thing on this 2.5 hour extravaganza is "Erotica", a completely reworked version (in actuality, Madonna sings the original version of `Erotica' she intended for release - with the lyrics of a track called "You Thrill Me"). My favorite part is the last four-song segment, where Madonna introduces her `Disco' persona. Her backup dancers as ever, defy gravity and are good-looking to boot. One dancer in particular stands out - a skinny long haired young man who is as flexible as a rubber band. However, "Erotica" has never looked so good in any of its' avatars, and I thought this version left the studio recording light years behind - its that good.
This is also the first Madonna concert to feature so much dancing. Madonna actually dances frenetically to many numbers, including a highly stylized and choreographed routine with two female backup dancers to "Music". There is also a special feature segment that shows her practicing this - unbelievable. I have had so many friends who were dancers in their 20s who didn't move like this. I still cannot believe this is a woman pushing 50.
Above all, there is the music. Tracks that seemed weak on the "Confessions" studio album, are made more accessible here. "Get Together" which I always used to skip, becomes a keeper. Similarly, weak track "Jump" is actually listenable on this one. Some of the more interesting portions of the concert involve Madonna's friend "Isaac" (who even wears a turban at one point). I thought this was Mirwais, but I could be wrong. Unfortunately, when she tries to make this concert `spiritual' or `soulful', it begins to unravel. They should have just kept this entire concert upbeat and energetic.
No review would be complete without telling you the downsides of the product, and there are three here. One is the godawful version of "Isaac" that Madonna tries to pull off here. This is a poor second cousin to "Frozen", with a similar `Eastern' tinge to it (I could see where they were going with this one, but it just doesn't work). This is followed by a dreary rendition of "Drowned World" (possibly Madonna's greatest ballad), which is followed by the hideous "Paradise (Not for Me)" (which is a beautiful song, but Isaac and Madonna ruin it beyond recognition here). This should be seen to be believed. How they could massacre a simple melody like this is beyond me.
However, we're back in action with singalong versions of "Hung Up" (including a four minute shout-out/call-back to the audience where Madonna asks them to repeat "Time goes back, so slowly" in her infamously fake British accent), and "Sorry" (which has Madonna kissing one of her female dancers, and some amount of funky dancing).
Madonna sometimes exits the stage every now and then, whereupon her dancers take the spotlight and dance to a variety of Madonna collages and flash images. This is not necessarily a good thing - in fact, its downright boring. However, the `special features' on the disc, aren't really special at all. In fact, they are at best footage of Madonna rehearsing, with a tremendous amount of time spent on her dancers waxing about her in French accents ("I can't believe I'm really here", "Oh My God, I'm dancing for Madonna!", and "This is a once in a lifetime experience!" etc.). Nothing out of the ordinary, and certainly nothing to write home about. But the great thing about these is watching Madonna actually dance. Without the makeup she sports on stage, she looks much, much older, and quite tired and haggard, but who can blame her, poor thing?
All in all, this is a must-buy, even if you're not really a Madonna fan. I'm sort of neutral about her, but if I consider that I like this much more than some of the Rock DVDs I have in my collection, then Madonna must have done something right. This is a fabulous, colorful and very entertaining concert, and no one I know has ever regretted purchasing this. Yes, its very `pink' and targeted towards a gay audience in so many subliminal ways, but no matter what your demographic, theres no way you can not enjoy the sheer fun this is. Get it now!
A celebration of a great comeback!.......2007-06-26
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The Con
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ASIN: B000RO9PXW Release Date: 2007-07-24 |
Tracks:
- I Was Married
- Relief Next To Me
- The Con
- Like O, Like H
- Are You Ten Years Ago
- Back In Your Head
- Hop A Plane
- Soil, Soil
- Burn Your LIfe Down
- Nineteen
- Floorplan
- Knife Going In
- Dark Come Soon
- Call It Off
Customer Reviews:
Absorb 2x, read the lyrics booklet and enjoy.......2007-07-28
It has the classic Tegan and Sara vocal sounds and contorted enjambment. But in many regards, it sounds altogether different, but for the best. Some tracks miss the mark (like Floorplan and I was Married--neither of which I could seem to get my head around and like), but there are some true gems.
My favorites include:
The Con--the title track itself and single released is upbeat and snappy
Are You Ten Years Ago--a spinny, electronic feel that requires concentration
Back in your Head--similar to the Con, but with more sophisticated yet simple lyrics
Soil, Soil--short and sweet
Burn your Life Down--the end of this song is utterly enrapturing
Nineteen--superb lyrics and an appealing rawness
Call it Off--depressing, certainly, but again, great lyrics and a smooth sound (not always characteristic of Tegan and Sara) are at work here
I'd give it a strong recommendation.
A Grand Departure.......2007-07-25
For one, the Quins' writing has improved, evident in such songs as "Nineteen" when Tegan admits to an unknown "you", "I felt you in my legs before I ever met you/And when I laid beside you for the first time I told you/'I feel you in my heart and I don't even know you.'" Or when Sara's breathy voice lends itself to the haunting "Floorplan" with "I want to draw you a floorplan of my head and heart/I want to give you directions, helpful hints/what you'll be looking for".
The girls' musicianship has also taken a great leap. The variety of sounds weaved around disarmingly subtle, yet powerful voices may leave some listeners feeling alienated after the first listen. The alternation of beats and peculiarity of song structure on this record will not be an instant hit with most people, but after a few listens, appreciation is sure to blossom.
Overall, the Con is a triumphant record of love, loss, and healing. It's lyrics are uncomfortably honest, not necessarily obvious and they're placed upon a perfect backdrop of both haunting melodies and chipper beats (complete with bright piano, electric and acoustic guitars, thumping basslines--contributed by both Hunter Burgan of AFI and Matt Sharp of the Rentals, and the occasional steel guitar). It's the musical equivalent of having your lover tell you everything you ever wanted (and never wanted) to hear. The good, the bad, and the ugly. It hurts. But love always does.
Hot but not.......2007-07-25
They don't really have the vocal talent for this kind of music either, a kind of Juliania Hatfield sound without her power, which isn't saying a lot. "Knife" isn't a very good song, no real hook, but a deep set of pipes might have saved it. I think they'd be better over a shoegazer type sound, where it wouldn't matter what they were singing.
Overall I'm not really sure they are going to make it with this garage/techno/indie groove, their voices are too breathy and the songs too scattered. But I'm not writing them off entirely, they're young, and there are enough parts that show promise ("felt you in my legs before I met you"; nice), and besides . . . they're hot.
SHWABS GROCERY STORE.......2007-07-24
All you need to save me.......2007-07-24
And the identical twins show even greater variety in their fifth full-length album, three years after the Juno-nominated "So Jealous." In "The Con," they basically polish their existing guitar pop, but fill the sprightly melodies with confusing experiences and sorrowful romances.
It opens with a delicate piano ballad, framing a pretty, poignant song about the confusion and struggles of gay people. "To my heart confusion rose against/the muscles fought so long/to control against the pull of one/magnet to another magnet to another magnet," Tegan and Sara Quin sing together in shifting melodies. "I look into the mirror/for evil that just does not exist..."
Things get much more sprightly for the swirling pop of "Relief Next to Me," or the songs that it lays the groundwork for: rapid-fire dancepop, mellow piano ballads, bouncy little indie melodies, mellow acoustics, dark urgent pop stabbed with drumbeats, and energetic powerpop that doesn't let its bounciness keep it from staying intense.
Don't listen to "The Con" just once. Listen at least twice.
On the first listen you hear a rush of peppy indiepop that's fun and catchy, even when it's being serious. But the second time around you hear all the delicate interweaving of acoustics and keyboard, and the wistful, mournful look back at love and growing to maturity.
The Quin sisters play some nimble, swirling guitars, with some bass guitar beefing up songs like the rock-y "Hop A Plane." Ted Gowans also underscores some of the songs with sprightly piano pop, and he also weaves ribbons of glimmering synth through the earthy pop melodies. There are moments of messiness like "Like O, Like H," but usually they smoothly twine into a layered, solid pop melody.
They sing everything in girlish, harmonized voices, but the sisters also provide "The Con" with its bittersweet, confusing songwriting. And they've gained more maturity here as well, with lots of enigmatic lines, recollections of the past and lovelorn memories ("If I forget or God forbid die too soon/hope that you'll hear me know that I wrote to you...").
The up-and-down of lyrical romantic angst ends with the painful "Call it Off," which is all about how one of them is in love still, but knows the relationship is doomed ("You take your time coming over here/I think that's for the best/Call, break it off").
Tegan and Sara reach a new level of musical skill with "The Con" -- it's brilliant pop, but filled with heartfelt problems and uncertainty. Definitely a winner.
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The Immaculate Collection
Madonna Manufacturer: Sire / London/Rhino ProductGroup: Music Binding: Audio CD General
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ASIN: B000002LND Release Date: 1990-12-08 |
Tracks:
- Holiday
- Lucky Star
- Borderline
- Like A Virgin
- Material Girl
- Crazy For You
- Into The Groove
- Live To Tell
- Papa Don't Preach
- Open Your Heart
- La Isla Bonita
- Like A Prayer
- Express Yourself
- Cherish
- Vogue
- Justify My Love
- Rescue Me
Amazon.com essential recording
The naughtily titled Immaculate Collection culls 15 of Madonna's Top 10 singles from 1984 to mid-'90, plus 2 new ones that continued the run (the dirty, trunk-bumping funk of "Justify My Love"--a Lenny Kravitz production that justifies his entire career--and the danceable desperation of "Rescue Me"). Rooted in disco and classic AM pop from girl groups and ABBA to Strawberry Alarm Clock, Madonna made savvy, touching music throughout her first golden era. These tracks retain their sonic and historical significance while, like "She Loves You" or "Rocket Man," still brightening any space they're being played in. Far more than just a wise, irreverent image-maker--like the Beatles or Elton, come to think of it--Madonna during these years was the gift that kept on giving, forever fresh, sexy, hooky, and joyously sharp. --Rickey WrightCustomer Reviews:
Madonna's Greatest hits.......2007-07-30
Her combination of Dance-pop, synthpop and electronica produced some really memorable stuff, and she certainly makes sure today, as in the 80's that she is noticed.
But there is some really good stuff she produced and this album is her definitve greatest hits collection.
My personal favourites here include the overtly sexual Like A Virgin, the cabaret-dance-pop hit, Material Girl, the feel-good Into The Groove, the youthfully defiant Papa Don't Preach, and the feminine Like A Prayer.
This album combines the best of Madonna's talent during her 80's career.
This is an important addition to the collection of a fan of 80's pop.
Major Madonna Mine.......2007-07-09
Good, but not without flaws.......2007-05-27
Having said that, I certainly think its remix of Material Girl is an improvement and I like its slightly more tropical-sounding (to me) version of La Isla Bonita at least as much as the original as well; but in addition to my criticisms of Holiday and Lucky Star (and I'm not as keen on the Papa Don't Preach present on here either), I should perhaps mention that Like a Prayer has likewise undergone a little too much remixing for my liking, since it has given the song what I'd describe as a less haunting feel. Not that this means I consider it to be a poor remix though - on the contrary, I think it's rather good as far as radical remixes go. But I do still question whether it's appropriate for a hits album in view of how different it is from the version of Like a Prayer that was actually released as a single and which made this song so famous.
It would've been nice too if a few of Madonna's other pre-1991 hits (e.g. True Blue and Who's That Girl?) had been included, but I can understand why they weren't given the time constraint likely in place. Nevertheless, if at some point (maybe at the end of her official singing career) an even bigger collection of her hits is produced (a two- or three-part one no doubt), I do hope that the needless shortcomings of this one will not be replicated and that the 7" versions of Holiday and Lucky Star (or at least versions very similar to them) will be the ones it contains (though I do as I said prefer the Immaculate version of Material Girl and would be quite happy therefore for that one to appear again).
"You put this in me, so now what, so now what...?".......2007-03-16
Absolutely Awesome and a must have album for Madonna fans and casual fans.......2007-03-08
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Harry Potter & the Goblet of Fire
Manufacturer: Warner Bros / Wea ProductGroup: Music Binding: Audio CD Movie Scores
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ASIN: B000BGH22W Release Date: 2005-11-15 |
Tracks:
- Story Continues
- Frank Dies
- Quidditch World Cup
- Dark Mark
- Foreign Visitors Arrive
- Goblet of Fire
- Rita Skeeter
- Sirius Fire
- Harry Sees Dragons
- Golden Egg
- Neville's Waltz
- Harry in Winter
- Potter Waltz
- Underwater Secrets
- Black Lake
- Hogwarts' March
- Maze
- Voldemort
- Death of Cedric
- Another Year Ends
- Hogwarts Hymn
- Do the Hippogriff
- This Is The Night
- Magic Works
Amazon.com
Big news on the Harry Potter musical front: After scoring the first three installments in the series, John Williams has been replaced by Patrick Doyle. Still, Williams never feels far away. His main theme pops up here and there, and a track like "Voldemort," which eloquently illustrates the soul of a blacker-than-black wizard with thunderous cymbal crashes, shrieking horns, tumultuous strings, and a stately finish, firmly belongs in the Williams mode. Overall, Doyle acquits himself well. He can do light when needed ("The Quidditch World Cup," which starts out like some kind of jig), but mostly he's required to be ominous ("The Quidditch World Cup," which ends in martial war chants). Among the highlights are the aforementioned "Voldemort," but also the frantic, overpowering "The Dark Mark." Note that the CD concludes on a jarringly different note with three songs by the Weird Sisters, the group that performs at Hogwarts' Yule Ball. Led by Pulp frontman Jarvis Cocker, the ad hoc band also includes members of Radiohead and Cocker's side project Relaxed Muscle. "Do the Hippogriff" is a fast-paced rocker that somehow comes across like a grungy hybrid of Billy Idol's "White Wedding" and "Dancing with Myself." The other two songs--"This Is the Night" and "Magic Works"--are less obvious, and much better. Still, the contrast between these tracks and the instrumental score that precedes them may not be to everybody's taste. --Elisabeth VincentelliAlbum Description
Harry Potter and the Goblet of Fire, the fourth film (and soundtrack album) in the massively successful Harry Potter franchise-nearly $1 billion in U.S. box office alone-features a score by Academy Award-nominated composer Patrick Doyle and three songs written by modern rocker Jarvis Cocker, and performed by Cocker, Jonny Greenwood, Phil Selway, Steve Claydon and Jason Buckle-with all these musicians also appearing in the movie.Customer Reviews:
A must have..........2007-07-30
Harry Potter moves on.. and so does the music.......2007-05-23
I own all four albums, and as avid a fan as I am of John Williams, I would have to say "The Goblet of Fire" rates up there with "The Philosopher's Stone" (which really did set the standard for the rest of the following albums). In fact, I would have to say that "The Goblet of Fire" is my favourite. The music is quite simply beautiful and atmospheric. Standouts are "Harry In Winter" (this particular track I can't help but have on repeat mode in the car), "Death of Cedric" and "Foreign Visitors Arrive". "The Quidditch Cup" makes me want to catch the next plane to Ireland! And call me old-fashioned, but "Neville's Waltz" and "Potter Waltz" are pleasant and lovely to the ear.
As for the rock songs at the end, I usually bypass them. Some complain about the jarring disconnect between the orchestral aspect of the soundtrack and the loud rock of the end - well, at least they're at the end and not in the middle! And let's face it. How many people would have grumbled that those songs that featured at the Winter Ball were left out?
I've always loved the work of Patrick Doyle (e.g. "Sense and Sensibility" and "Much Ado About Nothing"), and this soundtrack is no exception. He didn't 'fill' John Williams' shoes on this score. He pretty much created a new pair. Harry's story and personality have shifted on. It would be remiss of us to think the music wouldn't evolve as well.
So has this soundtrack lost that feeling of magic? I would have to say a resounding 'no'. It's certainly a lot more listener-friendly than "Chamber of Secrets"!
The Magic is Gone.......2007-05-10
Atmospheric...But That's About All.......2007-03-31
Musically Spellbinding.......2007-01-09
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London Calling
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ASIN: B00004BZ0N Release Date: 2000-01-25 |
Tracks:
- London Calling
- Brand New Cadillac
- Jimmy Jazz
- Hateful
- Rudie Can't Fail
- Spanish Bombs
- The Right Profile
- Lost In The Supermarket
- Clampdown
- The Guns Of Brixton
- Wrong 'Em Boyo
- Death Or Glory
- Koka Kola
- The Card Cheat
- Lover's Rock
- Four Horsemen
- I'm Not Down
- Revolution Rock
- Train In Vain
Amazon.com essential recording
Bursting at the seams with creative energy, the Clash's stunning 1979 double album more than made up for the artistic and commercial disappointment of its predecessor, 1978's tried-too-hard Give 'Em Enough Rope. With ex-Mott the Hoople producer Guy Stevens harnessing their sound as never before, the band yielded what proved to be the best work of their career. Bouncing from hard rock (the apocalyptic vision of the title track) to rockabilly ("Brand New Cadillac") to reggae ("Rudy Can't Fail") to pop (the Top 40 hit "Train in Vain"), the Clash knocked down all musical walls and, in the process, ended the argument over punk's viability in the U.S. --Billy AltmanAlbum Description
Digitally remastered from the original production master tapes, this a reissue of the 1979 & third album by 'the only band that matters'. Features the original artwork and all 19 of the original tracks, including the hidden hit 'Train In Vain (Stand By Me)', their first U.S. single to chart (it reached #23 at the time). Also contains reproductions of the original LP sleeves, including the lyrics. 1999 release.Album Details
Limited Millennium Edition. Packed in a Heavy Weight Card Wallet that Faithfully Recreates the Original Vinyl Sleeve, Right Down to the Inner Bag. The Wallet Will Come in a Plastic Cover.Customer Reviews:
The Clash's best album!!!........2007-07-26
Clash City Shocker.......2007-07-17
It starts brilliantly with the title track but then it's downhill fast, with lack-luster forays into r+b and reggae, rockabilly and jazz. Drifting and meandering all over the place in a vain attempt to find some badly needed cohesion, some sort of direction in among the painfully forced `diversity'.
It's a well known rock truism that Strummer and Jones weren't getting on at the time this was recorded, and you can tell, it sounds like they were in different rooms! It's sad to watch this once-great song-writing team align against each other in such an obvious (and childish!) way. Strummer with his slurry `rocka' pose, and Jones with his toe-curling `Americanisms`.
Strummer didn't recover `til `Combat Rock', and before you start scoffing, compare `Straight to Hell' with ANYTHING on here, and it'll be the stronger song by streets.
Anything with the inexplicably awful `Guns of Brixton' on it, just HAS to suck a big one,(now THERE'S a song worth a giggle or two) along with `This Is Radio Clash', their poorest song in a frustratingly inconsistent canon. (if ever a group's output was justifiably labeled `peaks and troughs' it's the Clash`s.)
If only `London Calling' the album was as good as `London Calling' the song, we would indeed have something special on our hands. As it is, we've got something tired, a bit derivative, and really rather tatty.
`London Calling' was voted the best album of all time in a poll. It's not even the best Clash album.
EVERY PERSON SHOULD HAVE THIS ALBUM.......2007-07-04
The Clash's greatest album, and one of rock's most enduring masterpieces...........2007-07-02
Every Wannabe Rock & Roller Should Own This.......2007-06-05
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The Very Best of Beverly Sills
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Donizetti
| Donizetti, Gaetano
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ASIN: B0006VYELE Release Date: 2005-04-26 |
Tracks:
- Una Voce Poco Fa - Sherrill Milnes
- Dunque Io Son - Sherrill Milnes
- Contro Un Cor - Sherrill Milnes
- Ah, Qual Colpo Inaspetatto! - Sherrill Milnes
- E Il Sol Dell'anima... Addio! Speranza Ed Anima - Ambrosian Opera Chorus
- Gualtier Malde... Caro Nome - Ambrosian Opera Chorus
- Tutte Le Feste Al Tempio... Compiuto Pur Quanto... Si, Vendetta - Ambrosian Opera Chorus
- V'ho Ingannato... Lassu In Cielo - Ambrosian Opera Chorus
- Quel Guardo Il Cavaliere... So Anch'io La Virtu Magica - Ambrosian Opera Chorus
- Pronta Io Son... Vado, Corro - Ambrosian Opera Chorus
- Via, Caro Sposino - Ambrosian Opera Chorus
- Tornami A Dir Che M'ami - Ambrosian Opera Chorus
- La Morale In Tutto Questo - Ambrosian Opera Chorus
Tracks:
- Vilia - Beverly Sills
- Ah! Je Suis Seule... Dis-Moi Que Je Suis Belle - Beverly Sills
- Cielo! Che Diverro?... Si, ferite... Dal Soggiorno... Ah! Che Spiegar - Beverly Sills
- Libiamo Ne' Lieti Calici - John Alldis Choir
- Un Di Felice, Eterea - John Alldis Choir
- E Strano... Ah, Fors'e Lui... Follie! Follie!... Sempre Libera - John Alldis Choir
- Pura Siccome Un Angelo... Ah! Dite Alla Giovine - John Alldis Choir
- Che Fai? - John Alldis Choir
- Addio Del Passato - John Alldis Choir
- Parigi, O Cara - John Alldis Choir
Amazon.com
Beverly Sills hardly needs an introduction. She sang on the radio as a child and on the operatic stage as a teenager; her meteoric international career was launched by appearances in several virtually unknown bel canto operas at the New York City Opera. This compilation of arias and ensembles from some of her signature roles, recorded in the 1970s, with splendid partners like Nicolai Gedda, Alfredo Kraus, and Sherrill Milnes, displays her unique vocal and dramatic artistry at its peak. Her voice, effortlessly produced over an enormous range, is bright, pure, infinitely variable in color, inflection and intensity. Her intonation is impeccable even in huge leaps, and her breath is endless. The coloratura roulades are like strings of perfect, luminous pearls, clearly articulated in seamless legato. But this stunning technique (whose only flaw is a sometimes wide, wobbly vibrato) is never used for show; every note has life and expression, serving the music and the dramatic situation. Indeed, her characters are flesh-and-blood human beings, whose thoughts, emotions and interactions, from inwardness to ecstasy, from lamentation to overflowing joy, she projects with riveting concentration. Rosina in Rossini's The Barber of Seville is a charming, mischievous minx who succumbs to delighted tenderness; Pamira's great scene from his Siege of Corinth shows clearly why her Metropolitan Opera debut in that role was a sensation. In Verdi's Rigoletto, Gilda's hopeful innocence turns into hopeless despair: she dies, palpably, on a floating, celestial pianissimo. In his La traviata, Violetta's initial cool, hesitant restraint gradually melts as she opens herself (and her voice) to Alfredo's ardor and the bliss of love. The vocal balance in their final duet is uncanny; its tremulous tenderness in the shadow of death breaks the heart, as does her duet with Germont. Massenet's Thais is sensuous; Donizetti's Don Pasquale and Lehár's The Merry Widow provide comic relief. --Edith EislerAlbum Description
Details TBA. EMI. 2005.Customer Reviews:
Here's what the fuss was all about!.......2007-07-17
Beverly Sills - The Best.......2007-04-01
Beverly Sills' highs are breathtaking!.......2006-09-18
THE 2005 OPERA CD OF THE YEAR.......2006-08-19
A LADY FRIEND ONCE TOLD ME SHE COULD NOT LISTEN TO THE DUET IN "MADAMA BUTTERFLY" WITH MIRELLA FRENI AND LUCIANO PAVAROTTI (RECORDED IN 1974, BY VON KARAJAN) WITHOUT CRYING. WELL, YOU CANNOT LISTEN TO SILLS IN "LA TRAVIATA" DRY-EYED, NO MATTER WHO THE TENOR IS. SHE PROJECTS THE SAME DRAMATIC FEELING OF "LA DIVINA" CALLAS WITHOUT THOSE SHRIEKED HIGHNOTES; SHE OFFERS THE SAME COLORATURA VOCAL GYMNASTICS AS "LA STUPENDA" SUTHERLAND BUT WITH WARMTH... WHEN BEVERLY SANG, AS IN EVERYTHING ELSE SHE DID, SHE ALWAYS GAVE HER UTMOST. SHE WAS "LA GENEROSA" TO BE SURE.
DON'T JUST SIT THERE READING WHAT OTHERS THINK.
ORDER THIS CD NOW AND MARVEL AT HOW THIS GREAT AMERICAN LADY, IN SO MANY OTHER WAYS, ALSO COULD SING!
EMI Does It Again: Beverly Sills - A Tribute.......2005-07-22
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Mary Poppins (2005 Original London Cast)
Manufacturer: Disney ProductGroup: Music Binding: Audio CD General
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ASIN: B000AOF9NY Release Date: 2005-09-13 |
Tracks:
- Prologue/Chim Chim Cher-Ee
- Cherry Tree Lane (Part 1)
- The Perfect Nanny
- Cherry Tree Lane (Part 2)
- Practicially Perfect
- Jolly Holiday
- Cherry Tree Lane (Reprise)/Being Mrs. Banks/Jolly Holiday (Reprise)
- A Spoonful Of Sugar
- Feed The Birds
- Supercalifragilisticexpialidocious
- Temper, Temper
- Chim Chim Cher-Ee (Rooftop Duet)
- Entr'acte: Run Away
- Brimstone And Treacle (Part 1)
- Let's Go Fly A Kite
- Good For Nothing/Being Mrs. Banks (Reprise)
- Brimstone And Treacle (Part 2)
- Step In Time
- A Man Has Dreams/A Spoonful Of Sugar (Reprise)
- Anything Can Happen
- A Spoonful Of Sugar (Reprise)/A Shooting Star
Amazon.com
Mary Poppins may be one of the most beloved film musicals of all time, but it took 30 long years for it to transfer to the stage. This recording of the original London cast shows the wait was worthwhile though. The new version mixes in elements from both the original books by P.L. Travers (which she started publishing in 1934) and the Disney movie starring Julie Andrews, from 1964. (Mary seems to take 30 years to do anything.) Most of the original songs by brothers Richard and Robert Sherman (Chitty Chitty Bang Bang) are present--Mary Poppins is so associated with "Supercalifragilisticexpialidocious," "A Spoonful of Sugar," and "Chim Chim Cher-ee," her Oscar-winning duet with Bert, that starting from scratch would have been unthinkable. But then George Stiles and Anthony Drewe came in and dusted off some of these songs, and wrote entirely new numbers as well. Miraculous, these are wonderful and blend in seamlessly with the 1960s tunes, thanks in no small to William David Brohn's lovely orchestrations. As the titular super-nanny, Laura Michelle Kelly is so warm and scrumptious that she might as well be referring to herself when she sings "I'm practically perfect in every way." The rest of the cast is equally adept, making this Mary Poppins sweet but not treacly, and the rare show to upstage its source. --Elisabeth VincentelliCustomer Reviews:
Wish I could give more than 5!!!!.......2007-07-24
Fun to listen........2007-07-20
Great Memories.......2007-07-13
Horrible show!.......2007-06-17
Nearly all the original charm and SONGS from the Walt Disney film are missing. The new additional songs are DREADFUL and were not written by the Sherman Brothers (They weren't allowed to write new songs for this due to the miserable old broad author hating the film and having on her deathbed the proviso that Shermans were not to have anything to do with a stage version)
What a waste.
The return of Mary Poppins.......2007-04-12
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The Phantom of the Opera (Original 1986 London Cast)
Charles Hart Manufacturer: Decca Broadway ProductGroup: Music Binding: Audio CD General
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ASIN: B00004YTY2 Release Date: 2001-02-06 |
Tracks:
- Prologue
- Overture
- Act One, Scene I: Think Of Me
- Act One, Scene 2: Angel Of Music
- Act One, Scene 3: Little Lotte.../The Mirror (Angel Of Music)
- Act One, Scene 4: The Phantom Of The Opera
- Act One, Scene 5: The Music Of The Night
- Act One, Scene 6: I Remember.../Stranger Than You Dreamt It...
- Act One, Scene 7: Magical Lasso...
- Act One, Scene 8: Notes.../Prima Donna
- Act One, Scene 9: Poor Fool, He Makes Me Laugh
- Act One, Scene 10: Why Have You Brought Me Here.../Raoul, I've Been There
- Act One, Scene 10: All I Ask Of You
- Act One, Scene 10: All I Ask Of You (Reprise)
Tracks:
- Entr'acte
- Act Two, Scene 1: Masquerade/Why So Silent...
- Act Two, Scene 3: Notes.../Twisted Every Way...
- Act Two, Scene 5: Wishing You Were Somehow Here Again
- Act Two, Scene 5: Wandering Child.../Bravo, Monsieur
- Act Two, Scene 7: The Point Of No Return
- Act Two, Scene 8: Down Once More.../Track Down This Murderer
Amazon.com essential recording
What's left to be said about Andrew Lloyd Webber's adaptation of The Phantom of the Opera a decade after its premiere? That it's maddeningly ubiquitous? A stitch-up of various themes shoplifted from the Italian operatic repertoire? A critic-proof crowd pleaser that's probably being staged somewhere in the world as you read this? A megahit that will likely outlive Titanic in the pop-culture pantheon, Phantom has largely redefined--for better or worse--the manner in which modern musicals are conceived, staged, and marketed. Its influence has reached far beyond the traditional confines of London and Broadway. A favorite example: an abridged version that was the centerpiece of Los Angeles's longest-running transvestite revue, replete with 14-inch chandeliers and a man-playing-a-woman-playing-a-man in the title role. --Jerry McCulleyCustomer Reviews:
Phantom Revisited.......2007-07-25
A disappointment after the film soundtrack........2007-06-11
Sarah Brightman overpronounces to the point of absurdity with her hebrew "heard" and "operar" in "Why Have You Brought Us Here." In "Down Once More" I only know what she's saying because I already knew the words from Emmy Rossum in the film. Brightman sounds no more elegant than Carlotta, whose voice I actually prefer because, ironically, it's more pure and understandable. However, Brightman is a fabulous opera singer with wonderful vibrato and a very impressive range... but Rossum is still the preferable choice.
Michael Crawford... man or woman? He may be a high-flying tenor, but sometimes that just goes too far, making him sound whiny and weak. Another major note: he cannot act! He may be more operatic than Gerard Butler in his singing, but he is a horrendous actor. "Down Once More" was turned from the heart-wrenching ultra-powerful piece I know into a disappointment thanks to Crawford's terrible "acting." Also, "Music of the Night" is a disaster when he sings it. Not only does his bad acting tear it down substantially, but he tries to sing bass notes. Tries and fails, mind you. He ends up making the piece a strangled, overpronounced, over-legato mess. He is a wonderful opera tenor, with truly inspiring vibrato, but his sometimes whiny voice and horrible job with the role of the Phantom make him somewhat lesser than Gerard Butler.
As for Raoul, either one is just as skilled as the other. One is more youthful and soft, while the other is more masculine and bass. I think they are equally skilled in all categories.
Every piece in this soundtrack I prefer the film version of, although sometimes there are parts of songs which I feel differently about. The only full song I prefer from this over the film soundtrack is none other than "The Phantom of the Opera." The film version has too many drawn out instrumental bits, which can get tedious. Also, it is missing my favorite verse. The "Phantom" from this soundtrack has vastly better vocal performances from both singers, since Gerard is very strained and this song is all about singing, not really acting.
The only song I like more in this version is "Phantom of the Opera." All others are, for the most part, a disappointment. Just a plain disappointment.
Phantom of the Opera.......2007-05-21
Awesome! must get for Phantom or opera fans...........2007-05-17
The Phantom Of The Opera (1986 Original London Cast).......2007-05-10
Average customer rating:
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Mamma Mia! The Musical Based on the Songs of ABBA: A Decca Broadway Original Cast Recording (1999 London Cast)
Benny Andersson , Julian Poole , Jenny Galloway , Nicolas Colicos , Paul Clarkson , Bjorn Ulvaeus , Lisa Stokke , Eliza Lumley , Melissa Gibson , Siobhan McCarthy , Louise Plowright , Jenny Galloway , Bjorn Ulvaeus , and Stig Anderson Manufacturer: Decca Broadway ProductGroup: Music Binding: Audio CD General
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ASIN: B000031WEN Release Date: 2000-10-17 |
Tracks:
- Overture/Prologue
- Honey, Honey
- Money, Money, Money
- Thank You For The Music
- Mamma Mia
- Chiquitita
- Dancing Queen
- Lay All Your Love On Me
- Super Trouper
- Gimme! Gimme! Gimme!
- The Name Of The Game
- Voulez-Vous
- Entr'acte
- Under Attack
- One Of Us
- S.O.S.
- Does Your Mother Know
- Knowing Me, Knowing You
- Our Last Summer
- Slipping Through My Fingers
- The Winner Takes It All
- Take A Chance On Me
- I Do, I Do, I Do, I Do, I Do
- I Have A Dream
Amazon.com
Put together by Abba's own Benny Andersson and Björn Ulvaeus, Mamma Mia! manages to cram over 20 of the Swedish supergroup's songs into a threadbare plot. It goes a little like this: Young Sophie is getting married and she's trying to identify which of three men is her father. That's about it. Wisely, the musical doesn't mess around with the songs, save for the insertion of some dialogue or for having some of them performed by a man (it works amazingly well). Abba fans will jump on this import of the London production, but traditional fans of musical theater should consider it as well. After all, Andersson and Ulvaeus's songs have always felt as if they were more than isolated pop gems and actually belonged to a longer narrative. --Elisabeth VincentelliCustomer Reviews:
Mamma Mia.......2007-03-22
Mamma Mia Musical CD.......2007-03-21
JUST GREAT MUSIC.......2007-03-08
Mamma Mia.......2007-01-29
Not good at all.......2007-01-09
Album Review:
- Love 2 Trance
- Love Is in the Air [CD-single] [Import]
- Major Force West Compilation (93-97) [Import]
- Mana Medicine
- Manipulating Agent [Import]
- Move Your Body [CD-single]
- Mute Beat in Dub
- New York City Boy, Pt. 1 [CD-single] [Import]
- Non-Stop//Shout [Import]
- O Pt.2 [CD-single] [Enhanced] [Import]
Album Review
Music CD: Uncollected Big Bands 5
Thicker Than Water [Soundtrack]
What's the Frequency Kenneth? [CD-single]
Serie de Oro: Grandes Exitos [Import]