What's Next [Explicit Lyrics]

About the Artist
Young Ridah aka Lester Jones is a Northern Sacramento California native. His first album was released under Highside Records titled: "Look Who's Flossin!" featuring Brotha Lynch Hung, Gangsta Dre', Hollow Tip among others. Young Ridah second album was a group album, name Turf Hoggs "Riddin High" featuring Richie Rich, C-BO, Keek Da Sneak, Spice 1 and Gangsta Dre'. He has been around some of the best talented artist in the industry which he says taught him how to record entertaining music. House parties, clubs or the bump in your trunk want sound right if it ain't Young Ridah's "WHAT'S NEXT"?...

Product Description
The album features some the hip-hop industry most wellkown underground artist such as Spice 1, Daz Dillenger,B-Legit, Turf Hoggs, Harm, Nut Case, G-Mack, Z, and Suga Man. If you like Jada Kiss, Too Short, Trick Daddy you will enjoy this title.

Tracks:

Family System
Comfortable Liar
Send The Pain Below
Closure
The Red
Wonder What's Next
Don't Fake This
Forfeit
Grab Thy Hand
An Evening With El Diablo
One Lonely Visitor

Amazon.com

Chevelle's haunting, booming, and vitriolic sophomore release opens with a song about three brothers called "Family System" Given that the three Loeffler brothers comprise Chevelle, it's easy to imagine the source of the song. Singer/guitarist Pete, drummer Sam, and bassist Joe have an intuitive gift for melding melody and intense, brutal passion in a manner that recalls at various times Live, Taproot, and Tool. From the brutal plea of the dynamic "Forfeit" to the bombast of "An Evening with El Diablo," Chevelle's earnest, less then groundbreaking modern rock captures an intensity that almost makes up for a sometimes cookie-cutter musical vibe. --Katherine Turman

Customer Reviews:

Great CD!!!!.......2007-03-22

This is Chevelle's second cd and it's one of there best one's. This cd is amazing, and if you don't have it yet I recommend that you get yourself a copy. This cd won't dissappoint you it's one of my favorite cds!! If you like Chevelle you'll like this cd, so if you don't have a copy already what are you waiting for? Get yourself a copy today!!

Chevelle's Best To Date.......2007-02-04

In my opinion "Wonder What's Next" is Chevelle's best to date. Although I still need to check out "This Type Of Thinking (Could Do Us In)" this one compared to "Point #1" is their best. "Point #1" was great and had a sound of its own but this one by far stays entertaining all the way through. There's almost not a single song on this album that isn't at least alright. My favorite tracks from the album are probably "The Red", "Family System", "Wonder What's Next", and "An Evening with El Diablo". Here's my track ratings...

1. Family System - 10/10
2. Comfortable Liar - 10/10
3. Send The Pain Below - 10/10
4. Closure - 10/10
5. The Red - 10/10
6. Wonder What's Next - 10/10
7. Don't Fake This - 9.5/10
8. Forfeit - 9.5/10
9. Grab Thy Hand - 9.5/10
10. An Evening With El Diablo - 10/10
11. One Lonely Visitor - 8/10

Overall: 96% A

It's quite a difference between the Point #1 sound and is a very nice progression even though Point #1 was really good. It makes me really want to check out their next one "This Type Of Thinking" when I get the chance. It's just a good release by a good band. I think they even have a new one coming out this year aswell.

Good Album.......2006-12-13

Good sound. I particularly enjoyed Comfortable Liar. Not having been acquainted with their other albums, I'll have to wait n c if they are as good.

More than worthy of my $20!.......2006-10-30

I've known of Chevelle for about two years now, but until now only ever heard "Comfortable Liar", "The Clincher", and "Family System". Well, I was out buying music the other day, and decided to get Wonder What's Next, Chevelle's second studio record(first on a major label). What has drawn me to Chevelle is the contrast of sounds in their music. The singer has this boyish quality to his voice, yet the guitars and drums are all really hard. I love this contrast.

The band, which consists of three brothers, actually was delayed in releasing any music or even doing anything music related for well over a year due to disputes with their indie label, who, despite being in it's death throes, just wasn't willing to let the guys go. So it went to court. But they signed with Epic as soon as the opportunity arose. It's a good thing that didn't deter them from persuing their artistic goals.

Wonder What's Next kick's off strong with "Family System", a strongly emotional and relatable track about sibling rivalry. This, if you've never heard Chevelle before, will be an immediate introduction to the trio's hard-rock thump. On my computer's sound system, there is nothing I have that literally ROCKS your body as hard. Please, if you have 5.1 surround anywhere in your house, put Wonder What's Next in and turn it right up, that's how this record was made to be played.

From here Wonder What's Next excels. The tracks, "Comfortable Liar" and "Send the Pain Below" are the best on the album. And the last track, "One Lonely Visitor", shows a soft side to an otherwise hard rocking band. But I'd have to say that my favorite of the 11 tracks was definitely "Send the Pain Below", it has a tempo and groove that really clicks with me.

Overall, Wonder What's Next is a very good record, but the one issue I do have is that the sound quality isn't quite what it could be. Maybe it was recorded with a scratchy distortion on purpose, but nevertheless, I would have appreciated a more clear, crisp sound.

good cd.......2006-08-03

I thought this album was good not great, but saying that i do recomend it to everyone because it does have some great songs it.

The best songs on the cd to are.

2. Comfortable Liar
3. Send The Pain Below
4. Closure
5. The Red
6. Wonder What's Next

And my favorite track is #2 it sounded so sweet, you will love that song.

Average customer rating:

Instruments of the Orchestra - Great Reference Material!
Beginner or Expert
Very Informative and Enjoyable
Frank's view
Excellent Intro for Those Not Familiar with the Orchestra

Instruments of the Orchestra
Various Artists
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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What to Listen for in Music
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ASIN: B00006O0NT
Release Date: 2002-12-03

Tracks:

Overture To 'Tannhauser'
Domna, Pos Vos Ay Chausida
We Don't Merely Use Instruments, We Play On Them. And They Play On Us.
Hungarian Dance No.7
The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented.
Violin Concerto In D Major (Adagio)
But For A Long Time It Was Seen As The Instrument Of The Devil.
The Soldier's Tale: Triumphal March Of The Devil
The Manipulative Seductiveness Of The Gypsy Violin.
Csardas Music
The Violin And The Initiation Of Nature
The Four Seasons (Spring, Mvt 1)
Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite.
The Four Seasons (Summer, Mvt 1)
Like The Devil, The Violin Is A Master Of Disguise.
Old Viennese Dance No.3 'Schon Rosmarin'
The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin:
Tzigane
Do We Now Have The True Measure Of This Instrument? Not Just Yet.
Caprice No.24
The Many Effects Of The String Tremolando: Brandenburg Concerto No.4 (Last Mvt)/From Joy To Fright/Quartettsatz In C Minor/The String Tremolo Practically Spells The World Agitato.
Variations On A Theme Of Frank Bridge (No.7)
Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime.
Romeo And Juliet: Act IV
Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice.
The Four Seasons (Winter, Mvt 1)
The Violin Muted
Clair De Lune
The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays.
Piano Concerto No.21 In C Major, K.467 (Slow Mvt)
The Pizzicato Violin
Pizzicato Polka
In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato.
Violin Concerto No.2 In G Minor (Slow Mvt)
Varieties Of Pizzicato: Colas Breugnon (The People's Feast)/Now A Drier, Leaner, Hungrier Pizzicato. There's Not A Lot Of Comfort Here./Capriol Suite (Tordion)/The Use Of Pizzicato As 'Percussion'/Romeo And Juliet (Act I)/Mahler Used Pizzicato...
The Planets (Mars - The Bringer Of War)
The Technique Of Double-Stopping Enables The Violin To Play Duets With Itself./Sonata No.3 In C Major For Unaccompanied Violin (Fugue)/Now A Later Example Of The Same Technique
Hungarian Dance No.4
Double-Stopping Is A Standard Feature Of A Lot Of Folk Music.
The Four Seasons (Autumn, Mvt 1)
Now The Same Technique, But The Sound Might Have Come From Another World.
Bolero
Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet.
Cadenza To The Violin Concerto By Brahms
Now Compare That With A Real Violin Duet.
Forty-Four Duos (No. 1: Teasing Song)
Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register
Forty-Four Duos (No.2: Maypole Dance)
And Now What May Be The Most Beautiful Accompanied Violin Duet In History
Concerto In D Minor For Two Violins (Largo)
The Soul Of The Violin Is In Song; But What About This Weird Passage?
Violin Concerto No.1 In D Major (Mvt 2)
The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling.
Symphony No.1 'Titan' (Mvt 1, Opening)
Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling.
The Sleeping Beauty (Act II, No.15: Entr'Acte)
Ravel's Harmonics In Mother Goose Effect A Magical Transformation.
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction)
The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'.
Also Sprach Zarathustra (Of The Afterworldsmen)
Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt.
Variations On A Theme Of Frank Bridge (No. 4)
Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood.
Four Sea Interludes (Dawn) From 'Peter Grimes'
To End This Outing With The Violins, A Charming Little Elfin Dance
Elfenreigen

Tracks:

Introduction To The Viola
Viola Concerto (Mvt 1)
Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
Gayane Suite No.1 (Armen's Solo)
Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
Passacaglia, Op.33b From 'Peter Grimes'
The Viola Can Bring A Special, Rich Twanginess To Pizzicato That The Violins Lack./Don Quixote/Berlioz Drew Sounds From It That Retain Their Metallic Strangeness Even Today.
Harold In Italy (Mvt 4)
The Muted Viola: Intimate, Gentle, Poignant In Dvork
Cypresses (No.9)
The Massed Violas Of The Modern Symphony Orchestra In Mahler
Symphony No.4 (Mvt 3)
The 'Period' Viola In Bach
Brandenburg Concerto No.6 (Last Mvt)
The Cello: A Voice Of Unique Nobility
Suite No.1 For Unaccompanied Cello (Prelude)
Brahms And The 'Soul' Of The Cello
Piano Concerto No.2 In B Flat Major (Mvt 3)
Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
Symphony No.3 'Eroica' (Finale)
But The Cello Is Not Condemned To Spend Its Life In The Basement.
Elfentanz, Op.39
Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
The Protecting Veil (Opening)
A Cello With An Identity-Crisis: The Pizzicato Flamencan
Flamenco
Double-Stopping In The Lower Reaches Of The Cello's Range
Solo Suiet For Cello And Piano (Sardana)
It's In The Middle Register That The Cello Really Comes Into Its Own.
Oriental Dance, Op.2 No.2
It Was To The Cellos That Beethoven Gave Two Of His Most Famous Themes./Symphony No.5 (Mvt 2)/Still More Famous Than That Theme Is This One From The Ninth Symphony.
Symphony No.9 (Finale)
Introduction To The Double-Bass
The Carnival Of The Animals (The Elephant)
But The Double-Bass Can Be Intensely Expressive And Graceful.
Elegy No.1 In D Major
The Range Of The Double-Bass Is The Greatest Of All The String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable Of Very Considerable Virtuosity.
Capriccio Di Bravura
Double-Bass Solos In Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (Mvt 3)/In His Third Symphony Mahler Makes A Very Different Use Of The Instrument./Symphony No.3 (Mvt 1)
The Double-Bass Muted In Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses The Double-Bass To Enhance The Winds./Romeo And Juliet (Act III)/And He Combines The Bass Clarinet With A Shivering Tremolo From The Double-Basses....
Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds

Tracks:

The Antiquity And Magic Of The Flute
Prelude A L'Apres-Midi D'Un Faune
The Versatility And Agility Of The Flute
Orchestral Suite No.2 In B Minor (Badinerie)
The Flute In Fifteenth-Century Spain
Sa'Dawi
Other Flutes: The Bass And Alto
Chamber Music No.II
The Piccolo - Aptly Named
La Naissance D'Osiris (Mvt 6)
From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth
Suite No.1 For Small Orchestra (Valse)
A Variety Of Techniques
Chamber Music No.II
Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before.
The Nutcracker (Act II, No.2: Scene)
From The Transverse To The Vertical: The Baroque Recorder
Recorded Suite In A Minor (Menuet II)
An Unfamiliar, Early Vision Of The Instrument
Naelden, Naelden
The Bachian Oboe
Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
Introduction To The Cor Anglais Or 'English Born'
Symphony No.9 'From The New World' (Mvt 2)
The Loneliness Of The Cor Anglais
The Swan Of Tuonela
The Cor Anglais Joins The French Horn In Haydn.
Symphony No.22 'The Philosopher' (Opening)
Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel
Bolero
The Clarinet Family: Boxing The Compass, From The Depths Of The Bass Clarinet.../The Egyptian (Violence)/...To The Raucous And Squealy.../Taras Bulba (The Death Of Ostap)/...To The Shrill And Complaining...
Petrushka (No.8: Peasant With Bear)/...To The High Sprits Of A Playful Puppy./Symphonie Fantastique (Last Mvt)/And To The Downright Jazzy/Romeo And Juliet (Act II)
As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft:
Gayane Suite No. 1 (Mvt 5)
The Bass Clarinet Is Used By Most Composers Mainly As A Colouring Agent.../Petrushka (No.4: The Blackamoor)/...But It Does Occasionally Get A Whole Tune To Itself./Iberia (Almeria).
The Range Of The Normal Clarinet Parts Goes Quite High...
The Snow Maiden (Scene 5: Melodrama)
...And Quite Low.
Peter And The Wolf (The Cat)
The Clarinet As Concerto Soloist
Clarinet Concerto In A Major (Rondo)
But That's Not The Instrument Mozart Wrote It For; This Is:
Clarinet Concerto In A Major (Rondo)
Introduction To The Saxophone
Hary Janos Suite (Mvt 4)
The Soprano Saxophone Has Quite A Different Feel To It.
L'Arlesienne Suite No.1 (Minuet)
The Little Sopranino Sax Goes Even Higher.
Bolero
The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel.
Pictures At An Exhibition (The Old Castle)
The Saxophone Can Be Quite Contagiously Good-Humoured.
Sax-O-Phun
The Puffa-Puffa Image Of The Bassoon
Peter And The Wolf (Grandfather)
The Bachian Bassoon, In Accompanimental Mode
Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1)
Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala)
And Ravel, Also In Spanish Mode, Does Likewise.
Bolero
The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness
Symphony No.3 (Opening)
The Eerie Bassoon In Its Highest Register
The Rite Of Spring (Opening)
Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy.
The Firebird Suite (1919, Berceuse)
The Bassoon As Concerto Soloist, Avoiding All Exaggeration
Bassoon Concerto In G Minor (Finale)
The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
The French Horn Under Its Woodwind Hat
Wind Quintet, Op.43 (Last Mvt)
Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era
Wind Quintet In A Minor, Op.100 No.5 (Mvt 2)
The Horn In Harmonious Blend With Strings In Another Quintet
Horn Quintet, K.407 (Finale)

Tracks:

The Trumpet As Virtuoso Soloist
Brandenburg Concerto No.2 (Last Mvt)
The Special Brillance Of Paired Trumpets
Concerto In C For Two Trumpets, RV537 (Mvt 1)
The Ceremonial Trumpet
Fanfare For The Common Man
Trumpets And Drums - An Incomparable Alliance
Messiah (The Trumpet Shall Sound)
The Versatility Of The Trumpet, From The Most Public To The Most Lonely
Piano Concerto In F (Slow Mvt)
The Trumpet As The Voice Of The City/An American In Paris/The Trumpet As Recruitment Officer/The Soldier's Tale (The March)/The Trumpet As Swaggerer
Carmen Suite No.2 (Habanera)
The Trumpet As The Voice Of Strength And Courage
Carmet Suite No.2 (Toreador's Song)
The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness
Billy The Kid
The Trumpet As Character Actor
Pictures At An Exhibition (No.6)
The Trumpet As The Voice Of God
Mass In B Minor ('Et Exspecto')
The Birth Of The Trombone
Aenmerckt Nu Hier
The Birth Of The Brass As A Family
Canzon 12 In Double Echo
The Trombone In The Eighteenth Century
Trombone Concerto In B Flat Major (Finale)
The Tone Of The Tenor Trombone/Romance For Trombone And Organ/The Memorable Voice Of The Bass Trombone/Requiem (Mvt 2)/But The Bass Trombone Is More Than An Instrumental Bullfrog.
Hosannah
The Trombones Become Part Of The Orchestra.
Symphony No.5 (Finale)
The Wagnerian Trombone:/Overture To 'Tannhauser'
The Trombone As Caricaturist
Pulcinella (No.19: Vivo)
The Trombone As Raspberry/Concerto For Orchestra (Intermezzo)
The Horn And The Hunt
Horn Concerto No.4 In E Flat, K.495 (Finale)
The Challenging Horn Of The Baroque
Abaris Ou Les Boreades (Menuet)
The Scarcity Of First-Rate Players In Handel's Time
Walter Music (Minuet 1)
The Horn As Magician/The Firebird Suite (1919, Finale)
Horns And The Sound Of Nobility
Overture To 'Tannhauser' (Opening)
The Special Sound Of The Horn In Its Higher Register
Mass In B Minor ('Quoniam Tu Solus Sanctus')
The Trumpet-Like Sound Of Massed Horns
Symphony No.3 (Mvt 1, Opening)
The Tuba - Unfairly Maligned?
Symphony No.6 (Mvt 3)
The Tuba Perfectly Cast By Ravel
Pictures At An Exhibition (Bydlo)

Tracks:

Introduction. And We Begin With A Bang.
Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening)
At The Opposite Extreme Is The Triangle.
Piano Concerto No.1 In E Flat (Scherzo)
Categories Of Percussion: Tuned And Untuned. The Side Drum
Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening)
The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1)
The Tambourine. One Of The Oldest Instruments In The World
Den Hoboecken Dans
Even Older Is The Originally Oriental Gong.
Ma Mere L'Oye - Mother Goose (Laideronette)
No Single Instrument Can Match The Gong In Evoking The Breaking Of Waves./Passacaglia, Op.33b From 'Peter Grimes'/But Gongs Don't Have To Be Struck To Be Effective.
Gymnopedie No.2
The Cymbals Are Generally Discovered Early In Life./The Sanguine Fan/And They Do More Than Clash Together Loudly. They Can Be Clashed Together Softly./Studio Example: But They Needn't Be Clashed Together At All/Studio Example: They Can Be Lightly...
Other Untuned Percussion Instruments Include The Whip.: Piano Concerto In G Major (Opening)/And Here Are No Fewer Than Twenty, Cracked By Tchaikovsky: The Nutcracker (Act I, Scene 5)
More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music.
Rodeo (Hoe-Down)
Related To The Wood Blocks, By Sound, Are The Castanets./Jota Aragonesa/But The Castanets Were Also Used By Monteverdi Back In The Seventeenth Century.
Scherzi Musicali (Damigella Tutta Belle)
A Still Earlier Example From Fifteenth-Century Spain
Yo M'Enamori D'Un Aire
The Birth Of The Bongo
Symphonic Dances From 'West Side Story'
From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus')
Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana
From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango
Onwards To The Tuned Percussion. First, The Timpani
Also Sprach Zarathustra (Introduction)
But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3)
Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt)
Taking Advantage Of Tunability
Music For Strings, Percussion And Celeste (Mvt 2)
The Russian Composer Rodion Shchedrin Takes A Downward Turn./Carmen Suite (Changing Of The Guard)/Tuned, Yes; But For The Truly Melodic We Must Look Elsewhere.
Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera)
Saint-Saens And The Xylophone
The Carnival Of The Animals (Fossils)
Ravel And The Xylophone
Ma Mere L'Oye - Mother Goose (Laideronette)
Introducing The Marimba/Carmen Suite (First Intermezzo)
Introducing The Vibraphone
The Treasure Of The Sierra Madre (Narange Dolce)
The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera)
Introducing The Hungarian Cimbalom
Folk Dances
The Cimbalom And The Symphony Orchestra
Hary Janos Suite (Mvt 3)
Introducing The Tubular Bells
Hary Janos Suite (Viennese Musical Clock)
A More 'Up-Front' Approach From Rodion Shchedrin
Carmen Suite (Introduction)
But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Introducing The Celeste
The Nutcracker (Dance Of The Sugar Plum Fairy)
Magic, In The Use Of Collective Percussion
Miroirs (La Vallee Des Cloches)
Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene)
A Prime Case In Point Is The Harp, Irresistible To The Romantics./The Nutcracker (Act II, No.1: Scene)/The Non-Solo Harp As An Integral Part Of The Orchestra/Hungarian Rhapsody No.1
The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra
Brandenburg Concerto No.2 (Slow Mvt)
The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That:
Petrushka (Russian Dance)
The Anti-Romantic Piano As An Integral Part Of The Orchestra
Music For Strings, Percussion And Celeste (Last Mvt)

Tracks:

Keyboard Instruments In The Orchestra - The Most Powerful Of Them All:
Symphony No.3 'Organ' (Finale)
But Things In Handel's Day Were Very Different.
Organ Concerto In B Flat, Op.4 No.3 (Last Mvt)
The Organ Is Difficult To Classify.
An Unexpected, Organ-related Guest
Concerto Pour Zampogna (Last Mvt)
Peasant-Fancying... And A Touch Of The Roaming Cowboy
Les Miserables (Drink With Me)
Outside Artefacts And The Power Of Association
Mahler's Sleighbells
Symphony No.4 (Opening)
A Roll-Call Of Some Unusual Guests/The Typewriter/Parade
Chains, And More/Integrales/An American In Paris/Sandpaper Ballet
Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening)
Don Quixote (Variation VIII)
National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale)
And The Guitar's Poor American Relative, The Banjo/Washington Breakdown
And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up)
The Balalaika For Russia/Romeo And Juliet (Act II: No.14)
The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno)
The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example
The Sitar Of India/Evening Raga: Bhapoli
The Accordion For France (Especially Paris)/Paris Canaille
The Zither For Vienna/The Third Man (Theme)
The Cimbalom For Hungary/Folk Dances
The Guitar As An Integral Part Of The Orchestra/Rondena
There Are Whole Orchestras Of Balalaikas./Sveit Mesiats
The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Nocturnes
Instruments And the Imitation Of Nature. The Clarinet As Cuckoo
The Carnival Of The Animals (The Cuckoo)
The Flute As An All-purpose Aviary
The Carnival Of The Animals (The Aviary)
The Oboe As Duck
Peter And The Wolf (The Duck)
The Recording Of Reality. Does It Work As Well?
The Pines Of Rome (The Pines Of The Janiculum)
The Recording Of Reality Electronically Reborn In New Guises
Cantus Articus - Concerto For Birds And Orchesra (Mvt 2)
Beethoven Turns Avian: Cuckoo, Nightingale, And Quail
Symphony No.6 'Pastoral' (Andante Molto Mosso)
Some Improbable Casting: The Violin As Braying Donkey
The Carnival Of The Animals (Persons With Long Ears)
A Truly Orchestral Hee-haw To Be Reckoned With
Overture To 'A Midsummer Night's Dream'
A Thunderstorm In A Million
Symphony No.6 'Pastoral (Allegro-Allegretto)
the Instrumental Depiction Of A Silent World
The Carnival Of The Animals (The Aquarium)
Saint-Saens' Menagerie Takes A Curtain Call.
The Carnival Of The Animals (Finale)

Tracks:

The Grouping Of Instrumental Families. An Additive Approach. First, Two Violins
Forty-Four Duos (No.4)
A Great Contrast, Of Both Pitch And Character: Violin And Viola
Duo For Violin And Viola In B Flat Major, K.424 (Finale, Vars 1 & 2)/Studio Example
Arrival Of The Standard String Trio: Violin, Viola, And Cello
String Trio In B Flat (Menuetto)
The String Quartet: Two Violins, Viola, And Cello
String Quartet In F, Op.18 No.1 (Mvt 3)
The String Quintet - When The Extra Instrument Is A Second Viola
String Quartet No.5 In D, K.593 (Adagio)
The String Quintet - When The Extra Instrument Is A Second Cello
String Quintet In C (Mvt 3)
The String Sextet: Two Violins, Two Violas, And Two Cellos
String Sextet In B Flat (Mvt 2)
The String Octet: The Standard String Quaret Times Two
Octet In E Flat, Op.20 (Mvt 1)
Double The String Octet: A Fully Fledged String Orchestra
String Symphony No.2 (Finale)
The Massed Strings Of A Symphony Orchestra
Fantasia On A Theme Of Thomas Tallis
Contrasts Of Pitch And Instrumental 'Colour' In The Woodwind Section
Wind Quintet In A Minor, Op.100 No.5 (Theme)
In The First Variation It's The Horn That Gets The Lion's Share.
Wind Quintet In A Minor, Variation 1
In Variation Two The Torch Is Handed To The Bassoon.
Wind Quintet In A Minor, Variation 2
In Variation Three The Oboe Leads.
Wind Quintet In A Minor, Variation 3
Variation Four: Conversation Before Returning To A Solo-dominated Texture
Wind Quintet In A Minor, Variation 4
And Variation Five is Dominated By The Clarinet.
Wind Quintet In A Minor, Variation 5
The Next To Be Featured Is The Virtuoso Flute.
Wind Quintet In A Minor, Variation 6
Individual Farewells And A Closing Chorus
Wind Quintet In A Minor, Variation 7
A Mixed Group: Clarinet, Bassoon, Horn, String Quartet, And Double-Bass
Octet In F (Mvt 3)
The Early Classical Symphony Orchestra Of Haydn And Mozart
Symphony No.29 In A, K.201 (Finale)
Strings, Wind, But No Brass. What Haydn And Mozart Never Knew
Canzon 28
Beethoven's Fifth: Two Horns, Two Trumpets, And Three Trombones Join The Team.
Symphony No.5 (Finale)
From Beethoven To The Massive Orchestras Of Berlioz, Wagner, And Mahler
Beethoven Changed The Face Of The Symphony And The Orchestra Forever
Symphoy No.6 'Tragic' (Mvt 1)
The Cult Of Orchestral Elephantiasis Reaches Its Peak.
Symphony No.1 'Gothic' (VI: Te Ergo Quaesumus)
When Large Doesn't Necessarily Mean Loud: Debussy
Images (Gigues)
A Crisis Of Confidence; The Orchestra's Survival Hangs In The Balance, But It Still Develops. The Ondes Martenot:
Turangalila Symphony (Chant D'amour 1)
The Advent Of The 'Early Music' Movement Brings A New Vitality And Freshness.
Balle De Xerxes (Gavotte En Rondeau)
Computer And Synthesiser: Friends Or Foes?
Concerto In D Minor For Two Violins (Largo)
A Speculative Look Ahead/Mass In B Minor ('Dona Nobis Pacem')

Customer Reviews:

Instruments of the Orchestra - Great Reference Material!.......2007-04-04

This set lends itself to greatly enhancing one's knowledge of the orchestra, instruments in it, and their usage. I am a huge music buff, and I still picked up a great deal I previously did not know. I highly recommend this for all who wish to understand the origin of music, as well as the processes that are employed to create music!

Beginner or Expert.......2007-03-12

This CD is excellent for the beginner or expert! To be able to haear the instrumets separately and then together really provides a good education. and/or refresher. The book thaty comes with the CD is alomost worth the price by itself!

Very Informative and Enjoyable.......2006-11-20

Whether you're a music novice or pro, "The instruments of the Orchestra" is a very worthwhile purchase. The 7 CDs, with a total of 8 hours, are expertly narrated by Jeremy Siepmann. He's a great speaker, very much like the late Leonard Bernstein was. Mr. Siepmann takes you on an unforgetable musical journey covering the origins and use of the various orchestral instruments throughout musical history. The balance between his narration and a wealth of musical examples, which range from snippets to entire movements, is superb. The comprehensive enclosed booklet is excellent and faithfully follows the 7 CDs in content. Even with my 40+ years of music training I still learned new things from this wonderful collection. Considering the excellence of the content, and a cost that translates to about $5 per disc, this collection is a great value. Grab it, you won't regret that you did. Five solid stars!

Frank's view.......2006-08-19

This boxed set of CD's with booklet achieved all I had hoped that it would. There are good samples of individual instruments and well done commentary on each. The only drawback was that some of the samples were too brief and could have been longer, hoiwever I guess this fits in with time constraints of the medium. It has given me a lot of clues as to future purchases of CD's for listening to individual instruments. Altogeth a satisfactory purchase and a welcome addition to my collection.

Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08

I've listened to classical music for years and am interested in composition. I bought this CD set to learn how an orchestra and its instruments work. I thought the CDs would be a nice but boring lecture. They aren't! Not only are they FUN but they are informative as well. I learned a huge amount from each CD and couldn't wait to listen to the next one.

The narrator and writer is a great speaker and holds your attention well. He is definitely knowledgeable. He provides musical examples for each point he makes, so you get to "hear" what he just talked about. I'd say the CDs are about 65% music and 35% narration. You'll learn about the range of instruments, some history, different ways to play them, how they sound, and how they are used in the orchestra. This CD set was a great learning experience and is sold at such a low price!

I recommend this CD for those who want to learn about classical music and those who know about it but are interested in learning more about the inner workings of an orchestra. You'll learn much useful information. For instance, the Rite of Spring (with that eerie start) is written for bassoon! I never knew a bassoon could sound like that but now I do.

Tracks:

Main Theme From On Golden Pond
Unchained Melody From Ghost
Sooner Or Later From Dick Tracy
We're Losing Him From Somewhere In Time
Love Theme From Flashdance
Marion's Theme From Raiders Of The Lost Ark
Evergreen From A Star Is Born
Flashdance....What A Feeling
People Alone From The Competition
End Title From Shirley Valentine
Arthur's Theme From Arthur
The Last Time I Felt Like This From Same Time Next Year
Love Theme From Cousins
Waltz From Cousins
Through The Eyes Of Love From Ice Castles
End Title From Ghost
Cavatina From The Deer Hunter
The Way We Were

Customer Reviews:

A Real Treat!.......2007-02-16

As someone who works from home, this is a wonderful collection to put on during the day. The beautiful arrangements of some of film's most memorable music is a treat to listen to day in and day out. I was one of those looking for music from the "Cousins" soundtrack. I'm so much happier to have found this CD with more great music than I could've bargained for. I'm very glad to have this in my collection!

I LOVE IT!!!.......2005-09-11

I HAVE BEEN SEARCHING FOR THE SOUNDTRACK OF COUSINS... I KNOW BUT HEY I LOVED THE MOVIE AND WHEN I REALIZE THAT THE SOUNDTRACK WAS BEEN ASK $120 I JUST WENT NUTS LOL LOL BUT I WENT ON MY SEARCH AND FOUND THIS GREAT GREAT GREAT CD, THAT HAS THE SONGS I WAS SEARCHING FOR AND MORE.

FOR EXAMPLE, CAVATINA FROM THE DEER HUNTER, HMM GREAT MOVIE AND GREAT SONG. AND LETS NOT FORGET THE WAY WE WERE, COME ON THAT IS A CLASSIC. AND ITS HAS THE THEME FROM THE MOVIE ON GOLDEN POND, ALSO UNCHAINED MELODY FROM THE MOVIE GHOST.

BUT WHAT TOOK MY OFF MY SIT WAS THE SONG *WE ARE LOOSING HIM, FROM THE MOVIE SOMEWHERE IN TIME. LOOK THIS IS A GREAT CD, AND IT IS WORTH ALL.

I HAVE ALL THE SONGS I EVER WANTED AND MORE. BELIEVE ME YOU ME, IT IS A GREAT BARGAIN. WONT BE DISSAPOINTED.

Average customer rating:

He's the best
getting better with each album

What's Next
Frank Marino & Mahogany Rush
Manufacturer: Black
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

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Similar Items:

Power of Rock 'n' Roll
Juggernaut
Mahogany Rush IV
Tales of the Unexpected
Full Circle

ASIN: B00009ATHT
Release Date: 2000-02-07

Tracks:

You Got Livin
Finish Line
Rock Me Baby
Somethings Comin Our Way
Roadhouse Blues
Loved By You
Rock N Roll Hall Of Fame
Mona

Album Description

Swedish reissue of the Canadian metal act's 1980 album. Eight tracks.

Album Details

Hard and Heavy 70's Hard-rock Influenced Release that is Mostly a Solo Effort from Frank Marino. First Time on CD.

Customer Reviews:

He's the best.......2007-07-09

The What's Next recording has always been a favorite of mine in the great Marino catalog. I think this gets as close to his live sound as he ever got in the studio. Something's Comin is as amazing the 50th time as it was the first and his version of the Doors classic is a highlight as well, although every cut is full of his fantastic guitar work and winning vocals. I love that voice of his. So I highly recommend this recording along with the rest of the Marino catalog. If you are looking for classic 70's hard rock( which is the only kind in my opinion)then get into some Frank Marino. And there's no better place to start than What's Next.

getting better with each album.......2007-02-15

Originally a powertrio "Mahogany Rush" (not to confuse with the other Canadian progressive rocktrio Rush), centered around singer/songwriter and guitarmaestro Frank Marino sees the band on this 1980 release extended to a fourpiece with the aid of brother (as I assume - by the way, hundreds of albums are remastered on CD by George Marino, including latterday albums of this band, I always wondered if there is a connection) Vince Marino on rythmguitar. The sound though hasn't been changed a bit. This also seems to have been a turningpoint for the band because afterwards Frank Marino turned solo, with the more than excellent albums "Juggernaut" and "The Power of Rock and Roll" and the outstanding 1992 "Double Live" (now on single disc CD) but guess what, his 'backingband' on those albums includes exactly the same personell as on "What's Next", so it is de facto the same band only under another monniker. Anyway, the influence from "What's Next" on his latterday solo-carriere, especially as showcased on the aforementioned "Double Live" must not be underrated for 4 out of 13 songs from that album originate from this release: "You Got Livin", the Doors cover "Roadhouse Blues" (given Marinos songwriting abilities this seems a little bit out of place), "Rock 'N' Roll Hall of Fame" and as a bonus on the with that extra song expanded version - the fuzz laden "Something's Coming Our Way". Where he had the choice of a wealth of songmaterial from other albums (strange as it might be but songs from the far more recent "The Power ......" are completely omitted on "Double Live") it is remarkable to say the least that Marino took so many songs from "What's Next" with him on the road so he must regard this album as one of the best. Compared to the both mentioned latter ones I have to disagree but that doesn't make "What's Next" a bad album of course, on the contrary. Recorded before those and more or less sandwiched between the band and the solo-outing, following on the heels of the great "World Anthem" 1977), "Live" (1978) and the half studio/half live "Tales of the Unexpected" (1979) has "What's Next" enough on offer. For those who like blistering guitarwork and good rocksongs this album is for you. More than 25 years after its release it still sounds fresh and not a bit outdated.

Average customer rating:

captures the soul of the songs
ac who?
Other stuff to check out
why did I wait so long?
Kozelek's Alchemic Touch

What's Next to the Moon
Mark Kozelek
Manufacturer: Badman Records
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

Singer-Songwriters | Pop | Styles | Music

Pop Rock | Pop | Styles | Music

Adult Alternative | Pop | Styles | Music

General | Rock | Styles | Music
Similar Items:

Rock 'N' Roll Singer
Tiny Cities
Songs for a Blue Guitar
Ghosts of the Great Highway
Little Drummer Boy Live

ASIN: B000059H34
Release Date: 2001-02-27

Tracks:

Up To My Neck In You
Love At First Feel
Love Hungry Man
Bad Boy Boogie
What's Next To The Moon
Walk All Over You
You Ain't Got A Hold On Me
If You Want Blood
Riff Raff
Rock 'N' Roll Singer

Album Description

'What's Next to the Moon' from Red House Painters singer Mark Kozelek, is a collection of 10 Bon Scott-era AC/DC songs recast as quiet, acoustic interpretations. This Badman Records release copes packaged in a digipak.

Customer Reviews:

captures the soul of the songs.......2007-07-25

Mark Kozelek - all that I admire about music, all that drives me to write songs, all that compels me to not settle for anything less than the truly amazing - is caputered in the beauty that is Mark's music.
It was the greatest accident in my life. I saw "Ghost's of the Great Highway" in a record store a few years ago and bought it thinking I was buying a different artist. (PS: The Baptist Generals album Silver and Gold has a similar looking cover, and at the time I couldn't remember the name The Baptist Generals, but I remembered what the cover kind of looked like.) It was one of the greatest musical discoveries I've made in a long time.
With What's Next to The Moon he takes ACDC songs and deconstructs them, stripping them of everything that you know of ACDC and playing it with just an acoustic guitar. Simply amazing! We all now ACDC's sound and we know it well, they are balls to the wall rock. What we have here, however, is a guy who has managed to find and bring to light the soul of their songs. They are so unrecogonizable that unless you are pretty familiar with their music, you probably wouldn't even know that they are cover songs.
Not to put to fine a point on it, but the only other musician I know of who could take somebody else's song and make it their own to the point where you don't even care who did the original - was Johnny Cash.

Standout track: Love at First Feel

ac who?.......2007-07-07

I was never particularly familiar with AC/DC. I was too young, or had the wrong friends, or something. But in Koselek's rendition of these songs I feel as though I can hear the originals without needing to hear them. More than that, Koselek takes us into the heart and soul of the songs. It's like hearing the writer discussing the emotional undercurrent of his lyrics on a therapist's couch. But it's far more than that. Koselek is a genius at getting inside and under a song and making it his own. He crafts beautifully simple arrangements that sound as though they came first.

I'd highly recommend this album. I've listened to it regularly for months. And, if you like this, you'll love Koselek's similar treatment of Modest Mouse. Modest Mouse I am familiar with, I'm a huge Mouse fan, and what Koselek does with their beautiful songs under the moniker Sun Kil Moon is a treat to hear. Tiny Cities

Other stuff to check out.......2006-06-21

I am a huge fan of catchy, quiet folk music with insightful lyrics. If you enjoy this album then I strongly recommend that you check out the following:
1) Ghosts Of The Great Highway by Sun Kil Moon
2) Kings Avenue Joe Kile
3) Subtitulo by Josh Rouse

why did I wait so long?.......2005-02-03

the Red House Painters were a band I heard of MANY times but never actually listened to. It was in winter 2001 when I heard "Mistress" on an old 1993 CD compilation. After getting hooked on the RHP right away, a friend recomended "Rock and Roll Singer" and "What's Next To The Moon", but for some reason I never picked them up. What a big mistake. I still Don't have Rock and Roll Singer but I just got a hold of What's Next To The Moon and I absolutely love this CD. All AC/DC songs done acoustic and mellow. I would HIGHLY recomend this CD to any fan of the RHP. Honestly, I think this CD blows away ANYTHING that Mark has done in the past.

Kozelek's Alchemic Touch.......2004-07-23

Mark Kozelek has been putting out great music for a long time, from the early Red House Painters' output all the way to his recent "Ghosts of the Great Highway" under his new band's banner, Sun Kil Moon.
This effort is one of two solo albums he recorded after RHP disbanded, and probably the quirkiest and most ambitious of both albums. Every song here is an AC-DC cover, and when you think of the high Heavy Rock energy of the original versions, contrasted with Kozelek's laid back and melancholy sound signature, the results are wondrous.
Not being a fan of AC-DC, I did not bring any prior love of this material to justify potentially mediocre renditions. Even further I was somewhat skeptical about Kozelek's left-of-field repertoire choice.
The final product of this venture could not be more pleasing in its realization nor surprising as far as the new depths of feeling he's brought out from these tunes.
It takes a talent and modesty like Kozelek's to sense the essential beauty in these songs, strip the sound to its bare truth, and come out with such personal reading of such unlikely material.
If in addition to your respect for Kozelek you also dig AC-DC, this may be even more rewarding for you that has already been for me. If Kozelek's own writing has already moved you, you may prefer to check his other acoustic album out, Rock and Roll Singer.
Either one is bound to fulfill the proper expectations.

Average customer rating:

I waited for this for five years
Excellent collection but BIG PUBLISHING MISTAKE!
ONE OF LLOYD WEBBER'S BEST COMPILATIONS, DESPITE A FEW FLAWS
SUCH MAGICAL MUSIC OF THE NIGHT!
A Must Have for Sir Andrew fans

Andrew Lloyd Webber: Now & Forever
Various Artists
Manufacturer: Decca Broadway
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Similar Items:

Gold: The Definitive Hits Collection
Andrew Lloyd Webber - The Royal Albert Hall Celebration
The Very Best Of Andrew Lloyd Webber: The Broadway Collection
Andrew Lloyd Webber - Masterpiece (Collector's Edition) (Bonus CD)
Sunset Boulevard (1993 Original London Cast)

ASIN: B00005R5UJ
Release Date: 2001-11-20

Tracks:

Jesus Christ Superstar: Overture - Andrew Lloyd Webber
Jesus Christ Superstar: Everything's Alright - Yvonne Elliman/Murray Head/Ian Gilllan
Jesus Christ Superstar: I Don't Know How To Love Him - Yvonne Elliman
Jesus Christ Superstar: Gethsemane (I Only Want To Say) - Steve Balsamo
Jesus Christ Superstar: Superstar - Murray Head
Evita: Oh What A Circus/Sing You Fools - Antonio Banderas
Evita: I'd Be Surprisingly Good For You - Elaine Paige/Joss Ackland
Evita: Another Suitcase In Another Hall - Barbara Dickson
Evita: Don't Cry For Me Argentina - Julie Covington
Evita: High Flying, Adored - Mandy Patinkin/Patti LuPone
Cats: The Jellicle Ball - Andrew Lloyd Weber
Cats: Memory - Elaine Paige
Cats: Gus: The Theatre Cat - Susan Jane Tanner/John Mills
Cats: Mr Mistoffelees - Paul Nicholas
Song And Dance: Take That Look Off Your Face - Marti Webb
Song And Dance: Tell Me On A Sunday - Marti Webb
Song And Dance: Unexpected Song - Sarah Brightman
Song And Dance: Nothing Like You've Ever Known - Sarah Brightman
Song And Dance: Introduction - Andrew Lloyd Webber
Song And Dance: Variations 1 -4 - Andrew Lloyd Webber

Tracks:

Starlight Express: Starlight Express - El Debarge
Starlight Express: Crazy - Greg Ellis/Reva Rice/Caron Cardelle/Samantha Lane/Voyd
Starlight Express: Next Time You Fall In Love - Reva Rice/Greg Ellis
Starlight Express: I Am The Starlight - Lon Satton/Ray Shell
Starlight Express: Light At The End Of The Tunnel - The Company
Requiem: Hosanna - Placido Domingo
Requiem: Pie jesu - Sarah Brightman/Paul Miles-Kingston
The Phantom Of The Opera: The Phantom Of The Opera - Michael Crawford/Sarah Brightman
The Phantom Of The Opera: The Music Of The Night - Michael Crawford
The Phantom Of The Opera: All I Ask Of You - Sarah Brightman/Steve Barton
The Phantom Of The Opera: Entr'acte - Andrew Lloyd Webber
The Phantom Of The Opera: Masquerade - The Company
The Phantom Of The Opera: Wishing You Were Somehow Here Again - Sarah Brightman
Aspects Of Love: Aspects Of Aspects - Orchester Der Vereinigten Buehnen Wien
Aspects Of Love: Love Changes Everything - Michael Ball
Aspects Of Love: Seeing Is Believing - Michael Ball/Ann Crumb
Aspects Of Love: The First Man You Remember - Kevin Colson/Diana Morrison
Aspects Of Love: Anything But Lonely - Sarah Brightman
Aspects Of Love: Chanson D'Enfance - Sarah Brightman

Tracks:

Joseph And The Amazing Technicolor Dreamcoat: Any Dream Will Do - Jason Donovan
Joseph And The Amazing Technicolor Dreamcoat: Joseph's Coat - Maria Friedman/Richard Attenborough/Donny Osmond
Joseph And The Amazing Technicolor Dreamcoat: Close Every Door - Donny Osmond
By Jeeves: Travel Hopefully - John Scherer/Martin Jarvis/Don Stephenson
By Jeeves: When Love Arrives - Steven Pacey/Diana Morrison
By Jeeves: Half A Moment - Sarah Brightman
Sunset Boulevard: With One Look - Glenn Close
Sunset Boulevard: New Ways To Dream - Glenn Close/Alan Campbell
Sunset Boulevard: The Perfect Year - Glenn Close/Alan Campbell
Sunset Boulevard: Sunser Boulevard - Alan Campbell
Sunset Boulevard: As If We Never Said Goodbye - Glenn Close
Whistle Down The Wind: Whistle Down The Wind - James Graeme/Lottie Mayor
Whistle Down The Wind: Cold - Everly Brothers
Whistle Down The Wind: No Matter What - Children/Adult Chorus
Whistle Down The Wind: The Nature Of The Beast - Marcus Lovett/Lottie Mayor
The Beautiful Game: Overture - Andrew Lloyd Webber
The Beautiful Game: The Beautiful Game - The Company
The Beautiful Game: Our Kind Of Love - Hannah Waddingham
The Beautiful Game: Dont Like You - Josie Walker/David Shannon
The Beautiful Game: Let Us Love In Peace - Josie Walker/Omagh Youth Community Choir

Tracks:

Oh What A Circus - David Essex
Memory - Betty Buckley
The Phantom Of The Opera - Sarah Brightman/Steve Harley
All I Ask Of You - Sarah Brightman/Cliff Richard
Love Changes Everything - Michael Ball
Any Dream Will Do - Donny Osmond
Amigos Para Siempre (Friends For Life) - Sarah Brightman/Jose Carreras
As If We Never Said Goodbye - Barbra Streisand
The Perfect Year - Dina Carroll
With One Look - Petula Clark
You Must Love Me - Madonna
The Heart Is Slow To Learn - Kiri Te Kanawa
A Kiss Is A Terrible Thing To Waste - The Metal Philharmonic Orchestra
Whistle Down The Wind - Tina Arena
No Matter What - Boyzone
The Vaults Of Heaven - Tom Jones
Try Not To Be Afraid - Boy George
Pie Jesu - Charlotte Church

Tracks:

Make Believe Love - Wes Sands
Down Thru' Summer - Ross Hannaman
I'll Give All My Love To Southend - Ross Hannaman
Believe Me I Will - Sacha Distel
Joseph And The Amazing Technicolor Dreamcoat (1969 Radio Luxembourg Commercial) - Joseph Consortium/Pete Murray
Try It And See - Rita Pavone
Come Back Richard Your Country Needs You - Time Rice And The Webber Group
Goodbye Seattle - Paul Raven
John 19:41 - The Andrew Lloyd Webber Orchestra
What A Line To Go Out On - Yvonne Elliman
Disillusion Me - Gary Band
The Ballad Of Robert And Peter - Tim Rice
Christmas Dream - Maynard Williams
It's Only Your Lover Returning/All Through My Crazy And Wild Days/Don't Cry For Me Argentina - Julie Covington
It's Easy For You (1977 Jungle Room Session Version) - Elvis Presley
Magdalena - Tony Christie
Buenos Aires - The Roja Rockers
Pollicle Dogs And Jellicle Cats - Andrew Lloyd Webber
Mungojerrie And Rumpleteazer (Live At The Sydmonton Festival 1980) - Gemma Craven
I Could Have Given You More - Petula Clark
I've Been In Love Too Long - Marti Webb
Benedicite - The Stephen Hill Singers

Album Description

Disc 1: Selections from Jesus Christ Superstar, Evita, Cats, and Song and Dance

Disc 2: Selections from Starlight Express, Requiem, Phantom of the Opera, and Aspects of Love

Disc 3: Selections from Joseph nad the Amaziong Technicolor Dreamcoat, By Jeeves, Sunset Boulevard, Whistle Down the Wind, and The Beautiful Game

CD 4: 1. "Oh What a Circus" --David Essex 2. "Memory" - Betty Buckleey 3. "The Phantom of the Opera" -Sarah Brightman, Steve Harley 4. "All I Ask of You" --Sarah Brightman, Cliff Richard 5. "Love Changes Everything"--Michael Ball 6. "Any Dream Will Do"--Donny Osmond 7. "Amigos Para Siempre (Friends for Life)"--Sarah Brightman, Jose Caerras 8. "As if We Never Said Goodbye"--Barbra Streisand 9. "The Perfect Year"--Dina Carroll 10. "With One Look" --Petula Clark 11. "You Must Love Me" 12. "The Heart Is Slow To Learn" --Kiri Te Kanawa 13. "Whistle Down the Wind"--Tina Arena 14. "A Kiss Is a Terrible Thing To Waste"--The Metal Philharmonic 15. "No Matter What"--Boyzone 16. "The Vaults of Heaven"--Tom Jones and Sounds of Blackness 17. "Try Not To Be Afraid"--Boy George 18. "Pie Jesu"--Charlotte Church

Disc 5: (All tracks available for the first time) 1. "Make Believe Love"--Wes Sands 2. "Down Thru' Summer"--Ross Hannaman 3. "I'll Give All My Love to Southend"--Ross Hannaman 4. "Believe Me I Will"--Sacha Distel 5. "Joseph and the Amazing Technicolor Dreamcoat: 1969 Luxembourg Radio Commercial--The Jospeh Consortium, Pete Murray 6. "Try It and See"--Rita Pavone 7. "Come Back Richard Your Country Needs You"--Tim Rice and the Webber Group 8. "Goodbye Seattle"-- Paul Raven 9. "John 19:41"--The Andrew Lloyd Webber Orchestra 10. "What a Line To Go Out On"--Yvonne Elliman 11. "Disillusion Me" --Gary Bond 12. "The Ballad of Robert and Peter"--Tim Rice 13. "Christmas Dream" --Maynard Williams 14. "It's Only Your Lover Returning/All through My Wild and Crazy Days/Don't Cry for Me Argentina--Julie Covington 15. "It's Easy for You" (1977 Jungle Room Session version)--Elvis Presley 16. "Magdalena"--Tony Christie 17. "Buenos Aires"--The Rioja Rockers 18. "Pollicle Dogs and Jellicle Cats"--Andrew Lloyd Webber original demo 19. "Mungojerrie and Rumpleteazer" (Live at Sydmonton Festival 1980)-Gemma Craven 20. "I Could Have Given You More"--Petula Clark 21. "I've Been in Love Too Long"--Marti Webb 22. "Benedicte"-- Stephen Hill Singers

Customer Reviews:

I waited for this for five years.......2006-06-30

Between Amazone, Ebay and Napster, I don't usually buy CDs anymore, and I usually wait till I can buy them cheaper "new and used". When this set came out, I was excited, mainly by Disc 5, but wasn't going to spend $70 on it. I waited till it was cheap enough, and got it for Father's day this year.
It was worth the wait.

The concept is great. The packaging is great. The recording is great. Disc five is really cool for an ALW aficionado. There are a few real gems on it; my favorites are Petula Clark's "I Could Have Given You More" and "Benedicite."
I've always thought "Gus the Theatre Cat" made a great medley on the piano with "Unexpected Song" and "I DOn't Know How to Love Him," but wished there was an alternate lyric to match the other two songs. Now that I know there *is*, and it's a good lyric, it's a dream come true.
The melody of "Benedicite" is one of my favorites from _Sunset_ (the book mis-identifies it as "SUrrender"; it's actually "The Lady's Paying" and "Eternal Youth is Worth a Little Suffering"). The lyrics are the canticle from Daniel 3, which comes up every odd Sunday in the Divine Office, so it's nice to have cool music to sing it with.

I haven't bought _By Jeeves_ or _THe Beautiful Game_ yet, to it was great to sample them.

There are other parts of the CD taht aren't found in my collection. I like CD 4 "The Hits."

But the selections on CDs 1-3 don't make sense.

First, any self-respecting ALW fan has the Original London Cast of _Phantom_, so six tracks are totally useless. Why not draw from the Canadian cast with Colm Wilkinson? Or pull out some obscure recordings never published.

Why two different tracks with Michael Ball singing "Love Changes Everything", yet they're hardly any different?

On Disc 5 is "It's Only Your Lover Returning," sung by Julie Covington. It's an early draft of the song (Lloyd Webber and Rice went through several suggested titles) and quite nice. The very thing one expects on a Boxed Set.
So why have the Julie Covington "Don't Cry for Me" on disc 1?? The only difference is a few words, but it's otherwise identical. Why not Elaine Paige or Patti Lupone or Madonna?

The _Evita_ section is otherwise the best, choosing a sample from each major recording, though I'd have chosen slightly differently (as above).

There is a great selection of "Mungojerrie and Rumpleteazer" from the Sydmonton festival, using the original music that was changed when _Cats_ went to Broadway_. It would have been nice if they'd included more recordings from Sydmonton, like the original lyric of "All I Ask of You" shown on the second DVD to the _Phantom_ movie.

With so many great actress-singers who've played Norma Desmond, why does the collection beat us over the head with Glenn Close?

Paul Miles Kingston must be set for life in royalties, for the number of albums the original recording of "Pie Jesu" has appeared on. "Amigos Para Siempre" is nice, but it reminds me of Shari Lewis's "The Song that Doesn't End," especially when it's been used on so many compilations.

In short, this is a great collection for the obscure material, if you can get it cheap. But for a boxed set, it's a poor sampling, drawn mostly from the most familiar recordings.

Excellent collection but BIG PUBLISHING MISTAKE! .......2006-01-10

Please beware they made a mistake on this. It's actually the shortened Ray Shell version of STARLIGHT EXPRESS from the original 1984 London cast - NOT the El Debarge single from 1987 like it says on the box. I don't know how they let that goof pass. Sorry to Ray Shell. Having said that, this is an outstanding compilation of Lloyd Webber's greatest hits.

ONE OF LLOYD WEBBER'S BEST COMPILATIONS, DESPITE A FEW FLAWS.......2005-03-21

Regardless of the fact that some of his latest efforts (most notably, The Woman in White) are disappointing, there can be little doubt that Andrew Lloyd Webber is one of the greatest composers ever to work in the musical theatre. Ever since his "Jesus Christ Superstar" hit the stage in the early 70-is, it was clear that the conception and perception of musicals are never going to be the same again. Many of his songs became standards not only in the theatre history, but also as tops on the charts. Even though he's British, his influence on the shape of the modern musical theatre expanded over the West End boundaries long ago and has thus made an enormous impact on Broadway. Two of his shows ("Cats" and "The phantom of the opera") hold the record as two the longest running shows in the history of Broadway. He has also been the only composer to have three of his shows running at Broadway concurrently. Some of his awards include three Grammies, a Golden Globe, an Oscar and a bunch of Tony awards. But perhaps most of all, Lloyd Webber is responsible for bringing the musicals and the theatre appealing to the wide audiences, who in different circumstances would not consider seeing a musical. The secret of his success is probably the mixture of beautiful and catchy melodies, interesting subject matter (though some, like Starlight Express, are too thin) and grandiose staging.

Over the years many compilations of his work have emerged. In the late 80-is and early 90-is it was the "Encore" series and lately the one-disc collection called "Gold". The one in question here can be considered one of the best currently on the market. First, it includes a 3-disc selections from all of his shows, minus the latest one, i.e., "The Woman in White", which, considering the triviality of the score, is no great lost. The fourth disc covers some of his most known songs sung by the famous artists. Then, there is the fifth disc with previously unreleased material, most of which are the songs ALW wrote with Tim Rice for various artists during the 70-is. The disks are all neatly packed in a hardcover book that features 67 pages of pictures and text with information about each of ALW's shows. One of the other assets here is the perfect sound quality, since all of the tracks have been digitally remastered.

Here are my basic impressions and comments regarding the material on the discs:

* Disc #1 has the selections from "Jesus Christ Superstar", "Evita", "Cats" and "Song & Dance". The Superstar material mostly comes from the Concept Recording. Although the songs sound beautiful as always, their orchestration is a bit dated now. Only Steve Balsamo's "Gethsemane" from the 1996 revival cast has a modern rock sound. "Evita" comes with the material from all of the major recordings: London, Broadway and the movie productions, as well as the Concept album. No objections here; since this is one of ALW's most satisfying works, every song is just perfect, although Patti LuPone, the Broadway and overall the best Evita, is left with only a couple of lines. With the selections from "Cats", however, I have some doubts. A plus to the choice of the "Jellicle ball" impressive orchestral sequence from the 1998 movie version and "Mister Mistoffelees" from the 1981 London cast. One of the best known ALW's songs, "Memory", also comes from that album. It's a pretty version and Elaine Paige's rendition cannot be matched, but why include this when the definite version, featuring an 80-piece orchestra and Elaine Paige with much better interpretation, can be found in the same movie version. Thusly, one has to buy Elaine Paige's latest 2-disc compilation "Centre Stage: The very best of Elaine Paige" to get that one. And "Gus the theatre cat" is more a recital than a song, so there was not much point in including that. Marti Webb brings her vocal charm to the "Song & Dance" sequence, Sarah Brightman sings "Unexpected song" with her famous soprano, but as much as I like her version, Bernadette Peters, who was in this show on Broadway is strangely left out here.

* Disc # 2 starts with "Starlight Express". This was never one of my favorite ALW's shows; the plot is even lighter than in "Cats" and the 1984 original cast recording is terribly dated. Yet, here we have one terrific duet, "I am starlight" from the original together with three songs from the later revivals and it seems that fresh orchestrations were just the thing Starlight needed. My favorite remains a touchy ballad, "Next time you fall in love". "Requiem" is the most solemn of all ALW's compositions, written in 1985 to commemorate the death of his father. Placido Domingo's tenor rides together with the chorus all the way through the strong "Hosanna", only to be joined by Sarah Brightman in the final moments of this song. She then gives an echoing deliverance of "Pie Jesu". What can be said of ALW's next show, "The Phantom of the Opera"? A phenomenon in its own right, it's easy to see from the six numbers included here why this is one of the best and most beloved musicals of all time. The cast, the music, the story - everything is perfect. Although "Aspects of love" was never a popular hit, it does have some of the most beautiful love melodies ALW has ever written. "Love changes everything" sung by Michael Ball is probably one of the best tunes ever about love. The rest of the selected material here has a dreamy love flavor and the melodies find their way into your brain in the best Lloyd Webber way.

* ALW's first musical, "Joseph and the amazing Technicolor dreamcoat" was more successful in its revival form than the original from the 70-is. The three songs included here are sung by the show stars, Jason Donovan and Donny Osmond. Maria Friedman was not a lucky choice to play the narrator, as the track from the 1998 movie version shows. "By Jeeves" was ALW's only big flop when it came to the stage in the 70-is. The 1995 revival sounds much better though, full of funny numbers in the best manner of the musical comedy. "Travel hopefully" remains one of the show's highlights on this compilation. "Sunset Boulevard" comes next. "Sunset" remains for me one of Webber's best scores; lush and beautiful. I listen to the original cast recording with Patti LuPone all the time. However, here most of the songs are performed by Glenn Close. A big mistake. If you've ever listened the American premiere recording with her, you'll know what I am talking about. She may have a strong stage presence, but her vocal abilities are too limited, and her aggressive approach to the role lacks any subtlety. Therefore, the two big numbers from this show, "With one look" and "As if we never said goodbye" are ruined by the fact she can't sing. The same goes for the American Joe Gillis, who was played by Alan Campbell. Luckily, Patti LuPone and Kevin Anderson, the original Norma and Joe from the London production, make their brief entrance here with the "Perfect year"; enough to show how better they are. The funny thing is, on the jacket and inside of it, Glenn Close and Alan Campbell are credited as performers in this song as well. If this was a mistake on ALW's part, it was a good one. The next ALW's show, "Whistle down the wind" was never a critic's dear and yet the audiences rushed in to see it in London. The score brings back ALW to his rock and roll roots of the seventies and the story is quite interesting. But the selections here are not the happiest, since the cast recording boasts with much better songs. And finally, "The Beautiful Game". Again, we have one of those ALW's shows that is worth in its individual parts rather than as a whole. "Our kind of love" and "Let us love in peace" are two catchy ballads. The latter is a nice amalgam version not available elsewhere. The two other tracks here I could live without.

* Disc # 4 has the songs from all the above shows performed by different artists. The assembled tracks have their pros and cons. For example, we have some previously unreleased stuff, like Dame Kiri Te Kanawa's operettic rendition of "The heart is slow to learn", or a stunning and epic "A kiss is a terrible thing to waste" from "Whistle down the wind", performed by The Metal Philharmonic Orchestra. Then again, what was the point in including almost identical tracks as the ones on the previous disks? So we have Michael Ball again singing "Love changes everything" with only a bit different orchestration; Sarah Brightman comes out again with the same Phantom duets, but only with the different male singers. It would be much more appropriate to include tracks from the Toronto Cast of the Phantom, with Colm Wilkinson. Other pop deliverances (Tina Arena's "Whistle down the wind", Barbra Streisand's "As if we never said goodbye", Boyzone's "No matter what" and many more) were wisely chosen. Patti LuPone is again nowhere to be found and Petula Clark's "With one look" sounds too worn-out.

* The last disc is probably the one that will be of most interest to Lloyd Webber aficionados. It consists of entirely previously unreleased material ALW for the most part wrote for various artists during his early years, with Tim Rice. Some of these tunes, not successful as a singles, were later used in his shows. Thus "Down thru' summer" became "Buenos Aires"in Evita, "Try it and see", an unsuccessful attempt for the Eurovision was used for "King Herod's song" in "Superstar" and so on. Some of these songs are nicely made pop songs: "Make believe love", ALW's first recorded composition, for which he provided the lyrics; "Goodbye Seattle", sung by Paul Raven, who later became Gary Glitter; "Come back Richard, your country needs you", from a never made musical, sung here by Tim Rice, or Latin flavored "Magdalena", with Tony Christie singing. My all time favorite here is a song called "It's easy for you", sung by none other than Elvis Presley himself. Lloyd Webber and Rice sent him a demo recording that he accepted and recorded this live version a couple of weeks before he died. It's amazing to hear how his voice remained in the perfect shape. Also, there is a track of Andrew Lloyd Webber singing "Policle dogs and Jellicle cats" while plying the piano. His voice doesn't sound bad at all.

Taken as a whole, this compilation makes a perfect birthday or Christmas present to any fan of Andrew Lloyd Webber shows, or just anybody interested in some of the best tunes from the modern era of the musical theatre; despite the flaws I mentioned above. To the former, it may just be the final addition for the Andrew Lloyd Webber collection.

SUCH MAGICAL MUSIC OF THE NIGHT!.......2003-01-19

"Evita." "Sunset Blvd." "Starlight Express." "Jesus Christ Superstar." "Joseph and the Amazing Technicolor Dreamcoat." "Requiem." "Aspects of Love." The man who is the most recognized composer in the history of the musical theatre, the man who has won more Tonys than any other composer, the man who boasts the best-selling show of all time ("The Phantom of the
Opera") and the longest-running show of all time ("Cats"), the man whose homes are filled with three Grammys, five Oliviers, a Golden Globe, and Oscar and too many other honors and hosannas to mention, the man knighted in 1992 certainly doesn't need an introduction. Now Decca Broadway pays tribute to Sir Andrew Lloyd Webber with "Now and Forever," a spectacular 5-CD set compiled and produced by Sir Andy himself. It's cheaper than a
ticket to "The Producers" ... and more much exciting. This treasure trove contains highlights from all of Webber's shows, and a bonus disc of tunes sung by Betty Buckley, Barbara
Streisand, Jose Carreras, Boy George, Charlotte Church, Madonna, Tom Jones, Petula Clark, even Elvis! A must for lovers of theatre---and good music.

A Must Have for Sir Andrew fans.......2002-05-21

This five-CD collection of Andrew Lloyd Webber's career is fantastic. It leaves virtually no stone unturned. I have no doubt that diehard Webber fans will love this, especially for the 5th disc entitled "From the Vaults." This disc alone is worth the price as it contains tunes never before heard by the typical fan. Who knew Elvis did a Lloyd Webber tune?!? I didn't! Also the tune "Benedictine" which the composer wrote for his most recent marriage is not only pretty, but it has the same medley as "The Lady's Paying" from "Sunset Blvd." which I found highly enjoyable. Another great track is the composer himself singing a cut song from "Cats" entitled "Pollicle Dogs and Jellicle Cats" which has the same tune as "Jellicle Songs for Jellicle Cats," but to hear Sir Andrew sing is a blast...he sounds a lot like Al "Year of the Cat" Stewart.
The cuts from the musicals are great but are likely owned by ALW fans as they are on the original cast albums. And I'm glad that there were tunes included from the composers most recent efforts which have yet to make it beyond London (Whistle Down the Wind, Beautiful Game).
My only complaint is the inclusion of way too many tracks by Sarah Brightman. She must've received a great divorce settlement that included having tunes on any ALW collection until the end of time!! Her interpretations of some of the tunes were limp and uninspired. I would've much rather heard casts from around the world rather than yet another song by this disdainful soprano! How about Colm Wilkinson's version of "Music of the Night" from the original Canadian cast of "Phantom"? Or Michael Crawford's version of "Unexpected Song"? What? No Betty Buckley from "Sunset Blvd."? And of course there are songs you KNOW are going to be on the collection before you even listen to it as they have been on EVERY ALW collection for the past decade or so.
A great collection but too much Sarah Brightman!

Average customer rating:

OK, but not the greatest...
talk about garbage
The First I Got
Where have you gone, HWM???
The New Can't Wait What's Next

The New What Next
Hot Water Music
Manufacturer: Epitaph / Ada
ProductGroup: Music
Binding: Audio CD

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Caution
A Flight and a Crash
Never Ender
Forever and Counting
Fuel for the Hate Game

ASIN: B0002PUH0G
Release Date: 2004-09-21

Tracks:

Keep it Together
End of the Line
Bottomless Seas
All Heads Down
Ebb and Flow
Monkey Wrench
Under Everything
Ink and Lead
Poison
Early Grave
Giver
Already Roses

Customer Reviews:

OK, but not the greatest..........2006-08-31

I have to admit I was expecting a lot more out of this album. It isn't that I am pissed about mass marketing or other crap like that, its just that I find myself skipping songs on this album, which I have never done on any HWM release before. There are maybe 3 or 4 good songs on the album, but only one standout, "Giver". Not horrible album, but definately not the greatest either.

talk about garbage.......2006-03-17

its sad when great bands sell out and let other people write their songs for them. thats all rap is, those idiots dont write their songs. its too complex for them. HWM used to have deep lyrics about their lives and experiences, now its muddled garbage. screw you epitaph!

The First I Got.......2006-02-05

I got this HWM album first, so I have a special liking for it. I honestly despise it when people insult this as its not the same as previous works. Am I the only one who doesnt care?

I love it when a band evolves, as long as its a good evolution. This is, my version of the album starts with Poison, not at track nine. So anyway, I buy this album, get back in the car and slap it in the CD player. "I could waste away with politics!.." It was an intense, fantastic start to an album.

"All Heads Down" was however the first HWM song I ever heard. It gets a little repetitive after a while, but that doesnt stop it being a really good song. The riff is awesome.

This album is melodic in comparison to older HWM. It takes some listening to, Ill give you that. But when you listen you discover a new favourite track. For example, "My Little Monkey Wrench" went unnoticed to me for about 5 listens before I went, wow, sick track. "Under Everything" and "There Are Already Roses" I always listen to together, they compliment each other nicely.

"Poison", "The End Of The Line" and "This Early Grave" are the easiest to get into, and probably the best tracks the album offers. Its so easy to breeze over the other tracks, but if you have the patience to listen to the other tracks on this album, you will be pleasantly surprised.

Where have you gone, HWM???.......2006-02-01

I've been a Hot Water Music fan since they released what I think is far and away the album of the 90s, No Division. To say that this band is great would be an understatement, as 5 near-perfect full-lengths, as well as numerous live albums, splits, and comps would attest to.

I've listened to "The New What Next" at least ten times already, and here is the glaring problem: it's catchy. Harmonized choruses, emotion-laced guitar riffs, and poorly-written lyrics characterize this album. Catchy may be good for some bands, but it is the opposite of what we fans of the boys from Gainseville have come to expect.

To be honest, if Chuck's voice wasn't so distinguishable, I'd question whether this was really even Hot Water Music. That unbelievable grit that characterized songs like 220 Years, Jet-Set Ready, or Paper Thin is absent from every track on this album. Those offbeat harmonies that come at strange times and in strange tones (another GREAT thing about this band) have been replaced with perfectly-sung harmonies that can only be described as Blink 182-esque.

Hot Water Music has never been a radio-friendly band, as their underproduce, vinyl-on-sandpaper sound probably wouldn't appeal to wide audiences. That same sound appealed to me, and legions of rabid fans that frequent their unbelievable live shows. That sound is gone.

Maybe this is just a misstep in an otherwise perfect tenure. I pray that it is, but this album is over-produced, over-simplified ("I will be under everything/ I'm getting closer than you think"--better lyrics, please), and is simply not Hot Water Music.

This is not an album for the HWM purists, but might be enjoyed by a more mass-market-oriented audience.

All I can say is, please come back--I miss the real Hot Water Music.

The New Can't Wait What's Next.......2005-10-09

Alright... people have been complaining about this album and I have to disagree with them. Now, I am not a crazy HWM fan and have been skipping around with their albums; I have loved everything that I have heard so far. Now, this particular album does sound different from the rest, for it is not as raw and aggressive as the past albums. However, it does have a great sound. I think that it is good that HWM is changing, and they have been through all of their albums. I think that the next cd will be the real ice breaker... because HWM has now experimented with a TOTALLY different sound and what they choose to do with it with the next album will be what will make fans either go crazy or rip their hairs out.

To HWM die hard fans, this album may be a let down because it is not as hardcore as the previous albums. But I think the music is still as good and is in fact getting better. Some people say that they want music that sounds like other albums that they have written but... that just kills what HWM is. They experiment with new sounds with every album. Let them do that... it's who they are.

So, I am giving this a five star because their music is still good... and because of their bravery for taking new steps in foreign territory. Keep on goin' HWM!

Average customer rating:

Carter at his highest weakest
Carter's absurdist opera in one act
What Next? on CD--a cause for celebration
Carter's one opera, at long long last

Elliot Carter: What Next?

Manufacturer: Ecm Records
ProductGroup: Music
Binding: Audio CD

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The Music of Elliott Carter Vol. 7; Boston Concerto, Cello Concerto, ASKO Concerto, Dialogues
Elliott Carter: A Symphony of Three Orchestras; Varèse: Deserts; Ecuatorial; Hyperprism
American String Quartets, 1950-1970
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Feldman: Neither

ASIN: B000094HLB
Release Date: 2003-11-25

Tracks:

What Next?
Asko Concerto

Customer Reviews:

Carter at his highest weakest.......2005-12-15

Carter and the human singing voice does not make for an interesting mix,and the definite cloistered "buzz" of opera's paradigms today is even a more a problematically situation.Writing for the voice within the 20th Century has not been a easy task as well, especially with the vigours of dodecaphonic language.Berio has revealed a gift for it, but with large doses of recitation of text, whispering, percussive timbres, babbles,groans and moans,declamatory deliveries. Schoenberg as well tried to remedy this with a more natural delivery of sprechstimme, a situation where text can be developed more fluidly,more hard-edged rhythms can be placed into phrases with greater dimensions,amounts of text to utilize.Carter seems to vault over this history and simply does not know how to write for the voice.He really has never developed an original evolution for the human voice, a creative language,his own vocabulary let's say as he so brilliantly has with instrumental materials, timbre and its structure.Instead this entire opera has that obvious predictable odious East Coast sing-songin almost Broadway vacuousness,a false subjectivity at work, a want-to-be-loved ambience despite Griffiths well crafted text. It is a shame for the instrumental accompaniment is incredible, and that's what you get throughout the proceedings here, instrumental moments, brilliant colors,textures,timbres and gradations of densities, interesting contrapuntal lines, free like percussive moments that sit along side quite naive singin.
Well Carter is not alone all the dodecaphonic practicioners if you think back, their vocal oeuvre is their weakest creative place in dimensions (Babbitt,Shapey,Wolpe,Boulez). The singing in "What Next?" is brilliant but about what?, there is not synergy that occurs in Carter's vocal music either which can help. As Adorno said someplace you pay a price for what you do, and Carter's aesthetic has been strictly magnetized to instrumental and structural polyrhythmic discourse,long durational planning. These are all "structural tools" in the box that does not produce good theatre.Carter should have relied on the lijes of a Robert Wilson or Jonathan Miller that could have seen through the one-dimensional vocal writing of Carter. Whomever thought this work would be good and get off the ground is suffering from a conceit that does no one a service. Carter wasted his well-gifted talents on a work that in the end proved only that he cannot write for the voice and has no genius in theatre. If in fact this work had Schoenbergian :Pierrot:where the singing is parcelled out in fragments and vocable dimensions that would have save this work to some degree, but I was looking for this, and it never materialized.

The :Asko Concerto: is also not as well disposed as his Penthode other chamber works despite the well-balanced playing here the Violin and Trombone solo passages I found were distractions as much as interesting. I think Carter's chamber works, work best when he has an interesting structural agenda to pursue and none really emerges here.

Carter's absurdist opera in one act.......2004-01-26

Happy Birthday Elliot Carter! This ECM disc was released to coincide with Carter's recent 95th birthday. The opera, "What Next?", was composed in 1997, commissioned by Daniel Barenboim for his Deutsche Staatsoper in Berlin. This recording is from a live performance in Amsterdam on September 9, 2000.

"What Next?" is a resolutely modern work -- atonal, non-melodic, without strong emotional weight. Think "Pierrot Lunaire" by Schoenberg. Carter says he aimed for a light tone rather than the heavy poetry he had used previously for vocal works -- anxiety and humor seem to be the two poles, indicating a bemused, detached existential dilemma. The libretto is by Paul Griffiths, the music critic, and is an absurdist scenario a la Samuel Beckett that begins with an auto accident. The five characters, which could be characterized as archetypes -- Earth Mother, Guru, Scientist, Diva and Clown -- although that is my interpretation, converse but fail to connect over 40 minutes, interrupted by one instrumental interlude at the half-way point. The singing is wonderful, the contrapuntal weaving of the voices (two sopranos, contralto, tenor and baritone) is superb, and the Netherlands Radio Chamber Orchestra, Peter Eotvos conducting, is precise and supportive.

The other piece, the 12-minute "Asko Concerto," composed in 2000 for a 16-piece chamber orchestra, is another delightful Carter composition featuring his typical use of different tempos for different instruments creating complex patterns, in this case separated by a recurring ritornello.

The packaging is excellent, typical from ECM -- a booklet including the libretto, notes by Griffith and David Hamilton, and black-and-white photos, is enclosed with the jewel-case in a box.

While not his best works, these are fine additions to Carter's magnificent oeuvre -- on to 100!

What Next? on CD--a cause for celebration.......2003-12-21

Of late the American composer Elliott Carter (95 this December) has been increasingly prolific, and has matched this newfound rate of production with a style that has matched his highly dramatic, well-contrasted and hyper-complex atonal style with a newfound classical grace and lightness. This disc contrasts two recent works, the one-act opera What Next? (1997) and the ASKO Concerto (2000).

What Next? is a six-handed opera in one act and two scenes to a libretto by the prominent music critic (and wannabe novelist) Paul Griffiths. It features a rather absurdist response by six characters to the aftermath of an auto wreck, with a constant shift in focus that was surely intended to highlight Carter's own compositional style. Taken as a work of literature, it is in my opinion rather weak--though that's true of most opera libretti--but the true test is on how well it meshes with the music, and it does that well. The opera starts with a crashing prelude, mainly for percussion (a section that is prominent amongst the chamber orchestra accompaniment) before moving swiftly through a series of episodes in which each character is very distinctly characterised by different musical material. The action is interrupted once by a slow, lyrical interlude before speeding to the end. This is a fine work, with very clean, delicate writing and excellent contrast between the vocal parts, but I don't feel it's essential late Carter in the way that, say, Symphonia, Luimen, Tempo e tempi or the Oboe Quartet are.

The ASKO Concerto was written for the Dutch ensemble of that name. Scored for flute, oboe, clarinet, bass clarinet, bassoon, horn, trumpet, trombone, piano doubling celesta, harp, string quintet and percussion, it is--as in many other late Carter works--an essay in contrasting the full ensemble against small soloistic groups. A ritornello for the whole ensemble, constantly developing, is broken up by passages for, respectively, oboe, horn and viola, then clarinet and double bass, then bass clarinet, trombone and cello, then trumpet and violin, then piccolo, percussion, harp and violin, then bassoon. This work is certainly an essay in Classical grace, but once again I don't think it quite reaches the peaks of Carter's best recent work.

This disc will be essential for all Carter fans, though with a few caveats. Firstly, the recording only contains 52 minutes of music: it is a pity ECM didn't add in another of Carter's recent chamber orchestra pieces. Secondly, the opera appears all on one track of the disc; it would have benefited from individual tracking of the thirty-eight numbers given in the libretto. Finally, while the performance of What Next? strikes me as outstanding, I feel there could be more levity and joy in the ASKO Concerto. Nonetheless, this is an important addition to the Carter discography.

Carter's one opera, at long long last.......2003-12-07

Carter wrote this 40-minute one-act opera in 1998, just before he turned 90. It is his one foray onto the stage, though in a sense, he has been writing operas all his life, assigning distinct personalities to the individual instruments in his chamber scores, which he has called "auditory scenarios." Here he does some wonderful things with an absurdist libretto by Paul Griffiths that is at once baffling and obvious. Six characters, gradually reciovering from a car accident, retreat into their own preoccupations rather than doing anything to help one another or rectify their situation. There isn't much conflict, but some of Griffith's observations are thought- provoking, and Carter's vocal writing is richly contrapuntal. The women in the cast make the strongest impressions, esp. contralto Hillary Summers as Stella. As substantial as the opera is, though, the real attraction of the disk is the Asko Concerto, a masterful little chamber symphony that packs a lot of color and drama into its 12-minute length. Some of the instrumental pairings -- violin and trumpet, or piccolo and xyplohone -- are real attention getters, and the studio performance is excellent. I'd never heard the work before, but now I can't get enough of it.

Average customer rating:

Webber: The Greatest Hits

Manufacturer: Compendia
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Musicals | Broadway & Vocalists | Styles | Music

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ASIN: B00000J83O
Release Date: 1999-06-08

Tracks:

Phantom Of The Opera: The Phantom Of The Opera
Phantom Of The Opera: All I Ask Of You
Phantom Of The Opera: The Music Of The Night
Phantom Of The Opera: Masquerade
Evita: Don't Cry For Me, Argentina
Evita: High Flying, Adored
Evita: Another Suitcase In Another Hall
Evita: On This NIght Of A Thousand Stars
Evita: Buenos Aires
Evita: Oh What A Circus
Joseph And The Amazing Technicolor Dreamcoat: Any Dream Will Do
Joseph And The Amazing Technicolor Dreamcoat: Close Every Door
Joseph And The Amazing Technicolor Dreamcoat: Go, Go, Go, Joseph
Joseph And The Amazing Technicolor Dreamcoat: Song Of The King
Joseph And The Amazing Technicolor Dreamcoat: Benjamin Calypso
Joseph And The Amazing Technicolor Dreamcoat: One More Angel In Heaven

Tracks:

Cats: The Rum Tum Tugger
Cats: Mr. Mistoffelees
Cats: Memory
Cats: Mungojerrie & Rumpelteazer
Cats: Macavity: The Mystery Cat
Cats: Skimbleshanks: The Railway Cat
Starlight Express: Pumping Iron
Starlight Express: Rolling Stock
Starlight Express: Starlight Express
Starlight Express: Next Time You Fall In Love
Starlight Express: Uncoupled
Starlight Express: Make Up My Heart
Starlight Express: One Rock n' Roll Too Many
Jesus Christ Superstar: Everything's All Right
Jesus Christ Superstar: I Don't Know How To Love Him
Jesus Christ Superstar: King Herod's Song
Jesus Christ Superstar: Jesus Christ Superstar
Jesus Christ Superstar: Heaven On Their Minds
Jesus Christ Superstar: Hosanna

Average customer rating:

HOLLY INSANE BEAST NUBBUS!!!!!!!
A masterpiece!!!

The String Quartet Tribute to Chevelle
John Krovoza , Chevelle [rock band] , Tim Emmons , Tom Vos , and Ted Falcon
Manufacturer: Vitamin Records
ProductGroup: Music
Binding: Audio CD

General | Rock | Styles | Music

General | Compilations | Rock | Styles | Music

General | Chamber Music | Classical | Styles | Music

Tributes | Pop | Styles | Music
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ASIN: B0000YEDY0
Release Date: 2004-01-06

Tracks:

Family System
The Red
Blank Earth
Send the Pain Below
Point #1
Closure
Wonder What's Next
Comfortable Liar
An Evening With El Diablo
Don't Fake This

Product Description

1. Family System
2. The Red
3. Blank Earth
4. Send The Pain Below
5. Point #1
6. Closure
7. Wonder What's Next
8. Comfortable Liar
9. An