Sunlight [CD-single]

1. Sunlight [Radio Edit]

2. Sunlight [Milky Edit]

3. Sunlight [Bossa Nova Vibes]

4. Sunlight [Original Version]

5. Sunlight [Milky Remix]

6. Sunlight [Martin Eyerer Remix]

7. Sunlight [Driftwood Remix]

8. Sunlight [Minimalistix Remix]

9. Sunlight [DJ Shog Remix]

10. Boys of Summer [Soulside Mix]

Sunlight,DJ Sammy,Robbins,5"CD Singles,Club/Dance,Dance Music,Pop

Average customer rating: Hauntingly beautiful The last great effort by Tangerine Dream with Chris Franke. A Synthesizer Lovers Dream! Very interesting I rate this with 10 stars!!!. In short: The BEST Tangerine Dream release ever.

Underwater Sunlight Tangerine Dream Manufacturer: Castle Us ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music General | Dance & DJ | Styles | Music Electronica | Dance & DJ | Styles | Music General | New Age | Styles | Music General | Rock | Styles | Music Progressive Rock | Progressive | Rock | Styles | Music Pop Rock | Pop | Styles | Music Similar Items: Tangram Hyperborea Phaedra Rubycon Exit ASIN: B0007TKFT0 Release Date: 2005-02-15

Tracks:

1. Song of the Whale, Pt. 1: From Dawn...
2. Song of the Whale, Pt. 2: ...to Dusk
3. Dolphin Dance
4. Ride on the Ray
5. Scuba Scuba
6. Underwater Twilight

Customer Reviews:

Hauntingly beautiful.......2007-06-20

This was the third or fourth release by TD I had ever purchased. I was just getting into their sound at the time, and this release only served to invigorate my love for their music.

Johannes Schmoelling had departed the band after nearly 6 years and Underwater Sunlight introduced yet another newcomer to the TD lineup: a young Austrian by then name of Paul Haslinger. Paul sems to have brought a new edge to the band's music.

This "concept" album seems to focus on the sea and the life therein (judging by the song titles) and each composition is masterful work of art.

The first track, "Song of the Whale - Part One: From Dawn..." is obviously an allegory to the plight of a vanishing species (in '86 when this album was released, "Save the Whales" was a popular slogan and an issue that seemed to be on everyone's mind at the time). This composition will tear at your heartstrings as Edgar's guitar cries alongside Chris's crystal-clear sequencers, and Paul's melodies.

This album has it all; beautiful, relaxing melodies, up-tempo songs, and atmospheric journeys into the mysteries of the sea.

Spellbinding.

One of my favorites.

The last great effort by Tangerine Dream with Chris Franke........2007-06-14

If you are an educated and long time fan of TD then you'll understand the title of this review. I do not consider this their best album ever as stated below. Because TD has had several stages in their long and illustrious career. However..if you take out the soundtracks and live albums, then compare all their albums in the eighties only..when Franke was in the band, then yes this is my favorite. Le Parc and this one are simply fantastic records of the era. It is a beautiful,inspired and oceanic new age record..so to speak. The best one ever? Well they have about 50 or more albums over a 40 year period. I own at least 20. So it depends what kind of electronics your talking about. This album is more musical and involved. I personally will always call Rubycon my favorite. But that's a completely different time period. This is not an acid or soudscape record. It's just a really good feeling record, and a credit to the band that even after more than 10 albums at that point, they still wrote great music. After Chris Franke departed soon after it's release I think TD began to go downward on quality and inspiration. But if you like TD and you want a safe buy. This absolutely is worth the money and time.
You won't be disappointed by any means.

A Synthesizer Lovers Dream!.......2007-05-22

While I have not had enough time to listen to Tangerine Dream's expansive library of music, I have to say of what I have heard, this is my most favorite on my list. If you love keyboards/synthesizers as much as I do (I am an 80's fanatic), you will not be disappointed. Also, the guitar riffs in this CD by co-founder Edgar Froese are outstanding! My persoanl favorite track is "Dolphin Dance" for its serious yet playful melody. As I hardly ever give any of my CD's the coveted "5 stars", this is an awesome listen for sure... if they only had this in SACD format (haven't found one yet), I could only imagine how expansive the sound would be... in a single word, "Wow!"!

Very interesting.......2007-01-09

Although I am not a huge fan of this kind of music, I have to tell that I find this one really interesting to listen at. The best moments is by far the first two tracks. The progression in the second one is simply sublime. A music to listen alone with eyes closed and ears wide open.

I rate this with 10 stars!!!. In short: The BEST Tangerine Dream release ever........2006-03-23

The exceptional work on this CD is the PERFECT TD Resume. Underwater Sunlight shows you why Tangerine Dream is the BEST electronic-rock band in the world. I know; every single CD from TD is a Masterpiece, and, each one is totally unique. But this Masterpiece is everything: it is mystical, emotive, magical, rhytmical, delightful, well structured, superb, melancholical, and crystal clear. This is a must to have for every TD fan an even for those of you who never had listened (I doubt that) TD's music. I can tell you; you can play this CD as many times as you want and you will never get tired of listening it. Buy it now!. Enjoy.

Average customer rating: Delicious!! Excellent CD! Surprising and Refreshing an old friend, a new friend Plenty of hooks

Sunlight Makes Me Paranoid Elefant Manufacturer: Kemado ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music Indie Rock | Indie & Lo-Fi | Alternative Rock | Styles | Music General | Rock | Styles | Music Pop Rock | Pop | Styles | Music Similar Items: The Black Magic Show Stellastarr* The Strangest Things Harmonies For The Haunted She Wants Revenge ASIN: B00008NRL3 Release Date: 2003-04-08

Tracks:

1. Make Up
2. Now That I Miss Her
3. Misfit
4. Bokkie
5. Tonight Let's Dance
6. Static On Channel 4
7. Sunlight Makes Me Paranoid
8. Annie
9. Love
10. Ester

Amazon.com

If you like the Strokes, you should be spending this week's CD allowance on Elefant's first full-length recording. This New York- based band has the same angular, punchy guitar and bass, sticky melodies, ennui-filled boy vocals, and pointed lyrics as the Strokes. But with Elefant, you get a little Brit-pop flavor from vocalist Diego Garcia (originally from Argentina but sounding British). Catchy arrangements grab you right away with the opener, "Make Up," and by track three, "Misfit," you know the ebullient style of guitarist Mod is going to stick in your head long after the CD stops playing. "Bokkie" is tailor-made for radio but is completely fresh and irresistible, and in a similar vein, "Love" bristles with a pop energy that's both understated and relentless. --Lorry Fleming

Customer Reviews:

Delicious!!.......2007-06-15

This is one of the best albums I have heard in a long time - intelligent, funny lyrics, and a cool 1980's, David Bowie sensibility. What more could you ask for? Haunting, catchy lyrics that will ensnare you in their cotton candy web of deliciousness? Your wish is granted . . .

Excellent CD!.......2005-11-20

Sure, this CD may offer sounds similar to those of the Strokes, but Elefant throws in some of their own moods, sounds, and ideas to a sound that only grazes the Strokes. Setting alone by itself, this CD is a masterpiece of beautifully crafted melodies that just leave you breathless and asking for more. When I first started listening to this CD, I pushed the repeat button because I knew I would want to listen to this CD at least three times through. And in the course of the first 24 hours of owning this CD, I listened to it near to 6 times. I absolutely love this CD and it is a great addition to anyone's music collection. This is great for any indie fans, but I think anyone should at least try this CD once.

Surprising and Refreshing.......2005-09-30

I got this a while ago. It's really quite a fun album. The basslines are dreamy, the singer's voice is melodic and lilting.

This album starts on a fun, romantic note with the song, "Make Up". Seems to be about love and sex and being yourself. I really can't tell because the lyrics are all over the place, but this is one of my favorite songs on the disc.

It continues in that general vein. The disc then moves on to "Now That I Miss Her" which is definitely a fun track. They have that melancholy yet upbeat sound down perfectly.

I really can't say enough good things about this. However, I think YOU, the intelligent buyer, should trust your instincts. You have my words here, singing it's praise...but it all comes down to YOU. What do YOU want?

I wanted this.

an old friend, a new friend.......2005-09-24

this cd is so, so good. the first five tracks especially are top. they have great sounds and lyrics that seem familiar, like old friends you grew up with. but their sound is also just original enough that it's also like that new best friend you want to spend all your days getting to know better. one of my favorites of the year.

Plenty of hooks.......2005-08-09

Yes, they have the New York Sound. I can say that I REALLY don't like the Strokes, but I love this cd, and their 1st ep as well. For those that think these guys are just imitating what's popular out there (someone mentioned the Bravery), please know that this cd is already 2 and a half years old, so they're part of the original NYC lineup. If you know and like Longwave and Interpol, I think you'll like this cross-breed of the two, mixed with more danceable new wave moments. This is summer music for sure.

Average customer rating: Herbie gets the balance just right! A Curiosity Disco Herbie I Thought It Was..WHO? Herbie "Sings"!

Sunlight Herbie Hancock Manufacturer: Sbme Import ProductGroup: Music Binding: Audio CD Bebop General | Bebop | Jazz | Styles | Music Hard Bop | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Jazz Fusion | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music General | R&B | Styles | Music General | Funk | R&B | Styles | Music Jazz Funk | Funk | R&B | Styles | Music Jazz | Imports | Stores | Music R&B | Imports | Stores | Music Similar Items: Mr. Hands Magic Windows Secrets Man-Child Thrust ASIN: B000006X4B Release Date: 1997-10-20

Tracks:

1. I Thought It Was You
2. Come Running to Me
3. Sunlight
4. No Means Yes
5. Good Question

Album Details

Recorded in 1977 and featuring sidemen such as Tony Williams (drums), Jaco Pastorius (bass) and Hancock himself on 'electronic vocals' and multi-keyboard sounds. Includes the songs: 'Sunlight', 'No Means Yes' and 'Good Question'.

Customer Reviews:

Herbie gets the balance just right!.......2007-07-28

Although I have slightly more love for his acoustic period and his early works like Takin' Off, Maiden Voyage and Speak Like a Child (best chronicled on The Best of Herbie Hancock: The Blue Note Years), I'm also very much a fan of Herbie Hancock's electronic period. Once he discovered moogs, polyphonic synthesizers, ARPs, vocoders and the like, jazz-funk was never the same again. He had his eye firmly on the streets as evidenced by "I Thought It Was You", which was a huge crossover hit back then but he ensured I wasn't totally dismayed and disappointed by providing innovative and exciting jazz numbers like "Sunlight", with that fabulous sax solo by Bennie Maupin, "Come Running To Me" and "No Means Yes". Though I have nothing against the vocoder per se, it's what Hancock does with his electric piano improvisations on these songs here that I love most of all. The album features talents like Melvin Wah Wah Watson, Ray Parker, Jr, Jaco Pastorius, Leon Ndudu Chandler, Harvey Mason, Tony Williams and Bill Summers. A true classic.

I remember reading some savage reviews from critics back then, especially those from the more purist camps, who probably missed the acoustic stuff I referred to earlier. Either that or they presumed a jazz musician had no right making being experimental and innovative. I just thought the dude was awesome. I still do.

That said, I do concede that it's possible to take an idea too far. Hancock continued his electro-funky trend with 1979's Feets, Don't Fail Me Now, (which gave me the delights that are "You Bet Your Love", the hypnotic ballad "Trust Me" and the incredibly funky "Honey From The Jar". I also liked the Ray Parker, Jr-esque tune, "Ready Or Not") but overall, I liked this album rather less than I did "Sunlight". Things went further downhill in my opinion with 1980's Monster. The only two tracks I could really get into on that, unfortunately, were "Stars In Your Eyes" and the truly beautiful "Making Love". I can even take "Saturday Night" at a pinch but that's only if I take the charitable view of this being just an r&b/soul album with jazz influences, as opposed to the other way round.

Mr Hancock finally cast all pretensions of being a jazz performer aside and took his turn on the Rod Temperton bandwagon with 1982's Lite Me Up and eventually found his chart nirvana with the massive 1983 hit "Rockit" from his album Future Shock.

I don't want to be misunderstood. I adore Herbie Hancock and get enjoyment from all the albums I've mentioned here, (especially "Feets Don't Fail Me Now" and "Lite Me Up"). I think he's one of the most creative jazz musicians I've ever heard. I just wish sometimes that he had stayed in "Sunlight" mode. I think it's on this album that he got the balance between jazz and funk just right.

A Curiosity.......2007-05-30

1978's SUNLIGHT was the first album in which the keyboard maestro "sings" through a vocoder synthesizer. The cute midtempo pop tune "I Thought It Was You" opens the album with cheesy "clothespin on your nose" electronic vocals along with a melody that would fit right at home on a "Love Boat" episode. "Come Running To Me" fares much better due to its crisp string and horn arrangement and interesting lyrics by future "Friends" theme co-writer Allee Willis. The title track is the weakest of the vocal cuts due to the weak lyrics penned by Mr. Hancock himself.

The album closes with two great instrumentals for the jazz fans: "No Means Yes" and the hot salsa-flavored "Good Question". Fusion legends Jaco Pastorious and Tony Williams lend the unique talents to these compositions.

SUNLIGHT is a partly-successful experimental album that is actually better than expected because of its cheese factor. Now if Herbie would only get rid of that Saturday Night Fever suit that makes him look like one of the members of Tavares.

Disco Herbie.......2005-05-26

Even Herbie Hancock was doing disco by the late 70s. I used to own the vinyl copy, and believe this to be entirely dispensable HH when you can be listening to Thrust, Inventions and Dimensions, Maiden Voyage, Secrets, Sextant, etc. (Sunlight did show that Herbie Hancock has some vocal ability, and it's too bad this is the only album I know of where he sings.)

I Thought It Was..WHO?.......2003-09-26

The beginning of Hancocks obsession wih vocoderized singing
starts on the monster "I Thought It Was You"-a pop early electro
funk number along with it's tital track counter tune."No Means
Yes" is a decent instrumental funk-fusion number while the
closer "Good Question" blasts back to avante-acoustic jazz smack
in the heart of VSOP territory.And theres a throwaway pop ballad
in "Come Running To Me.Trouble is-those arn't highlites;that's
the entire ALBUM-literally!Other then that,enjoy!

Herbie "Sings"!.......2003-01-24

Not a typical Herbie album for one BIG reason - "vocals" by Herbie himself. Why quotes? He used a voice-encoder, or "vocoder" (NOT "vocorder"). Invented by Bell Laboratories in the early 60's, this "effect" was first popularized by Wendy Carlos on her early 70's soundtrack to A Clockwork Orange, most notably in her electronic realization of Beethoven's 9th. A bit later it was used by Kraftwerk on "Autobahn" and Man Machine. A vocoder takes an input signal, such as a synthesizer (but can be anything) and filters it using a second input signal, such as a human voice. The input signal is "shaped" to the charactersitics of the second signal. This second signal can be mixed with the original (Moby did this a lot on "Play") or removed so only the filtered original is heard. This is what Herbie did here. Of course when you use a synth you don't have any of the problems associated with bad singing, like wavering pitch.
Now to set things straight: Peter Frampton never used one, he used a device referred to as a "Pig", where a tube channels the sound of the instrument acoustically to the mouth where it is then "shaped" and picked up by the microphone. This effect was also used by Jeff Beck on "She's a Woman" from Blow By Blow and on the phenomenal live album he made with Jan Hammer. It was also used by BT Express on the Function At the Junction album (how's that for an obscure ref?). Also, Cher had nothing to do with her vocoded voice on "Believe". Cher had recorded a demo of this song and an independent (and then unknown) producer used the effect on her voice, then took the track to Cher who loved it. The tune became a big smash, and for the next year every Backstreet Bumbiters and the N*Sphincs recording used him, making that producer an overnight success (can't recall the name). The process used for Believe was a very-labour intensive process of isolating just certain places in the vocal performance where she changes notes, then taking her voice out and inserting the vocoded line for just the split second of the note transition. Takes hours and hours to do.
This album was an experiment in styles from Herbie, and from the picture of his setup on the back cover it is obvious he had major enthusiasm for electronic instruments. He created a sound on the new Sennheiser vocoder that approximated his voice and wrote a few funky tunes he could "sing" on. For that alone this album is a novelty. And for the funky disco suit he's wearing, complete with medallion.
The album is actually quite good, though the tunes are a bit cliche lyrically. But you still have all the great players like Harvey Mason and Paul Jackson, Mtume, Jaco Pastorious etc etc so the music kicks no matter what. When Herbie kicks in with a solo it's pure joy as always. Even though the songs are designed to be danceable, the writing is still first-rate with lots that rewards. It's also amazing to hear these great musicians doing their best to realize Herbie's vision, even though it's not really what they were used to playing. Very professional. When Herbie had a minor hit with this album, he moved into a more commercial feel and started using guitar players like Ray Parker Jr and other musicians who came from the funk and Motown schools, like Melvin Ragin ("Wah Wah" Watson), and I believe one or both are on this album. Just keep an open mind, remembering that Herbie is an explorer, and here he's expressing something that he never quite repeated. Not a failed experiment or anything, just a unique moment in his musical development: Herbie as vocalist.

Average customer rating: RIP Grant McLennan A Veritable Bonanza.... this is hardcore

That Striped Sunlight Sound (DVD plus audio CD) The Go-Betweens Manufacturer: Yep Roc Records ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music Indie Rock | Indie & Lo-Fi | Alternative Rock | Styles | Music Jangle Pop | Indie & Lo-Fi | Alternative Rock | Styles | Music General | Indie & Lo-Fi | Alternative Rock | Styles | Music General | Rock | Styles | Music Pop Rock | Pop | Styles | Music Adult Alternative | Pop | Styles | Music Similar Items: Oceans Apart Bright Yellow Bright Orange 16 Lovers Lane Before Hollywood Horsebreaker Star ASIN: B000CS45CY Release Date: 2006-02-07

Tracks:

1. Black Mule
2. Clouds
3. Boundary Rider
4. Born To A Family
5. Streets Of Your Town
6. Here Comes A City
7. Draining The Pool For You
8. Finding You
9. Spring Rain
10. Was There Anything I Could Do?
11. Surfing Magazines
12. The Devil's Eye
13. Too Much OF One Thing
14. People Say
15. The Clock
16. Karen
17. Lee Remick
18. Cattle And Cane
19. Part Company
20. Bachelor Kisses
21. Head Full Of Steam
22. Bye Bye Pride
23. Dive For Your Memory
24. German Farmhouse
25. Too Much Of One Thing
26. Here Comes A City
27. Finding You

Tracks:

1. Black Mule
2. Clouds
3. Boundary Rider
4. Born To A Family
5. Streets Of Your Town
6. Here Comes A City
7. Draining The Pool For You
8. Finding You
9. Spring Rain
10. Was There Anything I Could Do?
11. Surfing Magazines
12. The Devil's Eye
13. Too Much OF One Thing
14. People Say
15. The Clock
16. Karen

Amazon.com

Like REM, Brisbane, Australia's Go-Betweens established a huge early-1980s reputation as kings of intelligent jangle pop. And if critical praise were commercial currency, then the Go-Betweens would, in fact, be bigger than REM. But co-leaders Robert Forster and Grant McLennan never found fame commensurate with their songwriting, disbanding for the 1990s and then cutting three peerless albums since 2001. In May, 2006, though, McLennan suddenly died -- on the heels of this career-spanning live set, a CD/DVD combo that unabashedly shows off the band's offhand genius. The DVD captures 16-songs from Brisbane's Tivoli, along with 10 additional live acoustic Forster and McLennan duets. Then, the accompanying CD features the first 16-song live set, veering from heartfelt acoustic duos of "Black Mule" and "Clouds" to 14 full-band tunes that are unerringly wonderful. Clear-toned guitars, spare rhythm accompaniment, and simply brilliant writing mark every song, from the mellowest to the most urgent (McLennan's "Was There Anything I Could Do"). The band equally emphasizes their final studio album, Oceans Apart, and their original 1988 swan song, 16 Lovers Lane, with four tracks from each. Then they range back to their late-70s early days with "People Saying" and "Karen," bouncy and then menacing, covering an emotional range the band made their own until McLennan's tragic passing. You should know this band. --Andrew Bartlett

Album Description

A wonderful DVD/CD package. The DVD is comprised of a concert recording of a full band electric show, titled "Live at the Tivoli", recorded on 6/8/05 in the bands hometown of Brisbane, Australia. Also included is an intimate acoustic set from songwriters Grant McLennan and Robert Forster, telling the stories behind the songs and providing a bit of history and context along the way.

The CD comprises the entirety of the "Live at the Tivoli" concert.

An essential purchase for both the newcomer and die-hard alike, as it beautifully douments one of modern musics best ever bands.

Customer Reviews:

RIP Grant McLennan.......2006-05-10

I bought this DVD yesterday, inspired to do so by the untimely death on May 6th of Grant McLennan. The DVD of concert material recorded last year is great - as mentioned by the other reviewers. The extra material of Grant and Robert playing their guitars and singing quietly in the front room of a house, is very nice, interesting to hear the stories behind each album and each song that they perform, but with added poignancy now that McLennan has passed away so young. He will be remembered for the bitter sweet lyrics and the wistful tunes that he gave us. Buy this DVD and you will have a lovely tribute to the band and a live recording captured recently (and they were in fine form).

A Veritable Bonanza...........2006-02-17

...of wonderful stuff...

First, you have the Tivoli footage, done with their current touring and recording ensemble, featuring (the very evocatively named) Adele Pickvance on bass, and Glenn Thompson on drums - they both sing, as well...They are a quite capable rhythm section and add some great backing vocals. What's more is they add a certain chemistry - you can tell GM and RF are having a blast with them up on stage. As a rhythm section, they handle all the GB's catalog quite well, with the lone exception of "Spring Rain" - they don't quite get the Creedence-y swing of the original, it's a little off...

Highlights of the Tivoli set include "Clouds", done as a simple duet, with the added treat of a verse from Dylan's "Love minus zero" neatly folded in..."Streets of your town", beautiful and heartfelt, with a nifty solo by RF and GM counting down in German (unlike Bono, Grant is able to count correctly in a foreign language)..."Boundary Rider", the best song from "Oceans Apart", simply and lovingly reproduced, with lovely backing vocals from Ms. Pickvance....and, "Surfing Magazines", maybe a slight song, but a real concert highlight - you'll find yourself humming the chorus for days after watching this....An Audio CD reprises all the performances of the DVD - nice to have for the car, etc...

But the biggest treat of all in the package is the "Acoustic Stories" segment, wherein Grant and Robert assay many classics from their catalog in acoustic format, and along the way, provide all kinds of juicy background detail about them. No band, no "voltage enhancement" - just two voices and guitars.
It's all sublimely wonderful, but my favorites from this set are the achingly beautiful, hymn-like "Bachelor Kisses" and the epic, majestic "Dive for Your Memory"...the heights of awe-inspiring, jangly beauty these two reach here have been attained by very few, if indeed, any....

If you're a stone, hardcore fan, like me, or just getting into the GBs, this is pretty indispensable either way.

this is hardcore .......2006-02-08

The reason robert forster never became a big star, like, say, bryan ferry with a preference for wearing a sweater under his jacket, is that he wouldn't put the guitar down. this nod to mundane craft, and, with his playing style, anti-glamor, however, gave a fullness, mental toughness and far more complex structure to the go-betweens. because robert's guitar was there in the service of his songs, which, fortunately for us, he liked so much, he wanted to actually play rather than front. And that's how this great band grew up. "That striped sunlight sound" is, much more so than the early singles VHS tape, the ultimate go-betweens document. the tour this past summer showcased a wonderfully organic, seriously working band, fully engaged and fully in belief of the goodness of their sound. The kinetic rawboned beauty of their Lindy Morrison days has been traded for a more professionally textured but no less truthful live sound. far better than the stilted, slightly embalmed 'live at the barbican' set for sale at their shows and cherry picked for a bonus CD inside the Oceans Apart album. 'That striped sunlight sound' is exactly how you would want the best go-betweens concert ever to sound.
The acoustic singles section is a nice cubist history of the band, told in the quiet of an empty living room with two guitars. The two, showing their years, do some lovely work in tandem in this part, which shines through despite grant's tight voice and dry mouth. A nice valentine to the hardcore, and it's heartening to see the best songs still have the ability to take their breath away. They sometimes sigh in awe and wonder at their own performances. A small section of garbage that follows best would have been left out, what with talk tangentally equating the go-betweens with god, or something like that. one false move in a veneer of wonder, intelligence and gentleness, the last which Grant says is the future of the band. that and some songs for an upcoming episode of the 'OC.' Honest workers, indeed.

Average customer rating: OK...maybe just 4.5 stars One of the best albums you've never heard Nice one to start with.... Essential Simply incredible album

Afraid of Sunlight Marillion Manufacturer: EMI Int'l ProductGroup: Music Binding: Audio CD General | British Alternative | Alternative Rock | Styles | Music General | Alternative Rock | Styles | Music General | Rock | Styles | Music Progressive Rock | Progressive | Rock | Styles | Music General | Hard Rock & Metal | Styles | Music Hard Rock | Hard Rock & Metal | Styles | Music Pop Rock | Pop | Styles | Music Alternative Rock | Imports | Stores | Music Rock | Imports | Stores | Music Similar Items: Season's End Holidays in Eden Brave Somewhere Else Marbles ASIN: B00000INLM Release Date: 1999-03-29

Tracks:

1. Gazpacho
2. Cannibal Surf Babe
3. Beautiful
4. Afraid Of Sunrise
5. Out Of This World
6. Afraid Of Sunlight
7. Beyond You
8. King

Tracks:

1. Icon
2. Live Forever
3. Second Chance (Aka Beautiful)(Previously Unreleased)
4. Beyond You (Demo - Previously Unreleased)
5. Cannibal Surf Babe (Studio Outtake - Previously Unreleased)
6. Out Of This World (Studio Outtake - Previously Unreleased)
7. Bass Frenzy (Previously Unreleased)
8. Mirages (Demo - Previously Unreleased)
9. Afraid Of Sunlight (Acoustic Demo - Previously Unreleased)

Album Description

Digitally remastered reissue of the hit English prog rock outfit's 1995 album for EMI with a bonus CD featuring nine rare tracks & CD-ROM material. The main album contains eight tracks, including the title cut, plus 'Beautiful', 'CannibalSurf Babe' and 'King'. The bonus disc tracks are 'Icon', 'Live Forever', 'Second Chance (aka Beautiful)' (Previously Unreleased), 'Beyond You' (Previously Unreleased Demo), 'Cannibal Surf Babe' (Previously Unreleased Studio Outtake), 'Out Of This World' (Previously Unreleased Studio Outtake), 'Bass Frenzy' (Pre

Album Details

Remastered. Bonus CD Two Includes Rarities, Outtakes and Unreleased Tracks.

Customer Reviews:

OK...maybe just 4.5 stars.......2006-06-15

I am having a Great time "discovering" this band! Wait...isn't this the band thats been putting out albums since the 80s? Once again I'm scratching my noggin' wondering how/why I was never exposed to this wonderful music(I did the same with other bands that I have really grown to like, e.g. Saga, Spock's Beard). Truthfully, a friend actually loaned me 'Misplaced Childhood' about 10 years ago and it did little to nothing for me then...Going thru a hard-core Fusion "fit", I decided after one spin of 'MC' that this band with the goofy name, was just too tame for me(actually,almost anything would sound "tame" after hearing 'Inner Mounting Flame' and 'Birds of Fire'). Anyway, on another one of my quests for non-radio music with gusto and passion (and on the recommendation of many Amazon reviewers), I decided to give Marillion a chance to "earn my business". All in one swoop I purchased 'MC', 'Clutching', 'Script', 'Brave' and this one and proceeded in listening to each one no less than four times each (this is "that" kind of music that rarely sticks until several spins later...the kind I like). I quickly realized that I very much liked 'Clutching' and to a slightly lesser degree 'MC', 'Script' and 'Brave'. But something about this album kept/keeps me coming back to it---maybe it was the less abrasive vocals of Hogarth (sorry Fish fans,but I do like Fish for his contributions), maybe its the "lush" soundscapes of tracks like Afraid of sunrise, Beyond You, Afraid of Sunlight, etc...Really I don't know what attracts me to this album, but when I find myself humming tunes hours, days or months later, that album usually becomes near and dear to me. Other than the "optional" Cannibal Surf Babe, this is a start to finish kind of album that will stay close to my stereo for awhile to come...strongly recommended along with 'Clutching' as a great place for the uninitiated to begin with...Enjoy!
P.S. After reading literally 100s of reviews on the band's
various albums, I decided to go for broke(literally) and recently ordered 'Anoraknophobia', 'Marbles', 'Marbles-Live DVD', 'Holiday's in Eden', 'Season's End' and 'This Strange Engine'...looking forward to "studying" each one!

One of the best albums you've never heard.......2000-04-03

Afraid of Sunlight is generally considered to be one of the top 3 Marillion albums, and for good reason. Every track is a winner, from the opening cinematic thriller Gazpacho to the chilling end crescendo of King. In between, you will hear BEAUTIFUL, AFRAID OF SUNLIGHT, the haunting and chilling OUT OF THIS WORLD. The album is a complete experience and serves as a warning to those who seek fame.

Nice one to start with...........2000-02-17

I have not had very much exposure to Marillion with the exception of hearing Kayleigh on the radio in the '80s. After grunge and alternative took over the radio waves in the '90s, I found myself searching for music more by internet and word of mouth than by radio exposure. What I have found is where I once felt I enjoyed all types of rock, I have more become a fan of progressive rock. Having established that I thought I should give Marillion a try. I bought "6 of 1, 1/2 dozen of another" and wasn't too impressed. Then I got to experience "Easter" live on the latest Dream Theater video release done with Hogarth and Rothery. I decided to try Marillion another chance and buy a full length CD with Hogarth on vocals. I have to say I like this quite a bit better than the compilation CD. Hogarth's vocals are haunting and seem to captivate me. A couple of the vocalists that came to mind when I listened to this CD were Mark Hollis of "Talk Talk" and Chris Isaak. Anyways, the music is well written and arranged and easy to listen to. If you're looking for hard driving rock, this isn't it but it should please most progressive fans and pop fans for that matter. I would have to say that the highlight of the CD is the spooky "Out of this World". The bonus CD is also quite nice with great demos and unreleased material that won't disappoint you.

Essential.......1999-11-09

Quite simply: the best album of the 90's and one of the greatest albums of the 20th century. Tragically overlooked. The last four tracks of the album are hypnotic, yearning and emotionally tormenting. One day this album will be realized for what it is.

Simply incredible album.......1999-11-05

This album took a while to grow on me, but when it did it hit hard and went home very quickly. This is probably, with Brave and Misplaced Childhood, Marillion's best album. It's incredible lyrically, amazingly unconventional in the band's use of sonic textures, and a great album to listen to, with the lights out, with nothing but a candle. This is an emotionally powerful journey through poetry and through the horrors of celebrity.

Average customer rating: Goodall's Siegfried "Do you know what Wotan wills?" Slow and steady wins the race Absolutely better than you think, the best of Goodal's Ring! Better than you might think....

Siegfried (Goodall Ring Cycle/Chandos Opera in English) English National Opera Manufacturer: Chandos ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Opera & Vocal | Box Sets | Stores | Music Similar Items: The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English) Wagner: The Rhinegold Wagner: The Valkyrie Wagner: Siegfried Wagner: Die Walküre ASIN: B000056KNC Release Date: 2001-02-27

Tracks:

1. Act I.: Prld - Barry Tuckwell
2. Act I., Scene 1: Wearisome Labour! - Gregory Dempsey
3. Act I., Scene 1: Hoiho! Hoiho! - Alberto Remedios/Gregory Dempsey
4. Act I., Scene 1: Well, There Are The Pieces - Alberto Remedios/Gregory Dempsey
5. Act I., Scene 1: A Whimpering Babe - Gregory Dempsey
6. Act I., Scene 1: Much You've Taught To Me, Mime - Alberto Remedios/Gregory Dempsey
7. Act I., Scene 1: I Found Once in The Wood - Gregory Dempsey/Alberto Remedios
8. Act I., Scene 1: And Now These Fragments - Alberto Remedios/Gregory Dempsey
9. Act I., Scene 1: He Storms Away! - Gregory Dempsey
10. Act I., Scene 2: Hail There, Worthy Smith! - Norman Bailey/Gregory Dempsey
11. Act I., Scene 2: I Sit By Your Hearth - Norman Bailey/Gregory Dempsey
12. Act I., Scene 2: What You Needed To Know - Norman Bailey/Gregory Dempsey
13. Act I., Scene 2: The Fragments! The Sword! - Gregory Dempsey/Norman Bailey

Tracks:

1. Act I., Scene 3: Accursed Light! - Gregory Dempsey
2. Act I., Scene 3: Hey There! You Idler! - Alberto Remedios/Gregory Dempsey
3. Act I., Scene 3: Have You Not Felt Within The Woods - Gregory Dempsey/Alberto Remedios
4. Act I., Scene 3: Give Me These Pieces - Alberto Remedios/Gregory Dempsey
5. Act I., Scene 3: Notung! Notung! Sword Of My Need! - Alberto Remedios/Gregory Dempsey
6. Act I., Scene 3: Hoho! Hoho! Hohi! - Alberto Remedios/Gregory Dempsey
7. Act II.: Prld - Barry Tuckwell
8. Act II., Scene 1: In Gloomy Night By Fafner's Cave I Wait - Derek Hammond-Stroud
9. Act II., Scene 1: To Neidhohl By Night I Have Come - Norman Bailey/Derek Hammond-Stroud
10. Act II., Scene 1: Not My Plan! - Norman Bailey/Derek Hammond-Stroud
11. Act II., Scene 1: Fafner! Fafner! You Dragon, Wake! - Norman Bailey/Derek Hammond-Stroud/Clifford Grant
12. Act II., Scene 1: Now, Alberich! That Plan Failed! - Norman Bailey/Derek Hammond-Stroud
13. Act II., Scene 2: We Go No Further! - Gregory Dempsey/Alberto Remedios
14. Act II., Scene 2: So He's No Father Of Mine - Alberto Remedios

Tracks:

1. Act II., Scene 2: Could I But Know - Alberto Remedios
2. Act II., Scene 2: See My Mother - Alberto Remedios
3. Act II., Scene 2: Ha Ha! At Last With My Call - Alberto Remedios/Clifford Grant
4. Act II., Scene 2: Who Are You, Youthful Hero - Clifford Grant/Alberto Remedios
5. Act II., Scene 2: The Dead Can Tell No Tidings - Alberto Remedios/Maurine London
6. Act II., Scene 3: Hehe! Sly And Slippery Knave - Derek Hammond-Stroud/Gregory Dempsey
7. Act II., Scene 3: Tarnhelm And Ring, Here They Are - Alberto Remedios/Maurine London/Gregory Dempsey
8. Act II., Scene 3: Be Welcome, Siegfried! - Gregory Dempsey/Alberto Remedios/Derek Hammond-Stroud
9. Act II., Scene 3: You Lie There Too, Mighty Dragon - Alberto Remedios/Maurine London
10. Act III.: Prld - Barry Tuckwell
11. Act III., Scene 1: Waken, Wala! Wala! Awake! - Norman Bailey
12. Act III., Scene 1: Strong Is Your Call - Anne Collins/Norman Bailey
13. Act III., Scene 1: You Unwise One, Learn What I Will - Norman Bailey
14. Act III., Scene 2: I See That Siegfried's Near - Norman Bailey

Tracks:

1. Act III., Scene 2: My Woodbird Fluttered Away - Alberto Remedios
2. Act III., Scene 2: Young Man, Hear Me - Norman Bailey/Alberto Remedios
3. Act III., Scene 2: Child, If You Knew Who I Am - Norman Bailey/Alberto Remedios
4. Act III., Scene 2: With His Spear in Splinters - Alberto Remedios
5. Act III., Scene 3: Here in The Sunlight - Alberto Remedios
6. Act III., Scene 3: Come, My Sword! - Alberto Remedios
7. Act III., Scene 3: Hail, Bright Sunlight! - Rita Hunter/Alberto Remedios
8. Act III., Scene 3: Siegfried! Siegfried! Glorious Hero! - Rita Hunter/Alberto Remedios
9. Act III., Scene 3: And There Is Grane, My Sacred Horse - Rita Hunter/Alberto Remedios
10. Act III., Scene 3: Oh! I Cared Always - Rita Hunter/Alberto Remedios

Customer Reviews:

Goodall's Siegfried.......2007-06-22

This is completely worth it. Other reviews aptly pointed out everything good, and this *is* good--brilliant. Alberto Remedios is the best Siegfried I've ever heard, and Rita Hunter is a stunning and convincing Brunnhilde. If I could give this more than five stars, I would.

"Do you know what Wotan wills?".......2007-06-12

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Box Set: Wagner: The Ring Cycle (Box Set)
-The Rhinegold (Part 1): Wagner: The Rhinegold
-The Valkyrie (Part 2): Wagner: The Valkyrie
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Slow and steady wins the race.......2007-02-07

Yes, we all know that Reginal Goodall's Wagner is VERY deliberate (read slow) at times. When I heard the late Rita Hunter singing in Sydney in the 80s, I asked her about working with Maestro Goodall, she said he was one of the most thorough and demanding conductor's you could wish to work with.

For me, this whole cycle is desert island material because the English translation is just superb. Fine singing and marvellous playing from the ENO orchestra.

Absolutely better than you think, the best of Goodal's Ring!.......2005-05-03

As good as his die Walkure is, Goodall's Siegfried is even better. For me this is the most difficult opera of the entire Ring and Goodall pulls it off with honors indeed. Remedios is a wonder! Wish we had had him in the Met Ring Cycles of the past decade. Hunter again is a wonder with beauty and strength of tone. Once more I enjoy Bailey. I found That Alan Blyth in Gramophone 5/01 and I seem to appreciate him. It would seem that Goodall gives this opera all the wonderful performance it needs. Not an easy show to pull off. This recording absolutely belongs in any Wagnerian's collection. Had I been at this live performance, I definitely would not have fallen asleep and would have regretted its coming to its inevitable end. And the orchestra rises to the occasion splendidly. From Siegfried's climb to Brunhilde's rock until the end of the duet, the orchestral playing is rich, very moving bordering on the monumental just because it is live and thus more of a risk than a studio recording. Hunter is nothing short of stunning. The duet alone makes the recording a must have. Too bad artists are not fully appreciated until we no longer have them around to enjoy. Thank God this is on CD to be enjoyed at the listener's command.

Better than you might think...........2002-03-17

I had to think more than twice before purchasing this recording, especially since it isnt at a budget price, but I dont regret having done so. Wagner's original German language opera sung in English might seem more like a novelty recording (or a horrifying experience to hardcore Wagner fans) than a serious approach to the music, but surprisingly it works (for the most part). For the listener who doesn't speak and understand German this is a great way to understand Wagner's opera, as the connection between text and drama is made clearer--though I sometimes wish the singers diction and pronunciation were a bit clearer--but hey, its still opera and a complete English only libretto is included (along with a scene by scene summary of the drama, a summary of the preceding two operas, and an essay and photos of this particular project). Overall the orchestra and conducting is up to par and the sound is clear, balanced, and spacious, the only annoying thing being the audience clapping after the end of each act--its a live 1975 recording. While this is no substitute for the original in German, think of it as a great resource ... to understanding Wagner's opera cycle for listeners without the time or inclination to learn German.

Average customer rating: Good performances but an unnecessary musical Raisin is almost operatic Underrated throbbing score!

Raisin (1973 Original Broadway Cast) Judd Woldin , and Robert Brittan Manufacturer: Sony ProductGroup: Music Binding: Audio CD General | Musicals | Broadway & Vocalists | Styles | Music General | Broadway & Vocalists | Styles | Music General | Soundtracks | Styles | Music General | Classical | Styles | Music Musicals | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Hallelujah, Baby! (1967 Original Broadway Cast) Purlie: The Original Broadway Cast Recording The Rothschilds: A Musical (1970 Original Broadway Cast) Redhead (1959 Original Broadway Cast) Curtains (2007 Original Broadway Cast) ASIN: B00000252B Release Date: 1992-11-24

Tracks:

1. Prologue
2. Man Say
3. Whose Little Angry Man
4. Runnin' To Meet The Man
5. A Whole Lotta Sunlight
6. Booze
7. Alaiyo
8. Sweet Time
9. You Done Right
10. He Come Down This Morning
11. It's A Deal
12. Sidewalk Tree
13. It's A Deal-Coda
14. Not Anymore
15. It's A Deal (Reprise)
16. Measure The Valleys
17. Finale

Customer Reviews:

Good performances but an unnecessary musical.......2004-04-26

Winner of the 1974 Tony Award for Best Musical (an admittedly slow season for new musicals) this show is fine example of the trend of taking successful plays and turning them into musicals. The result in this case is acceptable but nothing special has been added by musicalizing the play. That said, at least this show doesn't cheapen the source material. The performances are all fine especially Virginia Capers as Mama and Joe Morton as Walter Lee. As always, Sony has done a splendid remastering job, restoring a song that had been left off the original Lp due to timing restraints ("Booze"... although the synopsis, reprinted from the LP jacket, makes no mention of the tune.) The booklet has some interesting notes about the creation of the show. It also reprints the show's logo which makes it look like one of those inane 1960s musical comedies instead of a serious musical play. I prefer the original play (and the movie) which remain powerful enough wthout songs.

Raisin is almost operatic.......2003-05-24

Listening to this CD we once again get to know Lorraine Hansberry... but from a different perspective. To render "Raisin in the Sun" to a musical play did her justice. This recording is superb. The liner notes do not help understand the musical plotting and I wish they did.

Underrated throbbing score!.......2000-11-21

I own the original LP of this show and played it until it is now close to wearing out. An absolutely incredible cast brings the Raisin in the Sun story to vivid musical life. Harold Wheeler did the orchestrations and the score moves and pulses with feeling and life.

Average customer rating:

Comfort Manufacturer: Living Arts ProductGroup: Music Binding: Audio CD Pavanes | Ballets & Dances | Classical | Styles | Music All Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Chopin | Chopin, Frédéric | ( C ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music Ravel, Maurice | ( R ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Satie | Satie, Erik | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Debussy | Debussy, Claude | ( D ) | Featured Composers, A-Z | Classical | Styles | Music Preludes | Forms & Genres | Classical | Styles | Music Character Pieces | Short Forms | Forms & Genres | Classical | Styles | Music Sonatinas | Sonatas | Forms & Genres | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music Flute | Reeds & Winds | Instruments | Classical | Styles | Music Recorder | Reeds & Winds | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Cantatas | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music General | New Age | Styles | Music Meditation | New Age | Styles | Music Relaxation | New Age | Styles | Music Solo Instrumental | New Age | Styles | Music General | Pop | Styles | Music General | Vocal Pop | Pop | Styles | Music ASIN: B000A6CKRU Release Date: 2005-08-30

Tracks:

1. Pavane
2. Enveloping Mist
3. Reverie
4. Andante, Flute Sonata #5
5. Arabesque
6. Sunlight Through a Vaulted Window
7. Maid With the Flaxen Hair
8. Prelude in E Minor
9. Gymnopedie
10. Siciliano, Flute Sonata #2
11. Andante, Trio Sonata in G Minor
12. Moonlight Sonata
13. Ryan Arrives
14. Sunken Cathedral
15. Iris

Average customer rating: Track Listings

Afraid of Sunlight Manufacturer: EMI ProductGroup: Music Binding: Audio CD General | British Alternative | Alternative Rock | Styles | Music General | Rock | Styles | Music Progressive Rock | Progressive | Rock | Styles | Music General | Hard Rock & Metal | Styles | Music Similar Items: Brave Clutching at Straws ASIN: B000CBTUH6

Customer Reviews:

Track Listings.......2005-11-15

1. Gazpacho
2. Cannibal Surf Babe
3. Beautiful
4. Afraid of Sunrise
5. Out of This World
6. Afraid of Sunlight
7. Beyond You
8. King

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

Wagner: The Rhinegold English National Opera Manufacturer: Chandos ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Similar Items: Siegfried (Goodall Ring Cycle/Chandos Opera in English) The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English) Wagner: The Valkyrie ASIN: B00005B550 Release Date: 2001-05-22

Customer Reviews:

A Rose By Any Other Name..........2007-07-02

The figure of speach may not be completely correct in this instance, but, well, I hope you get the point. In any case, for a Dutch speaking person, like I, to hear 'The Ring' in a language other than the original German feels - almost shockingly(?) - natural. Certainly, this modern English translation, to me, is as least immediate, and probably even more immediate, than the original (archaic) German text. And in music drama, immediacy is essential. Maybe it is also the wonderfully natural translation, I don't know, but it works for me, the Ring in English.
But most of the credit has to go to the music, the singers, and the recording as such. I believe that this (originally analogue) remastered recording has one of the best recorded sounds and acoustics of any Ring, studio or 'live'. It is wonderfully clear but warm, kind of velvety (very unlike Solti), with beautifully natural balaces between voices and orchestra. Audience noises can be heard (including a delightful little ripple of laughter) but never really obtrusively so, thankfully. And I love the thunderclap-sound effect when Donner strikes his hammer against the rocks - very tastefully done, and lending extra power to the scene.
All the time one reads in reviews everywhere of the very slow speads at which the music is conducted by Sir Reginald Goodall. Well, that may be so, but I, for one, am certainly endeared to Sir Reginald Goodalls 'caressing' of the music, as a result of which wich the Leitmotifs come out more clearly than ever. The slow - but nonetheless very concentrated, and always involved - playing has, to me, an almost mesmerizing effect. Certainly, compared to many other recordings, the music may sound stretched almost beyond breaking point. But in the end, I think it is really just that: a matter of speed, no more. The concentration never falters and the dramatic arc never saggs. There is live 'music magic' going on here, I feel, even if the English National Opera Orchestra may not be (as precise or as diciplined as) a Wiener Philharmoniker or a Bayreuther Festspielorchester. Certainly, Sir Reginald Goodall must have loved this music and these opera's: one feels a slowly beating but constant loving pulse that energizes the drama and the music.
But we also have the singers. And what a great singers! While the best may be yet to come (with Alberto Remedios as Siegmund and Siegfried, and Rita Hunter as Brunnhilde), we here, in The Rhinegold, already have one of the most commanding of Wotans (Norman Bailey, with wonderful burnished timbre). Also, Emile Belcourt stands out as a wonderfully sleek but full-voiced Loge. Derek Hammond-Stroud's Alberich may not be as black as Gunther von Kannen's (for Barenboim), for example, but there is enough anguish, frustration and anger to lend his character a convincing reality and depth. And the giants too, are a winning pair. Especially Fafner (Clifford Grant) is as imposing and powerful as one may ever wish.
With all the rave reviews, here and elsewhere I can't wait to hear The Valkyrie, (especially) Siegfried and Twilight of the Gods. This certainly is a winning 'Ring', to be kept alongside any other 'great' recorded 'Ring' out there, IMHO. To me, it can hold its own alongside any other favorite recordings.
Please, sample this Ring (try for example the Chandos website for fragments of all of the music) and decide for yourself. Highly recommended.

"Thus I salute the stronghold, safe from dread and dismay!.......2007-06-12

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Box Set: Wagner: The Ring Cycle (Box Set)
-The Valkyrie (Part 2): Wagner: The Valkyrie
-Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Free at last!.......2004-09-18

I've enjoyed listening to the Ring cycles by Solti, Bohm, and Furtwangler, but my pleasure has always been dampened by the necessity to follow the dramas with a German/English libretto. This performance freed me from that burden and allowed me to listen to the Ring with my ears alone for the first time. And what a delightful experience it was! I found I could understand about half the words the first time through. but that was enough for me to understand what the characters were saying and concentrate on Wagner's great music. Some of the characters (Loge and Alberich, for example) are almost perfectly comprehensible, while others (Fricka in particular) might as well be singing in German. The sound itself is superb, with perfect balances between orchestra and voices. Goodall's conducting is famously slow (about half an hour longer than usual), but he is never slack and he reveals a wealth of detail in the orchestration. The singers are a mixed lot, with Loge, Alberich, and Mime particularly effective. Bailey is hardly the grandest of Wotans, but he is solid and convincing. In any event, for us non-German listeners, this recording is a real treat. I would not recommend it as a first Ring (Bohm is a good choice, though some of his tempi are rather hectic), but as a supplement to a recoding in the original language, it is hard to beat. Give it a try! As for me, I'm ready to go on to "Die Walkure" (pardon me, "The Valkyrie").

I Love This Recording.......2002-04-05

I was a little suspicious when approaching this English-language version of Das Rhinegold. I was considering assembling this as my third RING set (behind Solti and Levine) and had listened to THE VALKYRIE (Die Walkure) with a little initial disappointment. Although the live sound quality was very interesting, the tempo was much slower than I was used to and thus a little disconcerting, and the English words were harder to understand than I had hoped. Nevertheless, I persevered and listended to THE RHINEGOLD (probably my favorite of the four RING operas, although I know this puts me in a minority) and was amazed. Best of all, after listening to this album I revisited the Goodall VALKYRIE and discovered a new appreciation! Now the Goodall set ranks as one of the best I've heard. It just needed to get under my skin a bit.

What's so good about it? Three things stand out for me: First, the slow tempi that were a litle rough at first actually allow, upon repeated listenings, a new discovery and understanding of Wagner's unfathomable genius. Every nuance is slowed down just enough to be fully accessible. Second, the modern English translation really does make this a different experience...my initial mistake was thinking that English lyrics could allow me to listen to this as background music, and that's not the case. However, if one devotes the same attention to this as a German recording, the time wil be richly rewarded. Finally, the smaller orchestra creates an almost chamber music-esque setting, which compliments the music in an undefinable way. Despite being in English, this is almost more Germanic than original-language recordings.

I still probably wouldn't get this as the first foray into Wagner's RING (I still think Solti or Levine are the choices for that). But for someone who already has some familiarity with the work, this will provide a lifetime's enjoyment. Cudos to Chandos for resurrecting these recordings!

The Goodall Ring - 1975 - Restored and Remastered.......2001-06-08

I have been curious about this for years. When I saw the packaging, I wondered whether this was the same Ring that has been kicking around for a couple of decades from the Sadler's Wells performances of the mid-70s. News flash: It's the same. However, the box says that it's been re-mastered with something called 24-bit digital mastering. Since I never heard the old records, I have no idea if this is better. Judged on its own, the sound is terrific. This live recording really places the listener in the theater with clarity and authentic spaciousness. So often, a live recording will capture the audience up close, then the orchestra, then the singers, cataloguing every throat being cleared and every bow being tapped. Somewhere in the distance, the singers voices follow their heavy tread over the stage. Not here. There is an intimacy to the sound here that approximates sitting in about the tenth row back in a large hall. It doesn't sound like the opera's being played in your room; it sounds as though your room has been transformed into a medium sized theater. I found it uncanny.

As to the experience of the drama in English, that too is remarkable, at least for someone like me whose home-tongue is English. The drama takes on an immediacy that I have never experienced before. This factor alone is why you should explore this Ring. I can't overemphasize the impact on me that this recording had on me because it was in English and because it was well-acted. Surely this is what Wagner meant, at least dramaturgically (obviously allowing that you can't actually see the action).

Overall, the singing is competent, and in some places, it's excellent. None of the cast really stands out musically. Norman Bailey's wobbly Wotan could have certainly benefitted from a deeper, richer tone. Still, and perhaps more importantly, he creates a god who is clearly unsure of where the moral highground is, even when he's standing on "an open space on a mountain summit." Everyone, for that matter, is dramatically convincing, especially Emile Belcourt (Loge) and Derek Hammond-Stroud (Alberich) and Robert Lloyd (Fasolt), all of whom, by the way, have excellent diction. And speaking of diction, I almost could have done without the libretto when the men were singing. Not so with the women, whose diction was uniformly wanting.

Goodall's pace is notoriously glacial. Still, it's interesting to hear it parsed in this way, and I never had the feeling that I was going to fall off the world. Which is to say that the tempos were deliberate, not affected. This was definitely a labor of love for RG and the English National Opera. The orchestra is a little thin sounding, and perhaps, not entirely up to the score. Occasionally a horn mis-blew and a cello creaked. This is unavoidable in live performances, I suppose. Still, there is a surprising sense of smallness to the ensemble, even though there's never a moment when the balance between singers and players is lost. As a result, the overall effect is a balance of clarity and urgency that is clearly the upside of Goodall's idiosyncratic "vision" of the score. Not a huge or "erotic" sound, but always committed, intelligent, and sometimes impassioned.

For all of its flaws, this is an astonishing and, for me, an indispensible recording because it made me listen to this opera with new ears. While it's not the most lyrically pleasing recording (Karajan) or mus