| 1. Fine (Album Version) |
| 2. Love To Infinity Megamix (Edit) |
| 3. Heartbreak Hotel (Feat Faith Evans And Kelly Price)(RIP Mix) |
| 4. Love To Infinity Megamix |
Editorial Reviews
Product Description
Import only single lifted from her 'Greatest Hits' collection. Includes 4 tracks, 'Fine (Album Version)', 'Love To Infinity MegaMix (Edit)', 'Hearbreak Hotel (R.I.P. Remix)' & 'Love To Infinity Megamix (Full Version)'. 2000 release. Slimline jewel case.
I think Alison Sudol may have the loveliest voice I have heard since Sarah McLachlan and/or Eva Cassidy. That is a major concession from me. I am a lyrics lover to the core, and so far I am impressed. Maybe I am easy, but you will have to decide for yourself.
If you love/like Tori Amos, Fiona Apple, Sarah McLachlan, Imogen Heap/Frou Frou then you will love A Fine Frenzy.
Such is the case with A Fine Frenzy. When I heard their album, One Cell in the Sea, I was struck by its dimensionality. With her vocal and writing talents, singer/songwriter Alison Sudol folds our hand into hers and guides us through her mysterious wonderland (evidenced by the album's cool cover and booklet art), conjuring picturesque landscapes with "Come On, Come Out", the excellent "Rangers", "You Picked Me" and "The Minnow and the Trout" and ensnaring us in sumptuous wine-dark woodlands with her intimate offerings "Almost Lover", "Hope for the Hopeless", "Near to You" and "Ashes and Wine".
By the time the final track, "Borrowed Time", concluded, I found myself in a well of thoughts and emotions, albeit delightedly so. Sudol has not only crafted an outstanding and bravely personal album, but a magical world I look forward to visiting time and again.
Coalmine - ode to working class hubby
Real Fine Place - has energy and spirit
Cheatin' - funny lyrics about how a cheatin' man is getting comeupance from life while the woman enjoys herself for once
Supernatural
Roll Me BAck in Time - lover chases Hollywood fame rather than his beloved
Bible Song - has a good, moving story about singer's cousin who commits suicide and its effect on loved ones
Missing Missouri - nice salute to home state and family
Momma's Night Out - uptempo and spunky. The wife/mom is gonna hit the town with the girls and leave domestic stuff to hubby.
I look forward to Sara's next album, hoping that she will go back to the eras of "Born To Fly" and "Restless."
However, there is a dark side from whence a music listener can view a "Best-Of" album, since the whole concept of creating an album or two that will attempt to gather together a band's preeminent songs is one that has been used and disastrously abused for decades now. There are legions of rock snobs out there who disdain (quite rightly) the fact that many of these records only collect a band's singles and/or the songs that receive the widest levels of popularity & notoriety. Record companies too often get involved in the decision-making process, forcing the band to include songs just so that more records will be sold on the basis of that one song (i.e., how record companies have been pushing record sales for years, getting the dumbed-down public to buy an often crappy album for the one poppy, radio-friendly tune). "Best-Of" albums too frequently have been turned into "What-Sells-Best" albums, sacrificing content for sales.
I say all of that to say this - R.E.M.'s prior "Greatest Hits" release, In Time: The Best of R.E.M. 1988-2003, was plagued by such issues, especially in terms of leaving often strong, fan-favorite songs in favor of ones that were more easily recognized by the average music-buying public. Case in point - while Automatic For The People is one of R.E.M.'s best records, it's also the fan favorite and received 4 nominations on In Time, while the critically-acclaimed New Adventures in Hi-Fi only had two songs included. Yes, an alternate track of "Leave" did make it to Disc Two, but you had to pay extra for it (even though it is an excellent remix). The band was in the thralls of a world tour in 2003 and this compendium of their years on Warner Brothers left much to the imagination. I mean, "Country Feedback" only made it on as a live track to close out Disc Two - as wonderful as the song is and as well-recorded as the live cut is, it's a travesty of justice for this song not to have been on the Disc One.
So, when I heard that And I Feel Fine was going to be released in Fall 2006 as a replacement for the nearly 2-decades-old Eponymous, released when R.E.M. left I.R.S. Records, I was filled with a mixture of excitement & trepidation. I wasn't quite sure what to expect, even with the promise of liner notes & comments left by all four members Yes, I will admit it - even the promise of long-retired drummer Bill Berry contributing to this collection did little to assuage my fears. As such, as highly- and fittingly-lauded as the band's early work is, there is much misunderstanding that revolves around the first five R.E.M. albums: there aren't any true singles until Document, the band seems overly indulgent in regards to experimentation & quirky lack of direction, and no one really knows what Michael Stipe is singing on any of those songs. I wasn't sure if the problems of over-reliance upon one album that afflicted In Time would burden down And I Feel Fine.
And I am so glad that my fears were dismissed (quite quickly at that). Each of the five albums from the I.R.S. Years (Murmur, Reckoning, Fables of the Reconstruction, Life's Rich Pageant, & Document) is appropriately and evenly represented on the 21 songs on Disc One. Four songs were chosen from each of the five albums, plus "Gardening At Night" from the Chronic Town EP. Thus, besides personal favorites such as "Moral Kiosk" off Murmur, I don't think that there's one necessary song missing between the two discs. Name a song that might be missing - I dare you. "7 Chinese Brothers"? It's there. "Disturbance At The Heron House"? Present. "Cuyahoga"? Accounted for. And even more to the point, the tracks on Disc One are arranged in a non-chronological format, with precedence given to how the songs will sound when listened to as a complete album, from song 1 to song 21, as only a mixtape should be.
There are definite highlights that must be pointed out, and they're all from Disc Two (even though Disc One is a wonderful & complete collection). The first notable selection is the 3-song live set from Boston, MA, on 07/13/1983 - "Ages of You," "We Walk," & "1,000,000." The energy of these four boys from Atlanta, GA is never more apparent than on these tracks as they flow effortlessly and seamlessly through their set. In second place comes the at-half-speed, demo version of "Gardening At Night" - the song sounds more hushed & intimate than a great many other songs in the R.E.M. pantheon. "Hyena" (in a scratchy demo version) represents my third choice, complete with the band's revealing in the liner notes that, while the song was released on Life's Rich Pageant, it was originally recorded during the Fables of the Reconstruction sessions. I've always been a fan of hearing songs in their early, unfinished, not-quite-complete phase - it gives new life to how you hear the "finished" version that you've been used to all of these years.
Do I have any complaints? Not really. As I said, there aren't really any songs that have been left off this 2-disc, 42-song compilation. If you've never listened to R.E.M. before, I would suggest you go purchase the album as soon as you finish reading this review. And I Feel Fine is what a "Best Of" album should be - representative of how a band has grown & developed over a given period of time and beautifully illustrative of the contributions that the band has made to the greater picture of music history. But in case you need just one more reason to buy this album, take this into account - it's both poignant and hilarious to read in the liner notes for Disc Two and learn how Bill, Mike, & Peter haven't always understood what Michael Stipe is singing or what his lyrics even mean, but they're certain that they have meaning for someone (and on occasion, the boys even present their differing interpretations of certain songs). So, if the band doesn't know what's going on with Stipe's beautiful mumblings, then it's OK that us listeners have also been confused for almost 25 years now.
But... as several other reviewers have commented, this release was mastered to sound as loud as possible. And at first listen, it sounds great. Then, after it's on for awhile, you will probably find yourself turning the volume down, and even thinking about turning it off. That's because the mix has been highly compressed - that's how they get newer CDs to sound so much louder than old ones, but it's akin to how a loud commercial suddenly comes on when you're watching a TV show and sends you jumping for the remote to turn it down. It becomes obnoxious and irritating when everything is so loud all the time, and robs the music of all dynamics. And if you listen closely you'll hear distortion - they mix it so high that they're actually introducing clipping, which means flattened sound waves that results in a static-y edge to the sound.
Unfortunately this is a trend that has been going on with CD mastering for the last decade, though it gets very little publicity. The record companies do it because they think we like it, and actually many of us think we do, judging by a lot of the positive comments on the sound of overloud remasters. But once you're aware of it, you'll notice it, and you'll start to feel ripped off. The public needs to tell the record companies we want quality remasters that don't compromise true fidelity and range for shallow loudness and distortion. To learn more on this topic, do a web search on "loudness war".
Mill Valley, CA
I met this singer last fall in New York. A few months later, I saw her again hosting the opera quiz at the Met. Little did I know that about five months later, she would forever rest in the peace that she deserved for so long. Rest in peace Beverly. And brava...brava for the many years of wonderful singing that you gave us.
The first CD focuses on her operatic singing. The CD begins with a selection from Thomas' "Mignon," culminating in "Je suis Titania la blonde." Her voice is light and clear. She displays great agility. In the middle of this piece, she shows a decent but not great trill; she closes the "cut" with a series of terrific trills. Her ornamentation is nicely done.
Donizetti's "Linda di Chamounix" was another of Sills' characters. "Ah! Tardai troppo. . .O luce di quest'anima" features more clean vocalization. The florid singing is nicely done, with well sung high notes and additional sound trills. A very agile voice on display! From Donizetti's "Lucia di Lammermoor," Sills sings "Regnava nel silenzio. . .Quando rapito in estasi." Her voice is smooth. In the aria, she produces a set of trill after trill, each one well done, but in their totality almost overdone (I love trills, but there were almost too many!). "Quando rapito in estasi" is well sung, with much well done florid singing, with appoggiaturas, trills, and other ornamentation.
The remainder of the CD features selections from Bellini's "I Puritani," and Donizetti's "Roberto Devereux," "Maria Stuarda," and "Anna Bolena." I can say pretty much the same about these pieces as already stated before. Excellent technique, wonderful ornamentation.
The second CD begins with the redoubtable piece, sung by "Olympia," from Offenbach's "Les Contes d'Hoffmann." Well done, with good vocal effects, catching the mechanical aspects of the music. Other pieces on this side come from Mozart, Heuberger, Moore, Korngold, and so on.
One piece worth mentioning, because it captures her approach to a lighter work, from Lehar's "The Merry Widow." She sings the song for what it is, and does not overwhelm it with her voice. Compare with what Richard Tucker did to the enjoyable but rather light song, "What Now My Love?", when he essayed singing pop tunes. Enjoyable for the thrill of his voice; pretty grisly in terms of his overwhelming the music itself. That does not happen here; there is a certain pathos in Sills' singing, as warranted by the song. It suggests the range of her singing.
All in all, a good sampling of "The Art of Beverly Sills." Hearing her voice again after many years reinforces my preexisting view that she ranks as one of the best coloratura sopranos of the past fifty years. There are terrific contemporary singers who sing the same repertoire and do it well. But Beverly Sills certainly compares very well with them. If interested in an introduction to Sillsiana, this is a good place to start.
I highly reccomend it.
A few selections illustrate:
Mozart, Idomeneo, "Quando avran fine omai." She displays a rich and clean voice. There is a very attractive quality to her voice manifest in this work.
Mozart, Don Giovanni, "Crudele? Ah no, mio bene!...Non mi dir." This is Donna Anna's poignant aria, given her circumstances. Netrebko displays rich tones. This is a well sung cut. "Non mi dir" shows off some agility in her voice.
Donizetti, Lucia di Lammermoor. "Ancor non giunse!. . .Regnava nel silenzio. . .Quando rapito in estasi" Something of a disappointment. Coloratura is not her forte (and see her "Sempre Libera" CD for further confirmation). She clearly shows off a rich and lush voice. I think that she displays some characterization here that is compelling. She hits high notes cleanly. But her ornamentation is indifferent, and she appears unable to trill. I know, some say that that is irrelevant. But compare Beverly Sills' version of this work, with almost too many trills extraordinarily well sung and her florid technique, and this version simply pales.
Bellini, La Sonnambula. "Care compagna. . .Come per me sereno." Again, Netrebko displays a rich voice. She displays an agile voice and the ability to hit the high notes. Her rendition of "come per sereno" is spirited.
Gounod, Faust. "The Jewel Song." Very smooth singing; animated singing. But the technique does not measure up to Anna Moffo's version--let alone Joan Sutherland's.
Puccini, La Boheme. "Musetta's Waltz." Yikes! What a version. Brava Netrebko. Her darker voice is very well suited to this. The characterization of Musetta seems on the mark. A wonderful cut.
All in all, this shows the promise of Netrebko. It also indicates where her strengths are and where she does not do so well (coloratura work). However, this is a very nice introduction to her work and her art.
Yes, her voice is not as lyric as you might expect, and some roles may sound a little big heavy (sometimes maybe bordering verismo), but definitively at stated before hearing her is a gloriuos pleasure, almost as good as looking at her.
The Mean Eyed Cat
KNON Radio 89.3
Rock-A-Billy Review
Dallas, Texas
This is an Enjoyable album from start to finish, this is the way rock n roll is supposed to sound.
Gershwin and Gershwin must be among the top composers of the last century and this opera showcases their talents more than anything I've heard. Ella and Louis are peerless as a vocal duo and though I doubt the West End performance will capture the magic in the same way they did, I still remain very keen to go see it. Is it opera or is it a jazz performance? I don't really know. I just know that I love it. And strongly recommend it.
But after its premiere in 1935, no less than Duke Ellington said, "It has grand music and a swell play, but the two didn't go together. It does not use the Negro musical idiom --- the times are here to debunk Gershwin's lampblack Negroisms."
A quarter of a century later, the producers of the film version had trouble assembling a cast. Harry Belafonte rejected their offer to play Porgy. Sidney Poitier took the part --- and wished he hadn't. Poitier later wrote that the movie insulted black people; when he chose clips of his best performances for his tribute at the American Film Institute, he picked nothing from "Porgy and Bess."
And in 1985, when Grace Bumbry was a sensation as Bess in a Metropolitan Opera production, she slammed the opera: "I thought it beneath me, I felt I had worked far too hard, that we had come far too far to have to retrogress to 1935."
All that may be. All I know is that I have, in a long life, rarely been confronted with more genius than in the Fitzgerald/Armstrong recording of "Porgy & Bess." Set aside the achievement of George and Ira Gershwin in transforming DuBose Heyward's novel into a folk opera. Let's just focus on Armstrong and Fitzgerald, who were at the peak of their popularity when this record was made in 1957.
"Summertime" --- the first song --- sets the tone. A baleful horn figure, then violins. And then Armstrong's trumpet: slow, steady, dignified. But wait --- here comes a slurred note. And a cool little improvisation. Just enough of each. Very tasty.
Fitzgerald sings a verse. She is cool and formal. A lady. Not to be taken lightly. Now it's Armstrong's turn. Tender, but let's not kid ourselves --- this is not singing as others define it. This is melodic speech: rough, gutteral. And thus he is ideally cast: His Porgy may have his charms, but he'll have to stretch to keep Bess.
And so it goes throughout the CD. Trumpet mastery --- Armstrong has dazzling control. His tone is bright, but never shrill; there's a warmth in his playing no one else could produce. And Fitzgerald is just a study in inevitability; to hear her is to wonder how anyone could sing these songs any other way.
"I Got Plenty O' Nuttin'." "Bess, You Is My Woman Now." "A Woman Is a Sometime Thing." "There's a Boat Dat's Leavin' Soon for New York." "Bess, Oh Where's My Bess?" "Oh Lawd, I'm on My Way."
All brilliantly conceived, orchestrated and recorded.
The greatest trumpet player in this history of jazz.
The father of scat singing.
The queen of the jazz vocal.
There are no-brainers, and then there is this Ella Fitzgerald-Louis Armstrong collaboration --- music that imprints on your soul.
A must have for everyone!
Import only single lifted from her 'Greatest Hits' collection. Includes 4 tracks, 'Fine (Album Version)', 'Love To Infinity MegaMix (Edit)', 'Hearbreak Hotel (R.I.P. Remix)' & 'Love To Infinity Megamix (Full Version)'. 2000 release. Slimline jewel case.
Fine,Whitney Houston,Phantom Sound & Visi,5" CD Singles,Popular Music
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One Cell In the Sea
A Fine Frenzy Manufacturer: Virgin Records ProductGroup: Music Binding: Audio CD  General
| Alternative Rock
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ASIN: B000QCK99E Release Date: 2007-07-17 |
Tracks:
- Come On, Come Out
- The Minnow & The Trout
- Whisper
- You Picked Me
- Rangers
- Almost Lover
- Think of You
- Ashes and Wine
- Liar, Liar
- Last of Days
- Lifesize
- Near To You
- Hope for the Hopeless
- Borrowed Time
Amazon.com
A Fine Frenzy is actually just a fine young singer-songwriter from Seattle, born Alison Sudol. A self-taught piano player, on her debut album she pairs sweeping orchestral arrangements with dreamlike lyrics inspired by the classic works of fantasy writers like CS Lewis, EB White, and Lewis Carroll. Add to that a propensity for frilly shirts and cryptic song titles such as "The Minnow & the Trout" and you half-expect to find a back alley Joanna Newsom. Instead Sudol specializes in accessible pop epics, the kind of songs that fit perfectly over the end credits of a great Hollywood tearjerker. Despite the gentle melancholia that runs through "Ashes and Wine" and "You Picked Me," each tune arrives wrapped in an exuberant melody and topped by the singer's commanding voice. On the disc's standout moment, "Almost Lover," she shows she can do simplicity as well, musing over a sublime piano medley, "Shoulda known you'd bring me heartache/ Oh, most lovers always do." --Aidin VaziriAmazon.com
A Fine Frenzy Photos
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Customer Reviews:
Great CD.......2007-07-28
Magic!.......2007-07-23
A Stoke of Amazon Luck.......2007-07-21
I think Alison Sudol may have the loveliest voice I have heard since Sarah McLachlan and/or Eva Cassidy. That is a major concession from me. I am a lyrics lover to the core, and so far I am impressed. Maybe I am easy, but you will have to decide for yourself.
Amazing Debut Album.......2007-07-21
If you love/like Tori Amos, Fiona Apple, Sarah McLachlan, Imogen Heap/Frou Frou then you will love A Fine Frenzy.
One Cell in the Sea: A sonorous journey.......2007-07-19
Such is the case with A Fine Frenzy. When I heard their album, One Cell in the Sea, I was struck by its dimensionality. With her vocal and writing talents, singer/songwriter Alison Sudol folds our hand into hers and guides us through her mysterious wonderland (evidenced by the album's cool cover and booklet art), conjuring picturesque landscapes with "Come On, Come Out", the excellent "Rangers", "You Picked Me" and "The Minnow and the Trout" and ensnaring us in sumptuous wine-dark woodlands with her intimate offerings "Almost Lover", "Hope for the Hopeless", "Near to You" and "Ashes and Wine".
By the time the final track, "Borrowed Time", concluded, I found myself in a well of thoughts and emotions, albeit delightedly so. Sudol has not only crafted an outstanding and bravely personal album, but a magical world I look forward to visiting time and again.
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Real Fine Place
Sara Evans Manufacturer: RCA ProductGroup: Music Binding: Audio CD General
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ASIN: B000B5QWNS Release Date: 2005-10-04 |
Tracks:
- Coalmine
- A Real Fine Place To Start
- Cheatin'
- New Home Town
- You'll Always Be My Baby
- Supernatural
- Roll Me Back In Time
- The Secrets That We Keep
- Bible Song
- Tell Me
- Missing Missouri
- Momma's Night Out
- These Four Walls
Amazon.com
Sara Evans began basic and earthy on her 1997 debut, Three Chords and the Truth-- only to U-turn into poppish, radio-friendly, late-'90s fare that expanded her popularity. Then, in 2003, she swerved back to raw traditionalism on Restless, which showcased her edgy, in-your-face hit "Suds in the Bucket." Evans stays that course on Real Fine Place, with straightahead, earthy production values and first-rate material, including Sheryl Crow's "Roll Me Back in Time" and the title tune, cowritten by Radney Foster and George Ducas. She conjures the perfect mixture of pain and indignation on "Cheatin'," and projects warmth on the parenthood tale "You'll Always Be My Baby." Her stately rendition of Lori McKenna's "Bible Song" magnifies its dark slice-of-life lyrics. Evans cowrote six of the numbers, including the party anthem "Momma's Night Out" and "These Four Walls," an affirmation of domestic pride written with her brother Matt. Granted, her earthy and frothy sides each have their partisans. Even so, high standards remain a constant on all her albums. This one's no exception. --Rich KienzleCustomer Reviews:
Fine Album.......2007-07-02
Coalmine - ode to working class hubby
Real Fine Place - has energy and spirit
Cheatin' - funny lyrics about how a cheatin' man is getting comeupance from life while the woman enjoys herself for once
Supernatural
Roll Me BAck in Time - lover chases Hollywood fame rather than his beloved
Bible Song - has a good, moving story about singer's cousin who commits suicide and its effect on loved ones
Missing Missouri - nice salute to home state and family
Momma's Night Out - uptempo and spunky. The wife/mom is gonna hit the town with the girls and leave domestic stuff to hubby.
Real Fine Place-Sweet!.......2007-05-08
SARA'S DONE IT AGAIN!!!!!!!!!! .......2007-02-24
Real Fine Place.......2007-02-05
I look forward to Sara's next album, hoping that she will go back to the eras of "Born To Fly" and "Restless."
Real Fine Place.......2007-01-13
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And I Feel Fine...: The Best of the I.R.S. Years 1982-1987
R.E.M. Manufacturer: Capitol/I.R.S. ProductGroup: Music Binding: Audio CD General
| Alternative Rock
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ASIN: B000GTJSLM Release Date: 2006-09-12 |
Tracks:
- Begin The Begin
- Radio Free Europe
- Pretty Persuasion
- Talk About The Passion
- (Don't Go Back To) Rockville
- Sitting Still
- Gardening At Night
- 7 Chinese Bros.
- So. Central Rain (I'm Sorry)
- Driver 8
- Can't Get There From Here
- Finest Worksong
- Feeling Gravity's Pull
- I Believe
- Life And How To Live It
- Cuyahoga
- The One I Love
- Welcome To The Occupation
- Fall On Me
- Perfect Circle
- It's The End Of The World As We Know It (And I Feel Fine)
Tracks:
- Pilgrimage (Mike's pick)
- These Days (Bill's pick)
- Gardening at Night(slower electric demo; previously unreleased)
- Radio Free Europe (Hib-tone version)
- Sitting Still (Hib-tone version)
- Life and How to Live It (Live at the Muzik Centrum, Utrecht, Holland 9/14/87; previously unreleased)
- Ages of You (Live at the Paradise, Boston 7/13/83; previously unreleased)
- We Walk (Live at the Paradise, Boston 7/13/83; previously unreleased)
- 1,000,000 (Live at the Paradise, Boston 7/13/83; previously unreleased)
- Finest Worksong (other mix)
- Hyena (demo) (previously unreleased)
- Theme from Two Steps Onward (previously unreleased)
- Superman
- All the Right Friends (previously unreleased; later version released on Vanilla Sky soundtrack)
- Mystery to Me (demo; previously unreleased)
- Just A Touch (live in-studio version; previously unreleased)
- Bad Day (session outtake; previously unreleased)
- King of Birds (last song cut from the best of)
- Swan Swan H (live, acoustic from Athens, GA-Inside Out)
- Disturbance At The Heron House (Peter's pick)
- Time After Time (annElise)(Michael's pick)
Amazon.com
The songs collected on And I Feel Fine... The Best of The I.R.S. Years 1982-1987 are just good enough to render the previous I.R.S. years collection, 1998's Eponymous, officially dead. The latter was likely the way the masses heard R.E.M.'s underground hits on CD the first time--after all, the band had just come off of their apocalyptic breakthrough single ("It's the end of the world...") and CD players were finally hitting below the $400 mark. It did the trick. We all got up to date and it paved the way for a more sonic R.E.M. to grow into the phenomena they've become. This new version is a welcome history re-write as it pulls more from Murmur and Reckoning days and does a far better job at telling the early story--owing a great deal to the photos and in-depth notes from Anthony DeCurtis.For our money it's worth $2 to buy the "Collectors Edition" for the massive collection of rarities on disc 2. The DVD companion to this CD is a visual goldmine. --Peter Hilgendorf
Amazon.com
R.E.M. Photos
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More from R.E.M.
Lifes Rich Pageant |
Document |
Fables of the Reconstruction |
Eponymous |
The Best of the I.R.S. Years |
The Best of the I.R.S. Years Video Collection |
Customer Reviews:
And, oh, do I feel fine listening to this collection...........2007-03-06
However, there is a dark side from whence a music listener can view a "Best-Of" album, since the whole concept of creating an album or two that will attempt to gather together a band's preeminent songs is one that has been used and disastrously abused for decades now. There are legions of rock snobs out there who disdain (quite rightly) the fact that many of these records only collect a band's singles and/or the songs that receive the widest levels of popularity & notoriety. Record companies too often get involved in the decision-making process, forcing the band to include songs just so that more records will be sold on the basis of that one song (i.e., how record companies have been pushing record sales for years, getting the dumbed-down public to buy an often crappy album for the one poppy, radio-friendly tune). "Best-Of" albums too frequently have been turned into "What-Sells-Best" albums, sacrificing content for sales.
I say all of that to say this - R.E.M.'s prior "Greatest Hits" release, In Time: The Best of R.E.M. 1988-2003, was plagued by such issues, especially in terms of leaving often strong, fan-favorite songs in favor of ones that were more easily recognized by the average music-buying public. Case in point - while Automatic For The People is one of R.E.M.'s best records, it's also the fan favorite and received 4 nominations on In Time, while the critically-acclaimed New Adventures in Hi-Fi only had two songs included. Yes, an alternate track of "Leave" did make it to Disc Two, but you had to pay extra for it (even though it is an excellent remix). The band was in the thralls of a world tour in 2003 and this compendium of their years on Warner Brothers left much to the imagination. I mean, "Country Feedback" only made it on as a live track to close out Disc Two - as wonderful as the song is and as well-recorded as the live cut is, it's a travesty of justice for this song not to have been on the Disc One.
So, when I heard that And I Feel Fine was going to be released in Fall 2006 as a replacement for the nearly 2-decades-old Eponymous, released when R.E.M. left I.R.S. Records, I was filled with a mixture of excitement & trepidation. I wasn't quite sure what to expect, even with the promise of liner notes & comments left by all four members Yes, I will admit it - even the promise of long-retired drummer Bill Berry contributing to this collection did little to assuage my fears. As such, as highly- and fittingly-lauded as the band's early work is, there is much misunderstanding that revolves around the first five R.E.M. albums: there aren't any true singles until Document, the band seems overly indulgent in regards to experimentation & quirky lack of direction, and no one really knows what Michael Stipe is singing on any of those songs. I wasn't sure if the problems of over-reliance upon one album that afflicted In Time would burden down And I Feel Fine.
And I am so glad that my fears were dismissed (quite quickly at that). Each of the five albums from the I.R.S. Years (Murmur, Reckoning, Fables of the Reconstruction, Life's Rich Pageant, & Document) is appropriately and evenly represented on the 21 songs on Disc One. Four songs were chosen from each of the five albums, plus "Gardening At Night" from the Chronic Town EP. Thus, besides personal favorites such as "Moral Kiosk" off Murmur, I don't think that there's one necessary song missing between the two discs. Name a song that might be missing - I dare you. "7 Chinese Brothers"? It's there. "Disturbance At The Heron House"? Present. "Cuyahoga"? Accounted for. And even more to the point, the tracks on Disc One are arranged in a non-chronological format, with precedence given to how the songs will sound when listened to as a complete album, from song 1 to song 21, as only a mixtape should be.
There are definite highlights that must be pointed out, and they're all from Disc Two (even though Disc One is a wonderful & complete collection). The first notable selection is the 3-song live set from Boston, MA, on 07/13/1983 - "Ages of You," "We Walk," & "1,000,000." The energy of these four boys from Atlanta, GA is never more apparent than on these tracks as they flow effortlessly and seamlessly through their set. In second place comes the at-half-speed, demo version of "Gardening At Night" - the song sounds more hushed & intimate than a great many other songs in the R.E.M. pantheon. "Hyena" (in a scratchy demo version) represents my third choice, complete with the band's revealing in the liner notes that, while the song was released on Life's Rich Pageant, it was originally recorded during the Fables of the Reconstruction sessions. I've always been a fan of hearing songs in their early, unfinished, not-quite-complete phase - it gives new life to how you hear the "finished" version that you've been used to all of these years.
Do I have any complaints? Not really. As I said, there aren't really any songs that have been left off this 2-disc, 42-song compilation. If you've never listened to R.E.M. before, I would suggest you go purchase the album as soon as you finish reading this review. And I Feel Fine is what a "Best Of" album should be - representative of how a band has grown & developed over a given period of time and beautifully illustrative of the contributions that the band has made to the greater picture of music history. But in case you need just one more reason to buy this album, take this into account - it's both poignant and hilarious to read in the liner notes for Disc Two and learn how Bill, Mike, & Peter haven't always understood what Michael Stipe is singing or what his lyrics even mean, but they're certain that they have meaning for someone (and on occasion, the boys even present their differing interpretations of certain songs). So, if the band doesn't know what's going on with Stipe's beautiful mumblings, then it's OK that us listeners have also been confused for almost 25 years now.
Change of heart.......2007-02-23
"Music that didn't pander to an audience" - it created one.......2007-02-18
More about the remastering.......2007-01-07
But... as several other reviewers have commented, this release was mastered to sound as loud as possible. And at first listen, it sounds great. Then, after it's on for awhile, you will probably find yourself turning the volume down, and even thinking about turning it off. That's because the mix has been highly compressed - that's how they get newer CDs to sound so much louder than old ones, but it's akin to how a loud commercial suddenly comes on when you're watching a TV show and sends you jumping for the remote to turn it down. It becomes obnoxious and irritating when everything is so loud all the time, and robs the music of all dynamics. And if you listen closely you'll hear distortion - they mix it so high that they're actually introducing clipping, which means flattened sound waves that results in a static-y edge to the sound.
Unfortunately this is a trend that has been going on with CD mastering for the last decade, though it gets very little publicity. The record companies do it because they think we like it, and actually many of us think we do, judging by a lot of the positive comments on the sound of overloud remasters. But once you're aware of it, you'll notice it, and you'll start to feel ripped off. The public needs to tell the record companies we want quality remasters that don't compromise true fidelity and range for shallow loudness and distortion. To learn more on this topic, do a web search on "loudness war".
Discover This Band.......2007-01-06
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Love Is Space
Deva Premal Manufacturer: White Swan ProductGroup: Music Binding: Audio CD General
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ASIN: B00004U4UQ Release Date: 2000-01-01 |
Tracks:
- Om Shree Sache
- Chidananda
- Om Mani Padme Hum
- Ide Were Were
- Jai Radha Madhav
- Gate Gate
- Om Namo Narayanaya
Album Description
Graced by ancient mantras and mult-level harmonies, LOVE IS SPACE glows with an inspiring, heart-centered passion. Deva Premal's voice, like silk, like liquid bliss, is accompanied by Jai Uttal, Miten and Kit Walker's amazing keyboard and rhythm tracks. LOVE IS SPACE, as the title suggests, is a journey into the spacious golden land of chant.This is amazingly sensual music that is ideal for yoga, meditation, healing work, and, not least of all, slow passionate dancing.
Customer Reviews:
Love is space.......2007-07-31
Engaging and Peaceful.......2007-07-16
Meditation.......2007-05-13
Deva Premal.......2007-05-08
Mill Valley, CA
Wonderfull.......2007-01-11
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Art of Beverly
Beverly Sills Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD General
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ASIN: B000075A7K Release Date: 2002-11-12 |
Tracks:
- Mignon: Oui, Pour Ce Soir Je Suis Reine Des Fees...Je Suis Titania La Blonde
- Manon: Allons! Il Le Faut-Adieu, Notre Petite Table
- Manon: Je Marche Sur Tous Les Chemins-Obeissons Quand Leur Voix Appelle
- Louise: Depuis Le Jour
- Linda Di Chamounix: Ah! Tardai Troppo...O Luce Di Quest'Anima
- Lucia Di Lammermoor: Regnava Nel Silenzio...Quando Rapito In Estasi
- I Puritani: Fini...Me Lassa!
- I Puritani: Vieni, Vieni Fra Queste Braccia
- Roberto Devereux: L'amor Suo Mi Fe' Beata
- Maria Stuarda: O Nube
- Anna Bolena: Cielo A' Miei Lunghi Spasimi-Coppia Iniqua
Tracks:
- Les Contes D'Hoffman: Les Oiseau Dans La Charmille
- Les Contes D'Hoffman: Elle A Fui, La Tourterelle
- Zaide: Ruhe Sanft, Mein Holdes Leben
- Der Opernball: Im Chambre Separee
- Die Lustige Witwe: Es Lebt' Eine Vilja
- The Ballad Of Baby Doe: Gold Is A Fine Thing
- Die Tote Stadt: Cluck, Das Mir Verblieb
- Daphen: Was Blendet So...Ich Komme...Ich Komme
- Sechs Lieder Op.19 No.2: Breit' uber Mein haupt Dein Schwarzes Haar
Customer Reviews:
WHAT CAN I SAY?.......2007-07-05
Rest in Peace Dear Bubbles (1929-July 2, 2007).......2007-07-03
I met this singer last fall in New York. A few months later, I saw her again hosting the opera quiz at the Met. Little did I know that about five months later, she would forever rest in the peace that she deserved for so long. Rest in peace Beverly. And brava...brava for the many years of wonderful singing that you gave us.
two beautiful discs!.......2007-02-18
Good example of the "Art of Beverly Sills".......2007-01-27
The first CD focuses on her operatic singing. The CD begins with a selection from Thomas' "Mignon," culminating in "Je suis Titania la blonde." Her voice is light and clear. She displays great agility. In the middle of this piece, she shows a decent but not great trill; she closes the "cut" with a series of terrific trills. Her ornamentation is nicely done.
Donizetti's "Linda di Chamounix" was another of Sills' characters. "Ah! Tardai troppo. . .O luce di quest'anima" features more clean vocalization. The florid singing is nicely done, with well sung high notes and additional sound trills. A very agile voice on display! From Donizetti's "Lucia di Lammermoor," Sills sings "Regnava nel silenzio. . .Quando rapito in estasi." Her voice is smooth. In the aria, she produces a set of trill after trill, each one well done, but in their totality almost overdone (I love trills, but there were almost too many!). "Quando rapito in estasi" is well sung, with much well done florid singing, with appoggiaturas, trills, and other ornamentation.
The remainder of the CD features selections from Bellini's "I Puritani," and Donizetti's "Roberto Devereux," "Maria Stuarda," and "Anna Bolena." I can say pretty much the same about these pieces as already stated before. Excellent technique, wonderful ornamentation.
The second CD begins with the redoubtable piece, sung by "Olympia," from Offenbach's "Les Contes d'Hoffmann." Well done, with good vocal effects, catching the mechanical aspects of the music. Other pieces on this side come from Mozart, Heuberger, Moore, Korngold, and so on.
One piece worth mentioning, because it captures her approach to a lighter work, from Lehar's "The Merry Widow." She sings the song for what it is, and does not overwhelm it with her voice. Compare with what Richard Tucker did to the enjoyable but rather light song, "What Now My Love?", when he essayed singing pop tunes. Enjoyable for the thrill of his voice; pretty grisly in terms of his overwhelming the music itself. That does not happen here; there is a certain pathos in Sills' singing, as warranted by the song. It suggests the range of her singing.
All in all, a good sampling of "The Art of Beverly Sills." Hearing her voice again after many years reinforces my preexisting view that she ranks as one of the best coloratura sopranos of the past fifty years. There are terrific contemporary singers who sing the same repertoire and do it well. But Beverly Sills certainly compares very well with them. If interested in an introduction to Sillsiana, this is a good place to start.
Claws.......2003-11-16
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Chicken Little
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ASIN: B000BBOVEY Release Date: 2005-11-01 |
Tracks:
- Stir It Up - Patti Labelle
- One Little Slip - Barenaked Ladies
- Shake A Tail Feather - The Cheetah Girls
- All I Know - Five For Fighting
- Ain't No Mountain High Enough - Diana Ross
- It's The End Of The World As We Know It (And I Feel Fine) - R.E.M.
- We Are The Champions - Chicken Little
- Wannabe - Abby Mallard And Runt Of The Litter
- Don't Go Breaking My Heart - The Chicken Little Cast
- The Sky Is Falling - John Debney
- The Big Game - John Debney
- Dad Apologizes - John Debney
- Chase To Cornfield - John Debney
- Dodgeball - John Debney
- Driving With Dad - John Debney
Amazon.com
This soundtrack offers a pretty standard mix of new songs, old chestnuts, and excerpts from the score (here by John Debney). On the new tip, Joss Stone and Patti LaBelle engage in an overheated battle of the divas on CD opener "Stir It Up," a bouncy piece of fluff that sounds more like Aretha Franklin circa "Freeway of Love" than classic soul. Other originals include Barenaked Ladies' "One Little Slip" (this movie's answer to Counting Crows' "Accidentally in Love" from Shrek 2) and the Cheetah Girls' peppy-but-bland cover of "Shake Your Tail Feather." But the real highlights are the songs performed by the movie's vocal cast, which includes Joan Cusack, Garry Marshall, Zach Braff, Steve Zahn, and Amy Sedaris. Their group cover of Elton John and Kiki Dee's "Don¹t Go Breaking My Heart," for instance, sounds as if half of them were drunk in the recording studio (and this is meant as a compliment.) Braff's a cappella version of "We Are the Champions" is smashing and Cusack and Zahn's take on the Spice Girls' "Wannabe" is completely demented. The kids will laugh; their parents will laugh even harder for completely different reasons. --Elisabeth VincentelliCustomer Reviews:
my little one loves Chicken Little.......2007-04-05
this is a great kids cd!!.......2007-03-24
Great soundtrack for the children, especially if they liked the movie!.......2007-03-14
Her favorite gift..........2006-12-23
Chicken Little Soundtrack.......2006-08-29
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Anna Netrebko: Opera Arias
Anna Netrebko , Elina Garanca , Gianandrea Noseda , Wiener Philharmoniker , and Hector Berlioz Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD Bellini, Vincenzo
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ASIN: B00008MLSH Release Date: 2003-09-09 |
Tracks:
- Idomeneo: Recitativo ed Aria "Quando avran fine omai" - Mozart
- Don Giovanni: Recitativo accompagnato e Rondo "Crudele!" - Mozart
- Benvenuto Cellini: Cavatine "Entre l'amour et le devoir" - Berlioz
- La Sonnambula: Recitativo e Cavatina "Care compagne, et voi, ternei amici" - Bellini
- Manon: Air du Cours-la-Reine "Suis-je gentille ainsi?" - Massenet
- Lucia di Lammermoor: Scena e Cavatina "Ancor non giunse!" - Donizet
- Faust: Ricitatif "Les grands seigneurs ont seuls des airs..." - Gounod
- Rusalka: "Mesicku na nebli hlubokem" - Dvorak
- La Boheme: "Quando me'n vo' (Musette's Waltz)" - Puccini
Amazon.com
Here, a year after her sensational Metropolitan debut as Prokofiev's Natasha from War and Peace, comes the debut solo recital album of 30-something soprano Anna Netrebko. She hails from southern Russia, and her emergence from the life of a conservatory student has a touch of the Cinderella tale—the bit, that is, about being discovered by Gergiev mopping floors for the Kirov as a part-time job and making her way into the Kirov's ranks. Later she became a favorite at San Francisco Opera, trying on for size a swath of comic and dramatic roles. Opera Arias parades Netrebko's way through a spectrum of vocal styles and characters. This mesmerizing lyric soprano engages--at times thrillingly grips--the listener with an imagination far greater than the disc's title (couldn't someone have dreamt up a less ridiculously bland handle?), but most significantly leaves an impression that the enterprise here isn't merely about singing. Netrebko's Ilia and Donna Anna are flesh-and-blood characters in real situations, as Mozart wanted them to be. The results are a bit more uneven with her bel canto heroines, where the required balance between Netrebko's emotional identification, so obviously a forte, and the musical phrasing thereof is a delicate one. Her shading of Lucia's mood swings, vocal and emotional, isn't consistently compelling. On the other hand, Netrebko uncovers gemlike facets not just in Gounod's "Jewel Song" but particularly in her stunning, passionately realized and beautifully phrased Manon (even if her trills disappoint). A shame that samples of her Russian repertory are missing here, though Netrebko's "Song to the Moon" from Dvorak's Rusalka concentrates and sets a mood with enviable mastery. Netrebko's musical intelligence and theatrical savvy seem destined to ensure her a magnificent career, so it's no surprise that many fans are already clamoring for more than the tease of an aria collection. --Thomas MayCustomer Reviews:
Bright Star.......2007-07-13
Anna Netrebko: Opera Arias.......2007-03-29
I highly reccomend it.
First DGG album--very promising.......2007-02-01
A few selections illustrate:
Mozart, Idomeneo, "Quando avran fine omai." She displays a rich and clean voice. There is a very attractive quality to her voice manifest in this work.
Mozart, Don Giovanni, "Crudele? Ah no, mio bene!...Non mi dir." This is Donna Anna's poignant aria, given her circumstances. Netrebko displays rich tones. This is a well sung cut. "Non mi dir" shows off some agility in her voice.
Donizetti, Lucia di Lammermoor. "Ancor non giunse!. . .Regnava nel silenzio. . .Quando rapito in estasi" Something of a disappointment. Coloratura is not her forte (and see her "Sempre Libera" CD for further confirmation). She clearly shows off a rich and lush voice. I think that she displays some characterization here that is compelling. She hits high notes cleanly. But her ornamentation is indifferent, and she appears unable to trill. I know, some say that that is irrelevant. But compare Beverly Sills' version of this work, with almost too many trills extraordinarily well sung and her florid technique, and this version simply pales.
Bellini, La Sonnambula. "Care compagna. . .Come per me sereno." Again, Netrebko displays a rich voice. She displays an agile voice and the ability to hit the high notes. Her rendition of "come per sereno" is spirited.
Gounod, Faust. "The Jewel Song." Very smooth singing; animated singing. But the technique does not measure up to Anna Moffo's version--let alone Joan Sutherland's.
Puccini, La Boheme. "Musetta's Waltz." Yikes! What a version. Brava Netrebko. Her darker voice is very well suited to this. The characterization of Musetta seems on the mark. A wonderful cut.
All in all, this shows the promise of Netrebko. It also indicates where her strengths are and where she does not do so well (coloratura work). However, this is a very nice introduction to her work and her art.
Remarkable!.......2006-11-02
Yes, her voice is not as lyric as you might expect, and some roles may sound a little big heavy (sometimes maybe bordering verismo), but definitively at stated before hearing her is a gloriuos pleasure, almost as good as looking at her.
Beautiful voice, beautiful girl.......2005-11-22
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One Fine Day: Music From The Motion Picture
Various Artists Manufacturer: Sony ProductGroup: Music Binding: Audio CD General
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ASIN: B000002BT3 Release Date: 1996-12-10 |
Tracks:
- One Fine Day - Natalie Merchant
- The Boy From New York City - The Ad Libs
- For The First Time - Kenny Loggins
- Mama Said - The Shirelles
- Someone Like You - Shawn Colvin
- Love's Funny That Way - Tina Arena
- Have I Told You Lately? - Van Morrison
- The Glory Of Love - Keb' Mo'
- What A Diff'rence A Day Made - Tony Bennett
- Isn't It Romantic - Ella Fitzgerald
- This Guy's In Love With You - Harry Connick, Jr.
- Just Like You - Keb' Mo'
- One Fine Day - The Chiffons
- Suite From 'One Fine Day' - James Newton Howard
Customer Reviews:
Great songs and fond memories of the movie.......2007-05-11
Predictable but nice........2007-03-15
Chick Flick.......2006-11-03
Kids are the best matchmakers.......2006-10-07
Don't Lose Hope!.......2006-08-27
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Somethin' Else: The Fine Lookin' Hits of Eddie Cochran
Eddie Cochran Manufacturer: Razor & Tie ProductGroup: Music Binding: Audio CD General
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ASIN: B0000063B8 Release Date: 1998-02-24 |
Tracks:
- Tired And Sleepy - The Cochran Brothers
- Skinny Jim
- Long Tall Sally
- Sittin' In The Balcony
- Drive-In Show
- Twenty Flight Rock
- Jeanie, Jeanie, Jeanie
- Summertime Blues
- C'Mon Everybody
- Nervous Breakdown
- My Way
- Teenage Heaven
- Weekend
- Somethin' Else
- Boll Weevil
- Hallelujah I Love Her So
- Guybo
- Cherished Memories
- Three Steps To Heaven
- Cut Across Shorty
Amazon.com
Chuck Berry may have written the lyrical book of rock & roll, but Berry was nearly 30 when he scored his first hit. Eddie Cochran was the teenage embodiment of '50s rock--a guitar-playing James Dean/Elvis Presley-like rockabilly star who wrote his own teen-themed songs, many later covered by the likes of the Who and the Sex Pistols. This Razor & Tie anthology stands with the Legendary Masters album as the best U.S. compilation, repeating 15 tracks from the earlier collection and including such obscurities as the Cochran Brothers' "Tired and Sleepy." Unfortunately, there's no "Three Stars," but this is still a mighty fine sampler of prime output by a visionary artist who died three years into his recording career. --Bill HoldshipCustomer Reviews:
Unbelievably underrated and gone too soon........2007-06-07
Oh What could have been.......2007-02-07
The Mean Eyed Cat
KNON Radio 89.3
Rock-A-Billy Review
Dallas, Texas
Buy this album.......2006-10-24
The real Elvis.......2006-09-29
Good Collection of songs.......2005-10-15
This is an Enjoyable album from start to finish, this is the way rock n roll is supposed to sound.
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Porgy & Bess
Ella Fitzgerald , and Louis Armstrong Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD All Works by Gershwin
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ASIN: B0000046Z5 Release Date: 1990-10-25 |
Tracks:
- Overture
- Summertime
- I Wants To Stay Here
- My Man's Gone Now
- I Got Plenty O'Nuttin'
- Buzzard Song
- Bess, You Is My Woman Now
- It Ain't Necessarily So
- What You Want Wild Bess?
- A Woman Is A Sometime Thing
- Oh, Doctor Jesus
- Medley: Here Come De Honey Man/Crab Man/Oh, Deh's So Fresh And Fine (Strawberry Woman)
- There's A Boat Dat's Leavin' Soon For New York
- Bess, Oh Where's My Bess
- Oh Lawd, I'm On My Way
Amazon.com
Getting the two most personable voices in jazz to sing an hour's worth of George Gershwin's opera Porgy & Bess (Ella doing all the female parts, Satchmo all the male) was a good idea, but not quite as great as it sounded. Armstrong savors the down-and-dirty Charlestonisms that inspired the cadences of the music and lyrics, and they fit his happy rasp like an old shoe; Fitzgerald, conversely, sounds almost prissy every time she has to sing the word "ain't," though her melodic genius gets Gershwin's bold, supple tunes over. The arrangements are full-throttle Broadway, with a few leaps into Dixieland (including some fine Armstrong trumpet solos), but the disc works best when the vocalists break character and let their jazz side out. --Douglas WolkCustomer Reviews:
Absolutely peerless.......2006-11-17
Gershwin and Gershwin must be among the top composers of the last century and this opera showcases their talents more than anything I've heard. Ella and Louis are peerless as a vocal duo and though I doubt the West End performance will capture the magic in the same way they did, I still remain very keen to go see it. Is it opera or is it a jazz performance? I don't really know. I just know that I love it. And strongly recommend it.
once-in-a-lifetime greatness.......2006-10-06
But after its premiere in 1935, no less than Duke Ellington said, "It has grand music and a swell play, but the two didn't go together. It does not use the Negro musical idiom --- the times are here to debunk Gershwin's lampblack Negroisms."
A quarter of a century later, the producers of the film version had trouble assembling a cast. Harry Belafonte rejected their offer to play Porgy. Sidney Poitier took the part --- and wished he hadn't. Poitier later wrote that the movie insulted black people; when he chose clips of his best performances for his tribute at the American Film Institute, he picked nothing from "Porgy and Bess."
And in 1985, when Grace Bumbry was a sensation as Bess in a Metropolitan Opera production, she slammed the opera: "I thought it beneath me, I felt I had worked far too hard, that we had come far too far to have to retrogress to 1935."
All that may be. All I know is that I have, in a long life, rarely been confronted with more genius than in the Fitzgerald/Armstrong recording of "Porgy & Bess." Set aside the achievement of George and Ira Gershwin in transforming DuBose Heyward's novel into a folk opera. Let's just focus on Armstrong and Fitzgerald, who were at the peak of their popularity when this record was made in 1957.
"Summertime" --- the first song --- sets the tone. A baleful horn figure, then violins. And then Armstrong's trumpet: slow, steady, dignified. But wait --- here comes a slurred note. And a cool little improvisation. Just enough of each. Very tasty.
Fitzgerald sings a verse. She is cool and formal. A lady. Not to be taken lightly. Now it's Armstrong's turn. Tender, but let's not kid ourselves --- this is not singing as others define it. This is melodic speech: rough, gutteral. And thus he is ideally cast: His Porgy may have his charms, but he'll have to stretch to keep Bess.
And so it goes throughout the CD. Trumpet mastery --- Armstrong has dazzling control. His tone is bright, but never shrill; there's a warmth in his playing no one else could produce. And Fitzgerald is just a study in inevitability; to hear her is to wonder how anyone could sing these songs any other way.
"I Got Plenty O' Nuttin'." "Bess, You Is My Woman Now." "A Woman Is a Sometime Thing." "There's a Boat Dat's Leavin' Soon for New York." "Bess, Oh Where's My Bess?" "Oh Lawd, I'm on My Way."
All brilliantly conceived, orchestrated and recorded.
The greatest trumpet player in this history of jazz.
The father of scat singing.
The queen of the jazz vocal.
There are no-brainers, and then there is this Ella Fitzgerald-Louis Armstrong collaboration --- music that imprints on your soul.
We love this album.......2006-08-22
Simply great.......2006-03-04
A must have for everyone!
Porgy and Bess.......2005-10-14
Christian Music:
- Going Home
- HeartSong
- I Do Believe In You
- I Lay My Love on You [CD-single] [Import]
- I'm Gonna Be Alright/Alive [CD-single] [Enhanced]
- I Wish You Well
- If You Need Loving Come By Here
- In God We Trust: From The Martial Art Musical By Remo Capra
- In the Spotlight [Import]
- Island Romance
Christian Music
Always on My Mind [Box set] [Import]
Final Chapter [Explicit Lyrics]