Better Way [Explicit Lyrics]

1. Intro (Back on the Streets)

2. Bringin Drama - Baby Stone,

3. Catchin Cases - Baby J, Baby Stone

4. So Gee - Baby J, Baby Stone, Pt & The Ghost Notes,

5. Roll Wit Me

6. Corner Boy Prayer

7. Move On - Baby J, Baby Stone, Rizzo

8. Lil Tony Live from Prison (Skit)

9. Even Thought U Gone - Baby Stone,

10. Justice Is Blind

11. Know U Want It

12. Can U Feel Me - Baby Stone,

13. What They Gone Do - Baby Stone, Queen Boyz

14. Better Way (Skit)

15. So Many Question

16. Walk Away

17. Street Game

Better Way,Baby Stone,Corner Boy Records,Pop,Rap,Rap & Hip-Hop

Average customer rating: Mixed feelings Your love for this superb collection will be here to stay... He's done it again Absolutely 'S WONDERFUL! A beautiful 2 disc CD-another hit for Michael

The Michael Feinstein Anthology Manufacturer: Elektra / Wea ProductGroup: Music Binding: Audio CD All Works by Gershwin | Gershwin, George | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Porter | Porter, Cole | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General | Jazz | Styles | Music General | Opera & Vocal | Styles | Music General | Pop | Styles | Music General | Oldies | Pop | Styles | Music Traditional Pop | Oldies | Pop | Styles | Music General | Vocal Pop | Pop | Styles | Music Nostalgia | Miscellaneous | Styles | Music Movie Scores | Soundtracks | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music Traditional Vocal Pop | Broadway & Vocalists | Styles | Music General | Broadway & Vocalists | Styles | Music Similar Items: Romance on Film/Romance on Broadway Hopeless Romantics Pure Gershwin Nice Work If You Can Get It: Songs by the Gershwins Michael & George (Feinstein Sings Gershwin) ASIN: B000065DVH Release Date: 2002-05-21

Tracks:

1. Nice Work If You Can Get It
2. Isn't It Romantic
3. Swinging On A Star
4. Ask Me Again
5. Rhode Island Is Famous For You
6. 'S Wonderful
7. Wonder Why
8. Too Marvelous For Words
9. Where Do You Start
10. Theme From The Bad And The Beautiful
11. Easy To Love
12. Alexander's Ragtime Band
13. Who Are You Now?
14. You're An Education
15. You Are There
16. Sophisticated Swing
17. Love Can Change The Stars
18. Come Out, Come Out Wherever You Are
19. Half Of April (Most Of May)
20. Marianne
21. They Can't Take That Away From Me
22. I Love A Piano

Tracks:

1. That's Entertainment
2. My Favorite Year
3. Ten Feet Off The Ground (With Rosemary Clooney)
4. I Never Felt Better
5. Someone To Watch Over Me
6. Kiss Her Now
7. The Ugly Bug Ball
8. For You, For Me, Forever More
9. The Mole People
10. And So To Bed
11. You're All The World To Me
12. Old Friend
13. Isn't It A Pity (with Rosemary Clooney)
14. Pattisserie
15. Open Your Eyes
16. For Love Alone
17. I Won't Send Roses/Time Heals Everything
18. Get Out And Get Under The Moon (with Page Cavanaugh)
19. My Romance
20. Love Is Here To Stay
21. Violin (with Liza Minnelli)

Amazon.com

The line between evangelist and entertainer has always been somewhat indistinct. But as showcased on this 43-track, double-disc collection culled from his '87-'96 recordings for Elektra/Nonesuch/Atlantic, Michael Feinstein's dedication to spreading the gospel of the American song often blurs it beyond recognition. While the singer's pedigree for the task is impeccable (a long-term stint as Ira Gershwin's assistant and early career sponsorship by Liza Minnelli), his interpretations often succeed by playing off a tense axis of fervent emotionalism and a joyous sense of irreverence.

If his readings of romantic standards can sometimes tend toward the precious, they're often balanced here by sheer dramatic power and telling insights ("Isn't It Romantic" fairly bristles with ironic chauvinism) and a few loopy curves ("The Mole People," the Sherman Brothers' "The Ugly Bug Ball," and the previously unreleased "Rhode Island Is Famous for You"). Feinstein's dedicated song archaeology is also showcased on several gems: "Violin," a duet with Liza Minnelli; "My Favorite Year," a rejected ballad for the film of that name; the sublime "lost" Gershwin classic "Ask Me Again."

Sprinkled with live performances (the forum where Feinstein's talents seem most energized) and studio outtakes and featuring a lengthy print interview with the singer, the set chronicles both the pioneering efforts of one of pop music's most successful revivalists and, crucially, the cream of his beloved American songwriters, from stalwarts Gershwin, Berlin, and Porter to later legends like Herman, Styne, Lane, Martin, and Mercer. --Jerry McCulley

Album Description

The definitive collection of performances by the Grammy nominated singer features 43 tracks from 14 albums released by Elektra, Elektra Nonesuch, and Atlantic labels from 1987-1996. Plus 8 previously unreleased live tracks only available here 'Rhode Island is Famous For You', 'S Wonderful', 'Alexander's Ragtime Band', 'I Love A Piano', 'Patisserie', 'Get Out And Get Under The Moon' (with Page Cavanaugh), 'Love Is Here To Stay' & 'Violin' (with Liza Minnelli). 2 Digipacks housed in a slipcase with a booklet. Rhino Records. 2002.

Customer Reviews:

Mixed feelings.......2005-10-05

This album has some GREAT songs on it; sophisticated swing being one of my favorites. However many of the other songs are too operatic and lame. I give three stars but this album is definatly worth it just for some of the better songs.

Your love for this superb collection will be here to stay..........2002-07-18

The magnificently talented Michael Feinstein has made one wonderful album after another for nearly two decades. Now that Elektra and Rhino have put together this anthology, I am blown away by the versatility and diversity in Feinstein's recorded output. Such amazing rare gems, combined with the most beloved favorites in the history of American Popular Song. Assembled with wit, intelligence, and obvious affection on the part of the record company, this set is a keeper. You'll love it!

He's done it again.......2002-07-15

Is there anything this man can't sing? This collection is so varied as to be the definitive collection of songs for any occassion.

This is perfect background music for a dinner party for a whole group but especially for two. Light, romantic and just gorgeous. You just can't go wrong when Michael Feinstein is your musical choice.

Way to go Michael, you've done it again!

Absolutely 'S WONDERFUL!.......2002-06-10

There are very few contemporary performers who can hold their own with the truly great interpreters of American popular song. Michael Feinstein is truly the ONLY performer of the "younger" generation who really understands what these songs are all about. His incredible knowledge of this music, and his enthusiasm and passion for it have fueled his career. Rhino Records has done a truly outstanding job of putting together an anthology that exemplifies why Mr. Feinstein has become so beloved by audiences around the world. The packaging is excellent, and filled with interesting photos and background information about many of the selections.

This collection not only contains all the favorites one would expect, but a neat group of surprises too. I especially love the duets with people like Liza Minnelli and Rosemary Clooney, and the various collaborative efforts with songwriters like Jule Styne and Burton Lane accompanying Michael at the piano.

This collection is a classic to be treasured. Bravo Michael!
Bravo Rhino!

A beautiful 2 disc CD-another hit for Michael.......2002-06-09

I have every CD Michael has ever made and this is by far one of the best ones because of Michael's range in singing and his wonderful singing voice. I love his duets with Rosemary Clooney and Liza Minelli. He is a wonderful performer on this double CD and am looking foward to the next CD.

Average customer rating:

Better Things in Life/Cookin' Jerry Reed Manufacturer: One Way Records Inc ProductGroup: Music Binding: Audio CD General | Country | Styles | Music Nashville Sound | Traditional Country | Country | Styles | Music General | Traditional Country | Country | Styles | Music Outlaw & Progressive Country | Country | Styles | Music Rockabilly | Oldies & Retro | Rock | Styles | Music Similar Items: Smell the Flowers/Jerry Reed Hot A' Mighty/Lord, Mr. Ford When You're Hot You're Hot/Ko-Ko-Joe Pickin' Flyin' High ASIN: B00004TEVE Release Date: 2000-05-09

Tracks:

1. Roving Gambler
2. Pride Today
3. Like of Me
4. Blues Land
5. Coming up Roses
6. Johnny Wants to Be a Star
7. There's Better Things in Life
8. Oh What a Woman!
9. Patches of Blue
10. Swingin 69'
11. Somebody You'll Call My Name
12. I'm a Happy Man

Tracks:

1. Turn It Around in Your Mind
2. How Many Tomorrows
3. Sometimes Feelin'
4. Just to Satisfy You
5. Plastic Saddle
6. I Shoulda Stayed Home
7. Alabama Jubilee
8. Aunt Maudie's Fun Garden
9. Semi-Great Predictor
10. My Next Impersonation
11. Gomyeyonyo

Average customer rating: STREISSAND LIVE IN CONCERT 2006

Center Stage: Broadway 1947-1958 Manufacturer: Decca Broadway ProductGroup: Music Binding: Audio CD All Works by Bernstein | Bernstein, Leonard | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Morton Gould | Gould, Morton | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Weill | Weill, Kurt | ( W ) | Featured Composers, A-Z | Classical | Styles | Music Compilations | Classical | Styles | Music General | Opera & Vocal | Styles | Music Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music General | Musicals | Broadway & Vocalists | Styles | Music General | Broadway & Vocalists | Styles | Music General | Soundtracks | Styles | Music The Decca Records Store | Specialty Stores | Music 4-for-3 Broadway & Vocalists | 4-for-3 Music | Stores | Music 4-for-3 Classical | 4-for-3 Music | Stores | Music 4-for-3 Pop | 4-for-3 Music | Stores | Music 4-for-3 Soundtracks | 4-for-3 Music | Stores | Music 4-for-3 All Music | 4-for-3 Music | Stores | Music Similar Items: A Time of Hope: Broadway 1935-1946 Put on a Happy Face: Broadway 1959-1967 Broadway Today: Broadway 1993-2005 Broadway Magic: Broadway 1968-1980 The British Invasion: Broadway 1981-1992 ASIN: B0007ZEO1E Release Date: 2005-04-26

Tracks:

1. Shall We Dance?
2. Ohio
3. Luck Be A Lady
4. The Ballad Of Mack The Knife
5. There's A Small Hotel
6. Once In Love With Amy
7. The Yodel Blues
8. Lazy Afternoon
9. There Must Be Something Better Than Love
10. You're Just In Love
11. Now Is The Time

Customer Reviews:

STREISSAND LIVE IN CONCERT 2006.......2007-05-15

CONTENT WAS EXCELLENT BUT THE CD HAD TOO MANY GAPS IN TRANSITION FROM EACH TRACK.

Average customer rating:

Broadway: America's Music 1935-2005 Manufacturer: Decca Broadway ProductGroup: Music Binding: Audio CD All Works by Bernstein | Bernstein, Leonard | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gershwin | Gershwin, George | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Morton Gould | Gould, Morton | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Porter | Porter, Cole | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Weill | Weill, Kurt | ( W ) | Featured Composers, A-Z | Classical | Styles | Music Compilations | Classical | Styles | Music General | Opera & Vocal | Styles | Music Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music English | Languages | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Movie Scores | Soundtracks | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music General | Musicals | Broadway & Vocalists | Styles | Music General | Broadway & Vocalists | Styles | Music General | Vocal Pop | Pop | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Broadway - The American Musical (PBS Series) Grey Gardens - A New Musical (2006 Original Broadway Cast) The Drowsy Chaperone (2006 Original Broadway Cast) Spring Awakening (2006 Original Broadway Cast) Letters from Iwo Jima (Two-Disc Special Edition) ASIN: B000B8I93Q Release Date: 2005-10-18

Tracks:

1. Oh What a Beautiful Mornin'
2. Summertime
3. I Could Write a Book
4. It Never Entered My Mind
5. I Can Cook Too
6. Make It Another Old Fashioned, Please
7. If I Loved You
8. My Heart Belongs to Daddy
9. Thou Swell
10. I Left My Heart at the Stage Door Canteen
11. There's No Business Like Show Business
12. South American Way

Tracks:

1. Shall We Dance
2. Ohio
3. Luck Be a Lady
4. Mack the Knife
5. There's a Small Hotel
6. Once in Love with Amy
7. Yodel Blues
8. Lazy Afternoon
9. There Must Be Somethin' Better Than Love
10. You're Just in Love
11. Now Is the Time

Tracks:

1. Impossible Dream
2. Love Makes the World Go 'Round
3. Try to Remember
4. Put on a Happy Face
5. I Say Hello
6. Happiness
7. She Loves Me
8. What Kind of Fool Am I?
9. Shy
10. Consider Yourself
11. Poor Little Person

Tracks:

1. Magic to Do
2. They're Playing My Song
3. I Don't Know How to Love Him
4. I Won't Send Roses
5. Good Morning Starshine
6. Don't Cry for Me, Argentina
7. Hard Candy Christmas
8. Diamonds Are a Girl's Best Friend
9. Won't You Charleston with Me?
10. Applause

Tracks:

1. Phantom of the Opera
2. Memory
3. On My Own
4. Muddy Water
5. How Could I Ever Know
6. American Dream
7. I Know Him So Well
8. Dr. Jazz
9. Me and My Girl
10. Suddenly Seymour

Tracks:

1. Mamma Mia!
2. Popular
3. Seasons of Love
4. Oh, the Thinks You Can Think
5. Whatever Lola Wants
6. Crazy
7. How Deep Is Your Love
8. Stars
9. People Like Us
10. I Go to Rio

Average customer rating: Great compilation A disappointment

DRG 25th Anniversary Show Stopping Performances Manufacturer: Drg ProductGroup: Music Binding: Audio CD All Works by Porter | Porter, Cole | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General | Previn, André | ( P ) | Featured Composers, A-Z | Classical | Styles | Music Chamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Movie Scores | Soundtracks | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music General | Musicals | Broadway & Vocalists | Styles | Music General | Broadway & Vocalists | Styles | Music General | Vocal Pop | Pop | Styles | Music Broadway & Vocalists | Indie Music | Stores | Music General | Soundtracks | Indie Music | Stores | Music Similar Items: Barbara Cook at the Met with Special Guests Curtains (2007 Original Broadway Cast) ABC (Adler, Bock, Coleman) 110 in the Shade (2007 Broadway Revival Cast) The Drowsy Chaperone (2006 Original Broadway Cast) ASIN: B00005Q6IN Release Date: 2001-10-23

Tracks:

1. A Day In Hollywood A Night In Ukraine: Just Go To The Movies - Priscilla Lopez/David Garrison/Frank Lazarus/Stephen James/Peggy Hewett/Kate Draper
2. Babes In Arms: I Wish I Were In Love Again - Christopher Fitzgerald Jessica Stone
3. Pal Joey: Bewitched, Bothered And Bewildered - Patti LuPone
4. Gentlemen Prefer Blondes: Diamonds Are A Girl's Best Friend - KT Sullivan
5. Nunsense: I Just Want To Be A Star - Christine Anderson
6. Louisiana Purchase: Wild About You - Debbie Gravitte & New York Voices
7. Oil City Symphony: Beaver Ball At The Bug Club - Mike Craver/Mark Hardwick/Debra Monk/Mary Murfitt
8. Falsettoland: The Baseball Game - Michael Rupert/Chip Zien/Faith Prince/Janet Metz/Heather MacRae/Stephen Bogardus
9. Very Good Eddie: Isn't It Great To Be Married? - Virginia Seidel/Spring Fairbank/Charles Repole/Nicholas Wyman
10. The Fantasticks: A Perfect Time To Be In Love - Harvey Schmidt
11. Call Me Madam: You're Just In Love - Tyne Daly/Lewis Cleale
12. Taking My Turn: Fine For The Shape I'm In - Margaret Whiting/Marnie Nixon/Cissy Houston
13. A Party With Betty Comden & Adolph Green: The French Lesson - Betty Comdon/Adolph Green
14. The Madwoman Of Central Park: Better - Phyllis Newman
15. Greenwillow: Never Will I Marry - Anthony Perkins
16. Song Of Singapore: I Can't Remember - Loretta Swit & Company
17. Tintypes: Elite Syncopation/I'm Goin' To Live Anyhow, 'Til I Die - Lynne Thigpen
18. I Love My Wife: Someone Wonderful I Missed - Joanna Gleason/Ilene Graff
19. The Good Companions: The Pleasure Of Your Company - Malcolm Rennie/Christopher Gable
20. Forbidden Broadway 20th Anniversary: Liza One-Note - Christine Pedi
21. Meet Me In St. Louis: The Trolley Song - Donna Kane & Ensemble

Tracks:

1. 4 Guys Named Jose...And Una Mujer Named Maria!: Feel It - Philip Anthony/Henry Gainza/Allen Hidalgo/Ricardo Puente
2. Fame - The Musical: There She Goes!/Fame - Natasha Rennalls & Ensemble
3. Do Re Mi: What's New At The Zoo? - Heather Headley/The Animal Girls
4. High Society: Once Upon A Time/True Love - Melissa Errico/Daniel McDonald
5. Tenderloin: Artificial Flowers - Patrick Wilson
6. State Fair: Driving At Night/Our State Fair - Company
7. Kiss Me, Kate: Were Thine That Special Face - Brian Stokes Mitchell
8. Black And Blue: Black And Blue - Linda Hopkins/Ruth Brown/Carrie Smith
9. The Green Bird: O Foolish Heart - Company
10. Out Of This World: From This Moment On - Marin Mazzie/Gregg Edelman
11. The Boys From Syracuse: This Can't Be Love - Davis Gaines/Sarah Berry
12. Snoopy!!!: Poor Sweet Baby - Pamela Myers
13. SeesawNobody Does It Like Me - Michele Lee
14. March Of The Falsettos: I Never Wanted To Love You - Michael Rupert/Stephen Bogardus/Alison Fraser/Chip Zien/James Kushner
15. Lunch: Perfectly Alone - Carol Burnett
16. 3hree: Foolish Dreamin'/Something Beautiful/Real Enough To Change My Mind - Jessica Molaskey/Will Gartshore/Rachel Ulanet
17. Lucky In The Rain: Love Me As If There Were No Tomorrow - Barbara Cook
18. Godspell: All Good Gifts - Sal Sabella & Company
19. The Act: Walking Papers - Liza Minnelli & Company

Customer Reviews:

Great compilation.......2002-05-10

I don't actually own this particular compilation, however, since I own nearly every recording represented on these discs...I think I'm qualified to comment. This is a wonderful representation of the high quality of work that DRG Records does.
The previous review is way off the mark. This is definitely not a waste of time or money. This is 25 years of preserving Broadway shows, Off-Broadway shows, studio recordings (mostly from the city center concerts), etc. So what if they "aren't as good as the original", DRG is preserving many recordings and artists that other mainstream labels don't or won't. You have wonderful recordings from Brian Stokes Mitchell, Nathan Lane, Debbie Gravitte, Tyne Daly, Anthony Perkins, Joanna Gleason, Marin Mazzie, Carol Burnett, Heather Headley, Patti LuPone, Barbara Cook, etc., and many of these are from Original Cast Recordings just as they appeared on Broadway. This is an excellent sampler of the work going on at DRG. No...I'm not an employee...just an avid listener and collector of theatre recordings.

A disappointment.......2001-12-15

There's a reason you've probably never heard of most of the songs and shows on this album, not to mention most of the artists. This is a second-rate collection of second-rate numbers performed by mostly second-rate artists. In the case of the shows that were revivals, the performances on the original cast recordings were better. Don't waste your money.

Average customer rating: TRACKS ARE...

No Better Way Gonzalez Family Manufacturer: A&M ProductGroup: Music Binding: Audio CD Gospel | Christian & Gospel | Styles | Music Christian Contemporary Music | Christian & Gospel | Styles | Music East Coast | Rap & Hip-Hop | Styles | Music General | Rap & Hip-Hop | Styles | Music ASIN: B000007O1P Release Date: 1996-02-27

Customer Reviews:

TRACKS ARE..........2006-08-29

1. I'm Going To Make It
2. Good Stuff
3. Not This Time
4. Whole Heart
5. Higher Than
6. Coming Back
7. No Better Way
8. Little Bit Of Patience
9. Speak To Me
10. I'm Blessed
11. Happiness
12. Blue Day

Average customer rating: 1956 recording still wins over 2001 a fine revival Good only if you saw the show. Have "Faith" in These Bells SORRY, WRONG NUMBER!

Bells Are Ringing (2001 Revival Broadway Cast) Faith Prince , Betty Comden , Adolph Green , Jule Styne , Tina Landau , Marc Kudisch , and David Garrison Manufacturer: Varese Sarabande ProductGroup: Music Binding: Audio CD General | Musicals | Broadway & Vocalists | Styles | Music Revivals | Musicals | Broadway & Vocalists | Styles | Music Traditional Vocal Pop | Broadway & Vocalists | Styles | Music General | Broadway & Vocalists | Styles | Music General | Soundtracks | Styles | Music Similar Items: Bells Are Ringing (1956 Original Broadway Cast) Grey Gardens - A New Musical (2006 Original Broadway Cast) Spring Awakening (2006 Original Broadway Cast) Bells Are Ringing The Drowsy Chaperone (2006 Original Broadway Cast) ASIN: B00005LNGT Release Date: 2001-06-26

Tracks:

1. Overture
2. Bells Are ringing
3. It's A Perfect Relationship
4. Independent
5. It's A Simple Little System
6. Better Than A Dream
7. Hello, Hello There
8. I Met A Girl
9. Is It A Crime?
10. Long Before I Knew You
11. Mu-Cha-Cha
12. Just In Time
13. Drop That Name
14. The Party's Over
15. Salzberg
16. The Midas Touch
17. Long Before I Knew You (reprise)
18. I'm Going Back
19. Just In Time (reprise)/Finale
20. The Music And Lyrics Of Dr. Kitchell

Amazon.com

Although she's not averse to doing new material (she appeared in William Finn's Falsettoland, for instance, and let's not forget that brilliant bomb called Nick and Nora), Faith Prince is a living embodiment of Broadway's golden age. From her star-making turn as Miss Adelaide in the 1992 revival of Guys and Dolls to superb performances in the recent revivals of Little Me and The King and I, Prince always is perfectly attuned to classic material. In this short-lived revival of the 1956 musical Bells Are Ringing (directed by Tina Landau, whose previous musical-directing experience was on Floyd Collins), the singer reprises a role created by Judy Holliday and once again proves her versatility. The duet with Marc Kadisch on "Just in Time" is particularly delicious, doing full justice to that beloved song. --Elisabeth Vincentelli

Customer Reviews:

1956 recording still wins over 2001.......2006-08-11

I have always loved the 1956 Original Broadway Cast recording. The orchestrations and singers' musical talent and vocal inflections are brilliant. I was thrilled to see that there was a 2001 revival of this play, and looked forward to hearing the score captured with 2001 recording technology. Unfortunately, where the 1956 cast and orchestra shine, the 2001 version is completely without a soul. The 2001 orchestra sounds as though it must have been one of those "orchestra machines" they are using now in some productions-- there is no warmth or artistic interpretation to the music-- just notes being mechanically played off a page (or computer code I guess).

I also didn't understand, as I did in the Broadway Cast recording, why the female lead would have any attraction for the male lead. In the 2001 recording, answering-service girl Ella Peterson works for Jeff Moss's answering service. The short amount of dialog during the song (changed from the 1950's wording) sounds like he is having her cover for him while he juggles his various girlfriends. He sounds patronizing in his delivery. Then she sings a song about how she's fallen in love with this guy? Then later when pursuing her, he just sounds needy and annoyingly shrill instead of the genuine and confident interpretation by Sydney Chaplin in the 1956 recording.

If you want the soundtrack to this wonderful play, I recommend the Original 1956 Cast Recording with Judy Holliday and Sydney Chaplin (more genuine then the movie's Dean Martin in my opinion) playing the two leads. After hearing the 2001 version, the 1956 CD sounds surprisingly rich and stereophonic.

a fine revival.......2003-01-04

BELLS ARE RINGING was brought back to Broadway in 2001, in an ill-fated revival that only lasted a couple of months due to lukewarm notices.

Tony-winner Faith Prince (GUYS AND DOLLS) gives her all in the lead role of hopeless romantic Ella Peterson. The role is virtually owned by the late Judy Holliday, who starred in the original Broadway run and later the under-rated movie version. Prince gives us a fresh new look at Ella, with glowing readings of "It's a Perfect Relationship", "Just in Time" and the still-delicious "The Party's Over".

Marc Kudisch, in the decidedly-wooden role of Jeff Moss, sings wonderfully in his songs including the frenetic "I Met a Girl" and "Long Before I Knew You".

This cast also includes Beth Fowler as Sue and Martin Moran as Sandor, who share the comical duet "Salzburg".

Most of the criticism in this revival was aimed at Tina Landau's direction, and the age of the book which seemed too old-fashioned for 'modern' theatregoers. Still, a great musical and a great recording for fans.

Highly-recommended

Good only if you saw the show........2002-07-18

I loved the revival of the musical. It's classic! It's so funny and charming and unpretentious. But unfortuneately this album displays the musical as dull and lifeless. Faith Prince comes off as overplayed and "kitschy" and Mark Kudisch comes off as bored. When I saw the show neither seemed that way at all. The song "I'm Going Back" brought the house down on Broadway, but I often skip that track when I listen to the cd, I'm sorry to say. Luckily, the big hit from the show "The Party's Over" is still as beautiful as the first time it was written-- and Thank God. It's a good play... a good cast... and has good music! It just comes off as very poor and dull...

Have "Faith" in These Bells.......2002-06-29

Let's face it..."Bells Are Ringing" is hardly a substantive Broadway classic. It's theme is dated, as are its notions of the male/female relationship, and many of its references remain staunchly in the 1950s conventionailty of its genesis. But you know what? These shortcomings are equally some of this shows definite charms. "Bells..." is a quintessential example of the Broadway musical's prime years of the 50s and 60s. It's light, entertaining, funny, hummable, and just plain fun. There's none of the "sterm-and-drang" that would come post-Viet Nam. This new recording, quite frankly, is a vast improvement over the original for one simple reason: the two leads can actually sing. Judy Holliday was a marvel of an actress, and this show was tailored to her abilities, but her raspy voice actually detracted from the cleverness of these songs. And Sidney Chaplin, poor soul, was a hapless singer even at the best of times. This time out, Faith Prince reinvents the role as her own and displays both the musical and comedic flair that make her such a unique presence on the legit stage. If only she received more roles of this stature. Can somebody please tailor a new vehicle worthy of her talents? Mark Kudisch brings a pleasing baritone and an effortless energy to his role, and the two play off one another beautifully on this recording. Although some of these songs have dated somewhat, it's still a thrill to hear them delivered as if they were just composed. Of course, "Just in Time" and "The Party's Over" have justifiable reputations, but there are more goodies behind the hits. "It's a Perfect Relationship", "Hello, Hello There", "Drop a Name" and I'm Going Back" are all lively and delicious musical cotton candy, funny and fun to hear with these performers. What makes this CD so good is that it's one of the best produced original cast recordings in years. The singers sound like they're right next to you, adding to the intimacy and personable nature of their characters. There's none of the bobast and canyon-like distance so typical of the post-Lloyd Webber age. Here, you feel like you're listening to a couple of old chums and you're just aching for them to find each other. Of course, you know they will, but their musical journey is still a hoot. This "Bells Are Ringing" is a simple, direct, joyously ebullient lark from start to finish. It's a great addition to any Broadway collection, and a reminder of why those simple musical-comedy shows were such a treat in their heydey. Enjoy.

SORRY, WRONG NUMBER!.......2002-01-25

Ringing? More like clunking. Way back in '56, Comden and Green sat down and wrote a musical for their chum Judy Holliday. With Jule Stein's help, this trio concocted the classic Bells Are Ringing---a musical marvel about a telephone answering service in New York City. The original recording---recently reissued with bonus tracks by Sony Legacy---is also a classic, and belongs in every show music library. This recording of the recently deceased Broadway revival does not. The music and lyrics are still wonderful and moving and funny, but star Faith Prince is cloying and charmless. Sorry, wrong number.

Average customer rating: it turned out to be rather good, after all a bit sterile What if . . . Recommended, and that's not auto-Patton Praise Kang and Patton, a perfect team.

Virginal Co Ordinates Manufacturer: Ipecac Recordings ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music Electronic | Instruments | Classical | Styles | Music | Computer General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Avant Garde & Free Jazz | Jazz | Styles | Music General | Jazz | Styles | Music Contemporary Big Band | Swing Jazz | Jazz | Styles | Music General | Rock | Styles | Music General | Miscellaneous | Styles | Music Pop Rock | Pop | Styles | Music Similar Items: Romances Sister Phantom Owl Fish General Patton Vs the X-Ecutioners Peeping Tom Book of Horizons ASIN: B000228EPE Release Date: 2004-05-04

Tracks:

1. Go In A Good Way To A Better Place
2. I Am The Dead
3. Doorway To The Sun
4. Occultum Lapiden
5. Harbour Of The NADE
6. Taksim
7. Sidi Bou Said
8. Virginal Co-Ordinates
9. Innocent Eye, Crystal See
10. Marriage Of Days

Customer Reviews:

it turned out to be rather good, after all.......2007-01-24

i had problems with the post office when i ordered this initially, but Amazon straightened everything out. their customer service team really came through. i am well aware this is not a review of the album (yet), but it does inform potential buyers that the customer service here is outstanding. anyway, as for the cd: there are 3 amazing tracks on this disc, making the overall purchase VERY worthwhile. for Patton fans, the closest comparison is the Kaada/Patton Romances CD in the way that it has some actual lyrics, but mostly sounds. the orchestration on this is stunning on most tracks. on track 10, i cannot believe the drums, it sounds like a programmed beat, not a live orchestra. i obviously don't have a degree in this subject, but i can tell you that it's moving, uplifting, and worldly sounding. really diverse, yet good flow. #7,9, and 10 are my favorites. #7 reminds me of these crazy old filmstrips you'd watch in music class in elementary school. actually it sounds like a cut directly from the movie Masque of the Red Death with Vincent Price. oddly on this same disc, track 9 could be played at a wedding and it'd fit right in. once #9 or 10's in your head, it's stuck- they're good ones. hope this review was helpful.

a bit sterile.......2005-06-04

I bought this CD because of the extremely positive reviews I had read on this page, but, after listening to it a few times, I thought I needed to provide some counterpoint. I held many expectations for this album upon reading the reviews, few of which were realized.

I don't know why one reviewer would have listed all those genres and composers, insinuating that Virginal Co Ordinates is some sort of culmination of 500 years of music. It's not. It's not a bad album, but it's no milestone. If you're expecting "Scottish folk and Villa-Lobos and Icelandic post-rock all on the same album," you'll be disappointed.

I'll take you through "Doorway to the Sun," and you can decide for yourself:

-starts off, we're at 3:30 into it, and there's been some pizzicato noodling. a little dissonance. some of pink floyd's "echoes" sound effects in the background, seems like. yeah, this has been going on for a while.

-alright, it's building, a little. we've got some percussion now. we're 7 minutes into it. it's got a good vibe to it, but it feels like the music that would play during a video montage of me making a toothpick structure.

-alright, 9:30. the music has really layered itself to a point of cohesiveness, and that's gratifying. it took a very long time to do so, though, and the song could have equally as effectively started right here. it hasn't been "bending genres" for these past nine minutes, after all, it's been building up within the confines of one, one genre, one tempo, one key.

-now we're at 14:00, and mike patton has been chanting along. the vocals are another instrument, which is always refreshing, especially when patton does it, but is something going to happen? i could fall asleep to this music, but should i be actively listening to it?

-ever play medal of honor, or whatever that wwII videogame is with the trumpet in the beginning? man, this whole album reminds me of that.

-hey, the music is deconstructing itself exactly the way it built up, but backwards.

-now it's over.

So, as you can see, I did not just have a life-altering experience. It's good music to put on while you're sitting in a cubicle or reading an intense book, but otherwise it gets a bit dry, emotionless, repetitive, and predictable.

What if . . . .......2005-05-10

What if the entire history of Western Christian mysticism, William Blake, plainsong, Tantum Ergo, polyphony, Renaissance dance, Baroque, German Romanticism, Gamelan, South Indian classical, Japanese folk song, Icelandic chill-out, Olivier Messiaen, Alva Noto, microtonalism, Samuel Barber, Daniel Lanois without the cheese, Native American, Appalachian, Scottish folk, North African Berber, Nu-pop, ambient drone, Minimalism, Industrial, beat poetry, cosmic consciousness, post-rock, Toronto Indie Apocalypse, Van Dyke Parks, chamber jazz, Richard Strauss, Gustav Mahler, Gustav Holst, The Beach Boys, Sun Ra, Eric Satie, Heitor Villa Lobos, Phillip Glass, and New Music sensibilities were all to be assimilated, processed, deconstructed, and retrieved in one enormous, death-defyingly gorgeous, show-stoppingly virtuosic yet eminently listenable and instantly accessible disc? That's a pitiful attempt to capture in words what is going on in this absolutely astounding album, certainly a landmark, a watershed in the history of recorded music.

Just the shear scope of the soundscape boggles the mind. A basic six-piece unit (Michael White, violin; Mike Patton, voice, electronics; Tim Young, electric guitar; Tucker Martine, live sound processing; Evan Schiller sound movements; and Evyind Kang, violin and composer) is augmented by a sixteen-piece orchestra featuring woodwinds, brass, strings, acoustic and electric guitar, keyboards, accordion, percussion, and drums. Kang has written some absolutely mesmeric compositions featuring all of the styles noted in the first paragraph, which are then arranged and played in a most compelling and beguiling manner. Certainly the inclusion of such noted sound manipulators as Patton, Schiller, and Martine contribute greatly to the sweep and grandeur of the musical palette. But perhaps the most salient fact about this disc is that it is a live recording, albeit, thankfully, with none of the annoying audience interruptions that all too frequently accompany such undertakings.

The centerpiece is the 19:23 "Doorway to the Sun," which must be heard to be believed (or vice versa). Here composer Kang pulls out all the stops, creating a map of the musical universe that encompasses the farthest reaches of Ultima Thule, maelstroms, blasted heaths, ocean bottoms, planetary cycles, black holes, desert sunsets, double helixes, equinoxal precessions, 80-foot Cortez Reef, Uluru, Rapa Nui, Chichen Itza, and all points in between. The chantlike vocals coming in at about 10:20, courtesy of the inimitable Mike Patton, largely unintelligible, yet strangely understandable, s(h)immer with repeated words/phrases like "seven, seven, seven key [____]" "interplanetary [____]" "astral intelligence gave them," "liberation receive them," "heavenly firmament kiss it," "multiplicity dissolvent" "spirit of the innocents save them"--or similar utterances. And even though they make no rational sense, they resonate with the deepest racial memories and human sentiments summed up by the world's greatest myths and religious stories. Sound like New Age blather? Maybe, but I don't think so.

The rest is nearly as remarkable, if not quite as ambitious and far reaching. I am especially taken with the title cut, impossible dense yet unfolding with crystal clarity, sonically startling with its ominous percussive underpinnings, white noise wash, and massive brass assault yet featuring the most remarkable sound imaging where even single string instruments and belllike nuances ring out from the speakers. Indeed, from a production standpoint alone, this disc deserves highest praises. Other favorites include "Sidi Bou Said," with its faux East Indian textures, oriental oboe, and spot-on ensemble voicings, and "Innocent Eye, Crystal See," a simple melodic statement that just keeps unfolding with a magical assortment of string, percussive, and wind voicings until it becomes, finally, an incredibly rich sound tapestry. Not surprisingly, my favorite numbers are the three longest, where Kang and the players get to display the full monty of their instrumental and vocal glory.

Eyvind Kang, someone always worth listening to, has here produced not only his masterpiece, but in my humble opinion, the greatest disc of the young millennium, music that sets the bar so impossibly high that I don't see it being topped anytime soon.

Recommended, and that's not auto-Patton Praise.......2005-04-24

A rare example of work that is original (some very interesting use of violin et al), beautiful, and haunting. Those are words I would normally stone someone for using, but this album deserves them. Don't assume that you'll like Kang's other work if you like this. Mike Patton contributes- I like a lot of his work and recognise he's a lightning rod for gushing praise/criticism; but the result is subtle and his vocals add to the strength of the performance (believe this is live). It's also very accessible- I listen to all manner of noise that most of the people around me loathe, but all and sundry seem to love this one...

Kang and Patton, a perfect team........2005-04-02

I have always loved Mike Patton's work. I'd never previously heard of Eyvind Kang before this album. A friend put me onto this and it is a masterpiece. Put this album on with some headphones, close your eyes, and this album will take you beyond what words can describe.

Average customer rating: A Masterwork "Better" is Trip's Best Thus Far

It's Better This Way ProductGroup: Music Binding: Audio CD General | New Age | Styles | Music General | New Age | Indie Music | Stores | Music Jazz | New Age | Indie Music | Stores | Music ASIN: B00009M7P3 Release Date: 2003-05-06

Tracks:

1. What Was
2. 20 Years Too Late
3. If This Were A Movie
4. Don't Do Me Any Favors
5. Feeling Sorry For Mary
6. It's Here Now
7. Finally
8. Note To Self
9. The Deeper Thing (For Sam Lewis)
10. Firm Foundation

Album Description

If you don't think bass can stand as the focal point of an album, you haven't heard Trip Wamsley. With all the eccentricity, splendor, and soul of his previous releases, this string-thumping virtuoso creates curvatures of sound that can't be described. Todd Bragg, drummer for Caedmon's Call, produced the all-instrumental project.

Customer Reviews:

A Masterwork.......2005-01-11

I found Trip Wamsley through Magnatune, where an electronic version of this album can be purchased, and it is some of the most soothing and awesome music I've ever heard. He is able to play his 8-string so well it sounds like he's got a guitarist in the studio with him.

This is one of my favorite albums from anyone. I would recommend it to everyone.

"Better" is Trip's Best Thus Far.......2003-05-09

No vocals on this record. Just Trip's instruments thumping, humping, ziggling, and...yes...even sighing and moaning out lullabyes (lullabyes via the 8). Michael Manring adds nice touches on "Finally" and dueling (?) solos with Trip on "The Deeper Thing." The only "want" I have after listening to this record nearly 20 times in the first week is that the drumming be more flavorful on the opening track, the romping "What Was."

The Alembic 8-string is allowing Trip to be BOTH a guitar player (ala Bill Frisell) and a bassist on one instrument. Tracks on this album featuring the 8, especially "Firm Foundation" (the album's closing track), reveal a new side of Trip -- he's not only a phenomenal player but also a talented composer. Listen to the 8 on "If This Were A Movie," and you'll imagine a dream scene in a movie.

"Note to Self," which features Richard Bourk on drums, is a pleasant surprise. I didn't know Trip could play R&B this smoothly. This is definitely a slow-dance (vertically or horizontally) tune for lovers.

This album is a wonderful mix of tunes. It's not just blow-your-mind playing but possibly the record that starts getting Trip some deserved recognition as a composer.

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 musically authoritative (that would be Solti, IMHO), dramatically, this Rhinegold excells any recording I know of. I will definitely buy the rest of the set.

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