Completion

1. Just a Kiss - Jibril Serpis Bey,

2. Masta Yo' High

3. Still Plotten

4. In the Lord Hands

5. If It's On - Jibril Serpis Bey,

6. Every Man Dying Day - Jibril Serpis Bey,

7. 4ever N a Day - Jibril Serpis Bey, Marika Kastrouni

8. Broken Home - Jibril Serpis Bey,

9. For Us

10. Thug Prophecy - Jibril Serpis Bey, ,

11. Godz Watchin'

12. Waiting for Ua - Jibril Serpis Bey, ,

13. So I Ask

14. Teaching of Makeveli

15. "Bootleg"

16. Marijauna and Missery [*]

Tracks:

Talk to Ya Later
Let's Make Some Noise
Matter of Pride
Mr. Hate
Attack of the Fifty Foot Woman
Think About Me
Sushi Girl
Don't Want to Wait Anymore
Power Tools
Amnesia

Album Description

Reissue of 1981 Capitol release from San Francisco pop rock act. 10 tracks including 'Talk To Ya Later', Sushi Girl' & 'Amnesia'. Standard jewel case.

Album Details

Their 1981 album became the anarchic San Franciscan pop group's first top-forty charting album. 'Completion' features the hit singles 'Talk to Ya Later', 'Don't Want to Wait Anymore', plus 'Sushi Girl' & much more.

Customer Reviews:

Stands the test of time..........2007-05-01

Great songs, production and playing; but in all honesty, a lot of what you're listening to is Foster, Waybill and Toto. Lukather and the Pocaro's were all over this thing - "Talk to ya later" being the highlight. But there's still a lot of energy and great vocal work from the Tubes themselves. Foster did for The Tubes what Todd Rundgren did for XTC - he produced their best album. Period.

This Sort of Garbage BURNS ME UP!.......2007-03-11

This has GOT to be one of my favorite albums of all time. I have no earthly idea WHY whomever is putting this piece of junk CD out is rearranging the sequence. Like the "Chewbacca Defense", This does NOT make sense! The original song arrangement on the album just flowed from one song to the next, and after hearing it so many times and playing it in my head to get through nights on guard duty in the Army, seeing that a publisher has released the album in an altered order just makes me flipping sick.

I wore holes in two LP copies of this album, probably one of the greatest (and undersung) albums of the entire 80's decade. Receiving far less exposure than it deserved, this Tubes masterpiece produced by David Foster ranks right up there with Gary Numan's "Pleasure Principle" or DEVO's "Are We Not Men?" albums.

From "Talk to Ya Later" with Roger Steen's blistering lead guitar to "Sushi Girl" and the burning, moaning wail of "Mr Hate", through the grinding jagsaw rips of "Power Tools", this album grabs you by the inner ear and rips your brain out to leave it twitching in rhythm on the floor. Fee Waybill's warbling, yodeling vocals cry out in agony and angst again and again, and Bill Spooner's plaintive ballad singing in "Dont Want to Wait Anymore" just absolutely stand out, as do Rick Anderson's thump-and-pop bass and the twin keyboard stylings of Vince Welnick (God Rest His Soul, he passed away after joining The Grateful Dead) and Mike Cotten (who is currently working on a documentary, "The Tubes Project". Prairie Prince absolutely blows doors on his double-bass drum kit, and all in all, this incredible, badly underrated band is still out there, in a somewhat smaller version, still cranking away and just flooring audiences (and when in the HECK are you coming to Colorado, guys?).

Anyone who had a chance to see The Tubes on SCTV's "Fishing Shack" doing "Sushi Girl" and "Talk to Ya Later" saw what an absolutely serious but imminently humorous band can do with national exposure. I was working at Record Town when this album came out, and it was played religiously at least twice a day for many, many months.

The Tubes were one of the best bands EVER to record an album, and if you love this one, then you have got to also find a copy of "What Do You Want From Live" double live album that features the teenage anthem "White Punks on Dope", "La Vie en Fumer" and "Don't Touch Me There".

This album was The Tubes' "corporate rock" album, and they later reject the business suit/corporate image on their following album, "Inside/Outside" with another incredible tune, "Out of the Business".

Of all the overlooked talent in the 1980s, The Tubes are probably the most talented, and for those who only know The Tubes by their hit "She's a Beauty", don't just scratch the surface with this band. Far more listenable music than that hit can be found on their earlier albums such as their eponymous "The Tubes", "Young and Rich", and "Now".

I would give this album a 100% recommendation, and I could jsut not live without this treasure in my album collection. I also have a DVD of the Laserdisc they released of Completion Backward Principle (nyah nyah nyah)

"As I mentioned near the close of the last record, this record you are now playing is another example of The Completion Backward Principle; if you can possibly manage the time, please play both sides at one meeting. WHAM!"

puzzling remaster...........2006-06-22

I have to hand it to BGO (Beat Goes On Records) for salvaging worthy out of print records, but why do they continually botch up the process? This is a brilliant record, one of my favorite Tubes LPs (of the Capitol Years, that is...) and they have reshuffled the tracks, re-edited segues with pointless crossfading and the like. What gives? I have quite a few LPs on CD that BGO has faithfully put out, but very few are flawless.
I don't understand what is so hard about restoring a classic album. Just go out and find the original vinyl copy, A-B it with what you've done, add some nice picture scans and put the puppy out... Quality control is much needed here.
If you're in love with the original version, burn the vinyl copy to CD or find the original Capitol CD. Heck, they've botched it so bad you can't even correct the mistake by programming in the correct sequence!!! Unforgivable!!!

fendemos

"Please play both sides at one meeting.".......2006-03-11

The Tubes' first effort for Capitol Records is their breakthrough album and possibly their best one, too. Producer David Foster gave the music a slick, polished feel to it with pounding drums, clean-sounding guitar, and zany synth licks. "Talk to Ya Later" and the Top-40 hit "Don't Want to Wait Anymore" were the stand-out songs, but the rest of the record is awesome. "Sushi Girl", "A Matter of Pride", and "Power Tools" are great rockers, "Let's Make Some Noise" is a top-notch dance-rock tune, and "Think About Me" is an entertaining stab at new-wave. Though it may not be as zany and experimental as their first two albums, The Completion Backward Principle isn't any less entertaining.

Crafty.......2005-06-09

"This is it America. Say hello to a whole new way of listening."
The Tubes 1981 effort finds Fee and the boys mocking the Yuppie movement with their new look of conservative haircuts and suits with corporate portraits and a Reaganite corporate speech written on the back cover. Pure corn. The music, however, is some of the Tubes best. "Talk to ya Later" is streamlined and delivered with heavy production (a la David Foster) and one of the best rockers of the 80s, bar none. "Sushi Girl" is another pseudo dance number that pokes a bit of fun at the then growing trendy sushi-bar set (more yuppie stuff). But it doesn't end there "Mr. Hate" is another fine composition that gives a nod to working class struggles and frustrations. Side two offer the quick-paced "Think about Me" showing off the band's ability to shift gears and mock yet another style of trendy music. "A Matter of Pride" is pure Tubes crooning fare. A solid pop number expertly executed. "Don't want to wait anymore" is more Tubes crooning at its best. A lovely slow ballad never straying anywhere near into cliche territory. Production by David Foster is clean and dry with a nod to the bands heavier side. Prairie Prince finally gets a major sound to go with his incredible chops, and Michael Cotten's synths are, as always, tasteful and ever-present. One of the Tubes finest efforts.

Average customer rating:

Completion Makes the Tragedy
Coldseed
Manufacturer: Nuclear Blast Americ
ProductGroup: Music
Binding: Audio CD

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Pitch Black Progress
Kingdom
Fragments of D-Generation
Fiction
A Twist in the Myth

ASIN: B000G1TE2I
Release Date: 2006-09-19

Tracks:

My Affliction
Democracy Lesson
Nothing But a Loser
Five More to Fix
Burning with a Shade
Low
On My Way
Reflection
Completion Makes the Tragedy
Hatchet
Vulture of the Throne
At Last
Strike the Nerve [*]

Average customer rating:

Best Album Ever

The Completion Backward Principle
The Tubes
Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

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White Punks on Dope
Love Bomb

ASIN: B000008LRO
Release Date: 1990-10-25

Tracks:

Talk to Ya Later
Let's Make Some Noise
Matter of Pride
Mr. Hate
Attack of the Fifty Foot Woman
Think About Me
Sushi Girl
Don't Want to Wait Anymore
Power Tools
Amnesia

Customer Reviews:

Best Album Ever.......2005-01-24

This was popular when I was just out of High School and it has never lost it's appeal. In some ways it is dated but the music still rocks. "Talk to You Later" is a timeless classic. If you want one of the great albums of the 80's, this is it.

Average customer rating:

Mozart Requiem (Levin Completion)

Mozart Requiem (Levin Completion)

Manufacturer: EX-103
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Classical | Indie Music | Stores | Music
ASIN: B0000AE8RU
Release Date: 2003-06-10

Tracks:

Introitus (Chorus and Soprano)
Kyrie (Chorus)
Dies Irae (Chorus)
Tuba Mirum (Solo Quartet)
Rex Tremendae (Chorus)
Recordare (Solo Quartet)
Confutatis (Chorus)
Lacrimosa (Chorus)
Amen (Chorus)
Domine Jesu (Chorus and Solo Quartet)
Hostias (Chorus)
Sanctus and Hosanna (Chorus)
Benedictus and Hosanna (Chorus and Solo Quartet)
Agnus Dei (Chorus and Solo Quartet)
Lux Aeterna (Chorus and Soprano)
Cum Sanctis (Chorus)
Clarinet Concerto in A (Adagio)

Album Description

This recording employs the Robert Levin completion of Mozart's "Requiem." It includes the new "Amen" movement as well as changes in several movements to correct poor voice leading and other compositional errors by Franz Sussmayr, the original completer of Mozart's unfinished work. It is an exciting and very satisfying rendition of this beloved masterpiece. Included on the CD is also the Adagio from Mozart's "Clarinet Concerto in A."

Customer Reviews:

Mozart Requiem (Levin Completion).......2006-02-20

Terrible! The center of pitch is off the scale (both choral and instrumental). The soloists are amature at best. The orchestra does not play well, nor do they play in tune. The chorus does not display good choral phrasing or choral tone. This is not worth the money I spent on this recording.

The Journey from Pregnancy to Childbirth: From Conception to Completion

Average customer rating:

The Journey from Pregnancy to Childbirth: From Conception to Completion
Jennifer R. Bloome MS OTR HWC
Manufacturer: Anji, Inc.
ProductGroup: Music
Binding: Audio CD

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The Baby Book: Everything You Need to Know About Your Baby from Birth to Age Two (Revised and Updated Edition)

ASIN: B000I0QMFY
Release Date: 2005-01-01

Product Description

This 3 CD series is designed to journey with you through all stages of your pregnancy. Pregnancy is a long, physical, emotional and spiritual process - a time of joy and anticipations - a time of unknowns. This 3 track series supports you in your journey.

Mahler: Symphony No. 10 (Carpenter Completion)

Average customer rating:

Overworked and noisy edition that has little to do with Mahler
Just judging the performance and sound quality.
Quite ridiculous, but fascinating
A wrong-headed completion, as most are
Doesn't sound quite like Mahler

Mahler: Symphony No. 10 (Carpenter Completion)
Mahler , Dls , and Litton
Manufacturer: Delos Records
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Mahler: Symphony No. 10 (Reconstructed by Joe Wheeler)
Mahler: Symphony No. 10
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Mahler - Symphony 10 / Berliner Philharmoniker · Rattle
Mahler: Symphony No. 10 (Performing Version by Deryck Cooke)

ASIN: B00006IXH5
Release Date: 2002-09-17

Tracks:

Adagio
Scherzo: In gemachlicher Bewegung. Ohne Hast
Unheimlich bewegt
Scherzo: Kraftig, nict zu schnell
Finale: Langsam - Allegro Moderato - Ruhig

Customer Reviews:

Overworked and noisy edition that has little to do with Mahler.......2007-04-10

The purchase of this disc completed my array of recorded Mahler X completions (Wheeler, Carpenter, Cooke I, Cooke II, Mazetti I, Mazetti II, Barshai). I must admit that among all of these, I find the Carpenter edition, together with the Mazetti I, the least convincing. Indeed, Carpenter is the only one who tinkers with Mahler's notes to such an extent that the atmopshere of the piece itself is changed, and we are removed from, rather than brought closer to Mahler's dying thoughts. He is also the only one who extends his interventions significantly into the first and third movements, normally considered more or less complete the way Mahler left them. In neither case the additions are an improvement; indeed, these movements most distinctly show the problem of Carpenter's approach. It is almost as if he harvested a truckload of little snippets, trills, chords and motives from the other symphonies, and then dispersed them randomly through this one. You may be surprised to find the string accompaniment to the 7th symphony tenorn horn quoted literally in the opening pages of the 10th's Finale. Unfortunately, all these additions rarely rise above the level of surface decoration, and with the surface so abundantly decorated, it is pretty hard to make out what is happening underneath. Like in the Mazetti I, percussion is much overused. Big drum rolls strip the 'organ chords' of the first movement from their overpowering majesty, making them sound almost tacky. While others debate whether the final turn of the first Scherzo should be marked with a cymbal crash or not, Carpenter does not beat about the bush and adds not one, but two! Not that they are particularly noticeable in his noisy, overworked version of the piece, where any sense of general musical line is lost in the prevailing hubbub. Compare this to a very complex and busy movement like the Rondo Burleske from the Ninth, and you'll see that Mahler was able to write such music and still maintain clarity - it is what distinguishes him from the Carpenters... What this version does to the Purgatorio movement verges on the criminal. Again all kinds of needless details, notably some intrusive trumpet fanfares that overplay the Wunderhorn character of the piece, all but obliterate the urgent, brilliantly concise musical discourse we know from other versions. Next, the second Scherzo is stripped from any spookiness, and is less distinct from the first than in other versions. Twothirds in there is a surprising (and very welcome) moment of stillness, with floating string chords that don't sound very Mahlerian, but are beautiful nonetheless - but this element, too, is essentially random, and is broken off never to return just as unexpectedly as it appeared. The finale fares no better, and once or twice accents conventional harmonic progressions in a way that sounds almost amateurish. Nor was I convinced by the penchant for sentimental cello solos, not a feature common in Mahler. All in all, a version to make you yearn for the otherworldly spareness of Cooke. The recording is loud and tiring to match, with some extreme spotlighting of solo instruments. This is for Mahler X completists only. For a really good reading of a really good performing edition, get the Chailly (Decca), the Berlin Rattle, or, my personal favourite, the Gielen (Hännsler)Mahler: Symphony No. 10 (Performing Version by Deryck Cooke).

Just judging the performance and sound quality........2006-11-21

Let's set aside the whole issue of Carpenter's "completion". This Delos recording deserves five and a half stars just for the outrageous execution of such an incredibly difficult score by the Dallas Symphony, along with the beautiful DSD sonics that Delos coughs up here. Come now, give them a round of applause for that much. How you'll react to Carpenter's efforts is a purely personal thing.

Yes, it's true that Carpenter overshoots his mark; often times conjuring up the more expressionistic sound world of Alban Berg (Wozzeck; Three Pieces For Orchestra). But this is also much more of a completion than Cooke's somewhat threadbare "performing version" remains. I would never suggest that one own the Carpenter in lieu of the Cooke - own it as a supplement. As overheated as this may be from time to time, I think that the narrative is pretty well connected and integrated. Nobody would be fool enough to believe that this how Mahler would have finished the piece. But in many respects, it's simply more fun and fulfilling to listen to than the bare-minimum Cooke version is. Proceed only if you can do so with an open mind. Come on, some of you can do that.

Quite ridiculous, but fascinating.......2005-12-02

This performance has of course less to do with Gustav Mahler than with Mr. Clinton A. Carpenter. But the same can be said to be the case - to some degree - with necessarily all 'completions' or 'performing versions' of this, Mahler's last and incomplete musical testament.
On his deathbed Mahler ultimately decided that the scetches were NOT to be burned. Whether one likes it or not, the Pandora's box of Mahler's Tenth has been opened, and can never again be closed. But then, the 'score' of the Tenth as left by Mahler is an evocative piece of music in its own right. As such, it has been discovered and studies by many a musically gifted mind. And I for one am very glad that 'performing versions' of these scetches do exist and are being played and recorded.
The only way that I can 'judge' or appreciate this music is through hearing it. Not being able to judge the 'authenticity' of any performing version of Mahler's Tenth (I can't read music), I have to judge them by what I read about them and what I hear and feel when listening to them. And from what I have heard, the 'performing version' by Deryck Cooke, in collaboration with Berthold Goldschmidt, Colin Matthews and David Matthews is the one that stays truest to the source material. I do like that version the best, especially in the already 'classic' recording by Sir Simon Rattle leading the Berliner Philharmoniker (together with the Chailly/RSO Berlin recording). The starkness of the source material IMHO only intensifies the power and depth of the music as it is left by Mahler, however incomplete, which is good.
Well, back to Clinton A. Carpenter's completion. There are to my ears too many idiosynchratic and fantastic distractions here, which make this 'completion' sound too much like an 'interpretation'. Nonetheless, the flesh is weak, and I must secretly confess that I am fascinated by all the sounds that Clinton Carpenter weaves around the skeleton of scetches for the Tenth Symphony, although the end result is often too baroque and over-orchestrated. Wacky sometimes, even, to my ears. Too excentric to sound like 'real Mahler' (for as much this is possible). Or, as Tony Duggan from Musicweb so eloquently puts it: "Mahler was heading into a simpler style at this time. Right through [...] the whole symphony in this edition, there is always so much going on in a way that for me is fundamentally un-Mahlerian in one very crucial aspect. Mahler was a master of clarity of thought. Even in his most thickly scored passages the listener's ear never has trouble following his fundamental line of thought. Whereas here, in Carpenter's edition, over-scoring frequently prevents this for vast tracts of the music."
In the end I will turn to Chailly and Rattle (Berlin) (and maybe the Rudolf Barshai - added percussion here and there - and Kurt Sanderling recordings/interpretations as well) more than this rather excentric interpretation. The sound for this recording is just great: spacious but detailed.
This 'completion' does't really add anything of value, but it is nice to have alongside the other more insightful, less excentric interpretations of Mahler's scetches, if only just for curiosity's sake.

A wrong-headed completion, as most are.......2005-09-29

Deryck Cooke was the most intelligent of completionists in the Tenth Sym. because he didn't pretend to be Mahler. He added as little of his own ideas as possible, even if his reticence sometimes left very bare orchestral bones in terms of harmony and secondary lines. As for those who followed, Wheeler, Carpenter, and Mazzetti to varying degrees stepped over the line, trying to pose as Mahler impersonators with unacceptable intrusions of their own.

The worst is surely Carpenter, which makes this CD a dismal experience--the man has no idea, apparently, how sub-Mahlerian his retouchings actually are. The clogging of counterpoint and filling out of orchestration are cumbersome. This performance is quite forgettable and regrettable, but so are all the sets I've heard that present any other Mahler Tenth except for the Cooke.

Doesn't sound quite like Mahler.......2003-12-19

For the most part, I do not enjoy the Carpenter version of Mahler's Tenth. To me, it simply does not sound as much like Mahler as do other performing versions such as those by Mazzetti and Cooke.

True, it's still quite beautiful and poignant in many places, and the finale is a touching peaceful exit from life. The Mazzetti and Cooke interpretations just sound more like Mahler's voice. This is subjective, of course, but Mahler has been my favorite composer for most of my life, and the Mazzetti version especially sounds like one which Gustav Mahler would applaud.

You may indeed enjoy this, but if you have long loved the music of Mahler, first try the Mazzetti version by Leonard Slatkin and the St. Louis Symphony or Simon Rattle's Berlin Philharmonic performance of the Deryck Cooke interpretation.

Carpenter went in other directions. It still sounds nice, but it doesn't sound quite like Mahler.

Da Lone Gunman
Average customer rating:
Da Lone Gunman
RDP
Manufacturer: BACKKWOODS & STICKZ PRODUCTIONS
ProductGroup: Music
Binding: Audio CD

East Coast | Rap & Hip-Hop | Styles | Music
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ASIN: B000CA8B4U
Release Date: 2005-08-16