| 1. To Trust Someone |
| 2. Surviving the Fall |
| 3. The Rain |
| 4. Eyes of Innocence |
| 5. She Moves Me |
| 6. The Thinking Man |
| 7. Conversation |
| 8. In the Storm |
| 9. Time for Letting Go |
| 10. Starting to Live Again |
| 11. A Morning on the Lake |
| 12. Grace |
Editorial Reviews
About the Artist
Born with a gift to play, he became a member of the National Piano Playing Guild at age twelve. However he did not begin composing until age 25. With a classical background, he has also been influenced by contemporary artists such as Yanni and Vangelis. Capturing intense emotions and tranquil moments, his music tells a story of the heart. Experience the piano in a whole new way.
Product Description
From bold Piano tracks, to ethereal, to piano melodies with light string accompaniment. This album from Shane Alan covers a broad spectrum of musical compostions. with an emphasis on a string lead piano.
Be prepared. This is classical music you have not been prepared for. If you're already a fan of Partch, aren't you glad SOMEONE is getting all his amazing stuff together in one tightly knit package?
It isn't really appropriate to deem this album as the first to feature all-original recordings because most of the material had previously appeared on three of the four LPs the group recorded for the Miami-based CBS Discos International. The only original song written for this LP is Enrique E. García's "Prisoner of Love"! Seven of the ten songs originally appeared on the group's 1983 LP "A toda máquina", "OK" first appeared in Spanish on the 1982 LP "Rio", and "I Need Your Love" first appeared as "Regresa a mí" on the 1980 LP "Miami Sound Machine."
Depending on your point of view, the English versions of these songs are either better, equal to, or of a vastly different quality than the original Spanish version! This is what makes it an interesting experience for me when I listen to this, as I find myself constantly making comparisons between the two versions of one song.
1. Dr. Beat (originally on "A toda máquina")
-A song employing a lot of what was to come with "Conga" a year later.
2. Prisoner of Love
-The only original tune written for this LP. It's a lot of fun to listen to, and not smacking too much of sound from the early 80s.
3. OK
-First released in Spanish on 1982's "Rio." Somehow Gloria Estefan's Spanish lyrics that she wrote for the "Rio" version seem so plain and therefore make the song sound that way. But when she sings Wesley B. Wright's original lyrics, she sounds more free with her interpretation. And some of Wright's lyrics are a little unique, which makes this version more interesting for me to listen to to.
4. Love me (originally "Entrégate" on "A toda máquina")
-Some of the lyrics are essentially the same for both English and Spanish versions, but this version doesn't rely too heavily on brass instrumentation as the Spanish does. A simple ballad, but this version is a little more stripped down, and I prefer this one.
5. Orange Express (originally "A toda máquina" on "A toda máquina")
-For the life of me, I can't figure out what possessed Wesley B. Wright to choose "Orange Express" as such a title for this English version of "A toda máquina", as it has nothing to do with what the lyrics are all about! I actually like both versions, but they're vastly different from each other; the Spanish version simply encourages people to get up and enjoy a party that's going on, one which you'll never forget once it finishes ("A toda máquina, vas a divertirte. A toda máquina, vamos a bailar") while Wright's English version relies so heavily on philosophy and striving for positive outcomes in life, or at least that what it seems like to me. This is one of my favourite tracks from the album, in English or Spanish.
6. I Need A Man (originally from "A toda máquina")
-An OK song for me. Nothing more, nothing less.
7. Eyes of Innocence (originally "Los ojos del amor" from "A toda máquina")
-The lyrics for both versions are pretty much express the same things, but the instrumental mixes for both songs are slightly different at the start, in between verses and at the end. Both versions are fun to listen to.
8. When Someone Comes Into Your Life (originally "Qué triste es volver a empezar" from "A toda máquina")
-Another of the ballads that Gloria Estefan is famous for writing and singing, but the Spanish version (written with Emilio Estefan) seems to depict the heroine as holding a lot of unpleasant feelings regarding the breakup of her relationship, while the English version depicts the heroine as someone who holds no grudges over what has happened, and encourages her ex to make sure he finds someone who loves him just as much. Gloria wrote the English version herself, and she sings this version with much more conviction, in my opinion.
9. I Need Your Love (originally "Regresa a mí" from 1980's "Miami Sound Machine")
-This was the very first track I ever listened to from this album when I first bought it. I had hoped that there would be an English version of "Regresa a mí" somewhere out there, and just by looking at the song titles at the back of the CD, I wondered if this would be it. Sure enough, it was! Enrique García's lyrics are far superior to the ones he wrote in Spanish, and Gloria Estefan sings this song with much more emotion and feeling than she does with "Regresa a mí." Not to say that I didn't like that song when I first heard it (in fact I do like it a lot), but somehow to me this sounds better. The same instrumental track is used for both English and Spanish versions.
10. Do You Want To Dance (originally "Comunicación" from "A toda máquina")
-Here's an example of two very different sets of lyrics for an English and Spanish version of a song using the same instrumental track. I'm not saying the English version is bad, but here it's just a simple song getting people to get up and dance. The Spanish version "Comunicación" was about how people use two different languages to get their points across to others, and sometimes getting others upset when we do! The English version uses very little crowd sound effects, but in between the verses for the Spanish version, the band members talk to each other in sentences using both languages and the reactions elicited from each other are quite funny to hear, particularly towards the end of the song. So although "Do You Want To Dance" is just okay, I prefer its Spanish counterpart.
All in all, I would recommend this CD to anyone who was interested in listening to Miami Sound Machine. It's a lot of fun and it's just simple pop music, plain and simple, as I mentioned in the title! But one should really study the comparisons between the English and Spanish versions of the songs if one understands and speaks both languages.
One should also note that for CBS Discos International, not all of the four records that Miami Sound Machine released before "Eyes of Innocence" were exclusively in Spanish. Only 1981's "Otra vez" and "Rio" from 1982 are done completely in Spanish while 1980's "Miami Sound Machine" and 1983's "A toda máquina" (which first contained "Dr. Beat" and "I Need A Man")have tracks in English.
2. "Prisoner of Love" 10/10
3. "Okay" 10/10
4. "Love Me" 10/10
5. "Orange Express" 8/10
6. "I Need a Man" 9.5/10
7. "Eyes of Innocence" 8/10
8. "When Someone Comes Into Your Life" 10/10
9. "I Need Your Love" 10/10
10. "Do You Wanna Dance?" 8/10
Gloria and the Miami Sound Machines' debut album is a good, solid album Dance-Pop and Adult Contemporary/Soft Rock ballads. The album shows some hints of what was to come musically. I thought overall the album is good and features Gloria's beautiful, expressive vocals. But hey, nine outta ten ain't bad. The lyrics are also good. Gloria is an excellent songwriter! A good album of catchy Dance-Pop such as "Dr. Beat" & "Prisoner of Love" and romantic love songs such as "Okay", "When Someone Comes Into Your Life" and "I Need Your Love". My favourite songs here are "Prisoner of Love", "Dr. Beat", "I Need a Man", "Okay", "Love Me", all of the tracks, excluding track 5, "Orange Express." Overall rating: 4.5 Stars. Recommended to any Dance-Pop fan.
GLORIA ESTEFAN'S #1 FAN REGIS
As often with Handel, there is no fully official version of the score, and this particular score may not even be fully complete from any point of view. The libretto seems to have been the work of someone in the frivolously named association of big literary figures called the Scriblerus Club, perhaps Dr John Arbuthnot, dedicatee of Pope's great poetic Epistle, but Pope himself may have had a hand in it too. As we have it here, the work breaks into two very asymmetrical parts. Scenes 1 and 2 start with a recitative lasting only seconds from Habdonah followed by a longer one in which Haman announces his onslaught on the Israelites, and from there on feature only anonymous participants. Esther herself and the other named characters make their appearance first in scene 4, but the change of tone occurs in scene 3. At this point the music gains gravity first in the chorus Ye sons of Israel with its extraordinary modulations and then in the striking aria O Jordan, Jordan. I myself feel that this weightier tone is maintained to the end, whether or not the writer of the liner note is correct in saying that the long final chorus with solos is out of proportion to its context.
Throughout - in the first part as well as in scenes 3-6 - the instrumental writing is vivid and varied, with an extraordinary pizzicato accompaniment to Tune your harps and then an even more extraordinary obbligato from the harp itself at Praise the Lord. The harpist is no less than Jan Walters, but sometime I would like to see the score and check out what seem some odd rhythmic interactions here between her and the soloist Nancy Argenta. There are no fewer than ten vocal soloists in a work lasting a little over an hour and a quarter, and a very distinguished bunch they are. I was particularly pleased to find Michael Chance in the countertenor role of the Priest of the Israelites as I admire the strength of his tone, but there is no real weakness among them, unless Lynda Russell as Esther has a couple of very slightly awkward high notes in Flatt'ring tongue, which must be a little nerve-wracking to sing as she has to find her note for herself unaccompanied at the start and later at the reprise. You will see some big names among the instrumentalists too, with Crispian Steele-Perkins on the trumpet making a predictably fine contribution towards the end, and of course with Jan Walters in that marvellous harp part early on. The chorus gets some wonderful work to do, and rises to it fully. I really am unable to worry about the proportionateness of the final chorus when I hear that incomparable Handelian build of tone, sung by 18 singers and sounding as if there were 100.
There is a good liner note by Graydon Beeks Jr, not perhaps the last word in lucidity (neither is the plot of the libretto come to that) but worth re-reading. Harry Christophers himself contributes a short foreword largely concerned with the recording process and highlighting the contributions of Mark Brown and Mike Hatch, his long-time technical collaborators. I was interested to see also the name of Geoff Miles in a role described as `editor'. What responsibilities this involved is not stated and perhaps I ought to know without being told, but I know the work of Geoff Miles as recording engineer from elsewhere and it gave me confidence just to see that he is involved in the proceedings, and the technical work is predictably excellent.
My collection of Handel oratorios is now almost complete, and what a wonderful musical experience they are. Each is unique in its own way, but Esther is unique in some very special ways, and I suggest that you do not wait until you are my age to get to know it.
This is a "small" contribution compared to many of Handel's other works. However, it is not "small" in a musical sense. There is much creativity on the part of Handel as to orchestral scoring; he exploits his small orchestra and chorus in surprising ways, introducing new vocal and instrumental colours throughout the score, adding and subtracting instruments and voices in many and varied ways. This is a listening surprise as it moves along. And what a great performance on the part of the Christophers as well as some outstanding vocal soloists. Mark Padmore's (Mordecai) aria "Tune Your Harps to Cheerful Strains" was superb as was the Duet between Lynda Russell (Esther) and Tom Randle (Ahasuerus).But the aria that really drew me into the entire drama was sung by Michael Chance (Priest) "O Jordan, Jordan, sacred Tide." It was perfection itself!!!!The Chorus was extremely good and dictionally perfect. It is a great listening experience.
One senses that Taylor's voice effortlessly negotiates Frazelle's music, which has the quality of folk music set in a classical genre. Taylor instinctively adopts the vernacular and inflection of the characters and makes a (refreshing) departure from traditional lines. As she said about these songs, "My voice sat down in this music. It kicked its shoes off and felt cold bare earth and said, `This is home.'" Taylor indeed brings this "classical" music home to the listener.
Taylor further shows her gifts for stylistic flexibility and interpretive nuance as she brings to life Vardell's and Ward's more traditional music. One can almost see the far off look in her eyes as she whispers love's memories. The strength in her mid-range makes her all the more qualified to communicate such tender poetry. A listener is wrapped around her finger as she sings these stories.
Born with a gift to play, he became a member of the National Piano Playing Guild at age twelve. However he did not begin composing until age 25. With a classical background, he has also been influenced by contemporary artists such as Yanni and Vangelis. Capturing intense emotions and tranquil moments, his music tells a story of the heart. Experience the piano in a whole new way.
Product Description
From bold Piano tracks, to ethereal, to piano melodies with light string accompaniment. This album from Shane Alan covers a broad spectrum of musical compostions. with an emphasis on a string lead piano.
Eyes of Innocence,Shane Alan
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Twilight and Innocence
Manufacturer: Arabesque Recordings ProductGroup: Music Binding: Audio CD  All Works by Barber
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ASIN: B00000B9O1 Release Date: 1998-09-15 |
Tracks:
- Der Engel
- Ich atmet' einen linden Duft
- Auf Flugen des Gesanges
- Oh, quand je dors
- Le Bonheur est Chose legere
- En Priere
- Chere Nuit
- Mondnacht
- Wiegenlied
- Giulio Cesare: V'adoro, pupille
- Zdes' khorosho
- Ya ne prorok
- Wasserose
- Wiegenlied
- Litanei auf der Fest Allerseelen
- St. Ita's Vision
- Long Time Ago
- The Little Horses
Amazon.com
Metropolitan Opera soprano Heidi Grant Murphy and her husband, the pianist and conductor Kevin Murphy (also of the Met), conceived the concept for this recording with guidance from their friend and Met colleague, Ken Noda. The intent was to convey a feeling of infinite tranquillity, reverie, dreaminess, and tenderness. Though the disk's packaging--including its title--may strike some as slightly drippy, the recording deserves high praise on musical grounds. The selection of repertoire is excellent, and as a result, the disk's overall feeling is one of serene continuity. As interpreter, Heidi Grant Murphy brings out the many subtly-shaded moods in this music, and her voice is stunning without calling undue attention to itself. It is by turns quiet, close, tender, and yielding. It's a special disk to have. --Gwendolyn FreedCustomer Reviews:
Truly lovely.......2006-08-23
Brilliant!.......2003-12-30
Not worth the money!.......2000-11-26
A Beautiful Voice.......2000-02-25
Buy!.......2000-02-15
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The Harry Partch Collection, Volume 1
Manufacturer: New World Records ProductGroup: Music Binding: Audio CD Ballets
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ASIN: B0002WZTKC Release Date: 2004-09-28 |
Tracks:
- Eleven Intrusions (1949-50)
- Eleven Intrusions (1949-50)
- Eleven Intrusions (1949-50)
- Eleven Intrusions (1949-50)
- Eleven Intrusions (1949-50)
- Eleven Intrusions (1949-50)
- Eleven Intrusions (1949-50)
- Eleven Intrusions (1949-50)
- Eleven Intrusions (1949-50)
- Eleven Intrusions (1949-50)
- Eleven Intrusions (1949-50)
- Plectra and Percussion Dances-Satyr-Play Music for Dance Theatre (1952)- Castor & Pollux---A Dance for the Twin Rhythms of Gemini
- Plectra and Percussion Dances-Satyr-Play Music for Dance Theatre (1952)- Castor & Pollux---A Dance for the Twin Rhythms of Gemini
- Plectra and Percussion Dances-Satyr-Play Music for Dance Theatre (1952)- Ring Around the Moon---A Dance for Here and Now
- Plectra and Percussion Dances-Satyr-Play Music for Dance Theatre (1952)- Ring Around the Moon---A Dance for Here and Now
- Plectra and Percussion Dances-Satyr-Play Music for Dance Theatre (1952)- Ring Around the Moon---A Dance for Here and Now
- Plectra and Percussion Dances-Satyr-Play Music for Dance Theatre (1952)- Ring Around the Moon---A Dance for Here and Now
- Plectra and Percussion Dances-Satyr-Play Music for Dance Theatre (1952)- Even Wild Horses---Dance Music for an Absent Drama
- Plectra and Percussion Dances-Satyr-Play Music for Dance Theatre (1952)- Even Wild Horses---Dance Music for an Absent Drama
- Plectra and Percussion Dances-Satyr-Play Music for Dance Theatre (1952)- Even Wild Horses---Dance Music for an Absent Drama
- Plectra and Percussion Dances-Satyr-Play Music for Dance Theatre (1952)- Even Wild Horses---Dance Music for an Absent Drama
- Plectra and Percussion Dances-Satyr-Play Music for Dance Theatre (1952)- Even Wild Horses---Dance Music for an Absent Drama
- Plectra and Percussion Dances-Satyr-Play Music for Dance Theatre (1952)- Even Wild Horses---Dance Music for an Absent Drama
- Plectra and Percussion Dances-Satyr-Play Music for Dance Theatre (1952)- Even Wild Horses---Dance Music for an Absent Drama
- Plectra and Percussion Dances-Satyr-Play Music for Dance Theatre (1952)- Even Wild Horses---Dance Music for an Absent Drama
- Ulysses at the Edge (1955)
Album Description
This newly remastered reissue marks a welcome return to the catalog of the first volume of the classic 4-CD collection that was formerly available on the CRI label. The works recorded on this disc span the first six years of what Harry Partch (1901-1974), slightly tongue-in-cheek, called the "third period" of his creative life. They show him moving away from the obsession with "the intrinsic music of spoken words" that had characterized his earlier output (the vocal works of 1930-33 and 1941-45) and towards an instrumental idiom, predominantly percussive in nature. This path was to take him through the "music-dance drama" King Oedipus (1951)—-the culmination of his "spoken word" manner—to the "dance satire" The Bewitched (1954-55), in which his new percussive idiom manifests itself. The three works on this disc show Partch before, during, and after this period of transition. In their quiet, forlorn way, the Eleven Intrusions are among the most compelling and beautiful of Partch's works. The individual pieces were composed at various times between August 1949 and December 1950, and only later gathered together as a cycle. Nonetheless they form a unified whole, with a nucleus of eight songs framed by two instrumental preludes and an essentially instrumental postlude. Although foreshadowed by the dance sequences of King Oedipus, the Plectra and Percussion Dances (1952) are the first of Partch's major works to be wholly instrumental in conception. They stand in relation to Oedipus as a satyr play in relation to a Greek tragedy—hence the work's subtitle, "Satyr-Play Music for Dance Theater." He felt that after the prolonged period of composition and production of Oedipus it was "almost a necessity to give vent to feelings and ideas, whims and caprices, even nonsense, that seem to have no place in tragedy." The final work on this disc is Ulysses at the Edge, written at Partch's studio at Gate 5 in July 1955. Ulysses, which Partch describes as a "minor adventure in rhythm," is unique among his mature compositions in that, in its original form, it did not call for any of his own instruments. The version recorded here, for alto and baritone saxophones, Diamond Marimba, Boo, Cloud-Chamber Bowls, and speaking voice, is considered the third version of the piece.Customer Reviews:
Now it's possible to get your Partch all in a row.......2006-02-20
Be prepared. This is classical music you have not been prepared for. If you're already a fan of Partch, aren't you glad SOMEONE is getting all his amazing stuff together in one tightly knit package?
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Eyes of Innocence
Miami Sound Machine Manufacturer: Sony ProductGroup: Music Binding: Audio CD General
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ASIN: B00000261X Release Date: 1990-10-25 |
Tracks:
- Dr. Beat
- Prisoner Of Love
- OK
- Love Me
- Orange Express
- I Need A Man
- Eyes Of Innocence
- When Someone Comes Into Your Life
- I Need Your Love
- Do You Want To Dance
Customer Reviews:
Simple pop music, plain and simple!.......2005-05-30
It isn't really appropriate to deem this album as the first to feature all-original recordings because most of the material had previously appeared on three of the four LPs the group recorded for the Miami-based CBS Discos International. The only original song written for this LP is Enrique E. García's "Prisoner of Love"! Seven of the ten songs originally appeared on the group's 1983 LP "A toda máquina", "OK" first appeared in Spanish on the 1982 LP "Rio", and "I Need Your Love" first appeared as "Regresa a mí" on the 1980 LP "Miami Sound Machine."
Depending on your point of view, the English versions of these songs are either better, equal to, or of a vastly different quality than the original Spanish version! This is what makes it an interesting experience for me when I listen to this, as I find myself constantly making comparisons between the two versions of one song.
1. Dr. Beat (originally on "A toda máquina")
-A song employing a lot of what was to come with "Conga" a year later.
2. Prisoner of Love
-The only original tune written for this LP. It's a lot of fun to listen to, and not smacking too much of sound from the early 80s.
3. OK
-First released in Spanish on 1982's "Rio." Somehow Gloria Estefan's Spanish lyrics that she wrote for the "Rio" version seem so plain and therefore make the song sound that way. But when she sings Wesley B. Wright's original lyrics, she sounds more free with her interpretation. And some of Wright's lyrics are a little unique, which makes this version more interesting for me to listen to to.
4. Love me (originally "Entrégate" on "A toda máquina")
-Some of the lyrics are essentially the same for both English and Spanish versions, but this version doesn't rely too heavily on brass instrumentation as the Spanish does. A simple ballad, but this version is a little more stripped down, and I prefer this one.
5. Orange Express (originally "A toda máquina" on "A toda máquina")
-For the life of me, I can't figure out what possessed Wesley B. Wright to choose "Orange Express" as such a title for this English version of "A toda máquina", as it has nothing to do with what the lyrics are all about! I actually like both versions, but they're vastly different from each other; the Spanish version simply encourages people to get up and enjoy a party that's going on, one which you'll never forget once it finishes ("A toda máquina, vas a divertirte. A toda máquina, vamos a bailar") while Wright's English version relies so heavily on philosophy and striving for positive outcomes in life, or at least that what it seems like to me. This is one of my favourite tracks from the album, in English or Spanish.
6. I Need A Man (originally from "A toda máquina")
-An OK song for me. Nothing more, nothing less.
7. Eyes of Innocence (originally "Los ojos del amor" from "A toda máquina")
-The lyrics for both versions are pretty much express the same things, but the instrumental mixes for both songs are slightly different at the start, in between verses and at the end. Both versions are fun to listen to.
8. When Someone Comes Into Your Life (originally "Qué triste es volver a empezar" from "A toda máquina")
-Another of the ballads that Gloria Estefan is famous for writing and singing, but the Spanish version (written with Emilio Estefan) seems to depict the heroine as holding a lot of unpleasant feelings regarding the breakup of her relationship, while the English version depicts the heroine as someone who holds no grudges over what has happened, and encourages her ex to make sure he finds someone who loves him just as much. Gloria wrote the English version herself, and she sings this version with much more conviction, in my opinion.
9. I Need Your Love (originally "Regresa a mí" from 1980's "Miami Sound Machine")
-This was the very first track I ever listened to from this album when I first bought it. I had hoped that there would be an English version of "Regresa a mí" somewhere out there, and just by looking at the song titles at the back of the CD, I wondered if this would be it. Sure enough, it was! Enrique García's lyrics are far superior to the ones he wrote in Spanish, and Gloria Estefan sings this song with much more emotion and feeling than she does with "Regresa a mí." Not to say that I didn't like that song when I first heard it (in fact I do like it a lot), but somehow to me this sounds better. The same instrumental track is used for both English and Spanish versions.
10. Do You Want To Dance (originally "Comunicación" from "A toda máquina")
-Here's an example of two very different sets of lyrics for an English and Spanish version of a song using the same instrumental track. I'm not saying the English version is bad, but here it's just a simple song getting people to get up and dance. The Spanish version "Comunicación" was about how people use two different languages to get their points across to others, and sometimes getting others upset when we do! The English version uses very little crowd sound effects, but in between the verses for the Spanish version, the band members talk to each other in sentences using both languages and the reactions elicited from each other are quite funny to hear, particularly towards the end of the song. So although "Do You Want To Dance" is just okay, I prefer its Spanish counterpart.
All in all, I would recommend this CD to anyone who was interested in listening to Miami Sound Machine. It's a lot of fun and it's just simple pop music, plain and simple, as I mentioned in the title! But one should really study the comparisons between the English and Spanish versions of the songs if one understands and speaks both languages.
One should also note that for CBS Discos International, not all of the four records that Miami Sound Machine released before "Eyes of Innocence" were exclusively in Spanish. Only 1981's "Otra vez" and "Rio" from 1982 are done completely in Spanish while 1980's "Miami Sound Machine" and 1983's "A toda máquina" (which first contained "Dr. Beat" and "I Need A Man")have tracks in English.
Gloria's debut album.......2005-05-27
2. "Prisoner of Love" 10/10
3. "Okay" 10/10
4. "Love Me" 10/10
5. "Orange Express" 8/10
6. "I Need a Man" 9.5/10
7. "Eyes of Innocence" 8/10
8. "When Someone Comes Into Your Life" 10/10
9. "I Need Your Love" 10/10
10. "Do You Wanna Dance?" 8/10
Gloria and the Miami Sound Machines' debut album is a good, solid album Dance-Pop and Adult Contemporary/Soft Rock ballads. The album shows some hints of what was to come musically. I thought overall the album is good and features Gloria's beautiful, expressive vocals. But hey, nine outta ten ain't bad. The lyrics are also good. Gloria is an excellent songwriter! A good album of catchy Dance-Pop such as "Dr. Beat" & "Prisoner of Love" and romantic love songs such as "Okay", "When Someone Comes Into Your Life" and "I Need Your Love". My favourite songs here are "Prisoner of Love", "Dr. Beat", "I Need a Man", "Okay", "Love Me", all of the tracks, excluding track 5, "Orange Express." Overall rating: 4.5 Stars. Recommended to any Dance-Pop fan.
Eyes Of Innocence (1984) Miami Sound Machine.......2004-07-16
DR. BEAT
The first single from the album. I don't know for show, but it seems like this song is the only single from the album. This is a great song. It's not a song I could listen to constantly, but if it were to be played on the radio, I would not turn it off. If I were to just listen to the song from this album, I would not turn it off.
PRISONER OF LOVE
If this was not released as a single, then it would have been perfect to release it as a single, because this is an incredible song.
OK
Not bad.
LOVE ME
Not bad.
ORANGE EXPRESS
Okay.
I NEED A MAN
Not bad.
EYES OF INNOCENCE
Okay.
WHEN SOMEONE COMES INTO YOUR LIFE
Okay.
I NEED YOUR LOVE
Not bad.
DO YOU WANT TO DANCE?
Not bad.
This album really isn't all that bad, but I wish it could have been better.
A FUN ALBUM.......2002-09-03
GLORIA ESTEFAN'S #1 FAN REGIS
They've come a long way..........2001-08-12
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George Frideric Handel: Esther
Manufacturer: CORO ProductGroup: Music Binding: Audio CD All Works by Handel
| Handel, George Frideric
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ASIN: B0001B0A94 Release Date: 2004-06-01 |
Tracks:
- Overture Andante - Larghetito - Allegro
- Recitative Habdonah/Haman: " 'Tis greater far to spare"
- Aria Haman: " Pluck root and branch from out the land"
- Recitative Persian Officer: "Our souls with ardour glow"
- Chorus: "Shall we the God of Israel fear?"
- Recitative First Israelite: " Now persecution shall lay by her iron rod"
- Aria: " Tune your harps to cheerfull strains"
- Chorus: " Shall we of servitude complain"
- Aria Israelite Woman: " Praise the Lord with cheerful noise"
- Recitative Israelite Woman: " 0 God, who from the suckling's mouth"
- Aria Second Israelite: " Sing songs of praise, bow down the knee"
- Chorus: " Shall we of servitude complain"
- Recitative Priest of the Israelites: " How have our sins provoked the Lord!"
- Chorus: "Ye sons of Israel mourn"
- Aria Priest ofc The Israelites: "0 Jordan, Jordan, sacred tide"
- Chorus: "Ye sons of Israel mourn"
- Andante
- Allegro
- Adagio
- Allegro
Tracks:
- Recitative Esther/Mordecai: " Why sits that sorrow on thy brow?"
- Aria Mordecai: " Dread not, righteous Queen, the danger"
- Recitative Esther: "I go before the King to stand"
- Aria Esther: " Tears assist me, pity moving"
- Chorus: " Save us, O Lord"
- Recitative Ahasuerus/Esther: "Who dares intrude into our presence"
- Duet Esther/Ahasuerus: " Who calls my parting soul from death?"
- Aria Ahasuerus: "0 beauteous Queen, unclose those eyes!"
- Recitative Esther: " If I find favour in thy sight"
- Aria Ahasuerus: " How can I stay when love invites?"
- Recitative Third Israelite/Fourth Israelite: " With inward joy his visage glows"
- Chorus: " Virtue, truth and innocence"
- Arioso Priest of the Israelites: " Jehovah, Crown'd with glory bright"
- Chorus: " He comes, he comes to end our woes"
- Recitative Ahasuerus/Esther: " Now, a Queen, thy suit declare"
- Arioso Haman: " Turn not, a Queen, thy face away"
- Aria Esther: " Flatt' ring tongue, no more I hear thee!"
- Recitative Ahasuerus: "Guards, seize the traitor, bear him hence!"
- Aria Haman: " How art thou fall'n from thy height!"
- Chorus: "The Lord Our enemy has slain"
Album Description
Handel's oratorios vary greatly in their presentation. In many ways, Esther is a rarity;it is by far the most intimate, not surprisingly as it was composed for the Duke of Chandos. The Duke's Palladian palace near the village ofEdgware had not been completed in time for the first performance so this may have taken place (as did Acis and Galatea) in the intimate surroundings of a small church, St Lawrence, Whitchurch.We decided, therefore, that we should attempt to convey that intimacy of performance on disc; so we performed in the round with microphones in the middle, the orchestra in front of me, the choir behind and the soloists alongside. The result is everything that chamber music should be where players and singers can enjoy every aspect of Handel's masterpiece.
"The 'sound' of Esther, superbly communicated in the recorded performance here, is pure enchantment... The choral singing has an exceptional grandure, and the instrumental playing a shimmering beauty. Among the soloists, none of whom is less than accomplished, Nancy Argenta and Michael Chance dominate... Both singers affirm a new golden age of Handel interpretation".
Customer Reviews:
THE SHAPE OF THINGS TO COME.......2007-01-26
As often with Handel, there is no fully official version of the score, and this particular score may not even be fully complete from any point of view. The libretto seems to have been the work of someone in the frivolously named association of big literary figures called the Scriblerus Club, perhaps Dr John Arbuthnot, dedicatee of Pope's great poetic Epistle, but Pope himself may have had a hand in it too. As we have it here, the work breaks into two very asymmetrical parts. Scenes 1 and 2 start with a recitative lasting only seconds from Habdonah followed by a longer one in which Haman announces his onslaught on the Israelites, and from there on feature only anonymous participants. Esther herself and the other named characters make their appearance first in scene 4, but the change of tone occurs in scene 3. At this point the music gains gravity first in the chorus Ye sons of Israel with its extraordinary modulations and then in the striking aria O Jordan, Jordan. I myself feel that this weightier tone is maintained to the end, whether or not the writer of the liner note is correct in saying that the long final chorus with solos is out of proportion to its context.
Throughout - in the first part as well as in scenes 3-6 - the instrumental writing is vivid and varied, with an extraordinary pizzicato accompaniment to Tune your harps and then an even more extraordinary obbligato from the harp itself at Praise the Lord. The harpist is no less than Jan Walters, but sometime I would like to see the score and check out what seem some odd rhythmic interactions here between her and the soloist Nancy Argenta. There are no fewer than ten vocal soloists in a work lasting a little over an hour and a quarter, and a very distinguished bunch they are. I was particularly pleased to find Michael Chance in the countertenor role of the Priest of the Israelites as I admire the strength of his tone, but there is no real weakness among them, unless Lynda Russell as Esther has a couple of very slightly awkward high notes in Flatt'ring tongue, which must be a little nerve-wracking to sing as she has to find her note for herself unaccompanied at the start and later at the reprise. You will see some big names among the instrumentalists too, with Crispian Steele-Perkins on the trumpet making a predictably fine contribution towards the end, and of course with Jan Walters in that marvellous harp part early on. The chorus gets some wonderful work to do, and rises to it fully. I really am unable to worry about the proportionateness of the final chorus when I hear that incomparable Handelian build of tone, sung by 18 singers and sounding as if there were 100.
There is a good liner note by Graydon Beeks Jr, not perhaps the last word in lucidity (neither is the plot of the libretto come to that) but worth re-reading. Harry Christophers himself contributes a short foreword largely concerned with the recording process and highlighting the contributions of Mark Brown and Mike Hatch, his long-time technical collaborators. I was interested to see also the name of Geoff Miles in a role described as `editor'. What responsibilities this involved is not stated and perhaps I ought to know without being told, but I know the work of Geoff Miles as recording engineer from elsewhere and it gave me confidence just to see that he is involved in the proceedings, and the technical work is predictably excellent.
My collection of Handel oratorios is now almost complete, and what a wonderful musical experience they are. Each is unique in its own way, but Esther is unique in some very special ways, and I suggest that you do not wait until you are my age to get to know it.
a voice teacher and early music fan.......2006-04-04
This is a "small" contribution compared to many of Handel's other works. However, it is not "small" in a musical sense. There is much creativity on the part of Handel as to orchestral scoring; he exploits his small orchestra and chorus in surprising ways, introducing new vocal and instrumental colours throughout the score, adding and subtracting instruments and voices in many and varied ways. This is a listening surprise as it moves along. And what a great performance on the part of the Christophers as well as some outstanding vocal soloists. Mark Padmore's (Mordecai) aria "Tune Your Harps to Cheerful Strains" was superb as was the Duet between Lynda Russell (Esther) and Tom Randle (Ahasuerus).But the aria that really drew me into the entire drama was sung by Michael Chance (Priest) "O Jordan, Jordan, sacred Tide." It was perfection itself!!!!The Chorus was extremely good and dictionally perfect. It is a great listening experience.
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Eyes of Innocence
Bridin Brennan Manufacturer: Mdm ProductGroup: Music Binding: Audio CD General
| Folk
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ASIN: B000CEV9AO Release Date: 2005-12-26 |
Tracks:
- Face To Face
- You Can't Hurt Me
- Hang On
- Where's Your Love
- Got What You Wanted
- Deep Deep Sleep
- It's Too Late
- Breakdown
- Power Of Three
- Another Day
- Don't Go
Album Details
Previously Only Available Via the Artist's Own Website. The Debut Album from the Youngest Member of a Renowned Musical Family that Gave Us Clannad and Enya.Customer Reviews:
Eyes of Innocense.......2006-05-08
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Return: Art Songs from Carolina
Manufacturer: Albany Records ProductGroup: Music Binding: Audio CD General Modern
| Modern, 20th, & 21st Century
| Historical Periods
| Classical
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General
| Classical
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Compilations
| Classical
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General
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ASIN: B00005NNFW Release Date: 2001-08-28 |
Tracks:
- Three Folk Songs From The Appalachian Songbook: Naomi Wise
- Three Folk Songs From The Appalachian Songbook: Groundhog
- Three Folk Songs From The Appalachian Songbook: Bonnie Blue Eyes
- July Midnight
- Tristram In The Woods
- Song Of Innocence
- Plight Of The Duchess
- Nocturne
- Grotesque
- Love's Seasons: Not In A Silver Casket
- Love's Seasons: Moon, That Against The Lintel Of The West
- Love's Seasons: Clearly My Ruined Garden As It Stood
- Love's Seasons: Summer, Be Seen No More
- Love's Seasons: Now By The Path I Climbed I Journey Back
- Flock Of Dreams
- Matin Song
- Mother Moon
- Elegy For A Tired Cook
- Marigold
- Dark Days Or Fair
- Return: Father
- Return: Retiring
- Return: I Went Back
Customer Reviews:
A Class of its Own.......2003-08-18
One senses that Taylor's voice effortlessly negotiates Frazelle's music, which has the quality of folk music set in a classical genre. Taylor instinctively adopts the vernacular and inflection of the characters and makes a (refreshing) departure from traditional lines. As she said about these songs, "My voice sat down in this music. It kicked its shoes off and felt cold bare earth and said, `This is home.'" Taylor indeed brings this "classical" music home to the listener.
Taylor further shows her gifts for stylistic flexibility and interpretive nuance as she brings to life Vardell's and Ward's more traditional music. One can almost see the far off look in her eyes as she whispers love's memories. The strength in her mid-range makes her all the more qualified to communicate such tender poetry. A listener is wrapped around her finger as she sings these stories.
A Splendid Recording.......2003-08-06
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Eyes of Innocence
ProductGroup: Music Binding: Audio CD General
| New Age
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ASIN: B00004Y2LG Release Date: 2000-06-15 |
Tracks:
- To Trust Someone
- Surviving the Fall
- The Rain
- Eyes of Innocence
- She Moves Me
- The Thinking Man
- Conversation
- In the Storm
- Time for Letting Go
- Starting to Live Again
- A Morning on the Lake
- Grace
Album Description
From bold Piano tracks, to ethereal, to piano melodies with light string accompaniment. This album from Shane Alan covers a broad spectrum of musical compostions. with an emphasis on a string lead piano.Customer Reviews:
INCREDIBLE!!!!.......2004-03-07
Capturing the heart through piano...........2003-03-11
Passionate music.......2003-03-07
Amazing Piece of Work.......2003-03-07
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Transient Glory
Manufacturer: Vital Records ProductGroup: Music Binding: Audio CD All Works by Tavener
| Tavener, John Kenneth
| ( T )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Torke
| Torke, Michael
| ( T )
| Featured Composers, A-Z
| Classical
| Styles
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All Works by Debussy
| Debussy, Claude
| ( D )
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| Classical
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General
| Classical
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General
| Chamber Music
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Choruses
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ASIN: B0000TGACS Release Date: 2003-10-28 |
Tracks:
- Song Of Ezekiel
- Maggie And Milly And Molly And May
- Who Are You, Little I
- The Attic Which Is Desire
- Un-Labelled
- Glory To God For This Transient Life
- Colors 41402
- Smiling Eyes
- La Damoiselle Elue
Customer Reviews:
Blown away........2004-11-10
Beautiful Music.......2003-10-30
The voices blend beautifully and the production values are high. Each time I listen to this CD I discover new things I like about it. Although I might appreciate the Walter Thompson better live than as a recording, the album as a whole is a pleasure to listen to. I'm amazed that these teenagers have achieved such a high level of artistry.
Also, the helpful liner notes have remarks by each composer, explaining how they went about creating their commission and how they related to the youthful choristers and the idea of writing specifically for voices that are transient. This is an interesting window onto the composers' creative processes.
If you like choral music and want to hear some beautiful new work, get yourself a copy of Transient Glory.
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Eyes Full of Innocence
ProductGroup: Music Binding: Audio CD ASIN: B000FWCSB2 |
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Eyes Of The Nightmare Jungle
Innocence Manufacturer: GERMAN IMPORT ProductGroup: Music Binding: Audio CD General
| Dance & DJ
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General
| R&B
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ASIN: B000JG7RZ6 |
Product Description
: Innocence Artist: Eyes Of The Nightmare Jungle Year: Length: 1:04:32 Genre: General Rock Label: Notes: GERMAN IMPORT Tracks: 01 The Game [4:54] 02 Manchild [9:06] 03 Dreamstealers [4:49] 04 White Slaves [6:17] 05 Life [7:15] 06 Innocence [5:38] 07 Pressure [7:25] 08 Voices [5:30] 09 Power [4:39] 10 Mud Huts And Satellite Dishes [3:22] 11 Children [5:36]Meditation Music:
- Feadoga Stain 2
- Force Majeure
- Guitarisma: The Charisma, Passion and Romance of the Guitar
- Haleakala
- Harpestry: A Contemporary Collection
- I Surrender
- Impressions of Americas National Parks
- Incidents Of Travel
- Insights
- King of the Olympics [Soundtrack]
Meditation Music
American Anthem (Original Soundtrack) [Soundtrack]
All Day Everyday [Explicit Lyrics]
Bennie Moten's Kansas City Orchestra (1929-1932): Basie Beginnings