Always Will Be [CD-single] [Import]

Always Will Be [CD-single] [Import]

Track Listings

1. Always Will Be

2. The Fallen One

3. Always Will Be (Acoustic Version)

4. Breaking The Law

Editorial Reviews
Product Description
German digipak edition of the first single off the Swedish metal act's 2000 album, 'Renegade'. Tracks, 'Always Will Be', 'The Fallen One' (off their 1998 album 'Legacy Of Kings') & two previously unreleased tracks, 'Always Will Be' (Acoustic Version) & the Judas Priest cover 'Breaking The Law'. 2001 release.

Always Will Be,Hammerfall,Import [Generic],Heavy Metal,Pop,Power Metal,Rock,Rock/Pop,Scandinavian Metal

It Always Will Be
Average customer rating:

Willie, and his guitar, and his soul

Willie at his best

Willie Does It Again

Review from the Synthesis

Credit Well Earned

It Always Will Be
Willie Nelson
Manufacturer: Lost Highway
ProductGroup: Music
Binding: Audio CD

Alt-Country & Americana | Country | Styles | Music
General | Country | Styles | Music
Outlaw & Progressive Country | Country | Styles | Music
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Songs

You Don't Know Me: The Songs of Cindy Walker

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Willie Nelson & Friends: Outlaws & Angels

Spirit

ASIN: B000639YTO
Release Date: 2004-10-26

Tracks:

It Always Will Be
Picture In A Frame
The Way You See Me
Be That As It May
You Were It
Big Booty
I Didn't Come Here (And I Ain't Leavin')
My Broken Heart Belongs To You
Dreams Come True
Overtime
Tired
Love's The One And Only Thing
Texas
Midnight Rider

Amazon.com

Ol' Willie has made records like this before, but the highpoints of It Always Will Be rank with some of his most realized, subtle, and sublime work. You'd have turn to the timeless "Always on My Mind" for a Nelson ballad as moving as the title track. When he surrenders the songwriting chores to Lucinda Williams, Tom Waits, and even Toby Keith (whose working-class ballad "Tired" devastates), he sings with his unmistakable, harrowing vibrato and arranges with his gift for down-to-earth, acoustic-based country majesty. The cameos from Norah Jones and Williams feel relaxed and unaffected, and the band--hired guns from Nashville plus Nelson's longtime harmonica player Mickey Raphael--swings hard, adding a bit of richness to his tried-and-true Texas sound. Few artists in their twilight have lived up to, if not extended, their legacy like Willie Nelson has. --Roy Kasten

Customer Reviews:

Willie, and his guitar, and his soul.......2006-11-25

Of all of Nelson's album covers, none has expressed the contents so perfectly as the cover of "It Always Will Be." Willie's strong, handsome profile, the hard-earned lines on his face, his hand's loving caress on his guitar--the softness and sharp edges and warm light and deep shadows. Nelson has released many albums that serve as landmarks of American music--Red-Headed Stranger tops a long list--but none feel quite as personal to me as this gem. I get a sense of a man who has much more living to do, but has taken time to look back down the road and give us a sense of where he's been. The joys and romps and fears, triumphs and troubles--the achingly beautiful title track bookended by the rascally Midnight Rider: yes, Willie has been a lot of places, has had a lot of fun and endured a bit of pain, but the masterful simplicity of the music and strength in his voice show that he's a man who's learned a thing or two about himself and the world, and has many miles yet to go.

Willie at his best.......2006-11-10

I thought I'd heard it all but this album is the best. Each song is a gift, a glimpse into the soul of this amazing man. He speaks to loneliness, gratitude, commitment,contentment and self realization. One moment I'm moved to tears and the next moment I'm laughing aloud with Big Booty! If you're a Willie Nelson fan, this is a MUST have album...it doesn't get any better than this!

Willie Does It Again.......2005-09-16

Willie Nelson and George Strait have one thing in common, musically speaking, everything they touch turns to gold. This album in no way is a departure from that statement. Honestly, what can one say about a Willie Nelson album that hasn't already been said. Great, Wonderful, Terrific, Classic, Masterpiece. The list goes on. This album will not dissappoint any fan of the man in pig tails.

Review from the Synthesis.......2005-06-15

The latest Willie Nelson album is a mostly mellow affair comprised of original material, three duets and a couple choice covers. The Nelson-penned "Texas" expresses his love for the Lone Star State with a fitting Tex-Mex mix of country pedal steel moaning over a south-of-the-border beat while a guitar dances between the two influences. Things get jazzy on "Dreams Come True," a piano-based duet with Norah Jones. A harmonica adds character to an earnest cover of "Picture in a Frame" by Tom Waits, and Greg Allman's "Midnight Rider" finally gets things moving on a closing track that could have been written especially for Willie. Highly recommended for you and your horse.

- Connell Burton McDaniel
Synthesis.net

Credit Well Earned.......2005-03-20

This review is written by a fellow from the suburbs and urban regions of New York City, not exactly a bastion of Country and Western music. But let me give credit where credit is due: "It Always Will Be" is a stunning album. I mostly remember Willie from his outlaw days with Waylon Jennings over twenty years ago and occasionally hear in the news that he is still active in Farm-Aid. I recently have become exposed to Americana Country music through a Texas radio station on the Web called KHYI and have found myself profoundly impressed by what I have heard. The schlock mass-market "country" of Shania Twain and the like is not the only country music out there, much to my great relief! KHYI has been playing several songs from this album since it came out at the end of 2004 centered around the very humorous "Big Booty" cut about a "large" girlfriend giving her "skinny" boyfriend the boot. It has sent my toes a tapping everytime I hear it. They also play a true new Willie classic on par with anything he has ever done in the form of the title cut "It Always Will Be". This slow ballad will raise goosebumps the size of golfballs on your skin listening to his lyrics, guitaring, and delivery. It doesn't get much better than this in any form of music. "I Didn't Come Here (And I Ain't Leavin')" is a heroic honky-tonk crowd pleaser while "Midnight Rider" does the same with more of a rock and roll pace with help from Toby Keith. There are also three duets on here with Paula Nelson, Norah Jones, and Lucinda Williams that are intimate, small setting lounge classics. Jazz and true country never sounded better. This CD runs 52 minutes long over 14 songs and there truly is not a single weak cut on it. Willie has put several exclamation points near the end of his long career with this album. It is not getting near as much airplay as it should due to Nashville's dislike for anything that does not originate with it's "good tastes", ie. Americana Texas based Country (and WESTERN!). Amazon has clips from all 14 cuts from this album above so, give a few listens if you are not sure. This truly is one of the best albums so far of the 21st Century.

My Heart Will Always Be the B-Side to My Tongue

Average customer rating:

One of the worst covers and one of the best songs
Terrible Band and worst cover
Beautiful, Amazing, Simply Wonderful
Beautiful Acoustic CD
it was ok..honestly

My Heart Will Always Be the B-Side to My Tongue
Fall Out Boy
Manufacturer: Fueled By Ramen
ProductGroup: Music
Binding: Audio CD

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Fall Out Boy's Evening Out with Your Girl
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Infinity on High - Deluxe Limited Edition
Maximum Fallout Boy

ASIN: B000228E0E
Release Date: 2004-05-18

Tracks:

My Heart Is The Worst Kind Of Weapon
'It's Not A Side Effect Of The Cocaine, I Am Thinking It Must Be Love'
Nobody Puts Baby In The Corner
Love Will Tear Us Apart (Joy Division)
Grand Theft Autumn/Where Is Your Boy (Acoustic)

Album Description

My Heart Will Always Be the B-Side to My Tongue offers fans an inside look at Fall Out Boy's history, as well as a sneak peek into what's to come in the next year. My Heart... is a 5-song CD-EP and a full-length DVD. The CD-EP features three new songs, one cover, and one acoustic version of an old song. The DVD includes their videos for "Dead On Arrival" and "Grand Theft Autumn," live footage, interviews, studio footage, a photo gallery and more.

Customer Reviews:

One of the worst covers and one of the best songs.......2007-04-07

The Joy Division cover is horrid and is vomit inducing. And this is coming from someone who enjoys the Nouvelle Vague cover.

The acoustic version of Nobody puts baby in the corner is brilliant. Pitch the dastardly electric version.

Fallout Boy overachieves. They are awesome at genius and are awesome at sucking.

Terrible Band and worst cover.......2006-03-27

Other bands have performed covers of Joy Division and most were pretty bad. The cover that fallout boy made of Love Will Tear us Apart is just plain crappy. The singing just sucks (for any songs by fallout boy), not even close to being as good as the original. The cover is a disgrace to Ian. If you want a good version hear the original.

Beautiful, Amazing, Simply Wonderful.......2006-03-18

The CD:
The tracks on this CD were just beautifully arranged, and preformed. I wasn't quite sure for "Love Will Tear Us Apart" since it was by Joy Division, but Fall Out Boy preformed it amazingly. My favorite track, and the shortest one at that, has got to be "it's not a side effect of the cocaine, i am thinking it must be love" It's written brilliantly.
The DVD:
Only a small section of this DVD is similar to Release The Bats, but the rest (story, videos, preformance, and cutting room floor) were quite good. I especially enjoyed the acoustic preformances of Saturday, Grenade Jumper, Dead on Arrivial, and more.

If you love Fall Out Boy or just acoustic music, I strongly incourage you to buy this.

Beautiful Acoustic CD.......2006-03-04

To the last reviewer, perhaps this is the more sensitive side of Fall Out Boy, but is that necessarily bad? Their acoustic stuff is AMAZING, or are you too obsessed about whether this is "real" punk music or not? Honestly, doesn't it matter more the MATERIAL IN THE CD, not the LABEL? Everyone has their own opinions on music and I'm going to express mine....

This CD rocks. Hands down. The music is heartfelt and you feel as if they're playing a private concert just for you. I like Fall Out Boy's other stuff, too, but I bought this after listening to "Grand Theft Autumn/Where Is Your Boy" first and fell in love with it instantly. The other stuff is just as amazing, too, so you won't be disappointed. The DVD is good, as well - you get an inside view into their band. This cd is worth the money if you like acoustic-ly driven music. Give it a try even if it isn't your thing. :)

Overall point: I LOVE THIS CD. Emotive and raw acoustic, this music really makes you think. The lyrics are deep. They express careful planning, as does the acoustic riffs. I recommend this whole-heartedly. <33

it was ok..honestly.......2006-01-27

Well the best part of this CD i think is the acoustic versions of Grand theft autumn and nobody puts baby in the corner. The DVD is ok as well i suppose. If I had the choice between this and another CD of fallout boys then I would get the other CD but if you have the rest then you should just this anyway.

Average customer rating:

the best part of hip hop is...
Indeed the Best Part

The Best Part
J-Live
Manufacturer: Triple Threat
ProductGroup: Music
Binding: Audio CD

General | Rap & Hip-Hop | Styles | Music
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The Return of the Magnificent
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ASIN: B000ML0EQC

Customer Reviews:

the best part of hip hop is..........2007-07-09

J-Live, one of the most talented emcees the underground has seen. The man started out as a middle school English teacher; it was only when this album finally hit shelves in 2001 after drawn out troubles with two different record labels that he was able to focus on rhyming full time. From then on, J-Live has come with consistently tight records, and he's known as one of the best in the highly competitive world of conscious rap. One listen to this, his first studio album, blasts away all question.

"The Best Part" showcases J-Live's talents over beats from the hottest producers out there: Primo, Pete Rock, and Prince Paul all contribute. His academic background means you're in store for the best in clever wordplay, and as always J comes packed with rhymes that uniquely delve into intelligent subject matter, like "Vampire Hunter J," an attack on the heartless and greedy side of government, and this CD's banger "R.A.G.E.," a declaration of J's anger about the state of the black community.

J also rocks a tight story rap about the life of twin thugs on "Wax Paper," and spits a sick couple verses about the hip hop industry over a speed-changing beat on the impressive "Them That's Not." The real gem of this cd, though, is the slower, introspective "Timeless," where J contemplates life over a laid back beat and we all get a little bit closer to enlightenment. Overall, this album is nothing but straight classic; A+ material.

The Best Part is that you can cop this pretty easy off eBay or froogle for $15. Do it.

Indeed the Best Part.......2007-06-03

If you can get a hand on a copy of this album, snatch it up. I like J-Live's other albums as well... but this one is a cut above the others.

Average customer rating:

A great addition
Joan Morris and William Bolcom return to their roots

Moonlight Bay: Songs as Is Songs as Was

Manufacturer: Albany Records
ProductGroup: Music
Binding: Audio CD

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After The Ball plus Highlights from Vaudeville
On the Level, You're a Little Devil--Songs of Vaudeville and Tin Pan Alley
Gershwin: Piano Music
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Cabaret Songs (Complete)

ASIN: B00000HXME
Release Date: 1999-02-09

Tracks:

On The Road To Mandalay
Moonlight Bay
Hello, Ma Baby
Billy
School Days
Mirandy
Poor Butterfly
Nobody's Lookin But De Owl An' De Moon
Asleep In The Deep
Beale Street Blues
Life's A Funny Proposition After All
I'm Forever Blowing Bubbles
Can't You Heah Me Callin', Caroline?
I Might Be Your 'Once - In - Awhile'
Heaven Will Protect The Working Girl
The Man That Broke The Bank At Monte Carlo
Some Little Bug Is Going To Find You
Daisy Bell
Just A - Wearyin' For You
Little Annie Rooney
The Widow Nolan's Goat
Forty - Five Minutes From Broadway
My Gal Sal
Oh Johnny, Oh Johnny, Oh!

Customer Reviews:

A great addition.......2005-08-20

Joan Morris and her husband, composer William Bolcom, take another trip back to the early days of Broadway musicals and earlier. In the same groove as their earlier albums, After the Ball and Vaudeville. A great addition to your collection if you love this kind of music, performed the way it was meant to be heard.

Joan Morris and William Bolcom return to their roots.......1999-03-13

Back in 1974, mezzo-soprano Joan Morris, and her husband, William Bolcom, recorded "After the Ball," a collection of turn-of-the-century popular songs, some of which hadn't been recorded since the early part of the century, if ever. Now, after bringing their talents to the music of Jerome Kern, Cole Porter, Rodgers and Hart, and most recently, Vincent Youmans, they return to the turn of the century with this delightful collection. Note: no compromises were made with the original turn-of-the-century lyrics; this CD is not for those obsessed with "political correctness." But then, those obsessed with political correctness generally don't have much taste, anyway.

Average customer rating:

A wonderful but hard to find recording!

My Name Will Always Be Alice
Original Cast Recording
Manufacturer: Original Cast Record
ProductGroup: Music
Binding: Audio CD

General | Musicals | Broadway & Vocalists | Styles | Music

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[title of show] (2006 Original Off-Broadway Cast)

ASIN: B000004CR2
Release Date: 1996-04-11

Tracks:

All Girl Band - Original Cast
A...My Name Is Alice Poems - Heather Mac Rae/Barbara Walsh
At My Age - Original Cast
Trash - Cheryl Howard
Sensitive New Age Guys - Marguerite MacIntyre
Welcome To Kindergarden, Mrs. Johnson - Heather Mac Rae/Barbara Walsh
Watching All The Pretty Young Men - Barbara Walsh/Marguerite MacIntyre/Gwen Stewart
The Portrait - Barbara Walsh
I'm Bluer Than You - Gwen Stewart/Cheryl Howard/Barbara Walsh
Painted Ladies Scene - Heather Mac Rae/Barbara Walsh
Painted Ladies - Original Cast
Wheels - Heather Mac Rae
The French Monologue - Barbara Walsh
The French Song - Barbara Walsh
Once And Only Thing - Cheryl Howard
Honeypot - Marguerite MacIntyre/Gwen Stewart
Friends/Lifelines - Heather Mac Rae/Barbara Walsh/Gwen Stewart

Customer Reviews:

A wonderful but hard to find recording!.......2003-01-21

This is really two shows put together as one- A...my name is Alice and A...my name is still Alice. For this show the creators took what they believed were the best numbers from the two shows and made it into one great night of theatre. Wheels, Friends, and Portrait alone are worth the price of the CD. Even though I liked the Painted Ladies scene and number, I did miss Detroit Persons which they took out. This CD is for the true musical theatre fan that wishes to loose themselves in the music and words.

Average customer rating:

This is a nice ep
Good EP
Underground Heat
Mad Nice
The Triple Threat Returns (4 Stars)

Always Will Be
J-Live
Manufacturer: Fatbeats
ProductGroup: Music
Binding: Audio CD

General | Rap & Hip-Hop | Styles | Music

Experimental Rap | Rap & Hip-Hop | Styles | Music

Pop Rap | Rap & Hip-Hop | Styles | Music
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1988

ASIN: B0000DK4PI
Release Date: 2003-11-04

Tracks:

Always Will Be
Add-A-Cipher
Deal Widit
Get Live
Car Trouble
Walkman Music
9000 Miles
Skip Proof

Customer Reviews:

This is a nice ep.......2007-07-20

J Live shines on this one. All his beats are on point with his lyrics. I would defintley recommend this to anyone who doesn't like that corney stuff you see on t.v. I only have one problem I can't find his first ep entitled "Always Has Been" on CD. If anyone can help me out please respond to this review.

Good EP.......2005-01-19

Always Will Be - The intro, using the woman/rap metaphor like in "Kick It to the Beat" on The Best Part. Good upbeat tempo.
Add-A-Cipher - His statement on crowd size, with cuts by DJ Flo Fader, the first of two guests.
Deal Wid It - This is one of those songs which, a J-Live fan hearing it will be like, alright, that's a cool message, but you wouldn't want one of your mainstream friends to hear it because they would say he's just crying over his life which was non-gansta to begin with.
Get Live - The worst song on the EP, which means its worth listening to as it comes around in the rotation but you wouldn't skip to. It's problem is the chorus which is just J yelling Get Live!, but the verses are hot and dope as always so you can't skip it because of the chorus man, 'cause you'll miss the good stuff.
Car Trouble - The second guest appearance here is by Wordsworth, who doesn't rap but plays the rider in J's taxi/rap industry metaphor.
9000 Miles - When I first heard this I didn't really like it, I was skipping it some, but it grew on me, now it's my favorite. When you're listening to this the first time, don't let the refrain turn you off because the message is perfect for when you're in that sort of mood, I put it in the "the world is hopeless" folder with "Nights Like This" from All of the Above.
Skip Proof - The outro. The verse is too short, just like the whole EP. The beat is nothing to right home about, kind of reminscent of "Don't Get It Backwards."
Buy it. PEACE.

NOTE - I mentioned The Best Part, which is J's first album, which you can't get on Amazon, so I hope they won't mind my suggestion of getting it off of www.sandboxautomatic.com check J's website for whoever he's signed to today because there is usually a link, he's at www.j-livemusic.net.

Underground Heat.......2004-07-02

This album was off the hook! Every track is crazy. This cat has crazy rhyme skills. He's definitely one of the hottest underground acts out. You want some real music? Then cop the album!!!!!!!!

Mad Nice.......2004-07-02

This album was off the hook! Every track is crazy. Watch out for this cat, he's definitely makin some real noise. Cop the album!!!!!!!!

The Triple Threat Returns (4 Stars).......2004-05-05

One year after dropping "All Of The Above", J Live comes back with the EP "Always Will Be". It's not as tight as the aforementioned album(which is a classic in my mind), but it's still a cut above most of the hip hop out right now. J Live raps with a precision that takes you back to '94 without sounding old or boring. The beats are on point and the rhymes are almost perfect. He's probably one of the best storytelling MCs out there right now. And as the aptly named Triple Threat he produces, rhymes, & scratches almost everything on the album (DJ Flo Fader does the scratches on "Add-A-Cipher") by himself. Those that have heard his previous three albums will love this one too. It's not his best work, but it's not his worst by a longshot. The only knock I have on this CD is the fact that it's only 30 minutes long (8 tracks). It leaves you wanting more. But you should still go out and get it though, you won't be disappointed.

Tracks:

Overture
Vain, Fluctuating State Of Human Empire!
Thou, God Most High, And Thou Alone
The Fate Of Babylon, I Fear, Is Nigh
Lament Not Thus, Oh Queen, In Vain!
Behold, By Persia's Hero Made
Well May They Laugh/Oh Memory! Still Bitter To My Soul
Opprest With Never-Ceasing Grief
Dry Thoes Unavailing Tears
Be Comforted: Safe Though The Tyrant Seem/Methought, As On The Bank Of Deep Euphrates
Now, Tell Me, Gobrias
Behold The Monstrous Human Beast
Can You Then Think It Strange
Great God! Who, Yet But Darkly Known
My Friends, Be Confident
All Empires Upon God Depend
Oh Sacred Oracles Of Truth!
Rejoyce, My Countrymen
Sing, Oh Ye Heav'ns!

Tracks:

Let Festal Joy Triumphant Reign!
For You, My Friends
The Leafy Honours Of The Field
It Is The Custom, I May Say, The Law
Recall, Oh King! Thy Rash Command
They Tell You True
Oh Dearer Than My Life, Forebear!
By Slow Degrees The Wrath Of God
See, From His Post Euphrates Flies!
You See, My Friends, A Path
Amaz'd To Find The Foe So Near
To Arms, To Arms! No More Delay!
Ye Tutelar Gods Of Our Empire
Let The Deep Bowl Thy Praise Confess
Where Is The God Of Judah's Boasted Pow'r?
Call All My Wise Men

Tracks:

A Singony (Allegro Postillions)
Ye Sages! Welcome Always To Your King/Alas! Too Hard A Task The King Imposes
Oh Misery! - Oh Terror! - Hopeless Grief!
Oh King, Live For Ever!
No! To Thyself Thy Trifles Be
Yet, To Obey His Dread Command
Oh Sentence To Severe!
Oh God Of Truth! Oh Faithful Guide!
You, Gobrias, Lead Directly To The Palace
Oh Glorious Prince!
Alternate Hopes And Fears
Fain Would I Hope
Can The Black Aethiop Change His Skin?
My Hopes Revive
Bel Boweth Down!
I Thank, Thee, Sesach
A Martial Symphony
To Pow'e Immortal My First Thanks
Be It Thy Care, Good Gobrias
Great Victor, At Your Feet I Bow
Say, Venerable Prophet
Tell It Out Among The Heathen
Yes, I Will Build Thy City
I Will Magnify Thee

Customer Reviews:

ISSUE RESOLVED ON THE EUPHRATES.......2005-06-19

One question I might find among the more difficult in my life would be - which is my favourite Handel oratorio? I suspect that my answer would generally be 'the one I heard most recently', and that, as I write this, is Belshazzar. It is a magnificent thing, a heavenly thing. It has taken me longer than it should have to come to an appreciation of what makes Handel the phenomenon - as a genius, as an artist, as a craftsman - that he is, but I am comforted to reflect that no less a genius than Haydn, at the age of nearly 70 gaining a more thorough knowledge of Handel in performance, was driven to say that he felt a mere apprentice. In his sense of how to pace a dramatic narrative, in his instinct for how to use the human voice in song and above all in chorus, in the matchless flexibility and adroitness he displays at word-setting and in the audacity of his melodic and harmonic effects I can think of nobody who can approach Handel on his own terms.

Belshazzar was not a great success at the box-office, although this may have had more to do with difficulties in the casting than because it was deemed insufficiently biblical for oratorio, which seems to have been the fate of Hercules. It seems to me to be perfectly well described as oratorio in other ways too, with (for one thing) the extensive use of the chorus that we find in, say, Samson but not in Hercules. The one passage that cries out for visual effects is of course the apparition of the moving finger itself. Even here the composer can go a long way with sheer power of suggestion, by the strange unaccompanied violin figure creeping upwards and the frightened brevity of the vocal numbers. Otherwise for me Belshazzar is as much an oratorio as Samson is. It has the same librettist too, the crusty and formidable Jennens, who had also collaborated with Handel on Saul and on Messiah itself. Jennens' full text is not provided, but I think if you read the synopsis first and then follow the work from the headlines to each number you will have no difficulty in catching the words, so clear is the enunciation by soloists and chorus alike. As usual, Handel was driven to make alterations to the score for practical reasons. He had been a little concerned about its length, roughly 2 hours and 50 minutes in this performance, but where he wishes to be expansive he gives us full measure - two arias in Act I scene 4 take well over 7 minutes each. The liner-essay (a good one, by Anthony Hicks) goes into the issue of the version of the score used here, and I personally have no problem with it.

I have no faults to find with the performance in any way. Pinnock is an established specialist, the instruments are period instruments and vocal cadenzas at the end of the arias are kept minimal. Anthony Rolfe Johnson, James Bowman and David Wilson-Johnson are tried and trusted Handel singers and at their best here, and Nicolas Robertson and Richard Wistreich in the smaller parts are every bit as good. The part of Cyrus is a soprano part, taken by Catherine Robbin, and when I thought I heard just one touch of strain in `Destructive War' in the final scene she makes up for it instantly in her superb duet with Arleen Auger in the following number. Auger as Nitocris the mother of Belshazzar has the biggest part, and she covers herself with glory all the way through.

The recording is perfect, and when I saw an aria entitled `Destructive War, thy limits know' near the end I felt a sharp sense of irony in the year 2005. Cyrus, Handel, Jennens, you should all have been living at this hour.

Enjoiyable, but lacking, too........2004-08-16

This 3CD set of George Frederic Handel's (1685-1759) "Belshazzar", from Archiv Production, a division of Universal Music, is proof again that transfer from vinyl to tape to disc brings with it improvements in listening that make the purchase a worthwhile addition to anyone's listening library. Written in 1744, "Belshazzar" is an oratorio in the operatic style that is wonderful oratorio, but lacking the true depth one expects to hear in an opera. London opera audiences of Handel's day agreed, as both "Belshazzar" and Handel's other offering of the period in the same style, "Hercules", were not terribly successful. Instead of the scheduled 24 performances only 16 were given and Handel never offered a full season of oratorio again. The Libretto by Charles Jennens (1700-1773) is, as the production notes say, meant "not only to show the fall of Babylon but to show it as a fulfillment of divine prediction and to confirm the biblical testimony by reference to classical history." There's only one problem, as good a quality as the CDs are, it is not possible to follow the full libretto and the accompanying booklet includes no text, which is a shame. I think the listening experience would have been increased immeasurably if one was able to follow the text of what is being sung. Nonetheless the dramatic narrative is fluid and even, and the English Concert and Choir provide nice balance to the less full vocal passages, as in Disc 3s "Oh Glorious prince", cut 10. There is enough of this throughout to keep one's interest, but disappointing if what one expects is another ""Messiah".

Siegfried (Goodall Ring Cycle/Chandos Opera in English)

Average customer rating:

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

Siegfried (Goodall Ring Cycle/Chandos Opera in English)
English National Opera
Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)
Wagner: The Rhinegold
Wagner: The Valkyrie
Wagner: Siegfried
Wagner: Die Walküre

ASIN: B000056KNC
Release Date: 2001-02-27

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Average customer rating:

I will always be there for you
ANQUETTE SWEET LADIES
LUV ANQUETTE

I Will Always Be There for You
Various Artists
Manufacturer: Original Sound
ProductGroup: Music
Binding: Audio CD

General | R&B | Styles | Music

General | Soul | R&B | Styles | Music

General | Compilations | R&B | Styles | Music

Soul | Compilations | R&B | Styles | Music
ASIN: B00000DMJO
Release Date: 1998-12-15

Tracks:

I Will Always Be There For You - Anquette
Always And Forever - Heatwave
OOO...AAh... - Jakki O
These Arms Of Mine - Otis Redding
I Like The Way You Love Me - Brenton Wood
I Only Have Eyes For You - The Flamingos
Take A Chance On Me/Make It With You - Alma
Pledging My Love - Johnny Ace
Confessin' A Feeling - Sly, Slick, & Wicked
Angel Baby - Rosie & The Originals
For Your Precious Love - Jerry Butler & The Impressions

Customer Reviews:

I will always be there for you.......2001-09-28

Anquette, i luv this song! This is the best slow jam since back then and i can listen to it over and over again.

ANQUETTE SWEET LADIES.......1999-05-07

Anquette is one of my most favorite artist. I really enjoy there song I WILL ALWAYS BE THERE FOR YOU! BIG SHOUT OUT FROM ME TAMMIE AKA SHORTY OR TINY ONE LOVE!

LUV ANQUETTE.......1999-01-08

I LUV THAT NUMBER ONE SONG YO...ITS THE BEST LOVE SONG I HAVE EVER HEARD IN MY LIFE...THE WHOLE CD IS GREAT....

Average customer rating:

DON'T LET THIS ALBUM BECOME A "LOST CLASSIC"
DON'T LET THIS ALBUM BECOME A LOST CLASSIC !!

invisible poet kings
Invisible Poet Kings
Manufacturer: Cool Records
ProductGroup: Music
Binding: Audio CD

General | Rap & Hip-Hop | Styles | Music

Pop Rap | Rap & Hip-Hop | Styles | Music

Turntablists | Dance & DJ | Styles | Music

Pop Rock | Pop | Styles | Music

Pop Rock | Pop | Indie Music | Stores | Music
ASIN: B00004HYQC
Release Date: 1999-06-15

Tracks:

Clean White Shirt
Personal War
There's No Love
Don't Bother
Only the Echo Came Back
Used to the Dark
Lost in the Shuffle
Dancing on a Wire
No Time
Over & Over Again/Johnny's Tree House
You Can't Stop A Rumor
Knocking on Another Person's Door

Album Description

The sound of invisible poet kings is driven by a wall of guitars juxtaposed with the diverse elements of piano, French horn, tabla and dulcimer. Through an eclectic, cerebral style of solid musicianship, invisible poet kings deliver imaginative, strongly structured songs that take you on a journey far beyond reality.

"Invisible" does not mean unknown - though the band's anonymous mystique complements their wide range of influences and song styles, the invisible poet kings are recognized as one of the best "unrecognized" bands in the LA local rock club circuit.

The Invisible poet kings were founded by singer/songwriter Barry Keenan - a talented producer, engineer and multi-instrumentalist with credits including Beck, Big Mountain, Joan Osborne, The Cure, Robert Cray, and White Zombie, among others. Bassist/engineer Colin Mitchell and his brother, lead guitar soloist Matt, along with drummer Alberto "Tico" Grimaldi, joined Keenan in the studio to create the sonic journey that became the band's signature sound.

invisible poet kings, the band's debut album on Cool Records was written and produced by Keenan with songwriting contributions forom Jenny Yates and David Palmer. The first single is the ethereal Freddy Mercury meets Lennon/McCartney track, "Clean White Shirt," b/w the thought-provoking ballad, "There's No Love"

Customer Reviews:

DON'T LET THIS ALBUM BECOME A "LOST CLASSIC".......2000-10-26

Don't you hate it when you come across an album that is so good yet you can't believe it's not being played anywhere on radio? if you are looking for that kind of album, then THIS IS IT!! The debut album from the Invisible Poet Kings is one of the best "hidden gems" I've come across from a small indie label. This disc has great memorable songs, thought-provoking lyrics & stellar sound that you would normally expect to find on some big-shot major labels.

However, the difficult part is how to describe music so richly textured in its arrangement without (at the time I write this) the help of audio samples. They can remind you of many different bands in style, yet manage to remain completely fresh. For example the opening track, "Clean White Shirt," sounds like something Queen would have made if the Beatles produced them. (In fact, the whole album is a lot like the albums made by those two group; every track is different in style from the next ala "Revolver" or "A Night At The Opera.") Another song, "Over & Over/Johnny's Treehouse," starts out like an Eric Carmen poptune before wrapping itself around a massive "Kashmir"-like guitar riff...and that's just the beginning!! And "Personal War" is almost like a hard-rock version of a Pink Floyd track!!

There really isn't a single bad cut here. Please don't let this album become a "lost classic." I swear your going to miss out on some great music.

DON'T LET THIS ALBUM BECOME A LOST CLASSIC !!.......2000-10-21

Don't you hate it when you come across an album that is so good yet you can't believe it's not being heard anywhere else? If you are looking for that kind of album, then THIS IS IT!! The debut album from The Invisible Poet Kings is one of the best "hidden gems" I've come across from a small indie label. This disc has great memorable songs, thought-provoking lyrics & stellar sound that you would normally expect to find on some big-shot major labels.

However,the difficult part is how to describe music so richly textured in its arrangement without (at the time I write this) the help of audio samples. They can remind you of many different bands in style, yet manage to remain completely fresh. For example the opening cut, "Clean White Shirt," sounds like something Queen would have made if the Beatles produced them. (Indeed, the whole album is a lot like the albums made by those two groups; every track is very different in style from the next ala "Revolver" or "A Night At The Opera.") Another song, "Over & Over Again/Johnny's Treehouse," starts out like an Eric Carmen pop tune before wrapping itself around a massive "Kashmir"-like guitar riff...and that's just the beginning!! And "Personal War" is almost like a hard-rock version of a Pink Floyd track!!

There really isn't a single bad cut here. Please don't let this be a "lost classic." I swear you going to miss out on some great music

Music Info: