Altar [Import]

Altar [Import]

Track Listings

1. Caroline Leaving

2. Another Day, Another Way

3. Something Else Or

4. Rebel Monster

5. Pool Of Booze, Booze, Booza

6. Always, Wu

7. Say Your Number

8. Soulweeper

9. Fire Song

10. Danny & Lucy

11. Caroline #1

12. Alienized

13. I Only Wanna Be With You

14. Everything'S Still Fine

15. Healing Subconsciously

Editorial Reviews
Product Description
Volbeat is from Copenhagen, Denmark and was formed in October 2001 by Michael Poulsen, who had previously split up the Danish heavy metal band Dominus. This is their full length debut album which was produced by Jacob Hansen (Invocator, Raunchy) and contains 15 raw and razorsharp jewels. Provogue. 2005.

Tracks:

What This World Needs
Every Man
Slow Fade
East To West
The Word Is Alive
The Altar And The Door
Somewhere In The Middle
I Know You're There
Prayer For A Friend
All Because Of Jesus

Product Description

After two Platinum-selling albums (Casting Crowns & Lifesong), one Platinum and one Gold live project (Live from Atlanta & Lifesong Live), numerous awards, and one of the most successful headlining tours in our industry, one might expect a different Casting Crowns. Those who meet this exceptional group, however, quickly realize they are still the same down-to-earth people with ministry at the heart of what they do both on the road, and in their local churches where each of the members serve on-staff or as laypeople, including lead singer/songwriter Mark Hall who still holds his post as youth pastor at his home church.

Casting Crowns third album, The Altar and The Door, draws on this first-hand ministry experience with real people, real life struggle and the faith that overcomes. At the altar, everything makes sense, says Hall. When we re in the church and spending time with God, we know what we re supposed to do and how to live. Everything is black and white. But somewhere between the altar and the door, when we leave and go out into our lives, it all leaks out. Everything gets gray again. It s like we have these two lives, and the Christian life is the journey between the altar and door....trying to get the things you ve got in your head, into your hands, into your feet, and into your life. This album is all about that journey of realization, the struggles we encounter and the victory of seeing it as possible.

The band is excited about the next ministry chapter to unfold, and is already planning Fall and Spring legs of The Altar and The Door Tour. With the debut radio single hitting in June and widespread media coverage starting late summer through the fall, this album is set to be another phenomenal release setting records and, more importantly, impacting hearts.

Altar Boyz (2005 Original Off-Broadway Cast)

Average customer rating:

Somethin's rotten, but not in zDenmark
very good
Enjoying the show all over again
Good...but the guys on tour are better
Enjoyable

Altar Boyz (2005 Original Off-Broadway Cast)
Gary Adler , Michael Patrick Walker , and Scott Porter
Manufacturer: Ghostlight Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B0009A40IE
Release Date: 2005-05-17

Tracks:

We Are The Altar Boyz
Rhythm In Me
Church Rulez
The Calling
The Miracle Song
Everybody Fits
Something About You
Body Mind & Soul
La Vida Eternal
Epiphany
Number 918
I Believe
Bonus Track 1

Amazon.com

Altar Boyz may ride on a single idea, but that idea is brilliantly carried through: What if there was an openly Christian boy band? Because the show's success depends on that one concept, every detail has to be perfec--and it is. Each member of the titular quintet is typecast--the Hispanic one, the gangsta one, the could-be-gay one, etc.--and the singers perfectly ape the perky 'N Sync/American Idol style, easily navigating between yelping pleading and bombastic bravado. The booklet even comes complete with lengthy, smarmy thanks from the Boyz ("big props to the Big Man in the sky"). As for the music, it's drenched in cheesy synths and appropriately catchy: Gary Adler and Michael Patrick Walker (contributing six songs each) may have gleefully nailed the genre's inane lyrics, but they didn't forget the melodies either. --Elisabeth Vincentelli

Customer Reviews:

Somethin's rotten, but not in zDenmark.......2007-07-12

Why spend fifteen minutes with this when you could be masturbating to your favorite fantasy?

very good.......2007-07-03

i really enjoyed this CD, the only problem i have with it is that the show was so amazing live that a CD can't quite do it justice. Regardless, it still made me happy.

Enjoying the show all over again.......2007-06-27

Having totally enjoyed the show live in San Francisco, every time I play this CD I am allowed to relive the experience. It was a fabulous production and I am so happy to hear them sing again and again.

Good...but the guys on tour are better.......2007-05-18

If you are buying this disc. after seeing Altar Boyz on tour you will be disappointed. Vocals just aren't as strong. I can't speak for the current off-broadway cast, haven't seen them perform. Over all, this cd is pretty good.

Enjoyable.......2007-05-12

Got the CD before I saw the show and it was amazing. Songs that stick, and you end up humming them all the time.

A must have for everyone.

Average customer rating:

If you love beautiful voices...
If you want to know Corelli's art, this is the right CD
excellent gift
Greatest Tenor of This Century!
Ah... Franco :}

The Very Best of Franco Corelli

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Franco Corelli: Corelli in Concert

ASIN: B00008V5VV
Release Date: 2003-04-22

Tracks:

A Te, O Cara
Meco All' Altar Di Venere... Me Protegge, Me Difende
Ah Si, Ben mio...De Quella Pira
Se Quel Guerrier Io Fossi!...Celeste Aida
Pur Ti Riveggo, Mia Dolce Aida
Intanto Amici... Viva Il Vino Spumeggiante
Mamma, Quel Vino E Generoso
Recitar!... Vesti La Giubba
No, Pagliaccio Non Son
Colpito Qui M'avete...Un Di All'azzuro Spazio
Credo A Una Possanza Arcana
Legray!... Andrea Chenier!...Si, Fui Soldato
Come Un Bel Di Di Maggio
Vicino A Te

Tracks:

Donna Non Vidi Mai
Recondita Armonia
E Lucevan Le Stelle
Non Piangere, Liu... Ah! Per L'ultima Volta!
Nessun Dorma
Favorita Del Re!... Spirto Gentil
Cielo E Mar
L'anima Ho Stanca
Non Lunge Della Torre... Bianca Al Par Di Neve Alpina
Ange Adorable
L'amour, L'amour.. Ah! Leve-Toi, Soleil!
O Nuit Divine!
C'est La! Salut! Tombeau!
Fronde Tenere... Ombra Mai Fu
Ave Maria
Domine Deus
Core 'Ngrato
Torna A Surriento

Customer Reviews:

If you love beautiful voices..........2007-04-30

and passionate singing, you won't be disappointed. While Corelli certainly had his flaws, they are minor in the larger picture of this unique, magnificent force of nature. Then get this set for your friend who thinks Andrea Bocelli is a great tenor.

If you want to know Corelli's art, this is the right CD.......2007-03-10

Franco Corelli had one of the powerful tenor voices of the twentieth century. Think Mario del Monaco with more beauty and grace; think Richard Tucker with a smoother voice. He had annoying touches in his singing, such as those "catches" here and there. But, with Tucker, he is, in my estimation, one of the two most powerful and attention riveting tenors in the past century. Other tenors were more artistic, provided better characterization (think Domingo, Gigli, Pavarotti, Gedda, Caruso, and some others).

But Corelli was a wonder of nature! Some samples: "Ah si, ben mio. . .Di quella pira." If there were an aria made for Corelli, this would be it. His big, rich, powerful voice fits this cut nicely. Not much subtlety here. In "Di quella pira," he hits the high notes in a stentorian manner. There are those mannerisms, but they are so easily forgiven, taking into account that rich, lustrous voice.

"Celeste Aida" is another representative cut. This is a powerful version. Also, note how he goes from forte to piano at the end of this aria. A powerful effect indeed.

Then, there are the twin arias from "Tosca." In "Recondita armonia," his rich voice is well manifest. He exhibits a smooth line in his singing. This is a powerful version of this well known aria. "E lucevan le stele" displays again that rich voice. At one point, he goes from forte to piano in a mesmerizing manner (Who'd have thought it?). His final "la vita" grabs one's attention.

Finally, "Nessun dorma." Well, smoothly, and powerfully sung. The final "vincero" is powerfully rendered, leaving goose bumps on the spine.

This is the very best of Franco Corelli. Those who want to get a sense of the vocal prowess of one of the most powerful tenors of the 20th century should attend to this double CD set.

excellent gift.......2007-02-09

I gave it to my father and he says Its an amazing cd.

Greatest Tenor of This Century!.......2007-02-03

Franco Corelli is the greatest tenor of this century. Although there are many fine tenors including Carlo Bergonzi - no tenor comes close to singing with the pure heart and animal magnetism of Franco Corelli. Surprisingly, he was also quite comfortable with bel canto, listen to the incredible "A te o'cara". I've heard "Nessun Dorma" sung by many excellent tenors and hands down, none can touch the sublime beauty of Corelli's version. This 2cd set of his greatest arias is a wonderful gift for any opera fan. "Recondita Armonia" is my personal favorite. His thrilling vocal beauty and intensity of performance is truly unforgettable.

Ah... Franco :}.......2007-01-10

Such a pleasing voice. I can't believe the clarity and perfection. He was well before my time and others have become more 'popular' since then, but for some reason his voice seems better than the more current singers. I do not know much about opera so I will have to rely only on my own ears. I happily recommend this double album. I like to have it playing on the 5 CD changer with other opera cds, mixing through them...it is a perfect saturday morning accompaniment. enjoy.

Average customer rating:

Highest Level of Artistry Displayed
"Behold the Tomb"
Well-sung Shakespearean travesty
beautiful and moving opera
Wonderful nostalgia

Bellini: I Capuleti e i Montecchi

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Verdi: La Traviata / Sills, Gedda, Panerai; Ceccato
Handel - Julius Caesar / Treigle · Sills · Forrester · Wolff · NYCO · Rudel

ASIN: B0002XV2XO
Release Date: 2005-02-15

Tracks:

Sinfonia
Aggiorna Appena...
O Di Capellio, Generosi Amici
E Serbata A Questo Acciaro
Si: M'abbraccia
L'amo Tanto, E M'e Si Cara
Vanne Lorenzo
Lieto Del Dolce Incarno
Ascolta. Se Romeo T'uccise Un Figlio
Riedi Al Campo
La Tremenda Ultrice Spada
Eccomi In Lieta Vesta...
Oh! Quante Volte
Propizia E L'ora
Si, Fuggire: A Noi Non Resta
Odi Tu? L'altar Funesto
Vieni, Ah! Vieni

Tracks:

Lieta Notte, Avventurosa
Deh! Per Pieta, T'arresta
Tace Il Fragor
Che Miro?
Soccorso, Sostegno Accordagli
Accorriam...Romeo!
Ne Alcun Ritorna!
Morte Io Non Temo Il Sai
Prendi, Gl'istanti Volano
Deh! Padre Mio, Deh Padre Mio!
Deserto E Il Luogo
Chi Sei Tu?
Qua' Voci! Oh Dio!
Ella E Morta, O Sciagurato
Siam Giunti
Ecco La Tomba
Tu Sola, O Mia Giulietta
O Tu, Mia Sola Speme
Ah! Crudel! Che Mai Facesti?

Customer Reviews:

Highest Level of Artistry Displayed .......2007-02-13

This isn't the Shakespearean version, in case you get disappointed, but is based on an Italian source. In spite of the obvious fact the Sills and Gedda were already past their prime by the time of this recording, they still have plenty to give us, and their musical insight makes this recording better than other well-sung performances recorded in the studio. Baker is absolutely fantastic throughout and gave a very satisfying performance both musically and artistically.

Now coming to the comparison made by a reviewer between Bellini and Verdi. Well, even if Bellini had lived to 80, it would not be his aim to write like Verdi. Bellini stood alone amongst the great opera composers of Italy. Even his contemporaries recognized it and called his music 'filosofico'. Bellini's aim was not to create dramas with music like Donizetti or Verdi, but rather music drama - a fact which Wagner recognized. Only that Bellini's aim was to realize it via the voice (think Norma), while Wagner did it with the orchestra. It is note-worthy that Wagner spared Bellini the usual bashing he gave to the Italians. Not only that - he admitted to Cosima that the love duet from Capuleti was the source of his inspiration for his own in Tristan. In his old age, he was proud to say that he learned from 'these pages' what Messrs Brahms etc had failed to learn. One should approach a Bellini opera as one does a Chopin Ballade or Wagner's Tristan, not Verdi. That is not to say that Verdi is inferior, but just different.

And regarding Bellini's orchestration, Wagner and Bizet were on separate occasions, were tasked to 'improve' the orchestration of Norma. Both eventually gave up the job as impossible and concluded that the orchestration written by Bellini was the most suitable. Comparing the orchestration between the early Il Pirata (with its almost Wagnerian finale!) with Norma, it dawns upon one that the decision to thin out the orchestra by Bellini was deliberate, in line with his purpose of using the voice as the primary tool to express the drama.

"Behold the Tomb".......2006-09-30

I find it difficult to evaluate Bellini's work because it depends so heavily on performance. Never a connoiseur of performances, I leave it to others to tell one bel canto aria from another. It is discouraging to realize that Bellini, who died young, never took much interest in orchestral music, making him a lesser counterpart to Verdi, who combines the Italian devotion to the voice with powerful dramatic effects from the orchestra. Even the cover of the EMI CD is disappointing because it slaps a mod-erotic photograph on an opera where the lovers are too traumatised to make love. The libretto is so poor that the recording does not bother to supply it, confirming the view that Bellini's operas are for connoiseurs of vocal sound only.

I have downoaded the text from Karadar Classical Music as well as a synopsis from Opera japonica. We learn that the Capuleti and Montecchi are local versions of the Guelph and Ghilbelline parties respectively. The Ghibelline Dante would have been allied with the Montecchi, Romeo's party. Capellio, Juliet's father, seeks to avenge the death of a son at the hands of Romeo. Romeo's part is sung by a mezzo-soprano, adding further to the absurdity of the EMI cover photo. Although Romeo and Juliet are already lovers, she refuses to elope with him out of loyalty to her father. These lovers really seem more interested in dying than in making love. Juliet does manage to declare that she breathes easier when she learns that Romeo has survived a fight. We know that Romeo has reached his appointed place when he sings, "Ecco la tomba." Janet Baker, as Romeo, shines in the slow, heart-broken singing that follows, interspersed with sympathetic passages by the chorus of Montecchi. There is no doubt that Bellini's operas allow top performers to sing as beautifully as they can. The instrumental accompaniment in this concluding scene is reduced to a bare minimum.

Well-sung Shakespearean travesty.......2005-10-15

Source: Studio recording made at Abbey Road Studio, London, June 16-25, 1975.

Sound: Analog stereo. The engineering is competent, I suppose, but as a matter of personal taste I do not care for the distant and echo-y soundscape. It sounds as though the opera were taking place at the far end of a Gothic cathedral.

Documentation: No printed libretto, although there is a reference to an on-line libretto available at the EMI Classics website, (which failed to download in five tries over two days) just in case I want to listen to this opera while I am working at my computer. The accompanying essay by James Harding is the most useless I have ever found in a CD case--and that is by no means an easily earned distinction. Harding is vitally interested in Bellini's lame love life but indifferent to such trifles as the plot of the opera he is supposed to be writing about.

Format: Disk 1, Act I, Scenes 1 and 2; 60:42. Disk 2, Act I, Scene 3; Act II, Scenes 1-3; 74:23.

Bellini premiered "I Capuleti e i Montecchi" at Teatro La Fenice in Venice exactly one month before his twenty-ninth birthday. It was a success but it was not without critics. In his essay, Harding writes, "It was unfair of Berlioz to denounce I Capuleti e i Montecchi as a travesty of Shakespeare." Berlioz clearly had a point, for where the Bard had twenty characters, the librettist "Romani made do with only five. You will look in vain," Harding gushes on, "for the Nurse and Friar Laurence" and, I must add, for Mercutio, Benvolio and Paris, too. In the opera, Paris and Tybalt become a single character, Tebaldo, to the great detriment of the plot.

"I Capuleti e i Montecchi" came about midway in Bellini's too short career. The really big hits on which his fame rests were yet to come. The music is competent but somehow lacking that indefinable ping that makes "La Sonnambula," "Norma" and "I Puritani" extraordinary.

Overall, the performance is good. Best by far in the cast is Janet Baker. She does not generate overt excitement but she offers an overwhelming sense of rightness when she essays any part in the narrow range that she made her own. This recording is a little late for the best of Sills but she is still very bright and amazingly agile. As always, I feel that her voice is just a little too cool and too thin, but that is purely a matter of personal taste. It is also late for Nicolai Gedda, who sounds unexpectedly baritonal as Tebaldo, a part that any other 19th Century composer would surely have written for a baritone. (I know, I know, Gounod's Tybalt is a tenor. I sang the role, myself, back in college days. But Gounod's Tybalt is markedly different in character from Bellini's Tebaldo-Paris.) Gedda is very good, but I am not at all sure that I would have recognized him if his name had not been on the cover.

"I Capuleti e i Montecchi" is not a great opera, but three famous and very fine singers offer intelligent and entertaining performances. That's worth five stars as far as I'm concerned.

FOR THE HISTORICALLY MINDED: William Shakespeare wrote his "Romeo and Juliet" in the 1590s, in the early days of his career. As was usual for him, he based his play on older materials. The first literary mention of the Montagus and the Capulets is in Dante's "Purgatorio," vi, lines 106-108. The Montagus lived in Verona and the Capulets in Cremona. They were used by Dante as examples of warring factions that had been exterminated. About 1530, Luigi da Porto mistakenly assumed that the Montagus and the Capulets had both resided in Verona and had feuded with one another. He worked up a tale that involved two young members of his warring clans, Giulietta and Romeo. In 1554, Matteo Bandello published a novella called "Romeo e Giulietta" which proved to be an international hit. A French version was adapted from Bandello by Pierre Boaistuau in 1559. This, in turn, was translated into English in 1562 by Arthur Brooke as a "tragical history" in verse form called "Romeus and Juliet," later to be pounced on by Will Shakespeare in search of a popular hit. The only major changes that Shakespeare made in Brooke's plot were to compress the time frame and to introduce Tybalt into the story at an earlier point in order to build him up as a worthy adversary for Romeo. And, oh, yes, he created an array of living characters such as had never been conceived before.

A number of commentators have taken note of the much simplified plot of "I Capuleti e i Montecchi." They have accounted for it by declaring that Shakespeare's version was not yet well-known in the world, so Romani must have based his work on an earlier version of the story, by which I presume they mean by Bandello or even by da Porto. I don't buy that explanation. By 1830, the cult of Bardolatry was firmly established. The standard German translations (that the Germans to this day hold to be superior to the English originals) were well along. Two generations earlier, the tourist industry of Stratford Upon Avon had been given a kick start by the great actor, Garrick (in a bicentennial celebration conceived by David Garrick, written by David Garrick, produced by David Garrick, directed by David Garrick and starring David Garrick--additional dialogue by W. Shakespeare.) Just seventeen years later, Verdi would write his "Macbeth" and make sketches for a "King Lear," that greatest of all operatic might-have-beens. One of the twenty or so books that Verdi kept close to himself until the day he died was an Italian translation of the works of Shakespeare.

No, I do not think that Romani dealt with any obscure 16th Century originals. I think that he exercised a hack's privilege to pillage a respectable source for his convenience. Berlioz was correct. In both the literal and the figurative senses of the word, this is a travesty.

beautiful and moving opera .......2005-08-12

One may regret that Beverly Sills and Nicolai Gedda did not
record this opera earlier in their careers (1975) yet still
be glad they did. Though there are some audible signs of vo-
cal wear their artistry and commitment are never in doubt and
they offer memorable performances. Janet Baker is on the other
hand in splendid voice and sings superbly - she portrays a
somber Romeo and is supremely moving in the tomb scene.
Robert Lloyd and Raimund Herincx offer excellent support.
Very well recorded and beautifully conducted by Maestro
Patane - a very welcome release !

Wonderful nostalgia .......2005-05-20

Back in the 1970's I was a very intense fan of both La Sills and La Baker. The very idea of both of them coming together for an opera recording sent this rapid fan into a severe swoon! Therefore, this recording sent me into a state of ecstasy! I along with other Sills and Baker fans would gather around my stereo listening to this recording with Baker and Sills weaving their vocal magic which always elicited from us many tears and bravos.
At the time Beverly was a known commodity in Bell Canto operas; however, Janet was mainly known as a song recitalist. Nevertheless, Janet Baker, in this opera, proves that she could sing opera with the best of them showing her great operatic credentials-she is up to every vocal challenge Bellini throws at her. She tackles the role with great artistry and beauty of tone. Her last scene STILL dissolves me to copious tears.
In this recording Beverly sings a little cautiously not throwing out high E's with abandon as before; however, her years of experience being a sublime singer of Bell Canto operas comes through. Her singing is gorgeous, sweet and touching to the highest degree, I truly believe that this recording was one of her best.
It truly is great to hear this recording again-ah the memories. Time has NOT diminished its appeal!

Average customer rating:

A swamp of crashing, droning chaos
Truly deserving of praise
sunno)))???? Boris???
Active noise cancellation
basically the best record either band has put out

Altar
Sunn O))) , and Boris
Manufacturer: Southern Lord
ProductGroup: Music
Binding: Audio CD

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Akuma No Uta

ASIN: B000I0QL46
Release Date: 2006-10-31

Tracks:

Etna
N.L.T.
Sinking Belle (Blue Sheep)
Akuma No Kuma
Fried Eagle Mind
Blood Swamp

Customer Reviews:

A swamp of crashing, droning chaos.......2007-01-26

Boris and Sunn0))): their fan bases seem to overlap on opinions so often that it's a shame they've not collaborated before this. So who comes out sounding more apparent than the other?

Well, I guess it depends on who you ask, but the record is definitely reminiscent of both groups sounds. "Etna" begins the album with an abrasive lo-fi drone, and the end hears Atsuo slowly destroying his drums as he is so well known for (a là Amplifier Worship). The second track, "N.L.T." sees more influence from Sunn, I think, and seems to be the slowing down of the previous track. With "The Sinking Belle (Blue Sheep)," it's all Boris--well, maybe if Wata was on vocals more often--and is probably the black sheep (hah!) of the lot. This track is as slow as the rest, but is very different in that it is vocalized by (gasp) Jesse Sykes, and holds no drone, but instead opts to give us a very waltz-like trance of just a few guitar chords and piano arpeggios. "Akuma No Kuma" and "Fried Eagle Swamp" really pick things up again (so much so that they seem to put the previous track out of place) and dive back into what we think of when we think of these two groups.

More of Atsuo's drumming takes the spotlight on the former track, and the latter has Sunn taking things over again, in a way they did with their set of White recordings.

The last track, "Blood Swamp", is the longest of all (nearly fifteen minutes), and probably the best. While it's more Sunn than Boris (and I do dislike Sunn on most occasions), it's exactly what my mind creates when I think of these two artists playing side by side. It's dark, incredibly slow, menacing--and all other five dollar adjectives you could apply to both these masters of sludge. While Altar is not as good as it could have been, it's still very good when it does work, and is a must have for any fan of either group (or any of the ten plus other musicians who helped create it).

Truly deserving of praise.......2006-12-15

This album is an experience not to be missed. If you do not have access to a butt-kicking stereo, then save your money and see them live. The experience does not translate to mp3/iPod.

The songs are generally slow-moving soundscapes painted with the textures of saturated tube distortion, analog synth and improvised drums. It is not, however an ambient album, nor soundtrack-like noodling, nor heavy metal novelty. The album has a classical arch structure, and the compositions themselves have all the elements of carefully composed "art music". Transcendent.

sunno)))???? Boris???.......2006-11-16

Of course, the pompousness of SunnO))) was over-bearing with their undertones and rumbling sounds. Boris' raw and upbeat beauty was completely consumed by Sunn O)))'s need to make "music" that makes the listener "listen to music in a different way."

When Boris and Sunn O))) got together to make "Altar" is was the biggest mistake that they could have done. Some of the songs were like listening to Sunn O))) songs and the remaining was like listening to Boris songs with feedback and the sound of toilets flushing behind them.

This album is a waste of time...there is no emotion or feeling involved. Go out and get a Sunn O))) album or a Boris album...not this...

Active noise cancellation.......2006-11-08

Let me start by saying that I love both of these bands on their own. Sunn O))) with their deep, rumbling drones and Boris with their in the red, over the top rock (along with their earlier work which I prefer) each stand strong alone but when mixed they almost seem to cancel each other out.

I found this album to be extremely underwhelming. After reading the Pitchfork review I thought they were full of it as usual. The more I listen though, the more I have to agree. There were high hopes for this project and I feel that it just didn't live up to the hype.

Instead of buying this, go get 'Heavy Rocks' and 'Black One'. Play them both at the same time if you like. I think the results might just be better than this album.

basically the best record either band has put out.......2006-11-02

It was inevitable really. The Japanese masters of Orange Amp-powered drone-sludge and the robed priests of low end doom. How could it not happen? In fact, if you remember the 2005 April Fool's AQ list, we actually jokingly predicted this epochal event! Although in our version it also included Earth, each band playing one note of the world's heaviest E chord.

The real question was never IF it would happen, it was when. And how. Especially how. C'mon, how on earth can you fit that many amps in a recording studio. They must have used an airplane hanger, either that or they filled a high school gymnasium with Sunn and Orange stacks and microphones, and actually played in an entirely different room.
Regardless, it happened, and it sounds as good as you might imagine. Both bands completely compliment each other. SUNNO))), whose slow motion riffing borders on pure ambience, is given a serious propulsive shove, with more structured riffing and the addition of DRUMS!!! Boris get dragged back into the gloriously glacial tarpit of their older records, discarding their current garage rock rrrooooaaar for that classic slow motion doom trudge. However you look at it, it's basically the best record either band has put out. It's like an EVEN heavier SUNNO))), with bigger riffs and pulverizing doom rock drums, and of course wailing psychedelic leads. For Boris, they've taken their blown out grooves and dipped them in tar, added a million more pounds of guitar firepower and made the best Boris record since Flood.

But it's not all pulverizing doom riffage. There's plenty of dark droning ambience too. Huge stretches of swirling guitar rumble, dreamy swaths of wispy steel string shimmer. Murky and haunting, processed vocals and minor key melodies swimming in a black sea of echoey ambient guitars and sizzling cymbal shimmer. The strangest track is probably "The Sinking Belle (Blue Sheep)", sort of the Boris / SUNNO))) version of a torch song, with FX smeared piano, strange buried rhythms, and hushed vocals, like a doom metal Mazzy Star.

The closer "Bloodswamp" is 14 minutes of churning downtuned guitars and shimmering Sunroof! like ambience. No riffs really, or if they are there, they're stretched into thick streaks of black fuzz. A furiously epic coda to a f-cking amazing record.

The first 5000 copies come with a bonus disc titled SatanOscillateMyMetallicSonatas (a nod to Soundgarden there?) that features a single 28 minute track called "Her Lips Were Wet With Venom" guest starring Dylan Carlson from Earth! Before we go any further... are you thinking what we're thinking... April Fools? SUNNO))) and Boris And Earth!!! And I bet you at least some of the bonus track is in E!! Boy, did we call it. And actually Atsuo from Boris confided in a friend of AQ that indeed, part of the reason they got Dylan to guest was because of that April Fool's review! How cool is that?!?

Anyway, the bonus track is a monstrous wall of churning guitars, with occasional howled almost death metal vocals buried way down in the mix, and languorous Earth Hex-like twang guitar draped lazily above a churning blackhole ambience. So good.
Besides Dylan Carlson of Earth, there are lots of other guest performers including Jesse Sykes, Joe Preston from Thrones (also ex-Melvins, ex-Earth), Kim Thayil from Soundgarden (aha) and Rex Ritter from Jessamine.

Packaged beautifully in a mini cd style gatefold, with AMAZING cover art, black on black with weird muted color and text printed in glossy varnish and metallic gold, both bands be-robed and standing in a cornfield, a full color booklet attached to the inside, a metallic sticker on the front, each copy individually numbered.

Average customer rating:

A Blessing
Songs from the Altar
From the Panhandle
Execellent Praise the Lord !
THE SINGERS HAVE OUTDONE THEMSELVES!

Songs from the Altar
Brooklyn Tabernacle Singers
Manufacturer: Word Entertainment
ProductGroup: Music
Binding: Audio CD

General | Christian & Gospel | Styles | Music

Gospel | Christian & Gospel | Styles | Music

Christian Contemporary Music | Christian & Gospel | Styles | Music
Similar Items:

Be Glad
Hallelujah!: The Very Best of the Brooklyn Tabernacle Choir
High & Lifted Up
I'm Amazed Live
Live...This Is Your House

ASIN: B000002NI2
Release Date: 1998-02-24

Tracks:

We've Come To Bless Your Name/I Will Bless The Lord/I Will Bless The Lord At All Times
Be Lifted Up/Lift Him Up
A Vessel Of Honor/Nearer/I Am Thine, O Lord
Walking With The King/What A Mighty God We Serve/Bless That Wonderful Name Of Jesus...
Come Into His Presence/You Have Been Given (We Are Your People)/Glorify Thy Name
Surely The Presence/I Feel Jesus/Here I Am, Lord
In The Name Of Jesus/There Is Power In The Blood/Oh, The Blood Of Jesus

Amazon.com essential recording

The most consistently solid of the Brooklyn Tabernacle Choir recordings, Songs from the Altar is a highly polished collection built on simple praise and worship refrains. From the pen of Brooklyn Tabernacle Choir director Carol Cymbala, the singers (a select ensemble of choir members) offer "We've come to bless your name, oh Lord." Contemporary Christian music superstar Carman contributes the lyric "I feel Jesus in this place / And my soul does burn within me," and the traditional African American spiritual offers "Bless that wonderful name of Jesus / No other name I know." The Nashville String Machine, underscored by the Tabernacle band--including a Hammond B-3 organ--provides a refined yet spirited backdrop for the powerful clarity of the vocal arrangements. --Paige La Grone

Customer Reviews:

A Blessing.......2006-02-25

Wow what can be said about this most precious praise and worship tape. It has blessed my heart and yet made me think of my own life. A great CD to share.

Songs from the Altar.......2001-11-28

Such a beautiful C.D. Perfect for preparing your heart for worship, or getting in the mood for praise. One cannot but help singing along with every song, because each fills your heart with joy.

From the Panhandle.......2000-01-26

If you are feeling low put on this tape and start at song 1 play through to the end skipping nothing and concentrate on the words. I promise the pull of the lyrics and music will make all well...totally uplifting.

Execellent Praise the Lord !.......1999-02-09

Every time listen to this cd I just praise the lord. Even my co-workers are in told praises with me thank lord for this beautiful choir.Ihope to cometo this church for a visit soon.

THE SINGERS HAVE OUTDONE THEMSELVES!.......1998-12-28

The Brooklyn Tabernacle Singers have recorded before, but this recording is by far their best and inspiring!! The songs are worshipful and is a tape that helps enter you into the presence of the Lord. A great tape!!! It was an additional priviledge to see the dynamic singers in concert here in San Diego. Keep up the good work Carol Cymbala!

Average customer rating:

A Purcell Sampler, or a Greatest Hits disk, if you prefer.

The Glory of Purcell

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Anthems | Vocal Non-Opera | Opera & Vocal | Styles | Music

Odes | Vocal Non-Opera | Opera & Vocal | Styles | Music

Essential Purcell

ASIN: B000004CYK
Release Date: 1995-05-16

Tracks:

The Douple Dealer: Overture/Hornpipe - Academy of Ancient Music/Christopher Hogwood
Come Ye Sons of Art/Sound the Trumpet - Alfred Deller/John Whitworth/St Anthony Singers
The Old Bachlor: Rondeau/Menuet/Boree/March/Jig - Academy of Ancient Music/Chrostopher Hogwood
Birthday Song For Queen Mary: Crown the Altar, deck the Shrine - Emma Kirkby/Anthony Rooley
Oedious: Music for a while - James Bowman
Amphitryon: Hornpipe/Scotch Tune - Academy of Ancient Music/Christopher Hogwood
King Arthur: Fairest Isle - Catherine Bott/Paula Chateauneuf
Divine Andate, president of war... - James Bowman/Martyn Hill/Christopher Keyte/Taverner Choir/Parrott
The Fairy Queen: O, o let me weep - Emma Kirkby/Catherine Mackintosh/Anthony Rooley/Richard Campbell.
Son No.9 in F (Ten Sonatas in Four Parts) - Catherine Mackintosh/Monica Huggett/Christophe Coin/Christopher Hogwood
Dido and Aeneas: Thy hand, Belinda....When I am laid in earth... - Catherine Bott/Orch And Chorus of the Achedemy of Ancient Music/Christopher Hogwood
Abdelazer: Overture-Rondeau - Academy of Ancient Music/Christopher Hogwood
Bess of Bedlam - Emma Kirby/Anthony Rooley/Richard Campbell/Christopher Hogwood
The Married Beau: Trumpet Air-March-Hornpipe on a Ground - Academy of Ancient Music/Christopher Hogwood
Hear My Prayer, O Lord - Winchester Cathedral Choir/David Hill
Rejoice In The Lord Alway - Stephen Roberts/Christopher Robson/Winchester cathedral Choir/Brandenburg Consort/David Hill

Customer Reviews:

A Purcell Sampler, or a Greatest Hits disk, if you prefer........2006-02-05

This is a compilation disk of Greatest Hits, as it were, of Henry Purcell recorded by various artists from 1953 (the Alfred Deller track) through the 1970s through 1994. The point of the disk was part of the celebration of the 300th anniversary of the much to early death of this great composer and one of the great geniuses of music that England or Britain has ever produced. I have always been a devotee of his music and absolutely adore the way he set English. It is absolutely unique to him and so full of wonderful effects that create a greater whole than the music or words alone.

1995 was a year when we got to revel in everything Purcell. I was able to see a very delightful staging of "The Indian Queene" in London at the Barbican. It had narration, dancing, the singing, and wonderful playing. At the other portion of the concert, I enjoyed a performance of "Come, Ye Sons of Art" and other works by Hogwood et al. I was hoping to hear Kirkby, and she was billed. However, she was ill. Catherine Bott did a fine job as did John Bowman (both on this disk). Another counter-tenor I was so impressed with was Robin Blaze. I haven't heard much of him since, but he was terrific that night.

There are selections from his works for stage such as "King Arthur", "The Fairy Queen", Did and Aneas, and more. The disk also provides a selection of instrumental works, some sacred selections, and all the works are a delight. The track of "Come, Ye Sons of Art" is from 1953 and recorded by Alfred Deller. If you love the movement of historically informed performance, you do owe some debt to Deller. He was an early reviver of the counter-tenor voice and trying to create a style of performance that might be more appropriate and true to the music of earlier times. He helped bring about new interest in madricals, and other early music forms.

That Emma Kirkby sings on the disk is, of course, a delight for me. I have been captivated by her singing since I first heard her live in December 1980. We also get to delight in the singing of soprano Catherine Bott and counter-tenor John Bowman. All are led by the great Christopher Hogwood (except for the Deller track, obviously).

Average customer rating:

Fabulous CD!
Franco Corelli At His Greatest
Just buy this CD!
Possibly the Best tenor aria collection ever.
Simply put... The world's Greatest Tenor

Opera Arias

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
ASIN: B000002RP8
Release Date: 1990-10-25

Tracks:

Il Trovatore: Ah si, ben mio (Act III)
Il Trovatore: Di quella Pira (Act III)
Aida: Se quel guerrier io fossi...Celeste Aida (Act I)
Cavalleria Rusticana: Mamma, quel vino e generoso
Turandot: Nussun dorma! (Act III)
Romeo et Julliette: L'amour! oui, son ardeur...Ah! leve-toi, soleil! (Act II)
Pagliacci: Recitar!...Vesti la giubba (Act I)
Andrea Chenier: Colpito qui m'avete...Un dll'azzurro spazio (Act I)
Andrea Chenier: Credo a una possanza arcana (Act II)
Andrea Chenier: Si, fui soldato (Act III)
Andrea Chenier: Come un bel di di maggio (Act IV)
Norma: Meco all'altar di Venere...Me protegge, me difende (Act I)

Customer Reviews:

Fabulous CD!.......2007-04-10

Franco Corelli sure was handsome,and boy did he have a voice to match.Opera arias,is a great collection of his vocal prowess,and a great introduction to one of opera's most poweful and beautiful voices.He sings like a god here,and more than earned his title of Divo!

This is a great cd,to indroduce anyone to the majestic singing of divo, franco.Included here is his powerful rendition of nessun dorma.Opera arias is full of italian opera classics sung by this opera titan.

Franco Corelli At His Greatest.......2005-11-01

Yes, this is perhaps 50's and 60's Italian tenor Franco Corelli's finest achievement on studio recording. These arias are the arsenal of every great tenor. They are arias which require a powerful voice, rich melody, masculinity conveyed through vocal chords and virtuosic bravura, all of which Franco Corelli delivers here. Franco Corelli started off as a baritone and even when he transitioned to tenor, he maintained a dark and deep richness to his voice. Adding to this particular tenor's allure was the fact that he was one of the rare tenors who were considered extremely attractive, even a sexual icon. His dashing good looks suited him for all the romantic leading roles. At times, he cut a better figure than his less attractive soprano love interests - Renata Tebaldi and Birgit Nilsson were never that good looking in my opinion. Franco Corelli and Maria Callas sang together (most notably in Norma and Poliuto) and looked like a sexy couple together. Somehow, even when his voice failed him, usually out of the stage fright he suffered, Corelli was able to execute mind-blowing performances simply out of his acting abilities and Hollywood good looks. But even as such, his technique is brilliant.

He is one of the few tenors that did not have to shout when singing. His increase in vocal volume was often thrilling without sounding shrill, always more on the lyrical side than the bombastic side. He excelled in the Italian repertoire, for he, like Mario Del Monaco and Giuseppe Di Stefano who were his contemporaries and colleagues, was educated in the Italian operatic tradition. Thus, his Puccini, Verdi, Bellini, bel canto and verisimo (Mascagni, Leoncavallo)roles were his greatest accomplishments. He did not fare as well in the French repertory. He had poor French diction and often mutated the language to sound more Italianate. Consequently, his Romeo from Gounod's Romeo and Juliette and Raoul from Les Huguenots and his Faust were never that great. Here are arias from Trovatore (Ah, Si Ben Mio and Di Quella Pira), Aida (Celeste Aida) Cavalleria Rusticana (Mama Quel Vino) Turandot (Nessun Dorma) Pagliaci (Vesti La Giubba) and arias from Nessun Dorma and Norma. He gets into character vocally and even dramatically as Manrico, Radames, Cavaradossi (not included here though it would have been terrific to hear his account of E Lucevan la Stelle). Quite frankly, Corelli represented the best of both worlds for a tenor-one who can sing beautifully and masterfully and one who can convince as an actor. The Italian opera department is full of dramatically moving characters. Manrico is a victim of his mother's revenge while attempting to become his own man and marry Leonora and battling his rival the Count Di Luna, Radames is a man torn between love of his country of Egypt and love for an enemy slave girl Aida, Cavaradossi is an idealist painter who suffers greatly in the hands of a Royalist, and Pagliacci, the archetypical operatic anti-hero, is a clown who loses his mind and is wracked with jealousy when his beloved Nedda is unfaithful. Corelli does get into character well, and vocally he essays the parts without any real flaw. This is a fine tribute to the late great tenor.

Just buy this CD!.......2000-10-25

If you're even reading this page, then you should buy this CD. Much maligned during his career, Corelli has nonetheless proven to be the most perfect tenor of our time. Maybe if Caruso had had the advantage of modern recording technology, we would be singing a different tune. But the planets were in perfect alignment the day this voice was born! Be warned, however, that you will NEVER want to hear Bocelli again.

Possibly the Best tenor aria collection ever........2000-01-23

If you crave the best in tenor arias, this is your CD. This fabulous CD captures Corelli at his best, doing some of the most well known tenor arias. His Nessun Dorma simply cannot be improved upon. His performances of the role of Andrea Chenier from the opera of that name are considered definitive and his performance of some of the best arias from that opera on this CD (e.g., Come un bel di di maggio, Col pito qui ma vete) feature Corelli at his best. Likewise, his arias from Il Trovatore (Ah si, ben mio, and Di quella pira) are breathtaking and perfect, as is his Mama quel vino from Cavalleria Rusticana. His Vesti la giubba from Palliaci is also stunning. You simply can't go wrong with this CD if you want a collection of some of the greatest tenor arias being performed by the best operatic tenor of the last 50 years at his peak.

Simply put... The world's Greatest Tenor.......1999-12-01

To all of those who think that the "The Three Tenors" and Bocelli are "Great Singers", get real. The truth is, that Corelli, was the finest tenor that we have ever had and I doubt any other tenor will match his flawless technique, his unbelievable control, and his incredible passion. I was lucky enough to see him sing years ago, and unlike that "Salami", Pavarotti, Corelli was also an actor and a believable hero in Heroic parts. When you get serious about Opera, you find Corelli. This CD has his utterly breathtaking arias from Il Trovatore (His first signature role), and mix of great vintage Corelli parts. It is worth it's weight in Pure gold...one of the only REAL five star CD's I know.