Fire Power [Original recording remastered] [Import]

Fire Power [Original recording remastered] [Import]

Track Listings

1. Underworld King

2. More Than Meets the Eye

3. You've Lost That Lovin' Feelin'

4. Remember My Name

5. Chicago

6. Midnight Lady

7. Help Wanted

8. Come With Me

9. Tragedy

10. Man at the Top

11. Teaser [*]

12. It Takes More Than Soul (To Rock and Roll) [*]

Editorial Reviews
Product Description
First time on CD for the metal act's third album, originally released in 1978. Digitally remastered by their keyboardist Mike Prince. Includes a cover of the Righteous Bros., 'You've Lost That Loving Feeling' and two bonus tracks, a Tommy Bolin cover, 'Teaser' and 'It Takes More Soul (To Rock N' Roll)'. 2000 release. Standard jewel case.

Tracks:

Angel In Black
Kiss Of Death
Back From Hell
Now Or Never
Fight The Fire
Eye Of An Eagle
Bleed For Me
Nuclear Fire
Red Rain
Fire On The Horizon
Living For Metal
Bonus Track

Album Description

Theatrical 2001 album from the Speed Metal band on Nuclear Blast featuring eleven tracks with 16-page booklet containing photos of the band & song lyrics. Nuclear Blast. 2001.

Album Details

Includes Bonus Track 'iron Fist in a Velvet Glove'.

Customer Reviews:

Awesome from start to Finish!.......2007-02-16

If you like Judas Priest and you loved their Painkiller release, this cd is for you.

I can't call them clones as that would be unfair to their obvious song writing talent and yes these guys can write!!

This cd is true metal heaven from start to finish. It's got it all, killer riffs, amazing melodies, bitchin' solo's, tight rhythms section and truly inspiring vocals.

A true must have for any metalhead!!

Tied With Black Sun For The Best Of Primal Fear!.......2006-09-05

I really like this album. It is heavy, bright and energizing, as opposed to boring and flawed like Seven Seals. All of the band members do a fine job delivering great music to our ears on this album. I think Nuclear Fire and Black Sun are Primal Fear's best. But listen to some samples, and you decide.

Another band that receives far too much dirt.......2005-03-03

I can't say that I own the third album by Germany's "metal troopers" Primal Fear, 2001's 'Nuclear Fire,' but I can say this: Ralf, Mat, and the rest of the guys receive way too much undeserved dirt from people. In my opinion, me owning their fourth album, 'Black Sun,' their style may not be that original (e.g. opening track "Angel In Black," which I have seen a pretty tight video clip for on Launch, has a riff and vocal style similar to that of Judas Priest's "Painkiller,) but at least they are always able to come up with great new guitar parts without recycling old ones. And a few recycled riffs never hurt now and again...do they? Anyways, I have sampled this album enough to give it a perfect review, and once I almost bought this instead of 'Black Sun' (I was also looking with a sharp eye at their latest, 2004's 'Devil's Ground.') Anyways, I recommend Primal Fear to metalheads everywhere, but above all, I recommend them to fans of Helloween, Gamma Ray, Sinner, Iced Earth, and Judas Priest.

It's Nuclear, Mr. President... Not "Nucular," Nuclear!!!.......2003-11-16

The sheer volume (in every sense of the term) of high quality, precision-crafted heavy metal currently pouring out of Germany never ceases to amaze me. Year after year, obscure but highly talented acts such as Helloween, Sinner, Pink Cream 69 and their countless contemporaries have continued to inundate the world with a steady outpouring of highly melodic, dramatic and painstakingly well-played metal. Right in the melodramatic thick of it all has been Primal Fear, the highly (and rightfully) successful side-project-turned-full-time-band of bassist Mat Sinner (Sinner) and vocalist extraordinaire Ralf Scheepers (Gamma Ray, Tyran Pace). Tagged by many critics (in both praise and derision) as a modern-day, Continental European version of England's near-legendary Judas Priest, this gathering of high-decibel over-achievers has been around since `98, yet have already unleashed this, their third album (how many bands can you name, in this day and age, that manage to crank out one album per year?). In any case, "Nuclear Fire" is a nicely packaged collection of considerably heavy, often fast tunes which, again, recall the classic works of Judas Priest and other fine vintage metal acts. And if popular culture has led you to think of metal as a bunch of loud, noisy, simplistic, detuned riffs banged out over a hip-hop beat by guys who appear to have their pants around their knees, then, in the words of a certain well-known metal anthem, you've got another thing coming! Punctuated by sprawling, mechanically precise drum fills and Ralf Scheepers' sinus-straining, almost operatic wail, "Nuclear Fire" starts off with a bang ("Angel In Black") and never lets up, save for the almost mellow tracks "Now Or Never" and "Iron Fist In A Velvet Glove" (I'm still confused by that one). Some of the more intense tunes approach the feel of vintage Metallica, though most of these tracks lean towards the more melodic European style of metal than the punishing mid-tempo grooves of the modern American variety. Another key element of the band's sound that deserves mentioning is Stefan Leibing and Henny Wolter's tasty, intense and melodic guitar solos (lots of jaw-dropping harmonized lines!), which serve as the icing on the cake for these very traditional, yet well-conceived songs. My only complaint would be the overabundance of those faster, edgier tunes. It's not that these tracks aren't up to the compositional standards of the rest of the album (or that I can't handle the heat), there are simply too many of them, diminishing the album's fun factor somewhat. But despite such shortcomings, I've got to commend these guys for their hard work, because their music, by it's very nature, is immeasurably more skillful and musical than that of 98% of the heavy bands currently hogging the limelight is likely to ever be.

Update: "Black Sun" has been released since, and although some say otherwise, I'd say "Nuclear Fire" remains the band's heaviest, most aggressive album to date.

A good, solid Judas Priest-styled metal album.......2003-10-19

Nuclear Fire (2001). Primal Fear's third album.

If you're a fan of 80s styled heavy metal and you grew up in the 90s in the US, chances are that you believe that the metal scene all but vanished since the dawn of the 90s. Not necessarily the case. Over in Europe, the metal scene continued on with several subgenres, namely thrash, power, and death metal. Most of these newer heavy metal bands borrowed influences from metal legends of the last generation such as Metallica, Iron Maiden, Megadeth, and others. Primal Fear, a thrash/power metal band which formed in 1998 is no exception.

Make no mistake, Primal Fear is a band which takes its influence HEAVILY from Painkiller-era Judas Priest, with a few Helloween qualities thrown in for good measure. These guys are not clones of Priest by any means because they infuse their own energy into each of the rockers here, but at the same time, if you were a fan of some of the heavier Priest albums you will find yourself in familiar territory with Primal Fear. Like Priest, PF employs a twin guitar attack during the solos. The most noteworthy thing though is how vocalist Ralf Scheefers (formerly of Gamma Ray) sounds almost EXACTLY like Rob Halford. To me, he should have been the Priest replacement vocalist, not Tim Ripper Owens. Think of Ralf as a more youthful Halford who at times can scream higher than his predecessor, though Rob is still the better vocalist. It's not all blind praise to Priest though because in an interview with Rob Halford once, he even stated that he was good friends with Primal Fear and believes them to be a strong continuing force in metal. How does the third album fare? Lets see:

1) Angel In Black- GREAT OPENER. It's got a cool intro and then breaks into a fast paced anthemic rocker. 9/10

2) Kiss Of Death- Awesome song, although I do agree with another reviewer who says that the intro sounds EXACTLY like the intro to the Priest song 'Hell Patrol' from Painkiller. Excellent chorus. One of the many album highlights. 10/10

3) Back From Hell- Fastest and heaviest track on the album. Scheefers really belts out the high vocals on this one. Powerful, yet not the best. 8/10

4) Now Or Never- This track is more mid-paced. Catchy and noteworthy. 9/10

5) Fight The Fire- DEFINITELY A WINNER. This song really takes advantage of Metallica-like riffing and creates a thrash standout with excellent guitar solos. 10/10

6) Eye Of An Eagle- Anthemic and powerful track. This one is simply a good headbanger tune. 9/10

7) Bleed For Me- There's only one ballad on this album thankfully, but fortunately this one is an excellent doom-&-gloom type ballad. Ralf proves that he can sing in a more melodic tone as opposed to always using his scream like in the other tracks. GOOD TRACK. 10/10

8) Nuclear Fire- The title track is fast just like JP's song 'Ram It Down'. Complete with an excellent intro, chorus, and twin guitar attack. Everything you can ask for in a faster metal song. Another phenomenal rocker. 10/10

9) Red Rain- Good old 80s styled thrasher similar to the Priest song 'Between The Hammer & The Anvil'. One of my favorites, though not as standout as some of the other tracks. 9/10

10) Iron Fist In A Velvet Glove- (my copy of Nuclear Fire does not contain this bonus track. I haven't heard it, so I won't review it.)

11) Fire On The Horizon- A good, but not great fast rocker. Has a decent solo section towards the end though. 8/10

12) Living For Metal- AWESOME METAL ANTHEM! The album closes with this tribute to metal music. They don't mention it in the lyrics, but they are implying their story of growing up listening to JP, and then forming their own metal band in the vein of their heroes. Very catchy, perhaps my favorite PF song. 10/10

Tracks:

Power Out
Power Out [August Session]

Album Description

After the Top 30 success of their debut single Laika, Arcade Fire return with Neighborhood # 3 (Power Out), taken from the stunning album Funeral. The title track is backed with 'Power Out' (August Session). Rough Trade. 2005.

Album Details

After the Top 30 Success of their Debut Single "Laika", Arcade Fire Return with "Power Out", Taken from the Stunning Album "Funeral". The Clear-edged CD features a Unique Hand Drawn Graphic.

Average customer rating:

You fools!
Missing Theme Song - but otherwise not bad
Fine score, but a consumer warning for the CD
Thomas Newman is a Genius!
Almost perfect for the film, loses points as a cd

Jarhead

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Syriana
Jarhead (Widescreen Edition)
Jarhead
The New World
Munich

ASIN: B000BVRM1S
Release Date: 2005-12-06

Tracks:

Welcome To The Suck
Raining Oil
Battery Run
Mirage Bedouin
Don't Worry Be Happy - Bobby McFerrin
No Standard Solution
8 Men 5 Camels
Full Chemical Gear
Unsick Most Ricky-Tick
Morning Glory
Bang A Gong (Get It On) - T-Rex
Desert Storm
Desert Sunrise
Zoomies
Horse
Pink Mist
Jarhead For Life - Naughty By Nature
O.P.P. - Naughty By Nature
Dickskinner
Permission To Fire
Dead Anyway
Scuds
Listen Up - Public Enemy
Fight The Power - Public Enemy
Soldier's Things - Tom Waits

Amazon.com

For his third collaboration with director Sam Mendes (after American Beauty and The Shawshank Redemption), composer Thomas Newman has come up with one of his finest scores. The music mixes modern atmospheric quasi-rock touches with Middle Eastern influences (with particularly great success on the tracks "Welcome to the Suck" and "Zoomies."). The latter manifest themselves in both the beats and the instrumentation--the credits include soloists on exotic instruments such as the bowed cumbus (a type of banjo-like lute) and the processed xaphoons (a sax made of bamboo). All the more jarring, then, when the CD's handful of songs pop up. (It's quite a jolt to hear Bobby McFerrin's "Don't Worry Be Happy" after four eerie instrumental tracks.) The other song picks are obvious but well chosen: T-Rex's "Bang a Gong (Get It On)," "Naughty by Nature's "O.P.P.," Public Enemy's "Fight the Power," and Tom Waits's "Soldier's Things." Still, it's Newman's work that propels this CD, not the pick-up songs. Surprisingly, Wagner's "Ride of the Valkyries," which figures in one of the movie's most memorable scenes (when soldiers watch Apocalypse Now), isn't included here. --Elisabeth Vincentelli

Customer Reviews:

You fools!.......2006-10-27

I am reading all the negative reviews of this soundtrack, and most of them mention the absence of Kanye West's "Jesus Walks." One reviewer gives the album one star because he was "misled" into buying the album.

Um, hello? This is an instrumental score for the film! NOT a Various Artists soundtrack! This is, you may have noticed, an album that falls under the name of Thomas Newman! If anyone bought this expecting other music, then it's entirely their own fault. It even says on the front: "MUSIC BY THOMAS NEWMAN."

That said, I'd also like to correct Amazon on something - they said this is Newman's third outing with Mendes, the other two being "Shawshank Redemption" and "American Beauty."

Shawshank was directed by Frank Darabont, NOT Sam Mendes.

Mendes' other pairing with Newman was actually on 2002's "Road to Perdition," which is another great soundtrack I'd heartily recommend purchasing.

Missing Theme Song - but otherwise not bad.......2006-03-01

If you've watched the previews for this film, you're likely expecting a song called Jesus Walks by Kanye West to be on the soundtrack but it's not there - very annoying. But otherwise it's a pretty good CD of music to listen to while you work out or drive fast.

Fine score, but a consumer warning for the CD.......2006-01-20

Thomas Newman's original music for JARHEAD is not only typically daring with many unconventional sounds (utilizing samples, electronic treatments and exotic percussion), but one of his most stirring, rock-influenced efforts as well (as with the opening track, "Welcome to the Suck"). At first I thought there were no melodies as memorable as "Dead Already" from AMERICAN BEAUTY or "Road to Chicago" from ROAD TO PERDITION, but the 3/4-time march used in both "Raining Oil" and "Desert Storm" has grown on me. Of course the CD is recommendable for Newman's score alone. But...

...while one doesn't buy a CD of this nature primarily for the extra songs, one does expect the extras to be competently presented when they appear. So I was taken aback to hear Public Enemy's "Fight the Power" at a faster tempo and higher pitch than usual, as though mastered from a sped-up tape. I can't think of any intentional reason for this, so I'm assuming it was a mistake, but either way I found it not only annoying in itself but because of "Fight the Power"'s thematic significance, with its reference to the Bobby McFerrin tune heard earlier in the movie. ("'Don't Worry Be Happy' was a number one jam/Damn if I say it you can slap me right here".)

So then, while I like the Thomas Newman score a lot, I'm docking the CD a star for the sped-up "Fight the Power". Caveat emptor.

Thomas Newman is a Genius!.......2006-01-07

Thomas Newman is brilliant as always and delivers beautifully. Having read the book prior to the motion picture, Thomas Newman truly brings Swofford's tale to life. If you enjoyed The Horse Whisperer or the Shawshank Redemption score, then you'll thoroughly enjoy Jarhead.

Almost perfect for the film, loses points as a cd.......2005-12-23

Make no mistake - Jarhead proves Thomas Newman's abillity to write music for film. He is not making the music in order to show off his amazing talents, he is making the music so it is perfect for the film. Whereas some composers might score depressing scenes with grand sweeping movements trying to make themselves look like complex composers, Newman knows what will enhance the scene and what won't, and what can convey the message required.

Ultimately, this describes Jarhead perfectly. I have seen the movie and music is seamless and perfect for it. For the most part, there is a sonic texture created, with guitars and drums to represent the bravado of the characters. If you are a fan of Newman's stirring orchestral works this is definitely not something you would like. Newer fans of "American Beauty" and the like will find things to enjoy here, but not in as vibrant or pleasing a way as in that album. The score on it's own is just not as exciting or involving as it could be. It is interesting in it's own right, but not very pleasing to hear. However, there are many good tracks interspersed throughout the score to take you to the good spot.

Overall, Jarhead warrants a 4.5/5 for the film, but on a cd, it's score drops to 3/5. It is pleasant at times, and mostly an interesting CD, but there are too many Newman masterpieces to consider this one high on your buying list. Then agan, if you are a Newman fan, this CD should satisfy you're urge to see what the guy is up to. Final score? Three out of five.

Average customer rating:

The best Judas Priest album that never was.

Baptizm of Fire
Glenn Tipton
Manufacturer: Atlantic / Wea
ProductGroup: Music
Binding: Audio CD

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Edge of the World
A Matter Of Life And Death
Operation: Mindcrime II
War of Words
Holy Diver Live

ASIN: B000E1ZBEK
Release Date: 2006-03-07

Tracks:

Hard Core
Paint It Black
Enter The Storm
Fuel Me Up
Extinct
Baptizm Of Fire
The Healer
Cruise Control
Kill Or Be Killed
Voodoo Brother
Left For Dead
Himalaya
New Breed

Album Description

Guitar hero Glenn Tipton rose to the heights of musical fame as half of the signature twin-axe assault that put Judas Priest at the top of the heavy metal heap for all time. In addition to his spectacularly aggressive and melodic work with that genre-defining band, Tipton has delivered adventurous solo discs spotlighting his virtuoso art. His debut effort, 1997's masterful Baptizm of Fire, is now expanded with bonus tracks. Now available for the first time, Edge of the World combines the artistry of Tipton with the late, great Who bassist John Entwistle and drummer Cozy Powell. With a searing new album and renewed Priest activity, 2006 promises to be world-shaking indeed for Glenn Tipton.

Customer Reviews:

The best Judas Priest album that never was........2006-05-12

First released in 1997 (when it was not successful) this is really Tipton's second attempt at a solo album. The first, now availible as "Edge of the World" (which sounds more like a RUSH CD) was not well received by the suits at Atlantic Records so they sent him back to the studio to start from scratch.
The 90s were not a good decade for Priest (or Heavy Metal in general) but "Baptism of Fire" is vastly superior to anything Priest did from "Turbo" (86) to "Demolition" (01). At times the songs sound like a blueprint for the incredible "Angel of Retrobution" and the better moments from "Demolition". You get the power metal of "fuel me up", "hard core" and the Alice Cooper-esque "kill or be killed". Plus, you have great quasi-Doom numbers like "enter the storm and "voodo brother".
We all know how great a guitarist Tipton is but, as a singer, he sounds a LOT like Halford, only deeper. At the moment Priest are in the studio readying a follow-up for "Retrobution". Here's hoping a couple of tracks from "Baptism" are re recorded by Priest for their new one... this time WITH Halford doing the singing!

Average customer rating:

My favorite Libana CD...
A Little Better Than A Circle Is Cast
Uplifting, singable music
Fire Within
Libana is a fantastic all women vocal group

Fire Within
Libana
Manufacturer: Ladyslipper
ProductGroup: Music
Binding: Audio CD

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A Circle Is Cast
Night Passage
Let It Begin Now
Goddess Chant
Second Chants

ASIN: B0000000A2
Release Date: 1994-07-26

Tracks:

Fire Within
Hotaru Koi
Treeplanter's Round
Con El Viento
Good Friends
Kona Kai Opua I Ka Lai
O Virgo Splendens
Rise Up O Flame
Neesa
Lullaby
Clear Horizon
OdeTo Contentment
I Will Be Gentle With Myself
Now I Walk In Beauty
Be Like A Bird
Lo Yisa Goy
Kwaheri
And She Will Rise

Customer Reviews:

My favorite Libana CD..........2002-07-09

I've been into Libana for over 10 years, and this is by far my favorite, even surpassing "A Circle is Cast." The songs are easy to chant/sing along to and are life/earth affirming, rhythmic and soothing. I particularly am fond of Treeplanter's Round, Con el Viento, Lullaby, Ode to Contentment, Now I Walk in Beauty, and most especially, Be Like a Bird. Even my husband has begun to appreciate Libana through this CD, which is a real breakthrough.

A Little Better Than A Circle Is Cast.......2002-06-05

Just like their other album, it includes songs about the Judeo-Christian Deity. If I wanted that I'd buy one of the countless albums about Jesus! And like A Circle Is Cast the songs are too short and somewhat hard to understand.

To be honest, Libana kind of reminds me of Enya who I'm also not crazy about.

Uplifting, singable music.......2002-03-12

I bought the cassette maybe ten years ago and fell in love. There is a guided meditation, some great circle chants and even a girl scout campfire song! Feminine without being offensively feminist, and somehow delivering the feeling of being very personal. I wish I understood the Spanish: Con El Viento is lovely. Music translates well into other philosophies (some come from other philosophies). Buy it, you'll like it!

Fire Within.......2001-11-24

Some of the songs are great for meditatng

Libana is a fantastic all women vocal group.......1999-01-10

First buy A Circle is Cast, then buy this, if for no other reason than for the Swedish Lulliby.

Average customer rating:

God, it's so good.
Legs Diamond Rules
TRAGEDY
FIRE POWER WITH A SMALL BANG

Fire Power
Legs Diamond
Manufacturer: Zoom Club
ProductGroup: Music
Binding: Audio CD

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A Diamond Is a Hard Rock

ASIN: B00004Y3BU
Release Date: 2001-04-24

Tracks:

Underworld King
More Than Meets the Eye
You've Lost That Lovin' Feelin'
Remember My Name
Chicago
Midnight Lady
Help Wanted
Come With Me
Tragedy
Man at the Top
Teaser [*]
It Takes More Than Soul (To Rock and Roll) [*]

Album Description

First time on CD for the metal act's third album, originally released in 1978. Digitally remastered by their keyboardist Mike Prince. Includes a cover of the Righteous Bros., 'You've Lost That Loving Feeling' and two bonus tracks, a Tommy Bolin cover, 'Teaser' and 'It Takes More Soul (To Rock N' Roll)'. 2000 release. Standard jewel case.

Album Details

Digitally Remastered by the Band's Keyboard Man Mike Prince, It's Never Sounded Better! also Included Are Two Previously Unreleased Bonus Tracks 'Teaser' & 'It Takes More Soul (To Rock N Roll'.

Customer Reviews:

God, it's so good........2004-05-14

This Album Rulz!!!!!! I can't believe this stuff doesn't get any airplay. Every song on here is so good! My serious favorite is "Remember My Name." It's a really thoughtful piece, belying their rock-and-roll attitude. Same with "Tragedy." That song got me through a nasty break-up with someone I thought was the love of my life. I think that song helped me realize how life just rolls on, even if real tragedies seem to be happening. Two awesome covers, too--"You've lost that Lovin' feeling" and "Help Wanted." The latter I think is so far better than the original. These guys should've been huge.

Legs Diamond Rules.......2002-04-05

This is the third album, though not as hard as the first two albums, it is still a great cd. This band has great talant and their music just don't sound all the same like most bands. If you like rock and roll you will like this cd.

TRAGEDY.......2002-01-26

The tragedy here is that most people haven't even heard of Legs Diamond, but if you listen to this you'll like it and believe me you will remember their name. This, their third release, is not quite a concept album, but most of the songs are stylized so that it seems that way. The keyboard work of Mike Prince almost makes you feel like you are in Chicago with Legs Diamond and the past is alive and well. The only catch: that guitar, those drums, the bass and searing vocals.

Many Legs fans view this album as a let down, but I disagree. This album, although different, is a masterpiece that Cream records unfortunately released and also failed to promote. There are no slackers on this, just like the first two Mercury releases. Listening to this, I frequently feel like I am in a smokey lounge with a ragtime piano player, but wait there's an excellent rock band there with him. Yeah, I dream a lot, but what of it. Good music does that for me.

The finest tracks would have to be "Tragedy", "Remember My Name", "Underworld King" and "Come With Me". There are 2 bonus tracks one of which is a cover of Tommy Bolin's "Teaser" and it is good. They also do wonderful covers of "Help Wanted" and "You've Lost That Loving Feeling". This band has balls to go out on a limb like this, but it is all great stuff. Even though I have recommended all of their first 3 discs, please remember that this music is a little different than the debut and A Diamond is A Hard Rock. I highly recomend this to all. It's like a breath of the past from the present. If you're confused enough pick this up. It is definitely ear candy!

FIRE POWER WITH A SMALL BANG.......2000-09-05

NOT ONE OF THEIR BEST ALBUMS, CONSIDERING THEIR FIRST 2 WERE TOTALLY AWESOME. STILL, I LIKED THIS ALBUM. THE MATERIAL IS NOT AS STRONG AS IT SHOULD HAVE BEEN. SO LETS START WITH THE OPENER. "THE UNDERWORLD KING" RANKS UP THEIR WITH THEIR PREVIOUS EFFORTS. DEFINETLY HOT STUFF. "MORE THAN MEETS THE EYE" LAGS. THE REMAKE OF THE OLDIES CLASSIC "YOU'VE LOST THAT LOVIN' FEELIN'" IS OUT OF PLACE ON THIS RECORD. "REMEMBER MY NAME" IS A CATCHY CLASSIC LEGS DIAMOND EFFORT. ACCUSTICALLY BRILLIANT, WITH THE SONG PICKING UP THE PACE TOWARDS THE END. "CHICAGO" IS GOOD OLD TIME ROCK AND ROLL."MIDNIGHT LADY" IS NOT A STRONG PIECE, BUT A GOOD SONG IN ITSELF. "HELP WANTED" IS A LOVE SONG THATS JUST O.K. "COME WITH ME", "TRAGEDY", & "MAN AT THE TOP" CLOSE OUT THE L.P., AND ALL 3 ARE LEGS DIAMOND TO THE HILT. I WASN'T FORTUNATE TO HAVE THE BONUS TRACK. OVERALL I RECOMMEND THIS CD BECAUSE IT DOES CONTAIN SOME CLASSIC LEGS DIAMOND MATERIAL.

Average customer rating:

Well sung and varied repertoire from a legend.
Terrifying, Thrilling, Gorgeous!
Satanic!

Of Gods and Demons

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Famous Voices of the Past
Eileen Farrell Sings Verdi
Russian Album

ASIN: B0000029U5
Release Date: 1997-01-14

Tracks:

Faust: 'Le veau d'or'
La Damnation de Faust: 'Mephistopheles' Serenade'
Mefistofele: 'Ecco il mondo'
The Demon: 'Ne plach', ditya'
Patrie: 'Pauvre martyr obscur'
Thais: 'Voila donc la terrible cite'
Don Quichotte: Act V (Complete) - Massenet
Prince Igor: 'Ni sna, ni otdykha'
Boris Godunov: 'Dostig ya vysshei Vlasti'
Boris Godunov: 'Uf, tyazhelo! Dai dukh perevadu'
Das Rheingold: 'Abendlich strahlt der Sonne Auge'
Die Walkure: Wotans Scheidegruss und Feuerzauber
The Emperor Jones, Op. 36: 'Standin' In The Need Of Prayer'
Goethe: 'Pesnya Mefistofely o blokhe' - Mussorgsky

Customer Reviews:

Well sung and varied repertoire from a legend........2005-09-21

I first heard London as Wotan in a recording of das Rheindgold under Solti. I remember the voice as if resembling molten lava containing vast amounts of energy yet never too quick to release it. The voice was magnificent! When I read that its owner was passed his prime at the time of recording the role, I got quite excited and looked forward to getting to know this voice at the highpoint of its years portraying ( as is it is nicely put) gods and demons.

I value this CD mostly as a historic document of an artist not too well known, because I am missing the emotional build up and thus my own emotional engagement in the music. This is ofcourse often the case with anthologies such as this.

This being said, as I tread my way through more and more complete productions of operas I can see myself coming back to this recording comparing styles, textual insights and ofcourse the vocal techniques used by the different singers in the arias.

It does not sound as if George Londong did anything half heartedly and I believe his renditions are most definately to be reckoned with.

Terrifying, Thrilling, Gorgeous!.......2003-08-29

George London is my idol as far as singing goes. I'm a bass-baritone, myself and I've always admired him. I particulary love the Mussorgsky and Wagner selections. The 'Clock Scene' was absolutely terrifying and the two Wagner songs were majestic and powerful.
London could take any song and do amazing things simply because of the sheer vocal quality of his voice. Not to mention his great acting ability.

Satanic!.......2003-07-14

This is an excellent collection of a some of London's best roles, plus the recordings are clear and lively. His voice is very focused and totally overwhelming. While his "Le veau d'or" can't compare to that of Christoff, London still makes for a great devil.. and his acting is superb. It's unfortunate that they didn't include London's Scarpia (see the 1960 recording of Tosca with Tebaldi and del Monaco) or one of his villains from the Tales of Hoffmann. This CD is a necessity for all fans of one of the century's finest bass-baritones and actors!

Average customer rating:

"The death-doomed alone are destined to look on me."
Breathtaking, powerful, accessible, not just an alternative
Absolutely Breathtaking!
A powerful reading of the most moving opera in the Ring.
The power of Wagner's music drama is now fully accessible

Wagner: The Valkyrie

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
Similar Items:

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

ASIN: B00004YU6Z
Release Date: 2000-11-28

Tracks:

Act I: Prld - English Nat Opr Orch/Reginald Goodall
Act I, Scene 1: The Storm Drove Me Here - Alberto Remedios/Margaret Curphey
Act I, Scene 1: This House And This Wife - Margaret Curphey/Alberto Remedios
Act I, Scene 1: Evil Fortune's Never Far From Me - Alberto Remedios/Margaret Curphey
Act I, Scene 2: There He Lay, Feeble And Faint - Margaret Curphey/Clifford Grant/Alberto Remedios
Act I, Scene 2: Through Field And Forest - Alberto Remedios/Clifford Grant/Margaret Curphey
Act I, Scene 2: Friedmund No One Could Call Me - Alberto Remedios/Clifford Grant/Margaret Curphey
Act I, Scene 2: The Neidings Raided Again - Alberto Remedios
Act I, Scene 2: So The Norn Who Dealt You This Fate - Clifford Grant/Margaret Curphey/Alberto Remedios
Act I, Scene 2: I Know A Troublesome Race - Clifford Grant
Act I, Scene 3: A Sword Was Pledged By My Father - Alberto Remedios
Act I, Scene 3: Are You Awake? - Margaret Curphey/Alberto Remedios
Act I, Scene 3: My Husband's Kinsmen - Margaret Curphey
Act I, Scene 3: Yes, Loveliest Bride - Alberto Remedios/Margaret Curphey
Act I, Scene 3: Winter Storms Have Vanished (Siegmund's Spring Song) - Alberto Remedios
Act I, Scene 3: You Are The Spring - Margaret Curphey
Act I, Scene 3: Oh Sweetest Enchantment - Alberto Remedios/Margaret Curphey
Act I, Scene 3: The Stream Has Shown My Reflected Face - Margaret Curphey/Alberto Remedios
Act I, Scene 3: Siegmund Call Me, And Siegmund Am I! - Alberto Remedios
Act I, Scene 3: Siegmund, The Walsung, Here You See! - Alberto Remedios/Margaret Curphey

Tracks:

Act II, Scene 1: Go Bridle Your Horse, Warrior Maid! - Norman Bailey
Act II, Scene 1: Hoyotoho! Hoyotoho! (Brunnhilde's Battle Cry) - Rita Hunter
Act II, Scene 1: The Usual Storm, The Usual Strife - Norman Bailey/Ann Howard
Act II, Scene 1: Pretend That You Don't Understand! - Ann Howard/Norman Bailey
Act II, Scene 1: Now It's Come To Pass! - Norman Bailey
Act II, Scene 1: So This Is The End Of The Gods And Their Glory - Ann Howard
Act II, Scene 1: You Never Learn What I Would Teach You - Norman Bailey/Ann Howard
Act II, Scene 1: What Must I Do? - Norman Bailey/Ann Howard
Act II, Scene 1: Hiaha! Hiaha! Hoyotoho! - Rita Hunter/Ann Howard/Norman Bailey
Act II, Scene 2: Fricka Has Won The Fight - Rita Hunter/Norman Bailey
Act II, Scene 2: When Youth's Delightful Pleasures Had Waned - Norman Bailey
Act II, Scene 2: She Refused To Reveal More About It - Norman Bailey/Rita Hunter
Act II, Scene 2: There's More To Tell - Norman Bailey
Act II, Scene 2: Yet One Can Accomplish What I May Not - Norman Bailey
Act II, Scene 2: But The Walsung, Siegmund - Rita Hunter/Norman Bailey
Act II, Scene 2: Then Siegmund Must Fall In His Fight? - Rita Hunter/Norman Bailey
Act II, Scene 2: I Give You My Blessing, Nibelung Son! - Norman Bailey/Rita Hunter
Act II, Scene 2: No, Have Mercy - Rita Hunter/Norman Bailey

Tracks:

Act II, Scene 2: So I Obey His Command - Rita Hunter
Act II, Scene 3: Rest Here For A While; Stay By My Side! - Alberto Remedios/Margaret Curphey
Act II, Scene 3: Away! Away! - Margaret Curphey/Alberto Remedios
Act II, Scene 3: Where Are You, Siegmund? - Margaret Curphey/Alberto Remedios
Act II, Scene 4: Siegmund! Look At Me! (Announcement Of Death) - Rita Hunter/Alberto Remedios
Act II, Scene 4: And If I Come - Alberto Remedios/Rita Hunter
Act II, Scene 4: Then Greet For Me Walhall - Alberto Remedios/Rita Hunter
Act II, Scene 4: Woe! Woe! Sister And Bride - Alberto Remedios/Rita Hunter
Act II, Scene 4: Two Lives Now Lie In Your Power - Alberto Remedios/Rita Hunter
Act II, Scene 5: Charms Of Sleep Are Sent To Still - Alberto Remedios
Act II, Scene 5: I Hear Your Call - Alberto Remedios/Margaret Curphey
Act II, Scene 5: Wehwalt! Wehwalt! - Clifford Grant/Alberto Remedios/Margaret Curphey/Rita Hunter/Norman Bailey

Tracks:

Act III, Scene 1: Hoyotoho! Hoyotoho! (Ride Of The Valkyries) - Katie Clark/Anne Evans/Elizabeth Connell/Helen Attfield/Shelagh Squires/Anne Conoley
Act III, Scene 1: Shield Me And Help - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
Act III, Scene 1: Hear While I Tell You - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
Act III, Scene 1: Pray Suffer No Sorrow For Me - Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne...
Act III, Scene 1: Fly Him Swiftly, Away To The East! - Rita Hunter
Act III, Scene 1: O Radiant Wonder! (Parting Salute) - Margaret Curphey
Act III, Scene 1: Stay, Brunnhild! - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Where Is Brunnhild? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Weak-Spirited, Womanish Brood! - Norman Bailey
Act III, Scene 2: Here I Am, Father - Rita Hunter/Norman Bailey
Act III, Scene 2: No More Will You Ride From Walhall - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Did You Not Hear What I Decreed? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 3: Was It So Shameful - Rita Hunter/Norman Bailey
Act III, Scene 3: I Know So Little - Rita Hunter/Norman Bailey
Act III, Scene 3: You, Who This Love Into My Heart Revealed - Rita Hunter/Norman Bailey
Act III, Scene 3: You Indulged Your Love - Norman Bailey
Act III, Scene 3: Unworthy Of You This Foolish Maid - Rita Hunter/Norman Bailey
Act III, Scene 3: You Fathered A Glorious Race - Rita Hunter/Norman Bailey
Act III, Scene 3: In Long, Deep Sleep - Norman Bailey/Rita Hunter
Act III, Scene 3: Farewell, My Valiant, Glorious Child! (Wotan's Farewell) - Norman Bailey
Act III, Scene 3: These Eyes So Warm And So Bright - Norman Bailey
Act III, Scene 3: Loge, Hear! Come At My Call! - Norman Bailey
Act III, Scene 3: Magic Fire Music - Norman Bailey

Customer Reviews:

"The death-doomed alone are destined to look on me.".......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
Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Breathtaking, powerful, accessible, not just an alternative.......2005-05-03

This is one of three Walkure's in my collection: the very underrated Leinsdorf, the thrilling Boehm and this one with Goodall. I believe Goodall is right up there with the best of them. Remedios, Hunter and Bailey sing beautifully and with sufficient drama. I'll go out on a musical limb and say I believe Bailey is one of the finest Wotan's on disc. Many will disagree but I think he has the measure of the role, the power to pull it off and a burnished timber that never becomes coarse under powerful climaxes... Remedios may well be the star of the trilogy along with Hunter and Bailey. His Siegmund is beautifully sung and his Siegfried by the way, is no mean stint either. Would that we had tenors that could sing Siegfried without sounding stretched beyond their limits. I am continually puzzled by the bad reviews that the orchestra playing receives from ARG, Classics Today and a few others. The ENO is not a Concertgebouw or Vienna Philharmonic but I think they play beautifully, a few clinkers notwithstanding. For a live show, they do a pretty d..... good job. THe sound from both orchestra and singers is exceptionally fine. This set belong in your collection if you like Wagner and, Die Walkure, in particular. If I had been at the performance in the 1970's I would have come home very happy, satisfied and richer for the experience.

Absolutely Breathtaking!.......2002-09-13

I had long cringed at the thought of this magnificant masterpiece recorded in English. Even after reading several rave reviews on this cylce that I've read by authoritive Wagnerites and critics, I was still skeptical. Finally, I decided to add Goodall's 'Ring' as my third complete cycle (after Solti & Bohm) for one reason: because it was in English and I felt it would enhance my understand of 'The Ring.' In fact, after achieving that "higher understanding" I was planning on selling this set on Ebay. That was, of course, before I heard this magnificant recording.

During the course of my research on 'The Goodall Ring' most of the praised seemed to heighten around 'Siegfried,' which is my absolute favorite of the cycle. That also helped to seal the deal. As the critics said, 'Siegfried' under Goodall is excellent, but not as monumental as Solti's reading, which IMHO is the greatest recording of 'Siegfried.'

The set that stands out, to me, in 'The Goodall Ring' is this recording; The Valkyrie. It is absolutely breathtaking. Not only is it my favorite of this set, it is my favorite Valkyrie recording period (I am very familiar with Boehm's, Solti's, Karajan's, Furthwanglers, Levines, and others). Alberto Remedios (Siegmund here and Siegfried in the last two operas) is truly magnificant. It is the best Siegmund I have heard on disc (and his Siegfried rivals Windgassen). Coupled with Margaret Curphey (Sieglinde), you get the most beautiful and moving duo I have heard on record. The duet in Act I is simply glorious. You also get the bonus of Norman Bailey's triumphant Wotan (and Wanderer too). He has such command and prescene. He sounds like a God. Throw in Rita Hunter, who holds her own as Brunnhilde, Goodall's miraculous conducting, and excellent playing by the orchestra and it all adds up to a stunning recording.

I can only say that in a way it's a shame this set is in English. Were it not, I believe Goodall's 'Ring' would be one of the most talked about, popular, and sought after complete recordings of the cycle. I can only say that I am so happy that I finally opened up to opera recorded in a different language than written.

I have fallen completely in love with Goodall's entire cycle. And, I have fallen in love with 'The Ring' all over again.

A powerful reading of the most moving opera in the Ring........2001-08-30

This performance of *Die Valkure,* the second and most popular opera in Wagner's Ring Cycle, is musically splendid. Its special significance, however, is that it is sung in English. An English performance of the Ring is perhaps more important than that of any other opera(s), because Wagner's libretti are suffused with his ideas about society, fate, justice, and love. Even if (at times) you need to read along to understand what the singers are saying, *hearing* the lyrics in English is truly stirring in a way that performances in your non-native language cannot match.
A particular stand-out on this recording is the Wotan. His timbre, diction, and delivery perfectly embody the troubled god who tries desperately, and in vain, to keep the world under his control. His angst and wrath are utterly convincing.

The power of Wagner's music drama is now fully accessible.......2001-01-30

I have never been a fan of opera in translation, but I must say that Andrew Porter's rendering of The Ring in English is amazing. He uses modern, not archaic, English, and the word choice is so very earthy and Germanic that the noble yet somewhat severe atmosphere of the Teutonic myths is conveyed perfectly. The sound, in other words, is an elegantly Germanic, and totally appropriate for the music and the Story it tells. It is not true that you can't understand the English anyway, because you can understand if you care to pay any attention at all. The translation is lucid, and so it the marvelous singing that conveys it.

Goodall's sense of music drama is lush, and takes some getting used to after the crash-and-burn Solti set, but after a time or two it seems just right. Goodall is not always slower than the rest, either; for example, the famous Ride of the Valkyries that begins Act III is quicker than Solti's surprisingly slow and heavy account. It is the most exciting that I have heard--and I have heard quite a few--but it is not so fast that the power is lost in favor of urgency.

This is not an urgent Die Walkure, and it is all the better for it. Goodall takes the time to actually tell the story, and is sensitive to the drama's needs over what could be called convention. For example, Wotan's Farewell doesn't thunder out after Brunnhilde's final declamation, like in so many recordings; rather, Goodall's interpretation is more dreamy, mysterious, and appropriately trance-like, in keeping with the action on stage.

I own the complete Solti Ring, but I must say I will be the first in line to get each new installment of this remarakable Ring as soon they hit the shelves. If you are new to Wagner, and are willing to make the plunge into a complete Ring, then start with this one and see if you want to continue. This recording is definitely one of the great Rings, and the superb translation will open up the work in ways that following the libretto just won't. I promise that you won't be able to put this one away easily. Get it!

Car Caught Fire
Average customer rating:

Strong third album from The Bears

Car Caught Fire
The Bears
Manufacturer: Pony Canyon
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music
General | Rock | Styles | Music
Power Pop | Rock | Styles | Music
Adult Alternative | Pop | Styles | Music
ASIN: B00005IX5M

Tracks:

Life, in a Nutshell
Under the Volcano
When She Moves
Mr. Bonaparte
What's the Good of Knowing?
Dave
Caveman
Waiting Room
117 Valley Drive
Safe in Hell
Success
Sooner or Later
As You Are

Customer Reviews:

Strong third album from The Bears.......2003-07-23

Belew is less of a songwriting presence on this album than on the first or second. He only has a hand in 4 of the original songs. Still, his guitar and voice are all over the album. Belew's buddy from King Crimson Robert Fripp also makes an inspired appearence on the Fretters' song Dave. Fripp's mournful and moving guitar solo adds bite to this song about the death of a young friend.

This, their fine third album, is a terrific follow up. While it's not likely to get any radio airplay (which is a pity), fans of Big Star, Jason Falkner and strong songwriting craft will appreciate this well written and performed album. Just a word of advice--you can order this direct from adrian Belew's website for half the cost.

Car Caught Fire
Average customer rating:

Strong Third Album From The Bears

Car Caught Fire
The Bears
Manufacturer: Car Caught Fire
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music
Pop Rock | Pop | Styles | Music
Adult Alternative | Pop | Styles | Music
Power Pop | Rock | Styles | Music
Similar Items:

Rise and Shine

ASIN: B0001JXFM0
Release Date: 2002-05-21

Tracks:

Life, in a Nutshell
Under the Volcano
When She Moves
Mr. Bonaparte
What's the Good of Knowing?
Dave
Caveman
Waiting Room
117 Valley Drive
Safe in Hell
Success
Sooner or Later
As You Are

Customer Reviews:

Strong Third Album From The Bears.......2006-05-28

Two years ago there was nothing on amazon.com about this band. I searched in vain hoping to find a second copy of their second album (I found it eventually). So how is the band's third studio album in over a decade? It's quite a bit different from the previous two but that strong sense of melody, witty songwriting and innovative playing is still there.

Belew is less of a songwriting presence on this album than on the first or second. He only has a hand in 4 of the original songs. Still, his guitar and voice are all over the album. Belew's buddy from King Crimson Robert Fripp also makes an inspired appearence on the Fretters' song Dave. Fripp's mournful and moving guitar solo adds bite to this song about the death of a young friend.

This, their fine third album, is a terrific follow up. While it's not likely to get any radio airplay (which is a pity), fans of Big Star, Jason Falkner and strong songwriting craft will appreciate this well written and performed album. - Wayne Klein, Amazon.com Top 50 Reviewer

Music Info:

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