I'm Fine

I'm Fine

Track Listings

1. Rescue Me

2. Justine

3. Window

4. Dangerous

5. I'm Fine

6. Pucker Up

7. Lately

8. On the Run

9. Don't Want to Give It Up

10. Island of Time

11. If I Were Made of Metal

12. Caffeine

13. Valentine

14. Day to Day

I'm Fine,Patty Larkin,Philo Records,Contemporary Folk,Contemporary Singer/Songwriter,Folk & Traditional,Folk-Pop,Pop,Singer/Songwriter

And I Feel Fine...: The Best of the I.R.S. Years 1982-1987
Average customer rating:

And, oh, do I feel fine listening to this collection....

Change of heart

"Music that didn't pander to an audience" - it created one

More about the remastering

Discover This Band

And I Feel Fine...: The Best of the I.R.S. Years 1982-1987
R.E.M.
Manufacturer: Capitol/I.R.S.
ProductGroup: Music
Binding: Audio CD

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R.E.M. - When the Light is Mine... The Best of the I.R.S. Years 1982-1987 Video Collection

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Live at the Fillmore East

In Time: The Best of R.E.M. 1988-2003

Live at Massey Hall (CD/DVD)

ASIN: B000GTJSLM
Release Date: 2006-09-12

Tracks:

Begin The Begin
Radio Free Europe
Pretty Persuasion
Talk About The Passion
(Don't Go Back To) Rockville
Sitting Still
Gardening At Night
7 Chinese Bros.
So. Central Rain (I'm Sorry)
Driver 8
Can't Get There From Here
Finest Worksong
Feeling Gravity's Pull
I Believe
Life And How To Live It
Cuyahoga
The One I Love
Welcome To The Occupation
Fall On Me
Perfect Circle
It's The End Of The World As We Know It (And I Feel Fine)

Tracks:

Pilgrimage (Mike's pick)
These Days (Bill's pick)
Gardening at Night(slower electric demo; previously unreleased)
Radio Free Europe (Hib-tone version)
Sitting Still (Hib-tone version)
Life and How to Live It (Live at the Muzik Centrum, Utrecht, Holland 9/14/87; previously unreleased)
Ages of You (Live at the Paradise, Boston 7/13/83; previously unreleased)
We Walk (Live at the Paradise, Boston 7/13/83; previously unreleased)
1,000,000 (Live at the Paradise, Boston 7/13/83; previously unreleased)
Finest Worksong (other mix)
Hyena (demo) (previously unreleased)
Theme from Two Steps Onward (previously unreleased)
Superman
All the Right Friends (previously unreleased; later version released on Vanilla Sky soundtrack)
Mystery to Me (demo; previously unreleased)
Just A Touch (live in-studio version; previously unreleased)
Bad Day (session outtake; previously unreleased)
King of Birds (last song cut from the best of)
Swan Swan H (live, acoustic from Athens, GA-Inside Out)
Disturbance At The Heron House (Peter's pick)
Time After Time (annElise)(Michael's pick)

Amazon.com

The songs collected on And I Feel Fine... The Best of The I.R.S. Years 1982-1987 are just good enough to render the previous I.R.S. years collection, 1998's Eponymous, officially dead. The latter was likely the way the masses heard R.E.M.'s underground hits on CD the first time--after all, the band had just come off of their apocalyptic breakthrough single ("It's the end of the world...") and CD players were finally hitting below the $400 mark. It did the trick. We all got up to date and it paved the way for a more sonic R.E.M. to grow into the phenomena they've become. This new version is a welcome history re-write as it pulls more from Murmur and Reckoning days and does a far better job at telling the early story--owing a great deal to the photos and in-depth notes from Anthony DeCurtis.

For our money it's worth $2 to buy the "Collectors Edition" for the massive collection of rarities on disc 2. The DVD companion to this CD is a visual goldmine. --Peter Hilgendorf

Amazon.com

R.E.M. Photos

More from R.E.M.

Lifes Rich Pageant
Document
Fables of the Reconstruction

Eponymous
The Best of the I.R.S. Years
The Best of the I.R.S. Years Video Collection

Customer Reviews:

And, oh, do I feel fine listening to this collection...........2007-03-06

I'm not going to lie to you - I like the idea of "Best-Of" & "Greatest Hits" albums in general. This medium allows for bands to gaze backwards through the annals of history so that they might view & review their work, in hopes of gathering together their best songs from a given time period. All of this is done in the hope of providing a means for which their fans (whether old, new, or as-yet-discovered) can listen to those songs in a fairly simple format. With "Greatest Hits" albums, you don't have to carry around all of the albums from your favorite bands just to hear the songs that you like the best. It's a win-win situation for everyone involved - a band gets to make a few more bucks by repackaging old material and a fan of the band only has to carry around one or two albums as opposed to 4, 5, 9, or 10 of them to get their fill of the band's music.

However, there is a dark side from whence a music listener can view a "Best-Of" album, since the whole concept of creating an album or two that will attempt to gather together a band's preeminent songs is one that has been used and disastrously abused for decades now. There are legions of rock snobs out there who disdain (quite rightly) the fact that many of these records only collect a band's singles and/or the songs that receive the widest levels of popularity & notoriety. Record companies too often get involved in the decision-making process, forcing the band to include songs just so that more records will be sold on the basis of that one song (i.e., how record companies have been pushing record sales for years, getting the dumbed-down public to buy an often crappy album for the one poppy, radio-friendly tune). "Best-Of" albums too frequently have been turned into "What-Sells-Best" albums, sacrificing content for sales.

I say all of that to say this - R.E.M.'s prior "Greatest Hits" release, In Time: The Best of R.E.M. 1988-2003, was plagued by such issues, especially in terms of leaving often strong, fan-favorite songs in favor of ones that were more easily recognized by the average music-buying public. Case in point - while Automatic For The People is one of R.E.M.'s best records, it's also the fan favorite and received 4 nominations on In Time, while the critically-acclaimed New Adventures in Hi-Fi only had two songs included. Yes, an alternate track of "Leave" did make it to Disc Two, but you had to pay extra for it (even though it is an excellent remix). The band was in the thralls of a world tour in 2003 and this compendium of their years on Warner Brothers left much to the imagination. I mean, "Country Feedback" only made it on as a live track to close out Disc Two - as wonderful as the song is and as well-recorded as the live cut is, it's a travesty of justice for this song not to have been on the Disc One.

So, when I heard that And I Feel Fine was going to be released in Fall 2006 as a replacement for the nearly 2-decades-old Eponymous, released when R.E.M. left I.R.S. Records, I was filled with a mixture of excitement & trepidation. I wasn't quite sure what to expect, even with the promise of liner notes & comments left by all four members Yes, I will admit it - even the promise of long-retired drummer Bill Berry contributing to this collection did little to assuage my fears. As such, as highly- and fittingly-lauded as the band's early work is, there is much misunderstanding that revolves around the first five R.E.M. albums: there aren't any true singles until Document, the band seems overly indulgent in regards to experimentation & quirky lack of direction, and no one really knows what Michael Stipe is singing on any of those songs. I wasn't sure if the problems of over-reliance upon one album that afflicted In Time would burden down And I Feel Fine.

And I am so glad that my fears were dismissed (quite quickly at that). Each of the five albums from the I.R.S. Years (Murmur, Reckoning, Fables of the Reconstruction, Life's Rich Pageant, & Document) is appropriately and evenly represented on the 21 songs on Disc One. Four songs were chosen from each of the five albums, plus "Gardening At Night" from the Chronic Town EP. Thus, besides personal favorites such as "Moral Kiosk" off Murmur, I don't think that there's one necessary song missing between the two discs. Name a song that might be missing - I dare you. "7 Chinese Brothers"? It's there. "Disturbance At The Heron House"? Present. "Cuyahoga"? Accounted for. And even more to the point, the tracks on Disc One are arranged in a non-chronological format, with precedence given to how the songs will sound when listened to as a complete album, from song 1 to song 21, as only a mixtape should be.

There are definite highlights that must be pointed out, and they're all from Disc Two (even though Disc One is a wonderful & complete collection). The first notable selection is the 3-song live set from Boston, MA, on 07/13/1983 - "Ages of You," "We Walk," & "1,000,000." The energy of these four boys from Atlanta, GA is never more apparent than on these tracks as they flow effortlessly and seamlessly through their set. In second place comes the at-half-speed, demo version of "Gardening At Night" - the song sounds more hushed & intimate than a great many other songs in the R.E.M. pantheon. "Hyena" (in a scratchy demo version) represents my third choice, complete with the band's revealing in the liner notes that, while the song was released on Life's Rich Pageant, it was originally recorded during the Fables of the Reconstruction sessions. I've always been a fan of hearing songs in their early, unfinished, not-quite-complete phase - it gives new life to how you hear the "finished" version that you've been used to all of these years.

Do I have any complaints? Not really. As I said, there aren't really any songs that have been left off this 2-disc, 42-song compilation. If you've never listened to R.E.M. before, I would suggest you go purchase the album as soon as you finish reading this review. And I Feel Fine is what a "Best Of" album should be - representative of how a band has grown & developed over a given period of time and beautifully illustrative of the contributions that the band has made to the greater picture of music history. But in case you need just one more reason to buy this album, take this into account - it's both poignant and hilarious to read in the liner notes for Disc Two and learn how Bill, Mike, & Peter haven't always understood what Michael Stipe is singing or what his lyrics even mean, but they're certain that they have meaning for someone (and on occasion, the boys even present their differing interpretations of certain songs). So, if the band doesn't know what's going on with Stipe's beautiful mumblings, then it's OK that us listeners have also been confused for almost 25 years now.

Change of heart.......2007-02-23

I thought R.E.M. was just dismissable frat-rock all through the eighties...wow, has my mind changed. I love the jangly rock on this excellent collection...yes, R.E.M. rock for the best.

"Music that didn't pander to an audience" - it created one.......2007-02-18

During 1982-87 REM was probably the best band - possibly ever - if you define best band by great ALBUMS and great concerts. Similar to U2, REM created an audience - a big one - by original ideas that invited the audience to interpret the music. They didn't let tell you what it meant - maybe it meant nothing - but millions (billions?) THOUGHT IT DID. As Michael Stipe stated "Not everyone can carry the weight of the world". They CREATED an audience that wanted something new (the original alternative music). Nowadays - as the last line in U2's "Kite" states ("the time when new media was the big idea") audiences demand technology but the meaning or value of music is not relevant. I'd recommend this album to anyone who wants to hear America's greatest band at its creative best from a time when music could be relevant.

More about the remastering.......2007-01-07

Firstly, the music on this collection is stupendous. In the 80's, R.E.M. was the most consistently excellent, yet idiosyncratic and unconventional, band around and each release was a new gift. I don't have many quibbles with the song selections made for this best-of, and getting the second disc for not much more than the price of the single-disc version is a value. If you don't know early R.E.M. very well, this is a great place to start.

But... as several other reviewers have commented, this release was mastered to sound as loud as possible. And at first listen, it sounds great. Then, after it's on for awhile, you will probably find yourself turning the volume down, and even thinking about turning it off. That's because the mix has been highly compressed - that's how they get newer CDs to sound so much louder than old ones, but it's akin to how a loud commercial suddenly comes on when you're watching a TV show and sends you jumping for the remote to turn it down. It becomes obnoxious and irritating when everything is so loud all the time, and robs the music of all dynamics. And if you listen closely you'll hear distortion - they mix it so high that they're actually introducing clipping, which means flattened sound waves that results in a static-y edge to the sound.

Unfortunately this is a trend that has been going on with CD mastering for the last decade, though it gets very little publicity. The record companies do it because they think we like it, and actually many of us think we do, judging by a lot of the positive comments on the sound of overloud remasters. But once you're aware of it, you'll notice it, and you'll start to feel ripped off. The public needs to tell the record companies we want quality remasters that don't compromise true fidelity and range for shallow loudness and distortion. To learn more on this topic, do a web search on "loudness war".

Discover This Band.......2007-01-06

There was once a band called 'R.E.M.' and they played energetic, inventive, interesting, raw, yet somehow sophisticated jangly rock country punk. Their lead singer sounded like nobody else with sort of a baritone drawl that somehow managed to not really sound country at all, but they were from Georgia. They weren't precious or self-conscious. At the same time that a lot of groups were doing synth-pop or hair metal, this band was sorting out how to fuse art-rock with folk rock. The words the singer sang were sometimes imagistic, sometimes surreal, sometimes obscure. The drums were punchy. The bass was melodic. The guitar was sometimes jangly, sometimes ferocious. This is a collection of what that band sounded like 'in the day'. Not complete without the bonus disc, however.

Average customer rating:

Absolutely peerless
once-in-a-lifetime greatness
We love this album
Simply great
Porgy and Bess

Porgy & Bess
Ella Fitzgerald , and Louis Armstrong
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

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Porgy and Bess
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ASIN: B0000046Z5
Release Date: 1990-10-25

Tracks:

Overture
Summertime
I Wants To Stay Here
My Man's Gone Now
I Got Plenty O'Nuttin'
Buzzard Song
Bess, You Is My Woman Now
It Ain't Necessarily So
What You Want Wild Bess?
A Woman Is A Sometime Thing
Oh, Doctor Jesus
Medley: Here Come De Honey Man/Crab Man/Oh, Deh's So Fresh And Fine (Strawberry Woman)
There's A Boat Dat's Leavin' Soon For New York
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Oh Lawd, I'm On My Way

Amazon.com

Getting the two most personable voices in jazz to sing an hour's worth of George Gershwin's opera Porgy & Bess (Ella doing all the female parts, Satchmo all the male) was a good idea, but not quite as great as it sounded. Armstrong savors the down-and-dirty Charlestonisms that inspired the cadences of the music and lyrics, and they fit his happy rasp like an old shoe; Fitzgerald, conversely, sounds almost prissy every time she has to sing the word "ain't," though her melodic genius gets Gershwin's bold, supple tunes over. The arrangements are full-throttle Broadway, with a few leaps into Dixieland (including some fine Armstrong trumpet solos), but the disc works best when the vocalists break character and let their jazz side out. --Douglas Wolk

Customer Reviews:

Absolutely peerless.......2006-11-17

"Porgy and Bess" has just opened (with some controversy) in London's West End, though as a musical and not as an opera as it was originally conceived. Reviews have been promising and I aim to go down and see it soon. I decided to listen to this CD to put myself in the mood. I hadn't listened to it for years and I'd completely forgotten how good it actually is. Ella's voice blends with Louis' perfectly and Russell Garcia's orchestration gives them a dreamy landscape to perform against. I have one or two other CDs by Louis and Ella but this one is by far my favourite. The CD opens with "Overture" and its orchestral performance of classics like "Summertime", "I Wants To Stay Here", "I Got Plenty O' Nuttin'" and "It Ain't Neccessarily So" set the tone nicely, leaving one ever so keen for the vocal versions. Louis Armstong has a very rough tone to his voice but the emotion he packs with it is moving, most especially on the mournful "Bess, Oh Where's My Bess?" And we get all this and Louis' wonderful trumpet playing too?

Gershwin and Gershwin must be among the top composers of the last century and this opera showcases their talents more than anything I've heard. Ella and Louis are peerless as a vocal duo and though I doubt the West End performance will capture the magic in the same way they did, I still remain very keen to go see it. Is it opera or is it a jazz performance? I don't really know. I just know that I love it. And strongly recommend it.

once-in-a-lifetime greatness.......2006-10-06

Two thousand five hundred musicians have recorded "Summertime" --- it's a classic. (I bet most Americans can name Janis Joplin and no other singer.) As for "Porgy and Bess," the folk opera from which "Summertime" springs, it's such a classic that it's hard to believe anyone ever had a harsh word to say about it.

But after its premiere in 1935, no less than Duke Ellington said, "It has grand music and a swell play, but the two didn't go together. It does not use the Negro musical idiom --- the times are here to debunk Gershwin's lampblack Negroisms."

A quarter of a century later, the producers of the film version had trouble assembling a cast. Harry Belafonte rejected their offer to play Porgy. Sidney Poitier took the part --- and wished he hadn't. Poitier later wrote that the movie insulted black people; when he chose clips of his best performances for his tribute at the American Film Institute, he picked nothing from "Porgy and Bess."

And in 1985, when Grace Bumbry was a sensation as Bess in a Metropolitan Opera production, she slammed the opera: "I thought it beneath me, I felt I had worked far too hard, that we had come far too far to have to retrogress to 1935."

All that may be. All I know is that I have, in a long life, rarely been confronted with more genius than in the Fitzgerald/Armstrong recording of "Porgy & Bess." Set aside the achievement of George and Ira Gershwin in transforming DuBose Heyward's novel into a folk opera. Let's just focus on Armstrong and Fitzgerald, who were at the peak of their popularity when this record was made in 1957.

"Summertime" --- the first song --- sets the tone. A baleful horn figure, then violins. And then Armstrong's trumpet: slow, steady, dignified. But wait --- here comes a slurred note. And a cool little improvisation. Just enough of each. Very tasty.

Fitzgerald sings a verse. She is cool and formal. A lady. Not to be taken lightly. Now it's Armstrong's turn. Tender, but let's not kid ourselves --- this is not singing as others define it. This is melodic speech: rough, gutteral. And thus he is ideally cast: His Porgy may have his charms, but he'll have to stretch to keep Bess.

And so it goes throughout the CD. Trumpet mastery --- Armstrong has dazzling control. His tone is bright, but never shrill; there's a warmth in his playing no one else could produce. And Fitzgerald is just a study in inevitability; to hear her is to wonder how anyone could sing these songs any other way.

"I Got Plenty O' Nuttin'." "Bess, You Is My Woman Now." "A Woman Is a Sometime Thing." "There's a Boat Dat's Leavin' Soon for New York." "Bess, Oh Where's My Bess?" "Oh Lawd, I'm on My Way."

All brilliantly conceived, orchestrated and recorded.

The greatest trumpet player in this history of jazz.

The father of scat singing.

The queen of the jazz vocal.

There are no-brainers, and then there is this Ella Fitzgerald-Louis Armstrong collaboration --- music that imprints on your soul.

We love this album.......2006-08-22

We hope they will someday bring this beautiful story back to the stage

Simply great.......2006-03-04

The fusion between the great two voices and the orchestra is just brilliant. Very good brass and violins that accompany Fitzeralds and Armstrongs magic voices leaves you with your mouth open.

A must have for everyone!

Porgy and Bess.......2005-10-14

Could not find this anyway locally. It is a great recording

Average customer rating:

Marilyn Horne scintillates
One Of The Greatest Voices of All!
Not 100% satisfied with the selections, but what artistry!
Vive Madame Horne !

Just for the Record: The Golden Voice

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000TAYR0
Release Date: 2003-11-11

Tracks:

L'amour Est Un Oiseau Rebelle (Habanera)
Mon Coeur S'ouvre A Ta Voix
Eccomi Al Fine In Babilonia
Cruda Sorte!
Hence, Iris, Hence Away
Dove Sei, Amato Bene?
Che Disse! Che Ascoltai!
Addio, Addio O Miei Sospiri
O Pretres De Baal... O Toi, Qui M'abandonne
Elle Est La! Pres De Lui!
Mura Felici
Tanti Affetti

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Superbo Di Me Stesso
Il Segreto Per Esser Felici - London Symphony Chorus
Mi Chiami, O Norma!
Deh! Con Te, Con Te Li Prendi
Mira, O Norma
Si, Fino All'ore Estreme
Soli Or Siamo... Condotta ell'era In Ceppi - Luciano Pavarotti
Non Son Tuo Figlio? - Luciano Pavarotti
Mal Reggendo - Luciano Pavarotti
E Un Anatema! - Renata Tebaldi
Nacht Und Traume, D 827
Abendlied
Traume
Jesus De Nazareth
Shenandoah
I Bought Me A Cat
The Lord's Prayer
Somewhere
At The River (Lowry)
Jeannie With The Light Brown Hair

Customer Reviews:

Marilyn Horne scintillates.......2007-05-20

This 2-CD set includes 32 separate "cuts." Thus, it provides a perspective on the broad range of works that Marilyn Horne mastered. While some pockets of work may be given somewhat short shrift (e.g., Rossini), overall this shows off her skills nicely. Born in Bradford, Pennsylvania (one of the coldest places in the nation during winter), she made her operatic debut in 1954. In liner notes copyrighted in 2003, she notes that: "Can't believe it's time for a 70th birthday celebration. . . ." And neither can I, since I recall hearing her perform at the Met (via the old Texaco opera show), and it does not seem all that long ago!

Some cuts well depict her artistry across a range of genres and composers.

The "Habanera" from Bizet's "Carmen" is, to be sure, an old chestnut by now, but she sings it with a rich and lustrous voice. She sings a seductive aria seductively.

"Eccomi al fine in Babilonia" is from Rossini's "Semiramide" and shows off her skills nicely. This piece shows off the range of her voice well. Her voice is very agile, as it would need to be to do Rossini justice. There are some nice runs; the cabaletta showcases her agility and allows her to display well sung ornamentation.

From Handel's "Semele," we hear "Hence, Iris, Hence Away." This is a sprightly piece that is characteristically well sung by Horne.

Handel's "Rosalinda" features a nice work for mezzos, "Dove sei amato bene?" If I hear correctly, Horne begins this with a trill in piano; there are a number of nicely executed trills in this work. This cut is smoothly and richly sung throughout.

"Addio, addio o miei sospiri" comes from "Orfeo ed Oridice" by Gluck. A sprightly paced work. Horne shows off excellent ornamentation; her coloratura technique is terrific.

From "Norma" (by Bellini) there are 4 cuts (from a longer scene), featuring collaboration with Joan Sutherland. The two singers worked well together in a number of operas, and this set of works illustrates that synergy beautifully. "Mi chiami, o Norma!" starts things off. The two voices meld extremely well together. "Deh! Con te, con te li prendi" features fine work all around. Both singers display good vocal dexterity. Horne hits one high note with a bit of harshness, but not an issue of any moment. "Mira, o Norma" is ravishing; Sutherland's and Horne's duet is absolutely wonderful. Finally, "Si, fino all'ore estreme." This is a fast paced duet, with both singers manifesting considerable vocal agility and sound coloratura technique. When they sing together, their voices almost sound "twinned."

Finally, "Jeannie with the Light Brown Hair." Horne sings this straight, without the ghastly "opera-tizing" that some singers cannot resist. Sung simply and powerfully. Her rich voice produces a very good vocal effect.

And so on.

Although this CD does not fully represent her repertoire, it does provide a good sense of the art of Marilyn Horne and it suggests the range of her singing. For those wanting to get a sense of Horne's oeuvre, this is one recording that provides entrée to her body of work.

One Of The Greatest Voices of All!.......2006-01-29

I am not the only one who regards Marilyn Horne's voice as exceptional. During the seventies and eighties she was regarded by The New York Times Music Critic as possessing the greatest voice of our time. One only has to sample this "golden" collection to prove how right he was. Her "mezzo" handles Handel and Rossini like no other. Brava all the way (To say nothing about Dalila's famous aria!) And I must even mention her "Jeannie With the Light Brown Hair". This is a two CD that is a MUST for those who appreciate the glories of the human voice (To say nothing about the warmth and spirit than accompany it.)

Not 100% satisfied with the selections, but what artistry!.......2004-11-03

Decca's release of this career-spanning Marilyn Horne recital contains many "golden" nuggets, but isn't the absolute best representation of her artistry, in my opinion.

There was certainly plenty of material to choose from, as Horne was one of the most recorded mezzos in the twentieth century. As advertised, Madame Horne personally approved the final recital list, and the diva undoubtedly has sentimental attachment to certain selections. Furthermore, a conscious attempt was made to represent the different genres explored during her decades-spanning career. This approach, however, leaves out some truly stunning material that would have made an even stronger case on why she was such an operatic institution.

In summary:

The first disc begins with the Habanera from Carmen. Horne was very proud of her Carmen, noting that it surpassed sales of Callas's Tosca at one point. It deserved to be included, but I don't think she was "THE" Carmen, and besides, the whole opera is so warmed-over by now, it's hard to get anyone excited about it!

From then on, we are treated to a bonanza of wonderful arie and scena. The aria from Samson et Delilah is a real gem. Horne was certainly not the most glamorous singer, but My God, the interpretation is heavenly. This is what the aria sounds like in the hands of a world-class contralto. Eccomi in Babilonia follows, and by anyone's measurement, she is the finest Arsace on record. Blessed with an extraordinary range, she is as fulminating in both the top and bottom registers. What's more, her spirited delivery magnifies the pure genius of Rossini's music. As for Cruda Sorte, "ditto," as Marilyn herself might say.

Next, we are treated to two excellent Handel arias. Iris, Hence Away gives me goosebumps everytime I hear it. This was recorded in the early sixties, for inclusion in the Age of Bel Canto recital she shared with Joan Sutherland and Richard Conrad. Now, if she had recorded this a few years later, she might have drove the coloratura harder. However, at this point, the voice had a somewhat lighter quality, thus the aria isn't sung with that all-purpose "Marilyn Horne" voice we are so used to. Speaking of lightness, Dove Sei, Amato Bene will send shivers down your spine. Again, Marilyn wasn't known for her subtlety, but she proves here that she was more than capable. Just listen to the fluttering trills and fil di voce, and dare to disagree with me! One of my major complaints is it there isn't more Handel on the recital. Sure, a whole recital of Handel arias by Horne is still available, but in this best-of disc, there was room at least for Or La Tromba, the trumpet aria from Rinaldo, and a personal favorite. Also, nothing is included from Vivaldi's Orlando Il Furioso, another travesty.

The pinnacle of the first disc is Addio, I Miei Sospiri, from Gluck's Orfeo ed Euridice. This is Horne magified to the nth power. Where to start? A scrumptiously sung recitativo, then the aria itself, with Marilyn pulling out all the stops. The bronzed tone, perfect breath control, spectacular coloratura fireworks, superlative diction, evenness and security from top to bottom, and Marilyn's own way of generating excitement will floor you. This is bravura singing at the highest level.

After a few other selections from the French reperetoire, the disc closes with two Rossini warhorses. Again, the "ultimate" Horne best-of would have saved room for more Rossini, on the second disc. But the evidence here is ample enough to proclaim her honorific as the leading interpreter of Rossini in the last century.

The second disc is less satisfactory. The first selection, Superbo Di Me Stesso sounds like it came from an inferior source, and wasn't remastered properly. Il Segreto Per Esser Felici, from Lucrezia Borgia is fine enough, but Marilyn could have ornamented more, and that snare drum is too loud! Then, we have an extended scene from Il Trovatore. Now, Marilyn herself stated that she wasn't perfect in Verdi. As she put it, she sang Verdi by not taking "both feet" out of the bel canto waters, so that she could go on singing the roles that brought her the most fame. This is understandable, but if that's the case, then we didn't need this long scene. Perhaps she wanted to highlight her collaboration with Luciano Pavarotti, and I'm sure Decca saw this as a way to lure the casual listener. For my money, though, they should have just included Stride La Vampa, and called it a day. This would have freed up lots of room for the stuff for which she's better recognized!

Now, another extended scene, from Norma, is completely justified. Equally important to Marilyn's legacy as an individual artist is her legacy as one-half of the Sutherland/Horne duo. I don't need to write more- the music speaks for itself.

The rest of the second disc throws in a bit of verismo (Horne is unrecognizeable in Ponchielli; Simionato she's not), a bit of German lieder, and some patriotic tunes. Along with Leontyne Price, Marilyn Horne was the most conciously patriotic singer out there, and to have left out her American recordings would have been a disgrace. But, again, we are given an ample serving of it, when it could have been scaled back some to make room for her operatic triumphs.

All in all, there is enough glorious material here for any fan of the legendary Marilyn Horne, and also those who want a taste of how a superlative mezzo/contralto sounds like.

Vive Madame Horne !.......2004-01-09

Je suis soufflée, et tout bonnement reconnaissante à Decca pour avoir sorti cette compil qui rend si bien honneur à une des mes interprètes préférées. Voix de velours, aisance dans le grave et médium unique au Monde, Marilyn a été, dans toutes ses incarnations, un pur produit américain, certes, mais quel produit ! Bien évidemment son timbre si particulier, que d'aucuns ont défini androgyne, peut plaire ou non... Ce qui compte c'est l'apport émotionnel qu'elle donne à tout ce qu'elle chante, et sans que cela n'enlève rien à la pure beauté de sa voix à la technique sans faille. Merci Mme Horne, pour nous avoir livré une des plus mémorables leçons de chant de l'histoire, et joyeux 70ème anniversaire (car il n'est pas déplacé que de dire votre âge, étant donné la vitalité qui vous caractérise depuis toujours).

And I Feel Fine... The Best of The I.R.S. Years 1982-1987

Average customer rating:

A must have
Pick of Dreams
OLD R.E.M.= Influential
More like 4 1/2 stars

And I Feel Fine... The Best of The I.R.S. Years 1982-1987
R.E.M.
Manufacturer: Capitol/I.R.S.
ProductGroup: Music
Binding: Audio CD

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Similar Items:

In Time: The Best of R.E.M. 1988-2003
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Up from the Catacombs: The Best of Jane's Addiction
Best Of R.E.M.

ASIN: B000GTJSM6
Release Date: 2006-09-12

Tracks:

Begin The Begin
Radio Free Europe
Pretty Persuasion
Talk About The Passion
(Don't Go Back To) Rockville
Sitting Still
Gardening At Night
7 Chinese Bros.
So. Central Rain (I'm Sorry)
Driver 8
Can't Get There From Here
Finest Worksong
Feeling Gravitys Pull
I Believe
Life And How To Live It
Cuyahoga
The One I Love
Welcome To The Occupation
Fall On Me
Perfect Circle
It's The End Of The World As We Know It (And I Feel Fine)

Amazon.com

Four our money it's worth $2 to buy the "Collectors Edition" for the massive collection of rarities on disc 2. The DVD companion to this CD is a visual goldmine. -- Peter Hilgendorf

Amazon.com

R.E.M. Photos

More from R.E.M.

Lifes Rich Pageant
Document
Fables of the Reconstruction

Eponymous
The Best of the I.R.S. Years: Collector's Edition
The Best of the I.R.S. Years Video Collection

Customer Reviews:

A must have.......2007-01-16

This album is a must have for any R.E.M. fan! Eventhough I have all their music this is a great one to have around. My husband is new to the band(yes I know-where has he been for the past 20yrs?) & now he understand why I like them so much! I hope they come out with 1988 to the present-even the kids like it.

Pick of Dreams.......2006-12-19

And we should all feel fine after the release of the very best of their early years. Generosity and thoughtfulness come to the fore for the selection and scope of this fine selection. Now 'Eponymous' and 'Singles' seem imperfect I.R.S. collections in comparison. There are the hits we have come to know and love, like "Radio Free Europe," "Fall on Me," and "The One I Love," but, then, there's aptly picked excellence with "Welcome to the Occupation," "Feel Gravity's Pull," and "Cuyahoga". The second disc unearths some archival gems, so it isn't all familiar. Just like the Warner collection, 'In Time,' 'Best of I.R.S. Years' gets it right in format and selection.

(The collector's edition [not here] is worth the extra money, for it digs up some fine live versions, adds archival alternative versions, and adds some songs never released before. While not all of it is great, the new songs are engaging enough to add to an R.E.M. fan's "must have" status, and the archives at least do more than go through the motions of a remake.)

OLD R.E.M.= Influential.......2006-11-23

So good!!! Pitchfork gave this CD a 9.7 rating..which is very high for their picky tastes. The Re-mastering is quiete sloppy but the songs are all really good..they just need to re-master Murmur..

More like 4 1/2 stars.......2006-09-15

This is more complete than the IRS best of 'Eponymous'... 9 more songs! BUT, still no "Superman"?!? OK, it's on the 2 disc version, but being the casual fan I am I still feel a little cheated. Also, Anthony DeCurtis's notes are soooo rock snobbish. According to him if 'Fables of the Reconstruction' isn't your fave REM album, then you, my friend, are not a true REM fan.
Anyway... the music. Jangle rock at its finest. The thing that impresses me most is with all the remastering technology available, I STILL can't make out any of Michael "Mumbles" Stipe's words beyond the choruses. Remarkable.
So, if you're a casual REM fan, this may be the only disc you need... except for "Superman".

Average customer rating:

Ever wondered what was before Bach, Lully, or Palestrina?

Madrigal History Tour
The King's Singers , The Consorte of Musicke , various/anonymous/traditional , and Anthony Rooley
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B000246J7M
Release Date: 2004-01-01

Tracks:

Amor Vittorioso
Lirum Bililirum
Il Bianco E Dolce Cigno
La Bella Franceschina
Ultima Mei Sospiri
Alla Cazza
Or Si Rallegri Il Cielo
Fine Knacks For Ladies
Who Made Thee, Hob, Forsake The Plough
Of All The Birds That I Do Know
Too Much I Once Lamented
Fair Phyllis I Saw
The Silver Swan
Now Is The Month Of Maying
La Guerre
La, La, La, Je Ne L'ose Dire
Bon Jour: Et Puis, Quelles Nouvelles
Mignonne, Allons Voir Si La Rose
Il Est Bel Et Bon
Margot Labourez Les Vignes
Un Gentil Armoureux
Faulte D'Argent
La Tricotea Samartin La Vea
Triste Estaba El Rey David
Cucu, Cucu!
Tres Morillas M'enamoran
Fatal La Parte
La Bomba
Tanzen Und Springen
Vitrum Nostrum Gloriosum
Ach Elsein, Liebes Elselein
Ach, Weh Des Leiden
Das G'Laut Zu Speyer
Herzliebstes Bild

Customer Reviews:

Ever wondered what was before Bach, Lully, or Palestrina?.......2007-04-29

During the days of the Renaissance, the madrigal was one
of the most popular musical forms and outputs. The King's Singers, a modern-day all male vocal group, demonstrate the authentic sound of which these 34 chosen madrigals may have been performed. In the Renaissance, in place of sopranos and altos, there were countertenors (men who sang falsetto in a feminine range). That's what these guys do; just listen to the first few and you'll automatically be transported back to this magical and sort of other-worldly time. If you've been to Renaissance fairs, it will make you think of those, too.

The King's Singers offer 34 well-chosen madrigals from composers like John Dowland, Hans Leo Hassler, Clement Jannequin and some composers who wished to remain anonymous. They are grouped by the different languages to show that the madrigal wasn't just the rage in Italy where it had originated but at various other places all over Europe, the hub of the music world. The Italian ones come first, then in English, French, Spanish and German. The best one in the set is "La Guerre" which runs 6 minutes, and is an incredible vocal showpiece. It's even very funny at times.

If you want to hear exactly how Renaissance madrigals sound, this is the real deal.

Average customer rating:

kiri kern
Kiri sing Kern is a great experience
Lacks Splendor
White Glove Kern
mildly disappointing

Kiri Sings Kern: Dame Kiri TeKanawa
Dame Kiri TeKanawa , Jerome Kern , Jonathan Tunick , and London Sinfonietta
Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

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Traditional Vocal Pop | Broadway & Vocalists | Styles | Music

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ASIN: B000002SK3
Release Date: 1993-03-16

Tracks:

The Songs Of Jerome Kern: The Folks Who Live on the Hill
The Songs Of Jerome Kern: I'm Old Fashioned
The Songs Of Jerome Kern: The Way You Look Tonight
The Songs Of Jerome Kern: The Song Is You
The Songs Of Jerome Kern: Smoke Gets In Your Eyes
The Songs Of Jerome Kern: All Through The Day
The Songs Of Jerome Kern: The Last Time I Saw Paris
The Songs Of Jerome Kern: A Fine Romance
The Songs Of Jerome Kern: Yesterdays
The Songs Of Jerome Kern: All The Things You Are
The Songs Of Jerome Kern: Bill
The Songs Of Jerome Kern: Long Ago And Far Away
The Songs Of Jerome Kern: Look For The Silver Lining
The Songs Of Jerome Kern: Can't Help Lovin' Dat Man

Amazon.com

As Hammerstein writes in the opening song, "Many dames with lofty aims strive for lofty goals"--and Te Kanawa strives for successful crossover. Her beautiful singing exhibits impeccable diction and excellent phrasing; but "A Fine Romance" lacks anger and humor, "Smoke Gets in Your Eyes" lacks a storyteller, and "All the Things You Are" lacks romanticism. However, happy songs like "All Through the Day," "Look for the Silver Lining," and "The Folks Who Live on the Hill," are successfully interpreted. Jonathan Tunick's orchestrations enhance Kern's beauty through his captivating use of obbligato instruments. A pleasant, if not wholly satisfactory, listening experience. --Barbara Eisner Bayer

Customer Reviews:

kiri kern.......2007-03-29

Kiri is sensational on this CD. Jerome Kern music is stupendous and the arrangements superb. Three top esses.

Kiri sing Kern is a great experience.......2004-01-18

I love the way she sings Kern's songs. Though certainly not opera, Kern's songs benefit from an an operatic approach--not all of them, but certainly ones such Smoke gets in your Eyes, The song is you, All the things you are. I love Kern;s songs sung in many styles but Kiri's way is one of the best.

On the other hand, I did not like Kiri singing Berlin.

Lacks Splendor.......2002-09-01

Though I do enjoy Kiri's interpretation of most music, and this CD was decent, I did not find any piece particularly memorable.

The voice is undeniably beautiful, and Kiri has managed to keep her maturing voice sounding somewhat young, yet I find that I much prefer her rendition of "The Laughing Song" to that of "Smoke Gets in YOur Eyes."

If you love Kern, and couldn't care less who performs it, than purchase this CD. If you are a fan of Kiris', then perhaps it would be best to avoid this purchase...for it is not a shining star in her vast collection of CDs. All in all, it was a disappointment.

White Glove Kern.......2001-05-20

I am the first to admit that most "crossover" albums, be they of classical performers singing pop or vice versa never quite cross over. This album does splendidly. Kern's music is the most related to classical operetta , and therefore the least jazziest. Operatic soprano Kiri Te Kanawa gives luscious, heartfelt readings of these wonderful songs, backed by glamorous orchestrations. Hearing a voice of such opulence and beauty in this music is a rare treat. Just listen to "Smoke Gets In Your Eyes" ,"Long Ago and Far Away" or "The Song is You" and prepare to be swept away to another, more elegant time.

mildly disappointing.......2000-09-30

Sometimes cross-over works, sometimes not. While Kiri te Kanawa has a beautiful voice, she never gets into the idiom of these Jerome Kern masterpieces sufficiently to convey their stories or their subtleties. Smoke Gets in Your Eyes especially stands out, she sings it with none of the pathos the song demands and her version pales compared to the Platters. The orchestral arrangements are decent and in many of the songs the purity of her voice is enough to carry them, but overall I would say this is a disappointing example of a crossover record. Ms. te Kanawa should stick to what she does best.

Average customer rating:

Life Upon the Wicked Stage
Carole Cook , Jerome Kern , Grant Geissman , David Stout [trombone] , Dan Fornero , John Fumo , Brock Peters , James Anderson , Jane Lanier , Lauren Kennedy , Linda Michele , Marissa Jaret Winokur , Melissa Errico , Reece Holland , Robert Morse , Rod McKuen , Roger Rees , Ronnie Franklin , and Steve Orich
Manufacturer: Lml Music
ProductGroup: Music
Binding: Audio CD

General | Musicals | Broadway & Vocalists | Styles | Music

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Dream: The Lyrics and Music of Johnny Mercer

ASIN: B0000658H9
Release Date: 2002-05-07

Tracks:

The Song Is You - Jamie Anderson
How'd You like To Spoon With Me? - Jane Lanier
The Land Where The Good Songs Go - Pamela Myers
All The Things You Are - Alan Campbell
The Folks Who Live On The Hill - Lee Lessack
She Didn't Say Yes - Marissa Jaret Winokur
Pick Yourself Up - Street Sounds
You Couldn't Be Cuter - Marsha Kramer
Shimmy With Me - Lea Thompson
They All Look Alike - Bruce Vilanch
There It Is Again - David Holladay
Remind Me - Ron Rifkin
In Love In Vain - Melissa Errico
Make Believe - Linda Michele
Ol' Man River - Brock Peters
You Are Love - Dale Kristien
I Won't Dance - Bonnie Franklin

Tracks:

The Last Time I Saw Paris - Charles Busch
Long Ago (And Far Away) - Pam Dawber
They Didn't Believe Me - Pat Marshall
Look For The Silver Lining - Rod McKuen
A Fine Romance - Jane Carr
Sure Thing - Sally Kellerman
Don't Ever Leave Me/Why Was I Born - Joely Fisher
I'm Old Fashioned - Robert Morse
Yesterdays - Joan Ryan
Smoke Gets In Your Eyes - Dorian Harewood
In The Heart Of The Dark - Dale Kristien
Can't Help Lovin' Dat Man - Valarie Pettiford
The Way You Look Tonight - Hugh Panaro
Life On The Wicked Stage - Carole Cook
I've Told Every Little Star - Carole Cook
Till The Clouds Roll By - The Company

DRG 25th Anniversary Show Stopping Performances

Average customer rating:

Great compilation
A disappointment

DRG 25th Anniversary Show Stopping Performances

Manufacturer: Drg
ProductGroup: Music
Binding: Audio CD

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Movie Scores | Soundtracks | Styles | Music

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Curtains (2007 Original Broadway Cast)
Barbara Cook at the Met with Special Guests
ABC (Adler, Bock, Coleman)
110 in the Shade (2007 Broadway Revival Cast)
The Drowsy Chaperone (2006 Original Broadway Cast)

ASIN: B00005Q6IN
Release Date: 2001-10-23

Tracks:

A Day In Hollywood A Night In Ukraine: Just Go To The Movies - Priscilla Lopez/David Garrison/Frank Lazarus/Stephen James/Peggy Hewett/Kate Draper
Babes In Arms: I Wish I Were In Love Again - Christopher Fitzgerald Jessica Stone
Pal Joey: Bewitched, Bothered And Bewildered - Patti LuPone
Gentlemen Prefer Blondes: Diamonds Are A Girl's Best Friend - KT Sullivan
Nunsense: I Just Want To Be A Star - Christine Anderson
Louisiana Purchase: Wild About You - Debbie Gravitte & New York Voices
Oil City Symphony: Beaver Ball At The Bug Club - Mike Craver/Mark Hardwick/Debra Monk/Mary Murfitt
Falsettoland: The Baseball Game - Michael Rupert/Chip Zien/Faith Prince/Janet Metz/Heather MacRae/Stephen Bogardus
Very Good Eddie: Isn't It Great To Be Married? - Virginia Seidel/Spring Fairbank/Charles Repole/Nicholas Wyman
The Fantasticks: A Perfect Time To Be In Love - Harvey Schmidt
Call Me Madam: You're Just In Love - Tyne Daly/Lewis Cleale
Taking My Turn: Fine For The Shape I'm In - Margaret Whiting/Marnie Nixon/Cissy Houston
A Party With Betty Comden & Adolph Green: The French Lesson - Betty Comdon/Adolph Green
The Madwoman Of Central Park: Better - Phyllis Newman
Greenwillow: Never Will I Marry - Anthony Perkins
Song Of Singapore: I Can't Remember - Loretta Swit & Company
Tintypes: Elite Syncopation/I'm Goin' To Live Anyhow, 'Til I Die - Lynne Thigpen
I Love My Wife: Someone Wonderful I Missed - Joanna Gleason/Ilene Graff
The Good Companions: The Pleasure Of Your Company - Malcolm Rennie/Christopher Gable
Forbidden Broadway 20th Anniversary: Liza One-Note - Christine Pedi
Meet Me In St. Louis: The Trolley Song - Donna Kane & Ensemble

Tracks:

4 Guys Named Jose...And Una Mujer Named Maria!: Feel It - Philip Anthony/Henry Gainza/Allen Hidalgo/Ricardo Puente
Fame - The Musical: There She Goes!/Fame - Natasha Rennalls & Ensemble
Do Re Mi: What's New At The Zoo? - Heather Headley/The Animal Girls
High Society: Once Upon A Time/True Love - Melissa Errico/Daniel McDonald
Tenderloin: Artificial Flowers - Patrick Wilson
State Fair: Driving At Night/Our State Fair - Company
Kiss Me, Kate: Were Thine That Special Face - Brian Stokes Mitchell
Black And Blue: Black And Blue - Linda Hopkins/Ruth Brown/Carrie Smith
The Green Bird: O Foolish Heart - Company
Out Of This World: From This Moment On - Marin Mazzie/Gregg Edelman
The Boys From Syracuse: This Can't Be Love - Davis Gaines/Sarah Berry
Snoopy!!!: Poor Sweet Baby - Pamela Myers
SeesawNobody Does It Like Me - Michele Lee
March Of The Falsettos: I Never Wanted To Love You - Michael Rupert/Stephen Bogardus/Alison Fraser/Chip Zien/James Kushner
Lunch: Perfectly Alone - Carol Burnett
3hree: Foolish Dreamin'/Something Beautiful/Real Enough To Change My Mind - Jessica Molaskey/Will Gartshore/Rachel Ulanet
Lucky In The Rain: Love Me As If There Were No Tomorrow - Barbara Cook
Godspell: All Good Gifts - Sal Sabella & Company
The Act: Walking Papers - Liza Minnelli & Company

Customer Reviews:

Great compilation.......2002-05-10

I don't actually own this particular compilation, however, since I own nearly every recording represented on these discs...I think I'm qualified to comment. This is a wonderful representation of the high quality of work that DRG Records does.
The previous review is way off the mark. This is definitely not a waste of time or money. This is 25 years of preserving Broadway shows, Off-Broadway shows, studio recordings (mostly from the city center concerts), etc. So what if they "aren't as good as the original", DRG is preserving many recordings and artists that other mainstream labels don't or won't. You have wonderful recordings from Brian Stokes Mitchell, Nathan Lane, Debbie Gravitte, Tyne Daly, Anthony Perkins, Joanna Gleason, Marin Mazzie, Carol Burnett, Heather Headley, Patti LuPone, Barbara Cook, etc., and many of these are from Original Cast Recordings just as they appeared on Broadway. This is an excellent sampler of the work going on at DRG. No...I'm not an employee...just an avid listener and collector of theatre recordings.

A disappointment.......2001-12-15

There's a reason you've probably never heard of most of the songs and shows on this album, not to mention most of the artists. This is a second-rate collection of second-rate numbers performed by mostly second-rate artists. In the case of the shows that were revivals, the performances on the original cast recordings were better. Don't waste your money.

Average customer rating:

I'm Doin' Fine Now
New York City
Manufacturer: Collectables
ProductGroup: Music
Binding: Audio CD

General | R&B | Styles | Music

General | Soul | R&B | Styles | Music

Philly Soul | Soul | R&B | Styles | Music

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General | R&B | Indie Music | Stores | Music
ASIN: B0000008OG
Release Date: 1993-08-05

Tracks:

I'm Doin' Fine Now
Make Me Twice the Man
By the Time I Get to Phoenix
Happiness Is
I've Had Enough
Sanity
Set the Record Straight
Got to Get You Back in My Life
Quick, Fast, In a Hurry
Hang on Sloopy
Darling Take Me Back
Do You Remember Yesterday
Reach Out
Take My Hand
Can't Go on Without You
Love Is What You Make It

Average customer rating:

I'm Fine, How Are You
Airto Moreira
Manufacturer: Jvc Victor
ProductGroup: Music
Binding: Audio CD

General | International | Styles | Music

General | Latin Music | Styles | Music

General | Jazz | Styles | Music

Latin Jazz | Jazz | Styles | Music

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International | Imports | Stores | Music

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ASIN: B000HA4978
Release Date: 2006-10-30

Tracks:

I'm Fine, How Are You?
Meni Devol
Tumbadora
Happy People
Road Is Hard (But We're Going to Make It)
Cumbia de Anders
Celebration Suite
Nativity

Album Description

Limited Edition Japanese pressing of this album comes housed in a miniature LP sleeve. WB. 2006.

Album Details

Japanese Limited Edition Issue of the Album Classic in a Deluxe, Miniaturized LP Sleeve Replica of the Original Vinyl Album Artwork.

Music Review:

Music Review

music review

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Lifes Rich Pageant	Document	Fables of the Reconstruction
Eponymous	The Best of the I.R.S. Years	The Best of the I.R.S. Years Video Collection