The Blue Room [Explicit Lyrics]

The Blue Room [Explicit Lyrics]

Editorial Reviews
Product Description
Third release from alternative metal act featuring former members of Kiss and Motley Crue. Featuring 'Dear Friend' a tribute to former Kiss drummer Eric Carr who died in 1991. 1999 release. Standard jewel case.

The Blue Room,Union,Spitfire,Alternative Metal,Heavy Metal,Pop,Popular Music,Rock,Rock/Pop

Jerry Goldsmith: 40 Years of Film Music
Average customer rating:

Awesome Set!

Elmer Bernstein Film Music Collection

Overall a strong Goldsmith sampler

Jerry Goldsmith - 40 years of pleasure

Almost the perfect compilation

Jerry Goldsmith: 40 Years of Film Music
Jerry Goldsmith
Manufacturer: Silva America
ProductGroup: Music
Binding: Audio CD

Movie Scores | Soundtracks | Styles | Music
Movie Soundtracks | Soundtracks | Styles | Music
Star Trek | Soundtracks | Styles | Music
General | Soundtracks | Styles | Music
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Paramount 90th Anniversary Collection: Scores

ASIN: B0009KIYDG
Release Date: 2005-08-09

Tracks:

Blue Max, The
Blue Max, The
Blue Max, The
Blue Max, The
Blue Max, The
The Man From U.N.C.L.E.: Doctor Kildare / Room 222 / Waltons, The / Barnaby Jones / Television Themes Medley
In Harm's Way
The Sandpebbles: Chinatown / Patch Of Blue, A / Poltergeist / Papillon / Wind And The Lion, The / Motion Pictures Medley
Generals, The
Tora! Tora! Tora!
Wild Rovers, The
Pursuit
Wind And The Lion, The

Tracks:

QB VII
QB VII
QB VII
QB VII
QB VII
Waltons, The
Papillon
Police Story
Omen, The
Capricorn One
Swarm, The
Boys From Brazil, The
, The (First) Great Train Robbery
Alien
Star Trek The Motion Picture

Tracks:

Masada
Poltergeist
First Blood - Rambo II
Twilight Zone: The Movie
Under Fire
Under Fire
Under Fire
Under Fire
Gremlins
Baby - Secret Of The Lost Legend
Legend
Lionheart
Rambo III
Total Recall

Tracks:

Star Trek Voyager
Basic Instinct
Russia House, The
Gremlins II
Medicine Man
Shadow, The
Forever Young
First Knight
Powder
Airforce One
L.A. Confidential
Mummy, The
Haunting, The

Album Description

Jerry Goldsmith's death in 2004 marked the end of one of the greatest careers in film composing. This lavish 57 track 4 CD set traces the path of his astonishing achievements and includes recordings conducted by Goldsmith himself. Featuring The City Of Prague Philharmonic Orchestra, The Philharmonia Orchestra, The National Philharmonic Orchestra, and The Daniel Caine Orchestra. Includes over 280 minutes of music.

Customer Reviews:

Awesome Set!.......2007-07-01

I am a huge fan of Jerry Goldsmith. They did a great job preserving his vision. I can listen to this collection for hours. Great music!

Elmer Bernstein Film Music Collection.......2006-11-03

This is compilation of hit film music from one of the greatest composers in motion pictures. What is surprising though is the music not included like the Ghost And The Darkness, the 13th Warrior, Rudy and others. To be sure, 4 discs are not enough for a composure of this stature. THe recording, however, is an "engineering masterpiece" which makes the music even more enjoyable than when you first heard it at the movies. When are we ging to get the music that was omittd from this compilaton?

Overall a strong Goldsmith sampler.......2006-04-11

Okay, this is a CD review, so the focus is on music, but I've got to say this first: this has got to be a contender for the ugliest cover art ever. I mean, come on...instead of a tribute to the composer, the cover looks like someone spilled a glass of merlot over a NASA photo.

Fortunately, even an ugly cover will not ruin good music. And the good news is that I'd say about 75 percent of the music is good....and on a 4 cd set, that's a lot. Like other Silva compilations, the strength of this compilation is the variety. There are selections from the big releases (Star Trek, Omen, Rambo), but there is also a healthy dose of tracks from the smaller releases(Under Fire, Lionheart, The Swarm).

Two examples come to mind. Capricorn One and The Great Train Robbery are two movies that are not exactly household names today, but are dominated by two of Goldmith's finest main themes. The City of Prague Philharmonic come through with terrific renditions. And there are plenty of other strong performances...a few being concert versions conducted by Goldsmith himself. Suprisingly, "The Wind and the Lion" works, which is no small accomplishment given the ferentic original performance of "Raisuli Attacks".

It's not a complete success. A few of the performances fall flat, particularly some of the more inventive scores. Total Recall is just bad, mangling the performance with poor percussion and synthesizer choices to boot. Also a letdown is the Klingon Attack from the first Star Trek movie. The Prague Philhamonic attempt doesn't sound bad--it's just that once you've heard the original soundtrack's "blaster beam" with enough bass to rattle your teeth...well let's just say Silva's version is a little tinny in comparison.

But I shouldn't dwell on the negative. Overall, this is a strong sampler of Goldsmith's variety. There are plenty of quality performances here, and despite a few omissions (noticeably Planet of the Apes)this is a very good release from Silva.

Jerry Goldsmith - 40 years of pleasure.......2006-02-22

It was wonderful to hear Mr. Goldsmith's music that went all the way back to The Man from UNCLE, The Waltons, Dr Kildare, etc. And then to hear his music up to the present. The man was a genius!

Almost the perfect compilation.......2005-12-31

Age has its value.... This sweeping collection of compositions brings back so many great memories. This collection shows how significant Goldsmith was for both the movie screen and the small screen. With such a grand collection, every reader can be assured that at least one movie or TV program they like or remember had Goldsmith's contribution. It was an amazing life and the collection well worth having.

However, as sweepig as it is, there are a few holes in the selection. "First Contact", one of the sweetest and richest compositions from the Star Trek is absent. "The Ghost and the Darkness" is missing and the "Medicine Man" music should include the theme song. By dwelling on several selections from the Blue Max, these were squeezed out. Three full and important movie themes got the axe.

However, all but "The Ghost and the Darkness" are readily available and not overly expensive as is the "Ghost" CD. This is a must have for the TV and movie music fan.

Before there was Hans Solo there was Napolean Solo, before ER there was Dr. Kildare. Jerry Goldsmith IS Sci-Fi. "Resistance is futile.. you MUST assimilate this CD collection."

Menuhin & Grappelli Play Berlin, Kern, Porter & Rodgers & Hart

Average customer rating:

A really Fine Romance
A Musical Treat

Menuhin & Grappelli Play Berlin, Kern, Porter & Rodgers & Hart

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Anything Goes, With Yo Yo Ma
Jazz in Paris: Oscar Peterson-Stephanie Grapelli Quartet, Vol. 1

ASIN: B000002SDR
Release Date: 1990-10-25

Tracks:

Cheek To Cheek
Isn't This A Lovely Day?
The Piccolino
Change Partners
Top Hat
I've Got My Love To Keep Me Warm
Heat Wave
The Way You Look Tonight
Pick Yourself Up
A Fine Romance
All The Things You Are
Why Do I Love You?
I Get A Kick Out Of You
Night And Day
Looking At You
Just One Of Those Things
My Funny Valentine
Thou Swell
The Lady Is A Tramp
Blue Room

Customer Reviews:

A really Fine Romance.......2007-07-05

It doesn't get any better than these two playing these guys! Some of it was recorded at Abbey Road Studios. Use your imagination... It's all just swell.

A Musical Treat.......2006-01-08

"The true mission of the violin is to imitate the accents of the human voice, a noble mission that has earned for the violin the glory of being called the king of instruments." ~ Charles-Auguste De Bériot ~

Yehudi Menuhin and Stéphane Grapelli together had made some of the most beautiful music ever-recorded. And I believe that this is one of the many successful albums they recorded together. In this recording, both violinists have showed their excellent musicianship and interpretative eloquence as well, making it one of my most cherished CDs from my collection.

These are the main ingredients of a perfectly-made CD for your listening pleasure: mix violins, piano, bass and drums together, combine two terrific violinists, season with the best melodies in the 20s, 30s and 40s from Irving Berlin, Jerome Kern, Cole Porter and Rodgers & Hart. Add the musical talents of Nelson Riddle, Max Harris, Martin Taylor, Eddie Tripp, Alan Clare and the rest of the studio musicians. Now all you have to do is to sit back, relax and savor these stunning melodies coming from your CD player. Listen to it in full-volume and fill your music room with the sheer beauty of these classics.

One of my favorite musical instruments is violin. With its four strings, it gives a whole wide range of musical versatility and I simply love the fascinating sound it produces.

My personal highlights are the best tunes from Jerome Kern - "The Way You Look Tonight" (Nelson Riddle arranged this particular track and conducted the Woodwind and Brass section), "A Fine Romance," "Pick Yourself Up," "Why Do I Love You?" and "All The Things You Are."

My choices from Irving Berlin's gems are - "Isn't It A Lovely Day?" featuring the great artistry of Nelson Riddle in arranging and conducting, "Cheek To Cheek" and "I've Got My Love To Keep Me Warm."

The Cole Porter repertoire represented his musical sophistication in "Night And Day," "I Get A Kick Out Of You" and "Just One Of Those Things."

The choice cuts from the talented and creative team of Richard Rodgers and Lorenz Hart are "My Funny Valentine" and "Thou Swell."

Listening to this CD is so delectable and equivalent to having my favorite dessert - be it Tiramisu, New York Cheesecake, Black Forest Cake, Chocolate Soufflé, Créme Brulee, Chocolate Mousse or Chocolate-Coated Strawberries! ;)

A musical treat.

U.F.Orb (Limited initial quantities include 2nd disc with full length 40 minute "Blue Room" +3)

Average customer rating:

Drone ship in orbit...
If "Ambient Dub" could have a classic album, this is it!
The sound of an epoch
One of 'Ambient House's' Most Enduring Classics.....
Beyond the Noosphere (man)

U.F.Orb (Limited initial quantities include 2nd disc with full length 40 minute "Blue Room" +3)
The Orb
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

Ambient | Dance & DJ | Styles | Music

General | Dance & DJ | Styles | Music

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Orblivion
Orbus Terrarum
The Orb's Adventures Beyond The Ultraworld
Orb's Adventures Beyond the Ultraworld
Pomme Fritz

ASIN: B00000E5F7
Release Date: 1992-11-03

Tracks:

O.O.B.E.
U.F.Orb
Blue Room
Towers Of Dub
Close Encounters
Majestic
Sticky End

Amazon.com essential recording

An ambient-techno classic, UFOrb captures Alex Patterson and his sonic henchman at their early peak. While the Orb had already created a dance-floor and chill-out-room sensation in 1991 with Little Fluffy Clouds, this follow-up disc displays Patterson's talent for fusing ambient music with dub science and a club culture mindset. Incorporating psychedelicized samples over the era's reigning techno beats and deep reggae bass lines, heady compositions such as "Towers of Dub" and "Close Encounters" are excessive in length but consistently entertaining. The album's highlight is an 18-minute version of "Blue Room" (there's a 40-minute version out there, too), which features the sensual bass playing of Jah Wobble and the oscillating guitar of coproducer Steve Hillage. A most serious contribution to the legacy of the modern DJ. --Mitch Myers

Customer Reviews:

Drone ship in orbit..........2006-11-26

I got this album when it was released back in 1992, it is the limited 2 disc set, the first being the complete U.F.Orb album, the second disc being the complete "Blue Room" (running at 39:58 minutes, and also made it to #8 on the UK charts back then) with two edits and a fourth track titled "Assassin." Compared to some other ambient music in my collection from back then, these two albums have aged extremely well. I think the key to this is the number of different sounds and samples - it never relies on synth pads to make its point. All of the music on both discs have enough burbles, wild cat noises, NASA conversations, throat clearings, melodies show snippets (one funny one; a portion of the background intro music from the Nintendo SNES game "Darius Twin" appears as the main melodic line in "The Blue Room (Remix)" on the bonus disc - fits in amazingly well, has a great sinister sound to it) and interesting sounds to make it a happy listen.
The 40 minute version of "Blue Room" and "Towers of Dub" are my favorites, Towers features some nice harmonica work and a great sample from Woody Allen's "Sleeper." One of the most played albums from my collection. Thank you very much Alex Paterson. Highly recommended - buy the album, take it for a spin and go meet Haile Selassie at Babylon & Ting.

If "Ambient Dub" could have a classic album, this is it!.......2005-08-27

Techno, Trance, Ambient-House, and the such have truly saturated the music market of the last 15 years. So much so, that most of it hardly gets heard by anybody because there is so much of it. And so much of it can all sound alike. Even the ultimate techno fanatic could not possibly hear it all in his (or her) lifetime. And what's more, VERY few new Techno artists, can have, what the world would call, a "classic album".

I still believe the humble beginnings of techno music, was simply called "electronic music" or by today's terms - "electronica". And that all began in the 1960's with Kraftwerk (Organisation), Silver Apples, and even Walter (now Wendy) Carlos. Moog music was another term for electronic music. In the 1970's, the early stages of "Techno" started to show up even more. Artists like Tomita, Klaus Schulze, Tangerine Dream, and Jean Michel Jarre, were all brave pioneers of a new sound in music, a new cold electronic sound.

I'd be willing to say that the first successful "Techno" album has to be Kraftwerk's 1977 album, "Trans Europe Express". It's even sampled often by many of today's Techno-Ambient House artists. The earliest album that I could call the bravest venture into spacey electronica is Tangerine Dream's 1971 album, Alpha Centauri". Check out "Fly and Collision of Coma Sola" off this album. It's simply mind-blowing!

With the music market suddenly getting slammed with new ventures in Techno, Ambient House, Trance, Electronica, IDM, Ambient Dub, etc., suddenly in the early 1990's comes THE ORB. With their first triple album set "Adventures Beyond the Ultraworld", the world was introduced to another whole new adventure in electronic music, that earns universal success. Their first commercial successful single was "Little Fluffy Clouds". It even received airplay on regular contemporary pop radio. Big time in the UK, I'm sure. Already feeling that this is a new landmark album for the genre, it really blew my mind when their second commercial release "U.F.Orb", came out. When I heard a store playing "Blue Room", I couldn't believe that this was something new from The Orb. They weren't playing the CD of U.F.Orb, they were playing a CD single of "Blue Room" that went on for nearly 40 minutes! Wow! That blew my mind!

In the early days of buying The Orb, the first release of "Adventures Beyond the Ultraworld, was a single edited CD of the full double CD that came out of the UK, that is currently released worldwide today. I'm actually glad to have this edited version of "Adventures Beyond..." The tracks "Spanish Castles in Space" and "Backside of the Moon" were omitted from this CD. I heard the both of them on a borrowed copy of the double CD, and I found that those two tracks (that are together on CD One), offered a very long, boring 30+ minutes of very uninteresting sound passages. Plus a few of the other tracks are a little different. "Perpetual Dawn" on my copy, is a shorter more upbeat, reggae-version, which I enjoy more. Thank God I have this (now totally obscure) initial US release.

The early release of "U.F.Orb", offered a bonus CD of a few remixed extras, which included a rare track called "Assassin", and the "ardently sought after", 40 minute version of "Blue Room". I also have an alternate mix on "Towers of Dub", which is really cool.

Notice on "U.F.Orb", the regular version of "Towers of Dub" has the very same percussion used on Pink Floyd's, "On the Run" from the "Dark Side of the Moon" album. The Orb seems to like to mess with your head about making Pink Floyd references. On my two Ultraworld albums, the building that was on the cover of Pink Floyd's 1977 album "Animals", are on these Orb releases. And also, check out the Orb's "Live 93" album. It's not a pig, but it is some sort of animal jumping over a power plant, just like the pig jumping over the building on Pink Floyd's "Animals", album. I am certain that there are probably alot more hidden Pink Floyd references thoughout their other albums. The Orb started to lose their uniqueness for me after "U.F.Orb", They started to sound like typical Ambient House music. No longer the innovators that they use to be.

Another totally hard to find CD is a remix follow-up to their first album. If you can find it, get The Orb's, "Aubrey Mixes: The Ultraworld Excersions". It has a really cool, jazzy version of "Little Fluffy Clouds". Other scarce obscure CD releases of early Orb, are "Ultra Rare Trax", and "Morphology". These two were never commercially released, and were very expensive inside the locked-up glass cabinet of the CD store I bought mine from.

It seems though, that the sound of The Orb has become outdated when compared to today's new "electronic sound" known as IDM (Intelligent Dance Music). Aphex Twin, Autechre, Boards of Canada, Squarepusher, and the such are todays Techno wizards.

The latest releases from The Orb are "Cydonia" and "Bicycles and Tricycles". Nothing fabulous, but I think they are a little more appealing than what The Orb has done with "Pomme Fritz" and beyond. "Orblivion" has a few great tracks, but the album, as a whole, has too many weaknesses that loses my interest quickly. I don't think that The Orb will ever have another "classic" album like their first two. But, those two are certainly to be cherished. I can't wait for their 20th Anniversary re-releases. I believe that The Orb will be praised again for their contribution to Techno-Ambient-Dub at that time.

The sound of an epoch.......2005-07-23

This is a condensed version of the original triple vinyl release of 'U.F.Orb', which came 'hermetically sealed' in blue-grey PVC and had to be cut open with knife or scissors - a typically elaborate Paterson/Cauty marketing gimmick that also seemed to say something about how they viewed The Orb as a cultural project. It was as if 'U.F.Orb' was a time capsule, a distillation of the sprawling experiments on 'Adventures Beyond the Ultraworld', a sealed container flung into space to show the rest of the universe what it was like on Earth (or at least in Britain) in 1992.

As a summation of a point in musical time, it's as evocative as 'Revolver' or 'Ziggy Stardust' or 'Sound Affects'. And like all of those, there's something ineffably British about the way The Orb took beats from Detroit, minimalist compositions from New York and dub from Jamaica, and stretched and warped them into a completely new form. If the clubs were full of house and techno, the bedrooms were full of smoke and ambient dub, and The Orb were responsible for much of it.

'U.F.Orb' is their finest achievement, proving that 'Adventures Beyond the Ultraworld' wasn't a novelty record but the herald (along with The KLF's 'Chill Out') of a new genre. The sound here is both denser and more dubby, with more going on but less dependence on the BBC sound effects records and slowed-down house beats that were the backbone of their earlier work. 'Blue Room' (here edited from its 39'58" single length) and 'Towers of Dub' are the standouts, but The Orb's legacy is even more impressive than their music. You can hear it not only in experimental 'dance' music from Shpongle to Monolake, from Portishead to Lemon Jelly; it's embedded in mainstream pop, soundtracks and muzak the world over. And if you still have that triple vinyl release, with the PVC intact, I bet it's worth a fortune.

One of 'Ambient House's' Most Enduring Classics............2005-07-21

Before Acts such as 'The Orb' (as well as: 'The Black Dog, The Klf, Biosphere & Global Communication), the only sort of ambient music largely recognised by the general public, was the reflective sort of reflective, somber compositional ambient music favoured by the likes of 'Brian Eno'. But acts like 'The Orb' with their 'Ambient-House', was a relatively new term/Genre. It took the serenity & cerebral atmospherics of 'Ambient', and coupled them with synth pads, strings, keyboards, sampling & midtempo beats, to create a dreamier and progressively freewheeling sound of 'House' & 'Electronica'. The Duo (Dr. Alex Paterson & Jimi Cauty) take the technique of eclectic sampling, and a heavy emphasis on beat-oriented sounds, and reverb, bass and percussion, and forged several exceptional albums that retained the textured, placid tones of ambient, with the post-rave rhythmic aesthetic of Electronica. And coupled it with trip-hop grooves that successfully marry, themed tracks of 'Space Travel', Spoken Word, floatable tones & ethereal melodies.

The first track "O.O.B.E." brings with it, a soothingly cinematic synth arrangement, that is a fair indication of the sort of widescape sound, that you can expect from this stunningly atmospheric track. Think of the sort of Hushed, and delicate ambient textures used on 'Brian Eno's' ambient series of albums, with the serene lilting ambience, that his albums were acclaimed for, but with slight piano keys interspersed & the most restrained use of vocal snippets, that seem to touch on subjective and conscious thoughts...this is electronic music for the mind. And the use of looped beats isn't intergrated until some 6 Min's into the track, signalling the transition into Ambient-House. The theme here (and throughout the album in fact), is 'Travelling Through Space', with various metallic techno-futuristic samples, and dense detached rhythms & free-form ambience, seamlessly intergrated. Yet still retaining that all important balance between subtly detached ambience, and possessing synthesised ambient beats mixed with vocals.

The second track "U.F. Orb" mixes swirling, cascading synth work & expertly modified vocal sampling (alarm sounds, Dialogue from the 'Space Program', Environmental sounds...etc), before being replaced with uptempo techno beats (with a sublime use of high-hat rhythm breaks) moving at a relatively quick pace, that works alongside a superb, heavy echoey reverberated dub bass sound. Although the actual arrangement is simple, in its implementation, the effect is similar to a particularly well-judged fusion of World Music mood and instrumentation, intergrated with the smoked-out sounds/grooves of instrumental Dub. This is a beautiful pairing of Western Dub Fusion, and a complete contrast to the subtle tones of the previous track.

"Blue Room" is a epic track, the likes of which the 'Air-Raid' sirens to signal the beginning of the track should make that painfully clear, this is then mixed with subtle organs playing in the background, with subtle sounds & buzzing electronic sounds (along with a curious bubbling effect) and cold industrial sounds are all skillfully placed, with the effect carefully intergrated through the use of cleverly Cut & Manipulated editing, that fleshes out the long stretches of atmospheric organ. The occasion female vocal sample of "Awwwww- Whoooah" (taken from a early 90's UK Rave Track), provides the perfect canopy for the transition into thumping bass, that feels like its been modified to emulate thumping beats, this is insistent driving bass, with the harsh edges softened to resemble late-night Ambient-techno. Various snippets of mechanical sounds, Dialogue, Turntable effects (turntable spinback effects) & engaging synths, are all overlayed throughout the track, but care has been taken to give ample space to each sound, and thoughtfully stretched out intelligently over the 17Min's that this track runs to, and such is the beautifully devised arrangement, the time literally flys by, when listening to this astonishing track.

The overriding musical theme for "Towers of Dub" is (Obviously) DUB!!, a recorded telephone message or someone ringing "London Weekend Television" (UK television Broadcast), and getting through to a security guard to leave a message, is a highly amusing (or disorientating if you live outside the UK), start to the track. Bizarrely, the frequent use of : dogs barking, chirping birds and rhythmic sounds float in and out of the mix, are all firmly put in the shade by a truly stunning Harmonica sample playing throughout the track, mixing wonderfully with the heavy instrumental Dub, that is produced with pin-point keyboard and electronic sampling, and skitting drum beats audible in the background, the effect of these decidedly synthetic dubby basslines, could arguably have been the work of some of the Dub greats such as "The Mad Professor" or legendary "Lee 'Scratch' Perry", had they decided to make a more electronically orientated album, it's in turns, sophisticated, sprawling and hypnotic, and yet uptempo enough for either late night or daytime listening...working equally as well, whether your chilling out, or merely need some music to lose yourself into. And is so expertly judged and produced that is highlights one of the finest examples of Ambient-House.

The remaining 3 Tracks are all equally up the stunning quality of previous tracks, "Close Encounters" shifts the tempo, and moves into a combination of a blended Chicago electro-house orientated track, matched against the stylisation and experimentation of IDM (Intelligent Dance Music), and the low-end ambience of "Majestic", manages to feel like a surreal dreamlike track, encapsulating rhythmically and conceptally, the best attributes of 'The Orb' in an 11 minute breakdown, that at times feels like tightly crafted melodies, and creative samples, working in perfect unison.

There should be absolutely no doubt, that If you are a fan of either 'Ambient House' or 'Ambient Dub', (albums Such as: "Aphex Twins - Selected Ambient Works", "The KLF - Chill Out", "Future Sound of Londons - Lifeforms", "The Black Dogs - Bytes"), that this album is an absolutely essential purchase.
I'm reviewing this album have listened to it for the first time now in 2005, even though it was intially release back in 1992....and surprisingly it still feels vital, and doesn't feel dated. Admittedly if this is your first 'Orb' purchase, then (takes deep breath), you should pick up their incredible "The Orb's Adventures Beyond the Ultraworld" (Double Cd) first, as it is the Duo's Definitive work, with this album a very, very close second. But that album's a sprawlling masterpiece which is a concentrated listen, whereas this albums single cd, is far more manageable listen. And unquestionably stands as one of the genre greatest exponents.

Beyond the Noosphere (man).......2005-07-12

Mine still has the 'Brit Awards Nominee' sticker on the front. I believe this got to number one in the charts, which was dead unprecedented for what was mostly a lot of multi-layered samples with some beats here and there. For some reason it all worked; I have heard bootlegs of the early sessions which led to this album, and there's no magic in the demos. The Orb's later albums were conceptually similar but uniformly rubbish. But U.F.Orb, whether because the band was going the extra mile, or because of some ineffable fairy dust, U.F.Orb actually worked, it was relaxing, funny, mesmerising, an excellent listen with headphones, as background music, and loudly to dance to in the bits which have beats. The samples are all well-chosen and I can still recite most of them; the bit where there is a snippet from Radio Moscow, followed by loud drums, is the best. The second side of the album is noticeably moodier, with 'Close Encounters' sounding as you would expect a song about UFOs to sound.

It's also a nostalgic album, for people in their early 30s. The pre-internet 'Wired'-era computer whizz-bang space-age techno-pagan futurism of it all was mirrored in contemporary releases by the Future Sound of London, System 7 and so forth, and although this kind of ambient space music is now as dated as krautrock was in 1992, it's heartbreaking to listen to. So many dreams and hopes smashed to bits.

Excellent way to show off a hi-fi system, too, because it has quiet bits and loud bits and they all sound top-notch. 'Sticky End' is a short joke track and 'Majesty' is a bit irritating, but it's otherwise an excellent way to spend fifty minutes or so. Shame they didn't include the lengthy 'Blue Room' single as a pack-in or bonus track (it was basically the album version looped a couple of times, with a different bassline).

And it's "Teilhard de Chardin", it took me ages to find that out; he's the one who conceived of a third world, a world of objective contents of thoughts.

Average customer rating:

EXCEPTIONAL!!
A Great Jazz Performer
A surprising but amazing contribution from Salvador
Amazing rebirth
Almost Perfect

Room With A View (Chambre Avec Vue)
Henri Salvador
Manufacturer: Blue Note Records
ProductGroup: Music
Binding: Audio CD

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Rose Kennedy
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Release Date: 2002-02-12

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Jazz, Silver Moonlight
Jardim
Room With A View
J'ai Vu
All I Really Want Is Love (featuring Lisa Ekdahl)
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Il Fait Dimanche
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Faire Des Ronds Dans L'eau
Aime-Moi
Le Fou De La Reine (featuring Francoise Hardy)

Amazon.com

American audiences will embrace Henri Salvador like he's a Grandpa Moses of bossa nova. It's not every day that an eightysomething crooner steps out of U.S. obscurity with an album of warm-as-fresh-pastry cabaret music. Of course, Salvador is no Henri-come-lately. He's famous in France and francophone former colonies (like his native Cayenne, French Guiana) and has decades of television and recording work to his credit. Now, it's time for stateside listeners to play catch-up. This album was reportedly recorded on the verge of Salvador's retirement, and though the sound is classique, many of the songs are of recent vintage. Salvador's charming, half-spoken vocals will resound with listeners familiar with the suave stylings of cabaret practitioners such as Charles Trenet and Walter Hyatt. There's also a bit of Danny Kaye in his phrasing on the album's lighter fare, like the brass-band-flavored "Mademoiselle"--no surprise given Salvador's extensive comedic résumé. Younger audiences primed by the ironic, sophisticated grooves of Dimitiri from Paris and Money Mark will delight in much of the instrumentation here. The album is, in fact, a triumph of production and arranging. Full orchestras are cued, at times, at the same volume as a single instrument, reduced to the level of pure atmosphere. One track, "Il fait Dimanche," has a funky vamp that demands to be sampled for the contemporary dance floor. Another, "Faire des ronds dans l'eau," subsists on strummed guitar and a trap set, with the occasional gypsy-style, savory violin part added for spice. Throughout, Salvador presents himself as an astute, sympathetic performer. On "Je sais que tu sais" it's hard to tell where his whispered voice ends and the drummer's light brushes begin. Apparently, swingers--in the jazz sense of the word--get better with age. --Marc Weidenbaum

Customer Reviews:

EXCEPTIONAL!!.......2007-06-24

If you want music for a sultry day when you're sitting at a table under the sun with great company and just want to enjoy the moment with a jazzy background sound... this is for you! Think "sitting in the shade under an umbrella on a sunny afternoon at a little table on the sidewalk outside a corner cafe...."
ENJOY!
What an excellent voice ... really really great sounds!

A Great Jazz Performer.......2006-04-08

I bought this CD at the year of 2002 then had a period (3-4 yrs) didn't listen it. It's still being very nice when I took it out for listen today.

A surprising but amazing contribution from Salvador.......2004-02-15

So many artists (and voices) get threadbare with age. Only a few are lucky enough to find a way to keep some of their old color or adapt with the times. Even more rare is the artist who, after a career of decent (but rarely great) output, produces a stunner. That is the case with "Chambre Avec Vue."

I know there are Salvador stalwarts out there who will protest my characterization of Henri as being generally just OK, and I agree he released several standout songs throughout his long career. But those standouts are watered down by so many recordings that are "just a bit too." Just a bit too sentimental. Just a bit too comical. Or just a bit too out-of-genre for Henri to carry. Salvador's early background in cabaret, his affection for a variety of musical styles, and his associations with a wide range of musical greats (everyone from Django Reinhardt to Quincy Jones) have resulted in an impressive (and no doubt enjoyable) but flawed career.

With "Chambre Avec Vue," Salvador has taken the best of what he does well and has improved on it by performing with more wisdom than whimsy, more expertise than experimentation, and more authentic sentiment than unselfconscious sappiness. I agree with another reviewer that the influence of Benjamin Biolay (who has been associated with a few really great albums lately) cannot be underestimated on this album. But regardless of who you think deserves the credit, this is truly an album for those who like nuanced, toasted jazz vocals. Yes, it's all in French, and the album is packed with more international influences (notably bossa nova) than the average jazz vocal album. But on "Chambre Avec Vue," Salvador sounds as relaxed as Bing Crosby, as seasoned as recent Tony Bennett, and as melancholy as Chet Baker. That adds up to a surprising and welcome addition to the Salvador oeuvre.

Amazing rebirth.......2004-02-08

This album is an amazing comeback for Henri Salvador. It was co-writen and produced by Benjamin Biolay. There is a whole web of work spinning out from Biolay from his work co-writing and orchastrating Karen Ann (think French Joni Mitchell or modern Francoiz Hardy) to his collaboration on his sister, Coralie Clement's album. Not to be ignored however is his solo work, Rose Kennedy and the amazing Negatif. If you dig the sounds on this album and you have the cash pick up Jet Sounds by Nicola Conte...

Almost Perfect.......2002-04-29

This is indeed an exquisite album--evoking the romance of Europe and France in particular, wonderful street cafes, jazzy nightspots...humorous, romantic, at times even beautiful, ideal cocktail party or late night music...EXCEPT for the very first track, which sticks out like a sore thumb, with an obnoxious "jazz" harmony vocal out of character with the rest of the disc and which, simply put, just grates. If you can stomach that one, the rest is pure bliss. I burned the CD to another disc, deleting the first track, and I've been in heaven ever since.

Average customer rating:

I love this CD!
Disappointment and irritation

Cartoons Greatest Hits

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Mad about Cartoons
Bugs Bunny on Broadway
The Carl Stalling Project: Music From Warner Bros. Cartoons, 1936-1958
Mad about The Classics
The Carl Stalling Project, Volume 2: More Music From Warner Bros. Cartoons 1939-1957

ASIN: B0000029PS
Release Date: 1996-05-14

Tracks:

Powerhouse (excerpt) (Bugs Bunny In 'Bugs Bunny Cartoons')
Peer Gynt Suite No. 1: Morning Mood (Ralph Wolf & Sam Sheepdog in 'A Sheep In The Deep')
Spring Song (Op. 62 No. 6)
The Nutcracker: Dance Of The Suger-Plum Fairy (In 'Fantasia', Ren & Stimpy In 'Haunted House & Ren's Toothache')
Hungarian Rhapsody No. 2: Friska (Bugs Bunny In 'Rhapsody Rabbit')
Overture To 'The Barber Of Seville' (Bugs Bunny And Elmer Fudd In 'The Rabbit Of Seville')
In An 18th-Century Drawing Room (Bugs Bunny In 'Bugs Bunny And The Three Bears')
La Gioconda: Dance Of The Hours
Willaim Tell Overture: Morning And Finale (Mickey Mouse In 'The Band Concert'; Ren & Stimpy In 'Fire Dogs')
Grand Canyon Suite: On The Trail (In 'The Mighty Hunters')
Flight Of The Bumble Bee (In 'Melody Time')
The Blue Danube (Tom And Jerry In 'Johann Mouse')
Die Walkure: Ride Of The Valkyries (Bugs Bunny & Elmer Fudd In 'What's Opera, Doc?')
Gayne: Sabre Dance (Ren & Stimpy In 'The Cat That Laid The Golden Hairball')
Toccata and Fugue in D Minor BWV 565 (In 'Fantasia'; Ren & Stimpy In 'Haunted House')
The Sorcerer's Apprentice (Mickey Mouse In 'Fantasia')

Customer Reviews:

I love this CD!.......2001-09-13

I have been searching for a CD to accompany my balloon mime show for a long time, and when I found this, it was a dream come true. The songs are happy sounding, chirpy and fun, especially the souped up version of the PowerHouse. Comes with a burp in front that I could react to! If you like happy sounding instrumental music, this would be it!

Disappointment and irritation.......2000-08-01

This CD contains 16 tracks, some from Walt Disney "Fantasia" and one (track #11) presented as the recording of "The Flight of the Bumble Bee" from the full length cartoon-movie "Melody Time". Beware: it has got nothing to do with that enthusing performance, in boogie-woogie rhythm, by an excellent piano soloist (Freddie Martin? Teddy Wilson?) accompanied by a string-and-winds orchestra. It is, rather, a very banal rendition of Rimsky-Korsakoff's piece. Considering that I ordered this CD just for this piece (I have all others of classical music, from "Fantasia" in excellent recordings, I was disappointed and irritated when I tried to listen to the jazzed-up rendition of RK's music. This is a misrepresentation on part of the label (Sony). I don't think it's casual that the title of this piece, presented on the detail page as track #11 in the "List to Samples" section, disappears altogether from the following section ("On This CD"). If you are keen on Bugs Bunny and other rabbits, go ahead and buy this record. I'll be grateful to anybody (to the tune of $10) who can tell me where I can find a recording of the piece, such as I heard it on "Melody Time".

Average customer rating:

Mobley's Masterpiece: Hippest of the Hip
Master of a universal language
More Mobley, One of the Kings of Tenor Tone
The awsome Hank Mobley experience.
Who Cares, No Squares!!!!!!

No Room for Squares
Hank Mobley
Manufacturer: Blue Note Records
ProductGroup: Music
Binding: Audio CD

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Roll Call
Soul Station
Workout
The Turnaround!
The Sidewinder

ASIN: B00004X0QJ
Release Date: 2000-09-12

Tracks:

Three Way Split
Carolyn
Up A Step
No Room For Squares
Me 'N You
Old World, New Imports
Carolyn (Alternate Take)
No Room For Squares (Alternate Take)

Amazon.com

Of all the great tenor players of the modern era, the lyrical, round-toned and rhythmically sophisticated Hank Mobley remains the most consistently--and unfairly--underrated. Reissued with alternate takes of the title track and trumpeter Lee Morgan's lovely ballad "Carolyn," No Room for Squares features Mobley with two groups, both recorded in 1963. The majority of the tracks put Mobley together with Morgan, Andrew Hill (piano), John Ore (bass), and Philly Joe Jones (drums), while "Up a Step" and "Old World, New Imports" match old sparring partners Mobley and Jones with Donald Byrd (trumpet), Herbie Hancock (piano), and Butch Warren (bass). While No Room is not quite on the same level as Mobley's classic Soul Station and Workout albums of a couple of years earlier, there's plenty to relish in its 55 minutes, including the overall quality of Mobley's compositions and the contrast between the rubato soulfulness of Morgan's "Carolyn" and the funky riff which fires his other featured composition, the sexy "Me 'N You." Hancock has a couple of exciting, beautifully balanced outings, while Hill (soon to record more avant-garde fare on Blue Note) offers both adroit comping and several well-turned solos. As for Mobley, just listen to the perfectly sprung blend of soulful lyricism and diverse rhythmic assertiveness that distinguishes his work on both takes of the modal, medium-up title track. His solos can be spoken of in the same breath as the finest by Armstrong, Young, or Parker. --Michael Tucker

Customer Reviews:

Mobley's Masterpiece: Hippest of the Hip .......2007-07-30

At times I'm blown away by the likes of Coltrane, and Rollins, but as much as I like and admire those tenor giants nobody pulls me into their playing like Hank Mobley. "No Room for Squares" is classic blue note all the way. With the complimentary tandem of Lee Morgan and Hank Mobley (was there ever a tenor sax/ trumpet combination that fit as naturally as these two?), the always interesting work of Andrew Hill, the cool fire of Philly Joe Jones, and not to mention the hippest of all the hip-smokey-high-contrast-bohemian-tinted blue note album covers. Here we have a mature Mobley by turns stretching out and staying within the song, keeping the mood and the blue-funk fire forever burning slow. It would be impossible for me to pick one Mobley album as being the best (Soul Station, Roll Call, Work out, Dippin', Quartet, Caddy for Daddy, and the self titled album are all right up there in that rarified stratusphere), but this album captures the cool-toned essence of his playing as well as any of them. It's all there: the aforementioned warm tone, the intriguing interplay, the group unity that always seems to play to the group's strenghts, that always seems to keep things snare drum tight while at the same time exhibiting the relaxed telepathy of players who know how to communicate with each other and the song. You have to look hard to find bad Mobley on blue note (like two tracks on "reach out") but like Caesar's wife this album is above reproach. Give Mobley a chance and he'll change the way you hear the tenor. As for people who bemoan his underratedness and tragic fate I say that the man got to live his life doing what he wanted to do, and he left a legacy that will always live as long as people have the ears to hear it.

Master of a universal language.......2006-11-15

No improviser in my experience wears as well as Hank Mobley. Much as I love Stitt, the licks soon become overly familiar. And despite my reverence for Coltrane's genius or the Titanic power of a Dexter Gordon or Sonny Rollins, any of them can be a "heavy load" when played on a constant basis. But Mobley's unforced sound, so conversational, natural yet expressive, and his inexhaustible melodic vocabulary--thanks to his ability to react in the moment, availing himself of each serendiptious opportunity--make him a welcome companion for practically any occasion, and on a quotidian basis.

I indiscriminately purchase anything by or with Mobley recorded between 1954 and 1962, no reservations needed. However, beginning with "No Room for Squares" and the sessions from 1963 onwards, a listener is best advised to exercise some caution. Mobley was being pressured--by Blue Note Records (Jimmy Smith and Stanley Turrentine were paying the bills for the studio) and by the trends of the sixties (whether Trane modal harmonics or heavy-duty funk)--to "modernize" his music (i.e. more modal tunes, more ad nauseum riff tunes on the order of "Sidewinder," deeper and more physical grooves) and as a result can be heard forcing his sound, simplifying his compositions, and gradually and very sadly self-destructing throughout the late '60's and into the '70's.

Such transformations are just beginning to become noticeable with "No Room for Squares" which, happily, is still prime-time Mobley despite the more aggressive edge to his sound and a few attempts to disguise the overly familiar with "hopefully hip" melodic-harmonic choices. Listen to him handle the "I Got Rhythm Changes" for a full seven inspired choruses on the opening "Three-Way Split," showcased in the best possible light by Philly Joe's elegant hipness, and giving a harmonic "clinic" to Lee Morgan, who provides a spirited follow-up to Mobley's stellar inventions under the circumstances (slightly ragged and repetitious compared to Hank but rescuing his solo with an extemporaneous-sounding quote from "And the Angels Sing."

With the opening "Rhythm" tune, plus an exquisite ballad, an infectious blues, and a driving modal melody on the title number, "No Room for Squares" is an album which, despite the somewhat exclusive and limiting, elitist-sounding title, deserves and is likely to satisfy the widest (discerning) audience possible.

More Mobley, One of the Kings of Tenor Tone.......2005-02-05

Like it says in the official review, most of this is album is Mobley, Morgan, Hill, Ore and Philly Joe, while 2 tracks are Mobley, Byrd, Hancock, Warren and Philly Joe.

Whether or not I think of this album as highly as Soul Station comes down to nothing more than the mood I am in at the time. If I want All Mobley All the Time, then Soul Station is the big winner. If I'm in the mood for having the ball passed around to more players, this is the one. This may very well be my favorite playing I've ever heard by Lee Morgan.

If you can listen to this album and sit still, you're a better (or maybe just unfortunate) person than I. Albums like this almost break your heart, when taken within the historical context of jazz. How is it that a tenor player can play like this and not be a household name... even within some corners of the jazz community?? You'd have a hard time convincing me that Mobley wasn't the singlemost underrated, and historically undervalued tenor player of the entire "classic jazz" era.

The man was a musical giant, and on this album he put together yet another classic Blue Note. A straight-ahead, power-grooving bop masterpiece. This one is essential.

The awsome Hank Mobley experience........2004-12-03

Hank was a truly incredible sax player. He might've had that more muffled sort of sound but the rest was great. "Roll Call" is his most popular, but "No Room for Squares" is much better. It has more drive and Mobley isn't over-powered by the ryhthmn section as he was on "Roll Call". To have material from two different sessions is a good mix. By the way, Philly Joe is one of the best drummers ever so you can't go wrong with this record. Mobley could outplay Rollins 6-5. If you don't have either "Roll Call" or "Squares", get "Roll..." first, "No room for Squares" is BAD ASS.

Who Cares, No Squares!!!!!!.......2003-06-27

The fact that there was no room for squares had no affect on this session in getting through the door of Van Gelder's house because there were no squares who recorded on this album. Lee Morgan, since he made his mark with Gillespie's band produced great album after another like, Cooker, and Indeed on Blue Note earned a reputation as a full time heavyweight trumpet champion. Hancock and Hill, the pianists here made their debuts, and John Ore and Butch Warren, who were almost unknown, and maybee still unknown swing real hard. Philly as usual, helped launch a new great album for blue note. All songs except Carolyn swing. Carolyn, in my opinion, has no point. The Best.

Average customer rating:

Most beautiful music

Menuhin & Grappelli Play...

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Afternoon in Paris

ASIN: B0002Z83LG
Release Date: 2005-02-15

Tracks:

Fascinatin' Rhythm
Soon
Summertime
Embraceable You
Liza
A Foggy Day
'S Wonderful
The Man I Love
I Got Rhythm
He Loves And She Loves
They Can't Take That Away From Me
They All Laughed
Funny Face
Our Love Is Here To Stay
Lady Be Good
These Foolish Things
Laura
April In Paris
Autumn Leaves
Autumn In New York

Tracks:

Cheek To Cheek
Isn't This A Lovely Day?
Change Partners
Top Hat, White Tie And Tails
I've Got My Love To Keep Me Warm
Heat Wave
The Way You Look Tonight
Pick Yourself Up
A Fine Romance
All The Things You Are
Why Do I Love You?
I Get A Kick Out Of You
Night And Day
Looking At You
Just One Of Those Things
My Funny Valentine
Thou Swell
The Lady Is A Tramp
Blue Room
Jealousy
Skylark

Customer Reviews:

Most beautiful music.......2005-08-17

This is happy music.
Just plain happy, instrumental music.
Highly recommend to everyone.

Average customer rating:

Truly a beautiful rendition of extraordinary talent.....
Pure Gold from Maestro Goldsmith
Goldsmith's Gold
money ill spent
A good example of Goldsmith's range, but...

The Film Music of Jerry Goldsmith
Jerry Goldsmith , and London Symphony Orchestra
Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005BC6G
Release Date: 2001-07-24

Tracks:

Star Trek - The Motion Picture
Motion Picture Medley: The Sand Pebbles/Chinatown/Air Force One/A Patch Of Blue/Poltergeist/Papillon/Basic Instinct/The Wind And The Lion
Theme From The Russia House
The Boys From Brazil
Theme From Sleeping With The Enemy
Medley Of Television Themes: The Man From U.N.C.L.E./Dr. Kildare/Room 222/Star Trek Voyager/The Waltons/Barnaby Jones
Theme From Rudy
Twilight Zone - The Movie
Love Theme From Forever Young
The Generals: MacArthur/Patton

Customer Reviews:

Truly a beautiful rendition of extraordinary talent............2005-02-21

When I first purchased this cd, my original intent was for the soundtrack of Star Trek, which has always been a favorite of mine. I was also motivated by the fact that the orchestra performing is the London Philharmonic, which I consider one of the finest in the world. To this day, this cd stays in my player at bedside. When hearing the news that Mr. Goldsmith had passed away last year, I decided to purchase the 6 cd collection in his memory from Fox. This mans talent was truly a rare and extraordinary gift which he shared with us. I have given this cd as a gift several times because I felt I was giving a wonderful, moving, inspiring rendition of the exquisite talent of this man. If you are not familiar with Mr. Goldsmith, give this cd a chance and I believe you will continue pursuing the mood and music of Jerry Goldsmith, who will be missed for decades to come.

Pure Gold from Maestro Goldsmith.......2004-08-04

Some time ago I reviewed Jerry Goldsmith's outstanding score for "Star Trek Nemesis." At that time I remarked that the tones and secondary themes seemed to be almost a farewell to the Enterpise. It is only fitting that Maestro Goldsmith's musicians gave him standing ovations as they finished recording several cuts for that score. Now, of course, that "farewell" is so poignant. A number of years ago, my wife and I attended a concert with the Maestro conducting the Utah Symphony Orchestra in Salt Lake City. The program was essentially the same as we find on this grand album. We stood and gave Maestro Goldsmith a standing ovation, and a loud "Bravo!" then, and wish we could do it again. This is representative collection of the Maestro's work that is well worth having. A fitting tribute to a genius in his field. Nicely produced and packaged. For those of us who grew up with Goldsmith it is hard to say farewell. Bravo and yeia sou!

Goldsmith's Gold.......2004-03-04

Jerry Goldsmith is one of the greatest film composers of all time. He has written so many great scores on so many different themes that he is kind of taken for granted by his fans and listeners. This CD is an excellent introduction to Goldsmith's music and his immense range in musical themes and styles. Some of my favorites like "Islands in the Stream" and "Medecine Man" are missing but on one CD only so much can be represented. Goldsmith always gives us original themes of great originality and emotive power. His music blends well with the movies and he is one of our best narrative music composers. I'm happy that so much of great film scores like "Boys from Brazil," are included on this CD,when Goldsmith takes the Vienese Waltz of happiness and turns it into a Nazi Waltz of evil with strains of Wagner, Hitler's favorite composer, blended seamlessly into the score. "Patton" could have been better represented as it is easily one of Goldsmith's most recognizable scores and a classic. Whether it is action, love themes, horror, Goldsmith was and is always up to the task to create great film scores, most which stand on their own as any great symphonies of sound. Buy this and explore many of his other great scores and many are classics and out of print and this CD will give listeners a taste of what this grand master film composer can do and is still doing. Grand music on any scale. Highly recommended.

money ill spent.......2002-06-24

Many years ago, Sony and John Williams collaborated on an album of Star Wars favorites. I suspect someone at Telarc thought the same magic would work with Jerry Goldsmith and the LSO. Alas.
While the pieces chosen show a good cross-section of Goldsmith's crativity, the execution is seriously lifeless. It is as if the compositions were left to saute' overnight in Symphony Sauce: the performances are plodding and pedestrian. I don't know who convinced Goldsmith to do it this way, but omitting the martial snare roll at the beginning of the Man from U.N.C.L.E. theme, or not adding at least an accordian to the Waltons theme, are just two examples of how Goldsmith's great work has been emasculated by, I suspect, some record exec's insight. If you want to hear these pieces as originally written and performed, you'll have to start searching on other albums. Good hunting, and let us know what you find.

A good example of Goldsmith's range, but..........2002-05-17

...the quality of many performances are lower than they ought to be, which is astonishing in light of the reputation of the London Symphony Orchestra. This notwithstanding, there's enough to justify getting one's hands on this item. For me, the high point of the album is the medly of television themes composed by Goldsmith, which begins with a hellacious musical argument for the revival of *The Man From U.N.C.L.E.* as a theatrical film. (Hell, if they can resuscitate that bletcherous bore *Mission: Impossible* to make not one but two big-budget buckets of bilge, *The Man from U.N.C.L.E.* ought to attract plenty of attention, particularly if it's done with a sense of humor similar to that which informed the old TV show.)

The other problem with this album is the selection of cuts. For example, almost anything could have been better chosen from the film *Rudy* but the highly sedative passage recapitulated here, and the entirely inadequate dose of the theme from *The Wind and the Lion* incorporated in this album comes at the tail of an 18-minute medly of lesser stuff through which the average fan of *The Wind and the Lion* has no wish to sit. We've heard the theme from the first *Star Trek* movie endlessly; why not a variation on the nasty elegence of the Klingon theme from that and subsequent *Star Trek* films? Goldsmith also wrote other incidental music for *The Man from U.N.C.L.E.* -- so why not a re-visit of "The Man from THRUSH" (or the original program music "THRUSH Raid") and suchlike?

*The Film Music of Jerry Goldsmith* is reasonably good, but by no means the best to be had. It whets the appetite, but doesn't satisfy.

U.F.Orb (Limited initial quantities include 2nd disc with full length 40 minute "Blue Room" +3)
Average customer rating:

Drone ship in orbit...

If "Ambient Dub" could have a classic album, this is it!

The sound of an epoch

One of 'Ambient House's' Most Enduring Classics.....

Beyond the Noosphere (man)

U.F.Orb (Limited initial quantities include 2nd disc with full length 40 minute "Blue Room" +3)
The Orb
Manufacturer: Island Red / Pgd
ProductGroup: Music
Binding: Audio CD

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ASIN: B000005HTY
Release Date: 1994-03-01

Tracks:

O.O.B.E.
U.F. Orb
Blue Room
Towers Of Dub
Close Encounters
Majestic
Sticky End

Amazon.com essential recording

Customer Reviews:

Drone ship in orbit..........2006-11-26

If "Ambient Dub" could have a classic album, this is it!.......2005-08-27

The sound of an epoch.......2005-07-23

One of 'Ambient House's' Most Enduring Classics............2005-07-21

Beyond the Noosphere (man).......2005-07-12

Average customer rating:

extremely poor re-mastering
An excellent CD!
Nelson Eddy on CD - always a pleasure

Change Partners

Manufacturer: Encore
ProductGroup: Music
Binding: Audio CD

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Nelson Eddy: Operatic Arias and Concert Songs
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ASIN: B000001ZRF
Release Date: 2000-01-01

Tracks:

Carousel in the Park - Jeanette MacDonald
It Doesn't Cost You Anything to Dream - Jeanette MacDonald
Close as Pages in a Book - Jeanette MacDonald, Robert Merrill
Fireman's Bride - Jeanette MacDonald, Robert Merrill
Big Back Yard - Robert Merrill
When You Walk in the Room - Robert Merrill
Isnt' It Romantic? - Jeanette MacDonald, Paramount Studio Orchestra
Love Me Tonight - Maurice Chevalier, Jeanette MacDonald
Golden Days - Nelson Eddy
Drinking Song
Deep in My Heart, Dear - Nelson Eddy, Rise Stevens
Serenade - Rise Stevens
Just We Two - Rise Stevens
Come Boys - Nelson Eddy
One More Mile to Go
Raindrops on a Drum - Nelson Eddy
Love Is the Time - Nelson Eddy
Nearer and Dearer - Nelson Eddy
Tell Me With Your Eyes - Nelson Eddy
Russian Easter Hymn - Nelson Eddy
Whale Who Wanted to Sing at the Met: Three Blind Mice/Short'nin Bread - Nelson Eddy
Why Do I Love You? [From Show Boat] - Nelson Eddy, Jane Powell
Beyond the Blue Horizon [From Monte Carlo][*] - Jeanette MacDonald

Customer Reviews:

extremely poor re-mastering.......2004-12-21

I listen to many (re-mastered) historical recordings. Jeanette MacDonald is certainly one of my most favorite sopranos. For some reason, I haven't been able to find a decent, or even acceptable, re-mastering of her recordings.

While this one certainly contains many valuable tracks, the re-mastering is horrid. The songs sound stripped yet still maintain a great deal of distracting noise. I conjecture that the re-mastering was done simply by increasing the bass and decreasing the treble.

An excellent CD!.......2004-03-29

This is an excellent collection of the Screen Sweethearts of the 30's, Nelson Eddy and Jeanette MacDonald, *not* singing together, in the 40's (except for a few of Jeanette's songs).

For Jeanette, it has numbers from Up In Central Park: Carousel in the Park, It Doesn't Cost You Anything to Dream, Close as Pages in a Book, Fireman's Bride, The Big Back Yard, When You Walk in the Room. She and Robert Merrill sing these together and on their own, and very charmingly, too. There are also Love Me Tonight, Isn't It Romantic, and Beyond the Blue Horizon.

For Nelson, he sings music from The Student Prince with Rise Stevens: Golden Days, Drinking Song, Deep in my Heart Dear, Serenade (which is BEAUTIFUL!), Just We Two, and Come Boys. He also sings all the songs from Northwest Outpost - thankfully, without Ilona Massey! Also, the Willie the Whale segment from Make Mine Music is on this CD - just as it is in the movie, with the narration and everything - it's great! (The Tristan und Isolde part is not included, however - not sure what the reasoning is behind that.) He also sings a duet with Jane Powell - Why Do I Love You? from Show Boat.

I say this is a must for fans of Nelson and/or Jeanette, not to mention Rise Stevens!

I particularly enjoy "When You Walk in the Room". It's a charming little tune, with ridiculous but adorable lyrics! "Fireman's Bride" is very funny also - Jeanette barely sounds like herself!

I hope this will help others to choose this CD - it's a pity there's not a list of the titles here!

Nelson Eddy on CD - always a pleasure.......1998-08-30

It's always a pleasure to find Nelson Eddy's wonderful voice on CD and this one has some of the harder-to-find pieces in it, including collaborations with Jane Powell and the wonderful mezzo Rise Stevens. The recording of "The Whale Who Sang at the Met" is a must for any collector as are the excellent recordings (better than on the movie) for "Northwest Outpost". The baritone singing opposite Jeanette MacDonald also has an excellent voice (though his name temporarily escapes me)

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