Don't Fight It [Import]

Don't Fight It [Import]

Don't Fight It [Import]

Track Listings
 
1. Don't Fight It
2. How's My Little Girl Tonight
3. Iron in the Soul
4. Make Myself Complete
5. Good News
6. White Hot
7. Talkin' to Myself
8. Just the Way It Goes
9. Look out Again
10. Avenue "A"

Editorial Reviews
Product Description
1980 debut from Canadian pop/rock act featuring vocalist Tom Cochrane. 10 tracks including the title track, 'White Hot' and 'How's My Little Girl Tonight'. Standard jewel case.

Don't Fight It,Red Rider,EMI Int'l,Heavy Metal,Pop,Pop/Rock,Rock
The Man From U.N.C.L.E., Vol. 2
Average customer rating: 4.5 out of 5 stars
  • Another great trip down the MFU memory lane
  • The best of the three Double CDs ORIGINAL soundtrack release
 The Man From U.N.C.L.E., Vol. 2

Manufacturer: Film Score Monthly
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. The Man From U.N.C.L.E.
  2. The Man from U.N.C.L.E., Vol. 3
  3. Man from U.N.C.L.E.
  4. The Saint/Secret Agent
  5. Honey West

ASIN: B0006SSQ7U
Release Date: 2005-01-04

Tracks:

  1. First Season End Title
  2. Vulcan Affair (Suite No. 2)
  3. Iowa-Scuba Affair
  4. Shark Affair
  5. Deadly Games Affair (Suite No. 2)
  6. Meet Mr. Solo
  7. Giuoco Piano Affair
  8. King of Knaves Affair: Suite No. 2
  9. First Season Main Title [Revised]
  10. Deadly Decoy Affair
  11. Spy With My Face
  12. Second Season Main Title
  13. Alexander the Greater Affair
  14. Ultimate Computer Affair
  15. Very Important Zombie Affair
  16. Dippy Blonde Affair
  17. Seadly Goddess Afair
  18. Moonglow Affair

Tracks:

  1. One of Our Spies Is Missing
  2. Third Season Main Title
  3. Sort of Do-It-Youself Dreadful Affair
  4. Galatea Affair
  5. Pop Art Affair
  6. Come With Me to the Casbah Affair
  7. Off-Broadway Affair
  8. Concrete Overcoat Affair
  9. Napoleon's Tomb Affair
  10. Alternate Fourth Season Main Title
  11. Fourth Season (End Title)
  12. Test Tube Killer Affair
  13. Prince of Darkness Affair
  14. Seven Wonders of the World Affair

Customer Reviews:

4 out of 5 stars Another great trip down the MFU memory lane.......2005-10-19

Volume 2 (comprised of 2 CDs) is another first rate compilation of the series' original music and not to be missed by U.N.C.L.E. fans. The liner notes are wonderful and add a lot to ones appreciation of the music.

My only problem is that THE CDs ARE COPY PROTECTED! Considerable work is needed to get the music onto your iPod, if you really want the music in your mp3 collection. This is a major hassle and a surprise, since the first set in the series was not copy protected.

5 out of 5 stars The best of the three Double CDs ORIGINAL soundtrack release.......2005-07-12

Many of us have always thought The Man From UNCLE had the best music for a TV series ever, and this three double CD release confirms this. Wow! I'd be just happy with one CD, but having SIX (three double CDs packages) is absolutely out of this world, I mean, a lifetime wait come true.

Indeed, this is an unbelievable collection of three double CDs packages with the complete series soundtrack, and I mean the complete music, not a tune is missing.

And this is the ORIGINAL Man From Uncle music. Let me stress the point: this is the four years ORIGINAL soundtrack with the original recordings as they were heard throughout the series, not a no-name orchestra doing personal versions of the stuff. The audio transfer is very, very good, the music from late episodes is even in stereo.

Each individual CD carries over 70 minutes of music. All in all there you have the four TV seasons main titles and all, absolutely all of TMFU unforgetable music.

This is not a chronological release, meaning, all CDs have a mix of music from all four TV seasons. Volume 1 is heavier on early TV seasons stuff, fans of Jerry Goldsmith will love it. Those of us who prefer what Gerald Fried and later Richard Shores did with TMFU music, then volume 2 is mandatory. If you are a fan, you can't miss any of these six CDs. However if buying all three double packages is too much for you, you must go with Volume 2, no questions asked. Volume three is the weakest of them as it brings "suites" and a whole CD with "The Girl From Uncle" soundtrack, but you have a bonus "Open Channel D" beeper.

Each package is gorgeous, each with a glossy color booklet with extensive liner notes with details on how each tune was written to a specific TV series episode and how it was used onwards. You have bios on the composers, on how the recordings were made, even an overview on how many instruments were available in each of the years the music was recorded.

So, throw away your Hugo Montenegro Man From Uncle CD, this is the REAL thing.
The String Quartet Tribute to the Flaming Lips
Average customer rating: 4 out of 5 stars
  • Mellow take on the Lips.
 The String Quartet Tribute to the Flaming Lips

Manufacturer: Vitamin Records
ProductGroup: Music
Binding: Audio CD

GeneralGeneral | Alternative Rock | Styles | Music
GeneralGeneral | Rock | Styles | Music
GeneralGeneral | Compilations | Rock | Styles | Music
TributesTributes | Pop | Styles | Music
Similar Items:
  1. Turn It On
  2. She Don't Use Jelly
  3. U.F.O's At The Zoo - The Legendary Concert In Oklahoma City (MVI Album)
  4. Staring at Sound: The True Story of Oklahoma's Fabulous Flaming Lips
  5. Finally the Punk Rockers Are Taking Acid 1983-1988

ASIN: B0001HAHI2
Release Date: 2004-03-09

Tracks:

  1. Yoshimi Battles The Pink Robots Pt.12
  2. She Don't Use Jelly
  3. Do You Realize??
  4. Race For The Prize
  5. Turn It On
  6. Hit Me Like You Did The First Time
  7. Buggin'
  8. The Magician Vs. The Headache
  9. Shine On Sweet Jesus
  10. The Observer
  11. Fight Test
  12. Five Stop Mother Superior Rain

Product Description

1. Yoshimi Battles The Pink Robots Pt. 1
2. She Don't Use Jelly
3. Do You Realize??
4. Race For The Prize
5. Turn It On
6. Hit Me Like You Did The First Time
7. Buggin'
8. The Magician vs. The Headache
9. Shine On Sweet Jesus
10. The Observer

Bonus Tracks:
11. Fight Test
12. Five Stop Mother Superior Rain

Format: CD

Customer Reviews:

4 out of 5 stars Mellow take on the Lips........2007-03-24

This album is very interesting. I had been a skeptic of the string tributes for a long time. I'm a huge Flaming Lips fan, so when I found this for real cheap I picked it up. It is really quite soothing. Plus all the melodies are already familiar. Definately not an essential album but a nice one anyway.
Jarhead
Average customer rating: 3.5 out of 5 stars
  • You fools!
  • Missing Theme Song - but otherwise not bad
  • Fine score, but a consumer warning for the CD
  • Thomas Newman is a Genius!
  • Almost perfect for the film, loses points as a cd
 Jarhead

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

GeneralGeneral | Pop | Styles | Music
GeneralGeneral | Vocal Pop | Pop | Styles | Music
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Similar Items:
  1. Syriana
  2. Jarhead (Widescreen Edition)
  3. Jarhead
  4. The New World
  5. Munich

ASIN: B000BVRM1S
Release Date: 2005-12-06

Tracks:

  1. Welcome To The Suck
  2. Raining Oil
  3. Battery Run
  4. Mirage Bedouin
  5. Don't Worry Be Happy - Bobby McFerrin
  6. No Standard Solution
  7. 8 Men 5 Camels
  8. Full Chemical Gear
  9. Unsick Most Ricky-Tick
  10. Morning Glory
  11. Bang A Gong (Get It On) - T-Rex
  12. Desert Storm
  13. Desert Sunrise
  14. Zoomies
  15. Horse
  16. Pink Mist
  17. Jarhead For Life - Naughty By Nature
  18. O.P.P. - Naughty By Nature
  19. Dickskinner
  20. Permission To Fire
  21. Dead Anyway
  22. Scuds
  23. Listen Up - Public Enemy
  24. Fight The Power - Public Enemy
  25. Soldier's Things - Tom Waits

Amazon.com

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

Customer Reviews:

5 out of 5 stars You fools!.......2006-10-27

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

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

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

Shawshank was directed by Frank Darabont, NOT Sam Mendes.

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

3 out of 5 stars Missing Theme Song - but otherwise not bad.......2006-03-01

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

3 out of 5 stars Fine score, but a consumer warning for the CD.......2006-01-20

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

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

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

5 out of 5 stars Thomas Newman is a Genius!.......2006-01-07

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

3 out of 5 stars Almost perfect for the film, loses points as a cd.......2005-12-23

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

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

Overall, Jarhead warrants a 4.5/5 for the film, but on a cd, it's score drops to 3/5. It is pleasant at times, and mostly an interesting CD, but there are too many Newman masterpieces to consider this one high on your buying list. Then agan, if you are a Newman fan, this CD should satisfy you're urge to see what the guy is up to. Final score? Three out of five.
Don't Fight It
Average customer rating: 4 out of 5 stars
  • 3,143
  • A True Rock Recording
  • Very good early entry by (Tom Cochrane and) Red Rider.
 Don't Fight It
Red Rider
Manufacturer: EMI Int'l
ProductGroup: Music
Binding: Audio CD

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Pop RockPop Rock | Pop | Styles | Music
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  1. Neruda
  2. As Far as Siam
  3. Breaking Curfew
  4. Tom Cochrane & Red Rider
  5. Snakes & Arrows

ASIN: B00000738Z
Release Date: 1994-07-29

Tracks:

  1. Don't Fight It
  2. How's My Little Girl Tonight
  3. Iron in the Soul
  4. Make Myself Complete
  5. Good News
  6. White Hot
  7. Talkin' to Myself
  8. Just the Way It Goes
  9. Look out Again
  10. Avenue "A"

Album Description

1980 debut from Canadian pop/rock act featuring vocalist Tom Cochrane. 10 tracks including the title track, 'White Hot' and 'How's My Little Girl Tonight'. Standard jewel case.

Customer Reviews:

4 out of 5 stars 3,143.......2003-07-11

I have a 3,143 collection of only "Debut" albums.
This is one of them---one of the best! Get this on CD is you can.

Peter Boyton...Why did you leave the band?!

4 out of 5 stars A True Rock Recording.......2001-12-16

Songs like "White Hot" & "Don't Fight It" make this an exceptional classic canadian rock complnlation. I love all
the songs on this cd and it's the best one Red Rider released
before Tom Cochrane Went solo.

4 out of 5 stars Very good early entry by (Tom Cochrane and) Red Rider........1999-01-01

The album that put Red Rider on the map, featuring the track, " White Hot", which received good airplay on AOR in 1980. Slightly uneven compared to later Red Rider efforts more dominated by Tom Cochrane, but more interesting and less obvious. This is good "thinking man's pop". Cochrane's writing--featuring esoteric locational references, metaphors and similes, his edgy vocals, and the production make this very enjoyable. Best cuts: "White Hot" -- an African desert gun-running love song -- and the title track.
I'll Cry Tomorrow
Average customer rating: 5 out of 5 stars
  • SUSAN HAYWARD BELTS IT OUT
 I'll Cry Tomorrow

Manufacturer: Film Score Monthly
ProductGroup: Music
Binding: Audio CD

Movie ScoresMovie Scores | Soundtracks | Styles | Music
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Similar Items:
  1. With a Song In My Heart (from the 1952 film)/ Pal Joey (with 1952 cast members)
  2. I'll Cry Tomorrow
  3. My Heart Speaks
  4. I Want to Live!
  5. Valley of the Dolls (Special Edition)

ASIN: B0006SSQ2K
Release Date: 2005-01-11

Tracks:

  1. Main Title
  2. Don't Cry/Bye l'Ums
  3. Sing You Sinners - Susan Hayward
  4. David/How Soon/Help
  5. When the Red, Red Robin Comes Bob, Bob, Bobbin' Along - Susan Hayward
  6. Trance/Mama's Plea
  7. Confused/Pour Me
  8. Transition/Also/Tony
  9. Stood Up/Shattered/Tortured
  10. Happiness Is a Thing Called Joe - Susan Hayward
  11. Ashamed
  12. String Chord/Real Heel
  13. Down Girl/Ashamed
  14. Home Sweet Home/This Is It/Hold It
  15. Light
  16. Fight to Live/Serenity
  17. Burt/End Title
  18. Ashamed/Home Sweet Home [Original Version][*]
  19. AA Medley [*] - Susan Hayward
  20. End Title [Original Version][*]
  21. I'll Cry Tomorrow [Single Version][*] - Johnny Green And His Quartette, Susan Hayward
  22. Vagabond King Waltz/I'm Sitting on Top of the World [*] - Susan Hayward
  23. Starlight Romance/Presently
  24. Waltz Huguette/Bar Mitzvah Rhumba
  25. Source Music Medley: Good Morning/Ropin'/Beautiful Girl/We'll Make Hay
  26. When the Red, Red Robin Comes Bob, Bob, Bobbin' Along
  27. Happiness Is a Thing Called Joe

Customer Reviews:

5 out of 5 stars SUSAN HAYWARD BELTS IT OUT.......2005-03-31

This CD is a rare treat for Susan Hayward fans - a chance to hear her do her own singing in the film "I'll Cry Tomorrow" based on the story of Lillian Roth, who battled alcoholism in her life. The sound quality is EXCELLENT and the CD includes extensive notes, and even includes unused tracks, such as the vocal efforts of studio vocalist Sandy Ellis, who was originally going to dub for Hayward. Many people are not aware that the real Lillian Roth was disapointed that her own voice tracks were not used for the film. But, Hayward surprised everyone with her surprisingly goodvocal range. The background music is exceptionally fineas well, and is all included here. This CD is a must-have for Susan Hayward fans - and lovers of fine film score music as well.
Wagner: The Valkyrie
Average customer rating: 4.5 out of 5 stars
  • "The death-doomed alone are destined to look on me."
  • Breathtaking, powerful, accessible, not just an alternative
  • Absolutely Breathtaking!
  • A powerful reading of the most moving opera in the Ring.
  • The power of Wagner's music drama is now fully accessible
 Wagner: The Valkyrie

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

All Works by WagnerAll Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
Romantic (c.1820-1910)Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music
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  1. Siegfried (Goodall Ring Cycle/Chandos Opera in English)
  2. The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)
  3. Wagner: The Rhinegold

ASIN: B00004YU6Z
Release Date: 2000-11-28

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Customer Reviews:

4 out of 5 stars "The death-doomed alone are destined to look on me.".......2007-06-12

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Box Set: Wagner: The Ring Cycle (Box Set)
The Rhinegold (Part 1): Wagner: The Rhinegold
Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

5 out of 5 stars Breathtaking, powerful, accessible, not just an alternative.......2005-05-03

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

5 out of 5 stars Absolutely Breathtaking!.......2002-09-13

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

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

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

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

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

5 out of 5 stars A powerful reading of the most moving opera in the Ring........2001-08-30

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

5 out of 5 stars The power of Wagner's music drama is now fully accessible.......2001-01-30

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

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

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

I own the complete Solti Ring, but I must say I will be the first in line to get each new installment of this remarakable Ring as soon they hit the shelves. If you are new to Wagner, and are willing to make the plunge into a complete Ring, then start with this one and see if you want to continue. This recording is definitely one of the great Rings, and the superb translation will open up the work in ways that following the libretto just won't. I promise that you won't be able to put this one away easily. Get it!
Don't Fight It Baby
Average customer rating: Not rated
    		Don't Fight It Baby
    5ive
    Manufacturer: Arista
    ProductGroup: Music
    Binding: Audio CD

    GeneralGeneral | Pop | Styles | Music
    Teen PopTeen Pop | Pop | Styles | Music
    Teen PopTeen Pop | CD Singles | Pop | Styles | Music
    GeneralGeneral | Rock | Styles | Music
    ASIN: B00004TIOG
    Release Date: 2000-05-23
    Movin' On Up / You're Just Too Dark To Care / Don't Fight It Feel It (REMIXES) 6 track EP
    Average customer rating: Not rated
      		Movin' On Up / You're Just Too Dark To Care / Don't Fight It Feel It (REMIXES) 6 track EP
      Primal Scream
      Manufacturer: Sire/Warner Bros.
      ProductGroup: Music
      Binding: Audio CD
      ASIN: B000QHOPGC

      Product Description

      1991 EP release from the great Primal Scream. The "Movin' On Up" EP features production from Jimmy Miller (Rolling Stones' "Exile on Main Street") as well as stellar remixes of "Don't Fight It, Feel It" by Andrew Weatherall and Hugo Nicholson of Boys Own Productions. TRACKLISTING: 1. Movin' On Up (Single Version), 2. Don't Fight It Feel It (Single Mix), 3. Don't Fight It Feel It (Whistling Mix), 4. You're Just Too Dark To Care, 5. Don't Fight It Feel It (Scat Mix), 6. Don't Fight It Feel It (Remix by Graham Massey). The final remix, track 6, is the best one and features a cool nod to The Beatles song "Hey Bulldog". Comes in digipak case.
      Gotta Get It Hits: Teen Pop: Girl on Tv By Lfo, Sometimes By Britney Spears, I Just Wanna Be with You By Nsync, Angel of Mine By Monica, Fool Again By Westlife, This Is It By Innosense, Dont' Fight It Baby By Five, Jump Jump By Aaron Carter, I Don't Like You Anymore By Don Philip, Somebody's Somebody By Christina Aguilera
      Average customer rating: Not rated
        		Gotta Get It Hits: Teen Pop: Girl on Tv By Lfo, Sometimes By Britney Spears, I Just Wanna Be with You By Nsync, Angel of Mine By Monica, Fool Again By Westlife, This Is It By Innosense, Dont' Fight It Baby By Five, Jump Jump By Aaron Carter, I Don't Like You Anymore By Don Philip, Somebody's Somebody By Christina Aguilera

        ProductGroup: Music
        Binding: Audio CD
        ASIN: B000FVKK40
        Ugly Az Fk Ep1 the Underground Beast: Bammas Dont
        Average customer rating: Not rated
          		Ugly Az Fk Ep1 the Underground Beast: Bammas Dont

          Manufacturer: Ruffcore Entatainments Group
          ProductGroup: Music
          Binding: Audio CD

          GeneralGeneral | Soul | R&B | Styles | Music
          ASIN: B000CAE7KC
          Release Date: 2001-08-07

          Music Track:

          1. Down to the Bone
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          10. Killing the Dragon [Enhanced] [Limited Edition]

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