The Evil in You [Enhanced] [Limited Edition]

The Evil in You [Enhanced] [Limited Edition]

Track Listings
Disc: 1

1. Fallen Angel

2. Broken Vow

3. Evil in You

4. Stronger Than You Think

5. Curtain Will Fall

6. One Million Miles Away

7. Right or Wrong

8. Shining Star

9. Street of My Dreams

10. Caprice No. 16

See all 11 tracks on this disc

Disc: 2

1. Angel of the Dark [*]

2. You Will Never Take My Soul [*]

3. N.O.W. [*]

4. Bonus Material [DVD] [*]

The Evil in You,At Vance,Locomotive Music,Heavy Metal,Pop,Power Metal,Progressive Metal,Rock

Mirrormask
Average customer rating:

Great movie, better soundtrack

great collection of unusual music

Supurb

Amazing!

excellent

Mirrormask
Iain Ballamy , Stuart Hall , Martin Sharp , Matthew Sharp , Burt Bacharach , Dave McKean , Martin France , John Parricelli , Neil Percy , Iain Bellamy , Ashley Slater , Arve Henriksen , Chris Batchelor , David Powell , Josefine Cronholm , and Neil Gaiman
Manufacturer: La-La Land Records
ProductGroup: Music
Binding: Audio CD

Movie Scores | Soundtracks | Styles | Music
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Mirrormask

The Alchemy of MirrorMask

MirrorMask: The Illustrated Film Script of the Motion Picture from the Jim Henson Company

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Mr. Punch

ASIN: B0007RTARU
Release Date: 2005-09-20

Tracks:

Sock Puppets / Flyover
Circus Overture
Spanish Web
Gorillas!
Running For The Bus
Abandoned Hall
Leaving The City
Arresting Helena
The White Queen Sleeps / The White Palace
Rabbit Band
The Library
The Myth Of Creation
Fish Street
Looking Through The Window
Giants Orbiting
Outside Bagwell's
Mrs. Bagwell's Rhumba
Meeting The Sphinx
Monkeybirds
Dream Park / Meeting In A Dream
Conjuring A Dome
In The Dark Forest
Betrayed!
Close To You
A New Life
A Rather Tense Dinner Party
Butterfingers
Discoveries / Fight Or Flight? / Goodbye Evil Helena
My Waltz For Newk
If I Apologised

Customer Reviews:

Great movie, better soundtrack.......2007-05-19

I just recently saw this movie and the only thing I could think about afterwards was that I had to get this soundtrack. I'm not usually a big fan of movie soundtracks, but this cd is unlike any other out there, soundtrack or not. The use of strings and carnaval type instruments is completely unique and makes this a must by for any fan of music.

great collection of unusual music.......2007-05-07

Rented the movie on reccomendation from Netflix, it was pretty good. But the music was the star of the show. The soundtrack follows the course of the movie pretty closely, it's kind of like listening to the movie. Each track brings to mind a specific scene in the movie. One of the highlights is the ecclectic treatment of Burt Bacharach's "Close to You". Most will remember the super-sweet Carpenter's version, but this interpretation was the main reason I bought the music. Unusual augmented chord progressions and almost minimalist format (complete with the mechanical background sounds made by the female jack-in-the-box-like, life-sized, mostly metal toy dressers) make the tune as captivating as in the movie when they 'convert' the trapped Helena into the black princess. Great music to play while relaxing, too.

Supurb.......2007-03-08

This soundtrack is truly a delight to listen to. It ranges from quirky circus music to deep and melodic mysterious tunes. It is a great CD to relax to and to use as background music for most any relaxing time hanging out with friends.

Amazing!.......2007-02-24

This is a very good soundtrack to a very good movie. The music is amazingly composed and is nice to listen to.

excellent.......2007-01-17

This CD is excellent! All the music from the movie in its entirety, all the songs are complete songs, and the songs are all top notch compositions.

Average customer rating:

Not Bad But Kind of Generic
See You In Hell My Friends
A good bargaining...
I'll see you in the cut-out bin!
the best of both worlds

See You in Hell/Fear No Evil
Grim Reaper
Manufacturer: Collectables
ProductGroup: Music
Binding: Audio CD

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On the Prowl: The Best of Tygers of Pan Tang
Feel the Fire
March of the Saint
The Right to Rock
The Dark

ASIN: B00000HX5H
Release Date: 1999-02-02

Tracks:

See You In Hell
Dead On Arrival
Liar
Wrath Of The Ripper
Now Or Never
Run For Your Life
The Show Must Go On
All Hell Let Loose
Fear No Evil
Never Coming Back
Lord Of Darkness
Matter Of Time
Rock & Roll Tonight
Let The Thunder Roar
Lay It On The Line
Fight For The Last
Final Scream

Customer Reviews:

Not Bad But Kind of Generic.......2006-11-16

I've always had a fascination for Grim Reaper. The imagery and album art alone was enough to attract me to their third album. But more on that later.

This is a combination of their first two albums and I'll have to admit, their best two. The songs are okay with a few memorable tracks, but they are definitely cliché ridden and generic. Steve Grimmet's vocals are okay when he doesn't get into those long annoying high pitched wails. I can't say a thing about Nick Bowcott's guitar playing as it rocks. However, I kind of wish he would have done more jamming and solos.

I also have their third album and after listening to it several times, I could not remember a thing about it. At least I can remember a few songs off this CD!

Overall, this is not bad stuff, it just does not blow me away and will probably not blow most of you away either. Beavis and Butthead hated them but I like them well enough that I will not bury this CD and forget about it. It is a double dose of generic clichéd rock, but who cares? You could do a lot worse. Recommended.

See You In Hell My Friends.......2006-01-03

Grim Reaper are known for campy horror lyric, a singer who could scream so only Rob Halford's dog could hear, and repetitious lyrics. People complain about those qualities, but thats what makes them so great. This disc contains their first two albums, so its a bargain already. Now if you make those two albums a great blitz of heavy metal, that even better. Even though these song rock, they all have the same standout feature: the excellent guitar work of Nick Bowcott. Bowcott could shred like no one's business. Every song on here rocks. My personal favorites are "Wrath of the Ripper", "Fear No Evil", and the infamous "See You In Hell". I recommend this for any 80s metal fan, and especially fans of Judas Priest. If you like these albums, I suggest you pick up their third and last album, Rock You To Hell.

A good bargaining..........2005-02-18

Well, for almost the price of one CD you can get the two best Grim Reaper albums (they recorded only three), and since "ROCK YOU TO HELL" is no big deal, you will possess everything tha matters from this band in a single CD. A good deal.

Although Grim Reaper has a muscular and visceral sound, and its guitarrist and founding member Nick Bowcott is a talented axe man, you can not be fooled by all the five stars reviews here. Nostalgy is a strong influence over people's tastes... In these days of fabricated and talentless "artists" like Beyonce, Backstreet Boys, Spice Girl, Britney Spears, anything from the past that has a solid rocking performance tend to be viewed like a mega banda. Grim Reaper was a very competent band, buch too much limited in their own style. That's why they succumbed.

I'll see you in the cut-out bin!.......2004-01-11

These guys may be a part of that fabled NWOBHM, but don't be fooled! This is fat-man rock all the way, slavishly derivative of Judas Priest but with mega annoying lead vocals thrown in just to make things more bowel-distressing! There should be a law against this type of aural effrontery! Straight into a loaded toilet with this one!

the best of both worlds.......2003-02-07

grim reaper's best two albums all on once cd...how they id it i'll never figure out...theres a reason they didnt combine their 3rd and final album with fear no evil or see you in hell...because it [was bad]]! the title track was all it had going for it...these two however, are classic...see you in hell's production sounds slightly muffled but if can get past that, and you will,you'll hear and appreciate what awaits your metallic eardrums...my favorite tracks are "see you in hell", "fear no evil"," matter of time", "never coming back","liar","wrath of the ripper","final scream","r&r tonight",and the ballad "the show must go on"...you're obviously familiar with grim reaper or you wouldnt be bothering reading this review, so what are you waiting for? this kicks major maximus, so order a copy before they disappear!

Average customer rating:

Fabulous!

HSQ Rides Again

Manufacturer: Mona Lisas Sound
ProductGroup: Music
Binding: Audio CD

General | Easy Listening | Pop | Styles | Music

Orchestral Pop | Easy Listening | Pop | Styles | Music

General | Vocal Pop | Pop | Styles | Music

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Take No Prisoners
HSQ Does Christmas (again)
What If Mozart Wrote "Have Yourself a Merry Little Christmas"
What If Mozart Wrote "Roll over Beethoven"

ASIN: B0001ZIT2A
Release Date: 2004-01-01

Tracks:

Layla, Derek & The Dominoes
Over the Hills and Far Away, Led Zeppelin
Break on Through, The Doors
All My Love, Led Zeppelin
Eleanor Rigby, The Beatles
Evil Ways, Santana
I'm Gonna Crawl, Led Zeppelin
Rock 'n' Roll, Led Zeppelin
Dust in the Wind, Kansas
Going to California, Led Zeppelin
Babe, I'm Gonna Leave You, Led Zeppelin
The Battle of Evermore, Led Zeppelin
White Rabbit, Jefferson Airplane
Bohemian Rhapsody, Queen

Album Description

Classic rock arranged and performed as only The Hampton (ROCK) String Quartet can do it. The Grammy nominated and Juilliard trained HSQ is at it again.

Customer Reviews:

Fabulous!.......2004-04-14

Can be listened to over and over again - a real gem!

Average customer rating:

The Evil in You
At Vance
Manufacturer: Pony Canyon
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000A1HB6
Release Date: 2003-06-30

Tracks:

Fallen Angel
Broken Vow
Evil in You
Stronger Than You Think
Curtain Will Fall
One Million Miles Away
Right or Wrong
Shinin Star
Street of My Dreams
Caprice No. 16
Princess of Ice
Highway Star [*]

Album Description

Asian exclusive edition of the fifth album from Swedish neo-classical heavy metal outfit featuring vocalist Mats Leven (known for his work with Yngwie Malmsteen & Treat). 12 tracks including one bonus track, 'Highway Star' (identical to Japanese). Pony Canyon. 2003.

Album Details

Asian Version featuring a Bonus Track: "Highway Star".

Average customer rating:

It's not stereo
classic arrangements by the classic gentlemen ~ Percy Faith

Lil Abner/Broadway Bouquet

Manufacturer: Collectables
ProductGroup: Music
Binding: Audio CD

Lounge | Easy Listening | Pop | Styles | Music

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ASIN: B0000996GC
Release Date: 2003-09-16

Tracks:

It's A Typical Day
The Way To A Man's Heart
Love In A Home
Medley: Jubilation T. Cornpone / (What's Good For) General Bullmoose (Is Good For The U.S.A.)
Unnecessary Town
The Country's In The Very Best Of Hands
There's Room Enough For Us
Progress Is The Root Of All Evil
If I Had My Druthers
Oh Happy Day
Matrimonial Stomp
Namely You
Hello, Dolly!
Once Upon A Time
Somewhere
Sunrise, Sunset
Who Can I Turn To (When Nobody Needs Me)
A Quiet Thing
Make Someone Happy
What Kind Of Fool Am I?
Long Ago
The Sweetest Sounds
As Long As He Needs Me
Theme From "Golden Boy"

Album Description

The jaunty Gene DePaul score for the musical play "Lil' Abner" based on the comic strip by Al Capp is heard instrumentally - and it's quite a show! "Broadway Bouquet" from 1965 is an important part of the famed Faith "string" album series - perhaps the pinnacle of his rich string sound that spanned gorgeous melodies and counterlines across sections of the large orchestra. (Bill Halvorsen)

Album Description

Pianist Percy Faith, a pioneer of the Easy Listening genre, had a successful and lengthy career as the in-house conductor and arranger for Columbia Records. Faith was renowned for his musical interpretations of Broadway and motion picture music. These two reissues from Collectables on 1 CD were originally released in 1965. 24 tracks. 2003.

Customer Reviews:

It's not stereo.......2005-01-10

I bought this solely for "Once Upon a Time", and was dismayed that the CD is mono, not stereo. The quality of the recordings leaves much to be desired, as many of them lack the pristine quality I'm used to on a CD.

classic arrangements by the classic gentlemen ~ Percy Faith.......2004-02-16

Two albums from the Columbia Records people blending different decades "Li'l Abner" (originally released CL 955 in 1956) and "Broadway Bouquet" (originally released LS 9156 in 1965), sharing the unmistakable style of the "Percy Faith Touch" ~ you know in an instant you're in for the best of the best ~ Duke Ellington was so taken with Faith's arrangements, that he would give anything to be able to arrange in that fashion.

Let's begin with "IT'S A TYPICAL DAY" along with "LOVE IN A HOME", both from "Li'l Abner", wonderful opening counterparts and the stirring arrangements by Maestro Percy Faith ~ "JUBILATON T. CORNPONE", uplifting cue that will keep bouncing in your head for hours, maybe even days ~ "IF I HAD MY DRUTHERS", one of the forgettable tunes from the show ~ "NAMELY YOU", has to be the best and favorite song of the Johnny Mercer and Gene De Paul score ~ by the way, these two composers penned the lively screen musical "Seven Brides for Seven Brothers", both scores were sure winners from two talented songwriters, Percy Faith steps up to the podium and takes it to another level.

Now with "Broadway Bouquet", we have perfection within the realm of lush arranging, so flawless "HELLO, DOLLY!" (Jerry Herman), "ONCE UPON A TIME" (Adams/Strouse), "SOMEWHERE" (Sondheim/Bernstein), "SUNRISE, SUNSET/FIDDLER ON THE ROOF" (Harnick/Bock) (one of my all-time favorites, can't get enough of this score), "WHO CAN I TURN TO (WHEN NOBODY NEEDS ME)" (Bricusse/Newley), "A QUIET THING" (Ebb/Kander), "MAKE SOMEONE HAPPY" (Comden/Green/Styne), "WHAT KIND OF FOOL AM I?" (Bricusse/Newley) (two of the best songwriters in the business), "LONG AGO" (David Heneker), "THE SWEETEST SOUNDS" (Richard Rodgers) (his credit of compositions goes through the ceiling, will never be another like 'em), "AS LONG AS HE NEEDS ME" (Lionel Bart) (a wonderful classic that is still popular by today's standards), "THEME FROM "GOLDEN BOY" (Adams Strouse) (another team of composers that have made an impact on the Broadway scene) ~ an example of the "Percy Faith Touch", so effortless, you feel like you're floating on a cloud ~ falls into Percy's many albums of fabulous string arrangements, they grabbed the attention of the listener and wouldn't let go. Can't think of any other arranger/composer who left such a great legacy as this man!

Highly recommend to ALL fans of Percy Faith ~ thanks to Collectables for releasing this collection from the vaults of Columbia Records ~ so listeners sit back, relax and enjoy a small part of Maestro Percy Faith's fabulous career!

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Customer Reviews:

"The death-doomed alone are destined to look on me.".......2007-06-12

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Human Nature
Average customer rating:

An absolutely astonishing soundtrack

Don't underestimate: this may be the best LP all year!

Human Nature
Graeme Revell
Manufacturer: Pleximusic
ProductGroup: Music
Binding: Audio CD

Movie Soundtracks | Soundtracks | Styles | Music
General | Soundtracks | Styles | Music
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ASIN: B000065DTX
Release Date: 2002-04-23

Tracks:

I Don't Want To Be Dead Yet
My Story Begins
Pygmy Chimp
Hair Everywhere - Patricia Arquette
On My Mountain Top
You - Marty And Elayne Roberts
Waltzes No.'s 3, 4, 6, 12 - Franz Schubert
Puff Bolts
Forget The Mice
A Name For Puff
Busted
Hair Everywhere (Remix) - Patricia Arquette
Fais Do Do - Miranda Otto
Lila Shaves
Puff's Education
My Name Is Puff - Rhys Ifans
Allegretto In B Flat Major - Jean Michel Bernard
Bachelor Pad
Au Dehors Fremit La Pluie - Jean Michel Bernard
The Heights Of Culture - Rhys Ifans
Back To Nature
Petite Etoile De Septembre - Marie-Noelle Gondry
Words Are Evil
I'll Turn Myself In
Parade
Here With You - Patricia Arquette
My Name Is Puff (Remix) - Rhys Ifans

Customer Reviews:

An absolutely astonishing soundtrack.......2002-05-26

Whilest no-one really saw "Human Nature", it was a good movie (in my opinion, I thought it was better than "Being John Malkovich"). Yet, whilest hardly anyone seeing it being a tragedy in itself, what's even more of a tragedy is how no-one will buy the soundtrack, despite the fact that it could possibly be one of the best albums of the year.

The most amazing thing is how the soundtrack jumps from genre to genre logically and with ease. Whilest there are many short orchestral tracks sprinkled throughout, many selections stand out. One of which is "You", which is a wonderful jazz melody. Then, there's the small "Waltzes" that adhere to the title very well. Also, the piano/violin movement "Allegrato in B Flat Major" is just an astonishing piece of work.

Yet, there are still some moments for craziness. Patrica Arquette sings "Hair Everywhere", which comes in both it's version as presented in the film and a danceable remix as well. One additional bonus is quite possibly one of the funniest songs since the Avalanches "Frontier Psychiatrist": "My Name Is Puff", which is a wonderous mish-mash of lines from the movie placed over a funky beat (and don't forget the teen-pop-ish vocals on the chorus ["It's an animal urge, Puff / Nothing to be ashamed of"]). The remix is jiggy as well.

So, whether you have or haven't seen the movie, it's no matter. Just know that the soundtrack is something not to be missed.

Don't underestimate: this may be the best LP all year!.......2002-05-26

This soundtrack is absolutely breathtaking. All soundtracks are made to enhance the film itself; it's a known fact. Yet, there are so many things going on in "Human Nature" (which is an excellent movie by itself), it's hard to believe that one could ignore as much music was placed on this disc.

There are too many pieces to cover. The album masterfully goes over several genres without any sign of exhaustion. From the Patrica Arquette solo "Hair Everywhere" (and it's dance-oriented remix) to the the tender "Here With You", the album is absolutely sprawling. It covers jazz ("You"), politicts ("The Heights of Culture"), and even creepy French interludes ("Fais Do Do"). Other highlights include the nice "Waltzes No.'s 3, 4, 6, 12", the hilarious "My Name Is Puff" (and it's remix), and the breathtaking "Allegretto In B Flat Major".

Tracks:

Baba Yaga, Sym Sketch - SO Of The Moscow Conservatory/Leonid Nikolaiev
Russian Folksongs: 1. You My River
Russian Folksongs: 2. In The Meadows
Russian Folksongs: 3. White Snow
Russian Folksongs: 4. On The Mountain
Russian Folksongs: 5. Why Are You Sad, My Boy?
Russian Folksongs: 6. In Spring, Young Girls Went Out
Russian Folksongs: 7. Wide Field
Russian Folksongs: 8. Sleep
Kilmora, Sym Sketch - SO Of The Moscow Conservatory/Leonid Nikolaiev
Chants Populaires Russes: 9. An Evil Plant
Chants Populaires Russes: 10. You, My Beauty
Chants Populaires Russes: 11. Attack Him Then
Chants Populaires Russes: 12. We Have Sung All The Songs
Chants Populaires Russes: 13. Bayou-Bayou (Lullaby)
Chants Populaires Russes: 14. A Gentleman On Horse Back
Chants Populaires Russes: 15. The Well
Chants Populaires Russes: 16. They Came Out, The Young Girls
The Enchanted Lake, Sym Sketch - SO Of The Moscow Conservatory/Leonid Nikolaiev

Average customer rating:

Magic Garden

Manufacturer: Ocean Door
ProductGroup: Music
Binding: Audio CD

General | Children's Music | Styles | Music
ASIN: B000CAASHS
Release Date: 2003-06-03

Average customer rating:

great soundtrack, but lacking satisfaction
Melody of the Dark
Beautiful, Haunting Soundtrack
Beautiful, haunting Japanese music.
Beautiful, haunting soundtrack.

Vampire Princess Miyu

Manufacturer: Tokyopop Pictures
ProductGroup: Music
Binding: Audio CD

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

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General | Vocal Pop | Pop | Styles | Music
ASIN: B00005NGZN
Release Date: 2002-02-05

Tracks:

Heartbeat Of 'Shinma'
Subtitle
Karma
Chase Of The Devil
'Fue' (Melody Of The Dark)
Escape
In Peace
My Friends
I Wanna Meet You
Ice Dust
The Promise
Melody Of Sorrow
Sepia Color Memories
Mystical Power
Rush Act
Ripples
The Death Crystal
Resolution
Shadow Of Evil
Battle Of 'Shinma'
Finish
For The Love Feeling...
'Temariuta'
Sadness Of Lost Love
The Flower Field
Tragedy Of Female Fighter
Waltz Of A Puppeteer
The Wind Of Killer
Tenderness
Distress
Flying Assassin
Decisive Battle
Destiny
Miyu Forever ('Miyu Yachiyo')

Customer Reviews:

great soundtrack, but lacking satisfaction.......2007-05-29

Vampire Princess Miyu is a great show. It has great music too. The music is more background music...to maybe set a mood? but it's not the kind of music you'd listen to with friends. You'd listen to it by yourself. Like the show, the music is depressing. It wouldn't be party music. It has all the vocal songs from the show (which are all in Japanese). If you're the type of person who likes their music loud, this CD isn't for you. If you're the kind of person who likes mellow music to listen to by yourself, this CD may be for you. It's for you to decide.

The price on Amazon for this item at the moment is around $70.00, is the music from that show really worth that much? in my opinion, it's not because i rarely even play the music on this CD.

Melody of the Dark.......2004-05-01

As much as I love and am addicted to Japanese animation in general, one thing I look forward to the most is the music heard throughout the episodes and the original score for "Vampire Princess Miyu" is one of the best I've yet to come across. To be honest I have never heard a more beautiful soundtrack in my entire life! Even before I experienced the OVA's and TV series for this amazing show I bought this gorgeous piece of work on a whim and was absolutely blown away! Before this I wasn't familiar with acclaimed composer Kenji Kawai who is best known for "Ghost in the Shell" but I was more than impressed with the atmospheres he created here so I'll gladly pick up anything I see his name on...

With the exception of a couple vocal performances by Saeko Suzuki on "Miyu Forever", Miki Nagasawa on "Temariuta" and Hiroko Kasahara on "I Wanna Meet You", as well as a few others such as "Chase Of The Devil" which is upbeat but slightly darker in mood for it's used for the battle scenes when Miyu and Larva capture the shinma (demons), most of the songs are less than two minutes in length. However, these lush, melancholy tunes make up for that in quality, and there's plenty of quantity with 34 stunning tracks and over 73 minutes worth of traditional Japanese folk music that will captivate and enchant you, just as it did me.

This is highly recommended!

Beautiful, Haunting Soundtrack.......2004-02-24

How the composer managed to convey the ethereal beauty of Miyu, the complexity of her emotions, or the haunting darkness of her world is beyond me. The CD contains the extended versions of the opening and ending themes of the TV series, which is fantastic. From the first sound of the eerie flute to the rhythmic energy of the Japanese drums, the haunting opening theme is what initially captured my attention while watching the episodes for the first time. It was the primary reason why I purchased the CD-- yes, I thought the theme song alone was worth the price. And I have to say, I'm not disappointed.

There are only three vocal tracks on this CD, tracks 9, 23, and 34. "I wanna meet you" (track 9) is a beautiful song that expresses the nostalgic longing of love. Tenderly sung, it brought unexpected memories of childhood sweethearts and summer days. A very unexpected and pleasant surprise in a series that's known for its dark, gothic themes.

"Temariuta" (track 23) is a haunting counting song more in line with what I expected from the series. The sound of Miyu's voice being echoed by the delicate children's chorus was like hearing the ghosts of the past carrying across the darkness of time. Spooky, but oddly inspiring. Don't ask me how.

While the vocal tracks are very well done, it's the excellent instrumental music that captures the raw emotion of the series. Certainly the opening theme is a good example, and deservedly so, but my favorite is the "Tragedy of Female Fighter" (Track 26). It's short, only two minutes in length, but as another reviewer (Jen L.) had noted about the piece, it perfectly captures the "nostalgia, sorrow, and steely resolve reflecting that of the girl who seeks revenge on the Shinma who murdered her family."

I highly recommend this anime soundtrack to any fan of the series, and especially to those who enjoy listening to instrumental pieces.

Beautiful, haunting Japanese music........2003-02-22

This is some of the best anime music I've heard in a long time. Its haunting with the flute, and beautiful for it shows Miyu's emotions right through. The vocal tracks are extremely good as well. To hear a voice with the intruments (ack, spelling) makes it even more haunting.

Beautiful, haunting soundtrack........2002-04-06

"Temariuta" (track 9) is a haunting counting song more in line with what I expected from the series. The sound of Miyu's voice being echoed by the delicate children's chorus was like hearing the ghosts of the past carrying across the darkness of time. Spooky, but oddly inspiring. Don't ask me how.

I highly recommend this anime soundtrack to any fan of the series. and especially to those who enjoy listening to instrumental pieces.

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