Wrong Way Up

Track Listings

1. Lay My Love

2. One Word

3. In the Backroom

4. Empty Frame

5. Cordoba

6. Spinning Away

7. Footsteps

8. Been There, Done That

9. Crime in the Desert

10. River

Wrong Way Up,Brian Eno & John Cale,Warner Bros / Wea,Electronic,Experimental,Experimental Rock,Popular Music,Prog-Rock/Art Rock,Proto-Punk,Rock

Wrong Way Up

Tracks:

Lay My Love
One Word
In The Backroom
Empty Frame
Cordoba
Spinning Away
Footsteps
Been There Done That
Crime In The Desert
The River
Grandfather's House*
You Don't Miss Your Water*

Album Description

Recorded at Brian's Wilderness studios, Eno comes close to the style of Another Green World. Cale is as catchy as he's been since Honi Soit. The result is one of the best albums either one has ever made. This long-awaited re-issue has bonus tracks, new artwork, complete lyrics and extended liner notes.

Album Description

Brian Eno and John Cale first collaborated when Eno produced Cale's Words For The Dying, an album that features orchestral settings of Dylan Thomas poems, solo piano pieces, and one quasi-pop song, 'The Soul of Carmen Miranda'. The pair enjoyed that last track so much that Eno ended his 12-year sabbatical from song-based music and, with Cale, quickly wrote and recorded this excellent album of intelligent yet heartfelt pop songs. Unlike most of Eno's collaborations, his ideas don't dominate Wrong Way Up. Vocals and lyrics are split about evenly between Eno and Cale, as exemplified by the hypnotic 'One Word', which features both men simultaneously singing two entirely different sets of lyrics. Two Cale songs are the twin centerpieces, the ominous 'Cordoba' and the surprising and wonderful sing-along 'Been There, Done That', but the album ends with a skeletal Eno masterwork, 'The River' which makes one wish he'd returned to pop music earlier. Quite poppy for the two and very enjoyable, this 2005 reissue was originally released in 1990 & features 12 total tracks including the 2 bonus tracks 'Grandfather's House' & 'You Don't Miss Your Water'. Rykodisc.

Customer Reviews:

4 1/2 Stars: Strong Collaboration.......2007-04-16

Working together for the first time in years, Eno produced John Cale's Words for the Dying in 1989; the following year, Eno found himself unexpectedly inclined to resume singing, and the two collaborated on an album. For all the things a joint effort by the two could have been, it's a small miracle that Wrong Way Up turned out to be an absolutely wonderful pop record, a subversion of Top 40 formulae to the pair's own idiosyncratic (but utterly accessible) ends. Blending Eno's ambience and Cale's classical lyricism, as well as the pair's contrasting voices (and capturing the whole thing in a masterfully subtle studio effort), Wrong Way Up is a marvel, a tuneful and catchy collection whose instant likability belies its highbrow origins (not to mention the partners' reported disharmony, reflected in the cover art's dagger graphics). It's hard to remember when either Cale or Eno has sounded happier or warmer, and their co-writing has an easy, relaxed feel. With the American Southwest surfacing as a repeated theme in such songs as the rollicking "Crime in the Desert" and "The River," variations in the partnership's balance keep the album in constant stylistic motion. "In the Backroom," the irresistible "Been There, Done That" and "Spinning Away" take their cues from three different decades of R&B, while "Lay My Love" and "One Word" follow that same dance-pop arc into the technologized present. Magic. - Steven Grant/Jim Green/Ira Robbins, Trouser Press
_________________________________________________________________________________________________________

The remastered sound is an improvement over the original release and the bonus tracks are fine additions, but not essential. If you are an Eno fan try to find the promo CD put out by Opal/Warner Brothers at the time of this release, titled 'Words and Music from Wrong Way Up'. It's difficult to find but well worth the effort. He discusses each song, as well as his working relationship with John Cale. There are lots of fascinating tidbits and insights, such as how the death of his father and birth of his daughter gave him a different outlook on his life and music. I find myself listening to the promo CD, which also includes six of the songs, more than the official release.

One of the most underrated ever.......2007-01-25

This has to be one of the most surprising, uplifting albums ever made. It's not simple and needs some perseverence but you'll find it very textured and endlessly listenable. It's a true original. Can't recommend it highly enough.

One of my all-time favorites.......2006-12-02

I don't usually buy reissues, but when I saw this one, I had to have it. I bought the original when it first came out and I can truly say it is one of the few recordings that I listen to, year after year.

I normally like to be challenged by a recording - that is, if it is too "instantly likeable", I get tired of it quickly. This recording is definitely an exception to that rule. I remember hearing one of the tracks on radio, turning it up toward the end to hear who the artists were. I went out, bought it and loved it from the first listen. The variety of styles and lyrics (and moods created) conjure up images in my mind that, by the end, make me feel like I've watched a movie, not just listened to a CD. The melodies are catchy, but not "hooky".

The reissue sounds even better.....or maybe I'm just listening more intently. In any case, it's a winner.

John Cale seems to be at his best in collaboration with other artists. Check out "Songs for Drella" (with Lou Reed from 1990). Although totally different from Wrong Side Up, it is a great listen, too.

An all-too-easy to neglect masterpiece.......2006-10-19

I'm somewhat ashamed that I only recently discovered this album for the first time. I've long liked and frequently adored John Cale and always loved Brian Eno, so I can't explain why this collaboration between the two of them didn't grab me when this first came out. My only excuse is that there are only so many hours in the day and so many days in the week. A few gems are always going to slip one by.

This album is somewhat surprising when given the pairing of Eno and Cale. Though neither is always inaccessible and both have at times produced some music that is almost popular in approach, who would have imagined that the two together would have brought out their purest pop tendencies? There is nothing here that smacks of difficult or avant-garde. This isn't Top 40 pop, but it is wonderfully accessible stuff, as if their intent is to delight the most resistant hearer. Not that it is musically simplistic. Far from it. One just has to pay some attention to the wonderfully contrapuntal rhythms interlacing "Spinning Away" to understand that these are masterful musicians. Both performers have done better work than this, but neither has done so frequently. I'd rank this near the best work that either has done. For Cale, I'd put this slightly behind such albums as PARIS 1919, VINTAGE VIOLENCE, HELEN OF TROY, and SLOW DAZZLE, while it is very nearly as good as Eno's four vocal albums (TAKING TIGER MOUNTAIN BY STRATEGY, HERE COME THE WARM JETS, ANOTHER GREEN WORLD, and BEFORE AND AFTER SCIENCE) and his collaboration with David Byrne, MY LIFE IN THE BUSH OF GHOSTS. I can't imagine a fan of Cale or of the vocal work of Eno (some who are exclusively ambient fans may feel differently) not almost instantly adoring this album.

Though a couple of songs go a bit darker than the others (for instance, the wonderful Cale number "Cordoba" or the slow, near-cowboy ballad "The River" that ends the album), for the most part these are bright, upbeat, fast tempo numbers. Almost every song on the disc is at least entertaining, but my three favorites are probably the aforementioned "Cordoba" and "Spinning Away" (which I got on a kick with and must have played thirty times in a row), as well as the song that kicks the album off, "Lay My Love." For those who are unfamiliar with both Brian Eno and John Cale, this provides a wonderful introduction to each, though the music as a whole is more typical of Eno's other work than Cale's. But for those unfamiliar with the disc but not the performers, this will be a wonderful surprise.

an updated review for an updated album.......2006-08-04

I've already posted a review for the original issue of this disc, and I grappled for some time with the thought of purchasing the reissue. In Canada this is not a common cd to find, but upon seeing it being sold on a recent trip to London, I decided to snatch it up. I had no qualms about buying such a wonderful album twice, especially if there were bonus tracks and remastered sound. I must first say the new sound blows away the original cd release, giving me a new appreciation for what I already considered a fantastic album. So whether you're new to this album or have played it to death all the while never getting enough, this re-release is for you. The songs are about as close as clever and catchy music may ever come to each other, making for an album that is both accesible and deep to get into it. As for the questions concerning the bonus tracks, my disc came with the tracks listed by Amazon, unlike the other reviewers here (possibly because they reference the European release for track listings). They are both excellent and a pleasure to listen to, though not an essential addition to the album itself (what else could really make it better, anyways?)

Average customer rating:

Disappointing
The Feel of New York
The next stop once you've heard the originals
Bernstein's New York, it's a wonderful town!
Great CD BUT...

Leonard Bernstein's New York
Leonard Bernstein , Dawn Upshaw , Judy Blazer , Mandy Patinkin , Audra McDonald , Donna Murphy , Richard Muenz , Eric Stern , and Orchestra Of St. Luke's
Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

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How Glory Goes
Happy Songs
Leonard Bernstein's New York / Mandy Patinkin, Dawn Upshaw, Donna Murphy
Experiment
Sings Sondheim

ASIN: B000005J40
Release Date: 1996-08-20

Tracks:

Lonely Town
Come Up To My Place
What A Waste
A Little Bit In Love
Fancy Free: Danzon Variation
Ain't Got No Tears Left
Ballet At The Village Vortex
Wrong Note Rag
Story Of My Life
Cab And Bedroom
One Hand, One Heart
Ya Got Me
A Quiet Girl
Balcony Scene (Tonight)
Lonely Town Pas De Deux
Somewhere
West Side Story: Ballet Sequence From West Side Story
Some Other Time
New York, New York (Finale, Act II)

Amazon.com

Leonard Bernstein's New York is a cornucopia of tongue-in-cheek wit, unabashed romanticism, big-city loneliness, and intellectual irony. His well-known orchestral brilliance is beautifully represented under the stellar conducting of Eric Stern, but his underappreciated talents as a songwriter are what shine, elevating this recording to magic. The cast of American theater's best includes Mandy Patinkin wonderfully indulging his comic side; Judy Blazer and Donna Murphy, the shiniest lights on Broadway, demonstrating their extensive range as singing actresses; Audra McDonald making the difficult sound easy; and Richard Muenz and Dawn Upshaw singing elegantly. Most unforgettably pleasing are the trios "Ya Got Me" and "What A Waste." A great tribute to Bernstein's theater works. --Barbara Eisner Bayer

Customer Reviews:

Disappointing.......2007-03-13

I agree that this is a great collection. But I have to wonder: Am I the only one who got a bum copy of the CD? The songs are all mixed up on my copy, as in, most of the tracks are mislabeled: "A Quiet Girl" is really "Tonight", The Balcony Scene, printed as "Tonight" is really "Somewhere". The list goes on.

So, who do I kvetch to? I'd like a copy that isn't a complete mishmash.

The Feel of New York.......2007-01-09

Having spent most of my working years in NYC, I felt this CD brought the city to me. Bernstein has allways been a favorite.

The next stop once you've heard the originals.......2007-01-09

As a tribute to Bernstein on Broadway, this CD is hard to beat. All the singers are stars but of a generation, ro two, beyond the originals. Naturally here's been a change of style, and these renditions are more knowing, sophisticated, and at times ironic than the originals. On their own, Donna Murphy, Dawn Upshaw, and Mandy Patinkin, among others, are masters of their craft, but I hope anyone who loves LB will also seek out the original cast albums for all of his musicals, or the clesest one can get (On the Town was remade in the Fifties). Those recordings cast a unique spel, but the next stop is this marvelous CD.

Bernstein's New York, it's a wonderful town!.......2002-01-15

And speaking of "Wonderful Town," it's so nice to hear music from this least appreciated of Bernstein's musicals. "What a Waste," "A Quiet Girl" and Audra McDonald's enchanting "A Little Bit in Love" have never sounded better. Donna Murphy burns the house down with the torchy "Ain't Got No Tears Left," and has fun with Patinkin and Blazer on the raucous "Ya Got Me." "One Hand, One Heart" sung by Dawn Upshaw and Richard Muenz is movingly rendered, as is Patinkin's wonderful delivery of an all-time Bernstein favorite, "Some Other Time." My only comlaint? Where is "I Can Cook Too?" A terrific recording.

Great CD BUT..........2000-07-02

I loved this CD, but there was some things that kept it fromgetting four stars. First Mandy Patkin, I loved him in Sunday in The Park With George, also I have a CD of him singing yiddish songs all good, but in this CD I just don't like him. Like in the song "Come Up To My Place" I didn't like his voice and I never could quite see him as the character for that song. Also I would have liked to see (well actually "hear") some more of the dance numbers or overtures, I realize the main point of the CD was all the singers they put together, but the real highlight of the CD for me was the sections from Fancy Free, and Ballet At The Village Vortex from Wonderful Town. Also I liked "One Hand One Heart" a lot. Overall I would get this CD if you like Bernstein or any of these musicals, it is good listen, just not outstanding.

Average customer rating:

A different take...
4 1/2 Stars: Strong Collaboration
chance meeting of pop and art
Beautiful
A record that goes in the wrong direction

Wrong Way Up
Brian Eno & John Cale
Manufacturer: Warner Bros / Wea
ProductGroup: Music
Binding: Audio CD

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Similar Items:

June 1, 1974
Songs for Drella
Nerve Net
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Vintage Violence

ASIN: B000002LNB
Release Date: 1990-10-05

Tracks:

Lay My Love
One Word
In The Backroom
Empty Frame
Cordoba
Spinning Away
Footsteps
Been There Done That
Crime In The Desert
The River

Customer Reviews:

A different take..........2006-12-02

John Cale's okay. I like Eno. This sounds like XTC. I LOVE XTC.

4 1/2 Stars: Strong Collaboration.......2006-05-25

Working together for the first time in years, Eno produced John Cale's Words for the Dying in 1989; the following year, Eno found himself unexpectedly inclined to resume singing, and the two collaborated on an album. For all the things a joint effort by the two could have been, it's a small miracle that Wrong Way Up turned out to be an absolutely wonderful pop record, a subversion of Top 40 formulae to the pair's own idiosyncratic (but utterly accessible) ends. Blending Eno's ambience and Cale's classical lyricism, as well as the pair's contrasting voices (and capturing the whole thing in a masterfully subtle studio effort), Wrong Way Up is a marvel, a tuneful and catchy collection whose instant likability belies its highbrow origins (not to mention the partners' reported disharmony, reflected in the cover art's dagger graphics). It's hard to remember when either Cale or Eno has sounded happier or warmer, and their co-writing has an easy, relaxed feel. With the American Southwest surfacing as a repeated theme in such songs as the rollicking "Crime in the Desert" and "The River," variations in the partnership's balance keep the album in constant stylistic motion. "In the Backroom," the irresistible "Been There, Done That" and "Spinning Away" take their cues from three different decades of R&B, while "Lay My Love" and "One Word" follow that same dance-pop arc into the technologized present. Magic. - Steven Grant/Jim Green/Ira Robbins, Trouser Press

If you are an Eno fan try to find the promo CD put out by Opal/Warner Brothers at the time of this release, titled 'Words and Music from Wrong Way Up'. It's difficult to find but well worth the effort. He discusses each song, as well as his working relationship with John Cale. There are lots of fascinating tidbits and insights, such as how the death of his father and birth of his daughter gave him a different outlook on his life and music. I find myself listening to the promo CD, which also includes six of the songs, more than the official release.

chance meeting of pop and art.......2005-11-27

I don't know what I can possibly say about this album that other reviewers haven't already touched upon, but I felt compelled to add my voice to the chorus of praise anyways. This is an album that will not stop growing on you; an album that is highly enjoyable to both eno/cale fanatics, and their uninitiated parents, lovers, and friends. It is just a delight to listen to, and seems to reveal new elements of itself to the listener upon every playing. I don't have the remaster, but I've heard that the bonus tracks aren't quite up to the same standard as the others. Either way, get this album, and get to know it through repeated listening. It's like a bag of prizes with a hidden cracker jack.

Beautiful.......2005-08-06

I'm sorry. The negative reviews, especially those by fans of Eno and Cale, are deeply misguided. This album contains some of the most beatific vocal tracks Brian Eno has ever recorded and Cale's work is sublime. Just beautiful. If you have an open line to your heart you will enjoy every track.

A record that goes in the wrong direction.......2004-11-20

Before I say my piece I must say that I am a big fan of Brian Eno. Not only his work as a producer, but his work as an artist as well. I dare say that some of his records (Before and After Science, Here Come the Warm Jets, etc.) are just as good, if not better, than some of the records for other bands that he has produced. But that is not the case on Wrong Way Up. In fact if I were to make a list of the worst records I have ever owned this may even make it to the number one spot. I could go on and on describing why I don't like it (boring songs, no melody, unenthusiastic vocals, etc.) but then I would have to write a novel and waste more time than this atrocious record possibly could. Do not be deceived that because this is a collaboration between two talented people that the product is good. It is not! If you want to waste your money than gamble, at least their is a chance you will get something out of it (unlike this record).

Average customer rating:

4 1/2 Stars: Strong Collaboration
Unparalled genius
the pinnacle of pop
SIMPLY LOVELY
Oops

Wrong Way Up
Brian Eno & John Cale
Manufacturer: United States Dist
ProductGroup: Music
Binding: Audio CD

Proto Punk | Hardcore & Punk | Alternative Rock | Styles | Music

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ASIN: B0000AM6L9
Release Date: 2003-09-23

Tracks:

Lay My Love
One Word
In the Backroom
Empty Frame
Cordoba
Spinning Away
Footsteps
Been There, Done That
Crime in the Desert
River

Customer Reviews:

4 1/2 Stars: Strong Collaboration.......2006-05-25

Working together for the first time in years, Eno produced John Cale's Words for the Dying in 1989; the following year, Eno found himself unexpectedly inclined to resume singing, and the two collaborated on an album. For all the things a joint effort by the two could have been, it's a small miracle that Wrong Way Up turned out to be an absolutely wonderful pop record, a subversion of Top 40 formulae to the pair's own idiosyncratic (but utterly accessible) ends. Blending Eno's ambience and Cale's classical lyricism, as well as the pair's contrasting voices (and capturing the whole thing in a masterfully subtle studio effort), Wrong Way Up is a marvel, a tuneful and catchy collection whose instant likability belies its highbrow origins (not to mention the partners' reported disharmony, reflected in the cover art's dagger graphics). It's hard to remember when either Cale or Eno has sounded happier or warmer, and their co-writing has an easy, relaxed feel. With the American Southwest surfacing as a repeated theme in such songs as the rollicking "Crime in the Desert" and "The River," variations in the partnership's balance keep the album in constant stylistic motion. "In the Backroom," the irresistible "Been There, Done That" and "Spinning Away" take their cues from three different decades of R&B, while "Lay My Love" and "One Word" follow that same dance-pop arc into the technologized present. Magic. - Steven Grant/Jim Green/Ira Robbins, Trouser Press

If you are an Eno fan try to find the promo CD put out by Opal/Warner Brothers at the time of this release, titled 'Words and Music from Wrong Way Up'. It's difficult to find but well worth the effort. He discusses each song, as well as his working relationship with John Cale. There are lots of fascinating tidbits and insights, such as how the death of his father and birth of his daughter gave him a different outlook on his life and music. I find myself listening to the promo CD, which also includes six of the songs, more than the official release.

Unparalled genius.......2004-11-11

That about sums it up. If you don't find this music satisfying at the very least and spiritually fulfilling at the other end of the spectrum, perhaps you're just too f!cking stupid to exist, to put it bluntly.

This is the kind of music you'd want to tote along if you were able to bring anything with you to the afterlife. Brian Eno is a genius. If you don't find something of value in this music, something is very wrong with you. Seek help. I mean, hell, this isn't "An Index Of Metals" or another piece you've gotta work to get into -- this is 100% accessible. You cannot go wrong with this album. You've GOTTA hear it. Trust me.

the pinnacle of pop.......2004-04-16

2 guys who know the formula toooo well for their own good. its seriously flawless, in a ridiculous sort of way.

SIMPLY LOVELY.......2004-04-09

Each song is an inspiration. Anyone who has breathed and lived heartache can feel the beauty of Cordoba. Lay My Love, One Word, and Spinning Away are pop perfections. The River shows one inner peace. Buy it.

Oops.......2004-03-25

I wrote the first review here and have since learned that I really have to listen more before distinguishing whose song is whose.

An Introduction to Schubert's Piano Quintet "Trout"

Average customer rating:

An Introduction to Schubert's Piano Quintet "Trout"

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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ASIN: B000076FX6
Release Date: 2003-01-21

Average customer rating:

Sounds of the Eighties: 1986
Various Artists Addicted To Love - Robert Palmer/Everybody Have Fun Tonight - Wang Chung/Don't Get Me Wrong - Pretenders/Sara - Starship/So Far Away - Dire Straits/Rock Me Amadeus - Falco , Talk To Me - Stevie Nicks/Invisible Touch - Genesis/Glory Of Love - Peter Cetera/Walk This Way - Run-D.M.C./Word Up - Cameo , The Future's So Bright I Gotta Wear Shades - Timbuk 3/Venus - Bananarama/Mad About You - Belinda Carlisle/Kyrie - Mr. Mister , and Burning Heart - Survivor/Life In A Northern Town - Dream Academy/No One Is To Blame - Howard Jones
Manufacturer: Warner Special Products
ProductGroup: Music
Binding: Audio CD

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ASIN: B000NPKEU8

Product Description

R988-04 (Warner Special Products OPCD-2730) - Sounds of the Eighties: 1986 - Various Artists [1994] All tracks stereo. Addicted To Love - Robert Palmer/Everybody Have Fun Tonight - Wang Chung/Don't Get Me Wrong - Pretenders/Sara - Starship/So Far Away - Dire Straits/Rock Me Amadeus - Falco/Talk To Me - Stevie Nicks/Invisible Touch - Genesis/Glory Of Love - Peter Cetera/Walk This Way - Run-D.M.C./Word Up - Cameo/The Future's So Bright I Gotta Wear Shades - Timbuk 3/Venus - Bananarama/Mad About You - Belinda Carlisle/Kyrie - Mr. Mister/Burning Heart - Survivor/Life In A Northern Town - Dream Academy/No One Is To Blame - Howard Jones

Average customer rating:

A Rose By Any Other Name...
"Thus I salute the stronghold, safe from dread and dismay!
Free at last!
I Love This Recording
The Goodall Ring - 1975 - Restored and Remastered

Wagner: The Rhinegold
English National Opera
Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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

ASIN: B00005B550
Release Date: 2001-05-22

Customer Reviews:

A Rose By Any Other Name..........2007-07-02

The figure of speach may not be completely correct in this instance, but, well, I hope you get the point. In any case, for a Dutch speaking person, like I, to hear 'The Ring' in a language other than the original German feels - almost shockingly(?) - natural. Certainly, this modern English translation, to me, is as least immediate, and probably even more immediate, than the original (archaic) German text. And in music drama, immediacy is essential. Maybe it is also the wonderfully natural translation, I don't know, but it works for me, the Ring in English.
But most of the credit has to go to the music, the singers, and the recording as such. I believe that this (originally analogue) remastered recording has one of the best recorded sounds and acoustics of any Ring, studio or 'live'. It is wonderfully clear but warm, kind of velvety (very unlike Solti), with beautifully natural balaces between voices and orchestra. Audience noises can be heard (including a delightful little ripple of laughter) but never really obtrusively so, thankfully. And I love the thunderclap-sound effect when Donner strikes his hammer against the rocks - very tastefully done, and lending extra power to the scene.
All the time one reads in reviews everywhere of the very slow speads at which the music is conducted by Sir Reginald Goodall. Well, that may be so, but I, for one, am certainly endeared to Sir Reginald Goodalls 'caressing' of the music, as a result of which wich the Leitmotifs come out more clearly than ever. The slow - but nonetheless very concentrated, and always involved - playing has, to me, an almost mesmerizing effect. Certainly, compared to many other recordings, the music may sound stretched almost beyond breaking point. But in the end, I think it is really just that: a matter of speed, no more. The concentration never falters and the dramatic arc never saggs. There is live 'music magic' going on here, I feel, even if the English National Opera Orchestra may not be (as precise or as diciplined as) a Wiener Philharmoniker or a Bayreuther Festspielorchester. Certainly, Sir Reginald Goodall must have loved this music and these opera's: one feels a slowly beating but constant loving pulse that energizes the drama and the music.
But we also have the singers. And what a great singers! While the best may be yet to come (with Alberto Remedios as Siegmund and Siegfried, and Rita Hunter as Brunnhilde), we here, in The Rhinegold, already have one of the most commanding of Wotans (Norman Bailey, with wonderful burnished timbre). Also, Emile Belcourt stands out as a wonderfully sleek but full-voiced Loge. Derek Hammond-Stroud's Alberich may not be as black as Gunther von Kannen's (for Barenboim), for example, but there is enough anguish, frustration and anger to lend his character a convincing reality and depth. And the giants too, are a winning pair. Especially Fafner (Clifford Grant) is as imposing and powerful as one may ever wish.
With all the rave reviews, here and elsewhere I can't wait to hear The Valkyrie, (especially) Siegfried and Twilight of the Gods. This certainly is a winning 'Ring', to be kept alongside any other 'great' recorded 'Ring' out there, IMHO. To me, it can hold its own alongside any other favorite recordings.
Please, sample this Ring (try for example the Chandos website for fragments of all of the music) and decide for yourself. Highly recommended.

"Thus I salute the stronghold, safe from dread and dismay!.......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 Valkyrie (Part 2): Wagner: The Valkyrie
-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)

Free at last!.......2004-09-18

I've enjoyed listening to the Ring cycles by Solti, Bohm, and Furtwangler, but my pleasure has always been dampened by the necessity to follow the dramas with a German/English libretto. This performance freed me from that burden and allowed me to listen to the Ring with my ears alone for the first time. And what a delightful experience it was! I found I could understand about half the words the first time through. but that was enough for me to understand what the characters were saying and concentrate on Wagner's great music. Some of the characters (Loge and Alberich, for example) are almost perfectly comprehensible, while others (Fricka in particular) might as well be singing in German. The sound itself is superb, with perfect balances between orchestra and voices. Goodall's conducting is famously slow (about half an hour longer than usual), but he is never slack and he reveals a wealth of detail in the orchestration. The singers are a mixed lot, with Loge, Alberich, and Mime particularly effective. Bailey is hardly the grandest of Wotans, but he is solid and convincing. In any event, for us non-German listeners, this recording is a real treat. I would not recommend it as a first Ring (Bohm is a good choice, though some of his tempi are rather hectic), but as a supplement to a recoding in the original language, it is hard to beat. Give it a try! As for me, I'm ready to go on to "Die Walkure" (pardon me, "The Valkyrie").

I Love This Recording.......2002-04-05

I was a little suspicious when approaching this English-language version of Das Rhinegold. I was considering assembling this as my third RING set (behind Solti and Levine) and had listened to THE VALKYRIE (Die Walkure) with a little initial disappointment. Although the live sound quality was very interesting, the tempo was much slower than I was used to and thus a little disconcerting, and the English words were harder to understand than I had hoped. Nevertheless, I persevered and listended to THE RHINEGOLD (probably my favorite of the four RING operas, although I know this puts me in a minority) and was amazed. Best of all, after listening to this album I revisited the Goodall VALKYRIE and discovered a new appreciation! Now the Goodall set ranks as one of the best I've heard. It just needed to get under my skin a bit.

What's so good about it? Three things stand out for me: First, the slow tempi that were a litle rough at first actually allow, upon repeated listenings, a new discovery and understanding of Wagner's unfathomable genius. Every nuance is slowed down just enough to be fully accessible. Second, the modern English translation really does make this a different experience...my initial mistake was thinking that English lyrics could allow me to listen to this as background music, and that's not the case. However, if one devotes the same attention to this as a German recording, the time wil be richly rewarded. Finally, the smaller orchestra creates an almost chamber music-esque setting, which compliments the music in an undefinable way. Despite being in English, this is almost more Germanic than original-language recordings.

I still probably wouldn't get this as the first foray into Wagner's RING (I still think Solti or Levine are the choices for that). But for someone who already has some familiarity with the work, this will provide a lifetime's enjoyment. Cudos to Chandos for resurrecting these recordings!

The Goodall Ring - 1975 - Restored and Remastered.......2001-06-08

I have been curious about this for years. When I saw the packaging, I wondered whether this was the same Ring that has been kicking around for a couple of decades from the Sadler's Wells performances of the mid-70s. News flash: It's the same. However, the box says that it's been re-mastered with something called 24-bit digital mastering. Since I never heard the old records, I have no idea if this is better. Judged on its own, the sound is terrific. This live recording really places the listener in the theater with clarity and authentic spaciousness. So often, a live recording will capture the audience up close, then the orchestra, then the singers, cataloguing every throat being cleared and every bow being tapped. Somewhere in the distance, the singers voices follow their heavy tread over the stage. Not here. There is an intimacy to the sound here that approximates sitting in about the tenth row back in a large hall. It doesn't sound like the opera's being played in your room; it sounds as though your room has been transformed into a medium sized theater. I found it uncanny.

As to the experience of the drama in English, that too is remarkable, at least for someone like me whose home-tongue is English. The drama takes on an immediacy that I have never experienced before. This factor alone is why you should explore this Ring. I can't overemphasize the impact on me that this recording had on me because it was in English and because it was well-acted. Surely this is what Wagner meant, at least dramaturgically (obviously allowing that you can't actually see the action).

Overall, the singing is competent, and in some places, it's excellent. None of the cast really stands out musically. Norman Bailey's wobbly Wotan could have certainly benefitted from a deeper, richer tone. Still, and perhaps more importantly, he creates a god who is clearly unsure of where the moral highground is, even when he's standing on "an open space on a mountain summit." Everyone, for that matter, is dramatically convincing, especially Emile Belcourt (Loge) and Derek Hammond-Stroud (Alberich) and Robert Lloyd (Fasolt), all of whom, by the way, have excellent diction. And speaking of diction, I almost could have done without the libretto when the men were singing. Not so with the women, whose diction was uniformly wanting.

Goodall's pace is notoriously glacial. Still, it's interesting to hear it parsed in this way, and I never had the feeling that I was going to fall off the world. Which is to say that the tempos were deliberate, not affected. This was definitely a labor of love for RG and the English National Opera. The orchestra is a little thin sounding, and perhaps, not entirely up to the score. Occasionally a horn mis-blew and a cello creaked. This is unavoidable in live performances, I suppose. Still, there is a surprising sense of smallness to the ensemble, even though there's never a moment when the balance between singers and players is lost. As a result, the overall effect is a balance of clarity and urgency that is clearly the upside of Goodall's idiosyncratic "vision" of the score. Not a huge or "erotic" sound, but always committed, intelligent, and sometimes impassioned.

Tracks:

Anchors Aweigh-(All Of A Sudden) My Heart Sings - Kathryn Grayson
Let's Fall In Love-Bread And Butter Woman - Danny Kaye/The Andrews Sisters
Big City-Ok'l Baby Dok'l - Betty Garrett
Golden Earrings-Golden Earring - Jack Fina
If Winter Comes-If Winter Comes - Johnnie Johnston
Road To Rio-You Don't Have To Know The Language - Bing Crosby/The Andrews Sisters
Casbah-It Was Written In The Stars - Art Lund
Anchors Aweigh-The King Who Couldn't Dance/The Worry Song - Gene Kelly
The Kissing Bandit-What's Wrong With Me - Kathryn Grayson
Fun And Fancy Free-Lazy Countryside - Johnnie Johnston
Easter Parade-It Only Happens When I Dance With You - Art Lund
The Kissing Bandit-Love Is Where You Find It - Kathryn Grayson
Hit The Deck-Sometimes I'm Happy - Lena Horne
Going My Way-Swinging On A Star - Bing Crosby
Can't Help Singing-Any Moment Now - Deanna Durbin
Secret Life Of Walter Mitty-Anatole Of Paris - Danny Kaye
Strike Up The Band-Our Love Affair - Judy Garland
Voice Of The Stars - Gracie Fields/Charles Laughton/Leslie Henson/Albert Burdon/Evelyn Laye/Stanley Lupino...
British Film Festival Of 1946-Scene From Notable British Pictures Of The War - Leslie Mitchell/Stanley Holloway/Raymond Huntley/Hugh Burdon/Michael Redgrave/Roasamund John....

Average customer rating:

The RIGHT Marianne
a new pop star
Very strong pop CD

The Wrong Marianne
Marianne Pillsbury
Manufacturer: Average White Girl Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B0001LS30W
Release Date: 2004-02-03

Tracks:

Supersize
Layaway Girlfriend
Unintentional
Boo Hoo
Sweet & Sour World
Swallow A Fly
Ex-Ex-Boyfriend
Sweater
4-Year Coma
Objects in the Mirror
The Wrong Marianne

Customer Reviews:

The RIGHT Marianne.......2005-11-21

This is quite simply an amazing indie pop album.

The tunes are really catchy while the lyrics are biting and hilarious. My favorite song is Boo Hoo, which could be an anthem for this disillusioned generation in its irony, humor, and odd mix of cynicism and hope.

If you like any kind of chick rock, ranging anywhere from Liz Phair to the Bangles, I think you'll love this album.

a new pop star.......2005-11-21

This is the perfect album to play when you have a broken heart and a bottle of wine on a gloomy night or equally when you're driving with the top down on a sunny day. It lifts my spirits when I'm blue and is a great fun for singing along when all is right in the world. The lyrics will grab you... and they won't let go.

Marianne Pillsbury is a new star on the pop star horizon but she's not a typical, manufactured flash-in-the-pan like so many of the latest pop singers. Mainly because she wrote the witty lyrics and catchy tunes to tell the stories we all know -not because we have heard them but because we have lived them.

Very strong pop CD.......2004-03-08

The music is fun, punky pop/rock and Pillsbury's lyrics are intelligent and witty. The instrumentation is well arranged and well performed and matches the whimsical nature of the lyrics very well.
I could weigh in with my opinions of why each song is great, but I'll leave that up to you. Go ahead and buy it, you won't regret it.
"The Wrong Marianne" sounds like a summer CD to me. One that will be cranked in our backyard in a sharing gesture to the neighborhood this summer.
(read full review at collectedsounds.com)

Average customer rating:

A different take...
4 1/2 Stars: Strong Collaboration
chance meeting of pop and art
Beautiful
A record that goes in the wrong direction

Wrong Way Up
Brian Eno & John Cale
Manufacturer: All Saints UK
ProductGroup: Music
Binding: Audio CD

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June 1, 1974
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ASIN: B0000242KG
Release Date: 2003-01-01

Tracks:

Lay My Love
One Word
In the Backroom
Empty Frame
Cordoba
Spinning Away
Footsteps
Been There, Done That
Crime in the Desert
River

Customer Reviews:

A different take..........2006-12-02

John Cale's okay. I like Eno. This sounds like XTC. I LOVE XTC.

4 1/2 Stars: Strong Collaboration.......2006-05-25

Working together for the first time in years, Eno produced John Cale's Words for the Dying in 1989; the following year, Eno found himself unexpectedly inclined to resume singing, and the two collaborated on an album. For all the things a joint effort by the two could have been, it's a small miracle that Wrong Way Up turned out to be an absolutely wonderful pop record, a subversion of Top 40 formulae to the pair's own idiosyncratic (but utterly accessible) ends. Blending Eno's ambience and Cale's classical lyricism, as well as the pair's contrasting voices (and capturing the whole thing in a masterfully subtle studio effort), Wrong Way Up is a marvel, a tuneful and catchy collection whose instant likability belies its highbrow origins (not to mention the partners' reported disharmony, reflected in the cover art's dagger graphics). It's hard to remember when either Cale or Eno has sounded happier or warmer, and their co-writing has an easy, relaxed feel. With the American Southwest surfacing as a repeated theme in such songs as the rollicking "Crime in the Desert" and "The River," variations in the partnership's balance keep the album in constant stylistic motion. "In the Backroom," the irresistible "Been There, Done That" and "Spinning Away" take their cues from three different decades of R&B, while "Lay My Love" and "One Word" follow that same dance-pop arc into the technologized present. Magic. - Steven Grant/Jim Green/Ira Robbins, Trouser Press

If you are an Eno fan try to find the promo CD put out by Opal/Warner Brothers at the time of this release, titled 'Words and Music from Wrong Way Up'. It's difficult to find but well worth the effort. He discusses each song, as well as his working relationship with John Cale. There are lots of fascinating tidbits and insights, such as how the death of his father and birth of his daughter gave him a different outlook on his life and music. I find myself listening to the promo CD, which also includes six of the songs, more than the official release.

chance meeting of pop and art.......2005-11-27

Beautiful.......2005-08-06

A record that goes in the wrong direction.......2004-11-20

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