Story So Far

Track Listings

1. Just Yesterday

2. Northern Lights

3. Here To Stay

4. We Ride

5. Kimberly's Theme

6. Midas Touch

7. Backstage

8. Spain (LIVE)

9. Land's End (LIVE)

10. Ten Years Down (LIVE)

Story So Far,Al Reingold,SLI,Contemporary Instrumental,New Age,Pop,Rock

Story So Far

Tracks:

Maggie May
Baby Jane
Some Guys Have All the Luck
Young Turks
Ya Think I'm Sexy?
What Am I Gonna Do (I'm So in Love with You)
Hot Legs
You Wear It Well
Rhythm of My Heart
Downtown Train
Motown Song
This Old Heart of Mine (Is Weak for You) - Ronald Isley, Rod Stewart
Tonight I'm Yours
Ooh La La
I Can't Deny It
It Takes Two - Rod Stewart, Tina Turner
Stay with Me - Faces

Tracks:

Sailing
I Don't Want to Talk About It
Have I Told You Lately That I Love You
First Cut Is the Deepest
You're in My Heart (The Final Acclaim)
All for Love - Bryan Adams, Rod Stewart, Sting
Tonight's the Night (Gonna Be Alright)
Every Beat of My Heart
Tom Traubert's Blues (Waltzing Matilda)
Don't Come Around Here - Helicopter Girl, Rod Stewart
Killing of Georgie, Pts. 1 & 2
Love Touch
I Was Only Joking
Ruby Tuesday
In a Broken Dream - Python Lee Jackson, Rod Stewart
Reason to Believe - Rod Stewart, Ronnie Wood
In My Life

Album Details

Digitally Remastered Double Disc that Synopsizes the Throat's Greatest Vocal Feats from Throughout his Long Career. Includes'the Killing of Georgie Pts One and 2", 'stay with Me', his Biggest European Hit 'sailing' and Even his Recent 'i Can't Deny It'. Deluxe Booklet Includes Lyrics and Rare Unseen Photos.

Customer Reviews:

Excellent overview of Rod's career.......2005-05-21

Double disc set of 34 tracks, digitally remastered. Disc One is titled "A Night Out" and contains uptempo and Rock tracks such as "Maggie May" (complete version), "Rhythm of My Heart", the Faces' classic "Stay With Me", and the playful raunch of "Hot Legs" & "Do Ya Think I'm Sexy".

Disc Two - "A Night In" - focuses on Rod the balladeer with his haunting versions of other peoples' songs: "Sailing" (Gavin Sutherland), "Have I Told You Lately" (Van Morrison), "I Don't Want To Talk About It" (Danny Whitten - Crazy Horse); plus his own compositions such as "The Killing of Georgie Pts 1 & 2" and "You're In my Heart (The Final Acclaim)". Best of all is the hard-to-get Python Lee Jackson classic "In a Broken Dream".

Well worth the money.

A near perfect collection.......2002-06-29

The CD is the absolute best collection of Rod Stewart's hits out there. The only reason this missed a 5 star rating is due to the ommission of five songs: Passion, Infatuation, People Get Ready, Forever Young and My Heart Can't Tell You No. However, all five of these songs can be found on Downtrain Train: Selections From The Storyteller Anthology.

Average customer rating:

Greatest Hits: the Story So Far
Paul Carrack
Manufacturer: Universal
ProductGroup: Music
Binding: Audio CD

Pop Rock | Pop | Styles | Music
Similar Items:

Still Groovin
Paul Carrack - In Concert
Twenty-One Good Reasons: The Paul Carrack Collection
Blue Views
It Ain't Over

ASIN: B000I8OCRG
Release Date: 2006-10-23

Tracks:

How Long
Tempted
I Need You
Silent Running
Don't Shed A Tear
When You Walk In The Room
Living Years
Battlefield
Dedicated
Over My Shoulder
Love Will Keep Us Alive
Eyes Of Blue
Bring It On Home To Me (Duet With Bb King)
Beautiful World
Satisfy My Soul
Groovin'
Anyday Now
Where Did I Go Wrong
It Ain't Over
What A Wonderful World

Album Description

2006 collection by one of Rock and Soul music's finest vocalists. Carrack began his career with Pub Rock band Ace, who scored a massive worldwide hit in the early '70s with 'How Long'. A few years later, he was a member of Squeeze and handled lead vocals for their hit 'Tempted'. He then became a member of Nick Lowe's band, and scored a solo hit with 'I Need You'. Mike & The Mechanics were the next band to use his vocal talents, and he sang their hits 'Silent Running' and 'The Living Years'. Another solo hit followed with 'Don't Shed A Tear'. And the story just keeps going...The compilation features his solo hits as well as tracks from the bands listed above and so much more. Carrack.

Album Details

Digitally Remastered Comprehensive Anthology of Hits the British Singer with One of Most Soulful Voices Ever Recorded Has Laid Down in his Over 35 Year Career. The World First Heard Him on the Hit Single by his Band Ace-"How Long", a Number of Years Later on the Squeeze Hit "Tempted", his Solo Hit "i Need You" and Then Mike plus the Mechanics' "Silent Running".

Average customer rating:

A SOLID RETROSPECTIVE
Pretty good collesction
Not a Well Thought Out CD
Hey Everyone It's Me
The Best of His 1980s Material

The Story So Far
Tony Carey
Manufacturer: Wea International
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | Rock | Styles | Music

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Rock | Imports | Stores | Music
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For You
Planet P Project
1931: Go Out Dancing, Pt. 1
Retrospective: 1982-1999
Tony Carey - I Won't Be Home Tonight

ASIN: B000006XGH
Release Date: 1992-01-01

Tracks:

Fine, Fine Day
Lonely Life
Friends
Live Wire
We Wanna Live
She Moves Like a Dancer
Blue Highway
Bedtime Story [Remix]
Burning Bridges
Somewhere Down the Road

Customer Reviews:

A SOLID RETROSPECTIVE.......2002-12-19

I came across this album while looking for the CD version of Tony Carey's Blue Highway, which is out of print. It caught my eye because all of the songs that I liked on Blue Highway were on this CD. Not only that, but it also included better songs from Some Tough City and it showcased his better work from the soundtrack to Der Joker. As usually happens, music was much more haunting than this film, and most of the imagery of the song was never adequately translated into film. By the same token, Carey could have done more with a song like Friends, great opening, and then he finishes it in a hurry. Bedtime Story was another letdown, since the soundtrack version was a better composition than a remix included on this CD. Songs are well picked, and almost segue one into another, showing continuity of his work throughout the 80's despite many changes in album conceptualization. It is the best retrospective from the artist who had too many re-releases and too few original albums for a man of his talent.

Pretty good collesction.......2002-07-02

This is a pretty good coolection of material from the 80's. The best selections on the cd are Fine, Fine Day, Lonelt Life. I don't like the bedtime story remix as well as the version that's on bedtime story, I wished they would of put keeping the tigers away on it instead of friends(which is a pretty good song. I believe tear down the walls or out of town woman would have been a better selction instead of she moves like a dancer from blue highway cd.

Not a Well Thought Out CD.......2002-03-28

Here is a cd that is, not bad. The recording quality, despite the tracks being taken mostly from "Blue Highway", somehow has lost its quality in the transferance. This cd seems to be a filler in a sense, something put between another to keep fans happy. I can't say I recommend and yet I can't say to a true fan not to because, above all else, the tracks are in a great order, and the songs are the best for the cd. I review and give 3 stars

Hey Everyone It's Me.......2002-03-21

This is a very simple review, if you want the full collection definately buy it, but it only has like 3 new songs, the rest are all on Blue Highway. I have both but only to the fact that I am one of the true fans and must have it all. But this cd is just a chop from Blue Highway. Once again I have to recommend A Fine Fine Day as best greatest hits, the Story So Far cd hits the bottom. Sorry. Thats my story and I'm sticking to it!!

The Best of His 1980s Material.......2001-06-20

The closest Tony got to famous in America was with his Planet P Project albums from 1983 and 1984 that got good rotation on MTV then. Some will recall his work in Rainbow during the late 1970s. American pop music radio then was not in Tony's future after Planet P with the possible exception of "I Won't Be Home Tonight" (sadly not included on this disc). Most of his fans learned of Carey's work then from college radio where his five albums from the 1980s got fairly regular play. He also was embraced then by the music scene in West Germany producing many soundtrack songs for German movies.

This greatest hits package does a great job summarizing his own material up through 1989. There is no Planet P but, each cut is a great choice starting with "A Fine, Fine Day" which did quite well on college radio. The next nine cuts create a relaxing ambiance while not putting you to sleep.

Tracks:

Maggie May
Baby Jane
Some Guys Have All the Luck
Young Turks
Ya Think I'm Sexy?
What Am I Gonna Do (I'm So in Love with You)
Hot Legs
You Wear It Well
Rhythm of My Heart
Downtown Train
Motown Song
This Old Heart of Mine (Is Weak for You) - Ronald Isley, Rod Stewart
Tonight I'm Yours
Ooh La La
I Can't Deny It
It Takes Two - Rod Stewart, Tina Turner
Stay with Me - Faces

Tracks:

Sailing
I Don't Want to Talk About It
Have I Told You Lately That I Love You
First Cut Is the Deepest
You're in My Heart (The Final Acclaim)
All for Love - Bryan Adams, Rod Stewart, Sting
Tonight's the Night (Gonna Be Alright)
Every Beat of My Heart
Tom Traubert's Blues (Waltzing Matilda)
Don't Come Around Here - Helicopter Girl, Rod Stewart
Killing of Georgie, Pts. 1 & 2
Love Touch
I Was Only Joking
Ruby Tuesday
In a Broken Dream - Python Lee Jackson, Rod Stewart
Reason to Believe - Rod Stewart, Ronnie Wood
In My Life

Customer Reviews:

The Story So Far - Rod Stewart - The Very Best Of (2 cd set).......2002-02-02

After reading the ludicrous review of Rod's career, I had to write this review of his latest and greatest. In a similar vain as Atlantic Crossing, with it's Fast and Slow sides these two cd's are labelled 'A Night Out' and 'A Night In'. They cover material from all stages of Rod's illustrious career - a career which has spanned four decades and has seen all of the 'fads' come and go. Rod has stayed current, through the 'early years' of Maggie May, You Wear It Well and Reason to Beleive; through the 'growing years' with Da Ya Think I'm Sexy (the Number One Song of 1979!!!) Hot Legs, Sailing ( a virtual national anthem across the waters and one of only two songs to ever chart twice in the the top 10 in Britain with two seperate releases [the other, for those interested, was David Bowie's Ziggy Stardust]) and Tonight I'm Yours (Don't Hurt Me). They continue with the Rod that most people now know, through hits like Have I told You Lately, All For Love, Every Beat of My Heart,and Downtown Train, to name a few. These dics include other lesser, but equally important and powerful songs, such as Tom Traubert's Blues, Ooh La La and new songs like Don't Come Around Here and I Can't Deny It - what can't be denied is that the wealth of success evidenced in these two cd's (which only scratch the surface of the treasures this singer has given us)cannot be understated. As a live performer he ranks at the top of all singers of all time in Rock 'n Roll - after all of these years he still insures the paying public gets their money's worth and more. As a singer he has both the talent to ferret out songs appropriate to his style and is willing to take chances on lesser known writers. 'Human', his album from last year, captures all of the fire and warmth of early albums like Atlantic Crossing and Never a Dull Moment.
On top of all of that, he is a humanitarian who recognized the plight in Africa long before Live Aid and donated proceeds to the effort there. On Tonight I'm Yours, he dedicates a song to Terry Fox, a young Canadian who lost his leg to cancer and attempted to raise money for Cancer research by running from one coast of Canada to the other, on one good leg and one artificial one. He didn't make it, succumbing to cancer half-way through his trek, but his determination prompted Mr. Stewart to write the absolutely beautiful and touching "Never Give Up On A Dream" and to donate the proceeds to Terry Fox's cause - cancer research.
Don't take my word for it - get out and grab a copy of this 2 cd set - you will not be sorry. It's the type of set that you can listen to over and over again without tiring of it - and best of all, you KNOW all of the songs (okay, maybe 90% the first run through) because, Rod is one of the most played artists on FM in the world. 120,000,000 people can't be wrong (that's the official number of albums he has sold)
ENJOY -

Average customer rating:

Talented Musician!
Zack Hexum.... next best thing to Nick Hexum
AWESOME!!!
Zack has the Hexum touch!
Great music

The Story So Far
Zack Hexum
Manufacturer: Trauma (Red)
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | Jazz | Styles | Music

General | Rock | Styles | Music

Pop Rock | Pop | Styles | Music

4-for-3 Jazz | 4-for-3 Music | Stores | Music

4-for-3 Pop | 4-for-3 Music | Stores | Music

4-for-3 Rock | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
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Sing-A-Longs & Lullabies for the Film Curious George (Jack Johnson)
Sam's Town

ASIN: B00029LNRI
Release Date: 2004-06-15

Tracks:

Met A Girl Like You Once
Sun Still Shines
How Many Times
Simple City
Princess Of Darkness
Spicy Streak
Outside Opinion
All I Want
Rushing Back
Long Distance
One Spin

Customer Reviews:

Talented Musician!.......2006-04-09

I bought this CD the first day it came out and can't wait for more from Zack!! He is such an incredible musician!! His lyrics, voice, and musice are amazing! I'm actually going to see him perform tonight!!

Zack Hexum.... next best thing to Nick Hexum.......2006-03-11

I am a huge 311 fan and when I heard that Nick had a brother that did music also I thought I would check it out, and when I did, I was completely blown away!!!!!! I absolutely can not live without this CD!! It was a great investment, and if you aren't into jazz type music fret not, I wouldn't really concider this jazz really as much as soft rock\easy listening. So check it out!!

AWESOME!!!.......2006-03-02

I ordered my cd I think just 3 or 4 days ago and it is ALREADY here :) It is in perfect condition....thanks so much!!!

Zack has the Hexum touch!.......2006-02-01

When i first heard Zack Hexum i would have to admit that i wasn't all that impressed. But after hearing "Met a girl like you once." A few more times, i couldn't get enough. I then bought the CD and it was everything i thought a Hexum would make. Great lyrics, excellent song writing and very catchy melodies. I think the best song(s) on this album are: "How many times", "One Spine", "Met a girl like you once" and "spicy streak" I really enjoy this cd everytime i put it into my cd player. And what makes it even better, is that i have been a 311 fan since 1995, and being such a huge 311 fan just makes me want to like Nick's bro even more. There is def. a musical talent in the Hexum family. Can anyone else do it like them?

Great music.......2005-04-12

I just spent the entire weekend listening to this disc. It's great. Now why just 4 stars? Good question. Allow me to sum up my opinion. The first song hit me like a breath of fresh air. It definitely wasn't pop. It was whatever the artist wanted it to be. This was the case with every song on the album. Each stood on its own and told a story. Here I found Zack just like Jack Johnson in the fact that he could tell a story in very few and simple words. I loved that fact that all the songs were very relatable, covering situations that are capable of containing a billion words to cover the vastness of the topic, yet Hexum ropes us into the actual emotion in a direct and effortless way using a minimum amount of words. The variety of instruments used is just completely unheard of in today's pop driven world. We normally hear a saxaphone because a fill is needed in the bridge. Zack uses the saxaphone as an actual instrument, one capable of making or breaking the song. The only downfall to the disc is how formulaic it sounds. One verse, one chorus, one verse, one chorus, bridge, chorus, chorus, end. It just seems a little predictable. Other than that this is one top notch album. Is it a must? I'd say yes. I really think people need to break the mold and that is exactly what Zack has done. Job well done on a freshman release. I expect huge things!

Story So Far: Twenty Years of Music to Relax, Uplift & Inspire

Average customer rating:

Story So Far: Twenty Years of Music to Relax, Uplift & Inspire
Various Artists
Manufacturer: New World Music
ProductGroup: Music
Binding: Audio CD

Environmental | New Age | Styles | Music

General | New Age | Styles | Music

Meditation | New Age | Styles | Music

General | Compilations | New Age | Styles | Music

Relaxation | New Age | Styles | Music

Nature | New Age | Styles | Music

General | New Age | Indie Music | Stores | Music
ASIN: B00006LI34
Release Date: 2002-10-29

Tracks:

Temple Journey - Medwyn Goodall
Deer - Stairway
The First Dream - Runestone
Angel Of Healing - Stephen Rhodes
Hold On To Your Dreams - Mike Rowland
Soldier Of Love - Asha
Wisdom - Philip Chapman
Even Wolves Dream - Anthony Miles
At The Gates Of The Citadel - Hossam Ramzy
The Calling - Clifford White
Tranquility One - David Sun
Out Of The Depths - Terry Oldfield
Great Peace - Robert Martin
Prayer - Pia
Carnelian - Llewellyn
Timeless Nature - Stuart Jones
Celebrating Tulan's Birth - John Richardson
Nightfall - Kevin Kendle
Dawn Wind Bird - Patricia Spero
Flaming Star - Sally Oldfield

Average customer rating:

So Far

Manufacturer: Jay
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

General | Soundtracks | Styles | Music

General | Vocal Pop | Pop | Styles | Music
ASIN: B00008GRAY
Release Date: 2002-03-19

Tracks:

The Story Goes On
Frank Mills
A Wonderful Guy
Another Suitcase, Another Hall
Tom
How Lovely To Be A Woman
It Might As Well Be Spring
Just For Tonight
A Change In Me
I Know Him So Well
Nothing
Sooner Or Later
Much More
Maybe This Time
Carbaret

West Coast Redemption: The Jimmy Morello Story...So Far

Average customer rating:

West Coast Redemption: The Jimmy Morello Story...So Far
Jimmy Morello
Manufacturer: Jsp Records
ProductGroup: Music
Binding: Audio CD

General | Blues | Styles | Music

Electric Blues Guitar | Blues | Styles | Music

Modern Blues | Blues | Styles | Music

West Coast Blues | Regional Blues | Blues | Styles | Music

Jump Blues | Blues | Styles | Music
ASIN: B00005N8C3
Release Date: 2001-09-11

Tracks:

Too Much Crime In The City
Silver Spoon
I Got To Know
You Are Gonna Wish I Had Stayed
Hey Brother
I Ain't Doing Nothing Wrong
Back To New Orleans
You Can't Do This To Me
They Call Me Sweet Betty
I Read Your Letter
Put The Blame On Me
Working Stiff
Texas Home
Got You On My Mind
Your Love Is Killing Me
Sugar And Honey
Two Timin' Man

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

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
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Siegfried (Goodall Ring Cycle/Chandos Opera in English)
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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.

For all of its flaws, this is an astonishing and, for me, an indispensible recording because it made me listen to this opera with new ears. While it's not the most lyrically pleasing recording (Karajan) or musically authoritative (that would be Solti, IMHO), dramatically, this Rhinegold excells any recording I know of. I will definitely buy the rest of the set.

Subliminal: The Story So Far
Average customer rating:

all i need is a 3 disc player

Subliminal: The Story So Far
Richard F. , Jose Nunez , and Melvin Moore
Manufacturer: Subliminal
ProductGroup: Music
Binding: Audio CD

General | Dance & DJ | Styles | Music
General | Dance Pop | Dance & DJ | Styles | Music
ASIN: B000063IUR
Release Date: 2002-04-23

Tracks:

Intro - Richard F
Ghetto Tears - Whiplash
It's All Good [Full Intention Mix] - Da Mob
Goodlove [Dronez Mix] - Richard F
Cro-Magnon - Constipated Monkeys
Mas Pito - Mongobonix
Hazin and Phazin - Harry "Choo Choo" Romero
Austin's Groove [Erick Morillo Vocal Mix] - Shawnee Taylor
Whatcha Got to Say - Richard F
Forever, Pt. 2 [Choo Choo and Lace Bambossa Dub] - John "DNR" Alvarez, Sandy Rivera, Shawnee Taylor
Warped - 16th Element
Beats, Vol. 2 [The Cricket Mix] - Harry "Choo Choo" Romero
Way [Harder, Faster, Louder Mix] - Richard F
I'm So Crazy [Dirty Vegas Intermixed with Erick Morillo vs. Who]
Got to Have Your Love [Subliminal Vocal Mix] - Jose Nunez,

Tracks:

Believe [Dronez Mix] - Ministers de La Funk
Love and Devotion [Main Mix] - Don Carlos
I Submit 2 You [2000 MX]
Want Me [Richard F Dub] - Marva King
Sound of Today - Majestic 12, Majestic 12
Bringin the Funk [Bringin the Drums Mix] - CZR
It's in the Nightlife [Big Green Dub] - Richard F
Deep Down [Bizaroid Mix] - Richard Grey,
Thrill Me [Erick Morillo Edit] - Junior Jack
Get Boogie [Main Mix] - Harrison Crump
Big Love [Dronez Remix] - Pete Heller

Tracks:

Keep the Love [Erick Morillo, Todd G, Harry Choo Remero Remix] - Money Chocolate
Song on My Mind
Brasil Over Zurich [B.O.Z. Mongo Bongo Mix] - Tanga Chicks,
Where I'm Going - Static Revenger, Richard "Humpty" Vission
Beats, Vol. 2 [The Cricket Mix] - Harry "Choo Choo" Romero
Funk-A-Tron [Robbie Rivera's Main Mix]
E.T.2.2. - Majestic 12, Majestic 12
Sound of Tomorrow - Majestic 12, Majestic 12
Bahia [Jose Nunez Bahia Vocals Mix] - Mijangos
Oh-J
Last Dance [Erick Morillo's Dub] - Superfunk

Customer Reviews:

all i need is a 3 disc player.......2002-07-30

it just doesn't get any better. I'd stuck mainly to oakenfold and judge jules with some other lesser known names in there as well and took a chance on this one. Wow did that gamble pay off! Up until this album, I've never owned a multidisc set where I liked to listen to ALL of the discs. Those boys as subliminal certainly know how to spin. Trust me, just buy it. You'll thank me later.

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