Return of the G [Import]

Track Listings

1. Memiceifandi

2. Genie In A Bottle

3. Paradise Jam

4. Blues Master

5. Feel Alright

6. Dr. Superlove

7. Chill It Up

8. Spot On My Rocket

Return of the G,Geno Washington,Voiceprint/Kookooland,R&B/Soul

Tracks:

Sarabande [From Barry Lyndon]
Main Theme [From Midnight Cowboy]
Promenade Sentimentale [From Dive] - Mark Ayres
May It Be [From the Lord of the Rings: The Fellowship of the]
Women of Ireland [From Barry Lyndon]
Adagio for Strings & Organ [From Gallipoli [
Romeo/Love Theme [From Romeo & Juliet)
Balcony Scene [From Romeo + Juliet]
Main Theme [From Chariots of Fire] - Mark Ayres
Main Theme [From Bilitis] - Mark Ayres
Main Theme [From Merry Christmas Mr. Lawrence] - Mark Ayres
Main Theme [From Cinema Paradiso]
Main Theme [From Once Upon A Time in the West]
Deborah's Theme [From Once Upon A Time in America]
Suite: The Mission/Gabriel's Oboe/On Earth as It Is in Heaven ... - City of Prague Philharmonic Orchestra, Crouch End Festival Chorus

Tracks:

Suite: Mountains and Sunsets/The Wedding/You Only Live Twice [From You
Heart Asks Pleasure First [From The Piano]
Agnus Dei [From Platoon] - Crouch End Festival Chorus
Vide Cor Meum [From Hannibal]
Adagietto from Symphony No. 5 [From DeAth in Venice]
Any Other Name/Dead Already [from American Beauty] - Rick Clark,
Into the West [From the Lord of the Rings: Return of the King]
Where Dreams Are Made [From Artificial Intelligence]
Main Theme [From Somewhere in Time]
We Have All the Time in the World [From on Her Majesty's Secret ...]
Electronic Battlefield [From Patriot Games]
Now We Are Free [From Gladiator]
Intermezzo from Cavalleria Rusticana [From Raging Bull]
Cavatina [From the DeErhunter]
Main Theme [From Out of Africa]

Customer Reviews:

"cinema's main stay themes prevail ~ City of Prague".......2004-08-15

What a crowning achievement to bring "Reel Chill:Cinematic Chillout Album", released by Silva America and featuring The City of Prague Philharmonic Orchestra and the Crouch End Festival Chorus ~ conductors are Mark Ayres, Paul Bateman, Rick Clark, James Fitzpatrick, Nic Raine and David Temple director of the chorus ~ one can only expect the highest quality of performances and quench the thirst of all "film-score-buffs".

Sit back and unleash the first disc with composers ~ Albinoni, Craig Armstrong, John Barry, Vladimir Cosma, Enya & Nicky Ryan, Handel, Francis Lai, Ennio Morricone, Sean O'Riorda, Nino Rota, Ryvichi Sakamoto and Vangelis ~ taking each film score cue "BILITIS", "CHARIOTS OF FIRE", "CINEMA PARADISO", "DIVA", "GALLIPOLI", "THE LORD OF THE RINGS:THE FELLOWSHIP OF THE RING", "BARRY LYNDON", "MERRY CHRISTMAS MR. LAWRENCE", "MIDNIGHT COWBOY", "THE MISSION", "ONCE UPON A TIME IN AMERICA", "ONCE UPON A TIME IN THE WEST", "ROMEO & JULIET" and "ROMEO + JULIET", with arrangements that soar and then simmer into pure meditation of grandeur ~ classic film music prevails, as orchestration comes to the surface with pure originality ~ one masterpiece after another is long last presented as it should have been, is cause for celebration ~ each cue is a distinctive gift for striking modernism, touching on the transition of the period in this planets history.

Second disc is waiting in the wings are composers ~ Samuel Barber, John Barry, Patrick Cassidy, James Horner, Mahler, Mascagni, Stanley Myers, Thomas Newman, Michael Nyman, Howard Shore, John Williams and Hans Zimmer/Lisa Gerrard ~ take a musical ride with "AMERICAN BEAUTY", "A.I. ARTIFICAL INTELLIGENCE", "DEATH IN VENICE", "DEER HUNTER", "GLADIATOR", "HANNIBAL", "THE LORD OF THE RINGS:RETURN OF THE KING", "ON HER MAJESTY'S SECRET SERVICE", "OUT OF AFRICA", "PATRIOT GAMES", "THE PIANO", "PLATOON", "RAGING BULL", "SOMEWHERE IN TIME" and "YOU ONLY LIVE TWICE" ~ our composers with passion and skill for exploring human emotions, coupled with a unique gift for striking exotic orchestral colors, make this with all it's splendor unforgettable ~ themes that ring with familiarity as each film comes to mind through music.

Silva America gives the collector a treasure of thirty film cues that any "film-score-buff" would die for ~ in the past James Fitzpatrick (producer), Reynold da Silva (executive producer), mastered by Rick Clark and David Stoner (release co-ordinator) have given us compilation with such expertise and this one is no exception ~ keep up the outstanding limited editions and deluxe package releases, with your signature tidbits for all film music fans that's in all of us...gotta love it!

Total Time: 2-CD-Set ~ Silva America 1161 ~ (8/10/2004)

G-Unit Radio 13: Return of the Mixtape Millionaire

Average customer rating:

G-Unit Radio 13: Return of the Mixtape Millionaire
50 Cent , and DJ Whoo Kid
Manufacturer: Thurd Wurld Entertainment
ProductGroup: Music
Binding: Audio CD

East Coast | Rap & Hip-Hop | Styles | Music

Gangsta & Hardcore | Rap & Hip-Hop | Styles | Music

General | Rap & Hip-Hop | Styles | Music

Pop Rap | Rap & Hip-Hop | Styles | Music

All Eyez on Us G-Unit Radio Pt 5
Hip Hop Is Dead: G-Unit Radio Pt 22
Motion Picture Sh*T G Unit Radio 6
Fifth Element G-Unit Pt 8
Buck The World

ASIN: B000NO1ZB6
Release Date: 2007-03-20

Tracks:

Get Rich or Die Trying
Samuel L. Jackson Intro
300 Shots (DJ Whoo Kid feat 50 Cent, Lloyd Banks, Tony Yayo, Young Buck, MOP, Mase & MOP)
We Don t Give A Fuck About You (Tony Yayo feat 50 Cent, Lloyd Banks, & Olivia)
50 Cent & Mase Interlude
Return Of The Murda (DJ Whoo Kid feat Mase Murda)
They Takin Pictures (Young Buck)
MOP (Lil Fame (MOP)
So Seductive - LIVE in Atlanta for Massacre Tour (Tony Yayo feat 50 Cent, Lloyd Banks & Young Buck)
Glitter N Glass ( Mobb Deep)
We Run This (Lloyd Banks feat Tony Yayo)
Brooklyn NYG (MOP)
G-Code (Spyda Loc)
Be Dead [produced by Red Spyda & Whoo Kid] (Prodigy feat Tony Yayo)
Niggas Gonna Kill Me (Lloyd Banks)
Shorty Wanna Gansta Nigga (Young Buck feat Tony Yayo)
G-Unit LIVE in St Louis- Massacre Tour Outro (50 Cent)
Whoo Kid Xtra
Guns Come Out - LIVE in Los Angeles (50 Cent)
G-Unit Radio Saturdays (Sirius SHADE 45)
Godfrey, Gentrification, Gomez Bros

Product Description

DJ Whoo Kid and 50 Cent are back at it again on what might be the craziest G-Unit Radio in the catalog. With newly acquired G-Unit members Mobb Deep, M.O.P. and Murda Mase joining Tony Yayo, Lloyd Banks, Young Buck, Spyda Loc & Olivia, the entire crew celebrates The Massacre World Tour with the lucky 13 edition of the world s most popular mixtape. The Return of the Mixtape Millionaire.

Average customer rating:

home boy
DA LIFE TELLA
ESG slowed up a little for this one
ESG slowed up a little for this one

Return of the Living Dead
E.S.G.
Manufacturer: Blackhearted
ProductGroup: Music
Binding: Audio CD

General | Soul | R&B | Styles | Music

Gangsta & Hardcore | Rap & Hip-Hop | Styles | Music

General | Rap & Hip-Hop | Styles | Music

Southern Rap | Rap & Hip-Hop | Styles | Music

Pop Rap | Rap & Hip-Hop | Styles | Music
Similar Items:

The Bloody City
We Bubblin'
Saucy World
No Pain No Gain
Ghostt

ASIN: B000006CHB
Release Date: 1998-02-24

Tracks:

Ear To The street
Return Of The Living Dead
Drop It Off
Snitch
Caught Up
Jail Cell Tales
Can't Forget
South Coast On Clock
Gotta Do What I Gotta Do
Dope Game 2000
Don't Touch My Car
Lady Indo
Gs & Jackas
Felony
Turn Me Loose
I Luv Niggaz
Throw Ya Side Up
I Know I Should Change

Customer Reviews:

home boy.......2003-04-04

I haven't heard much underground stuff lately because I'm in the military but growing up with Snapper as we called him back then I know he has a lot of talent. Big props to a homey from Bogalusa,LA. Snapper keep holding it down. No matter what you and Bucky are still cool with me. LOL. My sister who lives out in Irving,TX keeps me up on music and she says you are holding it down out there. No doubt, represent.

DA LIFE TELLA.......2002-04-11

I'VE BEEN A FAN OF ESG SINCE 94 WHEN HE DROPPED OCEAN OF FUNK. THIS CD TELL YOU MORE ABOUT HIM . I LIKE THE WAY HE'S RAPPING AND EVERYTHING. IF YOU DO NOT HAVE THIS CD YOU NEED TO GO AND GET IT. I PROMISE YOU WILL LOVE IT.

ESG slowed up a little for this one.......2000-07-15

This is ESG'S 3rd album to drop he has been around on the local texas rap scene for yeas on dj screw local mix tapes. Although ths is probally my least favorite of his albums it is sill a very good lp he put alot of work into it. support the underground king and pick it up.

ESG slowed up a little for this one.......2000-07-15

Horowitz: The Historic Return Carnegie Hall 1965; The 1966 Concerts

Average customer rating:

How Live is Live?
A gigantic recording
Beautiful piano playing
A MONUMENT
One of the great piano recordings of all time

Horowitz: The Historic Return Carnegie Hall 1965; The 1966 Concerts

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

Toccatas | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Vladimir Horowitz, The Complete Masterworks Recordings 1962-1973, Volume VII: Early Romantics
Vladimir Horowitz, Complete Masterworks Recordings 1962-1973, Vol. I: The Studio Recordings 1962-63
The Complete Masterworks Recordings, Vol. 4: The Legendary 1968 TV Concert
Liszt: Sonata, Ballades and Polonaises
Holst: The Planets; Grainger: The Warriors

ASIN: B00000290C
Release Date: 1994-06-14

Tracks:

Toccata, Adagio And Fugue In C Major, BWV 564: I. Preludio, quasi improvvisando. Tempo moderato
Toccata, Adagio And Fugue In C Major, BWV 564: II. Intermezzo. Adagio
Toccata, Adagio And Fugue In C Major, BWV 564: III. Fuga. Moderamente sherzando, un poco umoristico
Fantasie In C Major, Op.17: I. Durchaus phantastisch und ....
Fantasie In C Major, Op.17: II. Mag. Durchaus energisch
Fantasie In C Major, Op.17: III Langsam getragen. Durchweg leise zu halten
Piano Sonata No. 9, Op. 68 'Black Mass': Moderato quasi andante - Molto meno vivo - A llegro - Piu vivo - Allegro...
Poeme In F Sharp Major, Op. 32 No. 1: Andante cantibile

Tracks:

Mazurka In C Sharp Minor, Op. 30. No. 4: Allegretto
Etude In F major, Op. 10 No. 8: Allegro
Ballade No. 1 In G Minor, Op. 23: Largo - Moderato - Menno mosso - Presto con fuoco
Serenade For The Doll: Andante
Etude In C Sharp Minor, Op. 2 No. 1: Andante
Etude In A Flat Major, Op. 72 No. 11: Presto e con leggierezza
Traumerei
Sonata No. 11 In A Major, K. 331: I. Tema. Andante grazioso e variazioni
Sonata No. 11 In A Major, K. 331: II. Menuetto - Trio
Sonata No. 11 In A Major, K. 331: III. (Rondo) alla Turca. Allegretto
Polonaise - Fantaisie In A Flat Major, Op. 61: Allegro maestoso

Tracks:

Mazurka In B minor, Op. 33 No. 4: Mesto
Nocturne In E Minor, Op. 72 No. 1: Andante
Sonata No. 10, Op. 70: Moderato - Allegro - Puissant, radieux - Allegro - Piu vivo - Presto - Moderato
Sonata In F Major, Hob. XVI : 23: I. Allegro
Sonata In F Major, Hob. XVI : 23: II. Adagio
Sonata In F Major, Hob. XVI : 23: III. Finale
Blumenstuck In D Flat Major, Op. 19: Leise bewegt
L'ISLE JOYEUSE: Quasi una cadenza - Tempo. Modere et tres souple
Vallee d'Obermann: Lento assai - Piu lento - Un poco piu di moto ma sempre lento - Presto - Lento

Amazon.com essential recording

Sony's series documenting Horowitz's mature career offers many indispensable items, including "live" (with studio touchups) recordings of his mid-1960s return to the concert stage after a prolonged hiatus. The Bach-Busoni is a dazzling opener, followed by a titanic Schumann Fantasy in C amply illustrating Horowitz's total identification with the composer. The performance abounds with tightly controlled nervous energy, precise articulation, and gorgeously shaded timbres. A crisp Haydn Sonata, a marvelously shaded Scriabin, a poetic Schumann Traumerei, and more are all indispensable. Not to be missed: the pregnant pauses and crackling tension of the Chopin G-minor Ballade. --Dan Davis

Customer Reviews:

How Live is Live?.......2003-11-29

This is not a review per se. My review is posted under the "Live and Unedited" version of the 1965 concert. But I wanted to correct a few errors which have been circulated in regard to this recording.

First, the corrections used on the original version of "Horowitz at Carnegie Hall" were not made at a "patch session at Carnegie a few days" after the concert. Columbia's engineers had already recorded Horowitz's rehearsals and used that material for the editing.

Second, the editing in the album was neither as extensive as some have suggested, nor as insignificant as others state.

Here is a (mostly) complete list of the patches on the original album, which have been removed from "Live and Unedited":

Bach-Busoni: Preludio: Measures 2-12 and parts of the coda (Horowitz, by the way, does not play the ossias at bars 8, 10, and 12); Intermezzo: Small patches at bars 7 and 11; Fugue: Several edits between bars 97 and 110, and again in the coda.

Schumann Fantasy: 1st Movement: patches at 7:32 and 10:21; 2nd Movement: small patches at 2:44 and 4:32, and a series of patches in the coda 6:58-7:39; 3rd Movement: No edits.

Scriabin: Sonata No 9: No Edits. Poem in F-sharp: Patch from 2:16-2:26

Chopin: Mazurka: Small edit at 2:02; Etude: Patched sections from 1:27-1:33 and 2:15-2:20; Ballade: Small edits at 2:04 and 4:52, at least four patches in the coda.

None of the encores were edited.

It should be pointed out that the editing of supposedly "live" recordings is more commonplace than the recording industry will admit. Although not generally aknowledged, Arthur Rubinstein's 1961 Carnegie Hall Highlights album was patched, and most live recordings today are actually compilations from several performances.

Whether you choose this patched version, or "Live and Unedited" the 1965 return concert contains some stunning piano playing. Can anyone imagine the pressure Horowitz was under on that day? To prove you have not just retained your original greatness, but have deepened and become even greater cannot have been easy. The new, unedited version of the concert is not a revelation, but serves as a reminder of Horowitz's all too human frailty.

A gigantic recording.......2001-02-21

There's an interesting debate going on in the reviews below about Horowitz's technical and musical ability in general. Do yourself a favor and read through these reviews. It'll show you that Horowitz's ability to engender strong positions and fairly heated exchanges continues undiminished, more than eleven years after his death. What this proves, of course, is his uniquely important position in 20th century piano playing. No other classical pianist was as influential, no one's style was copied as much, no one was as frequently and thoroughly misunderstood (mere technician, mere dazzler, mere showman). What you have to understand in listening to these recordings is that he was a complete professional, totally devoted to his craft to the exclusion of just about any other interests in his life - a tremendously one-sided person. But within the art of piano playing he reigned supreme. His oddly introverted, unmoveable, purely efficiency-oriented appearance during performance (he never moved anythying but his hands - no facial contortions, no head shakes, no swaying body, and even his hands were super-efficient) contrasted oddly with the extreme extrovertedness of his playing. He knew so much more about the sound possibilities of the instrument than anyone else that listening to him was downright frightening for other pianists. I remember a well-known pianist during intermission at a Horowitz recital in Hamburg in 1986 laughing and crying at the same time, shaking his head and saying over and over again, "it's impossible. That was impossible. That can't be done" (he was talking about Horowitz's rendition of a Schubert-Liszt transacription).

Anyway, his mastery of the instrument far beyond all other humans' capacity has persistently clouded people's perception of Horowitz and made an assessment of his artistic merits much more difficult. Undoubtedly he had clear limitations as an artist (Beethoven, for example, was just not part of his artistc world). But we have to keep in mind that, unlike practically all classical musicians today, who are trained to be universalists and to assemble a vast variety of styles, Horowitz came out of a strong and idiosyncratic musical tradition - that of Scriabin and Rachmaninov. That tradition was his world, his artistic home, and he always explored other musical traditions from the vantage point of his particular musical identity. In all of this he proved extremely flexible (playing, for example, Scarlatti, Clementi and Czerny to great critical acclaim), but since he never aspired to neutrality and objectivity (like, for example, Pollini or Arrau), it always was obvious when he played music that didn't fit with who he was.

So the debate about Horowitz's musical merits that goes on in the reviews below is as old as his career. What's curious, though, is that a couple of reviewers believe to have found TECHNICAL shortcomings in his playing. That is new in Horowitz criticism. All his career he reigned as the supreme master of piano technique, acknowledged as such first and foremost by most famous pianists (Rubinstein, Argerich, Pollini, Perahia, and many others have rhapsodized - or expressed their jealousy - about Horowitz's technique publicly and at length). When speed and power decreased due to old age, he transferred his technical accomplishments to polyphony, to shadings, colors, multi-layered pianissimi unimagined before or after. In the present recordings from the mid-60s, there was no noticeable decrease in speed and power yet, but his development toward more sophisticated sound effects was well underway. In other words, the questioning of Horowitz's technical abilities in some of the reviews below is utter and complete nonsense. I can only surmise that the authors of these reviews are people raised on the bland, impersonal mechanical functioning displayed by so many contemporary pianists that Horowitz's edginess, his constantly going to extremes (of speed, of clarity, of softness, of bel canto, etc.) irritates them somehow. One thing Horowitz was never after was a polished surface. If you want pleasant, comforting stuff that you can play happily in the background while doing the dishes, Horowitz is not the artist for you. He demands total concentration. But he'll reward that concentration tenfold. Even if you don't agree or don't like what he does in a particular piece, you'll learn a ton about music listening to him. He's a very musically opinionated guy, and some of his work may irritate you a great deal, but he will never, ever bore you.

Beautiful piano playing.......2000-11-17

I am writing in to disagree a bit with the previous reviewer who dismissed this recording and Horowitz's playing in general. I would agree that this is not Horowitz's greatest recital. It may be better remembered for its historical significance than as a representative sampling of Horowitz's art. For me, much of the repertoire in this recital could be called "ill-chosen." The pieces such as the Schumann Fantasie, the opening Bach piece, and Chopin's g minor Ballade do not really show Horowitz at his best -- and not just because they're "big" pieces that "require interpretation." Aside from the Chopin Ballade, these are not pieces that one would typically hear at a Horowitz recital, and I do wish that he had not insisted on repeatedly performing and recording the g minor Ballade. I agree that his bombastic, episodic approach never worked with that piece. I tend to favor the pieces on this album that were recorded in the 1966 recitals, including the Chopin Polonaise-Fantasie dismissed by the previous reviewer. Yes, the ending is too bombastic, but there is so much beautiful, gorgeous piano playing in this performance. The way Horowitz could layer the sound and produce such a beautiful, expressive, vocal melodic line can perhaps be fully appreciated only by real connoisseurs of piano playing. Horowitz was not just a pianist for the "masses." He was also a pianist for connoisseurs.

Is it possible to acknowledge the shortcomings in Horowitz's technique and interpretive ability pointed out by the previous reviewer and to still be a great fan and admirer of his playing? Yes, it is. I know that many listeners who hear the shortcomings in Horowitz's playing feel that Horowitz's admirers must lack discrimination, and I think that in some cases this is true. In fact, I sometimes think that critical reaction to Horowitz can be roughly divided into three categories:

The first category would be for unconditional admirers of Horowitz who feel that he could do no wrong. I would say that this represents the least perceptive evaluation of Horowitz's playing.

The second category would be for people who are aware of the shortcomings in Horowitz's technique and musicality and who feel justified in dismissing Horowitz because of these shortcomings. I think that this view represents a somewhat more perceptive evaluation of Horowitz, and I think that the previoius reviewer would fall into this category.

The third category would be for people who are aware of the shortcomings in Horowitz's technique and musicality and who still feel that he was one of the greatest pianists in history. In my opinion, this is the most perceptive evaluation of Horowitz's playing.

I, too have listened to all of Horowitz's recordings, and have come to a different conclusion about his playing than the previous reviewer. For me, this recording is certainly worth having, mostly for the 1966 recordings.

A MONUMENT.......2000-05-19

One of the best recordings to discover the Horowitz legend. As far as technique is concerned, the Carnegie Hall performances don't reflect all the artist's talents, but Horowitz's magic sonority and the unique atmosphere make it exceptional. My favourite pieces: Bach-Busoni's intermezzo and Chopin's G major ballade.

One of the great piano recordings of all time.......1999-12-09

In May 1965, Vladimir Horowitz, the greatest pianist of all time, ended a 13-year retirement and returned to Carnegie Hall. The audience contained many of the world's most famous musicians, and playing up to its frenzied expectations seemed impossible. Horowitz begins, tense to the breaking point. For a few seconds, his hands are out of control, and he hits more wrong notes than right ones. Then things settle a bit, and he starts to translate his tension into pure musical energy. In that first piece, the Bach-Busoni, Horowitz seems almost superhuman with his orchestral sound, his sharp rhythm, his alternatingly hard-edged attack and meltingly lyrical lines, his supreme intelligence. It must have been immensely frustrating for the pianists in the audience to be so rudely confronted with such hopeless pianistic superiority. The Bach is followed by a highly idiosyncratic Schumann Fantasy, where Horowitz shows a grasp of the work's structure and an analytic penetration of Schumann's neo-Bachian polyphony undreamt of by any interpreter before or after. The recital continues with musical and pianistic jaw-droppers. I single out the Chopin and Moszkovski Etudes, where the audience's incredulity at Horowitz's feats dissolves in laughter at the end of the pieces, the tenderness and intimacy of Debussy's Serenade for a Doll, and the truly moving Schumann Traeumerei. The remainder of this CD collection contains 1966 live recordings, many of which are as fascinating as the '65 concert. Particularly noteworthy are the Haydn Sonata for its dry wit, Chopin's Polonaise-Fantasie for the almost infinite range of expressions and emotions Horowitz creates, and Liszt's Vallee D'Obermann, which inspires Horowitz to the most atmospheric, most evocative music-making I have ever heard on a recording. In sum, if I knew I would lose my hearing in a few hours, I would spend them listening to these recordings.

Sibelius: The Complete Symphonies & Tone Poems

Average customer rating:

5 stars for the syms
Beautiful and comprehensive compilation of Sibelius works
excellent collection
A must for Sibelius lovers
A terrific and near-perfect set

Sibelius: The Complete Symphonies & Tone Poems

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music
Similar Items:

Bruckner: The Complete Symphonies
Debussy, Ravel: Orchestral Works
Strauss: Orchestral Works
Liszt: Works for Piano and Orchestra
Symphonies 1-3 / Piano Concerto 1-4 / Isle of Dead

ASIN: B00005MIZT
Release Date: 2001-11-20

Tracks:

I: Andante, Ma Non Troppo - Allegro Energico
II: Andante (Ma Non Troppo Lento)
III: Scherzo: Allegro
IV: Finale (Quasi Una Fantasia): Andante - Allegro Molto
I: Allegretto
II: Tempo Andante, Ma Rubato
III: Vivacissimo - Lento E Suave - Tempo Primo - Largamente -
IV: Finale: Allegro Moderato

Tracks:

I: Allegro Moderato
II: Andantino Con Moto, Quasi Allegretto
III: Moderato - Allegro (Ma Non Tanto)
I: Tempo Molto Moderato, Quasi Adagio
II: Allegro Molto Vivace - Doppio Piu Lento
III: Il Tempo Largo
IV: Allegro

Tracks:

I: Tempo Molto Moderato - Largamente - Allegro Moderato
II: Andante Mosso, Quasi Allegretto
III: Allegretto Molto - Un Pochettino Largamente
I: Allegro Molto Moderato
II: Allegretto Moderato - Poco Con Moto
III: Poco Vivace
IV: Allegro Molto - Allegro Assai - Doppio Piu Lento

Tracks:

Adagio -
Un Pochettino Meno Adagio - Vivacissimo -
Poco Rallentando Al Adagio - Allegro Molto Moderato - Allegro Moderato - Vivace -
Presto - Adagio - Largamente Molto - Affettuoso
Cantata: Oma Maa, Op.92: 'Our Own Land'
Tulen Synty, Op.32: The Origin Of Fire

Tracks:

I: Introductione: Allegro Moderato
II: Kullervo's Youth: Grave
III: Kullervo And His Sister: Allegro Vivace
IV: Kullervo Goes To Battle: Alla Marcia
V: Kullervo's Death: Andante

Tracks:

The Oceanides, Op.73
I: Intermezzo
III: Alla Marcia
I: All'overtura: Grave - Allegro/II: Scena: Tempo Di Menuetto - Allegro Moderato/III: Festivo: Tempo Di Bolero
Tapiola, Op.112
Finlandia, Op.26
Serenade No.1 in D, Op.69a
Serenade No.2 in g, Op.69b (Lento Assai)

Tracks:

Luonnotar, Op.70
Pohjola's Daughter, Op.49
En Saga, Op.9
I. Nocturne
II. Elegie
III. Musette
IV. Serenade
V. Ballade
The Bard, Op.64

Tracks:

Spring Song, Op.16
III. The Swan Of Tuonela
IV. Lemminkainen's Return
I. At The Castle Gate
II. Melisande
IIa. By The Seashore
III. A Spring In The Park
IV. The Three Blind Sisters
V. Pastorale
VI. Melisande At The Spinning-wheel
VII. Entr'acte
VIII. The Death Of Of Melisande
Valse Triste
Scene With Cranes
II. The Harp
III. The Maidens With Roses
IV. Listen, The Robin Sings
VI. Swanwhite And The Prince

Customer Reviews:

5 stars for the syms.......2006-03-18

with the Helsinki
3 Stars for the Bourgemouth on the poems.
But truth be told, no matter how EMPHATIC statements that his syms are not programmatic, that is fall into a logical step by step order, they are just that, very predictible.
I've given these syms 30 yrs, and lately I've lost interest.
While Schonberg, Berg, Webern, Varese were scoring creative new atonal/poloytonal works of new genius, here was Sibelius struggling with old forms, that fail to deliver anything really new. And he knew it, and bothered him to no end.
I feel there is way too much Beethoven/Bruckner(I like neither) influence in the syms for me to become a fan of the syms. I like the 1st sym "somewhat" that is I never listen to it, and small parts of the 4-7 syms. But I'm afraid I only like Sibelius pre 1905, the Kullervo, VC, tone poems. Here is where the genius of Sibelius truly lies.
The syms long ago held some interest, but lately i've moved on to Schnittke and Pettersson.
I also much prefer Vaughan Wialliams syms to all of Sibelius.
Sibelius was a genius in his element, that of representing the folk ideas of his land. His syms are like a string of ideas that lack the connective passages. IOW the whole is less than the few interesting parts.

Beautiful and comprehensive compilation of Sibelius works.......2005-09-29

For me, this has been the year of Sibelius. Previously, I had listened to (and enjoyed) Finlandia. I also had a couple of the symphonies but hadn't listened too them but once or twice. After listening to Finlandia again, I decided to seek out more SIbelius to sample. After some searching through reviews, I settled upon this compilation of works because it offered a large variety of Sibelius and seemed to be well-received. I have been very happy with this purchase! Not only have I spent countless hours listening to each of the 8 disks in this set, the enjoyment of the music has led me to many other wonderful performances of Sibelius by other worthy conductors such as Ashkenazy and Vanska. Still, this boxed set will always be fondly remembered as the one that introduced me to the wonders of so many of these pieces.

I was immediately captured by the haunting clarinet solo that begins the first symphony. All of the symphonies, performed by the Helsinki Orchestra, are recorded in very clear digital sound -- so the solo and the pecussion accompanyment were perfectly captured. I was hooked by the first symphony, but all of the symphonies are presented clearly and with outstanding interpretations. The Helsinki Philharmonic has always had a strong affiliation with Sibelius's music, and Paavo Berglund is a renowned Sibelius conductor who has recorded three separate symphony cycles (once with the Bournemouth Symphony orchestra, the 2nd time with these recordings, and a third time with the Chamber Orchestra of Europe). The commitment felt by the conductor and orchestra comes through in these performances.

In addition to the complete symphony cycle, there are a number of other treasures. A fine version of Finlandia is accompanied by a number of truly delightful tone poems such as Tapiola, the haunting Swan of Tuonela and Lemminkainen's Return (from the Lemminkainen Suite). These tone poems were inspired by the Finnish Kalevala. Other tone poems such as the Oceanides and Spring Song were inspired by Sibelius's love of nature. All receive strong performances by Berglund conducting the Bournemouth Symphony (in analog sound that is still quite good). The violin serenades (especially no. 2) were unexpected delights. The version of Kullervo is magnificent, as is the singing in Luonnotar and Oma maa. This set is a treasure trove of Sibelius treats!

excellent collection.......2004-06-28

This box set includes Sibelius' all symphonies, with Kullervo and his almost complete tone poems. The Symphonies are performed by Helsinki Philharmonic Orchestra, Kullervo and tone poems with Bournemouth Symphony Orchestra. All of them conducted by Paavo Berglund, who always a champion on performer of Sibelius.

Even so there are his incidental musics: Pelleas et Melisande, Swanwhite, Kuolema and King Christian II.
Especially Pelleas and Kuolema (which includes ever famous Valse triste) are the most beautifuls. Pelleas et Melisande is a very impressive music, and the best "Pelleas" music with Debussy's Pelleas (opera).

Kullervo is symphony-cantata for two soloists, men-chorus and orchestra, which be constitued in 5 movements, comparable in artistically with Mahler's 2nd Symphony "Resurrection". Especially the last movement "Kullervo's Death" is very effective, pathetique.

And one more a vocal work, a tone poem for soprano and orchestra: Lounnutar. This is based on Kalevala again, and Luonnotar is creator of nature in this poem. It is a very radical work, like his darkful 4th Symphony and The Bard. I think, The Bard is one of the best works of the composer, with it's harmonis, dark colours, contemplative mood. Still, this was written in tragic E-flat minor. It is based on a mythologic creature which plays an harp, like lyre in Greek mythology. And in the last minutes there is a dramatic climax and then music slowly fades out.

And there is the best Tapiola recording, I've ever heard (with Petri Sakari's version at Naxos). This is based on Kalevala, again. Tapio is the name of the forest god, according story. There are very impressive contrasts between hypnotic, a little hesitated, light colours and dramatic darkful colours. The orchestration is marvellous again. Especially, in last minutes there is a terrific storm scene and it's very spine chilling. Climaxes (which played by brass) are very powerful...

This is a very good addition to collectors of Sibelius fans and any classical music lovers. Highly recommended.

A must for Sibelius lovers.......2003-01-07

Jean Sibelius is one of those composers who I feel that even on his off days he did well. While I certainly can't say I enjoy all of his music enough to buy (Sacaramouche for instance), most of his music is highly pleasureful. All of the pieces on this set, conducted by Paavo Berglund, save maybe one or two, are part of the later catagory.

This set consists of most of Sibelius's major orchestral music, with the notible exceptions of Night Ride and Subrise, the first two sections of the Lemmenkainen Suite, and the Violin Concerto. It also contains such rarities as Origin of Fire, Our Own Land, and excepts from Swan White.

Berglund, I believe, was the first to fully record a complete cycle of Sibelius symphonies. The recordings here are not from his first set (which I have not heard), but the second cycle recorded in the mid-80s. The symphonies and two canatas mentioned above are recorded in digital, while the rest is analog. It's all in very good sound, though not perfect. That they wanted to keep the D and A recodings on seperate discs is the only possible reason I can see for why they left out the Violin Concerto (there's plenty of room on disc 4).

Now of course, contents are one thing, but what really matters is performance. And suffice it to say, they for the most part shine. This has easily the finest Symphony 1 I've heard, and the finale of Symphony 5 (truly one of the greatest works of the 20th century) shines with brillance. Symphony 3 makes its mark nicely, and Symphony 2, while perhaps a bit on the fast side, is certainly up to par. The only disappointment is Symphony 7, which falls totally flat compared to Davis/BSO.

The two cantatas are wonderful rarities, but its disc 5 where the choral aspect is full played out -- Kullervo. If you've never heard this piece, it's a 75 minute long programatic symphony (to use to term losely) with many ups and downs. This was the first ever recording, and most say it hasn't been topped.

The final three discs contain shorter works. Especially noteable are the absolutely beautiful Serenade #2 for Violin and Orchestra, the hauntingly lovely Luonnotar, a very rousing version of Lemminkainen's Return, and a passionate Pelleas and Mellsande.

Of course, it's almost impossible to have this big a set without some disapointments. Beyond the aformentioned Symphony 7, there's also not overly convincing Finlandia, and a WAY too slow Karelia Intermezzo. Thankfully, the rest of the set makes up for it. It's a great deal at only about $7 a disc retail, and if you're like me, on you'll keep coming back to.

A terrific and near-perfect set.......2002-04-05

This release couples Berglund's classic Bournemouth recordings of the Kullervo Symphony and a host of tone poems with his most recent cycle of the Symphonies.

The Bournemouth recordings are legendary, especially the Kullervo, which belongs in every classical music library. There is a real warmth to these readings, which charms me into letting the minor flaws in playing pass. The sound is pretty good, though slightly muddy at times (particularly in Tapiola), and the selections have been excellently remastered.

The Symphonies, recorded with the Helsinki Philharmonic in superb digital sound, are a real peak in the discography. Berglund doesn't play his Sibelius lukewarm; his readings are sharp, neo-classical and very powerful. You won't confuse these recordings with those of Colin Davis to be sure. Very comparable to Maazel's earlier readings with the Vienna Philharmonic, but with less over-dramatization. His First, Second, Third, Sixth and Seventh are as good as any, and his reading of the Fourth, while rather bleak for my taste (I like the idea of some kind of softening at the end) is a coherent vision, almost harsh in it's execution.

I really like Maazel's Pittsburgh Fifth, and Berglund's recording in no way comes close to Maazel's splendor or power as a total conception. But, Berglund's middle movement is the best I've heard by far; the obsessively repeated melody seems to weave in and out of the orchestral fabric very seductively. Berglund's knack for architecture is spot on here.

Tracks:

Return of the Hustler
Gansta Ways
You a Bopper
I Stay Swerning
Up in L.A
Four Seasons
Dirty Money
The Donky Donk
Get Up on It
My Dream
Inspiration

Album Description

Knoc - Turn'al's first taste of the rap game was on Dr. Dre's multi-platinum album the Chronic 2001 where he was featured on four songs. He then wrote three songs for the Wash movie soundtrack, the Training Day soundtrack, and then released his self titled EP in summer of 2002. Knoc's last effort included the hit single & video "The way I am" starring Snoop Dogg. Elektra Records released Knoc - Turn'al spring of 2004 CD "With the Way I am". The CD went platinum and the title track video was top 10 on MTV for quite some time in 2004.

Customer Reviews:

2.5 stars - not real good album of songs f/ Knoc-Turn'Al.......2006-01-13

For starters this really isn't a Knoc solo album so don't expect that. Of the 11 songs on here, he is on only 8, and of the 9 he is on, on 2 or 3 he only does the hook. Guests are all over the album, and of the 10 rappers on here only 2 are any good (Lord Lucky & J Peace) and 2 are ok, the rest suck. Of the 11 songs, 2 I skip, 2 are borderline good, 1 is tight (and Knoc ain't on it)and 6 are ok. Production is ok for the most part (other then 2 or 3 songs that are tight) and handled by the Bubble Monkeys, who I never heard of and don't really care to hear from again (and one song has a live band). The artwork on the cover and book looks like it was printed off an old computer and you can barely read the credits. Definitely get his "The Way I Am" or "LA Confidntial" EP, both 4 solid stars, and stay away from this, a waste of money in my opinion and I'll be waiting for his next real solo album.

#1 - 8 (Soup, Treedog, Jasmine -- good beat -- no Knoc & it's the title track)
#2 - 6 (f/ Lil T & Lord Lucky -- Knoc on the hook)
#3 - 6.5 (f/ Aziz & Macguiness (who SUCKS!)
#4 - 8 (f/ J Peace & Macguiness)
#5 - 7 (f/ Maintain & Krown City)
#6 - 6 (f/ Wes, Treedog, Lord Lucky, Soup -- very little Knoc)
#7 - 8.5 (John f/ Lord Lucky -- no Knoc -- tight beat)
#8 - 1 (absolutley horrible song by Macguiness -- no Knoc)
#9 - 6.5 (f/ Lil T & Lord Lucky)
#10 - 6 (someone f/ Knoc (he only does 1 verse to the other persons 3)
#11 - 5 (f/ Crown City & Maintain)

R. Harbor -- Long Beach, CA
Check all my reviews

Try a little harder next time..........2006-01-02

Really laid back album. It's nothing that hasn't already been done a thousand times by west coast rappers though. Nothing really stands out as outstanding on this album. The production is alright but again, nothing stands out about it.

Notable Tracks:

Up In L.A.
Four Seasons
My Dream

Good Stuff.......2005-09-11

Yea I liked this album alot...good stuff buddy but I like knoc-turn'al period so...yea, cop this and "The Way I Am" too good stuff

Purcell · Dieupart - Suites for recorder / La Simphonie du Marais · Hugo Reyne

Average customer rating:

nice sound
Wonderful tuning
out of tune recorders

Purcell · Dieupart - Suites for recorder / La Simphonie du Marais · Hugo Reyne
Henry Purcell , Charles Dieupart , Hugo Reyne , La Simphonie du Marais , Jérôme Hantaï , and Pascal Monteilhet, Alain Viau Pierre Hamon Pierre Hantaï
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Odes | Vocal Non-Opera | Opera & Vocal | Styles | Music

Tracks:

Prld, Z.N773
Son, Z.780: Adagio - (Canzona)
Son, Z.780: Largo - Vivace
Dioclesian, Z.627/16: Two In One Upon A Ground
Celebrate This Festival, Z.321/12: Return, Fond Muse
Ste in G, Z.770: Ov
Ste in G, Z.770: Air
Ste in G, Z.770: Borry
Ste in G, Z.770: Minuet
Ste in G, Z.770: Jigg
Chacony, Z.730
A Choice Collection Of Lessons, Z.660-62: Ste in G: Prld, Z.660/1
A Choice Collection Of Lessons, Z.660-62: Ste in G: Almand, Z.660/2
A Choice Collection Of Lessons, Z.660-62: Ste in G: Courant, Z.662/3
A Choice Collection Of Lessons, Z.660-62: Ste in G: Saraband, Z.661/4
A Choice Collection Of Lessons, Z.660-62: Ste in G: (Minuet), Z.660/4
The Fairy Queen, Z.629/10: Prld
Three Parts Upon A Ground, Z.731
Hail! Bright Cecilia, Z.328/10: In Vain The Am'rous Fl
Welcome To All The Pleasures, Z.T682; Z.339/3: A New Ground
Sym in g (How Pleasant Is This Flowery Plain, Z.543)
Sym in g (Soft Notes And Gently Raised, Z.510)
Sym in g: (Saraband) (Hark, Damon, Hark, Z.541)
Sym in g: King Arthur, Z.628/17: (Rigadoon)
Pavan Of Four Parts, Z.752
Ground, Z.D221
Funerall March & Canzona, Z.860

Tracks:

Ste No.1 in A: Ov
Ste No.1 in A: Allemande
Ste No.1 in A: Courante
Ste No.1 in A: Sarabande
Ste No.1 in A: Gavotte
Ste No.1 in A: Menuet
Ste No.1 in A: Gigue
Ste No.2 in D: Ov
Ste No.2 in D: Allemande
Ste No.2 in D: Courante
Ste No.2 in D: Sarabande
Ste No.2 in D: Gavotte
Ste No.2 in D: Passepied
Ste No.2 in D: Gigue
Ste No.3 in b: Ov
Ste No.3 in b: Allemande
Ste No.3 in b: Courante
Ste No.3 in b: Sarabande
Ste No.3 in b: Gavotte
Ste No.3 in b: Menuet Serieux
Ste No.3 in b: Gigue
Ste No.4 in e: Ov
Ste No.4 in e: Allemande
Ste No.4 in e: Courante
Ste No.4 in e: Sarabande
Ste No.4 in e: Gavotte
Ste No.4 in e: Menuet
Ste No.4 in e: Gigue
Ste No.5 in F: Ov
Ste No.5 in F: Allemande
Ste No.5 in F: Courante
Ste No.5 in F: Sarabande
Ste No.5 in F: Gavotte
Ste No.5 in F: Menuet En Rondeau
Ste No.5 in F: Gigue
Ste No.6 in f: Ov
Ste No.6 in f: Allemande
Ste No.6 in f: Courante
Ste No.6 in f: Sarabande
Ste No.6 in f: Gavotte
Ste No.6 in f: Menuet
Ste No.6 in f: Gigue

Customer Reviews:

nice sound.......2002-10-14

this recording the purcell's wunderfull music sounds nice, but not more. h. reyne is a fine player but his intonation is not perfect even his sound is good but everytime on the same level. other recorder players like steger or marq are much better.

Wonderful tuning.......2002-09-05

This is very good recording of very interesting music, not easy music anyway, at least if we talk about Dieupart, the Frenchman living in London. His style is pure orthodox French, always following the suite schema, including very amazing overtures, beautiful allemandes and some polyphonical giges. This suites are so well conceived that gain recognizance from Bach at the time. Is the kind of music to listen again and again and enjoy more and more as one gets into the stile. The playing of Hugo Reyne is expressive, absolutely in style, helped by warm tone and (well, I have to point it out) absolutely in tune. In the passpied of suite N2 he gives us an example of perfect French articulation, according with Hotetterre principles. To tell the truth I didn't enjoy the use of violin in Suite 3, which IMHO calls for a more introspective approach without artificial "ritornellos". Remarkable is the research work, leading them to the design and construction of a b' flat fourth used for the first time here (I remember the W.V. Hawe version with a b'' flat soprano fourth flute, sure best suited for a live concert not a cd, and of course all the "arrangements" for standard soprano).
The Purcell cd is the only "modern" recording (after 1980) in authentic old recorders. In fact it is so rare for a recorder player to have the opportunity to play at least once in his/her life an old instrument, and here we have a whole baroque consort (the legendary chester Bressan, the equivalent of Stradivarius) playing together, allowing us to appreciate the magnificent way their "voices" blend. The English recorder music is a whole universe partially unknown, and extremely rich, going from renaissance to high baroque. From the provincial taste, brought back to the city with the restoration, to the eclectic 1700 London musical scene, featuring many of the best musicians around the world working together.
The players in this cd are among the best and most renowned in the world, from the new and very interesting French school of recorder playing, focusing in color and expressivities. Is interesting to note here how close their style relate to Franz Bruggen. By the way there was a controversy about him been out of tune 30 years ago... Some day may be we can start a controversy about the piano been out of tune, or how awfully out of tune is a tempered major third, or about how can you be in tune and make vibrato all the time (is the way I feel after only 5 yrs of not listening romantic music)... not now, not here.
Enjoy the cd is really worth buying.

out of tune recorders.......2002-04-07

Simply put, this is a highly mediocre recording. The music itself is perfectly nice - several of the Purcell works are quite memorable, and overall these are a fine representative sample of his chamber music, as well as that of the lesser known Dieupart. But this is weak recorder playing. They are frequently extremely out of tune - and I'm perfectly aware that baroque intonation can be quite different from modern intonation and that the recorder has even greater leeway with regard to this than many other instruments, but this is just plain out of tune - and their tone is husky and not always pleasant. The miking is too close as well. Skip this one.

Average customer rating:

Da Regulator Returns!
MUST have for your collection!
Below Par 4th effort -- possibly 3.5 stars
Hes best
Warren G is capable of more

The Return of the Regulator
Warren G
Manufacturer: Umvd Labels
ProductGroup: Music
Binding: Audio CD

General | Rap & Hip-Hop | Styles | Music

West Coast | Rap & Hip-Hop | Styles | Music

Pop Rap | Rap & Hip-Hop | Styles | Music

General | Funk | R&B | Styles | Music
Similar Items:

Regulate...G Funk Era
I Want It All
Take a Look Over Your Shoulder
In the Mid-Nite Hour
Music & Me

ASIN: B00005RZWJ
Release Date: 2001-12-11

Tracks:

Intro
Lookin' At You
Here Comes Another Hit
Somethin' To Bounce To
This Gangsta S**t Is Too Much
Pump Up (Skit)
Young Locs Slow Down
Speed Dreamin'
Yo' Sassy Ways
Deez Nuts Part II (Skit)
It Ain't Nothin' Wrong With You
Ghetto Village
They Lovin' Me Now
Streets Of LBC
G-Funk Is Here 2 Stay
Keepin' It Strong

Customer Reviews:

Da Regulator Returns!.......2005-06-26

Da regulator returns G-Funk style! A wee bit better than I Want It All & a total class above Take A Look Over Your Shoulder, Warren G takes me back to the days when he asked if i could see what he saw, and when Nate hit da eastside of the LBC on a mission tryin' to find him, in so many ways. That'z all i gotta say, G-Funksterz!

MUST have for your collection!.......2005-03-15

This album is another great prodution by Warren G. Soft beats that brings back his old style of G Funk. Dr. Dre helped out with a hot beat in his first single "looking at you"...A tight song. Overall a MUST have for your collection.

Below Par 4th effort -- possibly 3.5 stars.......2004-11-08

The king of G-Funk delivers his 4th solo album and his worst to date. It is still a pretty good album overall but his previous 3 were better. It has it's highpoints but also a few below par songs that bring the overall quality down. Warren G produces every song but 2, they're produced by Dr. Dre, and Soopafly. Every song except 1 (much like "I Want it All") features at least one person. It has 3 ok songs, and 3 that I skip, with the others being good, not great songs. If you're a fan pick it up but his other albums are better.

#2 - 8.5 (F/ Toi)
#3 - 7 (f/ Nate Dogg & Mista Grimm)
#4 - 8.5 (f/ Soopafly)
#5 - 8 (f/ Butch Cassidy)
#7 = 6.5 (f/ WC & Butch Cassidy)
#8 - 6 (f/ George Clinton & Mista Grimm)
#9 - 9 (f/ Nate Dogg & Snoop Dogg - 213 reunion)
#11 - 7 (f/ Damone, Mista Grimm & CPO)
#12 - 8
#13 - 8.5 (f/ CPO & Butch Cassidy)
#14 - 8.5
#15 - 6 (f/ Mista Grimm & kokane)
#16 - 5 (f/ El DeBarge)

b. -- Warren Griffin III -- 11/10/70 --- Long Beach, CA
LBC --- 213
check all my reviews

Hes best.......2004-02-19

No doubt this is hes best piece of work to date. The opening track with Toi is a classic and as usual Toi is the perfect chick for this song. Her voice is so beautiful and she holds it all together. Without her the song would be nothing as Dr.Dres production is his become trade mark of very simple un-deep and un-complicated funk which doesnt lay down the grooves like it did with Snoop back in the early 90s. Somethin to bounce to and Young Locs slow down are the pic tracks for groove. As usual the album is still inconsistant but the lesser tracks on this album are much more enjoyable than on any of hes previous releases.

Warren G is capable of more.......2003-04-08

To keep it real, I bought this album and returned it the same day. Warren G is at his best when puts out mellow, laid back beats and laces them with simple, but catchy rhymes. This album is full of bouncy beats, and the flows don't really ride the beats well. I though reuniting with mista grimm would be a good idea, but it wasn't used right, and George Clinton doesn't belong here. This album was made for a particular west coast type of fan, and not really intended for hip hop fans in general. warrens best was his first, and take a look over your shoulder was tight too, I still don't know why people hated on his second album. That album was tight. His third, I want it all, was okay, but you could notice a bit of a decline, and this one just dropped his status. His next album, the g files:code 213 should get him back on track though, as I heard he is taking it back to his roots. That should drop sometime this summer, 2003.

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

General | Music | Entertainment | Subjects | Books

Quintets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Instructional | Miscellaneous | Styles | Music

Spoken Word | Poetry, Spoken Word & Interviews | Miscellaneous | Styles | Music
Similar Items:

Classics Explained: Pastoral Symphony
Symphony 9: Introduction to Dvorak
An Introduction to Brahms' Piano Concerto No. 2
Classics Explained: Rite of Spring
Classics Explained: Brandenburg Concertos 4 & 5

ASIN: B000076FX6
Release Date: 2003-01-21

Average customer rating:

Tomita's Fantasy Music
Tomita's Fantasy Music

Extraterrestrial Classics

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

Star Wars | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

Monster Classics

ASIN: B000003G7A
Release Date: 1997-04-15

Tracks:

Space Fantasy
Parade of the Ewoks (Star Wars: Return of the Jedi)
No. 3 from Suite bergamasque: Clair de lune (The Right Stuff)
Eine kleine Nachtmusik: Allegro (Star Trek: The Next Generation)
LUX AETERNA: 2001: A Space Odyssey
Peer Gynt Suite No. 1: In The Hall of The Mountain King: Star Trek: 30 Years and Beyond
Symphony No. 3: Funeral March (Space: Above and Beyond)
The Planets: Mars, the Bringer of War
Gymnopedie No. 1: The X-Files
Imperial March: Darth Vader's Theme - Star Wars: The Empire Strikes Back)
Eine kleine Nachtmusik: Andante (Alien)
Prince Igor: Polovtsian Dances (Fire Maidens from Outer Space)

Customer Reviews:

Tomita's Fantasy Music.......2000-06-19

When the Tomita music hit the popular music stores in the early 1970's, synthesizers had been used, for the most part, as substitution for the "real" instruments. Isao Tomita's vibrant, truly musical use of his instrument reversed that erroneous impression for all who heard him. In the album, Extraterrestrial Classics, one is treated to the wild cacaphony of voices in the Mos Eisley Cantina and soothed with the crystalline spell of Claire de Lune. The music is sublime and silly, truly fantasy music for all ages. My children grew up on it, and my first old vinyl record was pilfered by a 9th grade student one day early in the 1990's. I am purchasing the old fantasy on a new CD just for myself....and because teaching a unit on wave motion, sound and music isn't complete without Tomita!

Tomita's Fantasy Music.......2000-06-19

R&B Music: