| 1. Kids Are Back |
| 2. Like a Knife in the Back |
| 3. Ride to Live, Live to Ride |
| 4. I Am (I'm Me) |
| 5. Power and the Glory |
| 6. We're Gonna Make It |
| 7. I've Had Enough |
| 8. I'll Take You Alive |
| 9. You're Not Alone (Suzette's Song) |
| 10. You Can't Stop Rock 'n' Roll |
| 11. One Man Woman [*] |
| 12. Four Barrel Heart of Love [*] |
| 13. Feel the Power [*] |
You Can't Stop Rock & Roll,Twisted Sister,Atlantic / Wea,Hard Rock,Heavy Metal,Pop,Pop-Metal,Rock
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You Can't Stop the Bum Rush
LEN Manufacturer: Sony ProductGroup: Music Binding: Audio CD  General
| Alternative Rock
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ASIN: B00000J2PG Release Date: 1999-05-25 |
Tracks:
- Steal My Sunshine
- Cryptik Souls Crew
- Man Of The Year
- Beautiful Day
- The Hard Disk Approach
- Hot Rod Monster Jam
- Cold Chillin'
- Feelin' Alright
- Cheekybugger
- Big Meanie
- Junebug
- Crazy 'Cause I Believe (Early Morning Sunshine)
Amazon.com
It took hip-hop a couple of decades to become ingrained in pop music, but the genre's influence shows on Len's You Can't Stop the Bum Rush. The members of Len might not agree--after all, they probably consider themselves a hip-hop act, and they've got a case, what with their lineup (which incorporates a DJ and a couple of MCs), their use of loops and samples (from the Andrea True Connection, the Bar Kays, Grandmaster Flash & Melle Mel, and the big mack daddy himself, John Travolta), and guests like Biz Markie, Kurtis Blow, and Mr. Dibbs. But there's something very pop at the core of Len, and it's what makes Bum Rush so special--as hip-hop becomes harder and more experimental, Len rediscover a very vital part of the history. Filled with keyboards, dance rhythms, harmonies, stoner humor, and Sugar Ray-ish party vocals, Bum Rush is pure pop for the hip-hop generation. The album keeps things light but never skimps in delivering single after single; they may all prove disposable, but why worry about that now? --Randy SilverCustomer Reviews:
Something for everyone.......2007-07-23
Reminds me of summer!.......2006-08-15
It's hard to explain what kind of music is on this CD. There's some rap, hip-hop, a little bit of soul, and even some techno. I've never heard such a mix. Sure that makes it a little odd at first, but it kinda grows on you. It's a pretty good variety, but I must admit some of the songs are a little odd.
So, on that note, I would buy the single for "Steal My Sunshine" if that's the only song you are interested in, but like I said, you might be able to find this entire album for a fabulous price, like I did with BMg.
One Hit Wonder.......2006-07-20
Awesome Mix of old school hip-hop with new school pop.......2006-01-10
A CD I tried to sell and no one would buy.......2005-02-10
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You Can't Stop Rock 'N' Roll
Twisted Sister Manufacturer: Spitfire ProductGroup: Music Binding: Audio CD General
| Rock
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ASIN: B00001QEG2 Release Date: 1999-11-02 |
Tracks:
- The Kids Are Back
- Like A Knife In The Back
- Ride To Live, Live To Ride
- I Am (I'm Me)
- The Power And The Glory
- We're Gonna Make It
- I've Had Enough
- I'll Take You Alive
- You're Not Alone (Suzette's Song)
- You Can't Stop Rock 'N' Roll
- One Man Woman
- Four Barrel Heart Of Love
- Feel The Power
Album Description
1999 digitally remastered reissue of Dee Snider & company's 1982 and third album with three bonus tracks added, 'One Man Woman', 'Four Barrel Heart Of Love' & 'Feel The Power'. 13 tracks total, also featuring the '80s banger anthems 'We're Not Gonna Take It' & 'You Can't Stop Rock 'N' Roll'.Customer Reviews:
GREAT MUSIC! PATHETIC SOUND!!!!!!!!!!.......2006-10-18
Sister....as in Twisted!.......2005-11-30
NO, YOU CAN'T.......2005-09-06
From "The kids are back" to "You can't stop rock'n'roll" it is a trip to the start of US metal. I might get tired to describe this one, because it's very simple and almost impossible....... it's very fun to review but you can't on this one. I'll just say that this sounds like the Rolling Stones meets Judas Priest.
God, if they had only stayed on the jeans look the history might be different today.
And one more thing, this CD deserves the honor to be the first official Heavy Metal album to include a beautiful metal ballad (maybe the first of all times) "You're Not Alone".
Highlight: OK, to skip the usual cliché that every song is great I'm gonna pick three: The Kids Are Back, I'm Am (I'm Me), You Can't Stop R'N'R, You're Not Alone (OK 4 songs and that's it!!!!).
Lowlight: The inside picture were they look like bad-paid-clowns. And Dee Snider looks like he fought with his mom on a wedding.
Great second album.......2005-09-05
Looking at some of the songs online before I bought You Can't Stop Rock N Roll, the songs "Like a Knife in the Back" and "We're Gonna Make It" didn't catch my eye too much. Ironically, it turned out to be the exact opposite of this. Read on.
"The Kids are Back" was one that I liked somewhat, but it definitely wasn't my favorite on this album.
"Like a Knife in the Back" ironically turned out to be one of my favorites. I love the heavy bass-work by Mark Mendoza, and the lyrics are very good too.
"Ride to Live, Live to Ride" was one that looked good from the start, and it's also another favorite of mine.
"I Am: I'm Me" was one of the reasons I bought this album. It didn't turn out to be AS good as I thought it would, but it's still a very good song.
"The Power and the Glory" was another one of those songs that didn't look too good, but turned out to be one that I liked a lot.
"We're Gonna Make It" is another really good song, one that I had to listen to over and over a few times.
"I've Had Enough" Was so-so. I've never been in such a situation as described in the song, so I guess I can't really appreciate the meaningful lack of euphemism in the song.
"I'll Take You Alive" interested me because I like A.J. Pero's wild drum solo at the end of the song. Looking at the lyrics online before I bought the album also put it in high esteem with me.
"You're Not Alone (Suzette's Song)"...The tune is good, but I find the lyrics just a tad cliched. The "Lifetime of Endless Rain" line in particular. A decent number nonetheless.
"You Can't Stop Rock N Roll", the lovely title track. I like the great personification the Dee gave Rock N Roll. But I guess it didn't turn out like that...True Rock N Roll died out with the death of Hair Metal/Glam Rock, and was replaced by the new punk rock that, though good, will never fully replace Hair Metal. The way I see it, there is a big rift of a difference between "Punk Rock" and "Rock N Roll".
And the bonus tracks...
"One Man Woman" Now let me tell you something...Don't believe the lyrics you read on the internet for this song. They're almost completely wrong. The first line of the second verse sounds like "they love to lay down beside her", not "they'd love to lay down on the saddle" as they describe in the online lyrics. A good song, maybe something they should have considered putting as a bonus track on Love is for Suckers.
"Four Barrel Heart of Love" I haven't listened to this song much since I got the album. It's okay, but I didn't find it too interesting.
"Feel the Power" Another song where online lyrics are completely wrong! Those of you that have this album, I have a rhetorical question for you: does "we'll show you all a thing or two" (real lyrics) sound anything like "we'll show you all what we will do" (online lyrics)?!
I think the song is good, but I didn't like the chorus because it slowed down.
The biggest disappointment of this album was the remastering work. They did such a good job with Under the Blade, Stay Hungry and Love is for Suckers (I don't have Come Out and Play...yet), what happened with this one?
Save the bad remastering work, I think this album is good overall, but I suppose Stay Hungry is still the leading starter album for people who are new to Twisted Sister.
4.5 stars - An excellent sophomore release.......2005-05-05
Twisted Sister broke onto the musical scene in 1982 with their hard and heavy debut album, Under The Blade. The band had begun to build up a following much earlier, as a rather popular bar room act in the New York City area. When the band tried to go mainstream, and they took on their ridiculous image, many of their old fans from the bar days turned their backs on them. Despite this, the group's debut album proved to be one of the hardest and heaviest rock and roll albums ever release - and it was a masterpiece all the way. Unfortunately, it didn't really give the band the widespread maninstream success they had wanted. The band followed it up the next year with their sophomore album, You Can't Stop Rock And Roll. Read on for my review.
Following Under The Blade being a commercial failure despite being an awesome album, Twisted Sister tried to expand their audience by commercializing their hard rock sound a good deal, while at the same time, trying to maintain their hard rock edge. That is why the group's sophomore album sounds considerably more mainstream and commercial than their debut. Unfortunately, despite the group commercializing their sound, the album failed to really improve the band's popularity outside of the lone hit the album spawned, which was the classic title track. Although still hard and heavy, this one does have more a pop-metal sound to it than the debut. One strength the album DOES have, though, over the debut, is that it's where the band really started to diversify and polish their sound. The debut was raw, straight-up heavy metal. On this album the band starts to polish the rawness out of their sound (I kind of wish they hadn't), and play more diverse music. The album has pop metal tunes, hard and heavy metal tunes, and even the group's first true power ballad, You're Not Alone. No, this isn't my favorite Twisted Sister release (the debut is likely to always hold that spot in my book), but it's still a damn fine album through and through.
Twisted Sister's albums got remastered and reissued, and the record company, in addition to expanding the liner notes and remastering the sound, included bonus tracks! In other words, if you don't own these albums yet, it's well worth buying the new versions - you get better sound, better liner notes, and above all, the excellent bonus tracks.
There really isn't much else that needs to be said here. Twisted Sister created an excellent sophomore album that would help to shape their sound for the years to come. Dee Snider and the boys were on their way to the top of the musical mainstream (they'd reach it on their next album), and this album is proof that the group was more than just "another eighties metal band." If you're a fan of the group, this is well worth the purchase. Just be sure to get the remaster!
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You Can't Stop Rock 'N' Roll
Twisted Sister Manufacturer: Atlantic / Wea ProductGroup: Music Binding: Audio CD General
| Alternative Rock
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ASIN: B000002IGB Release Date: 1990-07-25 |
Tracks:
- The Kids Are Back
- Like A Knife In The Back
- Ride To Live, Live To Ride
- I Am (I'm Me)
- The Power And The Glory
- We're Gonna Make It
- I've Had Enough
- I'll Take You Alive
- You're Not Alone (Suzette's Song)
- You Can't Stop Rock 'N' Roll
Customer Reviews:
Twisted Sister's sophomore album.......2005-06-01
Twisted Sister broke onto the musical scene in 1982 with their hard and heavy debut album, Under The Blade. The band had begun to build up a following much earlier, as a rather popular bar room act in the New York City area. When the band tried to go mainstream, and they took on their ridiculous image, many of their old fans from the bar days turned their backs on them. Despite this, the group's debut album proved to be one of the hardest and heaviest rock and roll albums ever release - and it was a masterpiece all the way. Unfortunately, it didn't really give the band the widespread maninstream success they had wanted. The band followed it up the next year with their sophomore album, You Can't Stop Rock And Roll. Read on for my review.
Following Under The Blade being a commercial failure despite being an awesome album, Twisted Sister tried to expand their audience by commercializing their hard rock sound a good deal, while at the same time, trying to maintain their hard rock edge. That is why the group's sophomore album sounds considerably more mainstream and commercial than their debut. Unfortunately, despite the group commercializing their sound, the album failed to really improve the band's popularity outside of the lone hit the album spawned, which was the classic title track. Although still hard and heavy, this one does have more a pop-metal sound to it than the debut. One strength the album DOES have, though, over the debut, is that it's where the band really started to diversify and polish their sound. The debut was raw, straight-up heavy metal. On this album the band starts to polish the rawness out of their sound (I kind of wish they hadn't), and play more diverse music. The album has pop metal tunes, hard and heavy metal tunes, and even the group's first true power ballad, You're Not Alone. No, this isn't my favorite Twisted Sister release (the debut is likely to always hold that spot in my book), but it's still a damn fine album through and through.
Twisted Sister's albums got remastered and reissued, and the record company, in addition to expanding the liner notes and remastering the sound, included bonus tracks! In other words, if you don't own these albums yet, it's well worth buying the new versions - you get better sound, better liner notes, and above all, the excellent bonus tracks.
There really isn't much else that needs to be said here. Twisted Sister created an excellent sophomore album that would help to shape their sound for the years to come. Dee Snider and the boys were on their way to the top of the musical mainstream (they'd reach it on their next album), and this album is proof that the group was more than just "another eighties metal band." If you're a fan of the group, this is well worth the purchase. Just be sure to get the remaster!
I Love these Sick Mutha's Twisted Flubbers.......2005-04-07
Anyways, listen this Album kills,truly amazing metal I love twisted sister, full of power and truthful lyrics and just plain amazing metal in everyway. This is coming from a Canadian who loves these bands, DIO, Iron Maiden, SCORPIONS, Megadeth, JUDAS PRIEST, THe Cure, RUSH, SABBATH, Rainbow, DEEP PURPLE and ofcoarse TWISTED Farting SISTER!!!!!!!!!!
before they got Hungry,and before they came out and played!.......2004-03-05
You Can't Stop Rock n' Roll.......2004-02-25
And although Stay Hungry deserves all the success and attention it gets, I'd have to say that somehow I think thier previous effort 'You Can't Stop Rock n' Roll' is even better, it's strange but true...
Included on the Remastered Cd you'll find three extra tracks that any serious TS fan will enjoy but don't stand along the classic yet underated tracks that are included on YCSRR...My favs other than the 3 which are on 'Big Hits' are 'Like A Knife in the Back, We're Gonna Make It & You're Not Alone'
Highly reccommended Cd for any TRUE SMF out there and I know you won't be dissappointed.
Feel the Power of TS
TS at their best.......2003-07-05
Average customer rating:
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Things You Can't Stop With Your Hands
Manufacturer: Shrinking Music ProductGroup: Music Binding: Audio CD General
| Folk
| Styles
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| Pop
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ASIN: B0009SRX8U Release Date: 2004-09-07 |
Tracks:
- White T-Shirt
- Beautiful Drive
- Calenders & Maps
- I Wonder
- Quiet Love Song
- Every Girl I Know
- Damage
- Things You Can't Stop With Your Hands
- Hard To Get
- Here's To Hindsight
- Follow
- Back When {You Used To Adore Me}
Product Description
From the longing ache of Tara Leigh Cobble's "Quiet Love Song" (which she sings a capella) to the gritty edge of "Damage," her voice runs the gamut with precision. Sonically, she brings to mind artists like Sheryl Crow and Natalie Merchant, but she paints her lyrics with the ease and depth of David Wilcox and Patty Griffin. In "Back When (You Used To Adore Me)," there is an honest brokenness: Your words were always starting things / That your heart was never finishing / You used to stand so close to me / Back when /... And I've wasted years trying to get back to "back when.""Things You Can't Stop With Your Hands intentionally spreads itself across the genre-boundaries, and Tara Leigh handles the transitions with ease. It's fitting, given that the album itself is loosely built around the idea of change. "When I started working on this album, my family was in the midst of losing their land to a new highway, and my friend was in the midst of a divorce," she says. "So my mind was wrapped up in all these things that are beyond our control - from hardships like death and unrequited love to the beauty of redemption or one of those unexpected 'perfect days.' I tried to reach deep into those moments of uncertainty, surrender, and ultimately... joy." Even detached listeners will recognize their own stories on "Things..." and reach a little deeper too.
--Trey Bowles
Cowboy Sessions, Inc.
Customer Reviews:
This CD will rock your FACE OFF!!!.......2007-05-11
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Kaleidoscope
Manufacturer: Carmen ProductGroup: Music Binding: Audio CD All Works by Gershwin
| Gershwin, George
| ( G )
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Graves, Denyce
| ( G )
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ASIN: B0006B97LQ Release Date: 2004-11-30 |
Tracks:
- Can't Help Lovin' Dat Man
- Norwegian Wood (This Bird Has Flown)
- The Joint Is Really Jumpin' In Carnegie Hall
- Ol' Man River
- Just You
- Something You Always Knew
- Hungry
- Time Heals Everything
- I Got Plenty O' Nuttin
- Blues In The Night
- I Love A Piano
- I Remember
- Lazy Afternoon
- How Do You Keep the Music Playing
- Ne Me Quittes Pas
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Wagner: The Rhinegold
English National Opera Manufacturer: Chandos ProductGroup: Music Binding: Audio CD All Works by Wagner
| Wagner, Richard
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ASIN: B00005B550 Release Date: 2001-05-22 |
Customer Reviews:
A Rose By Any Other Name..........2007-07-02
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
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 Love This Recording.......2002-04-05
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
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.
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Can't Stop Lovin' You
Van Halen Manufacturer: Warner Bros / Wea ProductGroup: Music Binding: Audio CD General
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ASIN: B000008OXD Release Date: 1995-03-14 |
Tracks:
- Can't Stop Lovin' You [Album Version]
- Crossing Over [Non-Album Track]
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You Can't Stop the Bum Rush
Len Manufacturer: Sony ProductGroup: Music Binding: Audio CD General
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ASIN: B00000JXIZ Release Date: 1999-07-23 |
Tracks:
- Steal My Sunshine
- Cryptik Souls Crew
- Man Of The Year
- Beautiful Day
- Hard Disk Approach
- Hot Rod Monster Jam
- Cold Chillin
- Feelin Alright
- Cheekybugger
- Big Meanie
- Junebug
- Crazy Cause I Believe
- Drunc'n Moves (Bonus)
Album Details
Japanese Version featuring a Bonus Track: Drunken Moves.Customer Reviews:
Music to my hears...the kind of songs that make you stand up.......1999-09-14
Steal my sunshine is awesome!.......1999-09-06
Excellent CD.......1999-08-11
This CD is awsome.......1999-08-06
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John Holt in Symphony
Manufacturer: Jet Star ProductGroup: Music Binding: Audio CD General
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ASIN: B00005M098 Release Date: 2001-09-11 |
Tracks:
- Love You To Want Me
- Never Never Never
- Stoned Out Of My Mind
- Mr. Bojangles
- The Further You Look
- Help Me Make It through The Night
- Morning Of My Life
- Stick By Me
- It May Sound Silly
- A Love I Can Feel
- I Wanna Dance
- Tide Is High
- Stealing
- Stranger
- On The Beach
- Time Is The Master
Tracks:
- I See In You
- If You Wanna go
- Push Come To Shove
- Stop Loving You
- Prohecy
- Just Don't Wanna Be Lonely
- Key To The City
- Let Him Try
- Loving Pauper
- I Was Born A Winner
- Here I Come
Customer Reviews:
Great Music.......2002-07-25
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Dance, Club, Party (3 CD PACK / 38 Tracks) Leanora DeCapo, Lola, Jay Cee/No No, The Fu La-La's, The Rhymestones, Dionne Faux, The Original Latin All Stars, Cali Aleman/The Latin Rhythm, Tito Puente Jr., Lone Gunman Theory, The Shag-A-Delicks, Afrika Bambaataa, Cyre, Velva Blu, Nuyorican Soul, Black Magic, Taylor Dayne, Vanessa Daou, Sandy B, Groove Collective, Kenlou III, Fresh Fish, Soul Solution, Joi Cardwell, D'Still'd, Planet Soul, Ace Of Base, TWDY, Gemini, A.L.T./JV/Ciscone/Mr. Gee/Baby Beesh/C-Blunt/Sure/2 B/Bigg Robb, Lighter Shade Of Brown, Claudia Mia/Don Caligula, Katalina, Jonny Z, Laura Martinez, Chacho, Stevie B, Ambrozia
Frozen - Lola, All My Life - Jay Cee/No No, Can't Take My Eyes Off You - The Fu La-La's My Heart Will Go On - Leanora DeCapo , Think Twice - Dionne Faux, I Like It Like That - The Original Latin All Stars, Everybody Salsa - Cali Aleman/The Latin Rhythm How Do I Live? - The Rhymestones , X-Files Theme (The Truth) - Lone Gunman Theory, Soul Bossa Nova (Theme From Austin Powers) - The Shag-A-Delicks, Planet Rock '98 - Afrika Bambaataa/The Soul Sonic Force Oye Como Va - Tito Puente Jr. , Barbie Girl - Velva Blu, Mind Fluid - Nuyorican Soul, Freedom - Black Magic, Say A Prayer - Taylor Dayne, Sunday Afternoons - Vanessa Daou, Make The World Go Round - Sandy B Holiday - Cyre , What A Sensation - Kenlou III, Bang Da Bush - Fresh Fish I Want You - Groove Collective , You Got To Pray - Joi Cardwell, Stopgo - D'Still'd, Set U Free - Planet Soul Can't Stop Love - Soul Solution , Player's Holiday - TWDY, Doctor Doctor (Party Mix) - Gemini, Player's City - A.L.T./JV/Ciscone/Mr. Gee Don't Turn Around - Ace Of Base , Lingerie (House Edit) - Claudia Mia/Don Caligula, DJ Girl - Katalina Whatever U Want - Lighter Shade Of Brown , Ritmo Latino (Trinity Mix) - Laura Martinez Ku Ku - Jonny Z , and Dream About You - Stevie B, Girl Like Me - Ambrozia El Pow Wow (Casa Salsa Club Mix) - Chacho ProductGroup: Music Binding: Audio CD ASIN: B000KOCVRQ |
Rock Music:
- '74 Jailbreak [EP] [Original recording remastered]
- A Deleted Symphony for the Beaten Down [Explicit Lyrics]
- Accept/Restless & Wild [Import]
- Altars of Madness
- As We Bleed
- Back in Black/You Shook Me All Night Long [CD-single]
- Back in Black/You Shook Me All Night Long [CD-single]
- Beat Box Rock N Roll [Import]
- Best of Doro [Import]
- Beyond the Gates [Explicit Lyrics] [Original recording remastered]
Recommended Music:
Tchaikovsky: Piano Concerto No. 1 / Rachmaninov: Piano Concerto No. 2
Switched-On Brandenburgs, Vol. 1