Vivian

1. Tenerte Para Mi (All Because of You)

2. Juanto a Ti (Close to You)

3. Angel

4. Siempre Te Amare (Can't Stop My Heart)

5. No Te Voy a Abandonar (Never Gonna Give You Up)

6. Luna de Miami

7. Te Extraño Mas Que Ayer (Missing You)

8. Recuerdos de Ti

9. Tu y Yo (All I Have)

10. Te Amo

Vivian,Vivian,RCA Intl,Latin,Latin Music,Latin Pop

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Average customer rating: Cover tunes Rock Gods did it once again! Another Turkey from Def Leppard FINALLY, a complete review of Not Rockin

Yeah! Def Leppard Manufacturer: Island / Mercury ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music General | Pop | Styles | Music Pop Rock | Pop | Styles | Music General | Rock | Styles | Music British Metal | Hard Rock & Metal | Styles | Music General | Hard Rock & Metal | Styles | Music Pop Metal | Hard Rock & Metal | Styles | Music Hard Rock | Hard Rock & Metal | Styles | Music Album-Oriented Rock (AOR) | Classic Rock | Styles | Music Glam | Classic Rock | Styles | Music $9.99 and Under | Blowout Music | Stores | Music Pop | Styles | Blowout Music | Stores | Music Classic Rock | Styles | Blowout Music | Stores | Music Rock | Styles | Blowout Music | Stores | Music Alternative Rock | Styles | Blowout Music | Stores | Music Hard Rock & Metal | Styles | Blowout Music | Stores | Music All Blowout Music | Blowout Music | Stores | Music $9.99 and Under | Prices | Blowout Music | Stores | Music More Titles at Least 25% Off | Blowout Music | Stores | Music Similar Items: Def Leppard - Rock of Ages: Definitive Collection DVD Rock of Ages: The Definitive Collection Hysteria Rockford Pyromania ASIN: B000FC2HT0 Release Date: 2006-05-23

Tracks:

1. 20th Century Boy
2. Rock On
3. Hanging On The Telephone
4. Waterloo Sunset
5. Hell Raiser
6. 10538 Overture
7. Street Life
8. Drive-In Saturday
9. Little Bit Of Love
10. The Golden Age Of Rock 'n' Roll
11. No Matter What
12. He's Gonna Step On You Again
13. Don't Believe A Word
14. Stay With Me

Amazon.com

While most of their teen peers were embracing nascent '70s U.K. punk with all the snotty 'tude they could muster, Sheffield's Def Leppard instead infused then-moribund metal with bracing pop smarts. Having long since sold a gazillion or two records with that formula, the '80s superstars pay homage to the eclectic, chart-savvy tastes that spawned it on this collection of covers, recharging their contemporary fortunes a bit in the bargain. Their takes on Me Decade standards like The Faces' "Stay With Me," Badfinger's "No Matter What," and T Rex's "20th Century Boy" may be arguably too faithful, right down to Joe Elliot's often dead-on vocal chameleon routine. But elsewhere they perform some admirable pop archaeology, imparting a darker edge to David Essex's spooky "Rock On" and pumping Blondie's "Hanging on the Telephone," one-hit-wonder John Kongos's riff-fest "He's Gonna Step On You Again," and Sweet's "Hell Raiser" full of patent Lep energy. --Jerry McCulley

Album Description

On their highly anticipated new album, Def Leppard have created a heartfelt and hard rocking tribute to their musical heroes of the late 60's and 70's - the Kinks, Badfinger, T. Rex, David Bowie, Sweet, Roxy Music, Mott the Hoople, Free, Faces, and Thin Lizzy. Recording essential versions of the music that influenced their youth, the band have brilliantly merged the 'Now with the 'Then' to create a buzz that can only be summed up in one word: YEAH!

Customer Reviews:

Cover tunes.......2007-07-16

Def Leppard does cover album. Not a bad album. The cover songs are done tastefully. If you like Def Leppard you'll like this album

Rock Gods did it once again!.......2007-07-08

Anything Def Leppard touches turns to gold.
Joe Elliot's vocals are over the top on this cd. The melodic guitars from Phil and Viv have a delightful cutting edge. Sav on Bass... What more could I say? He is a genius! Rick allen is a God himself.
Their vocal styles blend and carry each tune to higher lofts than ever before imagined. What I found most stunning.... Phil's voice on lead vocals for "Stay with me". Even my 14 year loves this CD! it rates up there with her fixation of My Chemical Romance.
I have yet to hear a bad Def Leppard song! Each cover tune they do, They leppardize it!
A loyal Leppard Fan from 1981!!!!

Another Turkey from Def Leppard.......2007-06-26

1.5 stars

In theory, a Def Leppard album covering classic songs from the 1970s should be great, in reality; however, it is not so great.

After a string a mediocre to horrible albums that went nowhere (with the exception of 1996's underrated "Slang") Def Leppard shows the world their roots--where they came from and what influenced them with their covers albums "Yeah!" (2006).

You can't argue with the band's choices--Blondie, Bowie, T-Rex, ELO, Roxy Music, etc. It's all good stuff. The problem with "Yeah!" isn't a lack of good songs; rather the problem lies with Def Leppard themselves and their execution of the songs.

Def Leppard used to be a great band, no denying that. Their first four albums, specifically "High N' Dry" (1982) and "Pyromania" (1983) are two of the greatest hard-rock albums of the 1980s. That said, Def Leppard have sucked for years. "Slang" and the "Retroactive" (1993) compilation album aside, everything the band has released since the death of Steve Clarke has ranged from mediocre (1992's Adrenalize, 1999's "Euphoria") to downright horrid (2002's atrocious "X"). In short, it's been a long time since Def Leppard knew how to rock and they have long since lost their balls. So even when Def Leppard tries to cover rocking songs, they can't, they just don't know how.

If Def Leppard had released the same collection of songs on a covers album twenty-five years ago, (when they had Pete Willis and Steve Clarke on guitar) it would have been great. Now, however, it just sounds weak. As previously noted, the band no longer has any balls; the performance of the songs on this album is too smooth, with no sense of urgency, no teeth, no rock n' roll spirit. Most of the time the songs sound either forced, i.e., Sweet's "Hell Raiser" or too sugary, i.e., The Kinks "Waterloo Sunset." This album sounds like a bunch of over-the-hill rockers trying to sound vigorous and it just doesn't work. "Yeah!" is an album for soccer moms and Bryan Adams fans, not for people who wanna rock.

There are some decent moments on "Yeah!" Blondie's "Hanging on the Telephone," ELO's "10538 Overture" and Badfinger's "No Matter What" aren't bad, although not as good as the originals. Everything else on this album is totally lame.

FINALLY, a complete review of .......2007-05-09

OK, first off, been a fan of the Leps since I was 15 and "Pyromania" was first released and "Bringin' On The Heartbreak" was all over MTV...twas 1983 and my impressionable mind was molded by the Leps music, just like what happened to the Leps themselves with the bands and who's songs the Leps cover all over "Yeah!!"

This record makes a whole lot of sense and squashes many things that people mistakenly think the Leps are, musically. NWOBHM or pop-metal??!!?? BAH!!

Try glam-influenced powerpop, or a British, glam-influenced Cheap Trick, and you're on target. And honestly, I think it's a mistake that the Leps are constantly on nostalgic summer package tours with horrible corporate rock bands like Journey...shoot me, Journey fans, I don't care, your band and taste is terrible!!! Same with KISS!!! If anything, the Leps should play with musically-compatible bands like Cheap Trick, or newer Britpop bands like the Arctic Monkeys or the Kaiser Chiefs or great new Scottish bands like the View or the Fratellis, to show these younger bands and fans they are still vital...not just for their parents' generation. Gosh, I feel old.

Anyhoo, about the Leps' recent covers album, "Yeah!!!", from 2006, it's possibly the best covers album in recent memory, if not EVER. It's totally fun, not obvious, has many of my fave bands and shows the band's impeccable taste and ability to rock out and have a good time...it probably made the band feel like kids again. The album artwork and nods to the classics is a nice fun touch...the liner notes are informative and infectiously written by Phil and Joe, both obviously music connosseurs and collectors. The intros by Sav and Viv are cool as well.

Now, there are 4 different versions of the album...the regular 14-tracker, the BestBuy version with 2 bonus tracks, the Target edition with 2 completely DIFFERENT bonus tracks, and the Japanese edition has 2 bonus tracks. PLUS Walmart had a separately-sold companion bonus DISC with 8 more tracks (5 additional covers and 3 interviews) which put the whole project into proper perspective. The Japanese disc has only 2 of these Walmart tracks as bonuses. Here's my take on the whole kitten caboodle:

REGULAR ALBUM:
1- "20th Century Boy"...the T-Rex song, an amazing song and great energetic cover...fits the Leps to a T.
2- "Rock On"...the David Essex song, also covered by Michael Damian (a #1 hit in the US but it was lame) and Toni Basil!?!?...her version was cool and on the US version of "Word Of Mouth" following "Mickey"...the Leps cover beats them all...love the way the song kicks in, AC/DC-style.
3- "Hanging On The Telephone"...the 1976 Nerves powerpop classic popularized by Blondie...surprisingly awesome.
4- "Waterloo Sunset"...the 1960s Kinks classic, originally placed on the Leps 2CD import "Best Of", in a better home here on "Yeah!!", great version that grows on you.
5- "Hell Raiser"...the Sweet classic...I know the Leps have cited Sweet as an influence, and they give a kicking rendition here...the funny, campy Steve Priest vocal lines are done here by, NOT Joe Elliot, but guest Justin Hawkins, former lead singer/songwriter of campy Brit hardrockers the Darkness, to fine fun effect...
6- "10538 Overture"...ELO's debut single, when Roy Wood was in the band, after the Move split up...GREAT and a surprisingly fitting choice for the Leps...great guitar work, and features guests on strings, the Stepaside Symphonia...
7- "Street Life"...the 1973 Roxy Music classic...shows the Leps are NOT a pop metal band, but a glam-influenced powerpop band, more taken by punk and new wave, as 1970s UK glam was the precursor to this inferior style of rock, and the Leps do some nice noise on their guitars...LOVE this song...
8- "Drive-In Saturday"...the obscure-in-the-US, HUGE-in-the-UK David Bowie classic from 1973's "Aladdin Sane"...see my take on previous song by Roxy Music.
9- "Little Bit Of Love"...the Free song, a big surprise for me, as I am NOT a Paul Rodgers/Bad Company fan at all...I think BC was probably the most overrated band of them all, really boring actually. Free, on the other hand, I have not heard much of, besides "All Right Now", which was decent but played out, yet still better than all of Bad Company combined. Perhaps, Paul Rodgers sounded great in this band, I don't know, but this song is actually a pretty good pop tune...I may have to investigate Free's catalogue now.
10- "The Golden Age Of Rock 'N' Roll"...the Mott The Hoople classic...probably my fave track on all of "Yeah!!"...just amazing, what rock & roll is all about...Ian Hunter is just swell, as a rock & roller, as a songwriter and as a person...I had the opportunity to see Ian live recently and he blew me away...pictures I took, I gave doubles to Joe himself when I met him at the aftershow party for the NYC "X" club gig at Irving Plaza, now the Fillmore, because I knew Ian was Joe's hero. Ian does the intro here...very cool...and features guests like Joe's wife on BV's, Viv's bro on honking sax and Canadian singer/songwriter Emm Gryner on BVs and piano...just awesome...and I can hear the Sex Pistols influence here too, as is mentioned in the liner notes.
11- "No Matter What"...the Badfinger powerpop classic...arguably the first ever true powerpop song, let alone hit, and yeah, the Leps' version is almost identical, which proves that the Leps are, at heart, a powerpop band, not a metal/pop metal band. Love this remix better than the version on the US 2CD "Rock Of Ages" collection...fits better here too, as this is, after all, an album of covers.
12- "He's Gonna Step On You Again"...the John Kongos classic...honestly, I thought I was the only one who knew who John Kongos was!!! I had the original album with this song, and "Tokoloshe Man", on it...both songs were covered by UK rave rockers Happy Mondays in the early 90s...the band recently reunited as well...turns out the Leps, espesh Joe, were big fans as well...possibly because of the "jungle drums"...great track.
13- "Don't Believe A Word"...the Thin Lizzy song...see my entry for the Sweet cover...I knew Phil Lynott was a big influence on the Leps as well, and this is a great song...I'm also happy they didn't do one of the obvious songs either...here or on the whole album really...
14- "Stay With Me"...the Faces song...featuring PHIL on lead vocals and Joe on Ian McLagen-ish keyboards...it kicks arse, nuff said...the Faces were the only time Rod Stewart was any good, and I do agree with Joe that "Pool Hall Richard" was their best song.

Now, the bonus tracks:
Target's CD:
15- "Action" (Live, 2005)...the Sweet song, and the studio version was a B-side and on 1993's "Retroactive" compilation...GREAT live version with lots of exuberant energy...being it's a live track, not studio, nothing has been recycled, and it's from the recent 2005 US Rock Of Ages tour.
16- "When I'm Dead And Gone"...an obscure 1970 UK hit by British duo McGUINNESS FLINT, written by Benny Gallagher and Graham Lyle. Before getting this CD, I had never heard this song or of the act before, but this cover is totally charming, a memorable and melodic, scruffy, acoustic, singalong, off-the-cuff track...a true gem with no pretentions whatsoever.

BestBuy's CD:
17- "No Matter What" (Live, 2005)...a cool live take of the Badfinger classic, probably from the same show, definitely the same 2005 US tour as the Leps cover of "Action".
18- "Winter Song"...another 1970 obscurity by UK band LINDISFARNE...like the McGuinness Flint song, I had never heard of this either, but it's equally as good, and makes me want to investigate further. The song is more reflective and is a moving Christmas-y type of song, not unlike something Cat Stevens would do...done acoustic style by the Leps...

WalMart CD:
19- "American Girl"...the Tom Petty classic...proves again how the Leps are more powerpop than metal...Joe sounds a bit like Tom here as well, and his jangly Byrds-y style fits the Leps much better than you would think...one of 2 bonus tracks on the Japanese edition of "Yeah!!"...
20- Backstage Interview #1...the band talks about the 2005 tour and their fanbase evolving & getting older.
21- "Search & Destroy"...the Iggy & The Stooges dangerous punk prototype from 1973's Bowie-produced landmark "Raw Power" album...with PHIL singing lead and playing all instruments...just proves that Phil comes from the punk world, whilst the rest of the Leps were from the glam and powerpop world...this track sounds like the Stooges themselves and Phil like Iggy that it's uncanny...it sounds vital and dangerous...this track is the second of 2 bonus tracks on the Japanese "Yeah!!"...
22- Backstage Interview #2...sums up the purpose of "Yeah!!", their inspirations, the rules for picking the tracks, and it shows how the Leps are more glam/powerpop than pop-metal...
23- "Space Oddity"...the second Bowie cover, done completely by Joe...shows how talented he really is as a 1-man band...doesn't sound far from the original at all, from the playing and arrangement to the atmosphere...pretty remarkable actually...
24- Backstage Interview #3...a conclusion to a swell interview...
25- "Dear Friends"...an obscure Queen song written by Brian May (whom I met in JFK airport in 2003, BTW, totally nice gracious guy), from Queen's 1974 debut album...sung and played completely by bassist Rick Savage...shows how talented and overlooked he is in the Def Leppard canon...the guy's a great singer in his own right and a talented multi-instrumentalist as well...who knew???
26- "Heartbeat"...an obscure 1974 song by [...] UK glamster JOBRIATH BOONE, who was always referred to as a poor man's David Bowie. Apparently, Morrissey was a huge Joby fan, that he reissued an album (or a compilation, I'm not sure) called "Jobraith" on his reactivated Attack label through Sanctuary. The guy died of AIDS in 1993 in NYC, depressed and broke...maybe he will get his due, I'm not sure, but Joe was apparently a fan...enough that he covered "Heartbeat", playing fairground organ and backed by Dave Browne on piano and Ronan McHugh on cellos...this cover is quite moving, maybe moreso that Joby died of AIDS...

Anyhoo, overall, possibly the best covers album ever recorded...now that Def Leppard got this long-gestating album out of their system...they've been wanting to do a covers album or their take on Bowie's "Pin-Ups"...since they got a record deal back in 1979, or at least Joe did...now, they can do a kickbutt album of new Lep originals...I heard the next album will be sort-of like "Back In Black"...

I think the band is revitalized...just like the Smithereens are after doing their recent cover album of the Beatles debut, "Meet The Smithereens"...that's what covers albums actually do when done right...they refresh the band and remind them of why they became a band in the first place...that's what happened with Def Leppard and "Yeah!!", but what makes this covers album better than most is that it's not just a footnote curio...it's a fun, rocking record that will be listened to many times in the future, as it stands up against the rest of Def Leppard's catalogue...

It will also remind people of what rock & roll is all about, period.

'Nuff said, I'm done.

Not Rockin.......2007-03-10

Man, i was disappointed! Ive been a Lep fan for ages, i got all their cd's, and have to say this is their worst! This album should of been an addition to their new release! Then it would be okay, but for a new album? no way, this sucks, this aint def leppard.

Average customer rating: Hear Her Live Weilerstein Debut powefull Florida Music Lover Love it or hate it!

DEBUT - Alisa Weilerstein & Vivian Hornik Weilerstein ~ Works for Cello and Piano Niccolo Paganini , Antonin Dvorak , Alberto Ginastera , Felix Mendelssohn , Pyotr Il'yich Tchaikovsky , Gabriel Faure , Leos Janacek , Camille Saint-Saens , Manuel de Falla , Alisa Weilerstein , and Vivian Hornik Weilerstein Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD General | Dvorák, Antonín | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Falla | Falla, Manuel de | ( F ) | Featured Composers, A-Z | Classical | Styles | Music General | Fauré, Gabriel | ( F ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Ginastera | Ginastera, Alberto | ( G ) | Featured Composers, A-Z | Classical | Styles | Music Janácek, Leos | ( J ) | Featured Composers, A-Z | Classical | Styles | Music General | Paganini, Niccolò | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General | Saint-Saëns, Camille | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Tchaikovsky | Tchaikovsky, Peter Ilyich | ( T ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Mendelssohn | Mendelssohn, Felix | ( M ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Cello | Strings | Instruments | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music CDs Under $7 | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music 4-for-3 Classical | 4-for-3 Music | Stores | Music 4-for-3 All Music | 4-for-3 Music | Stores | Music $6.99 and Under | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Dvorák, Antonín | ( D ) | Composers, A-Z | Classical Music Blowout | Stores | Music Falla, Manuel de | ( F ) | Composers, A-Z | Classical Music Blowout | Stores | Music Fauré, Gabriel | ( F ) | Composers, A-Z | Classical Music Blowout | Stores | Music Ginastera, Alberto | ( G ) | Composers, A-Z | Classical Music Blowout | Stores | Music Janácek, Leos | ( J ) | Composers, A-Z | Classical Music Blowout | Stores | Music Mendelssohn, Felix | ( M ) | Composers, A-Z | Classical Music Blowout | Stores | Music Paganini, Niccolò | ( P ) | Composers, A-Z | Classical Music Blowout | Stores | Music Saint-Saëns, Camille | ( S ) | Composers, A-Z | Classical Music Blowout | Stores | Music Tchaikovsky, Peter Ilyich | ( T ) | Composers, A-Z | Classical Music Blowout | Stores | Music Opera & Vocal | Classical Music Blowout | Stores | Music Similar Items: Dvorak Trios; Weilerstein Trio Folklore Gounod: Messe Solennelle de Sainte Cécile; Petite Symphonie for wind instruments The Road To Cello Playing Starker Encore Album ASIN: B00003ZKRO Release Date: 2000-08-01

Tracks:

1. Variations On One String On A Theme By Rossini
2. Forest Quietude, Op.68 No.5
3. Pampeana No.2, Op.21
4. Lied Ohne Worte, Op.109 (Posth.)
5. Pezzo Capriccioso, Op.62
6. Apres Un Reve, Op.7, No.1: After A Dream
7. Pohadka - Fairy Tale: I
8. Pohadka - Fairy Tale: II
9. Pohadka - Fairy Tale: III
10. The Carnival Of The Animals: The Swan
11. Popular Spanish Suite: I. El Pano Moruno (The Moorish Cloth)
12. Popular Spanish Suite: II. Asturiana
13. Popular Spanish Suite: III. Jota
14. Popular Spanish Suite: IV. Nana (Lullaby)
15. Popular Spanish Suite: V. Cancion (Song)
16. Popular Spanish Suite: VI. Polo

Customer Reviews:

Hear Her Live.......2006-12-19

You must witness Alisa Weilerstein live. I fell in love with her playing at the Spoleto festival where she played the basso continuo part of a Bach Brandenberg Concerto as if it was the Dvorak Cello Concerto. She has a passion for music that i have not heard or seen. And in her early 20s. Oh my gosh what a performer she will eventually be!

Weilerstein Debut.......2006-01-21

I've been playing the cello for almost 40 years and I agree about the complaints about the vibrato and phrasing: overdone! I also agree with the question about "aristocratic" playing: why all of the exaggeration? Instrument playing should ideally be like that of a vocalist, where one is not limited by one's technical abilities. I doubt that Ms. Weilerstein would sing these phrasese the same way she plays them. There is still time for her to develop, however. If you want to hear more refined playing, listen to Gendron, Rose, Fournier or Rostropovich.

powefull.......2005-12-18

I am a cellist of 15 years on the breakthrough of becoming a renowed cellist. This cellist tone is so powerfull and clear.she tells a story this is so clear to understand because the music speaks. alisa should watch the slurs from the f to b and be more gracefull. The apres un reve was ok i guess. she really should of tooken more time. like floating on a dream cloud. when i play this piece i take the music from the begining as a fuzzy dream and play the pitch so the music tells a story and becomes more clear every measure. The elgar is somenthing she might not want to touch because no one plays it better than du pre.

Florida Music Lover.......2002-10-12

I have been fond of the cello for years. I have enjoyed Casals even though he was somewhate austere. I love Rostropovich's tone and color but have felt that no one has ever played with the passion of Du Pre until I heard Weilerstein on, I believe, NPR when they played an unreleased tape of the Elgar Concerto by Weilerstein. I missed the intro and would have bet the farm that I was listening to Du Pre until the announcement at the end. I immediately ordered this disc and it has me wondering about re-incarnation. Is Du Pre back? This disc is a wonderful sample of the immense talents of this new young artist. I can't wait for Alisa to record the my favorite Elgar for EMI.

Love it or hate it!.......2002-05-21

SUCH PRESENCE! This is cello playing without apologies. She is always secure in what she is saying whether that is what you wanted to hear or not. She is the real thing. May she go onto continue to create controvery through her playing!

Average customer rating: A Good Love Story What Is Love??? THE most beautiful voice UNIQUE AND UNSTOPPABLE Ten Stars!!!

Love Story Vivian Green Manufacturer: Sony ProductGroup: Music Binding: Audio CD General | R&B | Styles | Music General | Soul | R&B | Styles | Music General | Rock | Styles | Music Pop Rock | Pop | Styles | Music Sony | Computers Brands | Computers Features | Electronics | Desktops | Monitors | Networking | Notebooks Similar Items: Vivian This Is Who I Am In My Mind Floetic Who Is Jill Scott? Words and Sounds, Vol. 1 ASIN: B00006LWQI Release Date: 2002-11-12

Tracks:

1. Wishful Thinking
2. 24 Hour Blue (Just One Of Those Days)
3. Superwoman
4. What Is Love?
5. Music
6. Emotional Rollercoaster
7. Final Hour
8. No Sittin' By The Phone
9. Affected
10. Fanatic
11. Ain't Nothing But Love
12. Be Good To You
13. Complete
14. Keep On Going

Amazon.com

When Philly soul sister and onetime Jill Scott backing singer Vivian Green nails a jazzy supper club vibe--as she does on songs like "What Is Love?" and the impossibly sad "No Sittin' by the Phone" from her lovely Love Story debut--you feel more elegant just listening to her. Green has one up on her hero, Barbra Streisand--she writes her own songs, credibly draws on the rich tapestry of gospel and R&B, and she can play. "24 Hour Blue" is equal parts funk and soul; "Superwoman" is a fluid, string-boosted call-to-arms for unappreciated women everywhere; and "Music" is an impossibly hip midnight-hour declaration of love for her craft. Manicured but never bloodless, slick but not austere, A Love Story stands as one of the most confident, accomplished, and sexy urban debuts in memory. --Kim Hughes

Customer Reviews:

A Good Love Story.......2007-06-27

I think 10/13 song are good unlike most albums that sell mush more and people make alot of fuss about example Neyo's cd in my own words.
The song writing is very good and the lyrics are arranged in a way that works with the music production. check it out
If you like this cd check out...Chrisette Michele's I Am (better album than this one as a whole, so if money is low and you can't get both, get Chrisette's)...Terry Ellis, Lovely Voise also..good cd...Conya Doss is worth checking out also, she has 3 albums

What Is Love???.......2007-05-15

This disc is about love won, and love lost. Vivian has a beautiful voice and it conveys her passion and thoughts. Emotional Rollercoaster, What is Love, Final Hour, No Sitting By The Phone, Be Good To You, and Complete, should have been released on urban radio in heavy rotation. These would have been slow jam classics by now. Fanatic, and Keep on Going, fits the urban sound of a Maxwell, Jill Scott, and Angie Stone. A good group to be associated with. Jill Scott knows talent. (Vivian Green once sung backup for Jill Scott.)

THE most beautiful voice.......2006-03-10

i have to say when i brought this album i had never heard of vivian i read a review and thought yeah i could like this .I loved it.One of the best voices to emerge in recent years vivians has that rare ability to make you feel ,make you feel through the power of her voices .Vivian has that timless appeal to her voice like she could be singing thirty years ago but also maintaing that modern neo thang .

Lovely tracks like what is love ,which contains gorg background music,aint nothing but love ,where vivians voice soars, the uplifting gotta keep going on and the amazingly touching no more sittin by the phone pure heartbreak convade in vivians voice .

While i do like her follow up this album just feels more spritually together from a woman who knows where shes going.x

UNIQUE AND UNSTOPPABLE.......2005-12-05

This is a AWESOME album. I think she has a very unique, yet someone familiar style that makes her easy to embrace. I have grown right along with Vivian Green. From the Emotional Rollercoaster to Gotta Go, Gotta Leave. I am a huge fan of her talent and musical style. From the First track to the Final track, it's just awesome. She is a great artist and her second album is just as appreciated as the first. She can definately be at the top of R&B with the right management and good career decisions.

Ten Stars!!!.......2005-11-29

I've STILL been wearing a groove in this one - usually as soon as I come into work, while I clean my house, etc., etc. There's not a bad song to be found on this CD. Ms. Green's vocal and the music blend together so beautifully. I know it's cliche, but I can't wait for her next one.

Average customer rating: Hey Viv Vivian is a winner! very good SOULFUL, WONDERFUL, AND BEAUTIFUL Clean, crisp and refreshing.

Vivian Vivian Green Manufacturer: Sony ProductGroup: Music Binding: Audio CD Contemporary Blues | Blues | Styles | Music Singer-Songwriters | Pop | Styles | Music Pop Rock | Pop | Styles | Music Contemporary R&B | R&B | Styles | Music General | R&B | Styles | Music General | Soul | R&B | Styles | Music General | Rock | Styles | Music Sony | Computers Brands | Computers Features | Electronics | Desktops | Monitors | Networking | Notebooks Similar Items: Love Story In My Mind This Is Who I Am Flo'Ology Tamia: Between Friends ASIN: B000CMNJFE Release Date: 2005-06-28

Tracks:

1. Wish We Could Go Back
2. Mad
3. Frustrated
4. Damn
5. Selfish
6. Under My Skin
7. I Like It (But I Don't Need It)
8. Sweet Memory (Beautifully Young)
9. Gotta Go Gotta Leave (Tired)
10. Perfect Decision
11. All About Us
12. Sweet Thing
13. Outro (Family & Friends)
14. Bonus Track 1

Customer Reviews:

Hey Viv.......2007-01-17

I love this album, I wasn't much of a fan her first time out the gate. I mean Emotional Rollacoaster had a nice sound and beat, but this cd I am convinced Ms. Green can dance with the best of them. I love it. From beginning to end.

Keep up the good work, and congratulations on a Fabulous, Fabulous album.

Vivian is a winner!.......2006-12-02

Vivian Green is definitely underrated. She burst onto the scene a few years ago with her breakout hit, Emotional Rollercoaster. Her debut album A Love Story went Gold on the strength of the single. A second single Fanatic didn't fare quite well but was good nonetheless. In 2005 Vivian released her new album simply titled Vivian. She hit big once again on the Urban AC charts with Gotta Go, Gotta Leave. Vivian Green fits the mold for what's become expected of any neo-soul goddess. She sings each song very well and it seems as what she's singing is coming from a real place. Wish We Could Go Back starts things off to a banging start. Vivian reminisces over a former lover. It goes to show that there can be too much of a good thing. Meanwhile Vivian slows it down on such ballads as Mad, Frustrated, and Perfect Decsion. Listening to this album is like a breath of fresh air for me. When I'm tired of listening to Beyonce and all the other stuff, I pop in Vivian. She doesn't try to look, sound, or be like anybody but Vivian. And that is something I can respect about her.

very good.......2006-11-10

Vivian Green steps into the mainstream with surprising results: an enjoyable and catchy release.

SOULFUL, WONDERFUL, AND BEAUTIFUL.......2006-08-05

I LOVED IT. ALL OF HER SONGS HAD A GOOD MESSAGE AND THEY CAME RIGHT FROM HER SOUL. HER MUSIC IS ABSOLUTELY WONDERFUL. IT IS A LOVELY MIX OF R&B AND SOUL. WHEN LISTENING HER BEAUTIFUL MUSIC IT TAKES YOU BACK TO THE GOOD OLD DAYS WHEN MUSIC WAS GOOOD AND PEOPLE COULD ACTUALLY SANG!!!!!!

Clean, crisp and refreshing........2006-06-02

Vivian Green is old-school R&B: she can actually sing, and her songs actually say something. It's not just over-produced bump-n-grind nonsense that so many other female performers these days excel at. She's a vocalist, not just some MTV/BET video hoe upgraded to singer.

This album consists of songs that are atypical of R&B these days also. They don't depend on driving choruses, or thumping bass. They just depend on her voice, and the words she's singing. And they WORK. Instead of giving us an album consisting of a few singles and some filler, we get a solid block of material that holds up and doesn't become old or faded. Long after you stop playing your current album-of-the-minute with the big hits on it that get inevitably replaced by bigger hits on another day, you can keep right on playing this one.

My one complaint (and the reason it's four stars and not five) is that the album isn't as good as her first one. That one really consisted of songs that fit her voice perfectly and had much stronger, more poignant writing overall. It was more soulful than this one, and emotionally heavier. This one is excellent, but it's very light compared to her debut.

And hey, there's nothing wrong with that. She's obviously able to stretch and be flexible. And if that means that every album she puts out will maintain her high quality and yet be different from the last, that's really exciting. Not many artists can make that kind of promise, but when Vivian does, you can trust her, and trust in her music. This CD is definitely a keeper.

Average customer rating: OUTSTANDING! NOT TO BE MISSED . . . . . . Life embodied Misunderstood Beautiful... but how is it a show? Interesting, but cold

Marie Christine (1999 Broadway Cast) Manufacturer: RCA Victor Broadway ProductGroup: Music Binding: Audio CD General | Musicals | Broadway & Vocalists | Styles | Music Contemporary Musicals | Musicals | Broadway & Vocalists | Styles | Music Traditional Vocal Pop | Broadway & Vocalists | Styles | Music General | Broadway & Vocalists | Styles | Music McDonald, Audra | Divas | Opera & Vocal | Styles | Music General | Soundtracks | Styles | Music Musicals | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Hello Again (1994 Original Broadway Cast) The Wild Party (LaChiusa) (2000 Original Broadway Cast) Grey Gardens - A New Musical (2006 Original Broadway Cast) First Lady Suite - A Musical (Premiere Recording) Myths And Hymns (1998 Off-Broadway Cast, Originally Saturn Returns) ASIN: B00004SBUT Release Date: 2000-04-18

Tracks:

1. Prelude: A Prison: Before The Morning
2. Prelude: A Prison: Mamzell' Marie
3. Prelude: A Prison: Your Grandfather Is The Sun
4. Act One: Beautiful
5. Act One: In An Instant
6. Act One: Way Back To Paradise
7. Act One: When You Look At A Man
8. Act One: The Storm
9. Act One: C'Est L'Amour/To Find A Lover
10. Act One: Nothing Beats Chicago/Ocean Is Different
11. Act One: Danced With A Girl
12. Act One: Tout Mi Mi/He Is My Release
13. Act One: Miracles And Mysteries
14. Act One: I Don't Hear The Ocean
15. Act One: Bird Inside The House
16. Act One: We're Gonna Go To Chicago
17. Act One: And You Would Lie/I Will Give
18. Act One: Act I Finale
19. Act Two: Cincinnati
20. Act Two: You're Looking At The Man
21. Act Two: The Scorpion
22. Act Two: Lover, Bring Me Summer
23. Act Two: Tell Me
24. Act Two: Billy Was Sweet/Paradise Is Burning Down
25. Act Two: Prison In A Prison
26. Act Two: Better And Best
27. Act Two: Good Looking Woman
28. Act Two: No Turning Back/Before The Morning (Reprise)
29. Act Two: Beautiful (Reprise)
30. Act Two: I Will Love You
31. Act Two: Your Name
32. Act Two: Finale-Innocence Dies

Amazon.com

A retelling of Medea transposed to 19th-century America, Marie Christine falls short of its lofty ambitions, which still makes it more audacious than most of the current Broadway fare. Composer-lyricist Michael John LaChiusa's lyrics can be cumbersomely narrative, and too often he dispatches a song without letting it develop fully, as if refusing to be overly easy on the ear. But the man's dramatic flair is undeniable, and this recording allows us to fully appreciate subtleties that got drowned in Graciela Daniele's often-dreary staging at Lincoln Center. Second-act opener "Cincinnati" shows that when he feels like it, LaChiusa can write the kind of boisterous big number that brings down a house. In the title role, Audra McDonald confirms that she is an incandescent presence. This welcome recording may help rehabilitate a misunderstood show. --Elisabeth Vincentelli

Customer Reviews:

OUTSTANDING! NOT TO BE MISSED . . . . . . .......2007-05-25

Boy! Heather Headley must have been unbelievably wonderful in AIDA, in view of the fact that she received the 2000 Tony and Drama Desk Awards instead of Audra McDonald who IS absolutely incredible as MARIE CHRISTINE. Did the fact that Ms. McDonald had already received three Tonys, a Theatre World Award, and a Drama Desk Award have any bearing on the voting? Or that AIDIA ran for 1852 performances, 1810 more than MARIE CHRISTINE's forty-two? Ms. McDonald received her fourth Tony & her second Drama Desk Award in 2004 for A RAISIN IN THE SUN and is in contention again this year for the revival of 110 IN THE SHADE. Another interesting tidbit: Ms. Headley and Ms. McDonald appeared respectively as Lorrell Robinson and Deena Jones in the September 24, 2001 benefit performance of DREAMGIRLS, available on the Nonesuch label.

With MARIE CHRISTINE, Michael John LaChiusa firmly establishes himself at the forefront of the "serious" composers for the American Musical Theater. Upon LaChiusa's acceptance of a residency with the Lyric Opera of Chicago in 2004, USOperaWeb Managing Editor Robert Wilder Blue wrote, "We don't imagine that musical theater composer Michael John LaChiusa woke up one morning in the later years of the 1990s and made a decision to be more controversial.

"Nonetheless, he set Broadway astir . . . with MARIE CHRISTINE and THE WILD PARTY, musicals whose subject matters (the Medea story and sexual escapades in the 1920s, respectively) were found to be unsuitable for that Disney-esque landscape, and whose music didn't set audiences to whistling upon leaving the theater. Worse yet, those works didn't conform to many critics' and theatergoers' preset ideas of categorization: were they musicals or were they operas? Finally, how were they to be judged? Were they the work of a genius or a hack? Critics and audiences have not been so divided in their impressions and opinions since Stephen Sondheim's COMPANY hit the stage in 1970."

David Finkle wrote (in "The TheaterMania Guide to Musical Theater Recordings"), "LaChiusa has a gift for ravishing melody but cuts corners by not bothering to develop the themes and motifs into rounded songs. Seemingly allergic to the thirty-two-bar ditty, he prefers to construct his scores as if they're ever-evolving fragments of music. Sometimes it works, and sometimes it can strike the listener as continual 'songus interruptus.'"

It works for me, and works incredibly well. Finkle further states, "LaChiusa's great fortune is in having Audra McDonald apply her gorgeous mezzo-soprano to his concoctions." He is also fortunate in having Anthony Crivello playing the part of Dante Keyes, Mary Testa as the Entertainer, and an outstanding cast of singers. Equally fortunate is having Jonathan Tunick supply the exciting orchestrations.

Opera or Broadway musical? Do we really have to make that distinction? All I can tell you is that MARIE CHRISTINE is the most exciting piece of music I have heard in a long, long time.

One of my fondest memories is seeing the great Dame Judith Anderson as MEDEA back in the mid-60s. I think she would be very pleased with Mr. LaChiusa's musical and especially with Audra McDonald's ravishing performance.

NOT TO BE MISSED!

Life embodied.......2006-02-13

I'll be brief by saying that I disagree with most of the posted reviews that claim LaChiusa's music to be cold or unncessarilly complicated. After speaking with Marc Kudisch (from LaChiusa's "Wild Party")after a performance of "See What I Wanna See"--an equally moving and stimulating piece--he recommended that I listen to LaChiusa's works multiple times to appreciate their subtle genius. I've listened to the recording of Marie Christine well over 50 times and am still discovering subtle patterns and recurring melodies that provide moving links to the characters' respective emotional journeys and memories at the time. More importantly, however, LaChiusa is unafraid to tackle dark subject matter and present it in an honest and raw way--seemingly unchained by the expected commercial value recquired of most Broadway shows today. Because of this, he is able to tap into some of the most primal of human emotions through his music, which is likewise butressed by the fantastic Audra and supporting cast. Perhaps its the actor/musician in me that finds this piece intriguing, but I believe that anyone who is willing to listen to this ablum without any pre-conceived notions about what it is or should be, can benefit from not only the beauty and insight of the music, but also the thoughtful presentation of the raw elements of the human experience that are, in some ways, universal to all of us. In other words, I highly recommmend this CD as one of LaChiusa's exemplary works.

Misunderstood.......2006-02-01

Let me place my view of this piece in context -- I have just come off an extensive study of Gershwin's Porgy & Bess, a show that, sadly, was viewed -- and presented -- as a Broadway vehicle until the Houston Opera restored its full operatic score in 1976. I HATED P&B as Broadway vehicle/movie, but find it interpretation as an opera breathtaking.

I say all that to say that from the first time I heard Marie Christine I could not - for the life of me -- figure out what the *&(& it was doing on Broadway. Kudos for the reviewer who noted Medea isn't a sympathetic figure -- she isn't by B'way terms.

However, she fits comfortably into the world of opera - a place filled with unsympathetic leads.

I'd like to see MC staged by an opera company. Not "sold" as a B'way musical. Look at MC compared to Hairspray, Spamalot, even Guettel's Light... then place it in context with La Traviata, Aida, Carmen...

Beautiful... but how is it a show?.......2005-05-27

The "Beautiful" motif fits this show well... the music is beautiful. And arrogant. And lonely- Except for Audra's sake, I can't see how anyone went to see this.

My biggest complaint with with music is that LaChiusa refuses to allow his melodies to develop fully, which is unfortunate, because he's written some of the most beautiful music to come to New York since Adam Guettel's Floyd Collins, or even Sondhiem's Passion. In too many songs, he allows the song to build much too quickly; "Tell Me" for example, moves in suddenly, which, while striking, fails to fully develop the rage Marie Christine feels. Also, it seems LaChiusa feels that no chord, or even rhythm can be anything less than confusing. There doesn't need to be three melodies within the chord at the end of "Finale", nor does he need to follow the one truly melodic song in the entire show, "I Will Love You", with a jarring and, frankly painful, chord that seemed to assault my ears. This certainly doesn't help the hummable factor.

On another note, Audra McDonald is astoudning. She owns every note of LaChiusa's amazingly complex score. Her presence fills up the air from the moment you hear her voice. Anyone else in this role would have resulted in a complete wreck of a musical\"chamber opera". The rest, with the possible exceptions of Mary Testa and Darius DeHaas, are adequate and have their moments.

Ultimately, LaChiusa's music leaves a powerful impression; For all it's faults, I can't stop listening to several songs from Marie Christine: "Tell Me," "Your Name," "Paradise is Burning Down," "Prison in a Prison," and of course, "Beautiful" all enter my mind and won't let go, much like Marie herself.

Interesting, but cold.......2005-04-29

To faithfully translate the story of Medea to the musical stage could never result in a simplistic production or score, and as a result, Marie Christine is not an easy listen. It has taken four years for me to properly listen to the whole CD and understand the music. Slowly, in each listening, I found something new to appreciate.

The show is by necessity very dark in tone, and the heightened passions that are expressed can only be properly explored in a chamber opera format. The result is that there are no clearly defined songs, hooks or choruses, but rather a series of tunes (some memorable, most not) which are cleverly intertwined to tell the story.

Audra McDonald is superb in the title role and LaChiusa's music gives her voice full reign. She and he co-star, Anthony Crivello, completely immerse themselves in their roles and bring a terrifying intensity to the recording. They are matched by the rest of the cast who provide support as both individual characters and as the 'Greek chorus' who comment on the action as the story progresses.

As a side note, the audio production on this CD is stunning - every nuance of voice and instrument comes across clear as a bell.

As someone else has said, this is an easy score to admire - it's very cleverly written, with an interesting density mostly lacking from musicals. However, it's the performances of the actors that give the show what little heart is has. It's very hard to actually feel anything but horror at Marie Christine's actions, and her descent into madness doesn't make her sympathetic (if that was what the authors intended). Maybe only seeing a live production would bring this clever, complex, but ultimately cold score to life.

Average customer rating: Mrs Henderson Presents Absolutely infectious!!! A Creation and Recreation of Nostalgia Mrs. Henderson Presents Upbeat and Fun!

Mrs. Henderson Presents Manufacturer: Sony ProductGroup: Music Binding: Audio CD General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Nostalgia | Miscellaneous | Styles | Music Movie Scores | Soundtracks | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music General | Musicals | Broadway & Vocalists | Styles | Music General | Broadway & Vocalists | Styles | Music General | Oldies | Pop | Styles | Music General | Vocal Pop | Pop | Styles | Music Similar Items: Mrs. Henderson Presents (Widescreen Edition) Casanova From Now On Ladies in Lavender Memoirs of a Geisha ASIN: B000CC3SDC Release Date: 2006-01-03

Tracks:

1. Overture
2. Bored with Widowhood
3. Letting in the Sunshine
4. Revuedeville
5. Persuading Tommy
6. Sweet Inspiration
7. Vivian Van Damm
8. Goody Goody
9. After the Ball
10. Shilling for the Hour
11. Joyride
12. Fall of France: La Marseillaise
13. Blitz: Bombing/The Grecian Frieze/Defiance
14. Babies of the Blitz
15. Blue Nightfall
16. Girl in the Fan
17. All the Things You Are
18. Elegy
19. Sails of the Windmill
20. Girl in the Little Green Hat

Customer Reviews:

Mrs Henderson Presents.......2007-05-16

A very enjoyable and at times funny movie. Judi Dench gives one of her best perfomances with excellent support from the other cast members. This is a movie one could watch several times and never tire of it. AAA+++

Absolutely infectious!!!.......2007-03-28

From start to finish, MRS. HENDERSON PRESENTS is the finest collection of solid standards and George Fenton's own recreated time-period evocations,fully fleshed and skillfully performed and recorded.The talents of singer Will Young will not go unnoticed, especially in his heartbreaking rendition of ALL THE THINGS YOU ARE.Your toes will be tapping,your lips will be smiling and you will be glad that this soundtrack and wonderful film are yours!You will be transported to WW2 England and you will be humming these tunes day and night.

A Creation and Recreation of Nostalgia.......2006-04-23

George Fenton has put together a musical score for the completely delightful MRS. HENDERSON PRESENTS that is a combination of original music deeply influenced by the time of the film (London during WW II) and some of the best 'old favorite songs' from that time. In the film the music is always present, whether in the performances on the Windmill Theater stage or in the lyricism of the acting by Judi Dench, Bob Hoskins and crew.

Fenton includes such terrific oldies as Johnny Mercer's 'Goody Goody', Charles Harris' 'After the Ball', Noel Gay's 'Letting in the Sunshine', Frank Loesser's 'Blue Nightfall', and Jerome Kern's 'All the things you are'. He segues these pieces with his own fine orchestrations and the result is a score that not only enhances the mood of the film, but one that stands alone as a recording. The various performers include Camille O'Sullivan, Charlene Ford, Ciaran Connolly, Elise Audeyev, Frances Garvey, Frank Lawson, Joseph McMurray, Kate Power, Matthew Hart, Melody Squire, Rachel Lawrence, Sir Thomas Allen!, Sophie Brown, The O'Brien Sisters, Vanessa Barmby, Vicki Davids, and Victoria Hay.

This is a recording to conjure up memories not only of a successful film but also of a time when music conveyed a lot of emotion during times of stress. Highly recommended. Grady Harp, April 06

Mrs. Henderson Presents.......2006-03-24

Met ALL my expectations, having seen/loved the film - especially the orchestration, arrangements, and vocals. Sound quality superb.
I've played this CD for others - of all age groups - all agree it's a defininte winner.

Upbeat and Fun!.......2006-03-22

Love this CD for the nostalgia! My favorite track is "All the Things You Are" by J.Kern and O.Hammerstein. This year's Oscar telecast produced a montage of film clips to this track including the last scene from "Mrs. Henderson Presents" and it was so emotion granting as is the song. Many of the other songs are from a time period right before WWII, but they are just fun and upbeat -- it was the depression, people needed to be uplifted with such such songs as "Letting in the Sunshine" and "Goody Goody." Judi Dench was asked by someone in the bleachers at the Oscars how it felt to be nominated this year for Mrs. Henderson, and she answered back, "just listen to the soundtrack darling!" How great is that???!!!!

Average customer rating: a voice teacher and early music Israel in Egypt - Baroque Recording Superb recording of one of Handel's great oratorios A Magnificent Performance of One of Handel's Finest Oratorios Passionate Reconstruction of First Version on Period Instr's

Handel - Israel in Egypt / Bostridge, Chance, Gritton, Varcoe, King's College Choir, The Brandenburg Consort, Cleobury King's College Choir - Cambridge , and The Brandenburg Consort Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music King's College Choir Cambridge | ( K ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Oratorios | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Handel - Judas Maccabaeus / Kirkby · Denley · Bowman · MacDougall · The King's Consort · King Samson Handel: Alexander's Feast Josquin Desprez: Missa Fortuna Desperata Purcell: Odes for St. Cecilia's Day - Music for Queen Mary / Taverner Consort ASIN: B00004SDRE Release Date: 2000-06-13

Tracks:

1. The Ways Of Zion Do Mourn: Prelude
2. The Ways Of Zion Do Mourn: The Sons Of Israel Do Mourn
3. The Ways Of Zion Do Mourn: He Put On Righteousness
4. The Ways Of Zion Do Mourn: When The Ear Heard Him Soprano
5. The Ways Of Zion Do Mourn: How Is The Mighty Fall'n
6. The Ways Of Zion Do Mourn: He Deliver'd The Poor
7. The Ways Of Zion Do Mourn: How Is The Mighty Fall'n
8. The Ways Of Zion Do Mourn: The Righteous Shall Be Had
9. The Ways Of Zion Do Mourn: Their Bodies Are Buried In Peace
10. The Ways Of Zion Do Mourn: The People Will Tell Of Their Wisdom
11. The Ways Of Zion Do Mourn: They Shall Recieve A Glorious Kingdom
12. The Ways Of Zion Do Mourn: The Merciful Goodness Of The Lord
13. The Ways Of Zion Do Mourn: Now There Arose A New King Over Egypt
14. The Ways Of Zion Do Mourn: And The Children Of Israel Sighed
15. The Ways Of Zion Do Mourn: Then Sent He Moses
16. The Ways Of Zion Do Mourn: They Loathed To Drink Of The River
17. The Ways Of Zion Do Mourn: Their Land Brought Forth Frogs
18. The Ways Of Zion Do Mourn: He Spake The Word
19. The Ways Of Zion Do Mourn: He Gave Them Hailstones For Rain
20. The Ways Of Zion Do Mourn: He Sent A Thick Darkness
21. The Ways Of Zion Do Mourn: He Smote All The First-Born Of Egypt
22. The Ways Of Zion Do Mourn: But As For His People
23. The Ways Of Zion Do Mourn: Egypt Was Glad
24. The Ways Of Zion Do Mourn: He Rebuked The Red Sea
25. The Ways Of Zion Do Mourn: He Led Them Through The Deep
26. The Ways Of Zion Do Mourn: But The Waters Overwhelmed Their Enemies
27. The Ways Of Zion Do Mourn: And Israel Saw That Great Work
28. The Ways Of Zion Do Mourn: And Believed The Lord

Tracks:

1. Part III: Moses' Song: Moses And The Children Of Israel
2. Part III: Moses' Song: I Will Sing Unto The Lord
3. Part III: Moses' Song: The Lord Is My Strength
4. Part III: Moses' Song: He Is My God And I Will Exalt Him
5. Part III: Moses' Song: The Lord Is A Man Of War
6. Part III: Moses' Song: The Depths Have Covered Them
7. Part III: Moses' Song: Thy Right Hand O Lord, And In The Greatness
8. Part III: Moses' Song: Thou Sentest Forth Thy Wrath
9. Part III: Moses' Song: And With The Blast Of Thy Nostrils
10. Part III: Moses' Song: The Enemy Said
11. Part III: Moses' Song: Thou Didst Blow With The Wind
12. Part III: Moses' Song: Who Is Like Unto Thee, O Lord, The Earth Swallowed Them
13. Part III: Moses' Song: Thou In Thy Mercy
14. Part III: Moses' Song: The People Shall Hear
15. Part III: Moses' Song: Thou Shalt Bring Them In
16. Part III: Moses' Song: The Lord Shall Reign For Ever And Ever
17. Part III: Moses' Song: For The Horse Of Pharoah
18. Part III: Moses' Song: The Lord Shall Reign For Ever And Ever
19. Part III: Moses' Song: And Miriam The Prophetess
20. Part III: Moses' Song: Sing Ye To The Lord

Amazon.com

Israel in Egypt is by far the most choral of all of Handel's oratorios. Indeed, Part II (which describes the plagues of Egypt with extraordinary vividness) is all chorus, apart from one short alto aria. For the most part, the King's College Choir, Cambridge, does a splendid job here. There's something unutterably beguiling about the freshness of children's voices in this context, especially when they are warmed with the delicate touch of vibrato which the "King's sound" requires. If the young singers do not have the sophistication of the adult female voices of, say, the Monteverdi Choir, they certainly have an unmistakable bloom. Cleobury keeps things very clear in the contrapuntal and fugal sections, but is less inspired in the passages that need more drama and orchestral color: the plagues of flies, lice, and locusts are woefully restrained, for example. The soloists, however, do their best to inject some theatricality during their arias. Ian Bostridge is in particularly fine form, and Susan Gritton sounds gorgeous. An attractive interpretation. --Warwick Thompson

Customer Reviews:

a voice teacher and early music.......2006-03-21

When Handel began the writing of this composition he did not intend to write a gigantic epic, but simply an anthem (which is now the 2nd part headed 'Moses' Song,Exodus, chapter XV'. But the subject fascinated him and when he had finished the 2nd part,he wrote the first part as a kind of prelude. This tale of the salvation of the chosen people is told almost entirely in a chain of gigantic choruses,illustrating the sufferings of Israel in the land of bondage, the plagues inflicted by Jehovah upon the Egyptians,the escape of the Israelites, the passage of the Red Sea, and the final song of victory. As a combination of massive grandeur of style and picturesque force, it stands alone.The first performance took place at the King's Theatre on April 4,1739.I actually purchased this recording because it included the Original part l:The Lamentations of Jeremiah. Also because of the superior line-up of soloists which included 4 of my personal favorites: Chance, Varcoe, Bostridge and Gritton. This is just an excellent interpretation of this dramatic oratorio and I do agree with one of the previous reviewers that the boy sopranos as opposed to women sopranos lend a fresh new sound to this great work. The whole rendition is so dramatic that it is very easy to get into the bible story as told in Exodus. The Quartets sung by Gritton, Chance, Bostridge and Varcoe are glorious; it's very satisfying when the ear doesn't have to struggle to get the message; the diction in the chorus is just as refined and understandable. I have the Robert Shaw recording from several years before this one and while it is excellent, this one has the dramatic edge over it. In addition Shaw parceled out his solos to various people; for example Chance only sang one of the 4 main alto solos and I was "let down" by the others. Anyway, this is a great listening experience.

Israel in Egypt - Baroque Recording.......2006-02-01

A wonderful recording of Handel's fifth oratorio. Ian Bostridge is fantastic, as are the other soloists. The King's College Choir is exemplary. I purchased this recording to use as preparation for singing the piece myself. I did not realize when I ordered it that it was recorded on baroque instruments (and therefore in a lower key), and would have prefered a recording on modern instruments for practicing.

Superb recording of one of Handel's great oratorios.......2005-10-18

Handel made is fame in England as a brilliant composer of Italian Opera. When the crown endorsed a second opera company it was soon apparent that even London could not and would not support both. When Handel could no longer recruit the top singers for his operas, he turned to another great English vocal composition style, the Anthem. Out of this grew his Oratorio style, which allowed brilliant singing, popular choruses, musical drama without onstage action or expensive sets, and works that were sung in English and therefore more widely appreciated.

His "Israel in Egypt" dates from 1738 as he was winding down his composition of operas. In its original form the first part reused the mournful funeral anthem he had composed for the funeral of his patron Queen Caroline. While included in this recording, it has usually not been performed in concert over the centuries. Why? It may be that opening a dramatic work with so many choruses of a sad affect may wear an audience out before the quite different second and third parts even begin. Its texts are drawn from Lamentations, Psalms, Ecclesiastes, and others representing Israel mourning the death of Joseph.

The second part is the Exodus from Egypt. These texts are drawn from Exodus and Psalms and the music is full of text painting during the plagues and the escape through the Red Sea. Part III is the most operatic in character and probably the part the audiences love the most. It is a setting of Moses' Song drawn from Exodus 15. It has the most work of soloists, ensembles and choruses.

The work did not please its first audiences and Handel adapted it over the years to find an audience for it. However, nineteenth century audiences loved it and performed it more than any other of Handel's oratorios save, of course, "Messiah".

Handel was a composer who often borrowed and reused music. He did that with his own works and the works of others. It is not straight plagiarism by today's standards, because he reworked, extended, and transformed the music. However, it surely would have gotten him on the wrong side of copyright laws, if any had existed. But they didn't and many other composers over the centuries also used borrowed material. Handel's genius improved the music and made it immortal.

This recording is of all three parts, done with the superb and historic King College Chorus of Cambridge with its thirty voices. This choir uses only boys for the trebles and provides a wonderful sound for this music. The soloists are all superb and the orchestral playing is spot on and supports the voices perfectly.

If you want to hear works by Handel and enjoy choruses, this is a great choice. Just don't expect another "Messiah". It is not the same kind of use of soloists and chorus. There are two disks and a small booklet with some history and the libretto.

A Magnificent Performance of One of Handel's Finest Oratorios.......2005-08-07

ISRAEL IN EGYPT is an important step in Handel's career, a time when he took a breath from his Italian Operas and turned to the English libretti of his mighty oratorios. ISRAEL IN EGYPT is one of the more dramatic of his choral works, somehow capturing the drama of opera through the exciting role the chorus plays. Stephen Cleobury conducts what is certainly one of the most exciting and beautiful performances on record and he does so in the quintessential style of the Baroque era.

The soloists are all superb interpreters of the style and music of Handel and while tenor Ian Bostridge, countertenor Michael Chance and soprano Susan Gritton contribute the strongest roles, the work of Libby Crabtree, Angela East, Stephen Varcoe, and Henry Herford are also consistently excellent. The 'major role' in this opus is divided between the chorus and the orchestra and here is where the recording is the most radiant of any. The King's College Choir and the Brandenburg Consort are as fine as ensembles come for this music and Cleobury knows how to coax the beauty of line and energy of text from the entire ensemble.

For those unfamiliar with Handel's oratorios this recording is a fine start. And for those lovers of baroque music (and Handel in particular), this is a superlative example of how Handel's oratorios should be sung and played. Highly Recommended. Grady Harp, August 05

Passionate Reconstruction of First Version on Period Instr's.......2004-10-24

This is magnificent reconstruction of Handel's first composition on this oratorio, with Lamentations of the Israelites for the Death of Joseph included. Israel in Egypt is known to be the departure point for Handel from Italian opera to English oratoiro.

Here in wonderful fashion on period instruments with solid soloists and great baroque orchestra, this all comes together in a solid performance. Harpsichord and organ accompaniment are awesome, and strings do substantial job as well.

Great two CD set!

Average customer rating:

Panorama: Gabriel Fauré Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD General | Fauré, Gabriel | ( F ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Nocturnes | Short Forms | Forms & Genres | Classical | Styles | Music Incidental Music | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music Requiems | Forms & Genres | Early Music | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Theatrical, Incidental & Program Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music Harp | Strings | Instruments | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Rogi, Pascal | ( R ) | Featured Performers, A-Z | Classical | Styles | Music General | Opera & Vocal | Styles | Music Anthems | Vocal Non-Opera | Opera & Vocal | Styles | Music Barcarolles | Vocal Non-Opera | Opera & Vocal | Styles | Music Choruses | Vocal Non-Opera | Opera & Vocal | Styles | Music Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music General | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music ASIN: B00005IB63 Release Date: 2001-08-14

Tracks:

1. Requiem, Op.48: 1. Intro Et Kyrie: Requiem Aeternam Dona Eis, Domine/Kyrie Eleison - Philharmonia Chor/Horst Neumann/Timothy Farrell
2. Requiem, Op.48: 2. Offertoire: O Domine Jesu Christe, Rex Gloriae - Andreas Schmidt/Philharmonia Chor/Horst Neumann/Timothy Farrell
3. Requiem, Op.48: 3. Sanctus: Sanctus, Sanctus, Sanctus Dominus, Deus Sabaoth - Philharmonia Chor/Horst Neumann/Timothy Farrell
4. Requiem, Op.48: 4. Pie Jesu: Pie Jesu Domine - Kathleen Battle/Timothy Farrell
5. Requiem, Op.48: 5. Agnus Dei: Agnus Dei, Qui Tollis Peccata Mundi - Philharmonia Chor/Horst Neumann/Timothy Farrell
6. Requiem, Op.48: 6. Libera Me: Libera Me, Domine, De Morte Aeterna - Andreas Schmidt/Philharmonia Chor/Horst Neumann/Timothy Farrell
7. Requiem, Op.48: 7. In Paradisum: In Paradisum Deducant Angeli - Philharmonia Chor/Horst Neumann/Timothy Farrell
8. Pelleas Et Melisande, Op.80: 1. Prld. Quasi Adagio - Boston SO/Seiji Ozawa
9. Pelleas Et Melisande, Op.80: 2. Fileuse. Andantino Quasi Allegretto - Boston SO/Seiji Ozawa
10. Pelleas Et Melisande, Op.80: 3. Chanson De Melisande - Lorraine Hunt
11. Pelleas Et Melisande, Op.80: 4. Sicilienne. Allegro Molto Moderato - Boston SO/Seiji Ozawa
12. Pelleas Et Melisande, Op.80: 5. Molto Adagio (La Mort De Melisande) - Boston SO/Seiji Ozawa
13. Une Chatelaine En Sa Tour, Op.110 - Nicanor Zabaleta

Tracks:

1. Pavane, Op.50 - Tanglewood Festiival Chor/John Oliver
2. Dolly, Op.56: 1. Berceuse. Allegretto Moderato - Alfons Kontarsky/Aloys Kontarsky
3. Dolly, Op.56: 2. Mi-a-ou. Allegro Vivo - Piu Lento - Allegro - Alfons Kontarsky/Aloys Kontarsky
4. Dolly, Op.56: 3. Le Jardin De Dolly. Andantino - Alfons Kontarsky/Aloys Kontarsky
5. Dolly, Op.56: 4. Kitty-Valse. Tempo Di Valse - Alfons Kontarsky/Aloys Kontarsky
6. Dolly, Op.56: 5. Tendresse. Andante - Alfons Kontarsky/Aloys Kontarsky
7. Dolly, Op.56: 6. Le Pas Espagnol. Allegro - Alfons Kontarsky/Aloys Kontarsky
8. Les Berceaux, Op.23 No.1 - Gerard Souzay/Dalton Baldwin
9. Le Secret, Op.23 No.3 - Gerard Souzay/Dalton Baldwin
10. Soir, Op.23 No.2 - Gerard Souzay/Dalton Baldwin
11. L'Horizon Chimerique, Op.118: 1. La Mer Ist Infinie - Gerard Souzay/Dalton Baldwin
12. L'Horizon Chimerique, Op.118: 2. Je Me Suis Embarque - Gerard Souzay/Dalton Baldwin
13. L'Horizon Chimerique, Op.118: 3. Diane. Selene - Gerard Souzay/Dalton Baldwin
14. Apres Un Reve, Op.7 No.1 - Jules Eskin
15. Elegie, Op.24 - Jules Eskin
16. Nocturne No.4 in E flat, Op.36 - Pascal Roge
17. Barcarolle No.2 in G, Op.41 - Pascal Roge
18. Masques Et Bergamasques, Op.112: 1. Ov. Allegro Molto Vivo - Orpheus CO
19. Masques Et Bergamasques, Op.112: 2. Menuet. Tempo Di Minuetto - Allegretto Moderato - Orpheus CO
20. Masques Et Bergamasques, Op.112: 3. Gavotte. Allegro Vivo - Orpheus CO
21. Masques Et Bergamasques, Op.112: 4. Pastorale. Andantino Tranquillo - Orpheus CO
22. Cantique De Jean Racine, Op.11 - King's College Chor, Cambridge/Stephen Cleobury/James Vivian

Average customer rating: I really wanted to like this CD Way to go Viv! Who decides? Vivian is out of his element--total waste of money I agree...boring!

Two Sides of If Vivian Campbell Manufacturer: Sanctuary Records ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music Contemporary Blues | Blues | Styles | Music General | Blues | Styles | Music Electric Blues Guitar | Blues | Styles | Music Modern Blues | Blues | Styles | Music General | Rock | Styles | Music Pop Rock | Pop | Styles | Music Similar Items: Def Leppard - Rock of Ages: Definitive Collection DVD Retraced Rapture of the Deep (digipak) Crystal Vision Skin Crawl ASIN: B000AMWIYE Release Date: 2005-09-27

Tracks:

1. Messin With The Kid
2. Im Ready
3. Calling Card
4. Come On In My Kitchen
5. The Hunter
6. Like It This Way
7. I Aint Superstitious
8. Spoonful
9. Reconsider Baby
10. Good Or Bad Times
11. 32/20 Blues
12. Willin For Satisfaction

Album Description

Super talented heavy rock guitarist Vivian Campbell burst onto the Irish rock scene in a band called Sweet Savage. Soon thereafter in 1982 Ronnie James Dio recruited the young prodigy as the lead guitarist for the then brand new band Dio, and Vivian is featured on the first three legendary Dio albums. Via stints in David Coverdale's Whitesnake and Lou Gramm's Shadow King, Vivian joined mega band Def Leppard in 1992 and remains one of the 2 lead guitarists of Def Leppard, touring and recording with them to this day. A long time fan of the blues, Vivian Campbell was determined to one day record his interpretations of great American blues songs. In April 2005, Vivian and 5 fellow musicians, including the great drummer Terry Bozzio (Mothers Of Invention, Missing Persons), recorded this great electric blues album. Two Sides Of If features classics originally recorded by blues legends like Muddy Waters, Albert King and Robert Johnson as well as songs from the likes of Rory Gallagher and Peter Green's Fleetwood Mac. The album closes with an original by ZZ Top's Billy Gibbons and last but not least the great Joan Osborne performs sizzling lead vocals on a great cover of Howlin' Wolf's classic song "Spoonful."

Customer Reviews:

I really wanted to like this CD.......2006-12-10

... but I don't. And it's a shame, given Campbell's former talents. Take his passionate, melodic shredding in Dio, factor in his potential to escape the grasp of mainstream metal with 1990's "Riverdogs," then lose all hope as he joins Def Leppard and takes a backseat to Phil Collen. (My congrats to Campbell for climbing the rock 'n' roll corporate ladder and retaining the title of "guitar player" minus the usual responsibilities associated therewith).

I'd have to say that "Spoonful" is the only righteous tune on this "guitar is my hobby now" release, thanks entirely to Joan Osborne's kickass vocal. Too bad Campbell doesn't back up Osborne by burning up the fretboard with his fingers (like he used to do, you know, back in the good old days). Instead, he insists on showing off his barely adequate slide playing skills. My advice? Go back to the boardroom. Play some golf. Keep singing along with Bon Jovi in the shower (that is who you're trying to sound like, right?) ... who knows ... you might be a star again someday.

Way to go Viv!.......2006-11-23

First off, I don't need to know the blues to know when I hear good music. You can say all you want but Vivian Campbell is a great guitar player and even though I don't know how the original recordings sound, I don't care. What I got was a CD that I enjoyed listening too at work and at home.

As far as his voice, it does take an adjustment but to be honest I love it! The blues are gritty and raw sometimes and considering he recorded the album in just 3 days you get a good feel for the energy.

I'm glad this CD is part of my collection.

Who decides?.......2006-01-23

Who decides what Vivian likes? I find it humorous that the reviewers that gave this CD a poor review are stating what Vivian is. I could have sworn that Vivian decides what he is and what he likes. If Vivian says he likes blues, then let him play the blues. I guess that is the advantage of being somebody that is somebody or compared to just another pickle laying in the gutter wishing they could play guitar or sing (like a few reviewers I have read about).

Vivian is out of his element--total waste of money.......2005-12-22

I wish I had seen the previous two reviews before buying this CD--I totally agree with them. It's obvious Vivian is a guitar player, not a singer. This "producer" that encouraged him to record a blues album as told in the liner notes is crazy. He has great tone in his guitar, and his respect for blues music is evident by his restraint in his playing, but this is clearly not his forte--shredding is. He displays a solid vibrato in his soloing, but apart from that his blues guitar work is nothing special. And his vocal style is no good at all, especially for blues. Vivian is a great guitar player, but he needs to stick to what he does best--shredding with Def Leppard--sorry, Vivian.

I agree...boring!.......2005-12-15

First off, let me say that I have admired viv's playing since his Dio days. He is truly a gifted player. However, I don't understand the praise that is being thrown at this album. Yes, the backing band is excellent. In fact, the backing band is about the only redeeming quality of this album. I think what I find most annoying about this album are the vocals. People describe them as gritty, or soulful, but I just don't see it. His voice is thin and unconvincing and not at all bluesy. Further, he pronounces the words in that 80s hair metal style, similar to John Bon Jovi. the guitar tone that he uses on the first five or six tracks sounds just like the tone that he used on the dio albums 20 years ago which would be fine if he was redoing "Holy Diver", but not when covering willie Dickson. The tone does improve as the album moves along with the tone on "Reconsider Baby" being absolutely stellar, but even then his wispy vocals ruin it. The album as a whole comes across as being emotionless, almost like a glass of warm milk, which is never what you want in a bluesy record. I agree with the other reviewer that Dave Meniketti's "On the blue Side" is a far better choice if you are looking for a blues rock album.

Average customer rating: For Fans of Broadway (Sondheim, Hamlisch & Bernstein e.g.): The songs that didn't get away Songs that showcase Sarah's theatrical gifts Good, for Sarah Brightman Pleasant, but not up to standard

The Songs That Got Away Manufacturer: Decca Broadway ProductGroup: Music Binding: Audio CD All Works by Bernstein | Bernstein, Leonard | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Brightman, Sarah | A to B | Featured Performers, A-Z | Opera & Vocal | Styles | Music Movie Scores | Soundtracks | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music General | Musicals | Broadway & Vocalists | Styles | Music General | Broadway & Vocalists | Styles | Music General | Adult Contemporary | Pop | Styles | Music General | Vocal Pop | Pop | Styles | Music Traditional Pop | Oldies | Pop | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Dive Surrender The Trees They Grow So High Fly Love Changes Everything: The Andrew Lloyd Webber Collection, Vol. 2 ASIN: B000005S0R Release Date: 1999-11-16

Tracks:

1. Meadowlark
2. I Am Going To Like It Here
3. I Remember
4. Mr. Monotony
5. Dreamers
6. Silent Heart
7. Lud's Wedding
8. Three-Cornered Tune
9. If I Ever Fall In Love Again - Sarah Brightman Sarah Brightman
10. What Makes Me Love Him?
11. Chi Il Bel Sogno Di Doretta
12. Away From You
13. If Love Were All
14. Half A Moment - Sarah Brightman Sarah Brightman

Amazon.com

For those Sarah Brightman fans who didn't spring for The Songs That Got Away when it was a pricey import, this domestic release will be a must-buy. Originally recorded in 1989 shortly after she achieved international fame in The Phantom of the Opera, the album spotlights obscure American and British musical theater songs that either were removed from shows or were "lost" when the shows themselves slipped out of the repertoire. (Of course, some of the songs aren't nearly as obscure as they were in 1989--the opening track, Stephen Schwartz's soaring "Meadowlark," has since been claimed by Liz Callaway, Patti LuPone, and Betty Buckley, while Stephen Sondheim's "I Remember"--well suited to Brightman's glasslike tones--is now recognized as one of his most gorgeous and haunting compositions.) Brightman performs well on this diverse collection of entertaining and often lovely songs, including an early draft of Frank Loesser's "Fugue for Tinhorns," here sung as a triple-tracked, lilting waltz, and the Puccini aria "Chi il bel sogno di doretta," which foreshadows her later, more ambitious crossover projects. There's also a tune from Jeeves by then-husband Andrew Lloyd Webber, who produced this album not long before he and Brightman divorced in 1990. --David Horiuchi

Customer Reviews:

For Fans of Broadway (Sondheim, Hamlisch & Bernstein e.g.):.......2007-02-24

This is an interesting and surprising production that showcases the vocal prowess of Sara Brightman. It is not however, representative of the new and highly overproduced vocal productions that constitute her newer recordings. Although this production really allows the listener to hear a very melodic and unencumbered vocal performance, as it is pleasing in it's simplicity, yet meant for the more discriminating listener. Fans of Irving Berlin, Andrew Lloyd Weber, and Richard Rodgers will feel right at home here. For those seeking another major sonic production as in Eden, La Luna, Dive, or The Harem Tour this is not it! My criticism is not of her vocal prowess or production values but the apparently endless array of previously released material offered as a new and different recording. But I suppose that this is rather due to the greedy objectives of of A&M Records just trying to go to the bank, often and laden heavy with dollars. Nothing that any label wouldn't try to do. My advice with Sara Brightman is "caveat emptor" (buyer beware) check the disc carefully for redundancy of tracks within her discography. If you're a fan of this genre of music, you will probably respond quite well to this recording.

The songs that didn't get away.......2004-02-12

This is one of my favorite albums by Sarah. She surprised me with her ability to go from light opera to jazz. Here we don't find the over-produced albums such as Harem, just a superbly trained voice. No little girl breathy tunes here, just solid performances. This is the Sarah Brightman that I like to remember and enjoy. If you see this album and you're a Sarah Brightman fan, pick it up and treasure it. I'd like to see her do more of thisgenre, where she showcases her voice. Who ever thinks that Sarah has a small voice will be convinced otherwise by this album.

Songs that showcase Sarah's theatrical gifts.......2003-12-11

Before experimental albums like Dive and Fly, as well as the ones where her classically-trained voice enchanted millions, Sarah Brightman did a collection of musical and theatrical songs originally released in 1989, but reissued when she made it big with Time To Say Goodbye. Her vocal style leans towards the theatrical Broadway side, but more mellowed. But on songs like the strings-laden mid-tempo "Meadowlark" from Stephen Schwartz's The Baker's Wife, the way she would later do splendidly interpret Lloyd Webber's songs is in the making. Here are other highlights, including those that were reissued on Sarah's Encore album (2002).

Stephen Sondheim's "I Remember" is a sad ballad told from the POV of a window mannequin remembering the sights it has experienced throughout the seasons, but the memories are now hazy and at the end, it sings, "At times I think/I would gladly die/for a day of sky."

Some songs like "Lud's Wedding" from Bernstein's failed bicentennial musical, only seem to work due to Sarah's voice. Ditto for the simple "Three-Cornered Tune." Consisting of three verses, each repeated twice. However, Irving Berlin's "Mr. Monotony", a tune understandably cut from Easter Parade, is not a particularly inspiring song.

Marvin Hamlisch's "Dreamers" is one of my favourites here, as I have affinity to it, and I'm sure Sarah is one at heart as well. "Only dreamers have wings with which to fly far away", as in their own fantasies, but unfortunately, "sometimes dreamers are forced to leave their dreams far away", i.e. the harshness of reality. However, it paints them in a positive light and states that everyone needs to have some sort of dream "to take time to find treasures and mountains we can climb."

"Silent Heart" really showcases Sarah's voices, on how some things the heart is best left silent, as in things that really thrill it. "If I Ever Fall In Love Again" is taken from The Crooked Mile and is a nice love song Sarah really wraps herself in.

"Chi Il Bel Sogno Di Doretta" from Puccini's La Rondine is a great showcase of the operatic voice that would come into full bloom on Time To Say Goodbye. This song would be reissued on Encore.

"Away From You" by Richard Rodgers, and taken from a musical biog of Henry VIII (!!!). "The clocks are frozen and time's a traveler who's lost his way" is one of the sentiments Sarah conveys effectively. Also reissued on Encore.

"If love were all, I should be lonely" sings Sarah from Noel Coward's Bittersweet, "If Love Were All" was the one song that stood out for me when I first heard this CD. The ability of a talent to amuse is seen as a solid standing for mental security. A definite standout here.

From Lloyd Webber's Jeeves, the lush strings of "Half A Moment" features the vocal stylings familiar enough to those who have Sarah's Andrew Lloyd Webber Collection. It focuses on how important the capture of a moment to bright up a future rainy day is. Also reissued on Encore.

Initially, I dismissed this as the songs that should've stayed away. Although they lack the magical punch of Time To Say Goodbye or La Luna, it's still a worthwhile collection, because Sarah's clear birdlike theatrical/musicals voice makes it all worthwhile.

Good, for Sarah Brightman.......2003-08-25

Some people just love Sarah's voice, but I don't see what's so special about it. She sings in two sorts of ways, the first one is lovely, simple, forgetable, and the other sounds like Stitch with a high voice. This CD does her justice, though. A lot of the tunes are catchy and nice (how she sings them could be better) but the one I really like is "Three cornered tune." Now that's a good song! She does not have a particularly bad voice, but nothing interesting - that's for sure. And when she tries to act in her music she sounds even worse! But that's alright. After all, everyone has a different style. A highlight of this CD includes "Mr. Monotony," which, unfortunatly, did not come with lyrics in the CD case. Too bad, because its a great song. At the end of this record, though, she writes about these songs and - wow! It is amazing how many shows that song was taken out of! At one point it said it had Judy Garland singing it, and when I try to imagine her doing it I know that must have been awesome. I really want to hear Judy Garland singing this song sometime. Maybe I'll find it here on Amazon... But anyway, back to Sarah Brightman. The only other thing I can think of to say at the moment is that from what I've heard of her records, this is as good as it gets. And also, the track titled "Dreamers" is nice. I like the tune and she doesn't sing it too bad, either. It would be a good song to be played at a graduation. Only after a while the sound of it gets a little creepy and annoying. And its sticky, too. "Silent heart" is a classic, though she shouldn't sing it twice. For you see, she sings it, and then you think, "Ah, that's a sweet song. Wonderful words, soft tune," and the music gets at a great stoping point and then comes back for an encore (as one of Sarah's other records is titled). And then we have to listen to it all over again - and its not as good the second time. So overall is it good? Yes, it is. Though perhaps not good enough.

Pleasant, but not up to standard.......2003-06-22

I love Sarah Brightman's singing and her musical style as presented on Eden and La Luna. This CD is completely different in style from those two. I find it enjoyable, but it is not my favorite. Her singing is nothing special on this CD, it doesn't display her vocal range or talent in the way that her other CDs do, especially her CD "Surrender", her vocals are absolutely stunning on that CD.

Salsa Music:

1. When Cuba Sang the 1940's & 1950's in Havana
2. Yo Voy Por Ti
3. 15 Años de Exitos..
4. 15 Exitos de Mercedes Castro
5. 15 Exitos Nortenos 15
6. 15 Joyas Navidenas Para Bailar
7. 20 Boleros Quisqueyanos
8. 20 Cumbias Andinas
9. 20 Triunfadoras de José José
10. 25 Anos de Fama

Salsa Music

salsa music

Salsa Music

Party Children [CD-single] [Import]

The Colors of Sound

The Antidote

Grand Ole Country Collection [Box set]

Sunshine of Your Love [Import]

The Process

These Days

Transmissions from the Satellite Heart

The Grunt Song and Other Country Classics

Sus Grandes Exitos

The Buzz of a 1000 Volts

Truant [Import]

The Dark Ages [CD-single]

Music for French Horn

Let's Dance : The Best Of Ballroom Swing, Lindy, Jitterbug & Jive