Re-Entry [Explicit Lyrics]

Editorial Reviews
Product Description
BBE Records brings you the 4th release from their acclaimed Beat Generation series by Marley Marl entitled ‘Re-Entry.' One of hip hop's legends delivers his first solo album in recent years. The album features appearances from legendary hip hop artists Big Daddy Kane and Capone as well as the talents of the all time great jazz funk maestro Roy Ayers and Edwin Birdsong. Also co -producing a track on the album is Easy Mo Bee (Craig Mack, B.I.G., Lost Boyz etc) demonstrating the broad spectrum of Marley's influences from hip hop and soul to jazz and funk.

Re-Entry,Marley Marl,Bbe / Beat Gen,East Coast Rap,Pop,Rap,Rap & Hip-Hop

Re-Entry [Explicit Lyrics]

Tracks:

The Imperial March: The Empire Strikes Back
Main Theme: Jurassic Park
Main Title: Shakespeare In Love
Themes: Crouching Tiger, Hidden Dragon
Main Title: The Last Of The Mohicans
Theme: The Godfather
Unchained Melody: Ghost
Theme: Goldfinger
We're Losing Him: Somewhere In Time
Space Camp
Opening And Closing Titles: Henry V
Theme: The Thorn Birds
Suite: Moonwalker
The Time Of Your Life: A Bugs Life

Tracks:

Batman Theme: Batman
Bicycle Chase: E.T. The Extra Terrestrial
Suite: Independance Day
Love Theme: Romeo & Juliet
Theme: Back To The Future
End Credits: Contact
Theme: Breakfast At Tiffany's
Main Theme: Star Trek
May It Be And Themes: Lord Of The Rings: The Fellowship Ring
Love Theme: Cousins
Sean's Theme: Minority Report
I Will Wait From You: The Umbrellas Of Cherbourg
Theme: Rocky
The Sand Volcano: The Mummy
The Raider's March: Raiders Of The Lost Ark

Tracks:

Theme: Mission Impossible
Casablanca Suite
Book Of Days: Far And Away
Love Theme: Superman
Tara's Theme: Gone With The Wind
Don't Mess With: Z
Main Title: The Mask Of Zorro
Finale: Victor / Victoria
Carol Ann's Theme: Poltergeist
Love Theme: Star Wars: Episode ll: Attack Of The Clones
Main Theme: Willow
Main Title: Star Trek ll: The Wrath Of Kahn
MAin Theme: On Golden Pond
Theme: A Summer Place
Theme: Chariots Of Fire

Tracks:

Iceberg!
Back To Titanic
Main Themes: Hook
Theme: Pink Panther
Lara's: Doctor Zhivago
Theme: Love Story
Right Stuff
Theme: Jaws
When You Believe: The Prince Of Egypt
Smile: Modern Times
The Apollo 13 Mission
Re-Entry And Splashdown: Apollo 13
Main Title: Beetlejuice
War: Pearl Harbor
Cavatina: The Deer Hunter
Throne Room And End Title: Star Wars: Episode lV: A New Hope

Customer Reviews:

Relive you movie experiences.......2006-01-24

This collection of movie themes, will allow you to relive the chilling experiences from practically all (4 CDs)of the great movies. Great movies would not be great without great music. The Cincinnati Pop with Eric Kunzel are unbeatable recordings. Every minute is more beautiful and inspiring to the next. If you love Pops music, this is the begin all, end all.

Average customer rating:

Canuck Brass' Salute to the States
Fun
Fun

Red, White & Brass

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Marches | Miscellaneous | Styles | Music

General | Easy Listening | Pop | Styles | Music

Orchestral Pop | Easy Listening | Pop | Styles | Music

General | Vocal Pop | Pop | Styles | Music
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Basin Street
Canadian Brass: More Greatest Hits
Ragtime!
Bolero & Other Blockbusters
Red Hot Jazz: The Dixieland Album

ASIN: B00000414O
Release Date: 1991-10-11

Tracks:

Voluntary On Old Hundredth
American Patrol
George M. Cohan On Broadway: Give My Regards To Broadway - Forty-Five Minutes From Broadway - Mary's A Grand Old Name - You're Grand Old Flag - The Yankee Doodle Boy
Westward Ho
Salute To John Philip Sousa: Semper Fidelis - Manhattan Beach - The Liberty Bell - Hands Across The Sea - The US Field Artillery March - The Stars And Stripes Forever
Alexander's Ragtime Band
Grand Circus Fantasia: 1. Entry Of The Gladiators, 2. The Squealer, 3. Skater's Waltz, 4. Three-Ring Finale: Rolling Thunder - Czardas - Entry Of The Gladiators
Shaker Suite
An American Theme And Variations - Beautiful Dreamer

Customer Reviews:

Canuck Brass' Salute to the States.......2004-03-03

CBrass has for some years now been one of the premiere brass units in the world. Having seen them twice in person, they are true showmen and ambassadors for their country, their music and instruments.

Here is a CD that is needed in our time: a collection of patriotic, good ole' American music.

This is 4th of July clap your hands firework watching music at its best. In fact, that is exactly what listening to this collection does for me: it takes me to the excellent Greenfield Village at Henry Ford's annual 4th Fireworks Concert.

This is good stuff, well done by early CBrass.

Fun.......2002-01-29

The Canadian Brass never fail to please, and this CD really lives up to that reputation. Even with the added orchestra, the songs never get bogged down or unevenly weighted. This was one of the first CB CD's I bought several years ago, and still one of my favourites of theirs.

Fun.......2000-10-24

This cd is a lot of fun to listen to, mainly because of the entirely too impressive trumpet playing. While the quintet may be a bit trumpet heavy, it does not detract from music in this corny, showy style. It is a lot of fun to listen to, and I highly recommend it to those who love brass music.

Average customer rating:

Classics Explained: Rite of Spring
Stravinsky , Rahbari , and Brt Po Brussels
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

General | Instructional | Miscellaneous | Styles | Music

General | Classical | Styles | Music
Similar Items:

Classics Explained: Pastoral Symphony
An Introduction to Ravel's "Boléro" and "Ma mère l'oye"
Classics Explained: Brandenburg Concertos 4 & 5
Symphony 9: Introduction to Dvorak
An Introduction to Brahms' Piano Concerto No. 2

ASIN: B00007FPFN
Release Date: 2003-07-15

Average customer rating:

A MUST HAVE for a Horace Silver/Woody Shaw Fan
Recommended for serious fans only

Re-Entry
Horace Silver
Manufacturer: 32. Jazz Records
ProductGroup: Music
Binding: Audio CD

Bebop General | Bebop | Jazz | Styles | Music

Hard Bop | Bebop | Jazz | Styles | Music

General | Jazz | Styles | Music

Bebop | Live Albums | Jazz | Styles | Music

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Soul-Jazz & Boogaloo | Jazz | Styles | Music
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A Prescription for the Blues

ASIN: B000004CUY
Release Date: 1996-07-09

Tracks:

Song for My Father
The African Queen
The Natives Are Restless Tonight
Que Pasa
The African Queen

Customer Reviews:

A MUST HAVE for a Horace Silver/Woody Shaw Fan.......2004-05-07

Although the sound quality is not studio-level, it just doesn't matter for an albume like this.

Woody Shaw's solo on "African Queen" makes the entire album worth it. There are moments in live jazz shows that are rarely, if ever, caught in a studio. This album proves that fact.

If you're introducing yourself to Horace Silver, or jazz in general for that matter, go for Horace's "Song for My Father." If you're already a fan, buy this album.

Recommended for serious fans only.......2000-09-12

The playing is fantastic, sound quality not great.

An Introduction to Schubert's Piano Quintet "Trout"

Average customer rating:

An Introduction to Schubert's Piano Quintet "Trout"

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Music | Entertainment | Subjects | Books

Quintets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Instructional | Miscellaneous | Styles | Music

Spoken Word | Poetry, Spoken Word & Interviews | Miscellaneous | Styles | Music
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Classics Explained: Pastoral Symphony
Symphony 9: Introduction to Dvorak
An Introduction to Brahms' Piano Concerto No. 2
Classics Explained: Rite of Spring
Classics Explained: Brandenburg Concertos 4 & 5

ASIN: B000076FX6
Release Date: 2003-01-21

Average customer rating:

Rocket Roll
re-entry is my kind of music
The Phenomenauts are the best musicians on the West Coast.
If you like Devo....
Better than "Rockets and Robots"

Re-Entry
The Phenomenauts
Manufacturer: Springman
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

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

Punk-Pop | Hardcore & Punk | Alternative Rock | Styles | Music

General | Rock | Styles | Music

Pop Rock | Pop | Styles | Music
Similar Items:

Rockets and Robots
Rockets and Robots
Serious Awesomeness
The Return of the Aquabats!
Life Is a Grave & I Dig It!

ASIN: B00067HPO6
Release Date: 2004-11-02

Tracks:

Mission
Progress vs. Pettiness
Hurry Let's Go
I Am Robot
Where Is the X-38?
Neptune City
Space Fight
Rocket Roll
Composite Synthesizer
Gravity
Giant Asteroid
Welcome Back
Space Girl

Customer Reviews:

Rocket Roll.......2006-06-21

These guys are great. One of the best live bands in the Bay Area that I know. Definitely see them live if you get a chance. This album really captures their distinctive mix of punk, surf, rockabilly music and retro science fiction theme. A great introduction to a great band. Science and honor!

re-entry is my kind of music.......2006-04-17

I enjoyed this album and I like to think of it as something new and diverse in the musical world. If you're looking for something original and catchy, then The Phenomenauts are the band you're looking for.

I had a chance to see them touring with The Aquabats awhile back, and they can definitely put on quite the live show. I was very impressed.

Whether it's an album, or a live show, expect to be suprised by something new an original that you just might end up liking! I loved the album and would recommend it to anyone who's looking for something new to give a listen to.

The Phenomenauts are the best musicians on the West Coast........2005-08-12

I've only known about the Phenomenauts for about a year, since my brother had me listen to the cd "Rockets and Robots." Their music is insanely awesome. So awesome that every single person, EVERY person, who has heard it has instantly loved it. It is not overdone, it is perfect. And they truly believe what they say. I got the chance to meet them and sleep at the "Command Center" one night, and it is absolutely amazing. If you guys read this, thanks a lot! That was the coolest **** ever! The Phenomabomber, the Phenomenater, the Degenatron, table tennis, I could go on. And I don't care if this review is helpful, it obviosuly isn't. They are the coolest guys I've (possibly) ever met. And their house is gorgeous, overlooking the entire bay area. Later.
BUY THIS CD!

If you like Devo...........2005-03-25

The Phenomenauts are a great band from the bay area. They combine rock and energy and love for new wave music. They are quite entertaining as well. This album is more proof of their brilliance. Like Devo, they are obsessed with the future and robots. "Mission" is a great opening song. "Progress vs. Pettiness" explores some of their surf guitar roots. There is a Ventures vibe throughout this record. "I Am Robot" recalls some cool garage bands of the 1960s. The Phenomenauts are an entertaining group. They are having fun. I guarantee a good time whether listening to this record or checking out the live show.

Better than "Rockets and Robots".......2005-02-16

The Phenomenauts are an incredible live band, and this CD finally captures their energy, their great musicianship, and their excellent songwriting. While "Rockets and Robots" has many fine songs, the mixing is a bit weak on a few tracks, and it often feels like a (very good) demo. This CD kicks ass from the first second, all the way to the end. There are no filler tracks on Re-Entry, and the band sounds twice as good as they did on their first disc.
If you like the Reverend Horton Heat, Man or Astroman, or high- energy rockabilly, then you will love this CD. The Phenomenauts break the rockabilly mold, then step on it, then launch it into low-earth orbit.

Average customer rating:

Re-Entry
Big Brovaz
ProductGroup: Music
Binding: Audio CD

Pop Rock | Pop | Styles | Music
ASIN: B000P46MCG
Release Date: 2007-04-10

Tracks:

Big Bro Thang
Can't Hold Me Down
Must Be Crazy
Scream
Hangin' Around
I'll Be There/
Hear Me Knockin'
Take Me There
Hey! Hey (Take Me Home)
You & I
Duurty Music
All I Ever Wanted
Yours Fatally
Breaking the Cycle
Boogie 2Nite [*]
Nu Flow [*]
Favourite Things [*]
Baby Boy [*]

Album Description

2007 sophomore album from the British Hip Hop outfit, the long awaited follow-up to their award winning 2002 debut album Nu Flow. Features four bonus tracks: 'Boogie Tonight', 'Nu Flow', 'Favourite Things' and 'Baby Boy'. 18 tracks total including the first single 'Hangin' Around'. Genetic.

Average customer rating:

Good bargain.

56 Favorites

Manufacturer: Prism Leisure
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Operettas | Opera & Vocal | Styles | Music

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General | Easy Listening | Pop | Styles | Music

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Gilbert & Sullivan - Highlights from The Mikado, The Pirates of Penzance, H.M.S. Pinafore, The Yeomen of the Guard, Trial of Jury
The Pirate Queen (2007 Original Broadway Cast)

ASIN: B000068ZTB
Release Date: 2005-10-25

Tracks:

Hark the Hour of Ten Is Sounding [From Trial by Jury]
Judge's Song [From Trial by Jury]
We Sail the Ocean Blue..... Buttercup's Song [From H. M. S. Pinafore]
My Gallant Crew... I Am the Captin of the Pinafore [From H. M. S. ...]
When I Was a Lad [From H. M. S. Pinafore]
Never Mind the Why and Wherefore [From H. M. S. Pinafore]
He Is an Englishman [From H. M. S. Pinafore]
Pirate King's Song [From the Pirates of Penzance]
Oh Is There Not One Maiden Breast? ...Poor Wandering One [From the ...]
How Beautifully Blue the Sky [From the Pirates of Penzance]
I Am the Very Model of a Modern Major General [From the Pirates of ...]
When the Foeman Bears His Steel [From the Pirates of Penzance]
When You Had Left Our Pirate Fold [From the Pirates of Penzance]
Ah! Leave Me Not to Pine Alone [From the Pirates of Penzance]
Policeman's Lot Is Not a Happy One [From the Pirates of Penzance]
With Catlike Tread [From the Pirates of Penzance]
March and Entry of the Peers [From Iolanthe]
Law Is the True Embodiment [From Iolanthe]
When I Went to the Bar [From Iolanthe]
When All Night Long [From Iolanthe]
When Britain Really Ruled the Waves [From Iolanthe]
Oh Foolish Fay [From "Iolanthe"]
Nightmare Song [From Iolanthe]
If You Go In [From Iolanthe]
Finale: Soon as We May [From Iolanthe]

Tracks:

If You Want to Know Who We Are.... a Wandering Minstrel I [From ...]
Our Great Mikado [From the Mikado]
Behold the Lord High Executioner [From the Mikado]
I've Got a Little List [From the Mikado]
Three Little Maids from School [From the Mikado]
Braid the Raven Hair [From the Mikado]
Sun Whose Rays [From the Mikado]
Here's a How-De-Do [From the Mikado]
More Humane Mikado [From the Mikado]
Flowers That Bloom in the Spring [From the Mikado]
Tit Willow [From the Mikado]
There Is Beauty in the Bellow of the Blast [From the Mikado]
Is Life a Boon? [From the Yeomen of the Guard]
Where I Thy Bride [From the Yeomen of the Guard]
Hereupon We're Both Agreed [From the Yeomen of the Guard]
Strange Adventure [From the Yeomen of the Guard]
Man Who Would Woo a Fair Maid [From the Yeomen of the Guard]
When a Wooer Goes a Wooing [From the Yeomen of the Guard]
For the Merriest Fellows Are We [From the Gondoliers]
We're Called Gondolieri [From the Gondoliers]
From the Sunny Spanish Shore [From the Gondoliers]
In Enterprise of Martial Kind [From the Gondoliers]
I Stole the Prince [From the Gondoliers]
When a Merry Maiden Marries [From the Gondoliers]
Regular, Royal Queen [From the Gondoliers]
Take a Pair of Sparkling Eyes [From the Gondoliers]
There Lived a King [From the Gondoliers]
In a Contemplative Fashion [From the Gondoliers]
Small Titles and Orders [From the Gondoliers]
I Am a Courtier Grave and Serious [From the Gondoliers]
Finale: Once More Gondolieri [From the Gondoliers]

Customer Reviews:

Good bargain........2004-08-25

The performances are good--this is the D'Oyly Carte Opera Company, after all--and you get 2 full CDs, with 2 selections from "Trial by Jury", 5 from "HMS Pinafore", 9 from "The Pirates of Penzance", 9 from "Iolanthe", 12 from "The Mikado", 6 from "The Yeomen of the Guard", and 13 from "The Gondoliers". The booklet is a bit skimpy, and only lists recording dates for the first CD (1929-1949). But the sound is good, and the music is great, and at this price it's a great "greatest hits" collection.

Average customer rating:

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

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

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
Similar Items:

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

ASIN: B00005B550
Release Date: 2001-05-22

Customer Reviews:

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

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

"Thus I salute the stronghold, safe from dread and dismay!.......2007-06-12

Okay, so we have the Solti, Bohm, Karajan, Goodall, Boulez, Janowski, Levine, Haitink, and Sawallisch Rings on the market (I haven't listened to the other Ring recordings yet, sorry to say). And all of these leave me to one conclusion: the many differences lead me to believe that all of these ring sets have their own authenticities and setbacks. And here they are:

TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 minutes
Sawallisch's Ring: 14 hours, 0 minutes

CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.

Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.

Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.

Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.

Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works only if you hear AND see it (the DVD's work best).

Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".

Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.

Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).

Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.

ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.

Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.

Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.

Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act Two Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.

Boulez's Bayreuth Festival: While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Mime's motifs) fares better than Berlin's and English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness. Beauty makes up for the irritatingly quick "Wotan's Farewell".

Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Boulez's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are heard clear in this Ring. The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.

Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.

Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, only this sounds much more poignant. The strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.

Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.

SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).

Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.

Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".

Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.

Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.

Levine and Haitink: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's and Haitink's Ring.

Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.

-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.

Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).

Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."

Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).

Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.

Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).

Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".

-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Three exceptions, though: Goldberg and Schunk don't sound heroic enough, and Norman for Levine doesn't sound young and innocent enough.

-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.

Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.

Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.

Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. Again, the DVD's are your safest bet.

Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.

Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.

Haitink: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm. Bravo!

-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").

Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.

Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.

Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.

Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.

Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.

Haitink: No offense, but Theo Adam as Alberich? Come on . . .

-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.

Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.

Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.

Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. He is equal to Zednik when it comes to humaneness and lyricism. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.

Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).

Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.

-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on during the Trilogy.

Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Again, another Loge that's marred by lack of cunning.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.

Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.

Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief!

Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt and Zednik depend only on vengeance and deviousness, Stolze only imagination and deviousness, Windgassen and Svanholm only peril. His odd conversations with Alberich and the gods/goddesses are classic.

Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.

Sawallisch: Robert Tear is on par with Stolze and Zednik. Sometimes he takes things too low, but all is forgiven with his management of character development.

-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.

CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation, Neuhold's Badische version, and the essential mono recordings (Furtwangler, Krauss, etc.), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.

The Box Set: Wagner: The Ring Cycle (Box Set)
-The Valkyrie (Part 2): Wagner: The Valkyrie
-Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

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

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

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

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

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

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

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

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

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

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

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

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.

Re-Entry
Average customer rating:

New School Flavor Blended With Old School Beats

New School Flavor Blended With Old School Beats

VETERAN Marley Marl makes 'new'music

Marley Marl - From Hiatus To Hittin' Us....With Gems.

Re-Entry
Marley Marl
Manufacturer: Bbe / Beat Gen
ProductGroup: Music
Binding: Audio CD

East Coast | Rap & Hip-Hop | Styles | Music
General | Rap & Hip-Hop | Styles | Music
Old School | Rap & Hip-Hop | Styles | Music
Pop Rap | Rap & Hip-Hop | Styles | Music
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The Magnificent

Lost Change

Lost and Found

ASIN: B00005OR3K
Release Date: 2001-10-30

Tracks:

Intro
Do U Remember
Three's Company
Spazz
Just Funky
Who's Sicker
Lost Beat
Easy Type Shit
Live Ova Beats
Foundation Symphony
So Good
Hummin'
Big Faces
What Ruling Means
What U Hold Down
NY, NY

Album Description

BBE Records brings you the 4th release from their acclaimed Beat Generation series by Marley Marl entitled `Re-Entry.' One of hip hop's legends delivers his first solo album in recent years. The album features appearances from legendary hip hop artists Big Daddy Kane and Capone as well as the talents of the all time great jazz funk maestro Roy Ayers and Edwin Birdsong. Also co -producing a track on the album is Easy Mo Bee (Craig Mack, B.I.G., Lost Boyz etc) demonstrating the broad spectrum of Marley's influences from hip hop and soul to jazz and funk.

Album Description

From the 'Beat Generation' series, Marley rejuvenates the craft of the DJ/Producer paying close attention to the intricacy of his production. Re-Entry allows the beat prowess to shine whilst complimenting the verbal prestige of established guests Big Daddy Kane, Capone, Roy Ayers, and the upfront lyrical poetry of newcomers Seven Shawn, Jewhales, Fred Fowler, Davy DMX, Kevin Brown, Miss Man, and Grap Luva. Available on CD and 2 DJ-friendly LP's on Studio K7.

Album Details

Legendary Hip-hop Producer Returns at Long Last. Features Guest Appearances from Rap Artistsbig Daddy Kane and Capone as Well as Appearances from Jazz Legends Roy Ayers and Edwin Birdsong.

Customer Reviews:

New School Flavor Blended With Old School Beats.......2002-05-07

Marley Marl is on top of his game.
Years after the Symphony, you wouldn't expect Marley Marl to be releasing one of the top ten cds of 2001, but believe it. The cd is full of classic beats looped for minutes of enjoyment and sick new joints flavored with exclusive new flows.
He reminds us of the classics but also shows he can produce, compose and perform agressively at the same pace as a Dre or Dupri but without the pop laced overproduction.
Six tracks in I was relaxing feeling the comfort of a solid cd, this is true hip hop the style of cd is very much like Guru's jazamatazz or KRS One's Sneak Attack. Invest in it!

New School Flavor Blended With Old School Beats.......2002-05-07

VETERAN Marley Marl makes 'new'music.......2001-11-07

This is a great album (with just the right ingredients for a good listening experience) With guests like BDK and Roy Ayers it got just the good balance betwen music and lyrics.
It's jazzy, funky, old school, just great HIP HOP.

Just like music should be!

Marley Marl - From Hiatus To Hittin' Us....With Gems........2001-11-07

It's been a little while since Marley has dropped an album under his name, but if you remember the days of "In Control, Vol. 1" to "In Control. Vol. 2", to the whole essense of the Juice Crew allstars, to the likes of LL Cool J, Lords Of the underground, Screwball, etc., etc., etc (the list goes on for pages) you'd know of the man, the myth, the legend. Well, if you take all of those artists, all his production efforts, with all of those beats, scratches and lyrics and mix them up in a pot, you get the end result which can be the equivalent of "Re-Entry".

With "Re-Entry" (on BBE records), you get the true essence of Marley Marl as well as the new essence of Marley Marl and his talent behind the production, which can only be seen as a him taking all he's done in the past 17 yrs, updating his techniques and taking it to the next level/tier. If one is familiar with other recent BBE releases (Pete Rock - Petestrumentals & Jay Dee - Welcome 2 Detroit), then you can appreciate why these TOP producers are going over to the England to lay down these tracks/albums and show the masses, from a world-wide prospective, that there's more to beats and more to Hip-Hop than and iced-out, platinum-filled materialistic image. There's a combination, as recorded on this album and experienced by the listeners, of taking it back to the true essense of Hip-Hop/Rap Music with real beats, stimilating lyrical fluctuation, and on various tracks the element of non-typical rap music but collaborations with Jazz/R&B artists on Jazz/R&B tracks.

Hopefully releases like "Re-Entry" will inspire other producers in the Hip-Hop community to think "outside of the box" and outside of current production trends/repetitiveness and see the other dimensions of making music for us by us (appreciated by all), and perhaps acheive the longevity in the industry as Marley Marl has done. Peace y'all!

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