It's Dark & Hell Is Hot [Box set]

Editorial Reviews
Amazon.com
Watching DMX--baldheaded and shirtless, tattooed and musclebound--as he simultaneously goes platinum and gets arrested on rape charges (both of which occurred within weeks of this album's release), one can easily see the Yonkers, New York, rapper as a Tupac in training. And he's certainly no stranger to dumb thuggery on his much-anticipated debut. But unlike Tupac, who tempered hard-core beatdowns with party pick-me-ups, DMX is strictly business, part of a street reaction against the Puff Daddy-fueled, late-1990s slew of lightweight pop-rap crossovers. With a name too true for its own good, It's Dark and Hell Is Hot could occasionally use a cool breeze of levity. That said, the record is not without merit; despite the album's largely standard-issue beats and rhymes, both DMX's forceful voice and solid production have moments of greatness. At times DMX even manages to squeeze memorable hooks out of this otherwise claustrophobic release. --Roni Sarig

Spin
It's Dark and Hell Is Hot is a psychotic concept album that celebrates bloody style over creative substance.... While the often rough minimalistic beats can be infectious, they still don't mask the fact that his lyrics are often plain ugly.

It's Dark & Hell Is Hot [Box set]

It's Dark & Hell Is Hot,Dmx,Def Jam,Pop,Rap & Hip-Hop,Soul/Reggae/Rhythm & Blues

Tracks:

The Prophecy
Concerning Hobbits
The Shadow Of The Past
The Treason Of Isengard
The Black Rider
At The Sign Of The Prancing Pony
A Knife In The Dark
Flight To The Ford
Many Meetings
The Council Of Elrond [featuring the song "Aniron (Theme For Aragorn And Arwen)" composed & performed by Enya]
The Ring Goes South
A Journey In The Dark
The Bridge Of Khazad Dum
Lothlorien
The Great River
Amon Hen
The Breaking Of The Fellowship
May It Be [composed & performed by Enya]

Amazon.com

Score composer Howard Shore has informed this first installment of the Lord of the Rings trilogy with his distinctly modern sensibilities. Revolving loosely around a brief, heroic brass theme, this epic is infused with a powerful rhythmic thrust and a musical range that encompasses centuries (from the Renaissance pastoralism of "Concerning Hobbits" to the fiery, Prokofiev-influenced drama of "A Knife in the Dark"). Key to the score's sense of mystery and magical place are the rich choral passages that are interspersed throughout, some so ominously gothic they make The Phantom Menace's "Duel of the Fates" sound almost sunny by comparison. Enya's contributions ("The Council of Elrond" and the song "May It Be") add a sense of organic tranquility, but it's Shore's Wagnerian-scaled orchestral score that should long be cherished by admirers of film music and hobbits alike. --Jerry McCulley

Customer Reviews:

The music is good but the movie is better.......2007-04-10

I really enjoyed the 3 series of The Lord of the Rings movie so I wanted the music. The soundtracks are good but if you like the movie the soundtracks watch the movie. They remind you of certain parts in the movie like the song Concerning Hobbits. The song is whimsical. Enyna has a great voice, very haunting. The Ring Goes South is another favorite of mine. I can enjoy these soundtracks as classical or dramatic music. I bought them because I loved the Lord of the Rings which has many similarities to Braveheart. Bravery, courage, strength, honesty, selflessness, love and other good human qualities people try to attain and admire them in the people and movies they view.

A grand sountrack..........2007-01-10

One of Howard Shore's best soundtracks around. The music is strong enough to tell its own separate story apart from FOTR. You will never tire of the heart-pounding excitement from The Bridge of Kazaad-Dum track.

Lord of the Rings Original Soundtracks, films 1 and 3.......2006-11-08

Having made an earlier mistake of buying 2 C.D.'s which were not original soundtrack, I can truthfully say these are the best. If you are a Lord of the Rings fan, look no further - no one does it better than The London Philharmonic Orchestra conducted by the composer Howard Shore. You will be back in Middle Earth reliving all those wonderful scenes. I bought only The Fellowship of the Ring and The Return of the King from Amazon.com because I already had the Two Towers from Amazon.co.uk and I would recommend all three - magical.

Awe inspiring!.......2006-10-02

What can I say that hasn't already been said about Howard Shore's magnificent score for the "Lord of the Rings" trilogy? A soundtrack can define the whole atmosphere of a film, and this fully orchestrated work certainly does that with sweep, splendor and wonder, alternately humanizing (hobbit-izing?) the characters, imbuing the landscape with magic and capturing the world-shaking impact of events of mythic proportions. And this was no easy task considering the iconoclastic status of the story and the superb quality of Peter Jackson's filmmaking. This is a truly a soundtrack for the ages--a fitting accompaniment to a film for the ages! Every aspect of life, from the extreme to the mundane, is captured in this music. Listening to it can make every remembered moment of the movie come alive again in your mind, from the most horrific battle to the smallest moment of humor or kindness. I think this first one is my favorite of the three "Lord of the Rings" soundtracks. I enjoy the juxtaposition of the lighter moments, like the sweet, simple hobbit theme, with the grander and more menacing sections of the music. (That despite the fact that said hobbit theme begins exactly like the first phrase of the Protestant hymn "This Is My Father's World," which prompts me to think of the hobbits trouping off to Sunday school every time I hear it. But now when I hear the hymn, I think of Lord of the Rings, so I suppose all's fair!) What impressed me most as I watched "The Fellowship of the Ring" was how scary the music was when the hobbits were being pursued. Those relentless drums and eerily screaming drums made the hairs on the back of my neck stand up, even though I knew the story like the back of my hand and knew for a fact that the poor little heroes would manage to escape. But the music truly made me wonder otherwise ... Now that's good composition! And the fact that the filmmakers chose to include background music in so many of the scenes, almost continuously ... well, that's just good filmmaking! The other impressive thing about Howard Shore's score is how the voicing and repeating motifs tie the whole thing together, like the finest of symphonies. The total effect is utterly convincing and utterly transporting. Peter Jackson chose well when he picked Shore as his score writer. Very, very well! Be sure to get the scores from the other two movies in the trilogy as well - "The Two Towers" and "Return of the King." They seem to be available in no end of different packagings, including ones with bonus DVDs about the creation of the score. Also, make sure to get the extended edition DVDs of the movie itself, with hours and hours of fascinating commentaries and behind-the-scenes documentaries about the making of the films. Truly a bargain at any price! And for more seminal soundtracks, try John Williams' defining scores for the "Star Wars" series and Basil Poledouris's spectacular score for the original "Conan the Barbarian."

It is the best of the three CDs!!!.......2006-09-10

For me, the music of the first sequel is my favourite since this is also the sequel that I prefer in the trilogy (I remember being blown away by the quality of this movie, the actors, the setting, the action scenes, the special effects, the moving relationships between all the characters and of coourse the music)
I think that the other CDs are a bit repetitive once you've got this one, even if I still like the music of the second soundtrack 'The Two Towers'. As for the 3rd sequel, I seldom listen to it as there is only one track that I like, 'The Return of the King'.
Now, this first CD of the trilogy is actually very good. Thanks to Enya, it is haunting and the songs are beautiful. There are a few eery but melodious songs like 'The Council of Elrond', 'Lothlorien', 'May it Be'. I love the change of tempo, the balance between fast and slow movements in 'A Knife in the Dark', 'Flight to the ford', and 'Amon Hen' which is my favourite piece (the Death of Boromir) with the oboe sound mixed with the beat of the drums and finaly the haunting voice of the singer. Track 17 is also worth listening. I like this CD because you've got different tempos and melodies and Anya is a great singer to me. But I also enjoy listening to Emiliana Torrini's song 'Gollum's Song'in the second soundtrack...

Average customer rating:

Awesome
It Doesn't Get More Graphic Then This
THIS IS HIS BEST ALBUM TO ME
One of the few original rap phenomenoms of the last 10 years............
You will never hear X like this again

It's Dark and Hell Is Hot
DMX
Manufacturer: Def Jam
ProductGroup: Music
Binding: Audio CD

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Flesh of My Flesh, Blood of My Blood
And Then There Was X
The Great Depression
Grand Champ
Ryde or Die, Vol. 1

ASIN: B000006O62
Release Date: 1998-05-19

Tracks:

Intro
Ruff Ryders' Anthem
Fuckin' Wit' D
The Storm (Skit)
Look Thru My Eyes
Get At Me Dog
Let Me Fly
X-Is Coming
Damien
How's It Goin' Down
Mickey (Skit)
Crime Story
Stop Being Greedy
ATF
For My Dogs
I Can Feel It
Prayer (Skit)
The Convo
Niggaz Done Started Something

Amazon.com

Watching DMX--baldheaded and shirtless, tattooed and musclebound--as he simultaneously goes platinum and gets arrested on rape charges (both of which occurred within weeks of this album's release), one can easily see the Yonkers, New York, rapper as a Tupac in training. And he's certainly no stranger to dumb thuggery on his much-anticipated debut. But unlike Tupac, who tempered hard-core beatdowns with party pick-me-ups, DMX is strictly business, part of a street reaction against the Puff Daddy-fueled, late-1990s slew of lightweight pop-rap crossovers. With a name too true for its own good, It's Dark and Hell Is Hot could occasionally use a cool breeze of levity. That said, the record is not without merit; despite the album's largely standard-issue beats and rhymes, both DMX's forceful voice and solid production have moments of greatness. At times DMX even manages to squeeze memorable hooks out of this otherwise claustrophobic release. --Roni Sarig

Customer Reviews:

Awesome.......2007-05-31

"DMX" has had a few cds put out over the years, and they are good. However, "It's Dark and Hell is Hot" would be the best out of them all. The songs, besides the "Skits" are excellent, and well produced. "DMX" knows what he's doing, and shows it well on this cd. If you're a fan, Make sure you have this cd.

It Doesn't Get More Graphic Then This.......2007-05-16

DMX (Earl Simmons) doesn't need to prove he got street credability. He came from very rough conditions and for a while he lived on the streets and his only way to survive was through robbery and he came in contact with the police at early stage. Music was his saviour, but it took quite a while for him to get a record deal, at age 28 Def Jam would finally make it possible with an album (It's Dark and Hell is Hot) that would pretty much be what DMX wanted and covers his rough an violent backround. Released in 1998, DMX a real hardcore MC filled the void after Tupac and Notorious B.I.G and helped the Gangsta Rap to not get fully extinct. At the Time of this release Hip Hop had changed dramatically with the Emergence of Diddy and commercial radio friendly Rap with many guest artists, popular smaples and lyrics dealing with commercialism. But DMX was nothing like that, he teamed up with then unknown record producer Swizz Beatz that produce the majority of songs here and from start to finnish he deals with some of the most serious and roughest issues you've ever heard of, Infact It's so Violent that the Explicit Lyrics tag looks like a bad April's joke. And apart from many other rappers DMX doesn't try to apply to diffrent audiences, he deals with what he knows best and he's very direct to get to the point with graphic story telling, most songs deals with strenght, violence, faith and struggle. He may not be the deep steet poet like Nas, but his music in fascinating cause we know that he's been through it and it's so scary and graphical listening to. DMX flow is more like an agressive dog, he coughs, growls, and barks and constantly used the word "What!" but it makes him unique.

The big hit "Ruff Ryders Anthem" got the Swizz Beatz sound all over it and serves as a good anthem for this album. Other good songs are "Get at Me Dog", "Look Thru My Eyes" "Let Me Fly" and "How it's Going" with Faith Evans, a much slower song then the majority here that deals with sleeping with a woman that is already married, (like he gave a damn anyway)!. On "I Can Feel It" they sample Phil Collins classic song about depression "In The Air Tonight" and is on point. On the 2 minute skit "Prayer" we find DMX revealing his fear for hell and admitting he's been through alot of suffer and pain and made a fair share of mistakes in his life aswell but he's ready to suffer even more if god will show mercy on his brother. This album got 19 songs which is a bit too much perhaps and there's alot of over-serious lyrics for over 60 minutes of plating time, but you got to respect him for not turning commercial and trying to apply to everyone. "It's Dark and Hell Is Hot" is Not quite an 5 star album, but it had an significant meaning for Hip Hop and it's a very strong album no matter how you put it. DMX would continue doing some good albums but has now been quiet for a while but should be back this year with a new album. Beat Maker Swizz Beatz is now one of the finest producers in the world. Overall rating 4'5 stars.

THIS IS HIS BEST ALBUM TO ME.......2007-02-18

dmx, to me, was at his hungriest here. you can hear it in just about every track. GET AT ME DOG is like my untimate fave from him. i remember when it came out in '98. it was soooooo refreshing to hear some no holds barred hardcore hip hop. i love his intensity here as well. once again, it is at its best here.

One of the few original rap phenomenoms of the last 10 years...................2007-01-12

X came out gate hard with his debut in 98. Coming off his scene stealing cameos on Mase's "24 Hrs to Live" and The Lox's " Money Power Respect", DMX exploded into the rap game. A lot of people compare X to Pac, but I don't see it. DMX was definitely an original. Dude came with the aggressive up in yo face flow. He won out because he was the ultimate underdog that brought the end to the shiny suit era!

Top Joints:
Ruff Ryder's Anthem
F*ckin With D
Get At Me Dog
How It's Going Down
Stop Being Greedy
N*ggas Done Started Something!

You will never hear X like this again.......2007-01-11

The only DMX album I will ever own. This is when X was serious and added that hard vibe rap was startin' to lose with the rise of the pop rappers. The best production on all of his albums and he actually had somethin to say and this started the ruff ryders era. Recommended.

Average customer rating:

Incredibly moving
Appreciation
Not original
Beautiful Soundtrack
Buy Peter Gabriel's Passion

The Passion of the Christ (Score)

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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The Passion of the Christ: Songs Inspired By
Kingdom of Heaven
The Passion of the Christ (Widescreen Edition)
Gladiator: Music from the Motion Picture
Passion of the Christ: Songs (Original Songs Inspired by the Film)

ASIN: B0001ENY6M
Release Date: 2004-02-24

Tracks:

The Olive Garden
Bearing The Cross
Jesus Arrested
Peter Denies Jesus
The Stoning
Song Of Complaint
Simon Is Dismissed
Flagellation / Dark Choir / Disciples
Mary Goes To Jesus
Peaceful But Primitive / Procession
Crucifixion
Raising The Cross
It Is Done
Jesus Is Carried Down
Resurrection

Amazon.com

Mel Gibson staked $30 million and his superstar reputation on this painstakingly bloody interpretation of the death and resurrection of Jesus Christ, all the while dodging charges of anti-semitism and fostering excruciating cinematic gore at the expense of Christ's message (a notion that also begs some uncomfortable questions about this version's S&M undertones). But because the film's dialog plays out in ancient authentic language dialects, John Debney's musical score takes on an even more central dramatic role. In some ways an unlikely choice as composer (having cut his teeth on many a lightweight comedy and kidflick) Debney nonetheless rises to the challenge, first conjuring up a synth-laden soundscape whose gothic moodiness should be familiar to admirers of the work of Lisa Gerrard, then seasoning it with indigenous instruments, booming percussion and ancient modalities that give the score an almost palpable sense of time and place. As did Jeff Danna on his earlier score for the gentler, de facto companion piece, The Gospel of John, Debney eventually gets 'round to genuflecting towards some Hollywood choral and melodic traditions (the Gospels themselves having arguably helped lay the original foundations for Tinseltown's venerable three-act structure), but there's nothing cheap about his music of triumph and redemption, rooted as ever in roiling currents of ancient spiritual mysticism. Gibson's vision of the Passion has had many second-guessing his motivations and choices, but Debney's rich, evocative score proves there's nothing wrong with his ears. -- Jerry McCulley

Customer Reviews:

Incredibly moving.......2007-06-13

I wish I knew all the names of the instruments that are being played in the score because they are absolutely mesmerizing! What an amazing score to accompany an amazing movie. Never a dull moment, I find myself being moved by the overall emotion of the music. The great thing about epic scores is that they manage to stir up some feelings within you of power, pride, and faith. It manages to inspire some in many different ways. I think that's the most important thing here. You can call it mood music or just simply uplifting. For me, the best way to listen to a score like this is with a great pair of headphones and a clear mind.

Appreciation.......2007-04-15

This has to be the most touching score to a movie I have ever appreciated.
Watching the movie was one thing but then listening to the score blew me away. I could find myself crying just hearing the music and placing it at the point in the story.
What a range of music. So well done and so different. The song selection for the different scenes in the movie just fit. It is as if each song was the perfection for its placement in the movie.
The score can hold it's own in itself but together they are as one.

Not original .......2007-02-16

I recently purchased both The Passion of the Christ soundtrack and Peter Gabriel's Passion. I really wanted to like The Passion of the Christ score, as I loved the movie. Regrettably, John Debney's music is so much like Peter Gabriel's superb Passion soundtrack, used in 1988's The Last Temptation of Christ that it becomes a farce. It even uses Gabriel's long-time collaborator, vocalist and double violinist Shankar, whose unique sound was also used on Gabriel's Passion. The producers also used a piece from Gabriel's Rabbit Proof Fence soundtrack for The Passion's 2003 teaser trailer. There's no doubt that Debney has copied Gabriel. Also the highlight of The Passion of the Christ is a theme virtually identical to one from John William's Born on the Fourth of July soundtrack.

So buy Gabriel's Passion over The Passion of the Christ, it is a magnificent score and far more original.

Beautiful Soundtrack.......2007-02-03

For me the most inspiring track is "Resurrection". I remember the day that I saw this movie for the first time almost 3 years ago. My friend and I stayed until the end of the credits only to listen to this track. It's my candidate for best final scene in a movie. Now , 'Resurrection" (as the rest of the album) is in my Creative Zen Vision M and I listen to this beautiful piece of music everyday. It's really inspiring. Buy it!!!
P.S. There are so many Jews here and there writing a lot of negative reviews about this soundtrack and the movie. Don't pay any atention to that. This soundtrack and the movie are masterpieces.

Buy Peter Gabriel's Passion.......2007-01-16

Anyone who knows Peter Gabriel's Passion would agree with me in saying that John Debney's score has taken liberally from Gabriel's incredible work, and a few have written as much in the Online reviews for this item. Do yourself a favor, buy Peter Gabriel's Passion. Even though The Last Temptation of Christ may not have been the best movie, the soundtrack was, one of my favorites. I listen to it often, and each time it takes me to another place.

Another plug along Christian movie lines, The Mission by Ennio Morricone, a masterpiece.

Average customer rating:

Crossover at Its Best
If Dawn Upshaw had made only one album...
Great songs by a better than average singer. Buy It.
A must album for all musical theatre lovers.
Timeless recording

I Wish It So
Dawn Upshaw , Marc Blitzstein , Eric Stern , Stephen Sondheim , Kurt Weill , Leslie Stifelman , Leonard Bernstein , and Matthias Naegele
Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

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ASIN: B000005J2V
Release Date: 1994-08-02

Tracks:

I Wish It So
There Won't Be Trumpets - Sondheim
What More Do I Need? - Sondheim
That's Him
The Girls Of Summer - Sondheim
The Saga Of Jenny
Like It Was
Stay Well
I Feel Pretty
Glitter And Be Gay
My Ship
In The Clear
Never Get Lost - Take Me To The World
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Amazon.com essential recording

With a spirit of innocence and excitement, no audible breaks of register, and perfect diction, Dawn Upshaw graces us with a satisfying crossover recording in which each song is a fully realized musical monologue. The eclectic and infrequently performed repertoire, from Bernstein, Blitzstein, Sondheim, and Weill, compliments her charm and interpretive acuity. There's her humorous "Saga of Jenny," her adorable "That's Him," her poignant "Like It Was," and her freshly vibrant "I Feel Pretty." Conductor Eric Stern is divine in his arrangements and accompaniment. This is one of the best musical theater albums available. --Barbara Eisner Bayer

Customer Reviews:

Crossover at Its Best.......2006-11-15

"I Wish It So" is the CD that first introduced the exceptional "crossover" talents of soprano Dawn Upshaw. The album, which comprises (mostly) little-heard songs by Kurt Weill, Marc Blitzstein, Leonard Bernstein, and Stephen Sondheim, opens with the title number, a lyrical gem from Blitzstein's JUNO, and continues with Sondheim's vibrant "There Won't Be Trumpets," in which Upshaw, rather than belting, lets her voice ring. She then slam-dunks Sondheim's "What More Do I Need," a truly raucous number. Other highlights include the two songs from Weill's LADY IN THE DARK: the haunting ballad "My Ship" and the witty "The Saga of Jenny," presented here in a superb jazz arrangement. The sound of Upshaw's lower middle voice in this number is thrilling. Her combining of Blizstein's "Never Get Lost" and Sondheim's soaring, life-affirming "Take Me to the World" is perfect, as is her musical yet emotional rendition of "Like It Was" from Sondheim's MERRILY WE ROLL ALONG. The album climaxes with the mock-coloratura aria "Glitter and Be Gay" from Bernstein's CANDIDE, in which Upshaw scales the heights with consistently pure and beautiful tone. In a day when many great opera singers attempt, unsuccessfully, to sing "popular" song, "I Wish It So" is an example of crossover at its very best. It is a CD that no one who loves both opera and musicals should miss.

If Dawn Upshaw had made only one album..........2006-08-24

I have a weak spot for crossover albums by opera stars, which can often be train wrecks or embarrissing self-parodies. There's not a cringe-worthy note in this one, however. Dawn Upshaw has never been as vibrant on disc, and her style in pop music (albeit serious pop music) surpasses expectations. She is a master at touching vulnerability and stars-in-her-eyes vulnerability. There's no current Broadway star who can match her in any of these songs form Sondheim, Weill, and Bernstein, certainly not for sheer beauty of voice and charm. Upshaw went on to make an excellent album of Rodgers and Hart songs, but nothing else quite matches this first effort.

Great songs by a better than average singer. Buy It........2006-04-24

'I Wish It So' sung by popular / classical switch hitter, Dawn Upshaw is a very, very good interpretation of classical American musical theatre pieces by four masters of the genre, Leonard Bernstein (music), Marc Blitzstein (lyrics), Stephen Sondheim (lyrics) and Kurt Weill (music). As I am most familiar with female interpretations of Kurt Weill's songs, especially by the likes of his widow, Lotte Lenya and Weill interpreter extraordinare, Ute Lemper, I have to say that while Upshaw does them justice, she does ont outshine the very best Weill interpretations. Primarily, I believe she suffers from never actually performing the works on stage, as Lenya has.

And, since Ute Lemper did an album with a similar collection of songs (Illusions) from Sondheim and others, I thing Lemper still has the edge on interpreting other composers as well.

On the positive side, I find Upshaw's interpretation as good or better than almost everyone else who makes a career out of these songs, such as, dare I say it, Barbra Streisand. This is a good thing, because I believe Upshaw is not up to the very best mezzos who share her classical works. She can't hold a candle, for example, to Renee Fleming or Anne Sofie von Otter, although her interpretations of Weill are as good as von Otter, just not as good as Lenya and Lemper.

A very, very nice album if you like female vocalists.

A must album for all musical theatre lovers........2005-04-21

Dawn Upshaw once again disproves the adage that opera singers can't sing showtunes properly. Her diction, her ability to act out the lyrics and her crystal clear angel-like voice are just heavenly. Miss Upshaw could teach quite a few Broadway and Cabaret singers a thing or two about interpretation and she would have her hands full teaching opera singers like Te Kanawa or Fleming how to put over a showtune properly. Simply divine!

Timeless recording.......2004-07-20

This is an endlessly rewarding album by an operatic soprano who demonstrates an expressiveness and range rare in crossover albums of this sort. Upshaw modifies her classical technique without compromising it, narrating with a conversational tone and youthful ebullience well-suited to musical theater. She continues her tradition of championing obscure American art songs with three gorgeous Blitzstein pieces, and wisely avoids the standard, overdone Sondheim showpieces in favor of several gorgeous lesser-known songs. "I Feel Pretty" is given a refreshing makeover, while "Glitter and Be Gay" demonstrates both her impressive vocal control and comedic prowess. Despite the odd choice of "There Won't Be Trumpets", which demands a belter to properly execute the climax, this album is a well-conceived and cohesive collection that becomes more enjoyable on each subsequent listen.

Music from The Lord of the Rings Trilogy

Average customer rating:

Good for collectors
Pretty Good
Buyer beware
Worth It
This Collection Captures the Lord of the Rings Aura

Music from The Lord of the Rings Trilogy
Howard Shore
Manufacturer: Silva America
ProductGroup: Music
Binding: Audio CD

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ASIN: B0002ABTM6
Release Date: 2004-07-13

Tracks:

The Fellowship
The Prophecy
Concerning Hobbits
The Shadow of the Past/A Knife In the Dark
The Bridge of Khazad Dum
May It Be
The Riders of Rohan
Evenstar
Forth Eorlingas/Isengard Unleashed
Gollum's Song

Tracks:

Hope and Memory/Mina's Tirith
The White Tree
Twilight and Shadow
The Fields of Pelennor
The Return of the King/Finale
Into the West
Gollum's Song - Vocal Version/Helen Hobson
May It Be - Vocal Version/Tara Scammell
Into the West - Vocal Versio/Helen Hobson

Customer Reviews:

Good for collectors.......2007-07-08

This is not Howard Shore and no-one should think it is, however I found it a nice addition to my LOTR music collection. I have all the Shore music and it is outstanding - this is interesting, nowhere near as good, but very nice nonetheless. I especially like the soprano Charlotte Kinder on this CD and I would recommend it just for her contribution in some ways I prefer her to Renee Fleming, but that is of course a subjective statement. The other female singer is ok, but nothing special compared to the originals.

Pretty Good.......2007-03-30

I had real high hopes for the soundtrack cause the movies ROCKED!!! This was a disappointment cause the vocal version of "Into the West" "sucked" cause the lady sounded like she lost her voice an faded in an out. They should have gotten Enya to do the vocals or AT LEAST the Into the West cause the ldy that sung it made the volume "suck" when I thought it would have a BIG finish but instead it had a BIG disappiontment!!!

Buyer beware.......2006-09-01

Just be sure to read up on this closely... it's not the orchestra you hear in the movie, and you may be especially disappointed when you hear the vocal tracts - gone are great talents Enya and Annie Lennox, replaced by no-name voices. This is not BAD music, but don't think you're a genius for capturing the music of the movies on one inexpensive 2-CD set.

Worth It.......2006-03-30

Howard Shore's scores to the three Lord of the Rings movies are a classical masterpiece in their own right, and as such I don't mind hearing them played by a different orchestra. While I prefer the originals on the whole, this set has some very nice things to recommend it. The best part is that you get instrumental renditions of the end credits song from each film. My favorite is "Into the West," from The Return of the King, with a cello replacing Annie Lennox's vocal performance. I really disliked Lennox's ugly, popified performance of the song, but I thought that the melody and orchestration were gorgeous, so I could not be more delighted to hear the song performed by a cello, with all original orchestration intact. That one track is worth $20 to me.

This Collection Captures the Lord of the Rings Aura.......2006-01-27

From the song titled "Concerning the Hobbits" which is lighthearted and cheerful, to "The Bridge of Khazad Dum" with it's intense shadowy drums and chants this collection of The Lord of the Rings trilogy's music ensues the essence of all three movies. My favorites are included along with some new added bonus favorites now. "May It Be," "Into the West," and "The Riders of Rohan." The vocals are absolutely beautiful in some of the songs with soothing women's voices that just glide along as if riding the wind of white cottony cloud. The only down side to the CD's that I found dissapointing was that the last three songs, not being sung by the original artists, don't quite rest as well with the soul as the original's, yet are still very beautifully executed. I have listened to them over and over again even as they are different artists. I highly recomend this soundtrack compelation to anyone who enjoy's the Lord of The Rings Movie's Music.

Average customer rating:

Handel: The Masterworks (Box Set)

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00062FLI8
Release Date: 2004-11-30

Kurt Weill: Life, Love, & Laughter--Dance Arrangements, 1927-50

Average customer rating:

SAIL ON, KURT!
Not at All Vile Weill
ELEVATOR MUSIC

Kurt Weill: Life, Love, & Laughter--Dance Arrangements, 1927-50
H.K. Gruber , and Palast Orchestra
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Ein Freund ein Guter Freu
Krokodile und Andere Hausfreunde
Wochenend und Sonnenschein
Superhits Präsentiert Vom Palast Orchester
Superhits V.2

ASIN: B000055YBR
Release Date: 2001-02-12

Tracks:

Mile After Mile
Bilbao Song
Stay Well
Life, Love And Laughter
My Ship
Green-up Time
The Little Gray House
Blues Potpourri
September Song
All At Once
Le Roi d'Aquitaine (Waltz)
Foxtrot Potporri
Alabama Song
Lied Der Jenny
Speak Low
It Never Was You
What Good Would the Moon Be
Tango Ballade
Kanonen-Song

Amazon.com

Here's a disc of 19 familiar and unfamiliar Kurt Weill songs arranged for dance band and played by an expert group of specialists in Roaring Twenties band music. They're led by singer-conductor-composer H.K. Gruber, whose previous recordings include Weill's Die Dreigroschenoper. The result is a start-to-finish delight. From the first notes, you're beamed back in time to one of those sleek transatlantic passenger liners, sitting in an art deco ballroom watching elegant couples in tuxedos and ball-gowns swirl by while the band plays hits from Weill's German and Broadway triumphs. Sure, the venom is leached from the originals, but who needs agitprop when you're on a dance floor? The arrangements are by a variety of hands, hired by Weill's European and American publishers with his approval to get more mileage from his musical theater works. They're delightfully square rhythmically and formulaic in transferring Weill's music to conventional dance bands, but the music still holds up and is fun to hear in its new clothes. A special treat is the eight tracks with Max Raabe, whose light tenor and falsetto singing preserve the spirit of Weill's songs, as well as perfectly mimic the boy band singers of times gone by. --Dan Davis

Customer Reviews:

SAIL ON, KURT!.......2006-04-23

I wouldn't take offence here oh, Weill purists! These reconstructions are charming and harmonically reverent to their originals, more than could be said for many versions of the Weill Songbook through the decades, including Lou Reed's friendly `adaptation' of the September Song's chord progression and melodic line!

Shoenberg and Webern expressed their disdain of Weill's music; curiously, Arnold had also disclosed a secret wish of having his own audiences walk back home "whistling his tunes", oh, don't ask why... You can certainly whistle, hum and sway your partner now, as the transatlantic's bouncy dancehall sails on just as Kurt, Lotte and the lot of them did when escaping the lethal hounds of early 30s Berlin.... the-next-little-dollar bound.

Not at All Vile Weill.......2001-08-13

The ever versatile HK Gruber has done it again digging up these gorgeous dance arrangements for Weill's music--proving, if anything, Weill's versatility. Anyone familiar with the Capriccio historical Weill recordings will be aware of the long tradition of dance bands taking Weill's music as the lead for dance music or pop music incarnations (all the way up through the more obvious appropriations familiar to Americans: Mack the Knife and September Song). Hardly MUZAK arrangements (listen to the delicate violin in track 17's "What Good Would the Moon Be" to hear what I mean), this generous helping of 19 songs offers a chance to see Weill through a delightfully different but entirely compatible lens. Max Raabe provides the ideal vocal compliment on 8 of the tracks, his tenor floating effortlessly into his head voice suggesting a "period" sound reminiscent of Bing Crosby. The import title for this disc is "Charming Weill," and that modest adjective expresses the least of its virtues.

ELEVATOR MUSIC.......2001-05-23

This is a very strange CD: why would anyone want to take the quirky rhythms and melodies of the great Kurt Weill and "tame" them into dance arrangements? Certainly one has listened to (& even perhaps admired) dance arrangements of composers from Victor Herbert to Cole Porter to Jerry Herman, but these are all, if you will, main stream composers-- men whose music sounds good in original Broadway or Hollywood arrangements and just as good (or almost as good) as played by a dance band...think "Begin The Beguine" as done by Fred Astaire on film or "Begin The Beguine" done by Jo Stafford with the Paul Weston Orchestra.

But Weill was an innovator: a man who can still be listened to experiencing the thrill of something fresh and new. One immediately thinks of his collaborations with Bertolt Brecht in Germany: "Threepenny Opera" and "The Rise & Fall Of The City of Mahagonny" or "The Seven Deadly Sins", etc. his American opera, "Street Scene" with Langston Hughes or his American musical plays: "One Touch of Venus" with Ogden Nash or "Love Life" with Alan Jay Lerner, etc. The songs on this CD all deserve great recordings from the "Alabama Song" to "September Song" but they turn into a kind of flattened elevator music instead of having fresh interpretations or even more traditional ones. What happens is that the longing in "What Good Would the Moon Be" and the romance of "Speak Low" and the raucousness of "Bilbao Song" are all much too similar and much too easy.

Tracks:

By The Time It Gets Dark
School Days Over
Once In A Very Blue Moon
Farewell Farewell
Sparks Might Fly
Katie
Leaving The Land
There Is A Time
Jamie
Leaboys Lassie
Trying To Get The Balance Right
Moon River
Don't Explain

Amazon.com essential recording

While other of her albums spanning the mid '80s to the middle of the following decade are marred by cheesy or tinny-sounding overproduction and a breakaway from the acoustic-based accompaniment that suits her most truthfully, By the Time It Gets Dark presents Mary Black, folk vocal stylist, at her best. Less dark than Sandy Denny, less twee than Nanci Griffith, yet coming from a similar tradition and approach, Black's vocals are warm, earthy, and expressive. Her live version of "Moon River" is sweet, pure, and sublimely lovely. And she's near about perfect on such well-chosen gems as Richard Thompson's "Farewell, Farewell" or (more popularly rendered by Griffith) "Once in a Very Blue Moon." By the Time It Gets Dark is thereby the most logical and pleasant step toward Black's more recent work of the new millennium. --Paige La Grone

Customer Reviews:

Powerful Expressiveness.......2003-01-31

This was the album that got me hooked on Mary Black. I'd already purchased some of her others because music fans I trust had told me her music's worth spending some time with. But I didn't really get sold on her until this album.

SPARKS MIGHT FLY was the first song that really won me over. With a lovely, gentle piano playing in the background, her voice really rings out strong and expressive. You can feel every word she belts out so that individual lines really get to you. Lines that don't sound so powerful on paper like, "I see my brother's face grow dark with care," then "Don't call him a misfit!" just hit you in the gut and resonate.

She really is just so expressive throughout this album. There's a subtle power to it that makes her voice more interesting than it would otherwise be. And it makes some of the songs which might not be so spectacular on their own really reach your heart. Like DON'T EXPLAIN is a song I normally wouldn't like because the singer is forgiving a man who cheats ... which is something that goes against my personal beliefs. But ... the way she sings it is so expressive and raw that I'm "with her" and on her side for the duration of the song. Now, that's talent when you can make someone who disagrees with you empathize as you sing.

I recommend BY THE TIME IT GETS DARK for anyone curious about why Mary Black is a favorite of so many music conniseurs. Listen to it several times. It won't be long before it starts to get to you.

the best of mary.......2002-10-09

Having bought all of Mary Black's records and having seen her live countless times, I think it is this album that most truly reflects what is special about her-even the cover is evocative! She has said elsewhere that with this record she and Declan Sinnott felt they were near to achieving the sound and direction they wanted.
Perhaps they feel that they really found it on the next album 'No Frontiers'-a fine record. But it is this record that I constantly go back to, where the arrangements are perfect; Pat Crowley's piano is terrific. The choice of material reflects a kind of sadness, which is beautifully evoked by the purest of voices. I don't think her wonderful voice sounds better than this on any other recording. It's a great balance of folky tunes such as 'Leaboys Lassie' and 'Schooldays Over' to the complex Noel Brazil song (what a loss was his recent death) 'Sparks Might Fly'. In essence this record, first issued in 1987, is the start of Mary Black's classic period upto 'Babes in the Wood' and captured on the great compilation 'The Collection'. A wonderful time it was to see her in concert-although she is still great live. One of the best records of its kind ,'By the Time it Gets Dark' will never date and Mary Black will forever stay young. Beautiful.

Believe..........2001-03-29

Believe the others. This is truly the most fully realized collection of some of the best songs, arrangements and volcals of any of her collections. Her singling is always bordering on perfection, but often her purest subtleties become clouded in overproduction. Not Here!

Listen with care to three of the best things she's ever done.

"Once in a Very Blue Moon" presents us with a borderless pop gem. Not Irish, Not American, simply universal pop. "Farewell, Farewell" is perhaps the prettiest "Celtic" inflected song she's ever blessed with her voice. "Katie", upon first listen, sounds like a good old fashioned pop ditty, that on closer inspection demonstrates just what can happen with a perfect hybrid of Celtic/American Folk/Pop.

These are only three, but all teh songs will be welcome in your ears many times over.

If you are unfamiliar with the seemingly limitless talent of Mary Black, this is a great disk to begin what will surely be a lifelong appreciation of this highly under-purchased artist.

Warning: Much of her later music, with the possible exception of her last "Speaking with the Angels", is mostly overproduced pop. There's nothing here to muck up the beautiful mix. Buy it, if only for the lovliest version of "Moon River" you'll ever hear.

One of Mary Black's Best.......2000-03-15

This is one of my favorite CDs. Tinged with sadness, this CD is about people in transition, from travellers (Farewell, Farewell), to young men going to work at the mines (Schoolday's Over). Listen to this when you are in a contemplative mood, trying to figure out what to do next.

A heartbreakingly beautiful CD.......1999-10-15

For those who will allow themselves to be vulnerable, this is an incredibly heartfelt recording. Richard Thompson's "Farewell, Farewell" alone is worth three times the price. Mary makes you feel every meaning. Declan Sinnott's guitar playing is an absolute joy, and the guitar sounds are delicious. This is one of those CDs that you want to listen to alone.

Victor Herbert: Beloved Songs and Classic Miniatures

Average customer rating:

They don't write music like this anymore
an elegant and sensitive treatment of classic favorites!
He deserves better
A valuable addition to recorded Americana

Victor Herbert: Beloved Songs and Classic Miniatures

Manufacturer: Naxos American
ProductGroup: Music
Binding: Audio CD

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ASIN: B000042ODX
Release Date: 2000-01-25

Tracks:

Babes In Toyland: Toyland
The Fortune Teller: Romany Life
Badinage
Orang Blossoms: Kiss In The Dark
The Enchantress: Art Is Calling
Pan Americana
Molly
Al Fresco
The Red Mill: Moonbeams
Naughty Marietta: Italian Street Song
Eileen: Thine Alone
Cannibal Dance
Mile Modiste: Kiss Me Again
The Only Girl: When You're Away
Royal Sec
The Dream Melody: Ah! Sweet Mystery Of Life

Customer Reviews:

They don't write music like this anymore.......2006-12-31

Who cares if a soprano is singing songs written for a tenor or Thine Alone was written as a duet? This is a perfectly lovely album, and I've never heard my two favorites--Thine Alone, Toyland--sung more beautifully. The soprano, Virginia Croskery, takes no liberties with the music--sings it lovingly and as it was written. Refreshing in our self-indulgent times when singers seem to think it compulsory to "make a song their own" or whatever it is they think they're doing.

an elegant and sensitive treatment of classic favorites!.......2004-01-13

Totally enchanted with this CD. The soprano supremely gifted and the orchestra - stunning. I highly recommend it for the sensitive music lover!

He deserves better.......2000-02-29

This new Victor Herbert is a disaster. The soloist is bad and destroys Romany Life. Her other songs aren't much better. Most of the vocal music was written with a chorus in mind. No chorus. Over half the vocal selections are mutilated. 2/3rds of Kiss Me Again is gone, about 1/2 of Moonbeams cannot be found, the second verse of A Kiss in the Dark is among the missing, etc. Thine Alone was written as a duet. Molly was written for a tenor. They are sung by a soprano. Herbert wrote so much music beautiful music but onl;y his most famous can be found here. Three or four orchestral selections are all that can be recommended. Until John McGlinn or Richard Bonynge realize that Herbert once existed he is in trouble. Naxos and Brion are not the answer.

A valuable addition to recorded Americana.......2000-01-19

It is a Good Thing that Naxos is starting an American Classics series at their usual budget price and that Victor Herbert is featured on two of them. We have as of this writing the purely instrumental (8.559025) and its sequel (8.559026). The latter features soprano Virginia Croskery and the Slovak Radio Symphony Orchestra under Keith Brion. Yes, this offers an interesting comparison with the old Beverly Sills offering of much the same material. Ms. Croskery's vocalizing is very good indeed and perhaps more in keeping with the kind of voice for which much of this music was composed; but while Ms. Sills' voice is quite thrilling, it is perhaps a touch too operatic for this lightweight material. On the other hand, the Naxos sound is far beyond what the older set can give us. Of the 16 selections on this CD, 5 are instrumental. Of the vocals, not all were written for the soprano voice ("Toyland" for example); but most were and we have here what you would expect: "Romany Life," "Kiss in the Dark," "Italian Street Song," "Ah, Sweet Mystery of Life," and so on. Some listeners might have some trouble with the singer's very top notes; but at this price and for lack of anything competitive that is still available, this is still a very good purchase. This disc makes a fine companion piece, not only to the other Naxos set, but also to a concert of Herbert and Romberg duets on Newport Classic label titled "Sweethearts."

Average customer rating:

Music from Humphrey Bogar Movies
Simply the original
not the stuff dreams are made of

Music from Humphrey Bogart Movies

Manufacturer: The Sound Track Facto
ProductGroup: Music
Binding: Audio CD

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Stardust Melody
Casablanca: Original Motion Picture Soundtrack
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ASIN: B00006CFHZ
Release Date: 2002-08-08

Tracks:

As Time Goes By [From Casablanca] - Elliot Carpenter, Dooley Wilson
Am I Blue/Hong Kong Blues/The Rhumba Jumps/How Little We Know [from To - Hoagy Carmichael, , Andy Williams
And Her Tears Flowed Like Wine [From the Big Sleep] - Lauren Bacall
Petrified Forest
My Melancholy Baby/I'm Just Wild About Harry/It Had to Be You/In a ...
High Sierra
Maltese Falcon - Jo Stafford
Baila Bailando/Too Marvelous for Words [From Dark Passage]
Treasure of the Sierra Madre
Moanin' Low - Claire Trevor
African Queen
Oh, Give Me Time for Tenderness [From Dark Victory] - Vera Van

Album Description

Full title - Music From Humphrey Bogart Movies. Includes music from the classics, 'Casablanca' (1942), 'The Big Sleep' (1946), 'Key Largo' (1948), 'To Have & Have Not' (1944), 'The Petrified Forest' (1936), 'The Roaring Twenties' (1939), 'High Sierra' (1941), 'The Maltese Falcon' (1941), 'Dark Passage' (1947) & 'The African Queen' (1951). Highlights include, Dooley Wilson & Elliot Carpenter Trio 'As Time Goes By', Andy Williams 'Little We Know' & Lauren Bacall 'And Her Tears Flowed Like Wine'. Slipcase. 2002.

Customer Reviews:

Music from Humphrey Bogar Movies.......2007-06-27

I was disappointed. I thought I would be getting a CD of full length themes from his movies but the CD is exactly what it says. It is from the actual films, in sections and pieces. I can't say it was misrepresented so I guess I was at fault. But I am sorry I bought it.

Simply the original.......2007-06-19

As the previous reviewer rightly pointed out, these are the original recordings from the era the films were made. And yes, the sound is completely different from what we are used to hear when we are turning the CD player on: it's mono, it's partially unsteady and some of the pieces suddenly fade. BUT, it's the REAL thing and it transports the charms and the charisma, inherent to the original ONLY.
Those who prefer the flawless technical perfection of a re-recording better should save their money. But for those who love the movies and their genuine sound, should be perfectly pleased with this release.

not the stuff dreams are made of.......2007-01-03

most of the tracks on this cd are available elsewhere, but what prompts me to give this a low review is the quality of the recording. some of them sound like they were taped off of a tv set showing a warbly print. you can do better elsewhere.

Soul Music:

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