Nancy in London

Editorial Reviews
Album Description
The changes of locale for Nancy's third album didn't change her approach much- covers of contemporary pop and rock hits and pop classics dominate it. Lee Hazelwood's contributions of compositions on this release are strong, moody highlights. Now Sundazed brings you the reissue with bonus tracks '100 Years', 'You Only Live Twice', 'Tony Rome' and 'Life's a Trippy Thing' which is sung with Frank Sinatra. 1995.

Tracks:

On Broadway
The End
Step Aside
I Can't Grow Peaches On A Cherry Tree
Summer Wine
Wishin' And Hopin'
This Little Bird
Shades
The More I See You
Hutchingson Jail
Friday's Child
100 Years
You Only Live Twice
Tony Rome
Life's A Trippy Thing

Album Description

The changes of locale for Nancy's third album didn't change her approach much- covers of contemporary pop and rock hits and pop classics dominate it. Lee Hazelwood's contributions of compositions on this release are strong, moody highlights. Now Sundazed brings you the reissue with bonus tracks '100 Years', 'You Only Live Twice', 'Tony Rome' and 'Life's a Trippy Thing' which is sung with Frank Sinatra. 1995.

Customer Reviews:

Nancy in balance!.......2006-06-22

This lp/cd has long been a Nancy Sinatra triumph in my book. It strikes a common chord with it's pop/country tinges,and Sinatra's alto fits most of the tunes perfectly.
The hit "Fridays' child" is a morose almost comical bitter tune about a misbegotten girl,tough as nails and morbid to boot!
Nancy's sweet version of "THe end" has a simplicity that delivers it's sweet paen to endings.."Shades" reminds us that above all Nancy is the queen of cool sixties..She scores again with the poignant "I can't grow cherrys on an apple tree. A song that reminds us of ur emotional desires and their limits.
The cover of this cd/lp is pure carnaby street...but the recordings have little to do with London..but it's fashionable!!
This cd,and Country my way are two of Nancy's best.Buy it if you like simple straight-shooting pop music!!

" I Say Old Chap . . . Positively Picadilly!".......2004-09-25

"Nancy In London" . . .ahhh . . . put this cd on your cd-player and enter a truly magical time . . . London in the sixties . . . yet "always now" and aways contemporary and always "the present".

Nancy delivers a most moving rendition of the Earl Grant song, "The End" -- this cd would be worth owning even if that were the only track on it . . . but Nancy Sinatra draws you in to so much more.

She hits you right in the face withher edgy, "Step Aside" (you're standin' in my way . . . " -- and when Nancy sings it, you know you'd darn well better step aside . . .and you'd better add "excuse me" to our vocabulary in response! ha! :) (Dominatrixes Beware!) ha!

She simgs the haunting "I Can't Grow Peaches On A Cherry Tree" . . . a kind of lament that a love so much dreamed, wanted, and desired an never be what it should be . . . resignation tinged by disappointed hopes.

Nancy brings her own "charm" to Dusty Springfield's "Wishin' And Hopin'" . . . Nancy's more mellow-blue eyed soul delivery fts the song just the way it should.

She does a great version of the Marianne Faithful classic, "This Little Bird" . . . it sounds like it had been written specifically for Nancy . . . she can add a sad/hauntin/longing feel to her voice that very few others can.

"Shades" -- I love this song . . . "These shades can't hide a broken heart . . . these shades i'll keep on wearin' . . . as long as i'm still carin" . . . " - one of Nancy's all time best tracks ever!

. . . And Lee Hazlewood . . . Nancy sings his country thang: "Hutchinson Jail" - (it's cold cold Cold COLD . .. it's cold in the Hutchinson Jail." and the one which received a lot of radio play and is a Nancy-Classic: "Friday's Child"! (that's me!)

(there are also added bonus tracks accompanying this "original album reissue".

All of Nancy Sinatra's albums are well worth buying and owning and listening to . . . but be sure to not pass-up this "Nancy In London" cd! -- You will be more than happy that you have it . . it may never leave your cd changer!

Thank You Ms Nancy Sinatra for all of your great music and recordings . . . and a very very special "thank you" for "Nancy In London"! :)

The London Sessions.......2004-07-10

This was Nancy Sinatra's third album. Instead of recording in Los Angeles as she previously did, she traveled to London to make this album. That proved to be a mistake. Instead of recording with hip young Los Angeles session musicians, she recorded with middle aged (or older) orchestral musicians. Of course, these older gentlemen were talented musicians, but their style was wrong for Nancy. There were some good songs recorded at these sessions, but they are relatively "lifeless" when compared to her other recordings. I'm probably not the only person who feels that way, because this was the worst selling album Nancy recorded for Reprise Records. The CD contains four bonus tracks, which are all non-LP singles.

Nancy - Her Way........2003-05-19

With 15 tracks to this wonderful album, consisting of many Lee Hazlewood written songs, Nancy displays great talent in delivering the gold. Nancy proves once more that her talents are endless.

As a Nancy Sinatra fan, this is one of my more favorite albums that I have as of right now - there are a lot of good songs.

The favorites of mine on here are "Summer Wine" (Written by L.Hazlewood) - a catchy song, delightful lyrics, the right blend of sass, very scandalous.

"Wishin' and Hopin" (Not a Hazlewood song) - catchy indeed. Nancy tells women how to please their men by treating them right.

"Friday's Child" (L.Hazlewood) - a great display of singing talent and great lyrics by the mentor himself.

"100 Years" (L.Hazlewood) - one of my more favorite songs, it has a nice beat and nice lyrics. It tells about a girl not wanting to live a false love life and tells how she's not falling in love until 100 years away when she finds true love.

"Tony Rome" (L.Hazlewood) - this song is very catchy. I'm pretty much guessing that this Tony Rome guy is a real lady's man and has an irresistible charm - then ends up using women and stealing their hearts.. and jewelry. Mothers, lock your daughters in!

"You Only Live Twice" (L.Hazlewood) - Lee Hazlewood truely shines in his lyrics - and Nancy shines in her singing. This song is the theme to the 1967 James Bond movie "You Only Live Twice." This is a very nice love song with elegant lyrics and Nancy delivers the song with her attractive voice.

Overall, 5/5 on this album. Nancy and Lee sure did a great song stringing this album together. It's well worth a listening too.

Lee Hazzlewood writes the songs and Nancy Sinatra sings them.......2002-10-30

I have a special fondness for "Boots," Nancy Sinatra's debut album, but "Nancy in London" is probably her best album, although none of the songs especially prove the title in any significant way. This remastered version makes this point obvious by tacking on four additional tracks including her title songs for the films "You Only Live Twice" and "Tony Rome" along with "Life's a Trippy Thing" the "other" song with Daddy Dearest (and "100 Years" is probably the best of that bunch anyway). Nancy Sinatra always tried to sing a lot of different songs, which explains why you get from "On Broadway," and "I Can't Grow Peaches on a Cherry Tree" on the same side of the album. "Summer Wine" is the second best of her duets with Lee Hazzlewood (after "Some Velvet Morning") and "Friday's Child" is one of her best vocal works (compare it with the "Wishin' and Hopin'" to see the contrast and what the lady could do when she put her mind to it). The other thing I came away from listening to this album again was the realization that Lee Hazzlewood wrote lots of her songs besides their duets: "Friday's Child," "100 Years," "Tony Rome," and "The Last of the Secret Agents" from just this album alone. I always liked their duets best of all, but now I am impressed with his abilities as a songwriter of such a wide variety of songs. How come I never noticed this before? Could it have something to do wtih those white go-go boots Nancy was always wearing? Yeah, that is probably it...

Beethoven: Piano Concerto 5/Choral Fantasy

Average customer rating:

Noble sound

Beethoven: Piano Concerto 5/Choral Fantasy
Howard Milner , and Rufus Muller
Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
ASIN: B000025OL9
Release Date: 1993-01-12

Customer Reviews:

Noble sound.......2004-10-03

Melvyn Tan and the London Classical Players directed by Roger Norrington completed their Beethoven cycle (the nine symphonies and the piano concertos) in January 1989 with this polished performance of the composer's grand 'Emperor' Concerto coupled with a fairly rare recording of the Fantasia in C major, Op. 80, a work which, according to the liner notes, has only survived because it is by Beethoven, but which Norrington and his team seem determined to bring to the forefront by means of an explosive performance that leaves, for my mind at any rate, nothing to be desired.

As with the other Beethoven recordings, the tempi are comparatively fast; Stefan Vladar and the Capella Istropolitana on Naxos need, for example, nearly two and a half minutes more for the Adagio un poco mosso (which on their recording admittedly sounds more like a Largo). Norrington's combination of period instruments in the orchestra sounds noble, and perhaps I had got used to this sound by now, but I found the fortepiano fitted rather well to the whole despite being so soft and gentle that it was occasionally in danger of being 'swallowed' by the orchestra. And Melvyn Tan's playing seems to rise to the occasion in both pieces, capturing both the martial spirit of the Piano Concerto as well as the 'artist's genius' of the Fantasia. The close of the Fantasia is also better managed than the close of the Ninth Symphony, the brief appearance of soloists and choir being here completely satisfactory.

All in all, this is probably one of the better Norrington Beethoven Cds, its only weakness being the above-mentioned balance problems between fortepiano and orchestra.

Mozart: Requiem, Ave Verum Corpus, etc. / Norrington, London Classical Players, et al

Average customer rating:

Radical, rapid tempi, beautifully recorded
Like Hearing the Masterpiece the First Time
Agree with him or not - Norrington is always interesting!
Norrington does it again IMHO

Mozart: Requiem, Ave Verum Corpus, etc. / Norrington, London Classical Players, et al
Roger Norrington , Schutz Choir of London , Nancy Argenta , Catherine Robbin , John Mark Ainsley , and Alistair Milnes
Manufacturer: Virgin Records Us
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Mozart - Requiem / Ziesak, Maultsby, R. Croft, D. Arnold, Boston Baroque, Pearlman
Mozart - Requiem / Kirkby · Watkinson · Rolfe Johnson · D. Thomas · AAM · Hogwood
Mozart: Requiem in D Minor, K. 626 [Hybrid SACD with CD-ROM track of Mozart's Original Manuscript]
Mozart: Ave Verum
Mozart - Requiem / Augér, Bartoli, Cole, Pape, Wiener Phil., Solti

ASIN: B00000I3VZ
Release Date: 1999-02-09

Tracks:

Maurerische Trauermusik, K477 (479a)
I. Introitus: Requiem Aeternam
II. Kyrie
III. Sequenz: Dies Irae
III. Sequenz: Tuba Mirum
III. Sequenz: Rex Tremendae
III. Sequenz: Recordare
III. Sequenz: Confutatis
III. Sequenz: Lacrimosa
III. Sequenz: Amen
IV. Offertorium: Domine Jesu
IV. Offertorium: Hostias
V. Sanctus Et Benedictus: Sanctus - Osanna I
V. Sanctus Et Benedictus: Benedictus - Osanna II
VI. Agnus Dei
VII. Communio: Lux Aeterna - Cum Sanctis Tuis
Ave Verum Corpus, K618

Customer Reviews:

Radical, rapid tempi, beautifully recorded.......2005-01-08

With all the controversy stirred up by Christopher Hogwood’s and Roger Norrington’s recordings of Mozart’s Requiem, it is perhaps necessary to remind oneself right from the start that Mozart only actually completed the first two movements of his Requiem, somewhere between six and eight minutes of music. Anyone who wants to perform or record more, is therefore forced to use material that is not “pure Mozart”. It has become something of a custom to use the version prepared by Eybler, Freystädler, Stadler and Süßmayr at the behest of Mozart’s widow, who needed the cash she would receive for the complete Requiem; but there is no reason why anyone should not go back to Mozart’s notes and finish them himself, or, alternatively, re-work the version prepared by Mozart’s pupils (and normally termed the Süßmayr version). Personally, I own four different recordings of Mozart’s Requiem, and all of them make a very good job of delivering the particular goods that their conductors have decided on.

The Süßmayr version was recorded in 1985 by the Slovak Philharmonic Choir and Orchestra directed by Zdeněk Košler. The CD subsequently appeared on Naxos, although Naxos did not exist in 1985, so the recording must originally have been made for another label. At budget price, this is an excellent performance, and particular credit should be given to the soloists Magdaléna Hajóssyová, soprano, Jaroslava Horská, alto, Josef Kundlák, tenor, and Peter Mikuláš for their convincing contributions. The choir suffers somewhat from the acoustics of the Concert Hall in Bratislava, but heard on the right equipment, this is a marvellous effort that demonstrates why many people love and/or prefer the Sußmayr version.

The period instrument or historical performance practice experts are all very critical of Süßmayr, presumably because their musicological training makes it plain to them that Süßmayr was not always a brilliant executor of Mozart’s will and that Mozart himself would probably have chosen other solutions. Nikolaus Harnoncourt, on his second recording of the Requiem (this time on an SACD for BMG/Deutsche Harmonia Mundi, recorded in 2003), uses the Beyer version, a re-working of the Süßmayr that tries to avoid the obvious weaknesses of Süßmayr but retains a lot of what he wrote. Harnoncourt’s tempi are relaxed, and he emphasizes the dramatic; where his disc really comes into its own is on the excellent “three-dimensional” sound that can be heard even on the CD track of the hybrid disc.

Christopher Hogwood and his Academy of Ancient Music took the most radical path and recorded the Requiem (in 1983) in a truncated form prepared by C. R. F. Maunder, who decided to eradicate as much of Süßmayr as he could and rather to leave out whole movements than to use music that was not by Mozart. As in his other recordings of Mozart’s sacred music, Hogwood used boy sopranos in his choir – and was otherwise assisted by top-class early music soloists (here: a radiant Emma Kirkby, Carolyn Watkinson, Anthony Rolfe-Johnson and David Thomas) and the superb Decca engineering team. The result is a rather baroque-sounding Requiem that needs a little getting used to – but what a tremendous recording, what a glorious sound!

Roger Norrington’s 1991 version adopts a similarly radical approach, using the version of the Requiem prepared by Duncan Druce, who also plays the violin on the recording and wrote the liner notes. Norrington uses female sopranos, but otherwise he is strictly historical (although unfortunately the booklet does not give any details of the instruments used or of the choral forces employed). Druce does not discard Süßmayr’s work completely, but radically rewrites it using Mozart’s notes. The result is a “light”, transparent version, excellently performed by Norrington’s wonderful team, including soloists Nancy Argenta, Catherine Robbin, John Mark Ainsley and bass Alastair Milnes who definitely has the edge over David Thomas from the Hogwood disc. Norrington/Druce go for relatively fast tempi in most movements, occasionally seeming to bring in a dance-like feeling which may not seem entirely appropriate. But having listened to this beautifully-recorded disc a number of times, I have come to the conclusion that if I were only allowed to keep one recording of Mozart’s Requiem it would probably be this one, although the choice would certainly not be easy. At all events, this is a disc that makes you really sit up and listen. And perhaps it will also motivate you to listen to other attempts at realising Mozart’s great unfinished Requiem. I can only recommend all the version I have mentioned here.

Like Hearing the Masterpiece the First Time.......2002-11-24

In the midst of recent musicological research, study has yielded countless new completions of Mozart's Requiem: Beyer, Landon, Maunder, Levin, etc. One of the more rare completions is performed here, edited by Duncan Druce.

Druce's edition comes third in a trio of the more extreme completions of the Requiem. Maunder, Levin, and Druce all go as far as to add an Amen fugue based on a Mozart sketch and to completely rewrite (or in Maunder's case, omit) the Sanctus, Benedictus, and Hosanna. But of the three, Druce's idea is the most extreme.

What we have here is the most convincing edition of the Mozart Requiem to date. Hearing Norrington's record is like hearing the great masterpiece for the first time. Suessmayr's original edition is not found here, as Druce has thoroughly replaced his lines. The result is rather exciting.

The record actually opens with the Masonic Funeral Music (K 477) to set an atmosphere. Although it is taken as a slightly faster pace than usual, Norrington conveys an elegiac air. Norrington's tempos are overall moderate (which is a surprise coming from a Historically Informed conductor whose recordings such as Don Giovanni are taken at a rather quick pace.) The Tuba Mirum and Recordare are not rushed. The Dies Irae and Rex Tremendae are paced steadily. These are the kinds of tempos you would expect from a more modernistic perspective, which is a good thing.

After the adrenalized new Dies Irae, the winds form a pompous accompaniment to the beginning of the Tuba Mirum. The completion of this movement and the Recordare is rather graceful. While the trumpets and timpani are taken out of the Confutatis, the movement does not lose it's weightiness (which happens often in the Levin completion) as the new wind accompaniment to the Confutatis creates a kind of mesmerizing effect. The centerpiece of Druce's effort is in the Lacrymosa, which is composed anew after bar 8. The two sections in the new Lacrymosa reserved exclusively for the winds effectively recalls Mozart's chamber and Masonic music. The transition to the Amen fugue is masterful and dramatic, although the overall completion of the fugue is not as convincing as Levin's. Both are very good, however, and Druce's completion is somewhat more exciting and climactic as the trumpets and timpani resound as each of the four voices are introduced into the fugue. (I regret however that I do like Levin's realization of the fugue much better, as Druce errs in ingnoring the fugue's countersubject for most of the time.)

Likewise the Sanctus, Benedictus, and Hosanna, are not completed as convincingly as Levin's (who modeled the Hosanna fugues after the Hosanna fugues in Mozart's C-Minor mass). But these are exciting nonetheless. Druce adds an introduction to the Lux Aeterna and Norrington uses the famous Ave Verum Corpus (K 618) to bring the record to a close.

The solosts, choir, and orchestra are first rate.

Highly recommended. If the new editions of Mozart's Requiem interest you, you should try:

The Maunder Edition:
-Hogwood, Academy of Ancient Music, London.
The Levin Edition:
-Pearlman, Boston Baroque, Telarc.
-Labadie, La Chapelle Quebec, Dorian Records.
-Rilling, Bach Collegium, Hanssler.
-Mackerras, Scottish Chamber Orchestra

Agree with him or not - Norrington is always interesting!.......2002-07-09

Norrington cares deeply about music and about music making. He wants to dig into things very deeply and to challenge our perceptions and expectations about works. Some people love him and others hate his approach. Few are neutral.

I started diskliking his challenge of what I thought I knew. Then I re-thought and decided that I appreciate what he is after.

This recording is quite special. The sound is terrific and the approach to this version is quite interesting. Rather than use the traditional Suessmayr version, Norrington uses the newly re-edited (and composed) Duncan Druce edition.

Remember, the Requiem was incomplete and rather sketchy when Mozart died. Suessmayr hacked some things together that were passed off as Mozart and recent scholarship has tried to get to the real Mozart. This recording probably gets us as close as we are going to be able to get. It is a terrific effort.

Norrington does it again IMHO.......2001-09-25

If you've never heard a Roger Norrington arrangement, then you are really missing out. He goes to great lengths to try and reproduce (sometimes controversially) a sound as close as possible to what the composers intended. His renditions of the Beethoven symphonies are unsurpassed.

With the infamous Requiem, I can say that I've never heard it presented this way before. This CD is worth it for what I feel is the best and most powerfully recorded "Dies Irae".

I had a music history professor in college who once told me that I should have a "regular" and a "Norrington" version of all the great pieces. I respected his opinion, and now seven years later, I can tell you that his little piece of advice was one of the most valuable things I learned while obtaining my "music history" minor. This is a safe buy. I doubt anyone would be disappointed by this CD.

Lehár: The Czarevitch
Average customer rating:
Lehár: The Czarevitch

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

General | Lehár, Franz | ( L ) | Featured Composers, A-Z | Classical | Styles | Music
General | Classical | Styles | Music
Hadley, Jerry | ( H ) | Featured Performers, A-Z | Classical | Styles | Music
General | Opera & Vocal | Styles | Music
Operettas | Opera & Vocal | Styles | Music
Similar Items:

Franz Lehar: The Land of Smiles / Gustafson, Hadley, Itami, Atkinson; Bonynge [in English]

Giuditta

Franz Lehár: Paganini

ASIN: B000003D0Y
Release Date: 1996-06-25

Tracks:

Introduction: A Soldier Stands Guard
I'm Ivan, A One-Woman Man
Someday I'll Find Him
Volga Song
Finale, Act 1: A Girl! You're A Girl!
Song And Dance
Love Is Mine At Last
Napolitana: My love
Late Tonight I'll Come Back To You
Love Today And Cry Tomorrow
Love Me And Kiss Me
Finale: Sit Down, Close Your Eyes
Intermezzo
Waves Tossing Lightly
Kiss Me
Just Call On Me
Finale, Act 3: Hail To Thee, Great Czar!

Mozart: Ave Verum Corpus in D; Requiem in Dm

Average customer rating:

Mozart: Ave Verum Corpus in D; Requiem in Dm

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Mozart - Requiem / Kirkby · Watkinson · Rolfe Johnson · D. Thomas · AAM · Hogwood

ASIN: B000002RSV
Release Date: 1992-09-29

Tracks:

Masonic Funeral Music, KV 477 (479a)
Requiem, KV 626 in d: I. Intro
Requiem, KV 626 in d: II. Kyrie eleison
Requiem, KV 626 in d: III. Sequenz: Dies irae
Requiem, KV 626 in d: III. Sequenz: Tuba mirum - Roger Norrington/London Classical Players/Peter Thorley
Requiem, KV 626 in d: III. Sequenz: Rex tremendae majestatis
Requiem, KV 626 in d: III. Sequenz: Recordare
Requiem, KV 626 in d: III. Sequenz: Confutatis maledictis
Requiem, KV 626 in d: III. Sequenz: Lacrimosa
Requiem, KV 626 in d: III. Sequenz: Amen
Requiem, KV 626 in d: IV. Offertorium: Domine Jesu Christe
Requiem, KV 626 in d: IV. Offertorium Hostias et preces tibi Domine
Requiem, KV 626 in d: V. Sanctus et Benedictus: Sanctus-Osanna I
Requiem, KV 626 in d: V. Sanctus et Benedictus: Sanctus-Osanna II
Requiem, KV 626 in d: VI. Angus Dei
Requiem, KV 626 in d: VII. Communio: Lux aeterna-Cum sanctis tuis
Ave verum corpus, KV 618 - Nancy Argenta/Catherine Robbin/John Mark Ainsley/Alastair Miles/Schultz Consort