Live 65 [Live]

Editorial Reviews
Album Description
Previously unreleased live recordings circa 1965. Remastered in high definition 24 bit. Tracks include, 'Coeur Blesse (Torture)', 'Hello Dolly (Hello Dolly)' and 'Downtown'. Includes 11 bonus studio tracks, 'Je Me Sens Bien Aupres De Toi' (Dance On)', 'Co

Tracks:

Introduction
The Cruel Sea (The Cruel Surf)
Penetration
Bulldog
I Feel Fine
Band Member Introductions
The House Of The Rising Sun
Out Of Limits
Slaughter On Tenth Avenue
Besame Mucho Twist
Love Potion No. 9
Walk Don't Run
When You Walk In The Room
Rap City
Wipe Out
The Ventures Medley:A. Walk-Don't Run; B. Lullaby Of The Leaves; C. Perfidia
The Lonely Bull
Telstar
Driving Guitars
Mariner #4
The Pink Panther Theme
Yellow Jacket
Apache
Pipeline
Surf Rider (Spudnik)
Journey To The Stars
Bumble Bee Twist (The Wasp). Rimsky-Korsakov's 'The Flight Of The Bumble Bee'
Diamond Head
Caravan

Amazon.com

Recorded at the peak of the band's '60s popularity, this album is a collection of previously unreleased live tracks from Japan, where the Ventures have been stars for nearly 40 years; instrumental rock transcends every language barrier. The 29 songs collected here represent a virtual live greatest-hits package, cut on ancient, Buddy Holly-vintage three-track tape machines, including: "Caravan," "Pipeline," "Slaughter on Tenth Avenue" and "Journey to the Stars." A cover of the Searchers' version of Jackie DeShannon's "When You Walk in the Room" is a generous tip of the hat to the British invasion groups who all but buried surf music in the mid-'60s. Fun, lo-fi and best of all--live Ventures! --Dave Provost

Customer Reviews:

Good evening, ladies and gentlemen, and welcome to the best show in town........2007-01-27

The Ventures, of course, are the most succesful instrumental rock group of all time. This CD features a live concert from the group's first tour of Japan in 1965. It's a very good concert, with the group performing some of their most popular songs. An odd thing about the concert is that most of the tunes are introduced by a Filipino MC, in both English and Japanese. But that doesn't really detract from the enjoyment of the CD.

Man, this cooks!!!!!!!!!!!!!!!.......2006-12-16

I'm always kinda leery about live recordings, but this one was hot! The Ventures LIVE in Japan in 1965! It's awesome! GET IT!

GREAT LIVE ALBUM!!!!!!!!.......2004-03-24

This album is loud, it rocks, and is very enjoyable to listen to. Every song is good. This album is a great live Rock preformance. If you buy it, you'll be satisfied. Even if your not a regular Ventures fan.

The Ventures Knock Out Japan!.......2003-08-05

I almost didnt buy this cd - I already had most of the Dolton/Liberty studio albums on CD/Vinyl and also the live "Ventures On Stage" album from 1965-6. I'm so glad I picked it up because this is one of the best recorded live performances of the 1960's and a true testiment to the greatness and importance of the Ventures. They have inspired so many musicans to learn guitar and this CD has 29 great reasons why.

The sound is punchy and super clean with plenty of stereo separation between the instruments (good for learning parts). About the only thing I didn't like is the intrusive Japanese announcements between each song. I wind up fast forwarding to get to the next song, and I wish they were edited out for us english speaking fans. But they were part of this historical performance.

Any fan of instrumental rock (including those uptight UK Shadows fans - Hank & Bruce couldnt rock this hard if they tried!) who thinks the Ventures wern't a great band in the early-mid 60's should pick this CD up because the group's performance is the hottest I have ever heard them. Many tracks surpass the studio versions. The group sounds like they were having a good time playing for the Japanese fans. No wonder why they have stayed loyal to the group for over 40 years!

The ULTIMATE instrumental rock record.......2002-08-21

This is as great as instrumental rock & roll gets. Much tougher (driving!) than their studio records, this features one of the greatest rock & roll bands of all time at their very best. Far and away the greatest drumming on any live rock & roll record ever made, Mel Taylor's ferocious, driving beat propels even the "slower" songs to the musical equivalent of a one-two punch to the gut. Additionally Nokie Edwards' lead guitar playing is nothing short of spectacular (Note: this isn't a surf record -- the sound is dry and even a little crunchy even on the surf numbers thanks to the Mosrite guitars -- GREAT guitar tone). The set starts out with unbelievable energy and actually picks up so much steam, by the set closer "Bumblebee Twist" 29 songs later they're truly on another plane. If the band's studio records are a little tame for your taste you'd do well to check this out -- one of the greatest and toughest live records you'll ever hear.

Average customer rating:

ideal live performance
*** Making the sonatas sing
A flawless recording
IMPOSSIBLE TO OVER-RATE!

Maisky & Argerich Live in Japan
Claude Debussy
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Mischa Maisky and Martha Argerich in Concert
Bach: Sonatas for Cello & Piano
Franz Schubert: Songs Without Words
Meditation
Schumann: Cello Concerto

ASIN: B00005ND48
Release Date: 2001-10-09

Tracks:

Applause
Son in g, Op.65: 1. Allegro Moderato
Son in g, Op.65: 2. Scherzo (Allegro Con Brio)
Son in g, Op.65: 3. Largo
Son in g, Op.65: 4. Finale. Allegro
Son in A: 1. Allegretto Moderato
Son in A: 2. Allegro - Quasi Lento - Tempo I
Son in A: 3. Recitativo-Fant. moderato
Son in A: 4. Allegretto Poco Mosso
Son in d: 1. Prologue. Lent
Son in d: 2. Ser. Moderement Anime
Son in d: 3. Finale. Anime
Polonaise Brillante Op.3: Intro. Lento
Polonaise Brillante Op.3: Alla Polacca. Allegro

Customer Reviews:

ideal live performance.......2005-03-08

Maisky knows how to turn himself as a saint. The entire recording is magic!

*** Making the sonatas sing.......2005-02-23

Maisky and Argerich complement each other well, and the musicianship is simply stunning. Maisky is miked and mixed perfectly, with his full, passionate sound balanced with Argerich's piano. I love Argerich's recordings as concerto soloist, so I was curious to hear her in an accompanist role. This is not your father's accompanist! Vibrant, masterful, the perfect choice for these sonatas with their rich piano parts.

But the best thing about this recording is the joy of the music making. At times even playful, but always seriously committed to the score -- these are two of our most visionary and accomplished soloists delivering warmly knit performances. I wouldn't call Maisky an overwhelmingly masculine cellist, and Argerich wouldn't make my top ten for a feminine approach to the piano. But there is a complementarity in the music making that suggests the complementarity of gender -- not gender, but a complementarity of the same power, the same tension, and the same joy. Well, I guess you will just have to listen to the recording, because I cannot describe it any better.

A flawless recording.......2003-06-27

I find this recording to be one of the most convincing recordings of the Chopin sonata I have heard. While I might disagree with some strange placement of rubato on Maisky's part, it is too hard not to be impressed with Martha's ability to feel it with him. The ensemble succeeds at matching each other in every way, lending a unified and organic feeling that make it hard to believe at times that this is a *live* recording. The acoustic quality is also outsanding, although you may wish it were not so good when Maisky's loud breathing and foot-tapping get out of hand (particularly in the Debussy).

Just when I was feeling that the earlier Argerich/Rostropovich recording of the Chopin was too sloppy and sonically out of balance, I picked up this recording and was amazed. Normally the 'cello ends up being overpowered by the piano, but not here. Due to the ensemble and the quality of recording, I would definitely consider this a "desert island disc."

IMPOSSIBLE TO OVER-RATE!.......2001-10-29

I usually don't bother to write reviews for Amazon, but this time, my excitment is too big. If you ever get the chance to listen to this CD, you'll see that the moment it starts playing, the magic begins. Every single work in this album is played with a great precision and every single note makes sense. Maisky and Argerich are so in tune with one another...A wide range of expressive capacity in display...ideal recording quality... And the encore piece is so free-flowing, so well articualted, so improviastion-like, that it gives us the ideal Chopin sound. In any case. To hear Argerich play Chopin is a real delight,enough of a reason by itself. In this case, the entire album is a delight and the fact that total playing time is almost 80 minutes is a cause for celebration. Really beautiful.
Bravo!

Shostakovich: Symphony No. 8 [Hybrid SACD]

Average customer rating:

taken too slowly, power and coherence are lost

Shostakovich: Symphony No. 8 [Hybrid SACD]

Manufacturer: Lso Live UK
ProductGroup: Music
Binding: Audio CD

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Shostakovich: Symphony No. 11 [Hybrid SACD]
Shostakovich: Symphony No. 5 [Hybrid SACD]
Beethoven: Symphony No. 9 [Hybrid SACD]
Rachmaninov: Symphony No. 2; Vocalise
Mahler: Symphony No. 2 in c minor [Hybrid SACD]

ASIN: B00099FV9C
Release Date: 2005-07-12

Customer Reviews:

taken too slowly, power and coherence are lost.......2006-07-06

Mstislav Rostropovich knows the power of slowing the tempo. He has consistently used it to convey the false triumph, the horror, of the finale of Shostakovich's 5th Symphony -- his 1983 DG recording with the National Symphony Orchestra is my choice for the best recording of all time (see my review). To take another (in)famous example, Celibidache has been roundly criticized for his exaggeratedly slow tempos in Bruckner, but this produces, in the live recording of Bruckner's 8th with Celibidache leading the Munich Philharmonic, a unique and incredibly powerful performance. Clearly there is nothing inherently wrong with a slower tempo, as Rostropovich showed with his earlier LSO Live recording of Shostakovich's 11th Symphony (see my review).

Unfortunately, it doesn't always work. And despite the beautiful and precise performance by the LSO and another superb LSO Live recording of the November 2004 concert at the Barbican, this 8th drags and fails to capture the drama, energy, intensity, fear, panic and horror of war that makes it the Guernica of 20th century music and one of Shostakovich's most powerful symphonies. Listening to this recording, you wouldn't know that it is one of the best and most powerful compositions of the 20th century!

The time for this performance is 68'45". By contrast, Rostropovich's 1991 recording with his National Symphony Orchestra on Teldec ran just over 61' (see my review), slightly faster than Haitink's powerful 62' recording on Decca (see my review). Solti's 1989 recording with the Chicago Symphony Orchestra on Decca, now out-of-print, my choice for the best 8th, also runs 62'.

The most serious problem with this Rostropovich/LSO performance comes with the second and third movements, the Allegretto and the Allegro non troppo. These are the movements that convey the utter horror of war, if they are played properly. Solti nails them, and Haitink takes them just slightly too insanely fast, which still works. But -- my apologies to Rostropovich, who knew Shostakovich well and claims unique insight into the composer's intentions -- he does not create the taut forward drive and momentum to bring this mighty symphony to life. The fast movements were the fatal flaw in his otherwise excellent Teldec recording, and now with the LSO, the outcome is even worse. There are beatiful passages to be found within, but the overall story is lost, and with it the meaning.

See my SHOSTAKOVICH: A CENTENARY LISTENER'S GUIDE list for more of the great Dmitri Shostakovich.

Average customer rating:

Attraction 65

Manufacturer: Atenzia Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000C4258
Release Date: 2003-08-19

Album Description

Former Blue Tears front-man Gregg Fulkerson finds musical re-birth in his new band, Attraction 65. Blue Tears was a power rock band, signed to MCA Records in the days of loud guitars and even longer hair. As the LA music scene turned to Seattle, Gregg and bassist Michael Spears turned to the studio to write songs and work on solo projects. Gregg first worked on a solo album for ex-Stryper singer Michael Sweet. He continued to write and prepare for what is now Attraction 65. Bassist Michael Spears most recently produced Rose Falcons single for the hit Disney movie, Inspector Gadget. He is also re-mixing the album Power Windows for Bon Jovi collaborator Billy Falcon. Atenzia. 2005.

Average customer rating:

Live in Paris 1963 & 1976

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

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

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Live in London 1961 & 1962
Live in London 1958 and 1959

ASIN: B0000BWTKH
Release Date: 2003-11-04

Tracks:

Bel Raggio Lusinghier (Atto I)
Nacqui All'affano... Non Piu Mesta (Atto II)
Je Ne Suis Que Faiblesse... Adieu, Notre Petite Table (Atto II)
Werther! Qui M'aurait Dit... Des Cris Joyeux (Atto III)
Ben Io T'invenni... Ancch'io Dischiuso Un Giorno (Atto II)
Quando Men Vo (Atto II)
Tu? Tu? Tu? Tu? Piccolo Iddio! (Atto II)
O Mio Babbino Caro
Ah! Perfido, Op. 65 (Metastasio)

Average customer rating:

Brilliant Recordings
A- for effort
What can you say?

Psalms of David Complete
Choir of St Paul's Cathedral , and Scott
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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The Psalms of David from Kings Choir of Kings College, Cambridge, Vol. 1
Psalms For The Soul
Treasures of English Church Music
The Oxford Guide to The Book of Common Prayer: A Worldwide Survey
Praise to the Lord - Hymns From St. Paul's Cathedral

ASIN: B00006GO6J
Release Date: 2002-10-08

Amazon.com

This complete 12-disc survey of The Psalms of David from St. Paul's Cathedral is both a remarkable historical record of Anglican chant at its finest and an astonishing musical experience. Contained here are all 150 psalms in their traditional English garb from the 1549 Book of Common Prayer, with revised or entirely new musical settings as published in The New St. Paul's Cathedral Psalter, edited by the choir's musical director John Scott, itself a revision of the 1875 Cathedral Psalter. As such, these recordings represent the very backbone of the Anglican liturgy, but even a casual listener will be in no doubt that they also offer music that is both contemplative and richly varied when removed from its liturgical context.

The art of "pointing"--or setting--psalm texts has been essayed by many English composers, from William Croft through the Wesleys and William Boyce in earlier times to the great flowering in the late 19th century under Stainer and Barnby, with further contributions from Parry, Stanford, Elgar, Howells, and a host of choirmasters and organists, including Sir David Willcocks and John Scott himself. All are represented here. Recorded throughout in the vast acoustic of their cathedral, the St. Paul's choristers enunciate the words precisely, backed by inventive though unobtrusive organ accompaniment. Taken individually, it's possible to isolate moments when the choir seem to drag their feet or fail to give due weight to the words (Psalm 125, "They that put their trust in the Lord," seems far too subdued, for example), and the massive Psalm 119 is awkwardly split across discs 10 and 11, but overall this set is nothing less than a document of invaluable cultural and musical significance. --Mark Walker

Customer Reviews:

Brilliant Recordings.......2007-06-11

In our view the changes in pointing, and excellent selection of chants, give deeper meanings to the Psalms than those achieved in the "standard?" Parish Psalter.

We found great Spirituality and a wonderful sense of Worship whilst listening to this set. This is often sacrificed for brilliance of musical performance in other recordings.

Unfortunately the "St.Paul's Psalter" is not available (June 2007) but we are told that a new print run may happen within 12 months. This would be a most valuable companion to the recordings when and if it becomes available.

A- for effort.......2006-02-23

This grand undertaking deserves high praise, and I'm struck, listening to chant after chant, how much Anglican chant as it used to be until the changes of the 70s was one of the great Victorian contributions to English life and art. For anyone who wants to hear almost the entire repertoire of Anglican chant deployed in singing the whole book of Psalms, this is an unrivalled source. It is wonderful, too, to hear the Coverdale translation: you realize what the churches have lost by abandoning the proper & regular singing of the Psalms. So one is immensely grateful to Hyperion for putting out this recording. It's not perfect, though.

The rhythmic pacing, though a little slow for my taste, is steady and sensitive, the diction clear, and the organ accompaniment superb (Providing an expressive accompaniment to a choir singing in 4-part free rhythm, and improvising descants to the melody at the same time, isn't easy). And of course there's the cavernous acoustic of St. Paul's, very impressive in the more thunderous psalms. Unfortunately, though, the "forward" style favored for the St. Paul's boys produces a sound that's unpleasantly chesty in the lower registers and reedy in the higher ones. The poorly integrated choral sound caused by this kind of voice-production can be downright unpleasant for anyone used to, or trained in, the classic English choral style. In fact, one has to wonder why this choir was chosen for such a huge project: even allowing for the near-universal decline in standards of vocal training for boys in England, better sounds than this can still be heard.

What can you say?.......2003-01-03

I almost hate to criticize this terrific thing. After all, where else can you get all 150 Psalms in a single collection sung by one of the world's great choirs?

How much do I like it? I bought it *twice*. I originally bought all the CDs separately, before they came out with a single boxed set. They were stolen from my car (and, God willing, maybe they converted some poor thief to Anglican Cathedral Music and got him into church). After they were stolen, I immediately bought them again.

One of the great pleasures of life is listening to the Morning and Evening Psalms while driving to and from work, and making listening a regular feature of Morning and Evening Prayer.

So what's the criticism? The sound is a bit muddy, so the words can be rather difficult to understand without reading along (which is a real problem when driving), and personally, I prefer the Psalter from the 1979 BCP instead of the old one, from the Great Bible. But that's unreasonable. They ARE a British choir after all. Those are the only criticisms.

Tracks:

Time Has Come Today
Sympathy for the Devil
I Have the Feeling
You're So Fine
People Get Ready
Please, Please, Please
Mustang Sally
Boogie Chillun'
High Heel Sneakers
We the People

Customer Reviews:

Disappointing .......2007-04-10

While this CD contains a pretty interesting selection of songs from a live performance, the audio quality is so poor that the playback is monotone only from one channel, and not very clear at that. Just not worth the $26.95 price of admission.

Average customer rating:

Wiener Staatsoper Live 1933-1944

Manufacturer: Koch Schwann (Germ.)
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

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ASIN: B000006KLQ
Release Date: 1994-03-22

Tracks:

Carmen: Prelude, 1st act - Orch der.../Bruno Walter
Die Walkure: Keiner ging-Wintersturme wichen dem Wonnemond - Set Svanholm
Der Rosenkavalier: Kann mich auch an ein Madel erinnern - Viorica Ursuleac
Don Carlo: Dio, che nell'alam infondere amor - Todor Mazaroff/Piero Pierotic
Die Meistersinger Von Nurnberg: Wach auf es nahet gen den Tag - Chor Der Wiener Staatsoper
Le Nozze Di Figaro: Non piu andrai - Paul Schoffler
Lohengrin: Entweihte Gotter-Ortrud, wo bist du - Margarete Klose/Maria Muller
Der Fliegende Holler: Wirst du des Vaters Wah! nicht schelten - Hans Hotter/Helena Braun
Furst Igor: Wenn an Igor's Stell' ich w - Alfred Jerger/Chor Der Wiener Staatsoper
Notre Dame: Zwischenspiel - Orch der.../Wilhelm Loibner
Aida: Celeste Aida - Max Lorenz
Die Zauberflote: Ach, ich fuhl's, es ist verschwunden - Maria Reining
Die Walkure: Vorspiel-Nun ze dein RoHojotoho - Walter Groann/Anny Konetzni
Un Ballo In Maschera: Alla vita che t'arride - Matthieu Ahlersmeyer
Gotterdammerung: Siegfrieds Rheinfahrt - Orch der.../Clemens Krauss
Die Frau Ohne Schatten: Vater, bist du's - Hilde Konetzni
Cavalleria Rusticana: Ah! Lo vedi, che hai tu detto?-No, no, Turiddu - Helge Rosvaenge/Maria Jeritza
Rienzi: Ha! Rienzi hoch!-Erstehe, hohe Roma, neu - Franz Volker/Chor der Wiener Staatsoper
Der Resenkavalier: Ist ein Traum, kann nicht wirklich sein - Eva Hadrabova/Maria Gerhard
Lohengrin: Entweihte Gotter-Ortrud, wo bist du? - Margarete Klose/Maria Muller