Blue Waters

Editorial Reviews
About the Artist
Scottish-born Sheila Walsh is one of the key speakers for the WOMEN OF FAITH conferences. This author/musician travels the country and tells her story to thousands of women everywhere, spreading the word of God's compassion and understanding.

Album Description
Performed in the timelss Celtic style of Sheila's Scottish heritage. Beautiful new musical complement to the book of the same title by Sheila Walsh.

Blue Waters, inspired by God's river of mercy, is the new album from world-renowned vicalist Sheila Walsh. With songs reflecting the wideness of God's grace and the depth of His mercy, it unveils a richer portion of her Scottish heritage and childhood with its Celtic styling.

Tracks:

In The Flesh
The Thin Ice
Another Brick In The Wall, Pt.1
The Happiest Days Of Our Lives
Another Brick In The Wall, Pt.2
Mother
Goodbye Blue Sky
Empty Spaces
Young Lust
Oh My God - What A Fabulous Room
One Of My Turns
Don't Leave Me Now
Another Brick In The Wall, Pt.3
Goodbye Cruel World

Tracks:

Hey You
Is There Anybody Out There?
Nobody Home
Vera
Bring The Boys Back Home
Comfortably Numb
In The Flesh
Run Like Hell
Waiting For The Worms & Stop
The Trial
The Tide Is Turning
Encore: The Tide Is Turning

Amazon.com

Pink Floyd's 1979 double album The Wall was that strangest of beasts: a concept album, driven by a tortured rock-star protagonist, so obtusely personal it sometimes bordered on the inscrutable. But history was kind to the Roger Waters-spawned epic; when the communist bloc crumbled in 1989, taking the symbolic Berlin Wall with it, it inspired the ex-Floyd bassist and singer to frame his most ambitious work as another familiar tortured-rock-star conceit: the all-star benefit-concert TV broadcast. The shifting tides of history have undermined much of this remastered, double-disc soundtrack's momentous context, leaving behind a larger-than-life spectacle that, depending on one's viewpoint, could represent rock's most overarching populism--or the beginning of the end. Still, the star-heavy concept yields some unexpected surprises, from the Scorpions' bracing opening blast through haunting reinventions of "Mother" (Sinead O'Connor) and "Goodbye Blue Sky" (Joni Mitchell)--performances that blunt the oft-suspect misogyny of Waters's sprawling tale. Bryan Adams injects some vocal fire into "Empty Spaces" and "Young Lust," but by the time Waters, company, a massed German orchestra, choir, and the Military Orchestra of the Soviet Union reach the album's crescendos the event has gone so far over the top that it seems like nothing short of a neo-operatic Andrew Lloyd Webber wet dream. --Jerry McCulley

Album Description

Hailed as a musical, visual and historic landmark, Roger Waters' The Wall - Live In Berlin has been remixed and remastered (by Nick Griffiths, the original engineer) for the first time since its original 1990 premiere. The CD contains the entire two-hour-plus concert, featuring performances by Bryan Adams, The Band, Thomas Dolby, Cyndi Lauper, Sinead O'Connor, Van Morrison, Scorpions and more. The package boasts new, 2003 artwork, photos and liner notes. Mercury/Universal.

Customer Reviews:

one of the worst live cds.......2007-05-10

How can anyone even give this thing one star? ever heard of Live in the FLesh? one of the best live cd's EVER? from anyone? this thing flat blows, you can hardly hear it, it sounds like it was recorded from some bootlegger in the back row. and none of the songs mesh for beans. just a flat out waste of payola. The Flesh, the one and only. waiting for the new tours output of a cd/dvd hope its as good as FLesh but I dunno Doyle pretty much about stole the show in FLesh and he is not playing guitar on current tour. but the ladies are singing backup again so hoping for the best!

Roger at his finest work.......2007-03-09

First about the video then about the CD:

I first saw this video about three months ago when i found it at my local CD/Video bargain place for a buck! I was blown away at the superb way this work, already a master in itself was presented for the show. I kinda wish i would of seen this version (the stage production) first before i saw the movie. the live stage production was easier to follow. i love the music of course and had to have the CD. All of the different artist doing the songs from the best album ever. All of the performances are outstanding!!!! It all fits like a good ole pair of your favorite comfy worn jeans. Buy this CD and the DVD you will be amazed. PS: I loved it so much i purchased the DVD right here on Amazon for a Christmas gift to my dearest friends.

Was at the show and the DVD is a good reproduction.......2006-06-23

While nothing will ever come close to the experience of being there, the DVD did a pretty good job of capturing the moment. As snap shot in history, the summer of 1990. The Belin wall had just come down the previous November. On July 1st, for the first time since the wall went up, East and West Belin could freely cross the "Wall", Check Point Charlie was out of a job. This concert took place in Potsdam Platz, only months earlier, this was no man's land. You could be shot for being there. On this night in July, the world was finally at peace (Iraq would invade Kuwait two weeks later), I was standing in a crowd with Germans, English, French and countless other nationalities. We were all there taking in one of he greatest stages ever contructed for a concert. Roger Waters did it proud, to compare it to Pink Floyd's the Wall conerts (which I saw in Nassua Colisium in 1979) would be unfair. This concert was more than just the music and show, it was about a time in history. "Tear Down The Wall!!" it was already coming down. To watch the DVD, brings these memories streaming back and in these troubled times, is comforting to know that at one time peace was achieved.

A miss version of The Wall without Pink Floyd.......2005-12-02

Roger Waters' The Wall in Berlin was released in September of 1990.
This performance of The Wall was first recorded on July 21, 1990 and I heard the original radio broadcast.
Although this is a live album, portions of it were taken from a re-do of the show and the previous night's dress rehearsal. The original radio broadcast had the microphones all messing up and the power going out during The Thin Ice and Mother.
Initially, in a July, 1989 radio interview, Roger initially thought of having ex-bandmates David Gilmour, Nick Mason and Rick Wright play with him. Even David went through lawyers to get the OK to do it when asked at the Knebworth 1990 show backstage but then Roger shot down his ex-bandmates' offer in early July(hypocritical of Roger at the time). Then, Roger tried to get artists like Bruce Springsteen, Eric Clapton, Rod Stewart and Peter Gabriel(this would have been superb) for the performance. Unfortunately, those artists were either unavailable or wanted money so in the end he got some good artists(The Scorpions(whom were excellent on In the Flesh), Joni Mitchell(pretty good on Goodbye Blue Sky), Bryan Adams(his Young Lust was good), Paul Carrack(he did Hey You very well)) and some very bad artists(Van Morrison and The Band(they destroyed David Gilmour's parts on Comfortably Numb), Cyndi Lauper(her duetting with Roger on Another Brick in the Wall(pt. 2) was atrocious), Ute Lemper(tolerable on The Thin Ice but Mariah Carey-esquely annoying on The Trial), Sinead O' Connor(awful here but ironically was good on Rick Wright's Broken China) and Jerry Hall(her as the groupie was unnecessary)) for the performance.
Whilst original Wall show stalwarts Snowy White and Peter Wood plus Andy Fairweather-Low and Graham Broad were good, Rick DiFonso desecrated David Gilmour's solos thinking he was Eddie Van Halen.
Fortunately, Is There Anybody Out There? The Wall Live 1980 does great live justice to The Wall as it is the classic Floyd lineup performing The Wall(and there are videos filmed from those shows). If I were you, I'd spend my money on Is There Anybody Out There?.
Grab The Wall in Berlin ONLY if you are a collector.

It's Not Pink Floyd But It's The Next Best Thing.......2005-02-10

Not having been a big Roger Waters fan, this DVD changed my whole attitude and opinion of Roger Waters. This DVD/CD may not be Pink Floyd, but it sure is the next best thing. I thoroughly enjoyed this DVD. I had viewed Roger Waters as a whining, moaning, groaning, and complaining child who just wanted to have something to cry about. After seeing this DVD, that all changed. He was so cool, calm, and collected in this DVD and so relaxed. I was impressed with the way he shared the spotlight with other musicians and didn't cop an attitude by self-centeredness, selfishness, and egotism. I think he had the idea of performing this version of The Wall the same way Pink Floyd did the live version of The Wall. It was superbly done. All the musicians were superb especially Cyndi Lauper and Bryan Adams. You can always tell Cyndi even if you don't hear her because of her eccentricities. If you're not a Roger Waters fan or if you have doubts about him, check out The Wall: Live In Berlin and his other live album In The Flesh. I can guarantee you will have a change of heart. My friend gave me a copy of this DVD and after seeing it, I was totally blown away by the performance and came away with a different attitude toward Roger Waters. I was so impressed with this DVD/CD and the In The Flesh DVD I had to order the CDs. I do not regret it for a minute. I would highly recommend both these albums for any Pink Floyd or Roger Waters fan. You won't regret it!

Average customer rating:

Mixed emotions
Come On, This Is NOT exactly Holy Writ
Best Live album besides Is there anybody out there?
The Miltary Orchestra Of The Soviet Army!!
No, not the same as the original, but great in its own right

The Wall: Live in Berlin, 1990
Roger Waters
Manufacturer: Island / Mercury
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Roger Waters - The Wall (Live in Berlin)
The Wall: Live in Berlin, 1990
Flickering Flame: The Solo Years Volume 1
In the Flesh Live
The Pros and Cons of Hitchhiking

ASIN: B000001FYU
Release Date: 1990-08-20

Tracks:

In The Flesh - Scorpions
The Thin Ice - Ute Lemper/Roger Waters
Another Brick In The Wall (Pt. 1) - Roger Waters
The Happiest Days Of Our Lives - Joe Chemay/John Joyce/Stan Farber/Jim Haas/Roger Waters
Another Brick In The Wall (Pt. 2) - Cyndi Lauper
Mother - Sinead O' Conner & The Band
Goodbye Blue Sky - Joni Mitchell
Empty Spaces - Bryan Adams/Roger Waters
Young Lust - Bryan Adams
One Of My Turns - Roger Waters
Don't Leave Me Now - Roger Waters
Another Brick In The Wall (Pt. 3) - Roger Waters
Goodbye Cruel World - Roger Waters

Tracks:

Hey You - Paul Carrack
Is There Anybody Out There ? - Rundfunk Orchestra And Choir
Nobody Home - Roger Waters
Vera - Roger Waters/Rundfunk Orchestra And Choir
Bring The Boys Back Home - Rundfunk Orchestra/Military Orchestra Of The Soviet Army
Comfortably Numb - Van Morrison/Roger Waters & The Band
In The Flesh - Roger Waters/The Bleeding Heart Band/Rundfunk Orchestra & Choir/The Military Orchestra Of The Soviet
Run Like Hell - Roger Waters/The Bleeding Heart Band/Rundfunk Orchestra & Choir/The Military Orchestra Of The Soviet
Waiting for the Worms
Stop
The Trial
The Tide is Turning (After Live Aid)

Amazon.com

Roger Waters staged this all-star revival of his Pink Floyd grand opus 11 years after the Floyd original and 7 years after The Final Cut, his last work with the band. It's a curious artifact of its time, as evidenced by the presence of the Hooters. Enlisting a mish-mashed cast of turn-of-the-decade stars, ranging from the Scorpions to Bryan Adams to Joni Mitchell, Waters attempts to give his production a new relevance. And, of course, where timeliness is concerned, there was some other business involving a wall going on in Berlin 'round about then. But aside from scattered highlights from the likes of Van Morrison (whose commanding "Comfortably Numb" makes one long to hear more from the Van the Man in a rock setting) and Sinead O'Connor ("Mother" is yet another example of her estimable interpretive powers), this Wall isn't so imposing as its studio predecessor. --Steven Stolder

Customer Reviews:

Mixed emotions.......2007-05-21

I agree with many reviewers, this was one of the greatest album of all time, but if you want to hear it "Live", get "Is there anybody out there?" and hear the real live version of "The Wall". Many guests artist are making a real bad job on this cd, it all begin with Ute Lepter making a bad job on "The thin ice", we really miss David Gilmour voice here. Sinead O'Connor is bad also (Roger was there, so why asking somebody else to sing his part ?) and "The Band" ruins one of the best chorus of this double cd. Horrible ! Joni Mitchel is a real joke on "Goodbye blue sky", again, we're missing David Gilmour here, I don't know what Mrs Mitchell was on, but it doesn't seems to give a good effect ! Bryan Adams is doin' really great in my mind, his voice is the perfect choice for "Young Lust"
Jerry Hall is also a real joke in the opening of "One of my turns"
Paul Carrack is just OK on "Hey you". We have a great version of "Nobody Home", even better that the original, with a drum beat and a good guitar solo, good addition in my mind.
Here we get to the really bad moment of the album, which should have been the highlight, I am talking about "Confortably Numb" Van Morrisson and "The Band" should be sewed for such a disaster. Roger should have asked Paul Carrack to sing David Gilmour's part, it would have been better. This is a total disaster....it is really bad. The Australian Pink Floyd show is doin' a lot better that this ! The closing song has been replaced by "The Tide is turning", I am not sure it was a good idea, again, some guest are doin' great (Bryan Adams) but some are miserable, like Van Morrisson, yes him again ! Overall, the album is a deception for me, and I am a huge fan. Try "Is there anybody out there ?! instead.

Come On, This Is NOT exactly Holy Writ.......2006-09-01

I was never a huge Pink Floyd fan--which is not to say I didn't like their music or respect their talent. But, I dunno, maybe it was just ALL those annoying sound effects and voiceovers. Even good music can seem a little gimmicky when tarted up with too much extraneous noise. Yeah, I admit I liked the ringing cash registers drawer in "Money," but so much of the other stuff was, well, just a drag.

Literally, all that clutter dragged the music down. How often do I really need to hear that little kid prattle "Look mommy, there's an airplane in the sky" anyway?

But the real reason I never became a such a huge Floydfan was simply their ubiquity. Back in the late 60s and early 70s, it seemed like everybody I knew had every single one of their albums. And they had already become FM rock staples by then. You could escape the Pinks if you wanted to. Resultantly, I think maybe the last actual album of theirs that I even bothered to buy was UMMAGUMMA--or maybe ATOM HEART MOTHER. Can't recall which.

So when THE WALL came out, well, I heard it and as I recall my first reaction was something like, "Oh, are they still doing 'concept albums'?" OK, OK, I'm kidding--I did like it well enough, but it wasn't a life changing experience exactly either. The lyrics were intelligent enough, and as a "song cycle," it hung together very well. But it was actually hard to discern any real overarching themes and even the metaphoric "wall" itself seemed, if not "mixed," then perhaps a bit overextended. Was "the wall" a psychological construct, i.e. the protective "walls" we all build up around ourselves to protect ourselves from the vicissitudes of life ("All in all, it was all just bricks in the wall." OR was it a social one, i.e. the pernicious socialization of a rigid educational and, by extension, political system that crushed individuality and turned individual human beings into "bricks" in society's wall.

Well, the answer was obviously BOTH. And that extended metaphor never seemed to bother the fans overly much. There are, as it turns out, all kinds of walls. And so it was that in 1990, THE WALL's main composer--former Floydster Roger Waters--extended the metaphor even further, this time into the political realm. By staging an all-star concert revival of his 70s magnum opus in "post-Wall" Berlin. A brilliant ploy, to be sure, but certainly the "wall" being evoked was not a purely pychological or sociological phenomenon. The "wall" German fans (and they were legion as I recall from my own days in Deutschland) related to was a painful historical reality and legacy.

So the concert added on another layer of meaning to an already ambiguous (but really not overly subtle) work of art. Including local talent like Scorpions and Ute Lemper was then virtually de riguer--or should I say, "notwendig." And of course, Berlin was an international city for so long that adding other British, American AND even Russian acts to the roster was certainly appropriate. (Wait a minute, where are the French?) It's an "open city," and it's now torn down wall is open to new interpretation.

It's not surprising that die-hard Floyd fans see the guest vocalists' interpretations here as something akin to sacrilege. Imagine having a popster like Cyndi Lauper sing "The Wall, Pt. 2." Who'd a thunk it? Well, it's not a song that provides much room for Lauper's patented multi-octave wailing, but hey, the former Blue Angel has deeper rock roots than classic rock fanatics would ever acknowledge. And who better to sing the lines "We don't need no education" than one of popular musics most famous high school drop-outs? Of course, the repressiveness of the British school system is of a somewhat different order than that of the Catholic and public school system of Queens. But the business of churning out more bricks in and for the wall. And that's true whether you pronounce it "classroom" a la Lauper or "clahsroom," as does the chorus.

And there is a certain delicious irony in having a mother-complexed female artist like Sinead O'Connor take on Floyd's "Mother" and give it a delicate, thoughtful reading--while still expressing fears about them breaking, in this case, HER (metaphorical?) balls. And as conflicted as I often am about Joni Mitchell's work, her interpretion of "Goodbye, Blue Sky" is elegant. Her voice was getting a bit smoky by the early 90s, and it was just right for this somber reflection on war in the (post)modern world.

And that's just the women--and only disc one. But it was downright smart of Waters (whom, I gather, has sometimes been accused of misogyny) to fill up the first half of the program with heavyweight women artists (and to throw in a comic turn by Jerry Hall to boot: yes, the album is rife with former flames of Mick Jagger, since Marianne Faithfull shows up on Disc 2,as who else, "Mother").

As for the men, Van Morrison and Paul Carrack offer subtle, distinctive shadings on "Comfortably Numb" and "Hey You" respectively. Roger Waters voice seems, for the most part, shot, but actually that can be a just the right coloration for some of the grimmer, more desperate tracks. Again the hardcore contingent will mourn David Gilmour's absence. The rest of us will find the newer interpretations at the very least interesting, if not quite revelatory.

There are all kinds of ways of becoming "comfortably numb." Refusing to accept any alternate takes on your own personal classic rock canon is likely one of them. Take it from a non-fan, this project is at least worth the attention of you die-hards. Open your ears--and tear down the walls.

Best Live album besides Is there anybody out there?.......2006-01-14

I rented this concert on VHS one day. I love it.

The goods
) Bryan Adams singing Young Lust
Bryan Adams did this song good. He is one of my favorite singers today.
) Sinad o' conner singing mother
I loved this version of the song

Bads
) Cyndi Lauper singing Another Brick in the wall Pt. 2
It wasn't that good
) Hey you
I miss David Gilmore and Roger singing this song

All and All this was an ok cd.

The Miltary Orchestra Of The Soviet Army!!.......2005-12-31

Although many people gave this live concert a low rating due to Roger Waters' choice of substitute singers/musicians for some of the songs from the original Wall recording, after seeing it on video for the first time, it became easier to listen to the recording alone afterward.

What really blew me away at that time was Roger having a "communist" orchestra accompany the music of a rock and roll album!! This was the highlight of the entire event, and their performance was excellent!!!

No, not the same as the original, but great in its own right.......2005-02-25

I remember being so excited when Roger Water broadcast his The Wall: Live in Berlin during the summer of 1990 that I taped it off the radio; of course, this double CD set is a vast improvement. For those looking for the original sound of Pink Floyd's The Wall, you won't find it here--obviously, that album is a peerless classic. However, the Roger Waters version is great in its own right, and I think that fans of his style will definitely find plenty to like in this set.

Several songs on this album seem almost perfectly matched to their cover performers, including Bryan Adams with "Young Lust" and the Joni Mitchell version of "Goodbye Blue Sky." On a few tracks, however, I really missed Gilmour's soulful voice, especially "Mother" and "Hey You." But with Waters himself still doing lead on several of the songs (who else could sing "Another Brick in the Wall, Part 1?"), this album captures enough flavor of the original to make it worthwhile. It will probably appeal more to fans of Waters than to Gilmour's followers, but I'd recommend it as a valuable addition to any Pink Floyd collection.

Average customer rating:

Is viewing better than just listening????
Awesome concert

Wall: Live in Berlin
Roger Waters
Manufacturer: Island / Mercury
ProductGroup: Music
Binding: Audio CD

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In the Flesh Live
The Wall: Live in Berlin, 1990
Slowhand
Eat a Peach
Dark Side of the Moon 30th Anniversary Edition

ASIN: B00009V7VC
Release Date: 2003-06-24

Tracks:

In the Flesh - Scorpions
Thin Ice - Ute Lemper, Roger Waters
Another Brick in the Wall, Pt. 1 - Roger Waters
Happiest Days of Our Lives - Joe Chemay, Stan Farber, Jim Haas, John Joyce, Roger Waters
Another Brick in the Wall, Pt. 2 - Cyndi Lauper
Mother - Sin O'Connor
Goodbye Blue Sky - Joni Mitchell
Empty Spaces - Bryan Adams, Roger Waters
Young Lust - Bryan Adams
Oh My God/What a Fabulous Room - Jerry Hall
One of My Turns - Roger Waters
Don't Leave Me Now - Roger Waters
Another Brick in the Wall, Pt. 3 - Roger Waters
Goodbye Cruel World - Roger Waters

Tracks:

Hey You - Paul Carrack
Is There Anybody Out There?
Nobody Home - Roger Waters
Vera - Roger Waters
Bring the Boys Back Home - Military Orchestra of the Soviet Army,
Comfortably Numb - Van Morrison, Roger Waters
In the Flesh - Bleeding Heart Band, Military Orchestra of the Soviet Army, , Roger Waters
Run Like Hell - Bleeding Heart Band, Military Orchestra of the Soviet Army, , Roger Waters
Waiting for the Worms & Stop - Bleeding Heart Band, Military Orchestra of the Soviet Army, , Roger Waters
Trial - Company
Tide Is Turning - Company

Customer Reviews:

Is viewing better than just listening????.......2007-02-06

The music content of this SACD is excellent. However, the audio although very good, is presented essentially in concert mode. I would therefore suggest that viewing the concert on DVD (if available) would probably be a greater experience than just listening to the cd. That does not detract from the 'listenability' of this quality SACD.

Awesome concert.......2003-07-14

I like this concert. I think Roger Waters did a really good job of getting a good support group for this show. It's a shame that he couldn't get the support group that belongs in this concert - the other members of Pink Floyd. It's interesting that the two Germanies could unite, but Pink Floyd couldn't.
As I said, I liked the people that he did get. The Scorpions for In the Flesh, Sinead O' Conner for Mother and others. It is interesting that Roger Waters sounded old for this concert and not for In The Flesh.
I am happy they released this one in SACD. Now if they would release the others.

Average customer rating:

A nice introduction to the work of the legendary Miss Waters
She was a WOW!!!
Hip-swingin', light-flashin', get-down-to kind of song!

Am I Blue?
Ethel Waters
Manufacturer: Asv Living Era
ProductGroup: Music
Binding: Audio CD

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Similar Items:

The Incomparable Ethel Waters
Mrs. Swing
Am I Blue: 1921-1947
Ten Cents a Dance
Lovable & Sweet: 25 Vintage Hits

ASIN: B00002JXDP
Release Date: 1999-11-16

Tracks:

Am I Blue?
Sweet Georgia Brown
Dinah
I'm Coming, Virginia
Birmingham Bertha
Second-Handed Man
True Blue Lou
Shoo Shoo Boogie Boo
Trav'lin All Alone
Long Lean Lanky Mama
You Can't Stop Me From Loving You
I Can't Give You Anything But Love, Baby
Stormy Weather
Don't Blame Me
Shadows On The Swanee
Heat Wave
I Just Couldn't Take It, Baby
A Hundred Years From Today
Miss Otis Regrets
Moonglow
You're A Sweetheart
I'll Get Along Somehow
Baby, What Else Can I Do?
Waitin' At The End Of The Road

Amazon.com

Ethel Waters is arguably the first woman jazz singer, with a gift for musical phrasing that immediately distinguished her from both the classic blues singers and the prevailing standards for popular singers. This CD surveys her recordings from 1925 to 1939, placing emphasis on jazz elements. Throughout, she's accompanied by an extraordinary collection of jazz musicians, and rare are the popular vocal records of the period where singers and jazz bands coexist so comfortably. Cornetist Joe Smith and clarinetist Don Redman are present on 1925's "Sweet Georgia Brown," and several musicians who appear as young sidemen on recordings from 1929 to '31--such as Jimmy and Tommy Dorsey and Benny Goodman--would become the leaders of celebrated swing bands a few years later. There's a superb rendition of "I Can't Give You Anything But Love" with Duke Ellington's great 1932 band, but Waters is just as dynamic on "Stormy Weather" and "Heat Wave." Waters possessed an exceptional talent for delivering lyrics, giving almost speechlike dimension to songs like "True Blue Lou" and tremendous drama to the mournful "Trav'lin' All Alone." The CD is a good introduction to a fascinating singer and an interesting chapter in the evolution of popular music. --Stuart Broomer

Customer Reviews:

A nice introduction to the work of the legendary Miss Waters.......2001-03-26

Ethel Waters was the first true jazz singer, and arguably the most influential vocalist in the history of popular American music. Her only real rival for this latter title is Louis Armstrong, and it can be argued that while Armstrong was the greater musician, Waters melding of black and white singing styles was actually the more influential contribution to American jazz and popular singing. The advent of CD's has brought a very welcome re-release of some hitherto very hard to find Waters material. There are now several compilation CD's of Waters classic jazz/blues/popular music cuts available. Of these, "Am I Blue?" may be the best single compilation of the Waters oeuvre. The only real rival is the "Ethel Waters: 1925-1940" disc, and this disc presents a greater or at least more representative variety than that disc, though both are worth owning. The sides on this disc were recorded between 1925 and 1939. I am not sure how they were chosen, but they represent a nice cross-section of Waters up-tempo numbers and ballads, her hits and more obscure songs and her work with a number of different bands, including those of the Dorsey Brothers, Benny Goodman and Duke Ellington, as well as a couple of choice cuts with her long-time pianist Pearl Wright. The sound quality is good, and the hits are certainly present in abundance. Those unfamiliar with Waters' singing career may be surprised to learn that she introduced (and recorded what are still the finest versions of) "Dinah", "Sweet Georgia Brown", "Am I Blue?", "Stormy Weather", "Miss Otis Regrets", "Moonglow", "Don't Blame Me", "A Hundred Years From Today" and "Heatwave". Although all of these are marvelous, the incredible sophistication of "Miss Otis Regrets" (Waters must be the only singer who can capture the Cole Porter wit of this song and still make it sound affecting), the incredible emotion (compressed and never overstated) in "Stormy Weather" and the inventive little touches she adds to "swing" "Heatwave" are the highlights of these classics. There are also the delightful surprises - Waters' inimitable characterization of men talking about "True Blue Lou", her playful "You Can't Stop Me From Loving You", the moving "Trav'lin All Alone", the take command, bawdy "Long, Lean, Lanky Mama", the comedy of "Birmingham Bertha", and the touching confidence of "At the End of the Road". In all of the songs on this CD, it pays to listen carefully and hear how Waters plays with both the melody and rhythm of the song to sing a song "her way". When she started doing this in 1917, and on her first recordings in 1921, she was the only singer doing so, and in doing so, she changed the course of popular music in America. There are shortcomings to any single disc, of course. Among the many standards Waters introduced that are not included on this CD: "St. Louis Blues", "Taking A Chance On Love", "Happiness is a Thing Called Joe", "Cabin in the Sky", "There'll Be Some Changes Made", "Memories of You", "Sugar", "Hottentot Potentate", "Harlem on My Mind", and "Supper Time". Also missing are certain classic renditions of songs she didn't introduce, in particular her killer version of "I Got Rhythm" from 1934, a virtuoso example of early jazz singing, and some of her great blues sides, like "West End Blues". And like most compilation discs, this disc ignores all of her recordings done after 1940. There are still no CD's of her classic live performances in the 1950's (captured on the Monmouth-Evergreen album, "Miss Ethel Waters"), of her 40's, 50's and 60's recordings for small labels, of her television performances from the 50's, or of her three recordings of spirituals and hymns for Word records in the 50's, 60's and 70's. By the 50's, age had taken a great toll on her voice, but she nonetheless managed to find the heart of any song she sang and still make it very much hers. What is needed more than anything is a comprehensive box set (at least 4 CD's) that spans her entire glorious career. Until we get such a set, there are at least single disc compilations such as this one to serve as an introduction and the Classics series, which covers all her sides from 1921-1940, for which to be grateful.

She was a WOW!!!.......2001-01-11

Everyone should experience the voice and style that belonged to Ethel Waters. Most people remember her in movies but not everyone realizes she was a successful songstress before that. To hear her sing Dinah or Sweet Georgia Brown will send shivers of pleasure through your body. Her sense of timing and her style of blues were unique. Listen and enjoy to one of the great treasures that was Ethel Waters.

Hip-swingin', light-flashin', get-down-to kind of song!.......1999-12-24

This song has a great beat you just want to dance to. I would love to sing with this song if I could just figure out what she was singing. So instead, I just get down and party hardy! I strongly suggest playing this song at a dance or group party at high volume and a strobe light or other party style fixtures.

Average customer rating:

Oh, Kitten...it's a Must Have
Almost , Nearly, perfect
Much more than Kitten On the Keys
Zany yet poetic!
Brilliant!

Confrey: Piano Music

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music

$6.99 and Under | Classical Music Blowout | Stores | Music

All Classical Music Blowout | Classical Music Blowout | Stores | Music

Instrumental | Classical Music Blowout | Stores | Music
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Zez Confrey Piano Rolls and Scores
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ASIN: B00000HZOE
Release Date: 1999-01-19

Tracks:

Kitten On The Keys
Dizzy Fingers
Meandering
African Suite: I. High Hattin'
African Suite: II. Kinda Careless
African Suite: III. Mississippi Shivers
Jay Walk
Sparkling Waters
Wise Cracker Suite: I. Yokel Opus
Wise Cracker Suite: II. Mighty Lackawanna
Wise Cracker Suite: III. The Sheriff's Lament
Amazonia
Blue Tornado
Three Little Oddities: I. Impromptu
Three Little Oddities: II. Romanza
Three Little Oddities: III. Novelette
Coaxing The Piano
Stumbling (Paraphrase)
Moods Of A New Yorker: I. At Dusk
Moods Of A New Yorker: II. Movie Ballet
Moods Of A New Yorker: III. Relaxation
Moods Of A New Yorker: IV. After Theatre (Tango)
Rhythm Venture
Fourth Dimension

Amazon.com

Zez Confrey (1895-1971) may not be a household name, but his 1921 masterpiece "Kitten on the Keys" certainly is. The Illinois-born composer studied the classics growing up, but somehow the temptation of Vaudeville sneaked its way into his compositions and he found success writing catchy ragtime miniatures with goofy names ("Wise Cracker Suite," "Dizzy Fingers," "Blue Tornado"). Republic of Georgia pianist Eteri Andjaparidze performs 24 of Confrey's works with technical perfection and plenty of spirit--two requirements for these compositions--but sounds a tad robotic on some numbers. Between "Kitten" and 1959's "Fourth Dimension," Confrey explored blues, rags, Latin rhythms, and--of course--jazz, but the real highlight here is a slow number, the four-movement Moods of a New Yorker. In sum, this a great tribute featuring great music, perfect for fans of George Gershwin, Ferde Grofé, Jelly Roll Morton, and Joseph Lamb. --Jason Verlinde

Customer Reviews:

Oh, Kitten...it's a Must Have.......2004-12-29

Hats off to Naxos for releasing this absolutely perfect tribute to Zez Confrey - it was high time, someone had to do it, and Naxos has done Confrey real justice. One would expect caricature of his work, rather than the respectful, honest, accurate renditions of his work featured on this album.

I discovered my love for Confrey thanks to the Aeolian Hall Birth of Rhapsody in Blue album (another of my reviews covers that great one), which featured a small selection of his compositions. The distinct, unique sound of his work snagged me immediately, and so I was thrilled to come upon this little Naxos treat.

Every piece on the album is sheer delight, but several do stand out from the rest. "Kitten on the Keys" (Confrey's most famous composition, here done full justice), "Meandering" (which just glides and lilts along like feathers on a breeze), "Kinda Careless" (a sensuous, seductive little number), "Yokel Opus" (a snappy little foxtrot), "Coaxing the Piano" (which seems almost an homage to 'Twelfth Street Rag', in a skewed way), "Movie Ballet" (which sounds exactly like its title would suggest), and "Rhythm Venture" (so gracefully syncopated, it's practically a marvel).

Any and all Confrey and jazz fans should consider this album as required listening, and well worth owning. The price alone is reason enough - you cannot go wrong with Naxos' rates. But even if it were four times the price, it would still be a bargain.

Almost , Nearly, perfect.......2003-10-25

Wonderful selection of pieces, most of these are lesser-known Confrey and tend to represent his more "Serious" music. Perhaps because of that the pianist (a superb performer) tends to emphasize their concert qualities over their popular music aspects. This is only a tiny complaint. There's a lot of excellect music here, and at Naxos' low price it's a bargan.

Much more than Kitten On the Keys.......2002-05-16

If you thought an album of Zez Confrey music would be track after track like Dizzy Fingers or Kitten On the Keys, you are in a for a pleasant surprise with this superb CD.

The performances of the said party pieces are fast, furious and fun, but there are also some great blues renditions, and some lyrical, reflective pieces.

I would have preferred if the CD had included a few more of the well-known pieces like My Pet, Poor Buttermilk and You Tell 'Em, Ivories, but the many pieces I had never heard of are interesting, and are played beautifully.

Zany yet poetic!.......2000-09-04

Once again, in its "American Classics" series, Naxos has pulled a pleasant surprise rabbit out of the hat. Zez Confrey must be a new name for virtually everyone, unless they are well past my own age, and I don't go back quite that far. The name was certainly new for me, but a few of the pieces on this disc brought memories flooding back, most likely because my parents once had them coupled on an ancient 78 shellac.

Confrey (1895 - 1971) had been relegated pretty much to the dustbin of history before this release. But he did have his days in the sun between the two world wars. Undoubtedly his brightest moment was when he shared billing with George Gershwin and Paul Whiteman on the occasion of the premiere for Gershwin's Rhapsody in Blue, where Confrey had the stage in the first half of the concert and Gershwin in the second. For the most part, after that February, 1924 "An Experiment in Modern Music" concert of Whiteman's, the paths of Gershwin and Confrey began to diverge; Gershwin was, to put it simply, an overnight success.

All of the music on this album is fun, and virtually all of it demands virtuosic pianistic ability, which Confrey must certainly have possessed. Listening to it is like taking a trip down memory lane, back to the popular music in the first third of the previous century. There are pieces which have clear roots in ragtime, embellished upon and brought forward by a few decades, and at least a selection or two which sound very much like Gershwin preludes in their "bluesy" feel. It's also clear that Confrey was not unaware of the classical music of the period, because a few of the pieces capture the idioms of the piano music of Rachmaninoff and Ravel of that period (although they soon veer off into "Confrey territory"). If you listen carefully, you'll even hear a passing reference or two to Chopin. But, like the Rachmaninoff and Ravel musical allusions, these too are in fact just "passing references."

But most of the album is pure Confrey-style pianistic wizardry: Fleet fingers, crossing hands, syncopations and rhythmic "irregularities" with the colorfully descriptive titles of "Meandering", "Coaxing the Piano" and "Stumbling." And his two most famous pieces (which, probably, many of us have never heard), "Kitten on the Keys" and "Dizzy Fingers." (In fact, it was "Dizzy Fingers" and "Stumbling" which must have been the coupling on that ancient 78, because they were immediately recognizable.)

Eteri Andjaparidze is an excellent technician in this work, which can be very demanding of technique if it is to be pulled off properly. By and large, she does very well by it. In particular, she succeeds in capturing the passing allusions to the classical piano music of the time. If I had my druthers, I might ask for a little more panache, or insouciance, if you like, in the Confrey specialities noted in the previous paragraph. But who can quibble, especially at the Naxos price, without appearing to be a piker?

Neat stuff for a refreshing change of pace, with an opportunity to hear an hour's worth of music by someone who had been ignored for too long. That's a "get it" recommendation!

Bob Zeidler

Brilliant!.......2000-03-22

I have no idea what Jason Verlinde meant by saying that Eteri Andjaparidze sounds "a tad robotic" on certain pieces on her new Zez Confrey album; indeed, the Republic of Georgia pianist sounds absolutely marvelously free in her interpretations. I cannot hear anything "robotic" at all in her playing. She approaches the intricate syncopations of Confrey's music with dazzling style. She is technically proficient enough to take Confrey's tempi at a furious pace, when necessary, in pieces such as "Kitten on the Keys" and "Dizzy Fingers," and to create a sustained, beautiful flow to the music in such "impressionistic" pieces as "Sparkling Waters" and "Mighty Lackawana." The selections which will remind the listener of Art Deco New York in the 1920's and 1930's, are taken at exactly the right tempo, and Ms. Andjaparidze syncopates the rhythms in a sparkling manner. I was utterly amazed at how a pianist, trained in the Republic of Georgia, could evoke the rhythms and style of American music of this type. But she does! In addition, the piano has been recorded beautifully, with sparkling tone at the treble end, and a rich, full bass. I purchased this CD a few hours after reading Frank Behrens' review. It is a wonderful addition to my collection of American music. I urge you to hear this excellent release. Naxos is to be commended for making it available.