Story to Tell

Track Listings

1. I'm in Love With Jesus Christ

2. God Will Take Care of You

3. It Belongs to God

4. He's a Mighty God

5. Forgive Me

6. Praise the Name of Jesus

7. I've Been Born Again

8. Master, Can You Use Me

9. I'm Glad About It

10. Certainly Lord

Tracks:

Shall We Gather At The River/Will The Circle '...'
Precious Memories
The Old Rugged Cross/Near The Cross
When They Ring The Golden Bell/In The Sweet.......
We're Marching To Zion/When The Saints Go...
Sweet Hour Of Prayer/What A Friend We Have In ....
How Great Thou Art
Sweet Prospect/ I Am Bound For The Promised Land
Amazing Grace/Grace Greater Than All Our Sin
I Love To Tell The Story
Wayfaring Stranger
Softly And Tenderly/I Surrender All/Pass Me Not
Whispering Hope
When We All Get To Heaven/We'll Understand It's...

Customer Reviews:

Andy Griffith---not just Sheriff Taylor and Matlock.......2007-01-10

All of the hymns Andy sings are older hymns which my mother enjoys. He has a great voice, and he sings selections suited to his voice.

If feelings and belief can be carried on music, this is it........2004-02-11

In his golden years, Andy Griffith has bestowed a tremendous gift upon us in his "I Love To Tell The Story" collection. I've heard critics complain that he does not offer the slick polish of a young man's voice, but I wouldn't trade the sincere feeling and heart-touching depth Andy Griffith can put across for anything. There's a lifetime of warmth that resonates through his voice in these beautiful old songs. Creating such meaning with voice comes from time spent living. Listening makes me wish I'd grown up in his part of the south. This is my second of Andy's CD's, the first was The Christmas Guest (truly superb - a must have). I Love To Tell The Story arrived only a few days ago but has already logged many hours playing. If I had to choose favorites on this cd, (two of them tied for absolute favorite) they would be (1A) Precious Memories: gentle sweet and peaceful (1B) Sweet Prospect: both tenderly reverent and compelling; makes an excellent showcase for the gentle power of Andy's classical trained voice. (2) Softly and Tenderly: lovely, heartfelt and moving (3) How Great Thou Art: like listening to his sincere private conversation with his maker (4) Amazing Grace: stirring rendition. All together it is a beautiful collection, well executed, classically. This is not flash, this is substance. This will be in my collection always, played often.

Author of The Dead Angel loves to sing along with Andy........2003-12-23

As a member of a musical family (even my detective in TDA sings) that still gathers at the piano to sing many favorite songs, including the good ol' hymns of yesteryear, I love Andy's CDs. When I need a lift, I pop one into the CD player...car or home...and sing away. They're great to use for family get-togethers when there's no piano handy. Andy's background musicians are also superb. I cherish Andy's CDs that I own. Keep singin' and recordin', Andy! We can feel your sincerity in each number.

Sing them over again to me.......2003-10-08

Hymn-singing doesn't get much better than this. Andy Griffith, who has entertained audiences for decades, proves once more to be an engaging, thoroughly enjoyable performer.

The arrangements give vocal and instrumental support but never overpower Griffith's honest and straight-forward delivery or detract from the simplicity of these traditional tunes.

Actually, I was amazed at how good Griffith sounded. This is not a young man. Yet, his voice sounds remarkably fresh. His rhythm and pitch are exemplary and his vibrato and general tone are amazingly smooth and even throughout his range. Even more important, he delivers the text clearly.

The hymn choices and combinations are excellent. All are standards and should be familiar to anyone who grew up in a Southern church. I was particularly tickled with the combination of "Sweet Hour of Prayer" and "What a Friend we have in Jesus" -- the first two hymns I ever learned to play. From the vigorous "Shall We Gather at the River/Will the Circle be Unbroken" combination to the reflective "Wayfaring Stranger" this is a tour de force from a great performer.

If you like the inspiration of hymns, this is one for you. (And if you like this, you will also probably like Griffith's Christmas album "Christmas Guest" -- available September 2003.)

I can't recommend it enough!.......2003-09-15

In this wonderful CD, acting legend and singer Andy Griffith (b.1926) sings a selection of the hymns that have inspired him throughout his life. Few know that Mr. Griffith's first career choice had been to be an opera singer, and that he graduated from the University of North Carolina with a degree in music. Deeply religious, he had originally enrolled as a pre-divinity student, and though he switched over to drama, he never completely lost that first love.

Tracks:

Thus Spake Zarathustra: Mad About The Classics: Sunrise
William Tell Overture: Mad About Cartoons: Finale ('The Band Concert')
Eine kleine Nachtmusik: Mad About Mozart: 1. Allegro
Symphony No. 5 In C Minor: Mad About Beethoven: 1. Allegro con brio
The Four Seasons - 'Spring': Mad About Vivaldi: 1. Allegro
Adagio In G Minor: Mad About Baroque: Adagio In G Minor
Turandot: Mad About Tenors: Nessun dorma
La Traviata: Mad About Sopranos: Sempre libera
The Ride Of The Valkyries (Die Walkure): Mad About Wagner: The Ride Of The Valkyries (Die Walkure)
Mad About Violins: Zigeunerweisen (Gypsy Airs)
Symphonic Dances From 'West Side Story': Mad About American Music: Prologue
The Blue Danube - Excerpt: Mad About The Waltz: The Blue Danube - Excerpt
Intermezzo (Cavalleria Rusticana): Mad About Romance: Intermezzo (Cavalleria rusticana)
Una furtiva lagrima (The Elixir Of Love): Mad About Opera: Una furtiva lagrima (The Elixir Of Love)
Madama Butterfly: Mad About Puccini: Un bel di

Tracks:

Really Mad About The Classics: A Midsummer Night's Dream (Wedding March)
Brandenburg Concerto No. 2 In F Major: Mad About Bach: 3. Allegro assai
Mad About Movies: Canon (Father Of The Bride)
Dedication Of A Church-Chants For The Mass: Mad About The Monks: Sanctus XII
Mad About Guitars: Cavatina
'Moonlight' Sonata: Mad About Piano: Adagio sostenuto
Rhapsody In Blue: Mad About Gershwin: Andante And Finale
The Nutcracker: Mad About Tchaikovsky: Waltz Of The Flowers
Mad About Christmas: Carol Of The Bells
Grande Valse Brillante: Mad About Chopin: Grande Valse brillante
Mad About Romantic Piano: Clair de Lune
Horn Concerto No. 4 In E Flat: More Mad About Mozart: 3. Rondo
The Barber Of Seville: Mad About Movies (The Sequel): Largo al factotum
Il Trovatore: Mad About Italian Opera: Anvil Chorus
1812 Overture: Mad About The Orchestra: Finale
Peter And The Wolf: Mad About Kids' Classics: Finale

Customer Reviews:

A Great Affordable Collection.......2006-12-12

I played some selections from this CD at a meeting of some music fans. They were amazed at the quality of the selections. Classical music can be intimidating, but it can be a lot of fun, too.

Getting Past the Cover Art!.......2001-08-28

Well I'm not sure who's responsible for the CD cover art, but once you get past that, the music included on this CD is a wonderful intro to opera and classical music in general, and a wonderful reward to those who are already aficionados (hope I speeled tht write). All kidding aside, you're getting about two hours of highlights from great masters and great performers. Put this on the player and relish the sound and the glory. Relax and enjoy!! I'd have given this 5 stars, but oh my, that "mad" cover art! Sorry...just not my cup of tea. Nor coffee. But ah, the music....

Great Music for a Long Drive.......2000-08-12

This compilation of the Mad About series is a good representation of all the fine music compiled for the series. Many of the tracks selected for this "Best of Mad About" set are the more well-known ones -- tunes you'll recognize but never knew who wrote them. I recommend it for anyone who likes to listen to classical music but has a short attention span! The varied mix of styles will keep you entertained. Plus, it will give the new listener many paths to pursue in developing an interest in the classics.

Average customer rating:

A good shot at a 'Best Of' Album.

20 Best of Andrew Lloyd Webber

Manufacturer: Madacy Records
ProductGroup: Music
Binding: Audio CD

Musical Theater | Vocal Non-Opera | Opera & Vocal | Styles | Music

General | Musicals | Broadway & Vocalists | Styles | Music

General | Broadway & Vocalists | Styles | Music

General | Soundtracks | Styles | Music

General | Classical | Styles | Music

Orchestral Pop | Easy Listening | Pop | Styles | Music

4-for-3 Broadway & Vocalists | 4-for-3 Music | Stores | Music

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

4-for-3 Pop | 4-for-3 Music | Stores | Music

4-for-3 Soundtracks | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
ASIN: B00027JZ8E
Release Date: 2004-05-25

Tracks:

Phantom of the Opera: Phantom of the Opera
Phantom of the Opera: Music of the Night
Phantom of the Opera: Wishing You Were Somehow Here Again
Phantom of the Opera: All I Ask of You
Jesus Christ Superstar: Everything's Alright
Jesus Christ Superstar: John 19: 41 [Instrumental]
Jesus Christ Superstar: I Don't Know How to Love Him
Jesus Christ Superstar: The Last Supper
Evita: Another Suitcase in Another Hall
Evita: Buenos Aires
Evita: High Flying Adored
Evita: Don't Cry for Me Argentina
Cats: Memory
Cats: Magical Mr. Mistofelles
Joseph and the Amazing Technicolor Dreamcoat: Pharoah's Story
Joseph and the Amazing Technicolor Dreamcoat: Any Dream Will Do
Sunset Boulevard: Too Much in Love to Care
Sunset Boulevard: As If We Never Said Goodbye
Song and Dance: Take That Look Off Your Face
Song and Dance: Tell Me on a Sunday

Customer Reviews:

A good shot at a 'Best Of' Album........2006-01-16

I was pleasently surprised at this CD. The singers were all pretty good, and the music was great. My only complaint is with the 'Phantom of the Opera' tracks. "Christine" does fine on the title song and 'All I Ask of You', but on 'Wishing Your Were Somehow Here Again', she falls a little short of a good preformance.

The thing that impresses me the most on this CD are the 'Jesus Christ Superstar' tracks. They all sounded superb, and I prefer them to my original broadway cast soundtrack.

I was dissappointed that they only chose two songs from 'Cats', one of Lloyd Webber's crowning acheivements as a composer. THe show was remarkably successful and is the second longest running show in Broadway history, only topped by 'Phantom'. Also, I felt the songs they chose were a bit...odd. 'Memory', of course, is a given. But why throw 'Mister Mistoffelees' into the mix? Why not the Prolouge,'Jellicle Songs for Jellicle Cats'?

All in all, I was very impressed with this CD. I give it 4 out of 5 stars, and I recommend it for any fan of Lloyd Webber's music.

Average customer rating:

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

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

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

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

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

ASIN: B00005B550
Release Date: 2001-05-22

Customer Reviews:

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

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

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

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

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

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

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

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

Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: everything is slower than adagio moderato. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. I don't know Levine should've chose Kollo when he recorded his Ring.

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

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

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

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

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

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

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

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

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

Levine: Heinz Zednik is yet another excellent mime. He is equal to Schreier when it comes to humaneness and lyricism. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

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

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

Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Still, it's satisfactory, and his "Ihrem ende eilen sie zu" gives great foreshadowing.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. His scenes in Scene Three are delightful.

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

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

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

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

-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings (maybe not in Swarowsky's version). Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm and Goodall. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.

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

Sir Georg Solti: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti

Karl Bohm: Wagner: Der Ring des Nibelungen

Herbert von Karajan: Der Ring des Nibelungen / Karajan / Berlin Philharmonic

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

Marek Janowski: Wagner: Der Ring des Nibelungen

James Levine: Der Ring Des Nibelungen

-Wolfgang Sawllisch: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sawallisch, Bayerischer Staatsoper

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

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

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

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

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

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

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

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

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

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

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

For all of its flaws, this is an astonishing and, for me, an indispensible recording because it made me listen to this opera with new ears. While it's not the most lyrically pleasing recording (Karajan) or musically authoritative (that would be Solti, IMHO), dramatically, this Rhinegold excells any recording I know of. I will definitely buy the rest of the set.

Virtual Altar
Average customer rating:

Excellent

Excellent

Virtual Altar
Scott Huckabay
Manufacturer: Sonic Alchemsyt
ProductGroup: Music
Binding: Audio CD

Ambient | Dance & DJ | Styles | Music
General | New Age | Styles | Music
Healing | New Age | Styles | Music
General | New Age | Indie Music | Stores | Music
Similar Items:

Alchemy

Peace Dance

Healing Dreams

ASIN: B00004TQZA
Release Date: 2000-05-18

Tracks:

bodhisattvas
if you believe
budhafly
souljourn
structural metaphor
mist of avalon
fierce facade
medicine wheel
earth mystery
sea of angels
divine union

Album Description

Beautiful, experimental acoustic guitar instrumental...

Customer Reviews:

Excellent.......2000-08-08

This guy can play!

I've seen him live and he recreates all this.

The other cd's are great as well.

Dave Rand

Digital Artist

Centropolis Entertainment

Excellent.......2000-08-08

This guy can play!

I've seen him live and he recreates all this.

The other cd's are great as well.

Tracks:

Blue Danube
Waltz of Flowers
Waltz No. 1
Waltz of the Snowflakes
Naila Waltz
Spanish Dance
I Dream of Jeannie With the Light Brown Hair
Sugar Plum Fairy
Dance of the Comedians
Camptown Races
Carnival of the Animals Finale
Dance of the Clown [From "A Midsummer Night's" Dream]
Dance of the Hours
Dance of the Swans [From "Swan Lake"]
Faust Ballet
Tritsch Tratsch Polka
Hungarian Dance
Dance of the Priestesses
Overture from "William Tell"
Toreador Song [From "Carmen"]
Overture from "Carmen"
Samson & Delilah
Ride of the Valkyries
Baracole from "The Tales of Hoffmann"
Scheherazade
Water Music - The Hornpipe
Nocturne
Eine Kleine Nachtmusik
Hungarian Rhapsody
Prde L& Arlenne
Preer Gynt Suite No. 1 Anitra's Dance
Liebestraum
Adagio from "The New World Symphony"
Flight of the Bumblebee
Ave Maria
Air on a G String
Neapolitan Song
Violin Concerto
Serenade No. 4

Tracks:

When You Wish Upon a Star
Chances Are
Calcutta
Cherry Pink and Apple Blossom White
Gigi
They Call the Wind Maria
Memories Are Made of This
Catch a Falling Star
Smoke Gets in Your Eyes
So in Love
Begin the Beguine
Misty
Little Things Mean a Lot
Embraceable You
It Might as Well Be Spring
On the Street Where You Live
Moment to Remember
Anniversary Song
Golden Days
Theme from a Summer Place
Tonight
Lullaby of Broadway
Easter Parade
Tenderly
Young at Heart

Tracks:

Claire de Lune
Piano Concerto No. 1
Minute Waltz
Piano Concerto
Fantasy Impromptu
Piano Sonata No. 20 - Finale
Swan
Polonaise No. 6
Waltz in C Minor
1812 Overture
Light Cavalry Overture
Nutcracker Overture
Marche Militaire
Tannhauser Overture
Radetsky March
Tragic Overture
Triumphal March
Tales of Vienna Woods
Emperor's Waltz
Waltz. Wine, Women and Song
Voice of Spring
Fledermaus Overture
Skater's Waltz
Roses from the South
Romance
Symphony No. 5
Mer
Moonlight Sonata
Capriccio Espagnol
Lohengrin
Symphonie Fantastique
Greensleeves
Souvenir
Lonely Heart
Die Meistersinger
Polovtsian Dance

Customer Reviews:

Peculiar Amazon indexing.......2007-06-08

A search for Deep Purple's "Smoke on [in] the water," brought up this title. I rate it only #1 because I could not locate the "Smoke on the Water" listing. Amazon seems to be having an indexing problem.

Average customer rating:

A Master Class In Singing...

I Love to Tell the Story
Mark Lowry
Manufacturer: Spring House / EMI
ProductGroup: Music
Binding: Audio CD

General | Christian & Gospel | Styles | Music

Gospel | Christian & Gospel | Styles | Music
ASIN: B000R7I2IS
Release Date: 2007-07-17

Tracks:

I Love To Tell the Story
Medley: In the Garden/O, How I Love Jesus
Count Your Blessings
The Old Rugged Cross
Softly And Tenderly
Marvelous Grace (Grace Greater Than Our Sin)
Heaven Medley: When the Roll Is Called Up Yonder/In the Sweet By And By/When We All Get To Heaven/We'll Understand It Better By And By/When the Saints Go Marching In
What a Friend We Have In Jesus
Blessed Assurance
Medley: Does Jesus Care?/God Will Take Care Of You
Untitled Hymn (Come To Jesus)

Customer Reviews:

A Master Class In Singing..........2007-07-17

Of the many hymns collections we've seen from artists of late, this one is hands down for me the absolute best. Mark Lowry's vocal performance on each and every track is a master class in singing. Paul Johnson's production and brilliantly orchestrated arrangements are a tour de force for Mark's superb phrasing and interpretive abilities. Whether it's "big band" style ("Count Your Blessings", "Blessed Assurance") or gentle string accompaniment ("Old Rugged Cross", "Does Jesus Care?"), it's continued proof that there is no limit to the styles that Mark can sing.

A standout track is a late addition to the project, the Chris Rice-penned "Untitled Hymn (Come To Jesus)". Accompanied only on piano, Mark gives one of the most touching performances of his career. Mark's vocals reach an even deeper transparency and emotional impact on every track on this album, but here he reaches a peak. (As an aside, as powerful as it is to hear on the album, I strongly recommend you experience Mark performing this one live.)

I can't possibly imagine this collection not winning Mark the respect he truly deserves as one of the best male vocalists in the music industry today.

Average customer rating:

Story to Tell
Desole
Manufacturer: Abacus
ProductGroup: Music
Binding: Audio CD

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

General | Rock | Styles | Music
Similar Items:

Don't Get Lost in a Movement
Tales Don't Tell Themselves
Pessimism & Satire

ASIN: B000CQO0ZI
Release Date: 2006-03-07

Tracks:

Personal
Gossip
Opposites Attract
Shadow Girl
Instrumental
Danger Danger
Familiar Pills
For Just One Reason
Count Your Friends
Illustrate the Actress

Average customer rating:

"56 Show-Stoppers from the Last Century ~ Paul Bateman"

Musicals - The Gold Collection
Helen Hobson , Dave Willetts , and Lesley Garrett
Manufacturer: Silva America
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

English | Languages | Opera & Vocal | Styles | Music

Musical Theater | Vocal Non-Opera | Opera & Vocal | Styles | Music

General | Musicals | Broadway & Vocalists | Styles | Music

Traditional Vocal Pop | Broadway & Vocalists | Styles | Music

General | Broadway & Vocalists | Styles | Music

General | Soundtracks | Styles | Music

General | Vocal Pop | Pop | Styles | Music
ASIN: B0001JXPB6
Release Date: 2004-04-06

Tracks:

West Side Story 'America' - Helen Hobson & Crouch End Festival Chorus
Annie 'Tomorrow' - Helen Hobson
Annie Get Your Gun 'Anything You Can Do' - Jason Howard
Annie Get Your Gun 'The Girl That I Marry/My Defences Are Down' - Jason Howard
Aspects Of Love 'Love Changes Everything' - Chris Corcoran
Anything Goes 'Anything Goes' - Helen Hobson
Cabaret 'Cabaret' - Helen Hobson
La Cage Aux Folles 'I Am What I Am' - Dave Willetts
Carmen Jones 'Dat's Love' - Lesley Garrett
Cats 'Memory' - Lesley Garrett
Cats 'Macavity: The Mystery Cat' - Deborah Steel
Carousel 'Soliloquoy' - Jason Howard
Carousel 'If I Loved You' - Paul Bateman
Carousel 'You'll Never Walk Alone' - Jason Howard

Tracks:

Chess 'I Know Him So Well' - Meredith Braun
Evita 'Don't Cry For Me Argentina' - Sharon Campbell & Crouch End Festival Chorus
Evita 'Another Suitcase In Another Hall' - Sharon Campbell & Crouch End Festival Chorus
Evita 'High Flying Adored' - Meredith Braun
The Fantastiks 'Try To Remember' - John Langley & Crouch End Festival Chorus
Fiddler On The Roof 'If I Were A Rich Man' - John Langley
Gigi 'Gigi' - Keith Ferreira
Guys And Dolls 'Luck Be A Lady' - Dave Willetts
Jesus Christ Superstar 'Superstar' - Christopher Howard
Jesus Christ Superstar 'I Don't Know How To Love Him' - Sharon Campbell
Jesus Christ Superstar 'Everything's Alright' - Sharon Campbell
Joseph And His Amazing Technicolor Dream-Coat 'Close Every Door' - Crouch End Festival Chorus
Kismet 'And This Is My Beloved' - Lesley Garrett
Kismet 'Stranger In Paradise' - Jason Howard

Tracks:

Kiss Me Kate 'Where Is The Life That Late I Led?' - Jason Howard
A Little Night Music 'Send In The Clowns' - Helen Hobson
Les Miserables 'Bring Him Home' - Dave Willetts
Man Of La Mancha 'The Impossible Dream' - John Langley
Oklahoma 'Oh What A Beautiful Morning' - Jason Howard
Oklahoma 'The Surrey With The Fringe On Top' - Jason Howard
Oklahoma 'Oklahoma' - Jason Howard
Phantom Of The Opera 'Phantom Of The Opera' - Lesley Garrett
Phantom Of The Opera 'Music Of The Night' - Dave Willetts
Phantom Of The Opera 'All I Ask Of You' - Lesley Garrett
Porgy & Bess 'Summertime' - Lesley Garrett
Seven Brides For Seven Brothers 'Bless Your Beautiful Hide' - Jason Howard
Showboat 'Ol' Man River' - Jason Howard
Showboat 'Make Believe' - Jason Howard

Tracks:

The Sound Of Music 'The Sound Of Music' - Helen Hobson
The Sound Of Music 'Climb Ev'ry Mountain' - Tania Williams & Crouch End Festival Chorus
The Sound Of Music 'Edelweiss' - John Langley
South Pacific 'Some Enchanted Evening' - John Langley
South Pacific 'Younger Than Springtime' - David Shannon
Starlight Express 'Starlight Express' - Keith Burns
Sunset Boulevard 'Sunset Boulevard' - Gerard Casey
Sunset Boulevard 'With One Look' - Mary Carewe
Sunset Boulevard 'As If We Never Said Goodbye' - Mary Carewe
Tell Me On Sunday 'Tell Me On Sunday' - Sharon Campbell
West Side Story 'Maria' - David Shannon
West Side Story 'Tonight' (The Balcony Scene) - Meredith Braun
West Side Story 'Somewhere' - Meredith Braun
There's No Business Like Show Business & Annie Get Your Gun 'Theres No Business Like Showbusiness' - Helen Hobson & Crouch End Festival Chorus

Customer Reviews:

"56 Show-Stoppers from the Last Century ~ Paul Bateman".......2004-04-16

Some of the best musicals from the last century appear on this 4-CD compilation "Musicals:The Gold Collection", featuring many stars of the London Stage with Paul Bateman (conductor), The City of Prague Philharmonic Orchestra, The Philharmonia, The Royal Philharmonic Orchestra and the world renown Crouch End Festival Chorus ~ sharing the spotlight, blending voice and music within the boundaries of great compositions from sold out musical shows from the past ~ all songs presented on this collection have been performed by a diverse set of artists ~ share the beauty of simplicity that exists in the music of each performance.

Here's just a sampling with "Annie", Annie Get Your Gun", "Anything Goes", "Aspects of Love", "Cabaret", "Carmen Jones", "Carousel", "Cats", "Chess", "Evita", "The Fantastics", "Fiddler on the Roof", "Gigi", "Guys and Dolls", "Jesus Christ Superstar", "Joseph and His Amazing Technicolor Dreamcoat", "Kismet", "Kiss Me Kate", "La Cage Aux Folles", "Les Miserables", "A Little Night Music", "Man of La Mancha", "Oklahoma", "Phantom of the Opera", "Porgy & Bess", "Seven Brides For Seven Brothers", "Showboat", "The Sound of Music", "South Pacific", "Starlight Express", "Sunset Boulevard", "Tell Me On Sunday", "There's No Business Like Show Business", "West Side Story" ~ each cue is just the icing on the cake presented in this one of a kind event.

Let's take a look at the stars of the London Stage ~ Meredith Braun, Keith Burns, Sharon Campbell, Mary Carewe, Gerard Casey, Chris Corcoran, Keith Ferreira, Lesley Garrett (always a favorite in everyones collection), Helen Hobson, Michele Hooper, Christopher Howard, Jason Howard, Ria Jones, John Langley, David Shannon, Deorah Steel, Jill Washington, Dave Willetts, Tania Williams ~ so much talent under one banner, perfection is the only description that comes to mind. Paul Bateman has come up with a instrumental masterpiece, with emotional peaks and valleys that we've experienced over decades in the tumultuous world of musicals in the theatre.

Silva America, James Fitzpatrick, Reynold da Silva and David Stoner have paid homage to this genre ~ brought to the forefront in one universal voice the magnitude and influence for all it's listeners ~ powerful and personal touch of each track makes you feel the melody is still ringing in your ears, that's what the composer hoped for and it works ~ this musical collection is a keeper ~ gotta love it!

Tracks:

Phantom of the Opera [From Phantom of the Opera]
Music of the Night [From Phantom of the Opera]
Wishing You Were Somehow Here Again [From Phantom of the Opera]
Sunset Boulevard Entr'acte [From Sunset Boulevard]
With One Look [From Sunset Boulevard]
Memory [From Cats]
Tell Me on a Sunday [From Song and Dance]
Last Man in My Life [From Song and Dance]
Love Changes Everything [From Aspects of Love]
Anything But Lonely [From Aspects of Love]
Seeing Is Believing [From Aspects of Love]

Tracks:

Phantom Overture [From Phantom of the Opera]
Take That Look Off Your Face [From Song and Dance]
Another Suitcase in Another Hall [From Evita]
Rainbow High [From Evita]
Buenos Aires [From Evita]
Heaven on Their Minds [From Jesus Christ Superstar]
Everything's Alright [From Jesus Christ Superstar]
John 19: 41 [From Jesus Christ Superstar]
Aspects of Aspects [From Aspects of Love]
Too Much in Love to Care [From Sunset Boulevard]
Pharaoh's Story [From Joseph & the Amazing Technicolor Dreamcoat]

Tracks:

Don't Cry for Me Argentina [From Evita]
Sunset Boulevard [From Sunset Boulevard]
Overture [From Jesus Christ Superstar]
Think of Me [From Phantom of the Opera]
Last Supper [From Jesus Christ Superstar]
Memory [From Cats]
Starlight Sequence [From Starlight Express]
Peron's Latest Flame [From Evita]
King Herod's Song [From Jesus Christ Superstar]
Any Dream Will Do [From Joseph & the Amazing Technicolor Dreamcoat]

Music Review:

Music Review

Music Review

1. I'm in Love With Jesus Christ
2. God Will Take Care of You
3. It Belongs to God
4. He's a Mighty God
5. Forgive Me
6. Praise the Name of Jesus
7. I've Been Born Again
8. Master, Can You Use Me
9. I'm Glad About It
10. Certainly Lord