Can't You See...

Track Listings

1. Can't You See What Drugs Are Doing

2. I Have a Friend

3. At the Foot of the Cross

4. Lord Do It for M

5. It Will Be Alright

6. I'm Just Praising the Lord

7. He Just Put Himself in My Place

8. Keep on Moving

Tracks:

The Time Is Now
Don't F*** With Us
Flow Easy
Right Now
Make It Loud
Just Another Day
Summer Flings
Keep Frontin'
We Didn't Want You To Know
Bad, Bad Man
Running Game
Beantown
This Is How We Roll
What Now
Know The Red
Chain Gang Is The Click
If It All Ended Tomorrow

Customer Reviews:

John Cena.......2007-05-15

Very good product and I love John Cena he is a great singer and wrestler.

Who cares anyway.......2007-05-06

Cena sucks as a wretler, actor, and rapper. What a douche.

you can't see me.......2007-01-12

This is a good cd but it is not for kids to listen to.

Love it.......2007-01-11

I was very pleasently shocked when I got this cd and found that John Cena really can rap. It is a very very good cd and well worth my money. Buy it you wont be let down!

a couple songs is ok !!.......2006-11-07

I like cena but the album didnt touch me, although there were a couple songs that did, but for those real cena fans it is ok but , remember you not gonna get no more then maybe 3 good songs if that.. he does have a pretty good beat on most of them , but the lyrics is just not there ..sorry cena!!

Broadway - The American Musical (PBS Series)

Average customer rating:

Fabulous for any Broadway-lover
Top Shelf
TERRIFIC CD'S
Great Collection of Broadways greatest Songs
Great Compilation!

Broadway - The American Musical (PBS Series)

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Similar Items:

The Best of Broadway - The American Musical (PBS Series)
Broadway: The American Musical
Broadway: The American Musical
Broadway - The American Musical (PBS Series)
Somewhere over the Rainbow: The Golden Age of Hollywood Musicals

ASIN: B00064ADMK
Release Date: 2004-10-19

Tracks:

Give My Regards To Broadway- Joel Grey
Swanee- Al Jolson
When The Moon Shines On The Moonshine- Bert Williams
A Pretty Girl Is Like A Melody- John Steel
My Man- Fanny Brice
Fascinating Rhythm- Fred Astaire, Adele Astaire
If You Knew Susie (Like I Know Susie)- 78rpm Version Eddie Cantor
Someone To Watch Over Me- Gertrude Lawrence
Bill- 78 rpm Version Helen Morgan
Ol' Man River- Paul Robeson
Ain't Misbehavin'- Louis Armstrong & His Orchestra
Ten Cents A Dance- Ruth Etting
Body And Soul- Libby Holman
Brother, Can You Spare A Dime- Bing Crosby
Night And Day- Fred Astaire
Heat Wave- Ethel Waters
Smoke Gets in Your Eyes- Tamara
You're The Top- Ethel Merman
Summertime- Anne Brown
September Song- Walter Huston
My Heart Belongs To Daddy- Mary Martin
It Never Entered My Mind- Shirley Ross
Bewitched, Bothered, Bewildered- Vivienne Segal
Oh, How I Hate To Get Up In The Morning- Irving Berlin
Oh, What a Beautiful Mornin'- Alfred Drake

Tracks:

New York, New York- Cris Alexander,Adolph Green,John Reardon
If I Loved You- John Raitt,Jan Clayton
Come Rain Or Come Shine- Ruby Hill,Harold Nicholas
There's No Business Like Show Business- Ensemble
How Are Things In Glocca Morra? From "Finian's Rainbow"- Ella Logan
Once In Love With Amy- Ray Bolger
Wunderbar- Alfred Drake,Patricia Morison
Some Enchanted Evening- Ezio Pinza
Lost In The Stars- Todd Duncan
Diamonds Are A Girl's Best Friend- Carol Channing
Luck Be A Lady- Robert Alda,Guys
Getting To Know You- Gertrude Lawrence
Who Cares?- Jack Carson,Betty Oakes
Stranger In Paradise- from " Kismet" Doretta Morrow,Richard Kiley
Ballad Of Mack The Knife- Gerald Price
Hey There- from "The Pajama Game" John Raitt
Whatever Lola Wants- Gwen Verdon
I Could Have Danced All Night- Julie Andrews
Standing On The Corner- from "The Most Happy Fella, 1956" Shorty Long,John Henson,Alan Gilbert
The Party's Over- Judy Holliday
Glitter And Be Gay- Barbara Cook
Tonight- Larry Kert, Carol Lawrence

Tracks:

Seventy-Six Trombones- Robert Preston
I Enjoy Being A Girl- from "Flower Drum Song, 1958" Pat Suzuki
Everything's Coming Up Roses- Ethel Merman
My Favorite Things- from "The Sound Of Music" Mary Martin
Put On A Happy Face- from "Bye Bye Birdie" Dick Van Dyke
Try To Remember- Jerry Orbach
Camelot- from "Camelot" Richard Burton
Love Makes The World Go 'Round- Anna Maria Alberghetti
I Believe In You- Robert Morse And Co.
The Sweetest Sounds- Diahann Carroll,Richard Kiley
Comedy Tonight- Zero Mostel
What Kind Of Fool Am I?- Anthony Newley
As Long As He Needs Me- Georgia Brown
Hello, Dolly!- Carol Channing,Cast
People- Barbra Streisand
Anyone Can Whistle- from "Anyone Can Whistle" Lee Remick
If I Were A Rich Man- Zero Mostel
Night Song- Sammy Davis, Jr.
The Impossible Dream- Richard Kiley
If My Friends Could See Me Now- Gwen Verdon
Open a New Window- from Mame Voice

Tracks:

Willkommen- from "Cabaret" Joel Grey
Let The Sunshine In- James Rado,Lynn Kellogg,Melba Moore,Cast
I'll Never Fall In Love Again- Jill O'Hara,Jerry Orbach
The Ladies Who Lunch- from "Company" Elaine Stritch
Tea For Two- Roger Rathburn,Susan Watson
I'm Still Here- Yvonne De Carlo
I Don't Know How To Love Him- Yvonne Elliman
We Go Together- Adrienne Barbeau,Barry Bostwick,Walter Bobbie,Cast
Corner Of The Sky- John Rubinstein
Send In The Clowns- Glynis Johns
Ease On Down The Road- Stephanie Mills,Tiger Haynes,Ted Ross,Hinton
One- from "A Chorus Line" Cast
All That Jazz- Chita Rivera,Ensemble
Tomorrow- Andrea Mcardle
Don't Cry For Me Argentina- Patti Lupone
Come Follow The Band
Lullaby Of Broadway- Jerry Orbach
And I'm Telling You I'm Not Going- Jennifer Holliday
The Bells Of St. Sebastian- Raul Julia

Tracks:

Memory- Betty Buckley
I Am What I Am- George Hearn
Move On- Bernadette Peters,Mandy Patinkin
Do You Hear The People Sing?- Michael Maguire,Cast
The Music Of The Night- Michael Crawford
You're Nothing Without Me- James Naughton,Gregg Edelman
The American Dream- Jonathan Pryce,Cast
Doctor Jazz- Gregory Hines,Company
With One Look- Glenn Close
On Broadway- Adrian Bailey,Frederick B. Owens,Ken Ard,Victor Trent Cook
Le Jazz Hot- Julie Andrews,Ensemble
Seasons Of Love-
Hakuna Matata- Max Casella,Tom Alan Robbins,Scott Irby-Ranniar,Jason Raize
I Wanna Be A Producer- Matthew Broderick,Ensemble
Dancing Queen- Louise Plowright,Jenny Galloway
Good Morning Baltimore- Marissa Jaret Winokur
Movin' Out- Michael Cavanaugh,Band
I Go To Rio- Hugh Jackman,Company
Defying Gravity- Kristin Chenoweth,Idina Menzel

Customer Reviews:

Fabulous for any Broadway-lover.......2007-01-30

Packs into 5 CD's a sampling of Broadway tunes from the 20's thru (almost) today, mostly from original cast recordings. Includes not just well-known hits, but also some lesser-known gems. Sound quality is first rate, booklet is informative too. Have given this as a gift to several friends with rave reviews.

Top Shelf.......2007-01-04

This is THE definitive collection of Broadway hits. I have other collections, and none of them measure up. A great deal of care was obviously taken in compiling and presenting this box set. It covers a lot of ground, starting with some long-forgotten but still very enjoyable hits from the days of yore, and finishing with present-day favorites. To the best of my knowledge, the recordings are by those who made them famous. You won't be disappointed.

TERRIFIC CD'S.......2006-03-23

THESE BROADWAY MUSICALS CD'S ARE A BROADWAY LOVERS DREAM. WITH EACH SONG, MEMORIES COME FLOODING BACK. BOTH THE FAMILIAR AND THE FORGOTTEN SONGS ARE A TRUE LISTENING PLEASURE. IF YOU LIKE BROADWAY, YOU'LL LOVE THIS SET.

Great Collection of Broadways greatest Songs .......2005-06-14

This Collection was perfectly made it has almost all the most famous Broadway songs on this 5 cd set. The Music is great and has Broadways greatest treasures like "Memory""People""With One Look""Give my regards Too Broadway" just to name a few of this numerous cd set with over 100 songs. This is a great buy if you like musicals or The music of Broadway

Great Compilation!.......2005-01-17

If you are a fan of the Broadway Musicals, this is a collection that you should purchase. Since I got the 5 disc set I've enjoyed listening to it. The majority of the songs are done by the original singers. The collection is priceless considering that you will have over 100 songs from popular musicals since the beginning of Broadway

Average customer rating:

5 STARS AND THEN SOME !!
Pretty Sad,
I FELL IN LOVE WITH JULIE ALL OVER AGAIN
A Great Julie Andrews CD
Climbing Every Mountain with Mary Poppins

Classic Julie Classic Broadway

Manufacturer: Decca Broadway
ProductGroup: Music
Binding: Audio CD

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Broadway: The Music of Richard Rodgers
A Little Bit of Broadway
Julie Andrews Selects Her Favorite Disney Songs
Greatest Christmas Songs
The King and I (1992 Hollywood Studio Cast)

ASIN: B00005KBBR
Release Date: 2001-06-19

Tracks:

On A Clear Day
A Cock-Eyed Optimist
Hello, Young Lovers
Here I'll Stay
My Fair Lady Shuffle: Overture/Wouldn't It Be Loverly/Let A Woman/Just You Wait/Poor Professional...
Getting To Know You
Living In The Shadows
Bewitched
I Have Dreamed
My Funny Valentine
Camelot Suite: Camelot/The Simple Joys Of Maidenhood/How To Handle A Woman/If Ever I Would...
Crazy World
If I Loved You
Edelweiss
The Sound Of Music

Customer Reviews:

5 STARS AND THEN SOME !!.......2006-02-10

Oh Julie, the songs you sang on this CD are superb. I wish you could still give us that joy. If you can only sing in the low registers, give us jazz!! You can do it I just know you can!!

Pretty Sad, .......2005-10-27

Hollywood veteran Julie Andrews has had a glorious career, but not without its downsides. Her legend is built on "The Sound of Music" and "Mary Poppins" and other glorious roles. Her abilities as a singer were never impressive or great, her voice often sounded weak, but she always knew how to sing around her very limited vocal range. On this collection she performs some of the greatest Broadway tunes ever written and even though she does a good job, her voice just doesn't hold up against many of these tunes. Her warmth is felt all over the album, in "Here I'll Stay" she wraps her gentle, but narrow, voice around it and in "My Funny Valentine" she sticks to the lower register of her voice. However, in the re-recording of her classic "Sound of Music" and in "On a Clear Day You Can See Forever" her voice fails her, it often sounds thin and airy and it's actually quite sad to listen to. When all is said and done Julie Andrews remains a great talent, and most of that talent is largely due to her amazing capability as a performer and her genuine warmth.

I FELL IN LOVE WITH JULIE ALL OVER AGAIN.......2005-06-25

As a young kid growing up in the Philippines I remember my Dad playing his state-of-the-art Aiwa tape recorder back in the 60s and hearing Julie Andrews' voice - truly the voice of an angel! Now, hearing these songs again with adult ears I fell in love with her voice all over again !

A Great Julie Andrews CD.......2002-01-27

If you are a fan of Dame Julie's and musicals, this is the cd for you. It is a compilation of songs from prevously released albums; The King and I, The Music of Richard Rodgers, Here I'll Stay, and Victor/Victoria, Original Broadway Cast Recording.
I found the material to be very well put together giving the listener selections from My Fair Lady, Camelot, The Sound of Music, Victor/Victoria and others. What more could you want?
As for Ms. Andrews, she is superb. There is simply no one like her. I have heard comments that prior to the infamous throat surgery she was unable to handle the difficult material and hit those high notes. This is just not true. All you have to do is listen to these songs recorded in the early 90's to know that she still had a marvelous voice. Lets hope that one day she will be able to sing and record again. If not, these may be her last recordings so treasure them.

The My Fair Lady suite is wonderful and Ms. Andrews definitely hit the high note at the end of "I Could Have Danced All Night".
Her version of "Edelweiss" and "The Sound of Music" are lovely.
Also worth listening to is "Living in the Shadows" written for the Broadway production of Victor/Victoria so you won't find it on the movie soundtrack. The lyrics are by Leslie Bricusse who also penned "Crazy World", which is another great selection on this cd.

Overall this is a cd worth having in your collection, so buy it today. Otherwise you are missing out.

Climbing Every Mountain with Mary Poppins.......2002-01-22

Julie Andrews and her music have been an inspiration to me
every since I stepped into a theater and watched Mary Poppins
(many years ago). I admire her talent and her voice on this CD. I know it is not as clear a voice as she used to have but I still enjoy listening to her. I listen to this CD when I want a "pick me up" and am proud to have it as part of my collection.

Average customer rating:

You'll be disappointed
Pretty good musical mix

Greatest Songs from the Musicals
Various Artists
Manufacturer: Soho
ProductGroup: Music
Binding: Audio CD

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Very Best Of Broadway Musicals
Only Broadway CD You'll Ever Need
Ultimate Broadway
Greatest Hits: Broadway
Ultimate Broadway II: The Very Best of Broadway Now

ASIN: B000077JS0
Release Date: 2002-10-21

Tracks:

Aquarius [From Hair] - Steve Brooker, NSO Ensemble, , Caroline O'Connor
If I Can't Love Her [From Beauty and the Beast] - Ethan Freeman, National Symphony Orchestra, Martin Yates
I Could Have Danced All Night [From My Fair Lady] - Katrina Murphy, National Symphony Orchestra
Can You Feel the Love Tonight? [From The Lion King] - John Barrowman, National Symphony Orchestra, Martin Yates
What I Did for Love [from a Chorus Line] - National Symphony Orchestra, Catherine Porter, Martin Yates
This Is the Moment [From Jekyll and Hyde] - Gary Mauer, National Symphony Orchestra, Martin Yates
All That Jazz [From Chicago] - Paulette Ivory, Julian Kelly, Katrina Murphy, National Symphony Orchestra, Sally Ann Triplett
Impossible Dream [From Man of La Mancha] - Ethan Freeman, National Symphony Orchestra, Martin Yates
America [From West Side Story] - National Symphony Orchestra
Written in the Stars [From Aida] - Simon Bowman, NSO Ensemble, Sally Ann Triplett, Martin Yates
Mame [From Mame] - Jerry Lanning, National Symphony Orchestra, Martin Yates
Some Enchanted Evening [From South Pacific] - Thomas Allen, John Owen Edwards, Philharmonic Orchestra
I Am What I Am [From LA Cage aux Follies] - Janet Glazener, Leslie Uggams
One Song Glory [From Rent] - Sean McDermott, Martin Yates

Tracks:

Phantom of the Opera [From The Phantom of the Opera] - Ethan Freeman, Claire Moore, National Symphony Orchestra, Martin Yates
I Dreamed a Dream [From Les Miserables] - National Symphony Orchestra, Jacqui Scott, Martin Yates
Bui Doi [From Miss Saigon] - Ethan Freeman, National Symphony Orchestra, Martin Yates
As Long as He Needs Me [From Oliver!] - National Symphony Orchestra,
Time Warp [From the Rocky Horror Picture Show] - Anita Dobson, NSO Ensemble, Martin Yates,
Memory [From Cats] - Kim Criswell, National Symphony Orchestra, Martin Yates
Why God Why [From Miss Saigon] - Graham Bickley, National Symphony Orchestra, Martin Yates
I Know Him So Well [From Chess] - Katrina Murphy, NSO Ensemble, Sally Ann Triplett, Martin Yates
One Day More [From Les Miserables] - National Symphony Orchestra, Martin Yates
Peggy Sue [From Buddy Holly Story] - Dominic Curtis
Empty Charis at Empty Tables [From Les Miserables] - Graham Bickley, National Symphony Orchestra, Martin Yates
Dancing Queen [From Mamma Mia!] - Julian Kelly, NSO Ensemble, , Caroline O'Connor
All I Ask of You [From The Phantom of the Opera] - Andrew Halliday, , National Symphony Orchestra, Martin Yates
We Will Rock You [From We Will Rock You] - Martin Yates

Tracks:

It's a Grand Night for Singing [From State Fair] - National Symphony Orchestra
If I Were a Rich Man [From Fiddler on the Roof] - Jerry Lanning, National Symphony Orchestra
I Talk to the Trees [From Paint Your Wagon] - Ethan Freeman, National Symphony Orchestra, Martin Yates
Over the Rainbow [From The Wizard of Oz] - Gillian Bevan, , John Owen Edwards, , Royal Shakespeare Company
Bless Yore Beautiful Hide [From Seven Brides for Seven Brothers] - Hal Fowler, National Symphony Orchestra, Martin Yates
Grease [From Grease] - John Barrowman, NSO Ensemble, Martin Yates
Woman in Love [From Guys and Dolls] - Gregg Edelman, , Emily Loesser, National Symphony Orchestra
Secret Love [From Calamity Jane] - Debbie Gravitte, National Symphony Orchestra
Quintet [From West Side Story] - National Symphony Orchestra
I Will Always Love You [From the Best Little Whorehouse in Texas] - Salena Jones, John Pearce
Money, Money [From "Caberet"] - Maria Friedman, National Symphony Orchestra, Jonathan Pryce
If My Friends Could See Me Now (Sweet Charity) - Jacqueline Dankworth, National Symphony Orchestra, Martin Yates
Thank Heaven for Little Girls [From Gigi] - Ron Moody, National Symphony Orchestra, Martin Yates
Singin' in the Rain [From Singin' in the Rain] - Craig Barna, National Symphony Orchestra, Paul Robinson

Customer Reviews:

You'll be disappointed.......2006-09-02

Not the original artists. Very weak versions of beloved songs by marginal to downright bad vocalists.

Pretty good musical mix.......2006-03-10

Lots of great and clear vocals. I was looking for a musical mix and this has a nice sampling of many major songs but also some more recent stuff. I haven't purchased an import before but I would do it again if the opportunity presented itself. It is somewhat annoying to have three cds when I think it could have fit onto two. Still, more than I have complaints, I have compliments about it.

Average customer rating:

Broadway Divas
Love the choices
coulda been a contender
Two words: Julia Murney

Broadway Divas
Liza Minnelli , Mandy Patinkin , Bernadette Peters , Mary Martin , Patti LuPone , Jeanne Lehman , Mark Jacoby , Madeline Kahn , Marin Mazzie , Barbara Cook , Angela Lansbury , and Julia Murney
Manufacturer: RCA Victor Broadway
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005LN5V
Release Date: 2001-08-07

Tracks:

I Got The Sun In The Morning - Ethel Merman
Sing Happy - Liza Minnelli
Mean To Me - Nell Carter
Children And Art - Bernadette Peters
Before I Kiss The World Goodbye - Mary Martin
Being Alive - Patti LuPone
Monotonous - Eartha Kitt
Shy - Sarah Jessica Parker
All That Jazz - Bebe Neuwirth
Raise The Roof - Julia Murney
Getting Married Today - MADELINE KAHN
Back To Before - Marin Mazzie
Losing My Mind - Barbara Cook
What Did I Have That I Don't Have? - Barbara Harris
Everything's Coming Up Roses - Angela Lansbury

Customer Reviews:

Broadway Divas.......2007-01-22

Wonderful selection of classic singers and songs. Special favorites are Ethel Merman and Barbara Cook.

Love the choices.......2006-08-11

This is great. Anything with Ethel, Bernadette, Barbara (both of them), Mary, and Marin is beyond words. Any one of them by themselves is awesome but these ladies together are mind blowing. All of the women sound amazing but they made a mistake on the list of songs and composers. "Raise the Roof" sung by Julia Murney (I love her)was written by Andrew Lippa, not LaChusia.

coulda been a contender.......2006-03-15

The divas are indeed divine, but the choice of music sung left me wondering why, with so many other great music selection contenders.

Two words: Julia Murney.......2001-09-03

OK, so it sounds crazy to review an album with Ethel Merman and Bernadette Peters on it and not mention them. But...tough. I've read enough about them to know how good they are.

Buy this album as a token of love to the producer who had the cajones to put Julia Murney on an album celebrating the last 100 years of Broadway divas.

Because SHE is one of the greatest voices of the decade!

Michael Feinstein with the Israel Philharmonic Orchestra

Average customer rating:

Musical Wit in an Orchestral Setting
A Cabaret Singer Grows Up
This cd is about average, it could have been better
Fabulously Fantastic!
Michael has done it again

Michael Feinstein with the Israel Philharmonic Orchestra
Michael Feinstein , and Israel Philharmonic Orchestra
Manufacturer: Concord Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005Q6LL
Release Date: 2002-05-07

Tracks:

The Folks Who Live On The Hill
The Best Is Yet To Come
Guess I'll Hang My Tears Out to Dry
By Myself
Spring Will Be A Little Late This Year
Stormy Weather
Laura
On A Clear Day (You Can See Forever)
Love Is Here To Stay
How Deep is The Ocean?
Somewhere
I Won't Send Roses

Amazon.com

If there's a precious tone to Michael Feinstein's interpretations of the American songbook, it probably stems from a fervent dedication to preserving the original context of his material. This is, after all, a musician who spent many of his formative years in personal service to the late Ira Gershwin. This collection further underscores that commitment, with the lush sound of the Israel Philharmonic Orchestra (augmented by the piano trio of Alan Broadbent, who also provides all but one of the arrangements here) adding considerable dramatic resonance to Feinstein's performances.

While singers from Sinatra and Streisand to Fitzgerald and Bennett have imbued many of these songs with considerable dollops of jazz, blues, and their own strong personas, Feinstein mines melancholy jewels like "Spring Will Be a Little Late This Year," "How Deep Is the Ocean," and "By Myself" for all their introspective emotion. "Somewhere" pays tribute to Bernstein with glorious, unabashed melodrama, while "Laura" (one of the most recorded songs of all time) gets recast in something approaching its original intent via an arrangement written for this recording by composer David Raksin. Feinstein himself penned the album's notes, paying careful tribute to each composer represented and noting that all were Jews, yet their music came to represent a richly American spectrum that included black and white and encompassed jazz, the theater, and even classics in its scope. There's a lesson herein, and one that spans more than mere history and musical archaeology. --Jerry McCulley

Customer Reviews:

Musical Wit in an Orchestral Setting.......2004-01-04

The one problem a record collector encounters when he has an album too many of one artist, is the tendency of the artist to sing the same songs in succeeding albums/settings. Feinstein, who I consider as the leading proponent in reviving the American Popular Song standards to its unfettered glory is backed by a philharmonic orchestra in this album with the musical direction of conductor Alan Broadbent. And yes, he sang some songs that were sung in sparse and acoustic settings in his previous albums. As usual, just like any cabaret singer who never really sings the same song twice (listen to the grand old dames of cabaret like Julie Wilson and Mabel Mercer), Feinstein delights in the varied ways he can see a song in different contexts. Having said that, I thought he was a bit overly cautious in exploring his rich bari-tenor (sorry for this oxymoron but that is the word to apply to his voice) in soaring the vocal lines of Kern's The Folks Who Live on the Hill. Other than that, he was at his wittiest and conversational (not to mention just plain beautiful) voice when singing I Won't Send Roses and he can revisit the Bernstein/Sondheim Somewhere without evoking the famous version of uber diva Barbra Streisand. If you like good crooning vocals in a grand and orchestral setting, this is the album to listen or give as a gift -- you/they won't regret it.

A Cabaret Singer Grows Up.......2003-03-14

"Extraordinary how potent cheap music is." -Noel Coward

Like Coward, Mr. Feinstein seems to understand the power of popular, romantic song when flung into the void of an apparently cold universe by an all too human, understated voice...I first heard Michael Feinstein sing and play the piano umpteen years ago in the mad, bad '80s. At that time, I found his choice of material from the great 20th Century American composers refreshing & interesting, his skills as a pianist were good, and his diction to be above average. Yet his voice at that time was a bit weak--there was too much bravura nonsense, too much vibrato and he may have been too young for some of the songs that he sang at the time.

Well, we've both matured, (I hope), and Mr. Feinstein has delivered a remarkably smooth, yet heartfelt performance on this album. I'm particularly impressed by his vocal smoothness and emotional restraint, especially on "Love is Here to Stay", "How Deep Is the Ocean", "Spring Will Be A Little Late This Year" & "I Won't Send Roses". Mr. Feinstein appears to really understand the depth of feeling that these words and music evoke in him and us. The vibrato is there when needed, but the ripeness of a mature singer is beginning to be heard on his recordings and the Israeli Philharmonic simply gives his singing wings. The only song that doesn't seem to fit is "Stormy Weather"--I kept hearing Lena Horne in my mind's ear, rather than a polished cabaret singer. I hope that Feinstein continues to grow in vocal power and subtlety as he does here. A lovely album for sophisticated romantics.

This cd is about average, it could have been better.......2002-08-18

First I would like to say i'm a Michael fan. I own all his catalog. Even though i'm a fan there are some things about this cd that I find in bad taste. Please let me explain!

I know it is hard to always be creative. There are just so many ideas to go around and then you have to start duplicating others. This is known as copying what others have done.

For this cd I felt like some of the arrangements were too long. For example, Laura as it was performed hear is a six minute song. It really should have been done in two minutes. I'm an engineer and I edited this version of Laura to run two minutes and it is just perfect. Sometimes less is really more. Also, I felt that some of the other songs didn't really have top notch arrangements attached to them. If the arrangements would have been better I whould have had no choice but to bring out the 5 star rating for this project.

To talk a little bit about the voice of Michael is my pleasure. His voice seems to be getting better with age. I have always liked Michael's voice and will continue to do so.

I will give this cd a favorable recommendation!

Fabulously Fantastic!.......2002-07-21

Feinstein has outdone himself with this collection!! He is in fine fettle with songs that only He can do justice! His interpretations and stylings are beyond compare and trust you will not be disappointed with this recording!! Feinstein is simply fabulously fantastic!

Michael has done it again.......2002-07-12

S'Wonderful, S'Marvelous.

If there is one thing you can say about Michael Feinstein it's that he knows how to put over a song. His new cd is absolutely magnificent, these are the only words to describe it.

Somewhere, By Myself, Stormy Weather and the rest of the songs are beyond compare. Do yourself a big, big favour and don't miss out on this cd; you'll love it.

Average customer rating:

You Can't See Me John Cena & tha Trademarc cd

Great for Wrestlemaniacs

John Cena Rules

I BOUGHT MINE FROM

John Cena Rules

You Can't See Me
John Cena & tha Trademarc
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music
East Coast | Rap & Hip-Hop | Styles | Music
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Pop Rock | Pop | Styles | Music
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WWE Theme Addict: The Music, Vol. 6

John Cena CAMO Brand New Official WWE Rubber Bracelet

WWE Forceable Entry

You Can't See Me

ASIN: B00092ZLYO
Release Date: 2005-05-10

Tracks:

Time Is Now
Don't F**k With Us
Flow Easy
Right Now
Make It Loud
Just Another Day
Summer Flings
Keep Frontin' - Bumpy Knuckles, John Cena,
We Didn't Want You to Know
Bad, Bad Man - Bumpy Knuckles, John Cena,
Running Game
Beantown - John Cena, Esoteric,
This Is How We Roll
What Now
Know the Red
Chain Gang Is the Click
If It All Ended Tomorrow

Customer Reviews:

You Can't See Me John Cena & tha Trademarc cd.......2007-03-12

el disco es estupendo para los fans de la lucha libre preferiblemente los de la wwe comprenlo apto pa menores de edad

Great for Wrestlemaniacs.......2007-01-17

Came quickly and my son plays it all the time. It's loud,has good rythum and he likes the lyrics. If you like hip hop and rap and Wrestling...This is for you! Not anymore R rated than Wrestlemania.

John Cena Rules.......2006-07-12

Hello My name is Adam. I am 16 and from Davenport Iowa but now Dubuque Iowa. I am using the kids review cuz it's easier. Last night Raw was in Sioux City Ia and John Cena was awesome. He went to edges hotel and beat him up. It was so funny. Anyway This album is very great.I love # 1, 2, and 10 the best. I have been a fan of Cena for a long time. I watch ecw, wwe, tna, and the ufc. I love it all. I highly recommend this album to anyone who likes this stuff. Though these days the fans don't seem to like Cena as much but i still like him. I may even go to his hometown of Westnewbury Ma sometime. Thank You Cena and Amazon.

I BOUGHT MINE FROM .......2006-01-29

WWW.WWELIMITEDEDITIONS.COM AS A DOWNLOAD AND I LUV IT JOHNCENA IS MY BEST WRESTLER EVA IM 14 AND THIS IS BETTER THAN ANY THING I HAVE EVER BOUGHT ALSO MAKE SURE IF YOU WANT TO BUY IT GET IT AS A DOWNLOAD FOR 5GBP FULL SONGS FROM WWELIMITEDEDITIONS.COM

THANKS
WWE.LIMITED.EDITIONS
YOUR SITE IS GREAT

FROM
DANNY M

John Cena Rules.......2005-11-11

I love to watch wrestling and John Cena is my favorite.He is also a good rapper. buy it

Average customer rating:

vintage Hugh Martin score a complete delight

Love from Judy
Original London Cast
Manufacturer: Sepia Recordings
ProductGroup: Music
Binding: Audio CD

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

General | Musicals | Broadway & Vocalists | Styles | Music
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Wish You Were Here/Paint Your Wagon (Original London Cast) and Bonus Tracks
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Grey Gardens - A New Musical (2006 Original Broadway Cast)

ASIN: B0001BRQ96
Release Date: 2005-08-09

Tracks:

Introduction/Mardi Gras/I Never Dream When I'm Asleep/A Touch Of Voodoo - Adelaide Hall
Love From Judy/Daddy Longlegs/What Do I See In You/Here We Are - Johnny Brandon
Go And Get Your Old Banjo/Kind To Animals/I Ain't Gonna Marry - Adelaide Hall
My True Love/Dum-Dum-Dum/Love From Judy - Jean Carson
Bonus Track: A Kiss To Build A Dream On - Bill Lowe
Bonus Track: Hug Me A Hug - Bill Lowe
Bonus Track: Barrels And Barrels Of Roses - Jean Carson
Bonus Track: Slow Coach - Johnny Brandon & Orchestra
Bonus Track: Oodles Of Noodles - Johnny Brandon & Orchestra
Bonus Track: Painting The Clouds With Sunshine - Johnny Brandon & Orchestra
Bonus Track: One For The Wonder - Johnny Brandon & Orchestra
Bonus Track: The Glow Worm - Johnny Brandon & Orchestra
Bonus Track: I'll Be Hangin' Around - Johnny Brandon
Bonus Track: Vanity - Adelaide Hall
Bonus Track: How Many Times - Adelaide Hall
Bonus Track: 'Hans Christian Andersen' - Part 1 - David Hughes
Bonus Track: 'Hans Christian Andersen' - Part 2 - Gary Miller
Bonus Track: 'Peter Pan' - Part 1 - Gilbert Harding
Bonus Track: 'Peter Pan' - Part 2 - Hermione Gingold
Bonus Track: Dancing With Someone - June Whitfield
Bonus Track: Seven Lonely Days - June Whitfield
Bonus Track: Bye Bye Baby - June Whitfield
Bonus Track: Diamonds Are A Girl's Best Friend - June Whitfield
Bonus Track: I Ain't Gonna Marry - Eve Boswell & Orchestra

Customer Reviews:

vintage Hugh Martin score a complete delight.......2004-12-23

LOVE FROM JUDY, based on Jean Webster's novel 'Daddy Long Legs', is pure vintage Hugh Martin. The show never made it to Broadway, instead enjoying a sold-out London season and an extensive provincial tour.

Jean Carson played Jerusha Abbott, an orphan at the John Grier Home who is mysteriously supported by a never-named benefactor. June Whitfield, Johnny Brandon, Adelaide Hall and Bill O'Connor round out the strong leading cast. Barbara Windsor played one of the orphans (for some interesting backstage reminisces about LOVE FROM JUDY check out Barbara Windsor's autobiography 'All of Me').

The Hugh Martin-Jack Gray score is quite lovely from what is featured on this disc (the recordings were originally designed to fit 4 sides of a set of 78's). LOVE FROM JUDY runs a scant 20 minutes, so the disc has been filled out with extensive bonus material.

We get Jean Carson singing "A Kiss to Build a Dream On", "Hug Me a Hug" and "Barrels and Barrels of Roses" (on the 2 former tracks she's joined by her then-husband Bill Lowe); Johnny Brandon singing 5 numbers including his mega-hit "Glow Worm"; and Adelaide Hall singing 2 great numbers. June Whitfield sings 5 numbers including two songs from GENTLEMEN PREFER BLONDES!

There are also selections from the Frank Loesser score of HANS CHRISTIAN ANDERSEN; and a full-cast presentation of numbers from Disney's PETER PAN (both feature Jean Carson and Johnny Brandon).

Average customer rating:

Surprisingly Good
One of the best "Jello Biafa and..." discs
Best Since DK?
not so good
Entertaining

Never Breathe What You Can't See
Jello Biafra , and The Melvins
Manufacturer: Alternative Tentacle
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

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

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Houdini

ASIN: B0002VES3M
Release Date: 2004-10-19

Tracks:

Plethysmograph
McGruff the Crime Dog
Yuppie Cadillac
Islamic Bomb
The Lighter Side of Global Terrorism
Caped Crusader
Enchanted Thoughtfist
Dawn of the Locusts

Customer Reviews:

Surprisingly Good.......2005-10-16

This album caught me by surprise. I've always liked Biafra's work, and had a bit of interest in the Melvins, but never expected something like this to work so well.

Both work really well together, the lyrics compliment the sound better than any of these collaborations (well, maybe besides his album with Mojo Nixon) they are hilarious, strange, and disturbing, and usually on target.

I just never really expected Biafra to be a part of another really great studio album.

One of the best "Jello Biafa and..." discs.......2005-07-02

First let me say, I've been a fan of Jello Biafra's music starting with the Dead Kennedys, loved most of his 'Jello Biafra and ...' one-off discs, and really dug most of Lard (being also a Ministry fan).

Jello Biafa and the Melvins' "Never Breath What You Can't See" is probably tied for my favorite 'Jello Biafa and...' disc, along with EP Jello Biafra and D.O.A.'s "Last Scream of the Missing Neighbors". I wasn't a huge Melvins fan (more due to lack of exposure to them than outright dislike) but after listening to "Never Breath...", I'll definitely be checking out more of their catalog. The combo of the Melvins and Jello on several songs evoke a bit of the Dead Kennedys best disc "Frankenchrist".

"Plethysmograph" has quickly become probably my favorite post-DK Jello song. . "Yuppie Caddillac" seems like an updated nod to the DK song "Winnebego Warrior". I also liked "McGruff..." and "Enchanted Thoughtfist". The other songs are pretty standard Jello rant tunes, but they rise above the stuff on the other 'Jello and...' discs because of the Melvins' playing.

My only real complaint - and its minor - is that the song topics focus a ~bit~ much on Islam/9-11 stuff, though its not too surprising given the times.

If you're a Jello fan, I highly recommend this disc.

Best Since DK?.......2005-03-11

I got turned on to DK in the late 80's, and never got to see them live, but they've always been my favorite punk band. I didn't get into Lard much, and lost touch with Biafra's output since then. I love the Melvyns, though, so I got this - it completely rocks.

It sounds more like Biafra's album than the Melvyns, but the Melvyn's are so muscular (Rutmanis on bass has been and continues to be a huge addition to the band) that they really bring the songs to a very high quality level, and Biafra's vocals are to Punk what Easy E's were to RAP.

Great album.

not so good.......2005-02-21

Melvins are rock stars and have been since the early 90s , alas they dont really have it anymore . Jello is well , a spoken word artist these days . This record here falls short of anything great . It is very generic and there is really nothing special here . Just stick with your old DK records or some of the post industrial stuff he did . As for the MELVINS go no further than BULLHEAD ,OZMA,or GLUEY PORCH TREEATMENTS .

Entertaining.......2005-01-25

Being a huge fan I'm a little bit bias, I was looking for some spoken word. Never the less I did enjoy it.

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

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Siegfried (Goodall Ring Cycle/Chandos Opera in English)
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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.

Music Review:

Music Review

Music Review

1. Can't You See What Drugs Are Doing
2. I Have a Friend
3. At the Foot of the Cross
4. Lord Do It for M
5. It Will Be Alright
6. I'm Just Praising the Lord
7. He Just Put Himself in My Place
8. Keep on Moving