Fall Awake [CD-single]

Track Listings

1. Fall Awake

2. Fall Awake - Virtual Server Mix

3. Little Drummer Boy

4. Fall Awake - Delobbo Slika Mix

5. Fall Awake - Catcher in the Rye Mix

6. Little Drummer Boy - Dance Mix

7. Fall Awake - Autumnal Mix

8. Little Drummer Boy - Little Gothgirl Mix

9. Jupiter

10. Jupiter - Run Level Zero Mix

11. Jupiter - DJ Introvert Mix

Editorial Reviews
Album Description
The Echoing Green presents the exciting CD single for "Fall Awake" which features many remixes that present the song in different ways, including thumping club mixes. Plus, the band does a fun cover version of the Christmas classic "Little Drummer Boy". As an additional bonus, this CD single also features a guest appearance by the band Leiahdorus (co-produced by Joey B. of The Echoing Green) with exclusive new versions of the song "Jupiter" from the band's "Ashes Ashes" album.

Tracks:

Act I: Prld - English Nat Opr Orch/Reginald Goodall
Act I, Scene 1: The Storm Drove Me Here - Alberto Remedios/Margaret Curphey
Act I, Scene 1: This House And This Wife - Margaret Curphey/Alberto Remedios
Act I, Scene 1: Evil Fortune's Never Far From Me - Alberto Remedios/Margaret Curphey
Act I, Scene 2: There He Lay, Feeble And Faint - Margaret Curphey/Clifford Grant/Alberto Remedios
Act I, Scene 2: Through Field And Forest - Alberto Remedios/Clifford Grant/Margaret Curphey
Act I, Scene 2: Friedmund No One Could Call Me - Alberto Remedios/Clifford Grant/Margaret Curphey
Act I, Scene 2: The Neidings Raided Again - Alberto Remedios
Act I, Scene 2: So The Norn Who Dealt You This Fate - Clifford Grant/Margaret Curphey/Alberto Remedios
Act I, Scene 2: I Know A Troublesome Race - Clifford Grant
Act I, Scene 3: A Sword Was Pledged By My Father - Alberto Remedios
Act I, Scene 3: Are You Awake? - Margaret Curphey/Alberto Remedios
Act I, Scene 3: My Husband's Kinsmen - Margaret Curphey
Act I, Scene 3: Yes, Loveliest Bride - Alberto Remedios/Margaret Curphey
Act I, Scene 3: Winter Storms Have Vanished (Siegmund's Spring Song) - Alberto Remedios
Act I, Scene 3: You Are The Spring - Margaret Curphey
Act I, Scene 3: Oh Sweetest Enchantment - Alberto Remedios/Margaret Curphey
Act I, Scene 3: The Stream Has Shown My Reflected Face - Margaret Curphey/Alberto Remedios
Act I, Scene 3: Siegmund Call Me, And Siegmund Am I! - Alberto Remedios
Act I, Scene 3: Siegmund, The Walsung, Here You See! - Alberto Remedios/Margaret Curphey

Tracks:

Act II, Scene 1: Go Bridle Your Horse, Warrior Maid! - Norman Bailey
Act II, Scene 1: Hoyotoho! Hoyotoho! (Brunnhilde's Battle Cry) - Rita Hunter
Act II, Scene 1: The Usual Storm, The Usual Strife - Norman Bailey/Ann Howard
Act II, Scene 1: Pretend That You Don't Understand! - Ann Howard/Norman Bailey
Act II, Scene 1: Now It's Come To Pass! - Norman Bailey
Act II, Scene 1: So This Is The End Of The Gods And Their Glory - Ann Howard
Act II, Scene 1: You Never Learn What I Would Teach You - Norman Bailey/Ann Howard
Act II, Scene 1: What Must I Do? - Norman Bailey/Ann Howard
Act II, Scene 1: Hiaha! Hiaha! Hoyotoho! - Rita Hunter/Ann Howard/Norman Bailey
Act II, Scene 2: Fricka Has Won The Fight - Rita Hunter/Norman Bailey
Act II, Scene 2: When Youth's Delightful Pleasures Had Waned - Norman Bailey
Act II, Scene 2: She Refused To Reveal More About It - Norman Bailey/Rita Hunter
Act II, Scene 2: There's More To Tell - Norman Bailey
Act II, Scene 2: Yet One Can Accomplish What I May Not - Norman Bailey
Act II, Scene 2: But The Walsung, Siegmund - Rita Hunter/Norman Bailey
Act II, Scene 2: Then Siegmund Must Fall In His Fight? - Rita Hunter/Norman Bailey
Act II, Scene 2: I Give You My Blessing, Nibelung Son! - Norman Bailey/Rita Hunter
Act II, Scene 2: No, Have Mercy - Rita Hunter/Norman Bailey

Tracks:

Act II, Scene 2: So I Obey His Command - Rita Hunter
Act II, Scene 3: Rest Here For A While; Stay By My Side! - Alberto Remedios/Margaret Curphey
Act II, Scene 3: Away! Away! - Margaret Curphey/Alberto Remedios
Act II, Scene 3: Where Are You, Siegmund? - Margaret Curphey/Alberto Remedios
Act II, Scene 4: Siegmund! Look At Me! (Announcement Of Death) - Rita Hunter/Alberto Remedios
Act II, Scene 4: And If I Come - Alberto Remedios/Rita Hunter
Act II, Scene 4: Then Greet For Me Walhall - Alberto Remedios/Rita Hunter
Act II, Scene 4: Woe! Woe! Sister And Bride - Alberto Remedios/Rita Hunter
Act II, Scene 4: Two Lives Now Lie In Your Power - Alberto Remedios/Rita Hunter
Act II, Scene 5: Charms Of Sleep Are Sent To Still - Alberto Remedios
Act II, Scene 5: I Hear Your Call - Alberto Remedios/Margaret Curphey
Act II, Scene 5: Wehwalt! Wehwalt! - Clifford Grant/Alberto Remedios/Margaret Curphey/Rita Hunter/Norman Bailey

Tracks:

Act III, Scene 1: Hoyotoho! Hoyotoho! (Ride Of The Valkyries) - Katie Clark/Anne Evans/Elizabeth Connell/Helen Attfield/Shelagh Squires/Anne Conoley
Act III, Scene 1: Shield Me And Help - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
Act III, Scene 1: Hear While I Tell You - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
Act III, Scene 1: Pray Suffer No Sorrow For Me - Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne...
Act III, Scene 1: Fly Him Swiftly, Away To The East! - Rita Hunter
Act III, Scene 1: O Radiant Wonder! (Parting Salute) - Margaret Curphey
Act III, Scene 1: Stay, Brunnhild! - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Where Is Brunnhild? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Weak-Spirited, Womanish Brood! - Norman Bailey
Act III, Scene 2: Here I Am, Father - Rita Hunter/Norman Bailey
Act III, Scene 2: No More Will You Ride From Walhall - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Did You Not Hear What I Decreed? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 3: Was It So Shameful - Rita Hunter/Norman Bailey
Act III, Scene 3: I Know So Little - Rita Hunter/Norman Bailey
Act III, Scene 3: You, Who This Love Into My Heart Revealed - Rita Hunter/Norman Bailey
Act III, Scene 3: You Indulged Your Love - Norman Bailey
Act III, Scene 3: Unworthy Of You This Foolish Maid - Rita Hunter/Norman Bailey
Act III, Scene 3: You Fathered A Glorious Race - Rita Hunter/Norman Bailey
Act III, Scene 3: In Long, Deep Sleep - Norman Bailey/Rita Hunter
Act III, Scene 3: Farewell, My Valiant, Glorious Child! (Wotan's Farewell) - Norman Bailey
Act III, Scene 3: These Eyes So Warm And So Bright - Norman Bailey
Act III, Scene 3: Loge, Hear! Come At My Call! - Norman Bailey
Act III, Scene 3: Magic Fire Music - Norman Bailey

Customer Reviews:

"The death-doomed alone are destined to look on me.".......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 Rhinegold (Part 1): Wagner: The Rhinegold
-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

Breathtaking, powerful, accessible, not just an alternative.......2005-05-03

This is one of three Walkure's in my collection: the very underrated Leinsdorf, the thrilling Boehm and this one with Goodall. I believe Goodall is right up there with the best of them. Remedios, Hunter and Bailey sing beautifully and with sufficient drama. I'll go out on a musical limb and say I believe Bailey is one of the finest Wotan's on disc. Many will disagree but I think he has the measure of the role, the power to pull it off and a burnished timber that never becomes coarse under powerful climaxes... Remedios may well be the star of the trilogy along with Hunter and Bailey. His Siegmund is beautifully sung and his Siegfried by the way, is no mean stint either. Would that we had tenors that could sing Siegfried without sounding stretched beyond their limits. I am continually puzzled by the bad reviews that the orchestra playing receives from ARG, Classics Today and a few others. The ENO is not a Concertgebouw or Vienna Philharmonic but I think they play beautifully, a few clinkers notwithstanding. For a live show, they do a pretty d..... good job. THe sound from both orchestra and singers is exceptionally fine. This set belong in your collection if you like Wagner and, Die Walkure, in particular. If I had been at the performance in the 1970's I would have come home very happy, satisfied and richer for the experience.

Absolutely Breathtaking!.......2002-09-13

I had long cringed at the thought of this magnificant masterpiece recorded in English. Even after reading several rave reviews on this cylce that I've read by authoritive Wagnerites and critics, I was still skeptical. Finally, I decided to add Goodall's 'Ring' as my third complete cycle (after Solti & Bohm) for one reason: because it was in English and I felt it would enhance my understand of 'The Ring.' In fact, after achieving that "higher understanding" I was planning on selling this set on Ebay. That was, of course, before I heard this magnificant recording.

During the course of my research on 'The Goodall Ring' most of the praised seemed to heighten around 'Siegfried,' which is my absolute favorite of the cycle. That also helped to seal the deal. As the critics said, 'Siegfried' under Goodall is excellent, but not as monumental as Solti's reading, which IMHO is the greatest recording of 'Siegfried.'

The set that stands out, to me, in 'The Goodall Ring' is this recording; The Valkyrie. It is absolutely breathtaking. Not only is it my favorite of this set, it is my favorite Valkyrie recording period (I am very familiar with Boehm's, Solti's, Karajan's, Furthwanglers, Levines, and others). Alberto Remedios (Siegmund here and Siegfried in the last two operas) is truly magnificant. It is the best Siegmund I have heard on disc (and his Siegfried rivals Windgassen). Coupled with Margaret Curphey (Sieglinde), you get the most beautiful and moving duo I have heard on record. The duet in Act I is simply glorious. You also get the bonus of Norman Bailey's triumphant Wotan (and Wanderer too). He has such command and prescene. He sounds like a God. Throw in Rita Hunter, who holds her own as Brunnhilde, Goodall's miraculous conducting, and excellent playing by the orchestra and it all adds up to a stunning recording.

I can only say that in a way it's a shame this set is in English. Were it not, I believe Goodall's 'Ring' would be one of the most talked about, popular, and sought after complete recordings of the cycle. I can only say that I am so happy that I finally opened up to opera recorded in a different language than written.

I have fallen completely in love with Goodall's entire cycle. And, I have fallen in love with 'The Ring' all over again.

A powerful reading of the most moving opera in the Ring........2001-08-30

This performance of *Die Valkure,* the second and most popular opera in Wagner's Ring Cycle, is musically splendid. Its special significance, however, is that it is sung in English. An English performance of the Ring is perhaps more important than that of any other opera(s), because Wagner's libretti are suffused with his ideas about society, fate, justice, and love. Even if (at times) you need to read along to understand what the singers are saying, *hearing* the lyrics in English is truly stirring in a way that performances in your non-native language cannot match.
A particular stand-out on this recording is the Wotan. His timbre, diction, and delivery perfectly embody the troubled god who tries desperately, and in vain, to keep the world under his control. His angst and wrath are utterly convincing.

The power of Wagner's music drama is now fully accessible.......2001-01-30

I have never been a fan of opera in translation, but I must say that Andrew Porter's rendering of The Ring in English is amazing. He uses modern, not archaic, English, and the word choice is so very earthy and Germanic that the noble yet somewhat severe atmosphere of the Teutonic myths is conveyed perfectly. The sound, in other words, is an elegantly Germanic, and totally appropriate for the music and the Story it tells. It is not true that you can't understand the English anyway, because you can understand if you care to pay any attention at all. The translation is lucid, and so it the marvelous singing that conveys it.

Goodall's sense of music drama is lush, and takes some getting used to after the crash-and-burn Solti set, but after a time or two it seems just right. Goodall is not always slower than the rest, either; for example, the famous Ride of the Valkyries that begins Act III is quicker than Solti's surprisingly slow and heavy account. It is the most exciting that I have heard--and I have heard quite a few--but it is not so fast that the power is lost in favor of urgency.

This is not an urgent Die Walkure, and it is all the better for it. Goodall takes the time to actually tell the story, and is sensitive to the drama's needs over what could be called convention. For example, Wotan's Farewell doesn't thunder out after Brunnhilde's final declamation, like in so many recordings; rather, Goodall's interpretation is more dreamy, mysterious, and appropriately trance-like, in keeping with the action on stage.

Tracks:

Treasures From My Minde: Come Again: Sweet Love Doth Now Invite
Treasures From My Minde: Goe Nightly Cares, The Enemy To Rest
Treasures From My Minde: Pavan: La mia Barbara
Treasures From My Minde: If My Complaints Could Passions Move
Treasures From My Minde: Awake, Sweet Love, Thou Art Returnd
Treasures From My Minde: From Silent Night, True Register Of Moanes
Treasures From My Minde: The Earle Of Essex Galiard
Treasures From My Minde: M. Buctons Galiard
Treasures From My Minde: M. Thomas Collier His Galiard With 2 Trebles
Treasures From My Minde: In Darknesse Let Mee Dwell
Treasures From My Minde: Flow My Teares Fall From Your Springs
Treasures From My Minde: The Frog Galiard
Treasures From My Minde: Captaine Digorie Piper His Galiard
Treasures From My Minde: Come Away, Come Sweet Love
Treasures From My Minde: Lord Strangs March
Treasures From My Minde: Fine Knacks For Ladies
Treasures From My Minde: Mistresse Nichols Almand
Treasures From My Minde: Lasso vita mia, mi fa morire
Treasures From My Minde: Sorrow Sorrow Stay, Lend True Repentant Teares
Treasures From My Minde: Fantasie
Treasures From My Minde: Time Stands Still

Customer Reviews:

Disappointing, with such talent on show........2005-05-10

The performances are generally not very inspiring. Catherine King is usually smooth on the ear, but here, her exaggerated use of period English accent is annoying and distracting.
The recorded sound is also overly bright for my taste.
In all, there are perhaps three tracks on this disc I would enjoy hearing again. The rest are well below expectations.

So So.......2003-12-24

This is a selection of some of Dowland's most famous pieces performed in appropriate Renaissance style. Unfortunately, the quality of the performances is mixed. Some pieces are performed very well, others not. The singer on this CD, Catherine King, is inconsistent. In some songs, like "Come again, sweet love..." she is good. In others, her diction and phrasing is suspect. I may also be put off by her apparently strong Scots accent. Choice of tempi in several pieces is poor. A couple of Dowland's most famous songs are represented by instrumental versions, which are nice, but pale compared with the actual songs.

Awake, sweet love... Songs and lute solos by John Dowland and his contemporaries / Bowman · Miller · The King's Consort

Average customer rating:

Awake, sweet love... Songs and lute solos by John Dowland and his contemporaries / Bowman · Miller · The King's Consort
John Dowland , Thomas Campion , Thomas Ford , Anonymous , Edward [composer] Johnson , John Danyel , Alfonso (i) Ferrabosco , William Hunnis , James Bowman , David Miller , The King's Consort , and Richard Boothby, William Hunt, Mark Caudle Wendy Gillespie
Manufacturer: Hyperion
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music
ASIN: B000002ZOC
Release Date: 1993-11-18

Tracks:

Can She Excuse My Wrongs?
Author of Light
Flow My Tears
A Fancy
Come, Tread the Paths
Since First I Saw Your Face
Sorrow, Stay
The Most Sacred Queen Elizabeth, Her Galliard
Eliza is the Fairest Queen
Eyes, Look No More
Oft Have I Sighed
Go Nightly Cares
Pavin
Thou Pretty Bird How Do I See
In Terrors Trapp'd
Now, O Now, I Needs Must Part
Preludium
A Fantasie
Say Love if Ever Thou Didst Find
I Die Whenas I Do Not See
The Frog Galliard
Awake, Sweet Love, Thou Art Returned
Tell Me, True Love

Average customer rating:

Dowland: Ayres

Manufacturer: Astree
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
ASIN: B0001HZ6OM
Release Date: 2004-05-18

Album Description

Dowland's penchant for gloomy subjects was well-known - his most representative piece is the pavane Lachrimae - but this exceptionally rich and varied program also shows him at ease with humor, amorous dalliance, virile and extrovert dance music. This recording features the countertenor Gérard Lesne, who was last heard on Naïve's "O Solitude,"a collection of songs by Purcell.

Average customer rating:

Fall Awake in Your Dreams Tonight

ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | Pop | Styles | Music
ASIN: B000EOK3RM

Average customer rating:

When I Fall Awake
Will Colliver
Manufacturer: Archet Music
ProductGroup: Music
Binding: Audio CD

General | Folk | Styles | Music
ASIN: B000CAG1ZQ
Release Date: 2005-10-11

Average customer rating:

Deller forever!

Dowland: Airs & Partsongs

Manufacturer: Vanguard Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
ASIN: B00000HZTX
Release Date: 1999-01-26

Tracks:

First Book Of Airs: Wilt Thou, Unkind, Thus Reave Me?
First Book Of Airs: Awake, Sweet Love
A Musical Banquet: In Darkness Let Me Dwell
Third Book Of Airs: Me, Me, And None But Me!
A Polgrim's Solace: Go, Nightly Cares
First Book Of Airs: If My Complaints Could Passions Move
First Book Of Airs: Sleep, Wayward Thoughts
Third Book Of Airs: Flow Not So Fast, Ye Fountains
First Book Of Airs: Come Again! Sweet Love Doth Now Invite
Second Book Of Airs: Sorrow, Stay
Variety Of Lute Lessons: Queen Elizabeth's Galliard
If That A Sinner's Sigh
Second Book Of Airs: Fine Knacks For Ladies
Second Book Of Airs: Flow, My Tears
First Book Of Airs: Can She Excuse My Wrongs?

Customer Reviews:

Deller forever!.......1999-09-27

The Deller Consort has long been a favorite among lovers of Medieval, Renaissance, and Restoration vocal music, and when it comes to Elizabethan music, no name is more prominent than that of John Dowland, whose "Airs & Partsongs" are now available under the title of Awake Sweet Love [bold] on Vanguard Classics OVC 8112. Here are superlative renditions of 15 tracks of Dowland's vocal output (with a galliard thrown in: you saw two of them danced in the recent film "Elizabeth") sung by the Deller Consort and Alfred Deller himself as soloist. This is not the bawdy, backstreet songs featured on some other recordings but the heightened "art" songs demanded by the court and by the noble houses of the time. The very titles say it all" "Wilt though, unkind, thus leave m?" "In darkness let me dwell," "Flow my tears," and so on. Beautiful as music, fascinating as a look into the past.

Handel Arias for Cuzzoni, Durastanti, Senesino & Montagnana / Saffer · Hunt-Lieberson · Minter · Thomas · PBO · McGegan

Average customer rating:

Do not miss it!
A must-have for Handelians

Handel Arias for Cuzzoni, Durastanti, Senesino & Montagnana / Saffer · Hunt-Lieberson · Minter · Thomas · PBO · McGegan
George Frideric Handel , Nicolas McGegan , Philharmonia Baroque Orchestra , Lisa Saffer , Lorraine Hunt , Drew Minter , and David Thomas
Manufacturer: Harmonia Mundi
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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

General | Soundtracks | Styles | Music

Classical | Box Sets | Stores | Music

Classical | Imports | Stores | Music

Opera & Vocal | Imports | Stores | Music

Tracks:

Arias For Cuzzoni: Spietati, io vi giurai (Rodelinda II, 3)
Arias For Cuzzoni: Ombre, piante, urne funeste! (Rodelinda I, 7)
Arias For Cuzzoni: Il volo cosi fido (Riccardo Primo III, 8)
Arias For Cuzzoni: Accomp.: Che sento? - Aria: Se pieta (Guilio Cesare II, 8)
Arias For Cuzzoni: Recit.: E pur cosi - Aria: Piangero (Guilio Cesare III, 3)
Arias For Cuzzoni: Da tempeste il legno infranto (Guilio Cesare III, 6)
Arias For Cuzzoni: Scoglio d'immota fronte (Scipione II, 8)
Arias For Cuzzoni: Recit.: E tale Otton? - Aria: Falsa immagine (Ottone I, 3)
Arias For Cuzzoni: Recit.: Guinge Otton? - Aria: Affanni del pensier (Ottone I, 10)
Arias For Cuzzoni: Recit.: Serve Asteria - Aria: Se non mi vuol amar (Tamerlano I, 5)
Arias For Cuzzoni: L'Amor che per te sento (Alessandro III, 4)
Arias For Cuzzoni: Recit.: Chi mai l'intende - Aria: Amante stravagante (Flavio I, 13)

Tracks:

Arias For Durastanti: Recit.: Favorevol la sorte - Aria: Ogni vento (Agrippina II, 20)
Arias For Durastanti: Pensieri, voi mi tomentate (Agrippina II, 13)
Arias For Durastanti: Ombra cara di mia sposa (Radamisto II, 2)
Arias For Durastanti: Recit.: Oh Dio! parte Zenobia - Aria: Qual nave (Radamisto III, 1)
Arias For Durastanti: Accopm.: Io d'altro regno - Aria: Dimmi, crudele Amore (Muzio Scevola III, 3)
Arias For Durastanti: Recit.: Ben a raggion - Aria: Vieni, o figlio (Ottone II, 4)
Arias For Durastanti: Recit.: Vani sono i lamenti - Aria: Svegliatevi nel core (Guilio Cesare I, 4))
Arias For Durastanti: Cara speme (Guilio Cesare I, 8)
Arias For Durastanti: Recit.: Figlio non e - Aria: L'angue offenso mai riposa (Guilio Cesare II, 6)
Arias For Durastanti: L'aure che spira (Guilio Cesare II, 11)
Arias For Durastanti: La giustizia (Guilio Cesare III, 5)
Arias For Durastanti: Mirami altero in volto (Arianna I, 2)
Arias For Durastanti: Qual leon (Arianna II, 6)

Tracks:

Arias For Senesino: Va tacito (Guilio Cesare I, 9)
Arias For Senesino: Non e si vago e bello (Guilio Cesare I, 7)
Arias For Senesino: Vivi, tiranno (Rodelinda III, 4)
Arias For Senesino: Recit.: Che piu si tarda omai - Accomp.: Inumano fratel - Aria: Stille amare (Tolomeo III, 6)
Arias For Senesino: Recit.: Nube, che il Sole - Aria: Si fugge il duol (Riccardo Primo II, 7)
Arias For Senesino: Agitato da fiere tempeste (Riccardo Primo I, 6)
Arias For Senesino: Accomp.: Ah! stigie larve - Arioso: Gia latra Cerbero - Accomp.: Ma la furia - Aria: Vaghe pupille (Orlando II, 11)
Arias For Senesino: Accomp.: Gia per la man - Arioso: Gia l'ebro mio ciglio (Orlando III, 8)
Arias For Senesino: Recit.: T'ubbidiro, crudele - Aria: Fammi combattere (Orlando I, 9)
Arias For Senesino: Recit.: E questa la Mercede - Aria: Cielo! (Orlando II, 3)
Arias For Senesino: Amor, nel mio penar (Flavio III, 4)

Tracks:

Arias For Montagnana: Recit.: Perche tanto tormento? - Aria: Se un bell'ardire (Ezio I, 6)
Arias For Montagnana: Accomp.: Folle e colui - Aria: Nasce al bosco Ezio II, 8)
Arias For Montagnana: Recit.: Che indegno! - Aria: Giisonar (Ezio III, 13)
Arias For Montagnana: Recit.: Addio, principe scrupoloso - Aria: Fra l'ombre e gli orrori (Sosarme I, 5)
Arias For Montagnana: Recit.: Quanto piu Melo - Aria: Sento il cor (Sosarme II, 7)
Arias For Montagnana: Recit.: Tanto s'eseguira - Aria: Tiene Giove (Sosarme II, 9)
Arias For Montagnana: Recit.: I'll Hear No More - Aria: Pluck Root And Branch (Esther I, 3)
Arias For Montagnana: Turn Not, O Queen (Esther II, 6)
Arias For Montagnana: How Art Thou Fall'n (Esther III, 6)
Arias For Montagnana: Recit.: Avampo - Aria: Ferito son d'Amore (Acis & Galatea Second Part)
Arias For Montagnana: Piangi pur (Tolomeo II, 7)
Arias For Montagnana: Recit.: Mira, e prendi l'esempio - Aria: Lascia Amor (Orlando I, 2)
Arias For Montagnana: Recit.: Impari ognun da Orlando - Accomp.: Accomp.: O voi del mio poter - Aria: Sorge infausta una procella (Orlando III, 6)
Arias For Montagnana: Recit.: Barak, My Son - Aria: Awake The Ardour (Deborah I, 3)
Arias For Montagnana: Recit.: Thy Ardours Warm - Aria: Swift Inundation (Deborah II, 2)
Arias For Montagnana: Tears, Such As Tender Fathers Shed (Deborah III, 2)
Arias For Montagnana: Ah, Canst Thou But Prove Me! (Athalia II, 1)

Customer Reviews:

Do not miss it!.......2004-12-20

As some really interesting McGegan recordings silently disappear, buy it NOW, without hesitation.

The concept is lavish. We see how Handel's pen was controlled by the artists' personality. David Thomas, e.g., flies down to the abyss opened by Handel's music to the possibly plutonian Montagnana -nobody, never could sing it better, "fly deeper". The ladies are lecherously "aviatic" to the opposite direction. Those who miss it miss a universe.

A must-have for Handelians.......2004-08-04

This bargain-priced box set is a must-have for anyone who loves Handel's operas. Whilst Nicholas McGegan has had his critics over some of his Goettingen recordings, it cannot be denied that he has rescued some of Handel's finest arias and operas from the dustbin of History. And here (87 arias later), he has a fine cast of singers all re-living the repertoire of some of the best singers of the 18th century - Lisa Saffer sings arias by Cuzzoni, Drew Minter arias by Senesino, David Thomas arias for Montagnana, and Lorraine Hunt Lieberson arias by Durastanti.

The excellent Philharmonia Baroque Orchestra provide superb accompaniment for each singer, and the sound quality is very good across all four discs. The whole comes with a very informative and exhaustive booklet containing introductory essays for each singer, as well as full libretti.

Highlights include Lisa Saffer's ravishing account of Falsa Imagine (Ottone) which Cuzzoni allegedly refused to sing as it was too plain - until Handel threatened to throw her out of the window..! Lorraine Hunt's re-enaction of Durastanti's Sesto role from Giulio Cesare sees a committed 'L'angue offenso mai riposa'. Drew Minter's coppery and languid countertenor gives delight in little-known arias from Riccardo Primo (Agitato da fiere tempeste) and Tolomeo (Stille Amare). Whilst David Thomas' cavernous bass voice ranges across opera and oratorio roles for Montagnana.

In all this is a superb collection that illustrates what a genius Handel was at characterisation and word-painting. No Handel lover will want to miss it.

Average customer rating:

Awesome Remixes!
Killer original songs; decent remixes
It's business as usual.

Fall Awake
The Echoing Green
Manufacturer: A Different Drum
ProductGroup: Music
Binding: Audio CD

General | Christian & Gospel | Styles | Music

Christian Contemporary Music | Christian & Gospel | Styles | Music

Electronica | Dance & DJ | Styles | Music

Dance Pop | Dance & DJ | Indie Music | Stores | Music

Electronica | Dance & DJ | Indie Music | Stores | Music
ASIN: B00008AACB
Release Date: 2003-01-15

Tracks:

Fall Awake
Fall Awake - Virtual Server Mix
Little Drummer Boy
Fall Awake - Delobbo Slika Mix
Fall Awake - Catcher in the Rye Mix
Little Drummer Boy - Dance Mix
Fall Awake - Autumnal Mix
Little Drummer Boy - Little Gothgirl Mix
Jupiter
Jupiter - Run Level Zero Mix
Jupiter - DJ Introvert Mix

Album Description

The Echoing Green presents the exciting CD single for "Fall Awake" which features many remixes that present the song in different ways, including thumping club mixes. Plus, the band does a fun cover version of the Christmas classic "Little Drummer Boy". As an additional bonus, this CD single also features a guest appearance by the band Leiahdorus (co-produced by Joey B. of The Echoing Green) with exclusive new versions of the song "Jupiter" from the band's "Ashes Ashes" album.

Customer Reviews:

Awesome Remixes!.......2006-02-21

When I bought this I really loved it.
I learned to love "Fall Awake" most of all the remixes of it.
I also enjoyed how they placed a song by another band and 2 other remixes The Echoing Green helped with at the end - It made me get interested in that band a little more as well.
Overall, it's a nice CD for Echoing Green fans and people who really enjoy remixes of songs. It's also great a cd for Techno fans.

Killer original songs; decent remixes.......2003-08-19

As would be expected from the first follow-on to The Echoing Green's album Music From The Ocean Picture, "Fall Awake" has the poetic lyrics of "Goodbye" (one of the best tracks on MFTOP), but with a powerful vibe that is at turns melancholy, defiant and triumphant. Lyrically, I honestly think it might take top honors for any EG song ever. It's so melancholy in the verses, painting a picture of someone who is loved and cared about slipping away, and in that sense it reminds me a little of "She's Gone Tragic" (another MFTOP hit). But where "SGT" stays dark, and without a lot of hope - there's a "glimmer" at the end, but only just that - "Fall Awake" says "I care too much about you to let this happen. I'm going to fight this, I'm going to do whatever it takes. You have to make a choice, but if you're willing, I'm right there beside you." The depth of the commitment is plain - even though the recurring theme is that it's almost certainly a lost cause, that doesn't matter. For that reason, it's a super, super powerful song to me.

Musically, "Fall Awake" takes the layering, building progression that is the strongest feature of "Supernova" and gives it a bite that stops just short of "Liberation" while staying clear of the traditional synthpop sound - which is a good thing. The dominance of the electronic sound is clear throughout but the chorus adds some distorted crunch as counterpoint - yet from the first pulsing beat to the ethereal harmonic line to the grinding layers of the chorus, it all works amazingly well and alternately makes me close my eyes as I'm overwhelmed with emotion, and then pump my fist at the ceiling in determination.

In short, buy this for "Fall Awake", the excellent version of "Little Drummer Boy" and the bonus Leiahdorus track "Jupiter". I knock off one star for some dubious remixes of all of the above tracks, but a couple of them are quite good and the original versions make it absolutely worth the price.

It's business as usual........2003-07-19

I was an avid fan of The Echoing Green in 1998, and instantly fell in love with his cover of Men Without Hats' "Safety Dance." I appreciate The Echoing Green's message and I like Joey's treatment of the Gospel. The music, however, leaves me wanting more. They had a refreshing sound in '98 but sadly it hasn't grown up much in the following years. This single only serves to remind me that even a good thing can be compromised by the passage of time, if it's not carfully nurtured. Such was the case with "Supernova" and now again with "Fall Awake." On the flip side, though, the "Evergreen Collection" was satisfying in its slight reinvention of The Green, and I still maintain hope that they will once again deliver something unexpected.

Music Review:

Music Review

Music Review

1. Fall Awake
2. Fall Awake - Virtual Server Mix
3. Little Drummer Boy
4. Fall Awake - Delobbo Slika Mix
5. Fall Awake - Catcher in the Rye Mix
6. Little Drummer Boy - Dance Mix
7. Fall Awake - Autumnal Mix
8. Little Drummer Boy - Little Gothgirl Mix
9. Jupiter
10. Jupiter - Run Level Zero Mix
11. Jupiter - DJ Introvert Mix