Take It Back [CD-single]

Track Listings

1. Take It Back [Album Version]

2. Astronomy Domine [Live]

3. Take It Back [Edit]

Tracks:

Zulu
From Russia With Love
From Russia With Love - 007
Goldfinger
The Ipcress File
The Knack
Mister Moses
Thunderball
The Wrong Box
Born Free
The Quiller Memorandum
You Only Live Twice
The Girl With The Sun In Her Hair
Deadfall

Tracks:

The Lion In Winter
On Her Majesty's Secret Service
On Her Majesty's Secret Service
Midnight Cowboy
Midnight Cowboy
The Appointment
The Last Valley
Walkabout
Monte Walsh
Diamonds Are Forever
The Persuaders
Mary Queen Of Scots
The Man With The Golden Gun
The Dove

Tracks:

The Tamarind Seed
King Kong
Eleanor And Franklin
Robin And Marian
The Deep
Hanover Street
The Black Hole
Moonraker
Somewhere In Time
Raise The Titanic
Body Heat
Frances
Octopussy
The Cotton Club

Tracks:

High Road To China
A View To A Kill
Out Of Africa
The Living Daylights
Dances With Wolves
Dances With Wolves
Chaplin
Moviola
Indecent Proposal
The Specialist
The Scarlet Letter
Cry The Beloved Country
Mercury Rising
The James Bond Theme

Customer Reviews:

The City of Prague Philharmonic Orchestra needs a guitar player!.......2006-11-09

Granted, they only need it for one composition (the last one, "The James Bond Theme") but still, without the guitar it's just not the same. Barry didn't compose this one so I suppose it was a bonus and I shouldn't complain, really. The rest of the music on all the CDs is fantastic. Some of the stuff I had heard before without realizing who had composed it. Very enjoyable, to say the least.

Persuaders Theme!.......2006-03-02

Buy it for the Persuaders theme, probably the best TV theme song ever written.

A Variety Of Classics!.......2005-12-06

John Barry has been composing film scores for over forty years and this is only scratching the surface of his productions. Never mind that the entire set is recorded by the Prague Philharmonic; it's pure to Barry's themes. While John Williams compositions ("Star Wars", etc.) are wild and flamboyant and Jerry Goldsmith's (Hoosier's, etc.) are mood pieces, John Barry crosses over all barriers and is amazingly diverse. Barry has recorded most of the exciting James Bond themes, melodramatic classics like "The Lion In Winter' and moody theme hits like "Midnight Cowboy". He also tugs at the heartstrings with compositions from, "Somewhere In Time", "Frances" and "Out Of Africa". He varies his themes for all types of films and few composers capture it so well.

There is over four hours of music in this set with a colorful and informative booklet.

Incredible Barry Collection.......2004-03-11

Any fan of movies will absolutley love this collection. Being a movie buff I couldn't wait to get this boxed set. Knowing Barry from all the James Bond movies, I did not realize his involvement with so many others. The orchestra is magnificent in all these themes. I'm listening to "High Road to China" right now and I'm drifting in the clouds in a Tiger Moth with Tom Selleck and Bess Armstrong. If you are familiar with a movie it will definitely have you seeing it again, if not the scores are still beautiful. Any fan of classical music will be pleased as well. Travellers will defintitely enjoy it for a long drive. I know from when I use to travel that music like this made the miles float by faster. I highly recommend these four CDs even if you just know a handful of the songs.

" one of cinema's greatest composers...John Barry".......2001-07-06

This collection of four compact discs...are worth their weight in GOLD! Barry creates visual moods for each film he scores...romantic, sentimental, action, adventure, suspense and mystery...the list could go on. Strings, brass and lush-velvet arrangements overlay each cue in his distinctive style of legendary scoring...we have ~ "John Barry:The Collection", Silva Screen's release traces 40 years of film music, featuring "The City Of Prague Philarmonic Orchestra" ~ conducted by Mr. Nic Raine (outstanding)..."Crouch End Festival Chorus" ~ David Temple, Choir Master...perform 56 selections, over four hours of symphonic suites with a full orchestra sound...all individually wrapped-up into one neat package...just the way "film-score-buffs" like 'em!

Must ask the following to take a bow ~ James Fitzpatrick (compilation producer), always in their pitching, Reynold da Silva (executive producer), Nic Raine (conductor, arranger, orchestrator & associate producer), a tremen!dous asset to every project he undertakes...and the man who made it all possible...a legendary icon always leading the way in film scoring ~ JOHN BARRY!

Total Time: 258:76 on 56 Tracks ~ SSD-1128 ~ (2001)

You might try other albums from Silva Screen, all worthy of a good listen ~ "The Essential James Bond" (SSD-1034)..."Bond:Back In Action" (SSD-1100)..."Bond:Back In Action 2" (SSD-1119)..."Zulu" (SSD-1095)..."Raise The Titanic" (SSD-1102)..."Walkabout" (SSD-1120)...check out my reviews on amazon.com/music.

Average customer rating:

I waited for this for five years
Excellent collection but BIG PUBLISHING MISTAKE!
ONE OF LLOYD WEBBER'S BEST COMPILATIONS, DESPITE A FEW FLAWS
SUCH MAGICAL MUSIC OF THE NIGHT!
A Must Have for Sir Andrew fans

Andrew Lloyd Webber: Now & Forever
Various Artists
Manufacturer: Decca Broadway
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Gold: The Definitive Hits Collection
The Very Best Of Andrew Lloyd Webber: The Broadway Collection
Evita (Original London Cast)
Andrew Lloyd Webber - The Royal Albert Hall Celebration
Andrew Lloyd Webber - Masterpiece (Collector's Edition) (Bonus CD)

ASIN: B00005R5UJ
Release Date: 2001-11-20

Tracks:

Jesus Christ Superstar: Overture - Andrew Lloyd Webber
Jesus Christ Superstar: Everything's Alright - Yvonne Elliman/Murray Head/Ian Gilllan
Jesus Christ Superstar: I Don't Know How To Love Him - Yvonne Elliman
Jesus Christ Superstar: Gethsemane (I Only Want To Say) - Steve Balsamo
Jesus Christ Superstar: Superstar - Murray Head
Evita: Oh What A Circus/Sing You Fools - Antonio Banderas
Evita: I'd Be Surprisingly Good For You - Elaine Paige/Joss Ackland
Evita: Another Suitcase In Another Hall - Barbara Dickson
Evita: Don't Cry For Me Argentina - Julie Covington
Evita: High Flying, Adored - Mandy Patinkin/Patti LuPone
Cats: The Jellicle Ball - Andrew Lloyd Weber
Cats: Memory - Elaine Paige
Cats: Gus: The Theatre Cat - Susan Jane Tanner/John Mills
Cats: Mr Mistoffelees - Paul Nicholas
Song And Dance: Take That Look Off Your Face - Marti Webb
Song And Dance: Tell Me On A Sunday - Marti Webb
Song And Dance: Unexpected Song - Sarah Brightman
Song And Dance: Nothing Like You've Ever Known - Sarah Brightman
Song And Dance: Introduction - Andrew Lloyd Webber
Song And Dance: Variations 1 -4 - Andrew Lloyd Webber

Tracks:

Starlight Express: Starlight Express - El Debarge
Starlight Express: Crazy - Greg Ellis/Reva Rice/Caron Cardelle/Samantha Lane/Voyd
Starlight Express: Next Time You Fall In Love - Reva Rice/Greg Ellis
Starlight Express: I Am The Starlight - Lon Satton/Ray Shell
Starlight Express: Light At The End Of The Tunnel - The Company
Requiem: Hosanna - Placido Domingo
Requiem: Pie jesu - Sarah Brightman/Paul Miles-Kingston
The Phantom Of The Opera: The Phantom Of The Opera - Michael Crawford/Sarah Brightman
The Phantom Of The Opera: The Music Of The Night - Michael Crawford
The Phantom Of The Opera: All I Ask Of You - Sarah Brightman/Steve Barton
The Phantom Of The Opera: Entr'acte - Andrew Lloyd Webber
The Phantom Of The Opera: Masquerade - The Company
The Phantom Of The Opera: Wishing You Were Somehow Here Again - Sarah Brightman
Aspects Of Love: Aspects Of Aspects - Orchester Der Vereinigten Buehnen Wien
Aspects Of Love: Love Changes Everything - Michael Ball
Aspects Of Love: Seeing Is Believing - Michael Ball/Ann Crumb
Aspects Of Love: The First Man You Remember - Kevin Colson/Diana Morrison
Aspects Of Love: Anything But Lonely - Sarah Brightman
Aspects Of Love: Chanson D'Enfance - Sarah Brightman

Tracks:

Joseph And The Amazing Technicolor Dreamcoat: Any Dream Will Do - Jason Donovan
Joseph And The Amazing Technicolor Dreamcoat: Joseph's Coat - Maria Friedman/Richard Attenborough/Donny Osmond
Joseph And The Amazing Technicolor Dreamcoat: Close Every Door - Donny Osmond
By Jeeves: Travel Hopefully - John Scherer/Martin Jarvis/Don Stephenson
By Jeeves: When Love Arrives - Steven Pacey/Diana Morrison
By Jeeves: Half A Moment - Sarah Brightman
Sunset Boulevard: With One Look - Glenn Close
Sunset Boulevard: New Ways To Dream - Glenn Close/Alan Campbell
Sunset Boulevard: The Perfect Year - Glenn Close/Alan Campbell
Sunset Boulevard: Sunser Boulevard - Alan Campbell
Sunset Boulevard: As If We Never Said Goodbye - Glenn Close
Whistle Down The Wind: Whistle Down The Wind - James Graeme/Lottie Mayor
Whistle Down The Wind: Cold - Everly Brothers
Whistle Down The Wind: No Matter What - Children/Adult Chorus
Whistle Down The Wind: The Nature Of The Beast - Marcus Lovett/Lottie Mayor
The Beautiful Game: Overture - Andrew Lloyd Webber
The Beautiful Game: The Beautiful Game - The Company
The Beautiful Game: Our Kind Of Love - Hannah Waddingham
The Beautiful Game: Dont Like You - Josie Walker/David Shannon
The Beautiful Game: Let Us Love In Peace - Josie Walker/Omagh Youth Community Choir

Tracks:

Oh What A Circus - David Essex
Memory - Betty Buckley
The Phantom Of The Opera - Sarah Brightman/Steve Harley
All I Ask Of You - Sarah Brightman/Cliff Richard
Love Changes Everything - Michael Ball
Any Dream Will Do - Donny Osmond
Amigos Para Siempre (Friends For Life) - Sarah Brightman/Jose Carreras
As If We Never Said Goodbye - Barbra Streisand
The Perfect Year - Dina Carroll
With One Look - Petula Clark
You Must Love Me - Madonna
The Heart Is Slow To Learn - Kiri Te Kanawa
A Kiss Is A Terrible Thing To Waste - The Metal Philharmonic Orchestra
Whistle Down The Wind - Tina Arena
No Matter What - Boyzone
The Vaults Of Heaven - Tom Jones
Try Not To Be Afraid - Boy George
Pie Jesu - Charlotte Church

Tracks:

Make Believe Love - Wes Sands
Down Thru' Summer - Ross Hannaman
I'll Give All My Love To Southend - Ross Hannaman
Believe Me I Will - Sacha Distel
Joseph And The Amazing Technicolor Dreamcoat (1969 Radio Luxembourg Commercial) - Joseph Consortium/Pete Murray
Try It And See - Rita Pavone
Come Back Richard Your Country Needs You - Time Rice And The Webber Group
Goodbye Seattle - Paul Raven
John 19:41 - The Andrew Lloyd Webber Orchestra
What A Line To Go Out On - Yvonne Elliman
Disillusion Me - Gary Band
The Ballad Of Robert And Peter - Tim Rice
Christmas Dream - Maynard Williams
It's Only Your Lover Returning/All Through My Crazy And Wild Days/Don't Cry For Me Argentina - Julie Covington
It's Easy For You (1977 Jungle Room Session Version) - Elvis Presley
Magdalena - Tony Christie
Buenos Aires - The Roja Rockers
Pollicle Dogs And Jellicle Cats - Andrew Lloyd Webber
Mungojerrie And Rumpleteazer (Live At The Sydmonton Festival 1980) - Gemma Craven
I Could Have Given You More - Petula Clark
I've Been In Love Too Long - Marti Webb
Benedicite - The Stephen Hill Singers

Album Description

Disc 1: Selections from Jesus Christ Superstar, Evita, Cats, and Song and Dance

Disc 2: Selections from Starlight Express, Requiem, Phantom of the Opera, and Aspects of Love

Disc 3: Selections from Joseph nad the Amaziong Technicolor Dreamcoat, By Jeeves, Sunset Boulevard, Whistle Down the Wind, and The Beautiful Game

CD 4: 1. "Oh What a Circus" --David Essex 2. "Memory" - Betty Buckleey 3. "The Phantom of the Opera" -Sarah Brightman, Steve Harley 4. "All I Ask of You" --Sarah Brightman, Cliff Richard 5. "Love Changes Everything"--Michael Ball 6. "Any Dream Will Do"--Donny Osmond 7. "Amigos Para Siempre (Friends for Life)"--Sarah Brightman, Jose Caerras 8. "As if We Never Said Goodbye"--Barbra Streisand 9. "The Perfect Year"--Dina Carroll 10. "With One Look" --Petula Clark 11. "You Must Love Me" 12. "The Heart Is Slow To Learn" --Kiri Te Kanawa 13. "Whistle Down the Wind"--Tina Arena 14. "A Kiss Is a Terrible Thing To Waste"--The Metal Philharmonic 15. "No Matter What"--Boyzone 16. "The Vaults of Heaven"--Tom Jones and Sounds of Blackness 17. "Try Not To Be Afraid"--Boy George 18. "Pie Jesu"--Charlotte Church

Disc 5: (All tracks available for the first time) 1. "Make Believe Love"--Wes Sands 2. "Down Thru' Summer"--Ross Hannaman 3. "I'll Give All My Love to Southend"--Ross Hannaman 4. "Believe Me I Will"--Sacha Distel 5. "Joseph and the Amazing Technicolor Dreamcoat: 1969 Luxembourg Radio Commercial--The Jospeh Consortium, Pete Murray 6. "Try It and See"--Rita Pavone 7. "Come Back Richard Your Country Needs You"--Tim Rice and the Webber Group 8. "Goodbye Seattle"-- Paul Raven 9. "John 19:41"--The Andrew Lloyd Webber Orchestra 10. "What a Line To Go Out On"--Yvonne Elliman 11. "Disillusion Me" --Gary Bond 12. "The Ballad of Robert and Peter"--Tim Rice 13. "Christmas Dream" --Maynard Williams 14. "It's Only Your Lover Returning/All through My Wild and Crazy Days/Don't Cry for Me Argentina--Julie Covington 15. "It's Easy for You" (1977 Jungle Room Session version)--Elvis Presley 16. "Magdalena"--Tony Christie 17. "Buenos Aires"--The Rioja Rockers 18. "Pollicle Dogs and Jellicle Cats"--Andrew Lloyd Webber original demo 19. "Mungojerrie and Rumpleteazer" (Live at Sydmonton Festival 1980)-Gemma Craven 20. "I Could Have Given You More"--Petula Clark 21. "I've Been in Love Too Long"--Marti Webb 22. "Benedicte"-- Stephen Hill Singers

Customer Reviews:

I waited for this for five years.......2006-06-30

Between Amazone, Ebay and Napster, I don't usually buy CDs anymore, and I usually wait till I can buy them cheaper "new and used". When this set came out, I was excited, mainly by Disc 5, but wasn't going to spend $70 on it. I waited till it was cheap enough, and got it for Father's day this year.
It was worth the wait.

The concept is great. The packaging is great. The recording is great. Disc five is really cool for an ALW aficionado. There are a few real gems on it; my favorites are Petula Clark's "I Could Have Given You More" and "Benedicite."
I've always thought "Gus the Theatre Cat" made a great medley on the piano with "Unexpected Song" and "I DOn't Know How to Love Him," but wished there was an alternate lyric to match the other two songs. Now that I know there *is*, and it's a good lyric, it's a dream come true.
The melody of "Benedicite" is one of my favorites from _Sunset_ (the book mis-identifies it as "SUrrender"; it's actually "The Lady's Paying" and "Eternal Youth is Worth a Little Suffering"). The lyrics are the canticle from Daniel 3, which comes up every odd Sunday in the Divine Office, so it's nice to have cool music to sing it with.

I haven't bought _By Jeeves_ or _THe Beautiful Game_ yet, to it was great to sample them.

There are other parts of the CD taht aren't found in my collection. I like CD 4 "The Hits."

But the selections on CDs 1-3 don't make sense.

First, any self-respecting ALW fan has the Original London Cast of _Phantom_, so six tracks are totally useless. Why not draw from the Canadian cast with Colm Wilkinson? Or pull out some obscure recordings never published.

Why two different tracks with Michael Ball singing "Love Changes Everything", yet they're hardly any different?

On Disc 5 is "It's Only Your Lover Returning," sung by Julie Covington. It's an early draft of the song (Lloyd Webber and Rice went through several suggested titles) and quite nice. The very thing one expects on a Boxed Set.
So why have the Julie Covington "Don't Cry for Me" on disc 1?? The only difference is a few words, but it's otherwise identical. Why not Elaine Paige or Patti Lupone or Madonna?

The _Evita_ section is otherwise the best, choosing a sample from each major recording, though I'd have chosen slightly differently (as above).

There is a great selection of "Mungojerrie and Rumpleteazer" from the Sydmonton festival, using the original music that was changed when _Cats_ went to Broadway_. It would have been nice if they'd included more recordings from Sydmonton, like the original lyric of "All I Ask of You" shown on the second DVD to the _Phantom_ movie.

With so many great actress-singers who've played Norma Desmond, why does the collection beat us over the head with Glenn Close?

Paul Miles Kingston must be set for life in royalties, for the number of albums the original recording of "Pie Jesu" has appeared on. "Amigos Para Siempre" is nice, but it reminds me of Shari Lewis's "The Song that Doesn't End," especially when it's been used on so many compilations.

In short, this is a great collection for the obscure material, if you can get it cheap. But for a boxed set, it's a poor sampling, drawn mostly from the most familiar recordings.

Excellent collection but BIG PUBLISHING MISTAKE! .......2006-01-10

Please beware they made a mistake on this. It's actually the shortened Ray Shell version of STARLIGHT EXPRESS from the original 1984 London cast - NOT the El Debarge single from 1987 like it says on the box. I don't know how they let that goof pass. Sorry to Ray Shell. Having said that, this is an outstanding compilation of Lloyd Webber's greatest hits.

ONE OF LLOYD WEBBER'S BEST COMPILATIONS, DESPITE A FEW FLAWS.......2005-03-21

Regardless of the fact that some of his latest efforts (most notably, The Woman in White) are disappointing, there can be little doubt that Andrew Lloyd Webber is one of the greatest composers ever to work in the musical theatre. Ever since his "Jesus Christ Superstar" hit the stage in the early 70-is, it was clear that the conception and perception of musicals are never going to be the same again. Many of his songs became standards not only in the theatre history, but also as tops on the charts. Even though he's British, his influence on the shape of the modern musical theatre expanded over the West End boundaries long ago and has thus made an enormous impact on Broadway. Two of his shows ("Cats" and "The phantom of the opera") hold the record as two the longest running shows in the history of Broadway. He has also been the only composer to have three of his shows running at Broadway concurrently. Some of his awards include three Grammies, a Golden Globe, an Oscar and a bunch of Tony awards. But perhaps most of all, Lloyd Webber is responsible for bringing the musicals and the theatre appealing to the wide audiences, who in different circumstances would not consider seeing a musical. The secret of his success is probably the mixture of beautiful and catchy melodies, interesting subject matter (though some, like Starlight Express, are too thin) and grandiose staging.

Over the years many compilations of his work have emerged. In the late 80-is and early 90-is it was the "Encore" series and lately the one-disc collection called "Gold". The one in question here can be considered one of the best currently on the market. First, it includes a 3-disc selections from all of his shows, minus the latest one, i.e., "The Woman in White", which, considering the triviality of the score, is no great lost. The fourth disc covers some of his most known songs sung by the famous artists. Then, there is the fifth disc with previously unreleased material, most of which are the songs ALW wrote with Tim Rice for various artists during the 70-is. The disks are all neatly packed in a hardcover book that features 67 pages of pictures and text with information about each of ALW's shows. One of the other assets here is the perfect sound quality, since all of the tracks have been digitally remastered.

Here are my basic impressions and comments regarding the material on the discs:

* Disc #1 has the selections from "Jesus Christ Superstar", "Evita", "Cats" and "Song & Dance". The Superstar material mostly comes from the Concept Recording. Although the songs sound beautiful as always, their orchestration is a bit dated now. Only Steve Balsamo's "Gethsemane" from the 1996 revival cast has a modern rock sound. "Evita" comes with the material from all of the major recordings: London, Broadway and the movie productions, as well as the Concept album. No objections here; since this is one of ALW's most satisfying works, every song is just perfect, although Patti LuPone, the Broadway and overall the best Evita, is left with only a couple of lines. With the selections from "Cats", however, I have some doubts. A plus to the choice of the "Jellicle ball" impressive orchestral sequence from the 1998 movie version and "Mister Mistoffelees" from the 1981 London cast. One of the best known ALW's songs, "Memory", also comes from that album. It's a pretty version and Elaine Paige's rendition cannot be matched, but why include this when the definite version, featuring an 80-piece orchestra and Elaine Paige with much better interpretation, can be found in the same movie version. Thusly, one has to buy Elaine Paige's latest 2-disc compilation "Centre Stage: The very best of Elaine Paige" to get that one. And "Gus the theatre cat" is more a recital than a song, so there was not much point in including that. Marti Webb brings her vocal charm to the "Song & Dance" sequence, Sarah Brightman sings "Unexpected song" with her famous soprano, but as much as I like her version, Bernadette Peters, who was in this show on Broadway is strangely left out here.

* Disc # 2 starts with "Starlight Express". This was never one of my favorite ALW's shows; the plot is even lighter than in "Cats" and the 1984 original cast recording is terribly dated. Yet, here we have one terrific duet, "I am starlight" from the original together with three songs from the later revivals and it seems that fresh orchestrations were just the thing Starlight needed. My favorite remains a touchy ballad, "Next time you fall in love". "Requiem" is the most solemn of all ALW's compositions, written in 1985 to commemorate the death of his father. Placido Domingo's tenor rides together with the chorus all the way through the strong "Hosanna", only to be joined by Sarah Brightman in the final moments of this song. She then gives an echoing deliverance of "Pie Jesu". What can be said of ALW's next show, "The Phantom of the Opera"? A phenomenon in its own right, it's easy to see from the six numbers included here why this is one of the best and most beloved musicals of all time. The cast, the music, the story - everything is perfect. Although "Aspects of love" was never a popular hit, it does have some of the most beautiful love melodies ALW has ever written. "Love changes everything" sung by Michael Ball is probably one of the best tunes ever about love. The rest of the selected material here has a dreamy love flavor and the melodies find their way into your brain in the best Lloyd Webber way.

* ALW's first musical, "Joseph and the amazing Technicolor dreamcoat" was more successful in its revival form than the original from the 70-is. The three songs included here are sung by the show stars, Jason Donovan and Donny Osmond. Maria Friedman was not a lucky choice to play the narrator, as the track from the 1998 movie version shows. "By Jeeves" was ALW's only big flop when it came to the stage in the 70-is. The 1995 revival sounds much better though, full of funny numbers in the best manner of the musical comedy. "Travel hopefully" remains one of the show's highlights on this compilation. "Sunset Boulevard" comes next. "Sunset" remains for me one of Webber's best scores; lush and beautiful. I listen to the original cast recording with Patti LuPone all the time. However, here most of the songs are performed by Glenn Close. A big mistake. If you've ever listened the American premiere recording with her, you'll know what I am talking about. She may have a strong stage presence, but her vocal abilities are too limited, and her aggressive approach to the role lacks any subtlety. Therefore, the two big numbers from this show, "With one look" and "As if we never said goodbye" are ruined by the fact she can't sing. The same goes for the American Joe Gillis, who was played by Alan Campbell. Luckily, Patti LuPone and Kevin Anderson, the original Norma and Joe from the London production, make their brief entrance here with the "Perfect year"; enough to show how better they are. The funny thing is, on the jacket and inside of it, Glenn Close and Alan Campbell are credited as performers in this song as well. If this was a mistake on ALW's part, it was a good one. The next ALW's show, "Whistle down the wind" was never a critic's dear and yet the audiences rushed in to see it in London. The score brings back ALW to his rock and roll roots of the seventies and the story is quite interesting. But the selections here are not the happiest, since the cast recording boasts with much better songs. And finally, "The Beautiful Game". Again, we have one of those ALW's shows that is worth in its individual parts rather than as a whole. "Our kind of love" and "Let us love in peace" are two catchy ballads. The latter is a nice amalgam version not available elsewhere. The two other tracks here I could live without.

* Disc # 4 has the songs from all the above shows performed by different artists. The assembled tracks have their pros and cons. For example, we have some previously unreleased stuff, like Dame Kiri Te Kanawa's operettic rendition of "The heart is slow to learn", or a stunning and epic "A kiss is a terrible thing to waste" from "Whistle down the wind", performed by The Metal Philharmonic Orchestra. Then again, what was the point in including almost identical tracks as the ones on the previous disks? So we have Michael Ball again singing "Love changes everything" with only a bit different orchestration; Sarah Brightman comes out again with the same Phantom duets, but only with the different male singers. It would be much more appropriate to include tracks from the Toronto Cast of the Phantom, with Colm Wilkinson. Other pop deliverances (Tina Arena's "Whistle down the wind", Barbra Streisand's "As if we never said goodbye", Boyzone's "No matter what" and many more) were wisely chosen. Patti LuPone is again nowhere to be found and Petula Clark's "With one look" sounds too worn-out.

* The last disc is probably the one that will be of most interest to Lloyd Webber aficionados. It consists of entirely previously unreleased material ALW for the most part wrote for various artists during his early years, with Tim Rice. Some of these tunes, not successful as a singles, were later used in his shows. Thus "Down thru' summer" became "Buenos Aires"in Evita, "Try it and see", an unsuccessful attempt for the Eurovision was used for "King Herod's song" in "Superstar" and so on. Some of these songs are nicely made pop songs: "Make believe love", ALW's first recorded composition, for which he provided the lyrics; "Goodbye Seattle", sung by Paul Raven, who later became Gary Glitter; "Come back Richard, your country needs you", from a never made musical, sung here by Tim Rice, or Latin flavored "Magdalena", with Tony Christie singing. My all time favorite here is a song called "It's easy for you", sung by none other than Elvis Presley himself. Lloyd Webber and Rice sent him a demo recording that he accepted and recorded this live version a couple of weeks before he died. It's amazing to hear how his voice remained in the perfect shape. Also, there is a track of Andrew Lloyd Webber singing "Policle dogs and Jellicle cats" while plying the piano. His voice doesn't sound bad at all.

Taken as a whole, this compilation makes a perfect birthday or Christmas present to any fan of Andrew Lloyd Webber shows, or just anybody interested in some of the best tunes from the modern era of the musical theatre; despite the flaws I mentioned above. To the former, it may just be the final addition for the Andrew Lloyd Webber collection.

SUCH MAGICAL MUSIC OF THE NIGHT!.......2003-01-19

"Evita." "Sunset Blvd." "Starlight Express." "Jesus Christ Superstar." "Joseph and the Amazing Technicolor Dreamcoat." "Requiem." "Aspects of Love." The man who is the most recognized composer in the history of the musical theatre, the man who has won more Tonys than any other composer, the man who boasts the best-selling show of all time ("The Phantom of the
Opera") and the longest-running show of all time ("Cats"), the man whose homes are filled with three Grammys, five Oliviers, a Golden Globe, and Oscar and too many other honors and hosannas to mention, the man knighted in 1992 certainly doesn't need an introduction. Now Decca Broadway pays tribute to Sir Andrew Lloyd Webber with "Now and Forever," a spectacular 5-CD set compiled and produced by Sir Andy himself. It's cheaper than a
ticket to "The Producers" ... and more much exciting. This treasure trove contains highlights from all of Webber's shows, and a bonus disc of tunes sung by Betty Buckley, Barbara
Streisand, Jose Carreras, Boy George, Charlotte Church, Madonna, Tom Jones, Petula Clark, even Elvis! A must for lovers of theatre---and good music.

A Must Have for Sir Andrew fans.......2002-05-21

This five-CD collection of Andrew Lloyd Webber's career is fantastic. It leaves virtually no stone unturned. I have no doubt that diehard Webber fans will love this, especially for the 5th disc entitled "From the Vaults." This disc alone is worth the price as it contains tunes never before heard by the typical fan. Who knew Elvis did a Lloyd Webber tune?!? I didn't! Also the tune "Benedictine" which the composer wrote for his most recent marriage is not only pretty, but it has the same medley as "The Lady's Paying" from "Sunset Blvd." which I found highly enjoyable. Another great track is the composer himself singing a cut song from "Cats" entitled "Pollicle Dogs and Jellicle Cats" which has the same tune as "Jellicle Songs for Jellicle Cats," but to hear Sir Andrew sing is a blast...he sounds a lot like Al "Year of the Cat" Stewart.
The cuts from the musicals are great but are likely owned by ALW fans as they are on the original cast albums. And I'm glad that there were tunes included from the composers most recent efforts which have yet to make it beyond London (Whistle Down the Wind, Beautiful Game).
My only complaint is the inclusion of way too many tracks by Sarah Brightman. She must've received a great divorce settlement that included having tunes on any ALW collection until the end of time!! Her interpretations of some of the tunes were limp and uninspired. I would've much rather heard casts from around the world rather than yet another song by this disdainful soprano! How about Colm Wilkinson's version of "Music of the Night" from the original Canadian cast of "Phantom"? Or Michael Crawford's version of "Unexpected Song"? What? No Betty Buckley from "Sunset Blvd."? And of course there are songs you KNOW are going to be on the collection before you even listen to it as they have been on EVERY ALW collection for the past decade or so.
A great collection but too much Sarah Brightman!

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Ultimate Irving Berlin, Vol. 1
Irving Berlin
Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005RKQR
Release Date: 2002-02-26

Tracks:

The Jolly Bachelors: That Beautiful Rag
Ziegfeld Follies Of 1911: Woodman, Spare That Tree
Everybody's Doing It: Everybody's Doing It Now
Hullo Ragtime: Hitchy Koo
Hullo Ragtime: Snooky Ookums
Hullo Ragtime: Alexander's Ragtime Band
Watch Your Step: I've Gotta Go Back To Texas
Watch Your Step: Settle Down In A One-Horse Town
Watch Your Step: The Syncopated Walk
Watch Your Step: My Bird Of Paradise
Watch Your Step: Show Us How To Do The Fox Trot
Watch Your Step: The Simple Melody
Watch Your Step: The Always Follow Me Around
Watch Your Step: Discoveries
Watch Your Step: The Minstrel Parade
Stop! Look! Listen! (Follow The Crowd): Beautiful Honolulu
Stop! Look! Listen! (Follow The Crowd): England Every Time For Me
Stop! Look! Listen! (Follow The Crowd): Teach Me To Love
Stop! Look! Listen! (Follow The Crowd): I Love To Dance
Stop! Look! Listen! (Follow The Crowd): The Girl On The Magazine
Stop! Look! Listen! (Follow The Crowd): I Love A Piano
Stop! Look! Listen! (Follow The Crowd): Until I Fell In Love With You
Stop! Look! Listen! (Follow The Crowd): Father Wanted Me To Learn A Trade
Stop! Look! Listen! (Follow The Crowd): Take Off A Little Bit

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Good coloratura work by Elizabeth Futral
At Last a Solo Recital on CD
An Interesting display

Great Operatic Arias

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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The Very Best of Régine Crespin
Pasión!
Songs by Fauré, Hahn and Head; Arias by Rossini and Handel

ASIN: B00009AQMF
Release Date: 2003-06-24

Tracks:

Come Take Me In Your Arms
My Soul Is Filled With Love For You
What Are These Tears And Sighs
How I Loved Him!
A Maiden Adorning
He Has Come Back
See Here, Dorabella
Ah! Let me Live In This Dream
He's The God Of Youth And Springtime
The Silver Moon Was Shining
Ain't It A Pretty Night!
Take Me Away To The One I Adore
Oh Sleep, Why Dost Thou Leave Me?

Customer Reviews:

Good coloratura work by Elizabeth Futral.......2007-05-27

This is an interesting CD from soprano Elizabeth Futral. The theme of this is a set of operatic arias sung in English, not in the original French or Italian or. . . . I'm not sure how sold I am on the concept, but, after all, it's the singing and musicality that is most important. And, by that measure, Elizabeth Futral does very nicely.

The accompanying booklet begins by noting that (page 8) "The voice of the light soprano has enchanted listeners for centuries." Futral's singing is characteristic of this type of voice.

In this era, any coloratura soprano has two challenges: first, to compare with the past generation's astonishingly talented practitioners, well exemplified by Joan Sutherland and Beverly Sill. Second, though, there are some wonderful coloratura sopranos today against whom others will be compared, with Natalie Dessay and Sumi Jo among the most adept. Thus, Futral will almost automatically be compared with such exemplars. I do not think one could say she is the equal of those four just mentioned, but she does not compare badly either.

From the Wikipedia: "In musical notation, the Italian word staccato (literally detached, plural staccatos or staccati) indicates that notes are sounded in a detached and distinctly separate manner, with silence making up the latter part of the time allocated to each note. The rhythm is not affected. Notes identified as staccato should be played or sung abruptly and short." This is worthy of comment, since the "Bell Song" from "Lakme," one of the selections on this CD, features many such notes. Futral sings them well. Her performance in this work is well done (although it is somewhat jarring, again, to hear it sung in English). She begins with a nice high note and a bang up following trill. She displays good agility and features nice technique on staccato notes. Overall, this is well done. Toward the end, which calls for great ornamentation, she seems a bit hesitant at time, but she concludes with a nicely sung high note.

Other examples of her singing. From Handel's "Alcina," she sings "Come take me in your arms." Her voice is a light, standard coloratura voice (although not all coloratura sopranos have such a voice, of course). She displays considerable agility, a decent trill, and good ornamentation. There is a bit of harshness on a high note toward the close, but hardly fatal to the overall positive effect of her singing.

From Donizetti's "Linda di Chamounix," there is "My soul is filled with love for you" (otherwise known as "O luce di quest'anima"). Her version is not too shabby when compared with such greats as Sutherland and Jo. The cabaletta shows off, again, her agile voice. Good staccato high notes. Nice trills and a well nailed final high note.

Then there is the charming "Son vergin vezzosa" from Bellini's "I Puritani," here entitled "A maiden adorning." Again, nice agility, good trills, well done florid singing technique. While there is some harshness in the penultimate high note, overall, well done.

In short, Futral adds to a currently rich supply of coloratura sopranos, and compares well with the best of them.

At Last a Solo Recital on CD.......2005-03-19

Elizabeth Futral is one of those rare sopranos who seems to put pacing of her career, care of the voice, and commitment to repertoire range ahead of the too early media blitz that can hamper a singer's career. Clearly she has it all - beauty of voice, beauty of physical presence, fine acting skills, intelligence, and interpretive insights.

Having seen her Cleopatra in LA Opera's GUILIO CESARE and in SF Opera's production of Previn's STREETCAR NAMED DESIRE put her high on the list of important new sopranos. This rather strange recording gives samples of her foray's into all styles from Handel to Previn and does a fine job in capturing the beauty of her phrasing and quality of her seamless soprano voice. It is somewhat distracting to place a first recital recording before the public being sung entirely in English, especially for those who are unfamiliar with Futral's gifts. But credit Chandos with the courage to try something different, something that may introduce new audiences to the opera field.

Surely after the recent successes of Futral performances in the opera houses more recordings will follow. Meanwhile this is a tasty sampler of just how versatile - and special - Elizabeth Futral is. Grady Harp, March 05

An Interesting display.......2003-07-23

Coloratura-soprano Elizabeth Futral is a remarkable artist with a beautiful instrument and a most impressive technique. Her appearences in record stores are mostly on lesser known and up and coming labels such as Opera Rara and CHANDOS; with a few performances on DG.

This CD has an unusual semi-personal package. Duets, trios and quartets are featured. The title of the program is called Great Operatic Arias which seems rather broad for a soprano recital disc.

Futral sings well as always, however the content seems to lack a bit of intricacy and polish. Each aria, duet etc leaves you wondering whether or not a bit more time could have been put into this. The arias range from baroque to 20th century; covering four languages.

The entire program is performed in English and this is interesting... Although some of the arias just sound plain strange in English! It is a very nice thing to actually completely and instantly understand what is being sung. I was most impressed with the CHANDOS Lucia di Lammermoor. Futral probably gave her best performance on record in that role. She is astonishingly good on that recording. Her mad scene is awesome!

Overall this is a pleasing recording and Futral dazzles her listeners with her crystal clear high notes and vibrant tone. I look forward to more recordings of her. Hopefully she'll have a chance to record some more opera in its original language. I think that its time for a new Puritani or Sonnambula. Wouldn't she be the perfect candidate?

Wagner: The Rhinegold
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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
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Binding: Audio CD

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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.

Tracks:

This Year Of Grace: Dance, Little Lady
This Year Of Grace: A Room With A View
This Year Of Grace: Mary Make-Believe
This Year Of Grace: Try To Learn To Love
This Year Of Grace: Lorelei
A Dream Of Youth (The Dream Is Over)
Bitter Sweet: Zigeuner
This Year Of Grace: World Weary
Private Lives, Act 1, Love Scene: Someday I'll Find You
Private Lives, Act 2, Scene: I Never Realised/If You Were The Only Girl In The World
Half-Caste Woman
Any Little Fish
Cavalcade: Lover Of My Dreams (Mirabelle Valse)
Cavalcade Vocal Medley: Soldiers Of The Queen/Goodbye Dolly Gray/Lover Of My Dreams/I Do Like To...
Cavalcade, Epilogue: Toast To England
Noel Coward Medley: Parisian Pierrot/Poor Little Rich Girl/A Room With A View/Dance Little Lady...

Customer Reviews:

The style is the man--and the song.......2001-05-02

Many composers have chosen to perform their own material and commit it to discs, with mixed results. Only with Noel Coward do we feel that a good deal of the charm of his numbers lies in the very way he performs them. For proof, we now have the Naxos Nostalgia (8.120529), which dishes up 16 tracks of the ultra-refined son of W. S.Gilbert, giving us six selections from "This Year of Grace," one from "Bittersweet," a medley of treasures from his "Cavalcade," another from his other works, and a few other trifles that are better than most of what is written today.

Add to all this two classical scenes with Coward and co-star Gertrude Lawrence from his "Private Lives," incredibly valuable for those local drama groups who butcher this work in that this CD can teach them the tone and rhythms that are essential in making this classic succeed.

The subtitle of this set is "The Complete Recordings, Volume 1: 1928-1932." So we can look forward to future offerings featuring this fascinating composer-lyricist-performer. Thank you, Naxos, yet again.

Take It Back, Take It On, Take It Over!
Average customer rating:

It doesn't get much better than this

the holy grail of today's punk/hardcore

This is your parent's hardcore!

oldskoolpunker

Thank GOD for Kev. Seconds

Take It Back, Take It On, Take It Over!
7 Seconds
Manufacturer: Side One Dummy
ProductGroup: Music
Binding: Audio CD

Hardcore | Hardcore & Punk | Alternative Rock | Styles | Music
Punk | Hardcore & Punk | Alternative Rock | Styles | Music
Straight Edge | Hardcore & Punk | Alternative Rock | Styles | Music
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General | Rock | Styles | Music
General | Hard Rock & Metal | Styles | Music
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alt.music.hardcore

Against the Grain

ASIN: B000697Q1Q
Release Date: 2005-01-25

Tracks:

All Came Undone
Meant To Be My Own
This Is Temporary
My Band, Our Crew
Still On It
Say My Thanks
Big Fall
Stand Here And Just Stare
Where Is The Danger?
Big Hardcore Mystery
Panic Attack
Our Core
Breaking News
One Friend Too Many
Y.P.H.
Your Frustration
Rules To Follow

Album Description

7Seconds are back with the punk-hardcore sound that helped define a genre. Fast songs with powerful lyrics and music that's both aggressive and catchy. Mixed and mastered by Bill Stevenson (Black Flag, Rise Against, Descendents). "Take it Back, Take it On, Take it Over" delivers 17 tracks of pure adrenaline with their trademark melodic sing-a-long choruses.

Customer Reviews:

It doesn't get much better than this.......2007-02-04

The 90's where the best years for this type of punk rock/hard core. No one is doing it this well anymore. 7 Seconds still have it. Just as punk as they ever were. Great album and a must for any hard core fan.

the holy grail of today's punk/hardcore.......2006-05-13

i have nothing to say beside that this album is amazing! now, i know many great hardcore and punk bands of the 80s and early 90's, but this one came out in 2005!! i mean whoa! no older band can have better lyrics and music these days!(minus the damned, bad religion, and TSOL of course) i love just about every song on this nice little album...from the start of the first song, i knew this album was going to be a staple in my collection....but what really makes the album a definite keeper are the lyrics...they are so similar to the good old days of hardcore punk! they do everything from promote the positive values, slam today's so called "hardcore," and just plain talk about how they are "still on it."..which is good because this album is proof! you have to admit, big hardcore mystery is an amazing song.

This is your parent's hardcore!.......2006-03-16

It's so good to hear 7 Seconds as gown men carrying forward the ideals they championed as kids. Let's face it, they'll never be known as accomplished musicians, but few bands have ever shouted-out their opinions with as much conviction as these guys.

Now that they're no longer lost trying to become the next REM or U2, the songs are stripped back to where they need to be. A great effort from a great band.

7 Seconds remains young at heart and rock as hard as ever!!! Pick up this CD if you're over 30 and have ever been a fan of hardcore. It feels just like the '80s.

oldskoolpunker.......2006-01-15

I have listen to 7seconds and seen thier shows for over 15 years and this is another jamming CD like music, the message or the crew if you have evr liked 7 seconds this cd is for you

Thank GOD for Kev. Seconds.......2005-10-16

I picked this album up on a whim while thumbing through some CD's while in Japan on a port visit. I wasn't sure what this album was going to be like and I was affraid I might be waisting my money but it turns out that this album is full of the kind of energy that 7 Seconds can be known for and it really took me back to the old days. This ranks right up there with Walk Together/Rock Together. Positive lyrics coming straight from the heart and soul of Kevin Seconds. 7 Seconds have produced some albums I'm definently not a fan of...but they always were willing to do something different even if it meant making annoying punk-poppy albums. On this album they definently have gone back to their roots and this is the type of music that makes 7 Seconds shine. I saw these guys play at Top of the Rock in Grand Rapids,Michigan when I was a kid (1986 maybe)and this album really takes me back to when the hardcore scene was in it's prime and pure and full of energy and only five bucks at the door. Not sure what the scene is like out there these days, but with albums like this coming out, I'm sure there is still plenty of positive in today's hardcore scene. Kevin, I hope you get on here from time to time just to see what people have to say about your albums...if you do stumble on here I would like to say thanks a million for all of the great music, positive lyrics, heart/soul and energy that you have provided us. 7 Seconds was a big part of my youth. And for you 7 Seconds fans, whether new or vetran....buy this album!

Sondheim At The Movies: Songs From The Screen (Studio Cast Re-recordings)

Average customer rating:

What can you lose?
Pleasant overall, with some invaluable rarities

Sondheim At The Movies: Songs From The Screen (Studio Cast Re-recordings)

Manufacturer: Varese Sarabande
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

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Bounce (2003 Original Cast)

ASIN: B000001512
Release Date: 1997-09-09

Tracks:

Back In Business - Alet Oury, Julie Alderfer, Farah Alvin, Heidi Godt, Kelli Shrewsbury, Gretchen Weiss
Dawn - Jolie Jenkins, Bryan Batt, Danny Burstein, James Hindman
The Glamorous Life - Cassidy Ladden
What Can You Lose? - Guy Haines
More - Jennifer Simard
Stavisky Suite One - Orchestra
Sand - Christiane Noll
It Takes All Kinds - Bryan Batt, Danny Burnstein, Robert Randle, Jim Ryan, Kevin Pariseau, Alec Timerman
Little Dream - Susan Egan
Stavisky Suite Two - Orchestra
Sooner Or Later - Jane Krakowski
Stavisky Suite Three - Orchestra
If You Can Find Me, I'm Here - Gary Beach
I Remember - Liz Callaway
When - Liz Callaway, Gary Beach
Take Me To The World - Liz Callaway, Gary Beach
Goodbye For Now - Orchestra

Amazon.com

The premier stage composer of his time, Stephen Sondheim has also contributed a substantial body of work to the big and small screens, explored in this 65-minute collection by the Varèse Sarabande stable of artists. The best known is Warren Beatty's 1990 live-action cartoon Dick Tracy, which won Sondheim an Oscar for "Sooner or Later" (covered here by Ally McBeal's Jane Krakowski). This CD includes "Back in Business" as well as the three songs also released on Madonna's movie tie-in album. Other rarities include "Dawn" and "Sand" from the unproduced film project Living Out Loud, the revised version of "The Glamorous Life" written for the 1978 feature film, and "It Takes All Kinds" from The Bird Cage. Orchestral selections include three suites taken from the film score of Stavisky and the gorgeous ballad "Goodbye for Now" from Reds. The major piece here is five songs written for the 1967 television drama Evening Primrose and covered by golden-voiced Liz Callaway and Gary Beach. The recording may not have the star power of an earlier recording by Mandy Patinkin and Bernadette Peters, but it's simply and effectively performed here. --David Horiuchi

Customer Reviews:

What can you lose?.......2000-01-29

Sondheim's little-known work for the big and small screen get presented in this enjoyable compilation. Fans of Sondheim's stage work might be extremely surprised to find the master trying his hand at several pop-flavored tunes. Gary Beach and Liz Callaway do a magnificent job with the four songs from "Evening Primrose" (and is my preference over Mandy Patinkin's over-hysterical rendition with Bernadette Peters), with particular beauty found in the stunning duet "When?"

Sondheim even tries the cheesy disco thing, with "It Takes All Kinds", cut from "The Birdcage". A more thrilling piece of ear candy has never been heard. Although the movie version of "Glamorous Life" can be heard on one or two other compilations and the movie soundtrack, this is one of the best.

I wish the album was truly comprehensive (tracks which have gotten more exposure, such as "Sooner or Later" "Can That Boy Foxtrot" and "Water Under the Bridge" are omitted), but the gems it contains more than compensates. An important album in any Sondheim fan's collection

Pleasant overall, with some invaluable rarities.......1999-05-07

The best moments from this umpteenth collection of music by Broadway supercomposer Stephen Sondheim are the (remarkably dissimilar) selections from 1990's "Dick Tracy" and the obscure 1960's TV musical "Evening Primrose," some of which have never before been recorded. Other items are less memorable, including some regrettable disco/80's pop pastiches from "Singing Out Loud" and "The Birdcage." The selections from "A Little Night Music" and "Stavisky" received sharper performances in the original soundtrack recordings ("The Glamorous Life" can be found appended to the newly remastered Sony/Columbia recording of "Night Music"s original cast; the complete soundtrack to "Stavisky" is available packaged with the must-have 1985 concert recording of "Follies."). This CD should be invaluable to avid Sondheim collectors for the "Primrose" numbers, dynamically sung by Gary Beach and Liz Callaway. Those less fanatic will probably find this a pleasant and workmanlike, but not particularly outstanding recording.

Average customer rating:

Faust (Sung in English)
Gounod , Clarke , Miles , Plazas , Magee , and Parry
Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

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ASIN: B00006NSEC
Release Date: 2002-11-26

Music Review:

Music Review

Music Review

1. Take It Back [Album Version]
2. Astronomy Domine [Live]
3. Take It Back [Edit]