Track Listings
| 1. You Can Do Magic | ||
| 2. Border | ||
| 3. Last Unicorn | ||
| 4. All My Life | ||
| 5. Survival | ||
| 6. Tall Treasures | ||
| 7. One Morning | ||
| 8. Honey | ||
| 9. My Dear | ||
| 10. One In A Million | ||
| 11. Right Before Your Eyes | ||
| 12. We Got All Night | ||
| 13. Lady With A Bluebird | ||
| 14. Only Game In Town | ||
| 15. Ventura Highway | ||
| 16. Daisy Jane | ||
| 17. I Need You | ||
| 18. Tin Man | ||
| 19. Sister Golden Hair | ||
| 20. Horse With No Name |
Editorial Reviews
Album Details
20 Track Collection Spanning 1979 Thru 1985. Includes 6 Live Tracks.
The Best of America: Centenary Collection, Music, America, AM Pop, Adult Contemporary, Folk-Rock, Pop, Pop/Rock, Rock, Rock/Pop, Singer/Songwriter, Soft Rock
Average customer rating:
|
The Best of America: Centenary Collection
America Manufacturer: EMI Int'l ProductGroup: Music Binding: Audio CD Similar Items:
ASIN: B000005RRZ Release Date: 1997-02-25 |
Tracks:
Album Details
20 Track Collection Spanning 1979 Thru 1985. Includes 6 Live Tracks.Customer Reviews:
An odd mishmash of latter-day America.......2005-12-08
Re-issue of the Premium Gold Collection.......2004-06-16
A nice collection........1998-06-23
Average customer rating:
|
Deutsche Grammophon Centenary Collection, 1978-1987 (Box Set)
Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD ASIN: B00000DI2R Release Date: 1998-11-10 |
Tracks:
Tracks:
Tracks:
Tracks:
Tracks:
Tracks:
Tracks:
Tracks:
Tracks:
Tracks:
Tracks:
Amazon.com
This is the decade when Deutsche Grammophon discovered America. Though the label's motherland is still well represented by Herbert von Karajan's unveiling young Anne-Sophie Mutter in Mozart's Violin Concerto No. 5 and Bruch's Violin Concerto No. 1 (both played with the freshness of youth), Carlo Maria Giulini brought the yellow label to Los Angeles in a much-heralded return to opera with Verdi's Falstaff. The mellifluous though not always dramatically attuned dream cast features Barbara Hendricks (Nannetta), Katia Ricciarelli (Alice Ford), and Renato Bruson as the most poetic Falstaff on record. Leonard Bernstein's all-star but problematic Candide and West Side Story recordings are heard in well-chosen excerpts, and the one-act opera Trouble in Tahiti is reconstituted from his opera A Quiet Place (in which it was dispersed and imbedded). Elsewhere, Ivo Pogorelich's early Chopin Sonata No. 2, Ravel's "Gaspard de la nuit," and Prokofiev's Sonata No. 6 show a musician of staggering imagination limited by unrefined technique. Horowitz in Moscow, Krystian Zimerman's Chopin Ballades and Daniel Barenboim's Saint-Saëns Symphony No. 3 have all aged well, though Gidon Kremer's Tchaikovsky Violin Concerto and Giuseppe Sinopoli's Mendelssohn "Italian" Symphony paired with Schumann's Symphony No. 2 have surprisingly little to say. Mischa Maisky's Bach and Vivaldi recordings (many with Martha Argerich on modern piano) have lots to say, but not to the historically informed performance crowd. --David Patrick StearnsCustomer Reviews:
Superb Schumann, etc........2000-11-08
The other recordings are also among DG's best and helped to fill in several repertoire gaps in my collection. I highly recommend the entire set. Thanks to DGG for reissuing these great recordings, especially Sinopoli's Schumann.
Who says there was nothing good in the 1980s?.......2000-04-09
Maisky's cello playing is next, with the three sonatas originally for harpsichord and viola da gamba being played on modern cello with Martha Argerich at the piano. These are excellent recordings if inauthentic, but are certainly the best modernizations available, as are the two Vivaldi concerti with Orpheus. Saving the best for last, Vladimir Horowitz's landmark 1986 return to Moscow is no less breathtaking on the 1000th listening than on the first. There may be no better single CD of piano music in existance; the simplest track "Träumerei" from Schumann's Kinderszenen is utter perfection and emotion molded into one. Zimerman holds his own beautifully, though, with some of the best Chopin Ballades to be had. True, they lack some of the momentum and drive of the Rubinstein recordings, but the sheer technical ability displayed along with absolute control (and they're not at all skimpy on the emotion either!), they are in the top five recordings of these works ever. Add to this his recording of the Liszt E-flat concerto with Seiji Ozawa/Boston Symphony, which is flawless. The cherry on top (!) is the Liszt Totentanz, which is so often played as an overly flashy, bangy, loud and raucous showpiece. Not so here, even in such a murderously difficult and crashing work, Zimerman displays control, even if it means wrestling the work to the floor. This set is pricey, no doubt, but well worth it (and the sore arms you'll get carrying it home, another good reason to mail-order it) for the unmatched brilliance.
Music Review: