Set This Circus Down

Set This Circus Down

ASIN: B000059S88

Track Listings

1. Cowboy in Me

2. Telluride

3. You Get Used to Somebody

4. Unbroken

5. Things Change

6. Angel Boy

7. Forget About Us

8. Take Me Away From Here

9. Smillin'

10. Set This Circus Down

11. Angry All the Time

12. Let Me Love You

13. Grown Men Don't Cry

14. Why We Said Goodbye

Editorial Reviews
Amazon.com
As a singer who has parlayed boyish charm and modest talent into a multiplatinum career, Tim McGraw seems like the guy next door who got incredibly lucky--and not just with his marriage to Faith Hill. This easy-listening collection features a generous 14 cuts, heavy on power ballads ("You Get Used to Somebody," "Take Me Away from Here," "Why We Said Goodbye") with soaring choruses and frothy sentiments, but light on soulful substance. For variety, McGraw proves a dead-on Springsteen mimic with "Forget About You," dubiously links himself to Hank Williams and Elvis with "Things Change," and crosses over toward Ricky Martin territory on the Spanish-tinged "Let Me Love You." Hill joins hubby on background vocals for the comparatively subtle "Angry All the Time." --Don McLeese

Tracks:

Cowboy In Me
Telluride
You Get Used To Somebody
Unbroken
Things Change
Angel Boy
Forget About Us
Take Me Away From Here
Smilin'
Set This Circus Down
Angry All the Time
Let Me Love You
Grown Men Don't Cry
Why We Said Goodbye

Amazon.com

As a singer who has parlayed boyish charm and modest talent into a multiplatinum career, Tim McGraw seems like the guy next door who got incredibly lucky--and not just with his marriage to Faith Hill. This easy-listening collection features a generous 14 cuts, heavy on power ballads ("You Get Used to Somebody," "Take Me Away from Here," "Why We Said Goodbye") with soaring choruses and frothy sentiments, but light on soulful substance. For variety, McGraw proves a dead-on Springsteen mimic with "Forget About You," dubiously links himself to Hank Williams and Elvis with "Things Change," and crosses over toward Ricky Martin territory on the Spanish-tinged "Let Me Love You." Hill joins hubby on background vocals for the comparatively subtle "Angry All the Time." --Don McLeese

Customer Reviews:

Great Album.......2007-04-02

The songs on this album are melodic and I like the stories that they tell. I like this particular album better than most of Tim's other albums.

A SUPERSTAR WHO IS GOOD!.......2006-04-26

I was a little hesitant to buy an album by a big star. But, this cd is great! All tracks are good. My best is FORGET ABOUT US and the title song. Great sound and production. This would interest country, pop, folk, and rock fans. A CAN'T MISS!

BEST TIM MCGRAW ALBUM!.......2005-06-19

This is Tim McGraw's BEST album yet. I love "Angel Boy", "Cowboy In Me", "Telluride" (since I ski there), "Grown Men Don't Cry" and "Angry all the Time". Of course all the songs are AMAZING, but those are the best. There is not one song on this album that I skip over, which I do A LOT when I listen to other CDs. If you are looking to purchase a Tim McGraw album get this one. Trust me, I have every Tim McGraw album.

BEST TIM ALBUM TO DATE!!.......2005-04-06

My favorite Tim McGraw album to date. This album has some of the best songs that he has recorded. Many of which he never released which is a real shame. Telluride has got to be in my top 5 Tim songs. He has such a way about his music that you cannot help but be pulled in and carried along for the ride. "Take Me away from Here" really is one of those songs that makes you look at your life, and it makes you think.
When He shot the video for "The Cowboy in Me" I was at the concert, and you can see me in the video. I am holding this flashing red light that says "Tim McGraw - Bud Light" and they kept it in the video so I am also a fan of that song just for that!! J

things change.......2005-04-02

Set this circus down is a step in a different direction for Tim McGraw. While it still has the same style of his earlier albums, it also takes a deeper step into what he was attempting with "A place in the sun".
"The cowboy in me" is rockier than his usual music, and has strong guitar themes throughout it, yet the voice is still pure country, as are the lyrics. The lyrics are song, and it's either a song you get or you don't. It either will strike a chord in you, and make you sit up and realise "Hey I get that. I get what he means by the cowboy in me" or you won't.
"Teluride" talks about a young boys innocence fading, and the bittersweet remembrance of young love.
You get used to somebody is the traditional love song that appears on McGraw's album, with strong poignant lyrics such as "I never dreamed when i was letting you go that i would wake up and miss you this much" that touch even the coldest of hearts.
"Unbroken" borders on as pop country as perhaps McGraw gets, and has a great beat to it.
"Things change" is a must listen to song, and it looks at how music has changed throughout the years, and it's something a music lover who knows their music can listen to and relate to. it talks about the perjudice, and how much music has changed over the years from Elvis Presley to now. With strong guitar, and strong vocals this song is a pure winner.
The line that really touches deep is "they say it's too country, it's too rock n roll but it's only music if you can feel it in your soul." Pure magic.
I think one of the biggest gems on this album is the song "Angry all the time" which talks about the breakup of a relationship, and what made it disintegrate. the lyrics are powerful, strong, and touch deeply.
Right throughout the album the lyrics are strong, the vocals of Mcgraw goes from strength to strength.
His relationship with his group The dancehall doctors is strong, and it shows throughout the whole album.
An album worth having in the collection, and it's understandable why Mcgraw keeps on winning with his music.

All My Heart: Deborah Voigt Sings American Songs

Average customer rating:

Mixed results
Like driving a Ferrari in a school zone.
Stellar Soprano Applies Her Considerable Talent to a Lightning-Quick, All-American Repertoire
May have a heart but what good is it if the artistic results are a void?
Great new context for Voigt

All My Heart: Deborah Voigt Sings American Songs

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

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

Operettas | Opera & Vocal | Styles | Music

General | Easy Listening | Pop | Styles | Music
Similar Items:

Obsessions (Wagner & Strauss: Arias and Scenes)
Sacred Songs
Cecilia Bartoli ~ Opera Proibita (Handel · Scarlatti · Caldara) / Les Musiciens du Louvre · Minkowski
Plácido Domingo & Deborah Voigt - Wagner Love Duets ~ Tristan und Isolde, Siegfried
My Name is Barbara

ASIN: B000AQACM0
Release Date: 2005-09-13

Tracks:

The Side Show
Two Little Flowers
Down East
The Circus Band
Berceuse
At The River
The Children's Hour
Piccola Serenata
Greeting
So Pretty
In The Dark Pine-Wood
The Ivy-Wife
The Cloak, The Boat, And The Shoes
I Am In Need Of Music
To The Virgins To Make Much Of Time
This Heart That Flutters
Darkling, I Listen
Bright Cap And Streamers
The Half-Ring Moon
Pierrot
Cleopatra To The Asp
Evening Song
Ah, Love, But A Day
I Send My Heart Up To Thee
The Year's At The Spring

Amazon.com

This collection of American songs spanning 150 years shows Deborah Voigt, one of the world's leading sopranos, in a new light. She successfully achieves the transition from the larger-than-life operatic stage to the intimate world of song, especially in the more outgoing, dramatic pieces. Voigt enters into each composer's style with complete empathy. Charles Ives was an irrepressible maverick and a stylistic chameleon. Voigt captures the songs' hymn-like simplicity and irreverent rambunctiousness, though her voice is a bit too heavy for them. Leonard Bernstein's jazzy irony also needs more lightness, but the slow love songs are done beautifully. Voigt really comes into her own in Charles Griffes's lush impressionism, evoking the sultriness of Cleopatra and the rhythms of a Spanish dance, and Amy Beach's unabashed effusive romanticism. Composer Ben Moore is a child of our own time, born in 1960. He moves between many styles with natural ease. Set to great English and American poetry, some of his songs were written for Voigt, and she sings them to perfection. The splendid pianist Brian Zeger provides both leadership and support. --Edith Eisler

Customer Reviews:

Mixed results.......2006-02-22

This is an interesting collection of American songs, but I don't feel that Ms Voigt sold these selections to me. She still sounds like an opera singer trying to squeeze a very powerful and large voice into smaller setting for these songs, with mixed success. She is much, much better than many of her fellow sopranos that tried such repertoire, but I feel that she only gets it right in Amy Beach and Griffes songs. And even there, she does not have a sound that would make every song recital fan happy.
And what's with the title of this album? I think she is a classy artist and deserves better than such silly title, her label probably came up with that.
Nice try overall, but I hope Ms Voigt will do more Strauss and Wagner from now on, not more songs like these.

Like driving a Ferrari in a school zone........2006-02-02

Like a lot of big operatic voices, Voigt is hard to capture on CD; her recordings of Wagner and Strauss excerpts are good, but they can't convey the experience of hearing her live in an opera house. And singing with only piano accompaniment, as here, she simply can't use most of the power in her voice. As sensitive as her performances are I can't help feeling that she's having to hold back. For American song sung with more delicacy and grace I would suggest Barbara Bonney or Dawn Upshaw (I can't agree with previous reviewers' suggestion of Cheryl Studer's Barber, though Hampson is wonderful on that set).

Stellar Soprano Applies Her Considerable Talent to a Lightning-Quick, All-American Repertoire.......2005-11-08

It's a shame that soprano Deborah Voigt hit her greatest notoriety last year for being fired by the Royal Opera House for being too fat for the title role of "Ariadne aux Naxos" by Richard Strauss. She subsequently lost eighty pounds but luckily none of her vocal prowess as can be heard to great effect on this intriguing collection of American songs, 25 in all and averaging a little over two minutes each. It would have seemed like a mismatch to apply her powerful voice - famous for her big Wagnerian roles - to sometimes delicate tunes. Voigt, however, confounds expectations with a surprisingly nuanced performance that showcases her interpretative skills on a diverse set of musical styles.

Similar to what countertenor David Daniels did with his 2003 disc with guitarist Craig Ogden, "A Quiet Thing", Voigt and pianist Brian Zeger have created a wide-ranging lyrical repertoire that encompasses significant vocal demands while remaining intimate in setting. In fact, both Daniels and Voigt cover Leonard Bernstein's anti-war lullaby, "So Pretty", with haunting aplomb. She also manages to dance effectively over the "Da-ga-da-ga-dums" of Bernstein's challenging "Piccola serenata". Voigt does wonders with the opening Charles Ives selections by not overplaying the innate sentiment of the tunes, in particular, soaring with the highly dramatic "The Children's Hour" by Longfellow and even covering the churchy warhorse, "At the River", with conviction.

There are eight highly individualistic songs by Ben Moore that stretch Voigt with bountiful results. The standouts of the Moore set are the English sea chantey-like "The Ivy-Wife" by Thomas Hardy, the lushly romantic "I Am in Need of Music" by Elizabeth Bishop; the sweeping "Darkling, I Listen" by John Keats; and the discordant waltz, "Bright Cap and Streamers", by James Joyce. For me, the highpoints of the recording are the last two sets by Charles Tomlinson Griffes and Amy Beach, both of whom tap impressively into Voigt's natural theatricality proven especially by her performances of Griffes's lush "Cleopatra to the Asp" and Bishop's rolling "I Send My Heart Up to Thee".

The one shortcoming of the recording overall is that the briefness of the songs does not really capitalize on Voigt's impressive dramatic capabilities in showcasing changes in characters she would have been allowed in her opera roles. For all the limitations it represents, this is a genuine recital album, and truly transcendent moments are fleeting at best especially given the variety of moods that need to be expressed in lightning-flash strokes. However, taken for the genre it represents, this is a stellar recording to appreciate a singer who is able to do more than Wagner and lose weight.

May have a heart but what good is it if the artistic results are a void?.......2005-10-31

The header says it all. Thumbs down all the way. Get instead the Samuel Barber double set with Cheryl Studer and Thomas Hampson if you wish to experience true heartrending Americana. As another reviewer put it, you get no gimmicks and no camp from these two distinguished artists.

Great new context for Voigt.......2005-09-30

It is great to hear Voigt in an American lieder recital. She is a top vocalist in her vocal prime. I think this is a lovely disc, and it really takes off especially with the songs of Ben Moore who has written many works just for Voigt. She tones down the volume of her sound and reins in the dramatic aspect of her soprano to give these songs a proper context and remains in service of them throughout the recital. Give this one a try! EMI - Release her Marshallin from Der Rosenkavalier, I think it would be wonderful. I know she just took on that role this summer.

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