Take Me to Your World

Take Me to Your World

ASIN: B00005YBLV

Track Listings

1. Take Me to Your World

2. World of Forgotten People

3. Swinging Doors

4. Gonna Take Me Away from You

5. My Favorite Lies

6. Flowers for Mama

7. Lonely Know My Secret

8. From Here to the Door

9. Am I That Easy to Forget?

10. Green, Green Grass of Home

Tracks:

Nice Work If You Can Get It
Isn't It Romantic
Swinging On A Star
Ask Me Again
Rhode Island Is Famous For You
'S Wonderful
Wonder Why
Too Marvelous For Words
Where Do You Start
Theme From The Bad And The Beautiful
Easy To Love
Alexander's Ragtime Band
Who Are You Now?
You're An Education
You Are There
Sophisticated Swing
Love Can Change The Stars
Come Out, Come Out Wherever You Are
Half Of April (Most Of May)
Marianne
They Can't Take That Away From Me
I Love A Piano

Tracks:

That's Entertainment
My Favorite Year
Ten Feet Off The Ground (With Rosemary Clooney)
I Never Felt Better
Someone To Watch Over Me
Kiss Her Now
The Ugly Bug Ball
For You, For Me, Forever More
The Mole People
And So To Bed
You're All The World To Me
Old Friend
Isn't It A Pity (with Rosemary Clooney)
Pattisserie
Open Your Eyes
For Love Alone
I Won't Send Roses/Time Heals Everything
Get Out And Get Under The Moon (with Page Cavanaugh)
My Romance
Love Is Here To Stay
Violin (with Liza Minnelli)

Amazon.com

The line between evangelist and entertainer has always been somewhat indistinct. But as showcased on this 43-track, double-disc collection culled from his '87-'96 recordings for Elektra/Nonesuch/Atlantic, Michael Feinstein's dedication to spreading the gospel of the American song often blurs it beyond recognition. While the singer's pedigree for the task is impeccable (a long-term stint as Ira Gershwin's assistant and early career sponsorship by Liza Minnelli), his interpretations often succeed by playing off a tense axis of fervent emotionalism and a joyous sense of irreverence.

If his readings of romantic standards can sometimes tend toward the precious, they're often balanced here by sheer dramatic power and telling insights ("Isn't It Romantic" fairly bristles with ironic chauvinism) and a few loopy curves ("The Mole People," the Sherman Brothers' "The Ugly Bug Ball," and the previously unreleased "Rhode Island Is Famous for You"). Feinstein's dedicated song archaeology is also showcased on several gems: "Violin," a duet with Liza Minnelli; "My Favorite Year," a rejected ballad for the film of that name; the sublime "lost" Gershwin classic "Ask Me Again."

Sprinkled with live performances (the forum where Feinstein's talents seem most energized) and studio outtakes and featuring a lengthy print interview with the singer, the set chronicles both the pioneering efforts of one of pop music's most successful revivalists and, crucially, the cream of his beloved American songwriters, from stalwarts Gershwin, Berlin, and Porter to later legends like Herman, Styne, Lane, Martin, and Mercer. --Jerry McCulley

Album Description

The definitive collection of performances by the Grammy nominated singer features 43 tracks from 14 albums released by Elektra, Elektra Nonesuch, and Atlantic labels from 1987-1996. Plus 8 previously unreleased live tracks only available here 'Rhode Island is Famous For You', 'S Wonderful', 'Alexander's Ragtime Band', 'I Love A Piano', 'Patisserie', 'Get Out And Get Under The Moon' (with Page Cavanaugh), 'Love Is Here To Stay' & 'Violin' (with Liza Minnelli). 2 Digipacks housed in a slipcase with a booklet. Rhino Records. 2002.

Customer Reviews:

Mixed feelings.......2005-10-05

This album has some GREAT songs on it; sophisticated swing being one of my favorites. However many of the other songs are too operatic and lame. I give three stars but this album is definatly worth it just for some of the better songs.

Your love for this superb collection will be here to stay..........2002-07-18

The magnificently talented Michael Feinstein has made one wonderful album after another for nearly two decades. Now that Elektra and Rhino have put together this anthology, I am blown away by the versatility and diversity in Feinstein's recorded output. Such amazing rare gems, combined with the most beloved favorites in the history of American Popular Song. Assembled with wit, intelligence, and obvious affection on the part of the record company, this set is a keeper. You'll love it!

He's done it again.......2002-07-15

Is there anything this man can't sing? This collection is so varied as to be the definitive collection of songs for any occassion.

This is perfect background music for a dinner party for a whole group but especially for two. Light, romantic and just gorgeous. You just can't go wrong when Michael Feinstein is your musical choice.

Way to go Michael, you've done it again!

Absolutely 'S WONDERFUL!.......2002-06-10

There are very few contemporary performers who can hold their own with the truly great interpreters of American popular song. Michael Feinstein is truly the ONLY performer of the "younger" generation who really understands what these songs are all about. His incredible knowledge of this music, and his enthusiasm and passion for it have fueled his career. Rhino Records has done a truly outstanding job of putting together an anthology that exemplifies why Mr. Feinstein has become so beloved by audiences around the world. The packaging is excellent, and filled with interesting photos and background information about many of the selections.

This collection not only contains all the favorites one would expect, but a neat group of surprises too. I especially love the duets with people like Liza Minnelli and Rosemary Clooney, and the various collaborative efforts with songwriters like Jule Styne and Burton Lane accompanying Michael at the piano.

This collection is a classic to be treasured. Bravo Michael!
Bravo Rhino!

A beautiful 2 disc CD-another hit for Michael.......2002-06-09

I have every CD Michael has ever made and this is by far one of the best ones because of Michael's range in singing and his wonderful singing voice. I love his duets with Rosemary Clooney and Liza Minelli. He is a wonderful performer on this double CD and am looking foward to the next CD.

Average customer rating:

The Real Thing
Fantastic Collection of Favorites!!!

The Mantovani Orchestra

Manufacturer: St. Clair Records
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Polkas | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

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

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

Marches | Miscellaneous | Styles | Music
Similar Items:

The Best Ever Mantovani Collection
At the Movies
Janine Jansen: Concertos & Romance
Whipped Cream & Other Delights (40th Anniversary Edition)

ASIN: B00005YC5F
Release Date: 2000-04-18

Customer Reviews:

The Real Thing.......2007-01-27

I'm a HUGE Mantovani fan and have had mixed results trying to upgrade my collection to CDs. This collection is the original orchestra arrangements of all the classics. This is the one to buy.

Fantastic Collection of Favorites!!!.......2003-07-02

The Mantovanti Orchestra shows off their "marvelous versatility" in this "wonderful" collection of "8 CDs", with titles that tell you "just what to expect", such as: "The Love Songs", "Memorable Classics", "Itallian Favorites", "On Broadway", etc. You can set the MOOD for practically ANY occassion! There are even some "popular" selections that we all know and treasure like: "Moon River", "Over the Rainbow" and "Autum Leaves"!
You will NOT want to remove these GREAT CDs from your CD Player, once you have listened to them! They make "nice" background music for small get-togethers or "lovely" background music for those "ROMANTIC DINNERS", for you and your "SPECIAL SOMEONE"!!! I HIGHLY RECOMMEND THIS SET!!! It is a GREAT DEAL for the money, even at the full price!!!

Take Me To Your World/I Don't Wanna Play House

Average customer rating:

Take me to your world/i don't wanna play house Tammy Wynette
The Album That Kick Started The Tammy Wynette Phenomenon

Take Me To Your World/I Don't Wanna Play House
Tammy Wynette
Manufacturer: Koch Records
ProductGroup: Music
Binding: Audio CD

General | Country | Styles | Music

Honky-Tonk | Country | Styles | Music

Nashville Sound | Traditional Country | Country | Styles | Music

General | Traditional Country | Country | Styles | Music

General | Rock | Styles | Music
Similar Items:

Stand by Your Man
Your Good Girl's Gonna Go Bad
Inspirational Favorites
Your Good Girl's Gonna Go Bad
One

ASIN: B000005YQA
Release Date: 1998-02-17

Tracks:

I Don't Wanna Play House
Jackson Ain't A Very Big Town
Broadminded
Cry
The Phone Call
It's My Way
Take Me To Your World
(Or) Is It Love
Fuzzy Wuzzy Ego
Good
Ode To Billie Joe

Customer Reviews:

Take me to your world/i don't wanna play house Tammy Wynette.......2003-07-03

THIS ALBUM HAS TO BE THE MOST TREASURED I HAVE BEEN ABLE TO FIND YET. HER OLD ALBUMS ARE SPECTACULAR WITH WONDERFUL SONGS. I LOVE THE SONG BROADMINDED AND IT'S BEAT, SOMETHING ELSE! THAT SONG WAS THE REASON FOR ME BUYING IT. I REMEMBER SINGING ALONG TO IT WHEN I WAS 13 YRS. OLD. IT IS A BOUNCY TUNE THAT GRABS YOUR LIKING FOR...WELL, THE REST OF YOUR LIFE!

The Album That Kick Started The Tammy Wynette Phenomenon.......2000-04-07

This is the second (solo) album released by the future "First Lady of Country Music". Her first album (YOUR GOOD GIRLS GONNA GO BAD) had generated one top 40 hit and then her first hit single (of the same name) but the album itself was practically ignored by country fans and radio. TAKE ME TO YOUR WORLD/I DONT WANNA PLAY HOUSE would change all that. I DONT WANNA PLAY HOUSE was a MAJOR hit and would earn Tammy her first Grammy award. Tammy and noted producer Billy Sherill offer a variety of sounds in this album, which was said to be put together rather quickly in order to cash in on the popularity of the single release. Their efforts would pay off and the album would become a best seller. Of course, this was at a period in time when no female vocalist in country music had ever sold a million copies of an album. Tammy would do that in just a few years, with the release of her greatest hits package. But until then, strong performances and solid songs would become the foundation of a Sherill/Wynette production. Listen to the first songs of the first lady and you will be able to rediscover that magic and musical time period. Indeed, Tammy manages to takes US to HER world.

Average customer rating:

if you like female jazz vocalists you'll love this album
Everyone does it, and seldom as well...
Everyone does it, and seldom as well...
Oh Yeah
Great voice, great music

Play It Cool
Lea DeLaria
Manufacturer: Warner Bros / Wea
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Jazz | Styles | Music

Vocal Jazz General | Vocal Jazz | Jazz | Styles | Music

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

General | Pop | Styles | Music

General | Vocal Pop | Pop | Styles | Music

General | Comedy | Miscellaneous | Styles | Music

Gay & Lesbian | Miscellaneous | Styles | Music
Similar Items:

Double Standards
Bulldyke in a Chinashop
Lea's Book of Rules for the World
Very Best of Lea DeLaria
Box Lunch

ASIN: B00005J9X2
Release Date: 2001-06-12

Tracks:

Sweeney Todd: The Ballad Of Sweeney Todd
West Side Story: Cool
Little Me: I've Got Your Number
City Of Angels: With Every Breath I Take
Chicago: All That Jazz
Faust: Life Has Been Good To Me
The Wild Party: Welcome To My Party
The Wild Party: Lowdown-Down
Stop The World I Want To Get Off: Once In A Lifetime
Follies: Losing My Mind
Franks Wild Years: Straight To The Top

Amazon.com

Standup comedian, actress, and singer Lea DeLaria presents a less confrontational image here than she did on 1994's Bulldyke in a China Shop, adopting the role of seductive, witty, confident, and heterosexual jazz chanteuse to perfection. Her voice ranges from little-girl-lost innocence to harder-edged tones, both suited to the opening "The Ballad of Sweeney Todd." With stylings from Billie Holiday to Judy Garland, "I've Got Your Number" heads straight for the heart of 1950s big-band balladry, improvised scat vocals proving DeLaria can swing with the best. "Cool" is anything but, the accompaniment understated, that voice dripping with the promise of sex. In "With Every Breath I Take," we get to imagine every late night smoky bar in every old Hollywood film we've ever seen--while it is pastiche, the characterization is startlingly evocative.

DeLaria sums it up with "All That Jazz," confidently suggesting, following her recent twin roles in the lavishly acclaimed 2000 Broadway revival of The Rocky Horror Show, that this girl just wants to have fun playing bad. When she sings "Life Has Been Good to Me," she has such an upbeat twinkle, you suspect she means every word. --Gary S. Dalkin

Customer Reviews:

if you like female jazz vocalists you'll love this album.......2004-07-27

I wish Delaria would put out more albums like this one. Her voice and interpretation of the songs on the album are really great and withstand lots of repeat plays. Highly recommended. Many of the cuts are worth 5 stars, but I didn't really like all of her song choices, so that's why I rated the album 4 stars.

Everyone does it, and seldom as well..........2004-04-10

All I can say is...WOW.
When my partner and I saw Lea perform her routine in P-town, she wowed us with a stunning version of one of my all-time favorites, "The Ballad of Sweeny Todd." We bought her CD on the spot and it stayed in my car's CD player for weeks on end (and then I only took it out because I had to switch cars).
I enjoyed the whole album, but I found myself playing the first track over and over, and even singing it in the shower. I must disagree with the "Cigar" review on all counts, at least regarding this track. The song lends itself so beautifully to swingin' jazz I can't believe nobody thought of it before. But I'm glad no one has, because Lea DeLaria knocks it out of the park. The smooth delivery is perfect for the dry humor of the lyrics, her belts are such a perfect blend of head and chest it sends chills up my spine, and the arrangement is spot-on. The best part - it stands up beautifully to repeat listenings; I just can't grow tired of this rendition. The opening track alone is worth twice the price of this CD.

Everyone does it, and seldom as well..........2004-04-10

All I can say is...WOW.
When my partner and I saw Lea perform her routine in P-town, she wowed us with a stunning version of one of my all-time favorites, "The Ballad of Sweeny Todd." We bought her CD on the spot and it stayed in my car's CD player for weeks on end (and then I only took it out because I had to switch cars).
I enjoyed the whole album, but I found myself playing the first track over and over, and even singing it in the shower. I must disagree with the "Cigar" review on all counts, at least regarding this track. The song lends itself so beautifully to swingin' jazz I can't believe nobody thought of it before. But I'm glad no one has, because Lea Dellaria knocks it out of the park. The smooth delivery is perfect for the dry humor of the lyrics, her belts are such a perfect blend of head and chest it sends chills up my spine, and the arrangement is spot-on. The best part - it stands up beautifully to repeat listenings; I just can't grow tired of this rendition. The opening track alone is worth twice the price of this CD.

Oh Yeah.......2003-01-05

...This bull... in a china closet just flat kills.. you like your jazz delivered with power, style, and class.. Lea delivers. You want your jazz to swing? It does that too. My highest rating. It won't leave your cd player anytime soon. Did I mention the musicians helping Lea are just as hot?

Great voice, great music.......2002-08-10

If you're looking for a modern jazz singer with a lesbian edge, this CD is it!

Average customer rating:

A Rose By Any Other Name...
"Thus I salute the stronghold, safe from dread and dismay!
Free at last!
I Love This Recording
The Goodall Ring - 1975 - Restored and Remastered

Wagner: The Rhinegold
English National Opera
Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
Similar Items:

Siegfried (Goodall Ring Cycle/Chandos Opera in English)
Wagner: The Valkyrie
The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

ASIN: B00005B550
Release Date: 2001-05-22

Customer Reviews:

A Rose By Any Other Name..........2007-07-02

The figure of speach may not be completely correct in this instance, but, well, I hope you get the point. In any case, for a Dutch speaking person, like I, to hear 'The Ring' in a language other than the original German feels - almost shockingly(?) - natural. Certainly, this modern English translation, to me, is as least immediate, and probably even more immediate, than the original (archaic) German text. And in music drama, immediacy is essential. Maybe it is also the wonderfully natural translation, I don't know, but it works for me, the Ring in English.
But most of the credit has to go to the music, the singers, and the recording as such. I believe that this (originally analogue) remastered recording has one of the best recorded sounds and acoustics of any Ring, studio or 'live'. It is wonderfully clear but warm, kind of velvety (very unlike Solti), with beautifully natural balaces between voices and orchestra. Audience noises can be heard (including a delightful little ripple of laughter) but never really obtrusively so, thankfully. And I love the thunderclap-sound effect when Donner strikes his hammer against the rocks - very tastefully done, and lending extra power to the scene.
All the time one reads in reviews everywhere of the very slow speads at which the music is conducted by Sir Reginald Goodall. Well, that may be so, but I, for one, am certainly endeared to Sir Reginald Goodalls 'caressing' of the music, as a result of which wich the Leitmotifs come out more clearly than ever. The slow - but nonetheless very concentrated, and always involved - playing has, to me, an almost mesmerizing effect. Certainly, compared to many other recordings, the music may sound stretched almost beyond breaking point. But in the end, I think it is really just that: a matter of speed, no more. The concentration never falters and the dramatic arc never saggs. There is live 'music magic' going on here, I feel, even if the English National Opera Orchestra may not be (as precise or as diciplined as) a Wiener Philharmoniker or a Bayreuther Festspielorchester. Certainly, Sir Reginald Goodall must have loved this music and these opera's: one feels a slowly beating but constant loving pulse that energizes the drama and the music.
But we also have the singers. And what a great singers! While the best may be yet to come (with Alberto Remedios as Siegmund and Siegfried, and Rita Hunter as Brunnhilde), we here, in The Rhinegold, already have one of the most commanding of Wotans (Norman Bailey, with wonderful burnished timbre). Also, Emile Belcourt stands out as a wonderfully sleek but full-voiced Loge. Derek Hammond-Stroud's Alberich may not be as black as Gunther von Kannen's (for Barenboim), for example, but there is enough anguish, frustration and anger to lend his character a convincing reality and depth. And the giants too, are a winning pair. Especially Fafner (Clifford Grant) is as imposing and powerful as one may ever wish.
With all the rave reviews, here and elsewhere I can't wait to hear The Valkyrie, (especially) Siegfried and Twilight of the Gods. This certainly is a winning 'Ring', to be kept alongside any other 'great' recorded 'Ring' out there, IMHO. To me, it can hold its own alongside any other favorite recordings.
Please, sample this Ring (try for example the Chandos website for fragments of all of the music) and decide for yourself. Highly recommended.

"Thus I salute the stronghold, safe from dread and dismay!.......2007-06-12

Okay, so we have the Solti, Bohm, Karajan, Levine, Janowski, Goodall, and Sawallisch Rings on the market (I haven't listened to the other Ring recordings yet, sorry to say). And all of these leave me to one conclusion: the many differences lead me to believe that all of these ring sets have their own authenticities and setbacks. And here they are:

TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Sawallisch's Ring: 14 hours, 0 minutes

CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.

Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.

Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.

Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: everything is slower than adagio moderato. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.

Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".

Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.

Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.

ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.

Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.

Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.

Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act One Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.

Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Bohm's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are found in this Ring. I can hear harps in Flight of the Valkyries! The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.

Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.

Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.

SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).

Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.

Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".

Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.

Levine: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's Ring.

Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.

-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.

Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).

Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."

Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.

Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).

-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm. Jon Vickers for Karajan, Alberto Remedios for Goodall, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jessye Norman for both Janowski and Levine, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Two exceptions, though: Robert Schunk doesn't sound heroic enough, and Jessye Norman for Levine's Ring doesn't sound young and innocent enough.

-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.

Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.

Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.

Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.

Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. I don't know Levine should've chose Kollo when he recorded his Ring.

-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").

Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.

Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.

Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.

Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.

-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.

Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.

Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.

Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.

Levine: Heinz Zednik is yet another excellent mime. He is equal to Schreier when it comes to humaneness and lyricism. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.

-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on in the Ring.

Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Still, it's satisfactory, and his "Ihrem ende eilen sie zu" gives great foreshadowing.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. His scenes in Scene Three are delightful.

Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.

Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt depends only on imagination and deviousness, Stolze only vengeance and deviousness, and Windgassen only peril. His odd conversations with Alberich and the gods/goddesses are classic.

Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.

Sawallisch: Robert Tear is on par with Stolze and Schreier. Sometimes he takes things too low, but all is forgiven with his management of character development.

-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings (maybe not in Swarowsky's version). Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm and Goodall. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.

CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation and the essential mono recordings (Furtwangler, Krauss), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the calculated Janowski, the relaxed Levine, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.

Sir Georg Solti: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti

Karl Bohm: Wagner: Der Ring des Nibelungen

Herbert von Karajan: Der Ring des Nibelungen / Karajan / Berlin Philharmonic

Goodall: Wagner: The Ring Cycle (Box Set)
-The Valkyrie (Part 2): Wagner: The Valkyrie
-Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Marek Janowski: Wagner: Der Ring des Nibelungen

James Levine: Der Ring Des Nibelungen

-Wolfgang Sawllisch: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sawallisch, Bayerischer Staatsoper

Free at last!.......2004-09-18

I've enjoyed listening to the Ring cycles by Solti, Bohm, and Furtwangler, but my pleasure has always been dampened by the necessity to follow the dramas with a German/English libretto. This performance freed me from that burden and allowed me to listen to the Ring with my ears alone for the first time. And what a delightful experience it was! I found I could understand about half the words the first time through. but that was enough for me to understand what the characters were saying and concentrate on Wagner's great music. Some of the characters (Loge and Alberich, for example) are almost perfectly comprehensible, while others (Fricka in particular) might as well be singing in German. The sound itself is superb, with perfect balances between orchestra and voices. Goodall's conducting is famously slow (about half an hour longer than usual), but he is never slack and he reveals a wealth of detail in the orchestration. The singers are a mixed lot, with Loge, Alberich, and Mime particularly effective. Bailey is hardly the grandest of Wotans, but he is solid and convincing. In any event, for us non-German listeners, this recording is a real treat. I would not recommend it as a first Ring (Bohm is a good choice, though some of his tempi are rather hectic), but as a supplement to a recoding in the original language, it is hard to beat. Give it a try! As for me, I'm ready to go on to "Die Walkure" (pardon me, "The Valkyrie").

I Love This Recording.......2002-04-05

I was a little suspicious when approaching this English-language version of Das Rhinegold. I was considering assembling this as my third RING set (behind Solti and Levine) and had listened to THE VALKYRIE (Die Walkure) with a little initial disappointment. Although the live sound quality was very interesting, the tempo was much slower than I was used to and thus a little disconcerting, and the English words were harder to understand than I had hoped. Nevertheless, I persevered and listended to THE RHINEGOLD (probably my favorite of the four RING operas, although I know this puts me in a minority) and was amazed. Best of all, after listening to this album I revisited the Goodall VALKYRIE and discovered a new appreciation! Now the Goodall set ranks as one of the best I've heard. It just needed to get under my skin a bit.

What's so good about it? Three things stand out for me: First, the slow tempi that were a litle rough at first actually allow, upon repeated listenings, a new discovery and understanding of Wagner's unfathomable genius. Every nuance is slowed down just enough to be fully accessible. Second, the modern English translation really does make this a different experience...my initial mistake was thinking that English lyrics could allow me to listen to this as background music, and that's not the case. However, if one devotes the same attention to this as a German recording, the time wil be richly rewarded. Finally, the smaller orchestra creates an almost chamber music-esque setting, which compliments the music in an undefinable way. Despite being in English, this is almost more Germanic than original-language recordings.

I still probably wouldn't get this as the first foray into Wagner's RING (I still think Solti or Levine are the choices for that). But for someone who already has some familiarity with the work, this will provide a lifetime's enjoyment. Cudos to Chandos for resurrecting these recordings!

The Goodall Ring - 1975 - Restored and Remastered.......2001-06-08

I have been curious about this for years. When I saw the packaging, I wondered whether this was the same Ring that has been kicking around for a couple of decades from the Sadler's Wells performances of the mid-70s. News flash: It's the same. However, the box says that it's been re-mastered with something called 24-bit digital mastering. Since I never heard the old records, I have no idea if this is better. Judged on its own, the sound is terrific. This live recording really places the listener in the theater with clarity and authentic spaciousness. So often, a live recording will capture the audience up close, then the orchestra, then the singers, cataloguing every throat being cleared and every bow being tapped. Somewhere in the distance, the singers voices follow their heavy tread over the stage. Not here. There is an intimacy to the sound here that approximates sitting in about the tenth row back in a large hall. It doesn't sound like the opera's being played in your room; it sounds as though your room has been transformed into a medium sized theater. I found it uncanny.

As to the experience of the drama in English, that too is remarkable, at least for someone like me whose home-tongue is English. The drama takes on an immediacy that I have never experienced before. This factor alone is why you should explore this Ring. I can't overemphasize the impact on me that this recording had on me because it was in English and because it was well-acted. Surely this is what Wagner meant, at least dramaturgically (obviously allowing that you can't actually see the action).

Overall, the singing is competent, and in some places, it's excellent. None of the cast really stands out musically. Norman Bailey's wobbly Wotan could have certainly benefitted from a deeper, richer tone. Still, and perhaps more importantly, he creates a god who is clearly unsure of where the moral highground is, even when he's standing on "an open space on a mountain summit." Everyone, for that matter, is dramatically convincing, especially Emile Belcourt (Loge) and Derek Hammond-Stroud (Alberich) and Robert Lloyd (Fasolt), all of whom, by the way, have excellent diction. And speaking of diction, I almost could have done without the libretto when the men were singing. Not so with the women, whose diction was uniformly wanting.

Goodall's pace is notoriously glacial. Still, it's interesting to hear it parsed in this way, and I never had the feeling that I was going to fall off the world. Which is to say that the tempos were deliberate, not affected. This was definitely a labor of love for RG and the English National Opera. The orchestra is a little thin sounding, and perhaps, not entirely up to the score. Occasionally a horn mis-blew and a cello creaked. This is unavoidable in live performances, I suppose. Still, there is a surprising sense of smallness to the ensemble, even though there's never a moment when the balance between singers and players is lost. As a result, the overall effect is a balance of clarity and urgency that is clearly the upside of Goodall's idiosyncratic "vision" of the score. Not a huge or "erotic" sound, but always committed, intelligent, and sometimes impassioned.

Tracks:

Stars Were Brightly Shining (From "Tosca")
Come In The Gondola (From "Night In Venice")
Because
Open Road (From "The Gypsy Baron")
Merry Widow Waltz
Count Your Blessings
All Through The Night
Maidens Of Cadiz
Tristesse
If You Were The Only Girl In The World
Silver Threads Among The Gold
Deep In My Heart, Dear (From "The Student Prince")
Songs My Mother Taught Me
Torna A Surriento
Over The Rainbow (From "The Wizard Of Oz")
Parted
Bachelor Gay (From "Maid Of The Mountains")
Trottin To The Fair
White Wings
Lost Chord
Creed
Drinking Song (From "Merry Wives Of Windsor"
De Glory Road
Ol Man River (From "Showboat")
Changing Of The Guard
Blue Danube
Huguette (From "Vagabond King")
If I Were A Blackbird
ILl Sing A Song Of Love To You
Intermezzo
Panis Angelicus
Berceuse De "Jocelyn"
WeLl Gather Lilacs (From "Perchance To Dream")
Holy City
O For The Wings Of A Dove
Goodnight (From "Cousin From Nowhere")
Believe Me If All Those Endearing Young Charms
Drink To Me Only With Thine Eyes
ChElla Mi Creda Libero ( From "Girl Of The Golden West")
Loves Old Sweet Song
Last Rose Of Summer
River Stay Way From My Door
OSilver Moon (From "Russalka")
La Marseillaise
Nessun Dorma (From "Turandot")
Who Tied The Knot (From "Gypsy Baron")
They Call Me Mimi (From "La Boheme")
Rosary
Song Of India (From "Sadko")
Serenade
My Heart & I (From "Old Chelsea")
Smilin Through
Sanctuary Of The Heart
Vilia (From "Merry Widow")
ILl Take You Home Again, Kathleen
I Love You Truly
Road To The Isles
Eriskay Love Lilt
Vivere
Old Father Thames
Tales From The Vienna Woods
Oriental Prayer (From "Lakme")
My Song Goes Round The World
I Love Thee
On The Road To Mandalay
Wiegenlied (Cradle Song)

Album Description

3 CD set from the Rajon 'Great Series'. 66 tracks. 2005.

Average customer rating:

almost the perfect James Bond collection
Good Collection
Not excatly what I expected
The James Bond CD for the John Barry purist?
Very enjoyable with most of the BOND music you'd want.

James Bond Collection

Manufacturer: Silva America
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

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Similar Items:

Best of Bond James Bond
The Best of James Bond 30th Anniversary
You Only Live Twice
The Essential James Bond (Film Score Re-recording Anthology)
Live and Let Die

ASIN: B00006JTGH
Release Date: 2002-10-22

Tracks:

Dr. No: The James Bond Theme (Original Version)
Dr. No: Suite
From Russia With Love: From Russia With Love (Film Version)
From Russia With Love: The Zagreb Express
From Russia With Love: The Golden Horn
From Russia With Love: Girl Trouble
From Russia With Love: 007 Takes The Lektor
From Russia With Love: From Russia With Love (Symphonic Version)
Goldfinger: Into Miami/Alpine Drive
Goldfinger: Dawn Raid At Fort Knox
Goldfinger: Goldfinger
Thunderball: Thunderball
Thunderball: The Bomb/Cafe Martinique
Thunderball: Fight On The Disco Volante/Death Of Largo

Tracks:

You Only Live Twice: Bond's Funeral/Mountains And Sunsets
You Only Live Twice: The Wedding/Capsule In Space
You Only Live Twice: You Only Live Twice
On Her Majesty's Secret Service: This Never Happened To The Other Fella'
On Her Majesty's Secret Service: We Have All The Time In The World
On Her Majesty's Secret Service: Bond Meets The Girls
On Her Majesty's Secret Service: The Ski Chase
Diamonds Are Forever: Mr. Wint And Mr. Kidd
Diamonds Are Forever: Circus, Circus
Diamonds Are Forever: Blofeld's Laser
Diamonds Are Forever: Diamonds Are Forever
Live And Let Die: Live And Let Die

Tracks:

The Man With The Golden Gun: The Man With The Golden Gun
The Man With The Golden Gun: Kung Fu Fight/Let's Go Get 'Em
The Man With The Golden Gun: Chew Me In Grisly Land/Return To Scaramanga's Fun House
The Man With The Golden Gun: Slow Boat From China/Nick Nack
The Spy Who Loved Me: Nobody Does It Better
The Spy Who Loved Me: The Tanker
The Spy Who Loved Me: Ride To Atlantis
Moonraker: Arrival At Chateau Drax/Freefall
Moonraker: Miss Goodhead Meets Bond
Moonraker: Flight Into Space
Moonraker: Moonraker
For Your Eyes Only: For Your Eyes Only
Octopussy: Suite: Bond Meets Octopussy/The Palace Fight
Octopussy: All Time High

Tracks:

A View To A Kill: Wine With Stacy/Fanfare/Snow Job
The Living Daylights: Koskov Escapes/Hercules Take Off
The Living Daylights: Mujahadin/Afghanistan Plan
The Living Daylights: Air Bond/Necros Attack
The Living Daylights: End Title
Licence To Kill: Suite
Goldeneye: Goldeneye
Goldeneye: Tank Drive Around St. Petersburg
Tomorrow Never Dies: Tomorrow Never Dies
Tomorrow Never Dies: Surrender
The World Is Not Enough: Ice Bandits
The World Is Not Enough: Access Denied
The World Is Not Enough: The World Is Not Enough
The James Bond Theme (Symphonic Version)

Amazon.com

The exploits of Ian Fleming's British super-agent James Bond have long since become the longest running film series in history, spanning 40 years and counting. Not the least of the cycle's charm has been its music, a body of work that encompasses pop clichés (the twangy guitar of Monty Norman's original "James Bond Theme") and elegant underscores alike. While this collection spans music from Dr. No to The World Is Not Enough, decades of various legal entanglements prevented it from becoming the ultimate Bond music anthology. This is more a credible simulation, a newly recorded collection of cues and suites (including music previously unreleased on the original soundtracks) performed by Nic Raine and the City of Prague Symphony Orchestra. With John Barry's lush, ever-evocative scores both forming the core and setting the tone (but also featuring the work of George Martin, David Arnold, Michael Kamen, Bill Conti, and Eric Serra), it's the most comprehensive--if not exactly authentic--collection of Bond music yet attempted. --Jerry McCulley

Customer Reviews:

almost the perfect James Bond collection.......2005-07-20

this 4 CD box has most of the familiar James Bond compositions.

Still,some tunes are missing(from for instance Thunderball and For Your Eyes Only)and most of the time the attention is on the instrumental version of the title track which is a bit of a shame.And yet,there are too many great pieces on this collection to make it a failure.Alpine Drive,Dawn Raid at Fort Knox,On Her Majesty's Secret Service(every track),Miss Goodhead and so on.All great pieces that not only show the great talent of John Barry but also the great power of James Bond films.Cause when you hear the music,you see the scenes in front of you.

Very much a recommendation to all Bond and Barry fans although sometimes it focusses too much on title songs.The only solution is to buy all separate soundtracks.

Good Collection.......2005-02-24

Very nice packaging and good tracks from the Bond music library make this an anoutstanding item. "From Russia With Love" and "Diamonds Are Forever" contain beautiful and energetic renditions. The John Barry music is handled quite well. I didn't real care for the David Arnold selections. "The World Is Not Enough" was weak. Overall it is a good collection just the same.

Not excatly what I expected.......2003-04-10

I when I read some of the reviews of this I thought that this was a complete collection of all the originals of the Theme songs of every James Bond movie and remakes done by the Prague Philharmonic of some of the other songs in the various movies. After recieveing this ... I started to listen to it and found out that it was all done by the orchestra. The are very good, but to a point it is not the same thing as owning a disc will all the orignal songs on it. Overall, this good if all the you want is the orchestral versions of most of the songs in the movies or the suites out of some of the movies. To a point these don't compare to the orignals. Keep looking if you want a set with all the orignals songs in it.

The James Bond CD for the John Barry purist?.......2003-01-28

Let's cut to the chase. Nic Raine and the City of Prague Philharmonic Orchestra do John Barry's work justice. 90% of this collection is as close as you can get to the original James Bond soundtracks. The other 10% lends itself to some artistic license with respect to the arrangements. Most notable is the main theme to Goldfinger. Also Nic slips in a few previously unreleased tracks. You will find these on the On Her Majesty's Secret Service and Golden Eye tracks. This CD boxed set is definitely made for the Bond soundtrack fan. The die hard John Barry "purist"/ traditionalist may find some of these tracks questionable at first, but after a few times Nic Raine's artistic license gives a fresh perspective to the familiar Bond/ Barry themes. The only reservation I have with this CD set is with some of selections that are performed. For instance, from Goldfinger, "Dawn Raid At Fort Knox" was a poor selection considering the selection available on that particular soundtrack. The most famous 007 soundtrack of all I dare say. Overall Nic hits the mark, and this CD set is a tribute to Barry's (as well as, George Martin's, Marvin Hamlish's, and Bill Conti's and David Arnold's) work. It's all here in one collection. I am a die-hard Bond soundtrack fan, and to the casual soundtrack fan I say this CD is set all you need to experience the Bond music legacy. To those who are hard core 007 soundtrack fans ...this is a FANTASTIC "addition" to your collection. This has to be the BEST (and probably the only) 007 "soundtrack" compilation. Whereas all the others feature the "main themes" from the Bond films as originally recorded, this one truly gives you the Bond experience.

Very enjoyable with most of the BOND music you'd want........2002-12-08

This is similar but more comprehensive than another BOND collection on one CD by the City of Prague Philharmonic. These are good renditions but clearly not the orginals. I must ask if the Prague Philharmonic does not own a harp? It is glaringly missing in the Goldfinger themes and i am sure on others. That harp is an exciting and beautiful touch to the wonderful GOLDFINGER theme and its absents is unfortuneatly very noticeable. Also some of the other themes can even sound muzaky if thats a word(elevator music)
It gets 3 solid stars good collection yet defineatly something is lacking.

Average customer rating:

Complete Secular Songs (3cd)

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
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ASIN: B0000DJENT
Release Date: 2004-01-13

Average customer rating:

[2 CD Set] Spirit of Calypso / Mask
DUKE , *************TRACK LISTINGS************* , Take Your Business Out / Bumsie Made to Wine On / Don't Destroy Calypso / Pan for Pan / Teach the Children / Anti-Social / Just Tell Me / What Sweeter Than Dis / Shine a Light / Get a Life , and Soca Have Meh Tu Tul Bey / Pretty Conchita / Soca in Yuh Bam-Bam / World Today / Never Satisfied / Baddest (I Feelin' to Break) / Floating Dollar / Home Cooking / Yuh Cheating / Ice Cream / Soca Have Meh Tu Tul Bey [12"] / Soca Have Meh... [Dub]
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Binding: Audio CD
ASIN: B000R4EGH2

Musid From All Around The World... "featuring: Love Decade, Control, 2 for Joy, Mix Factory"

Average customer rating:

Musid From All Around The World... "featuring: Love Decade, Control, 2 for Joy, Mix Factory"
Is This a Dream (Dream On) - Love Decade , Dance with Me (I'm Your Ecstasy) [Original Mix] - Control , Let the Bass Kick [Heron Mix] - 2 for Joy , So Real [Massive Mix] - Love Decade , I Can't Take the Heartbreak [Large Club Mix] , Burnin' [Love Decade Mix] - Mix Factory , Take Your Body over Mine [Love Decade Mix] , Take Me Away [Original Mix] - Mix Factory , I Feel You [Naked Club Mix] - Love Decade , and Jump to It / When the Morning Comes [Original Mix] - Love Decade / Pure Ecstatic Energy [Such Blues & Greens Mix] - 2 for Joy
ProductGroup: Music
Binding: Audio CD
ASIN: B000QFDHK4

Album Review:

Album Review

Album Review