Still Warm

Still Warm

ASIN: B00000321M

Editorial Reviews
Amazon.com
John Scofield has a talent for making interesting, quirky music by mixing funk grooves with unexpected sounds and novel turns, and that's certainly the case on this 1986 session produced by Steve Swallow. Bassist Darryl Jones and drummer Omar Hakim lay down solid patterns for Scofield's compositions, while Don Grolnick adds unusual atmospheric textures with his keyboards. While the title tune has a warmly reassuring, bluesy quality and most of the tunes have strong grooves, "Rule of Thumb" and "Gil B643" have eerily spacey harmonies and "Protocol" has erratic choppy rhythms. Through it all, though, the band is always together, wandering into fresh musical terrain in tight formation. --Stuart Broomer

Still Warm,John Scofield,Gramavision,Contemporary Jazz,Jazz,Jazz Music,Pop,Post-Bop

Songs for a Hurricane
Average customer rating:

Songs for anyone who likes acoustic music, hurricane, drought, or otherwise

Trains and Hurricanes!

Why isn't she a star?

One more time

Unforgettable Voice, Beautiful Music

Songs for a Hurricane
Kris Delmhorst
Manufacturer: Signature Sounds Recordingss
ProductGroup: Music
Binding: Audio CD

General | Folk | Styles | Music
Traditional Folk | Folk | Styles | Music
General | Traditional Country | Country | Styles | Music
Similar Items:

Strange Conversation

Five Stories

Redbird

Stripping Cane

Ghost Repeater

ASIN: B0000AGWGB
Release Date: 2003-08-12

Tracks:

Waiting Under The Waves
East Of The Mountains
You're No Train
Bobby Lee
Weathervane
Juice+June
Hummingbird
Hurricane
Come Home
Too Late
Wasted Word
Short Work
Mingalay

Amazon.com

A favorite of folk fans in the Boston area, the singer-songwriter makes a striking bid for a broader audience with her third release. The propulsive "East of the Mountains" and "Short Work" benefit from the backbeat of former Morphine drummer Billy Conway (Delmhorst's co-producer), while "Hurricane" builds to a furious climax through the Neil Young-style guitar squall of Kevin Barry. Multi-instrumentalist Delmhorst seasons various tracks with fiddle, cello, and guitars. Though her breathy, brooding vocals can occasionally sound a bit mannered--giving a cloying quality to the overly precious "Hummingbird"--most of the musical settings reinforce the power of her elemental imagery. While the bulk of the material evokes the turbulence of a relationship, the conviction that Delmhorst brings to her music suggests that it would take an awfully strong wind to blow her away. --Don McLeese

Customer Reviews:

Songs for anyone who likes acoustic music, hurricane, drought, or otherwise.......2006-03-26

If you needed proof that the best songwriters out there are not the most famous, Kris is it. Her voice will floor you and her lyrics will pick you back up again. Buy this album, and then go and buy Red Bird, her collaboration with P. Mulvey and J. Foucault. You won't regret it.

Delmhorsts songs are strong, implacable and iconic. In this album she really abandons the personal-confessional style of 90s-era acoustic songwriting -- and fully comes into her own, using the pure voice of metaphor, myth, and image. Delmhorst loves the negative image -- "Baby, you're no train, you're the track" ... "no more weathervane, I'm gonna be the wind / no more turn around" -- and through her gorgeous low voice you can hear the muscle of her language rippling powerfully beneath.

And what a voice! It grows dark, menacing in minor in the likes of "East of the Mountains," "Weathervane" and "Come Home on the Train," and so sweet and gauzelike in "Juice + June" and (especially) "Mingalay" that the hard of heart would grow teary-eyed to hear her.

Simply put, this album is a keeper.

Trains and Hurricanes!.......2005-02-13

I don't buy much North American music, though you'll find Caroline Lavelle, Loreena Mckennitt, Mae Moore, Sarah McLachlan, October Project, Paul Simon, Kristine W, Milla Jovovich, and Over the Rhine in my collection (all of these, by the way, are recommended). Kris Delmhorst was unknown to me until just a few weeks ago. Based on a personal recommendation (thanks a million, Katie!) I bought it, and I have been listening to it almost non-stop since. I adore this album!

To those unfamiliar with this artist, her voice is somewhat reminiscent of McLachlan's, but the songs are moodier, less contrived, and seem more personal than McLachlan's. In that respect, her work has more in common with Mae Moore, but with a more visceral approach.

Several of the songs contain imagery of trains and hurricanes, the reasons for which are mysterious....

Why isn't she a star?.......2004-05-17

I love female singer-songwriters-- I'm a huge fan of Gillian Welch as well as Joni Mitchell, Ani Difranco, the Indigo Girls, Lucinda Williams, Alison Krauss, Norah Jones, etc. I'm always on the lookout for more to add to list, and if you'll let me mix my metaphors, Kris Delmhorst is a diamond in a haystack. Her voice and lyrics are beautiful and I'm really surprised that she isn't better known. Thank goodness I happened upon amazon's free download because I had never heard of this amazing woman. I went right out and bought all of her CDs and every last one is worth it. The songs range from mellow and introspective to rollicking and bluegrassy. If you like Alison Kruass, Norah Jones, Joni Mitchell, or the Indigo Girls I almost guarantee you'll appreciate Kris's albums.

One more time.......2004-03-13

This is one of those rare cds that I can listen to for days at a time and not get tired or annoyed. There is quite the musical mix and yet Kris's voice is constantly blending in perfectly as it floats over the music. This cd has it all: upbeat 'bluegrassy' songs such as "Bobby Lee", "East of The Mountains", "Come Home" and "Short Work". It has slow, jazzy songs "Waiting Under the Waves" and "Juice+June". Then there are the more 'rocky' songs "Wasted Word", "Weathervane". And of course, my personal favorites, the sad, mellow songs that really allow Kris's vocals to shine "Too Late", "You're No Train", and "Mingalay". "Hummingbird" is one of the most beautiful songs I have EVER heard and it is my favorite of this cd. I can get lost in this music and that is a good thing. Kris has a unique and soulful voice that can put me to sleep or get me excited to be alive. I love this cd and highly recommend it to all!!

Unforgettable Voice, Beautiful Music.......2004-01-27

Admittedly, I'm a sucker for great women singers. But on this album Kris Delmhorst shows she has much more than a distinctive voice, bringing a thematically linked set of songs together with some wonderful musicianship by Delmhorst and her band. And yet, it really is Delmhorst's voice that makes this an album to listen to both casually and carefully... repeatedly. But while you listen, you'll also find that this CD shows lots of respect for folk music styles. A sample of the songs and why I can't stop listening:

"East of the Mountains"
This country ballad displays something of Delmhorst's feel for a range of music styles. The voice here has all the rich texture of the gentler songs on the album, but applied to a quick-tempo tale of a woman "sent away" by her family, never to see her lover again, Delmhorst registers both sensual longing and resilient anger.

"Bobby Lee"
Of the many songs on the album that give Delmhorst a chance to really give the warmth of her voice full sway, this along with "Mingalay" may be the best. And while the star here is the wonderful tone of voice that gives the song's simple melody its full emotional range, the more I listen, the more I find myself thinking about its subject... the difficulty of "rolling the stone away" in a maybe-permanently broken relationship.

This song is a great example of just how resourceful a musician Delmhorst is, neither just a singer nor just a songwriter. You sense here that the album has a non-ostentatious feel for making use of its range of resources, much like you do when you listen to Merrie Amsterberg's "Little Steps" or Lucinda Williams' "Car Wheels on a Gravel Road" (as different as those artists are from Delmhorst).

"Juice and June"
At her most sultry here, Delmhorst and her band take it slow to get across the beauty of dancing toward passion, under the influence of "juice and June." The lovely risks of letting yourself fall too soon, which are slyly linked here to the pleasures of indulging in the music itself, give the song that wonderful quality of being a song about falling that lures its listener into falling for the song's own "juice and June."

"Hurricane"
I just have to begin by saying that this one sends chills down my spine. Again, and again. Why? Well, the song is about loving (someone's) storminess. It's an appealing tune, makes you want to sing it. And while the lyrics aren't unnecessarily tangled up with poetry... the texture of Delmhorst's voice gets a hold of the passion without histrionics... that is, through singing in the purest sense, not a display of singing. She handles the song the way a great actor does a great monologue, letting the material fully register in herself and show her the way to give it voice. And so she let's the song unfold toward its stormy closing instrumental burst in a way that feels organic.

"Come Home"
A song that could show up on a Gillian Welch album, here played simply with background rain effects, and sung with that remarkable voice. Listen to it on headphones to hear how Delmhorst keeps it simple and yet there's nothing simple in a voice working with a song's genre to capture its expressive range while staying true to its style.

"Wasted Word"
A sweet tune, about making the "wasted" past right in the lovely present. Pain has never looked so sweet, sincerely so, but you can't sing this song and make it believable unless you have a voice that can capture pain and beauty at once.

"Short Work"
A sort of country shuffle on betrayal and paying it back. Again, Delmhorst knows how to work within the song's shape to texture it musically but not interfere with the expressive potentials that it has as written.

"Mingalay"
An album that circles its hurricane theme throughout would not be complete without a traditional sailor's ballad... given a thoughtful update here through Delmhorst's final verse that complements the song's traditional look homeward from the sea with a look out to sea from those waiting on land. Played here with a bluesy sultriness, the song allows Delmhorst to handle the melody with a characteristic mix of aching tenderness and passion.

And again, you'll be torn between singing along and listening in rapt silence. To me, a singer who can cultivate precisely this conflict in the listener must be doing something right.

If you want to get a sense of just how remarkable the songwriting is here, do this: make a short playlist for yourself of
"East of the Mountains"
"Bobby Lee"
"Juice and June"
"Hurricane"
"Wasted Word"
"Mingalay"
and give this short set a listen. I defy you to find me a more beautiful set of songs on any recent recording, though each is different in style. But don't keep listening to this short set, go back to the full CD and listen to it all.

Tracks:

State Fair: It's A Grand Night For Singing - Dick Haymes
Show Boat: Why Do I Love You? - Tony Martin/Frances Langford
Show Boat: Can't Help Lovin' Dat Man - Ella Fitzgerald And Her Famous Orchestra
Show Boat: Ol' Man River - Frank Sinatra
Show Boat: I Still Suits Me - Paul Robeson/Elizabeth Welch
High, Wide And Handsome: The Folks Who Live On The Hill - Bing Crosby
State Fair: It Might As Well Be Spring - Dick Haymes
Centennial Summer: All Through The Day - Doris Day
Carousel: If I Loved You - Perry Como
Oklahoma: People Will Say We're In Love - Frank Sinatra
Show Boat: Make Believe - Tony Martin
South Pacific: I'm In Love With A Wonderful Guy - Mary Martin
South Pacific: Bali Ha'i - Juanita Hall
South Pacific: Some Enchanted Evening - Frank Sinatra
High, Wide And Handsome: Can I Forget You? - Bing Crosby
Roberta: I Won't Dance - Guy Lombardo And His Royal Canadians
Show Boat: Bill - Helen Forrest
Sunny: Who? - Tommy Dorsey And His Orchestra
Oklahoma: Oh, What A Beautiful Morning - Frank Sinatra
South Pacific: Happy Talk - Juanita Hall
Sweet Adeline: Why Was I Born? - Vic Damone
Very Warm For May: All The Things You Are - Tony Martin
Carousel: You'll Never Walk Alone - Judy Garland

Average customer rating:

John had Sco-much 2 say...
The Definitive Jazz Fusion Guitar Album
Beautiful laidback emotional fusion
Oh My!!! Check out that rhythm section!!!
Should be anyone's first Scofield purchase

Still Warm
John Scofield
Manufacturer: Gramavision
ProductGroup: Music
Binding: Audio CD

Acid Jazz | Jazz | Styles | Music

Bebop General | Bebop | Jazz | Styles | Music

General | Jazz | Styles | Music

Jazz Fusion | Jazz | Styles | Music

Modern Postbebop | Jazz | Styles | Music

Bebop & Post-Bop | Compilations | Jazz | Styles | Music

Jazz Jam Bands | Jam Bands | Rock | Styles | Music

General | Jazz | Indie Music | Stores | Music

Acid Jazz | Jazz | Indie Music | Stores | Music

Jazz Fusion | Jazz | Indie Music | Stores | Music

Modern Post Bop | Jazz | Indie Music | Stores | Music

Jambands | Rock | Indie Music | Stores | Music
Similar Items:

Blue Matter
Loud Jazz
Electric Outlet
Hand Jive
Pick Hits Live

ASIN: B00000321M
Release Date: 1990-10-25

Tracks:

Techno
Still Warm
High And Mighty
Protocol
Rule Of Thumb
Picks And Pans
Gil B643

Amazon.com

John Scofield has a talent for making interesting, quirky music by mixing funk grooves with unexpected sounds and novel turns, and that's certainly the case on this 1986 session produced by Steve Swallow. Bassist Darryl Jones and drummer Omar Hakim lay down solid patterns for Scofield's compositions, while Don Grolnick adds unusual atmospheric textures with his keyboards. While the title tune has a warmly reassuring, bluesy quality and most of the tunes have strong grooves, "Rule of Thumb" and "Gil B643" have eerily spacey harmonies and "Protocol" has erratic choppy rhythms. Through it all, though, the band is always together, wandering into fresh musical terrain in tight formation. --Stuart Broomer

Customer Reviews:

John had Sco-much 2 say..........2007-03-21

I concur with what other reviewers have posted. One of the truly original voices on the electric guitar. This is arguably THE record that really put John on blast. This should be required listening for all fans of progressive jazz, whether you play guitar or not. Fave cuts are: Techno, Still Warm, Protocol, and Rule of Thumb. Jones, Hakim, and Gronlick provide a solid backdrop for Scofield's outside, bluesy/bop harmonic approach and gritty, chorus heavy guitar tone. His playing also envokes a certain deliberation; probably picked up from his previous employer, Miles Davis. Yeah, it does sound a little dated(it was released back in 1986 after all, over 20 years ago. Damn, I'm getting old.) Still, this stands as a landmark jazz guitar recording that should not be ignored.

The Definitive Jazz Fusion Guitar Album.......2002-04-06

The first time I heard "Still Warm" was in Rotterdam, the Netherlands where I was living in the fall of 1986. I was familiar with Scofield from the Miles Davis sessions in the early 80s, but I had lost track of him. These cuts, especially "Still Warm", "Techno" and "Picks and Pans" are ridiculously good, with eloquent phrasings, and inspired interplay. This album seems to pick up all of the artists at their prime, including Omar Hakim on drums, Darryl Jones on bass and the late Don Grolnick on keyboards. If you have to own one jazz guitar fusion CD from the 80s, own "Still Warm"

Beautiful laidback emotional fusion.......2002-04-04

This is one of those fusion albums that comes around once in a blue moon, where the song writing matches the always virtuoso playing we've come to expect from this genre. The tunes are full of mood and feeling, and the hot-shot instrumental technique is there, but never to the detriment of the lush vibe found from one end of the recording to the other.

Omar Hakim and Darryl Jones, once Sting's peerless rhythm section, really lay down some fantastic grooves for Scofield to weave his dark magic over. Some really ambient yet driving soloing and riffing going on here, in one of JS's most musical creations to date.

Oh My!!! Check out that rhythm section!!!.......2001-10-29

This album is simply one of the most unique, melodic, musical, and utterly GROOVING albums ever, not to mention the best of all of Sco's great albums. If you can imagine the harmony of Charles Ives, Stravinsky, or Debussy backed up by what's probably the most smoking rhythm section I've ever heard (as well as some of the best guitar improvisation and tones ever) you'll at least be on the right track...

For those of you who have some of his newer stuff, most of these songs are kind of the vein of "Fez" off of BUMP. Drummer Omar Hakim and bassist Daryl Jones play quite busily on this disc, but still somehow manage to leave plenty of space, a tribute to their many sessions played in the studio. Gosh, these songs are excellent--from the spacy vibe of "Techno" to the absolute lyrical beauty of the title track to the all-out frenzy of "Protocal", there ain't a bad tune in the bunch. It's a shame that this is out of print, but any of you musicians out there should do all in you power to get your hands on a used copy of this (sorry, I'm not selling mine...). Trust me, you've never heard anything like it.

Should be anyone's first Scofield purchase.......1999-12-23

After the fusion's heyday of the seventies, the eighties saw very little truly interesting or innovative music of that type. It seems that fusion was giving way to what was to be later called 'smooth jazz'. It was during this lean time that a former band member of the founder of fusion (Miles Davis) records what might be one of the best fusion records of all time: John Scofield's 'Still Warm'.

True to form, Scofield is best when he surrounds himself with top drawer players: drummer Omar Hakim of Weather Report and Sting fame; bassist Daryl Jones, now a member of a rather exclusive club called the Rolling Stones; and the late, overlooked master pianist/composer/arranger, Don Grolnick. Another legendary bass player, Steve Swallow, produced the session.

From the opening notes on 'Techno', it's quite clear that these musicians are going to play at the high level that they are capable of. Hakim and Jones join together in a bass/drum interplay that lesser musicians cannot possibly pull off. Scofield patiently makes his statement in pieces, keeping all three musicians front and center. Meanwhile, Grolnick's synthesizers stay out of the way, providing just enough texture to paint a background against which the others fill the details. The title song has a somewhat bluesy feel, with a gradually building climax on drums that slowly comes into focus. 'Protocol' is a tricky tune that shows off Scofield's ability to treat a song like a puzzle. 'Rule of Thumb' also presents a chellenging setting for Scofield, who attacks such assignments with typical agility. 'Picks and Pans' starts with a sense of foreboding to Sco's dark solo, becoming more aggressive with each bar. 'Gil 643' wraps up the whole thing on a softer note.

As the previous review suggested, 'Still Warm' is a great introduction into jazz. While on the surface it seems to be more rock and funk than jazz, it has as much subtleties and complexities as some of the more sophisticated straight jazz. Each listen will reveal something new to your ears.

If you are interested in adding a John Scofield to your CD collection, strongly consider 'Still Warm'. You might find yourself adding more his records after hearing this one a few times.

Something to Fall Back On
Average customer rating:

San Diego's Finest Live Act Is Best Appreciated LIVE

Something to Fall Back On
Berkley Hart
Manufacturer: Psb Records
ProductGroup: Music
Binding: Audio CD

General | Rock | Styles | Music
Pop Rock | Pop | Styles | Music
Folk Rock | Folk | Indie Music | Stores | Music
Similar Items:

Wreck N Sow

ASIN: B00006HCBC
Release Date: 2002-07-23

Tracks:

Come On In
Something to Fall Back On
Red Eyed and Blue
Baby Won't You Let It Go
Lonely Town
Old Grey Deadhead
Desert Rose
Life Won't Wait
This Road Don't Go Nowhere
Woody Guthrie Knew
Everybody
Up On Cripple Creek
My, My, My

Album Description

Something to Fall Back On - the second album by folk-rock favorites Berkley Hart is a dramatic and exciting departure from the group's previous effort. Recorded on nothing but vintage recording gear and instruments, Something to Fall Back On is reminiscent of Bob Dylan's Highway 61 Revisited, The Band's Music From Big Pink, and The Grateful Dead's American Beauty. The album's 13 songs are as sensitive as they are emotionally charged, and represent a unique sense of optimism and freedom. From the first opening chord of "Come On In," to the final breath of "My, My, My," the listener is placed in a virtual sonic time-machine. Songs like the country-driven "Red Eyed and Blue," the melancholy, yet hopeful "Everybody" and Joel Rafael's touching "Baby Won't You Let it Go," convey a driving sense of purpose and the notion that sometimes its ok to feel less than perfect.

As contemporary pop music becomes increasingly overshadowed by the recording tricks and gimmicks that digital technologies afford, it's incredibly refreshing to hear an album as organic and pure as this one. In short, Something to Fall Back On is an album that will stand the test of time. It allows the listener to capture a musical time period that is almost forgotten, and simultaneously reflect upon the ideas of two very contemporary songwriters. Says Berkley, "We want to respect and honor our roots, but in the end we're just five guys who love to play authentic, American Rock n Roll."

Customer Reviews:

San Diego's Finest Live Act Is Best Appreciated LIVE.......2002-09-02

Jeff Berkley and Calman Hart are fine musicians, and the last thing I want you to think is that I dislike their music. I am a huge fan. Something To Fall Back On, however, leaves a bit to be desired. There are some excellent songs on this CD, but the whole thing lacks the energy of Berkley Hart live. If you are unfortunate enough to reside in an area where you can't see Berkley Hart in person, then you can get a better feel for their own brand of country-and-folk-inflected rock from their previous album, Wreck n' Sow. These guys have a sensational knack for sublime guitar and vocal arrangements. For a free shot at hearing these fellows, go to a website and download their amazing cut of "My, My, My." It's much better than the version on this album. You won't regret it. Then buy Wreck n' Sow, and go experience these guys in concert.

Average customer rating:

Jessye Norman Collection

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

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

Renaissance (c.1450-1600) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Norman, Jessye | Divas | Opera & Vocal | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music
Similar Items:

Jessye Norman Classics
The Essential Jessye Norman [Includes DVD: Jessye Norman Sings Carmen]

ASIN: B00000411W
Release Date: 1990-10-25

Tracks:

All The Things You Are
Spring Is Here
Love Is Here To Stay
In The Still Of The Night
With A Song In My Heart
Ave Maria
Amazing Grace
Greensleeves (What Child Is This)
The Holy City
Panis Angelicus
Messe solennelle de Ste. Cecile: Sanctus
There Is A Man Going Round
Give Me Jesus
Couldn't Hear Nobody Pray
Do Lawd, Oh Do Lawd
Gospel Train
He's Got The Whole World In His Hands

Tracks:

'Le nozze di Figaro': Porgi, amor
'Le nozze di Figaro': Dove sono i bei momenti
Zueignung, Op.10 No.1
'Ariadne Auf Naxos': Es gibt ein reich
Fruhling
Schlechtes Wetter, Op.69 No.5
'Dido and Aeneas': Dido's Lament: When I'm laid In Earth
'Les Nuits D'Ete': Le Spectre De La Rose
Gretchen am spinnrade
L'invitation au voyage
Je te veux
Les chemins de L'amour
'Tristan und Isolde': Tristan und Isolde: Isoldes Liebestod

The Songbooks: With a Song in My Heart/Lucky to Be Me

Average customer rating:

thought this would be great

The Songbooks: With a Song in My Heart/Lucky to Be Me

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

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

Norman, Jessye | Divas | Opera & Vocal | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music
ASIN: B0007XZUEQ
Release Date: 2005-05-10

Tracks:

The Boys From Syracuse: Falling In Love With Love
Rosalie: In The Still Of The Night
I Married An Angel: Spring Is Here
You Were Never Lovelier: I'm Old Fashioned
House Of Flowers: A Sleepin' Bee
Can-Can: I Love Paris
Music In The Air: The Song Is You
Mexican Hayride: I Love You
Goldwyn Follies: Love Is Here To Stay
Very Warm For May: All The Things You Are
Goldwyn Follies: Love Walked In
Spring Is Here: With A Song In My Heart

Tracks:

Love Me Tonight: Lover
I Will Wait For You
Lady In The Dark: My Ship
Girl Crazy: But Not For Me
The Boys From Syracuse: Falling In Love With Love
On The Town: Lonely Town
Knickerbocker Holiday: September Song
My Fair Lady: Show Me
Yentl: Where Is It Written
Just The Way You Are
Papa, Can You Hear Me?
One Touch Of Venus: Speak Low
On The Town: Lucky To Be Me

Customer Reviews:

thought this would be great.......2007-03-17

Beautiful music, beautiful voice-but unfortunately mismatched, and poorly recorded- "opera" style of delivery detracts from enjoyment- and recording poor quality in that it alternately blares out and drops to inaudible- second CD really poor- looks like one thrown in for good measure.
I am not musically trained nor a critic but I have loved these songs for many years and this was a disappointment.

Average customer rating:

I Still Feel You

Manufacturer: Dragana
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | Pop | Styles | Music

Pop Rock | Pop | Styles | Music

General | Alternative Rock | Indie Music | Stores | Music

General | Pop | Indie Music | Stores | Music
ASIN: B00006HH0V
Release Date: 2002-08-01

Tracks:

Dance
Never Late
Discover Me
One More Day, One More Night
What Do You Do
You
Rainy Days
Endless Tears
Rano je za tugu
Demons from the Past
I Still Feel You

Album Description

Compelling blend of original melodies and a warm, soothing voice captured through weaving stories of a personal journey from a child to a woman

Average customer rating:

How Close Are We
Michael Fair
Manufacturer: Captain Flugel
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music

Smooth Jazz | Jazz | Styles | Music
ASIN: B000274TJE
Release Date: 2004-05-25

Tracks:

How Close Are We?
Running Scared
One Last Cry - Michael Fair and Brandon Barnes
New Shooz New Attitude
Brazilian Sunrise
Four Chord Pileup
Midnight Groove
Sunday Afternoon Drive
A Fool Again
Beach Front Hideaway
East or West?
Nylon Samba

Average customer rating:

Great American Songwriters

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

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

Te Kanawa, Kiri | Divas | Opera & Vocal | Styles | Music

Von Stade, Frederica | Divas | Opera & Vocal | Styles | Music

General | Soundtracks | Styles | Music

Traditional Vocal Pop | Broadway & Vocalists | Styles | Music

General | Vocal Pop | Pop | Styles | Music

Traditional Pop | Oldies | Pop | Styles | Music
ASIN: B000002SNS
Release Date: 1992-11-10

Tracks:

Somebody Loves Me
Begin The Beguine
My Funny Valentine
Bidin' My Time
Bewitched, Bothered & Bewildered
The Man I Love
In The Still Of The Night
Where Or When
The Way You Look Tonight
I've Got You Under My Skin
But Not For Me
Always
Someone To Watch Over Me
I Concentrate On You
Embraceable You
All The Things You Are
Night And Day

Average customer rating:

"The death-doomed alone are destined to look on me."
Breathtaking, powerful, accessible, not just an alternative
Absolutely Breathtaking!
A powerful reading of the most moving opera in the Ring.
The power of Wagner's music drama is now fully accessible

Wagner: The Valkyrie

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

ASIN: B00004YU6Z
Release Date: 2000-11-28

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Customer Reviews:

"The death-doomed alone are destined to look on me.".......2007-06-12

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Karl Bohm: Wagner: Der Ring des Nibelungen

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

Goodall: Wagner: The Ring Cycle (Box Set)
-The Rhinegold (Part 1): Wagner: The Rhinegold
-Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Marek Janowski: Wagner: Der Ring des Nibelungen

James Levine: Der Ring Des Nibelungen

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I own the complete Solti Ring, but I must say I will be the first in line to get each new installment of this remarakable Ring as soon they hit the shelves. If you are new to Wagner, and are willing to make the plunge into a complete Ring, then start with this one and see if you want to continue. This recording is definitely one of the great Rings, and the superb translation will open up the work in ways that following the libretto just won't. I promise that you won't be able to put this one away easily. Get it!

Jazz Music:

Jazz Music

Jazz Music