Realization

Realization

ASIN: B00099ICKM

Editorial Reviews
Ed Enright, Down Beat (September 2005)- FOUR STARS
"...superbly accurate, logical in improvisation and mind-blowing in it's leaps of groove. Realization nails it on all points musical"

Product Description
Since arriving in New York in 1995 George Colligan has hardly had time to catch his breath. His playing has been a source of admiration from some of the best performers in this business, including Cassandra Wilson, Don Byron, Buster Williams, Michael Brecker, Gary Bartz, Christian McBride, Lenny White and many more who have seen to it that George's is always kept busy. Now we have the great groove band "MAD SCIENCE" "Realization" (SJL 1030) is on release now and delivers a new and powerful keyboard/guitar/drums sound.

Realization

Tracks:

Tracks of My Tears
Carpet Man
Tunesmith
Sidewalk Song/27th Street
It'll Never Happen Again
Do What You Gotta Do
Baby I Need Your Loving
For Emily, Whenever I May Find Her
Rosecrans Boulevard
Eleventh Song
Sweet Smiling Children
Hey Joe
Look to Your Soul
Way We Live
Summer Rain
Whiter Shade of Pale
Brother, Where Are You
Something's Strange
What's the Difference
Going Back to Big Sur
Positively 4th Street

Album Description

1998 BGO reissue with two of the pop guitarist/ vocalist's best LPs for the Imperial label together on one CD: 1967's 'Rewind' & 1968's 'Realization'. A combined total of 21 tracks, including 'The Tracks Of My Tears', 'Baby I Need Your Loving', 'Hey Joe', 'A Whiter Shade Of Pale' and 'Positively 4th Street'. All tracks are digitally remasteredfrom the original master tapes. Also includes faithfully restored artwork & additional sleeve notes.

Album Details

Two Orignal 60's LPs Reissued on One CD. 21 Tracks, Including 'Tracks of My Tears', 'Baby I Need Your Loving', 'Hey Joe', a Whiter Shade of Pale'& 'Positively Fourth Street'.

Customer Reviews:

Nearly 40 years later..................2007-06-21

I have been transferred back in time and loving every single minute of it! I have searched for this album (Rewind/Realization) for years and when I stumbled upon it after nearly giving up on my search, I was ecstatic!! Johnny Rivers has always been one of my favorite artists and Jimmy Webb wrote songs that seemed to call me by name. I can remember the first time I split the cellophane on Rewind and put that vinyl on my turntable. What a heavenly experience it was. I had the same feeling when I split the cellophane on this CD and popped in my disc drive. So many expectations from my past have diminished with time but this experience, I can happily report is not one of them. Although I had to put on my reading glasses to read the fine print this time; my heart was wrapped around the sounds coming out of my compact speakers. Thank you! Thank you! Thank you, for bringing these songs back into my life! I will sit here today and type my day away and listen to Sidewalk Song/27 Street, It'll Never Happen Again, Tunesmith with a smile on my face. I feel like I am 18 again in my heart, I will just avoid the mirror today. Johnny, I still love you, wherever you may be. (P.S. I could never drive down Rosecrans Blvd without thinking about you.)

Rewind Realization.......2007-01-16

I was looking forward to all these great songs of Johnny Rivers on one CD! I was amazed and dissapointed at the poor quality. I brought out the Johnny Rivers Anothology CD's I purchased a few years ago to compare . There is no comparison in the quality of the same songs. It is a shame this studio is doing such a disservice to such a great artist. Amazon needs to re-consider using them as a vendor.

Incredible classic.......2007-01-10

All it took was the lead in to Hey Joe, the first song on the Realization portion of the CD, and I was off the planet. Couldn't ask for a more fabulous flashback to the late 60's. Johnny Rivers at his best and never got enough accolades for this amazing album. This CD is more than a collectable. The Realization album was a must in 68/69, and still is. Only wish the remastering was a bit more expansive.

Rivers run dry.......2006-12-27

Don't buy it. If you can get Carpet Man on another collection, do so. He's better off not trying to be hip because he is not. I purchased this for historical purposes, but if you ever wonder about pop idols trying to be hip, Tommy Roe did a little better with Winter's Day.

rewind.......2006-03-18

I was happy that you were able to replace the CD after it got lost in the mail.

Thank You,
ishie108@yahoo.com

Mahler - Symphony 10 / Berliner Philharmoniker · Rattle

Average customer rating:

once again, Rattle is undermined by less than great sound
Rawness, starkness... greatness.
4 stars for incompleteness of the Cooke version
Rattle gives the best-ever reading of the Cooke completion
A performance of Mahler's draft of the symphony prepared by others

Mahler - Symphony 10 / Berliner Philharmoniker · Rattle
Gustav Mahler , Simon Rattle , and Berliner Philharmoniker
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
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Mahler: Symphony No. 9 / Zander, Philharmonia Orchestra

ASIN: B00004RITP
Release Date: 2000-06-06

Tracks:

Sym No.10: I. Adagio
Sym No.10: II. Scherzo
Sym No.10: III. Purgatorio (Allegretto Moderato)
Sym No.10: IV. Scherzo
Sym No.10: V. Finale

Amazon.com

Just as the Payne/Elgar Symphony No. 3 is not Edward Elgar's definitive statement, Mahler did not complete his Symphony No. 10. He did, however, complete the first movement in full score and the second in short score, while he left incomplete sketches for the remainder. Had he lived, Mahler would almost certainly have shaped the material further. This means that the performance edition prepared by Deryck Cooke in the early 1960s is not a completion, it's an orchestration of the short score left at Mahler's death in 1911. It nevertheless sounds very "complete," both in itself and as a summation of the romantic-epic 19th century German musical tradition. Hereafter, the France of Debussy and Ravel would lead the musical world, and Stravinsky's 1913 Parisian premiere of The Rite of Spring would turn it upside-down.

Simon Rattle has recorded a fine version with the CBSO. In 1980, Rattle conducted the Symphony No. 10 in a highly acclaimed performance with the Bournemouth Symphony Orchestra, and this later version with the Berlin Philharmonic offers even greater expressive control and power. The tempos are slightly slower and, inevitably, the performances more musically eloquent. The excellent live sound omits all but the faintest background noise, and the grave beauty of the Finale becomes a deeply moving testament to a world long-since gone. --Gary S. Dalkin

Customer Reviews:

once again, Rattle is undermined by less than great sound.......2006-12-27

Make no mistake, this is a very fine performance. But once again, a strong Simon Rattle effort receives too little support from his home label, EMI. This IS available on a DVD-A, and I've yet to hear that. But the plain, old CD of it is relatively constricted and mute sounding. As a performance, I find this to be a significant improvement over his earlier Bournmouth recording. Yes, Bournemouth has a stronger low brass section, and the winds generally play with more color to their sound. But the Cooke version of the Mahler 10th is very dependent on strings to carry much of the load. Needless to say, the Berlin strings deliver the goods in spades, as do the Philadelphia strings for Ormandy (my favorite!). Interpretively speaking, Rattle makes a couple of important changes here. Most notable, is that he ammends the solo bass drum strokes at the begining of the fifth movement to a plain forte, as opposed to the totally unmusical - and biographical wrong! - fortissmo shots heard (clear into the next county) on his Bournemouth one. But just as important, Rattle makes a smoother transition into the fifth movement; by way of taking the concluding section of the forth movement (second scherzo) slower than normal - everythig that happens after the final expressionistic outburst. If this makes things sound too smooth in your mind, rest assured that Rattle does, indeed, lean heavily on that final outburst in the fourth movement. I find that these changes make greater sense of the ongoing narrative. Rattle's first scherzo (second movement) is nice and fast - rhythmically incisive - and the short "Purgatorio" movement has its day as well (not so with Gielen, I'm afraid).

For the Cooke version, I'm still a big fan of the old Ormandy recording. But if you own a DVD-A player, it may well be worth investigating the Rattle on a DVD-A disc. If you wish to explore beyond Cooke, as an addendum, you couldn't do better than the outstanding Litton/Dallas S.O./Delos recording of the wild and wooly Clinton Carpenter version. Yes, Carpenter over-extends himself; stepping deep into the sound world of Alban Berg. But once you get used to it, his remains the most satisfying - in terms of the work's narrative - and idiomatic sounding "completion" of the lot. He simply captures more of the ebb and flow of Mahler's extreme emotions and mood shifts (this was a rough period for him, shall we say).

Rawness, starkness... greatness........2005-12-23

This Mahler 10 IMHO says it all, and more eloquently and more eminently than all others maybe. Whatever your reservations about a 'score unfinished', this recording, I believe, completely convinces one again and again of the greatness of this ('unfinished') music AS PERFORMED HERE.
The performance in my ears sounds more 'raw' and with more 'attack' than any other recording of this music, the result of Sir Simon Rattle's tendency to make the most of all the many contrasts and sudden tempo changes, and to make every instrumental sound stand out in the orchestral soundpicture as clearly as possible. Fire and ice. Although this could also be caused by the rather direct and clear, but somewhat thin recording as such. With this specific music, this 'thinness' of sound is in my idea not a big problem, or rather an advantage. (Thinness of sound IS a problem with Sir Simon Rattle's Mahler 8, though!). But I must hasten to say that the whole aural range - from soaring and piercing highs to rumbling lows - is captured in an astoundingly sharp and beautifully natural way.
Compared with other recordings of Mahler's Tenth Symphony (many of which are different 'versions', but I would like to stick with the 'performing version' by Deryck Cooke et al here for convenience sake), like Inbal or Chailly, I like this one the best. At least it is the most convincing performance - the conductor wresting each and every possible emotion from all of the notes - that I have ever heard. This must be the most 'highly charged' (emotionally as well as purely musical) performance - combined with some of the most disciplined playing - ever recorded. There are more 'beautiful' performances maybe (take for example Inbal), but those are generally a little(?) more laid back and relaxed. This is of course the result of different, equally legitimate visions of different conductors, suiting many tastes or moods ... if such could be possible in this very explicit music: a final shout of rage and ultimately desperation at the dying of the light. Anyhow, this Mahler 10 does have the most TERRIFYING A-flat minor (Mahler's 'tragic' key) chorale (just before the infamous nine-tone chord-outburst - beyond any 'key') I have ever experienced, and I find it most unsettling to listen to. Its horror is so devastating I must really brace myself emotionally every time.
If you are drawn to this music - which is probably irrevocable - you really should have this recording. (And while the sound of the standard stereo CD is just fine, I can say that the high-resolution stereo of the audio-DVD version of this recording is even clearer and generally better and absolutely captivating. Unfortunately I am not able to listen to this recording in its six-channel Surround Sound format, so I could not comment on that, but I can only expect it would offer a truly overwhelmingly emotional experience.) Actually this shattering Mahler 10 IMHO deserves no less than six *stars*.

4 stars for incompleteness of the Cooke version.......2005-10-30

I totally agree with Mr. Boulez in that Mahler Symphony No 10 could have been completed only by Schoenberg, who wrote a very Mahlerian tone poem "Pelleas und Melisande". (In my opinion, one can possibly include Shostakovich, considering his symphony no. 4.) Actuallly, Alma asked both composers to complete this symphony, but Schoenberg already started composing atonal works by the time Mahler composed his 9th symphony, and Shostakovich was under the Stalin Regime when he was asked to complete this symphony.

Even though I found lots of interesting moments (e.g. timpani at the beginning of the 5th movement, etc.), I felt kinda fundamental incompleteness throughout this symphony. Especially, one cannot expect, in Cooke's version, the great moment of finale Mahler had created in his other symphonies. (For an obvious example, compare with the finale of his 9th symphony.)

So my conclusion is that this recording is quite persuasive, but cannot convince that 10th should be placed along with the other stellar Mahler symphonies. (maybe this recording can persuade some critics that Cooke's version is worth performing, at best...) One can claim that it sounds "complete" depending on the definition of "completeness", but to me it didn't reach "greatness", except the first movement that Mahler himself completed.

It's regrettable (for me, personally) that Schoenberg didn't work on this symphony even during his unproductive periods when he usually orchestrated other composers' works.

And one reviewer below made a very bold statement. Debussy and Ravel influenced a lot on Messiaen and Boulez, who, along with some other composers, led the contemporary music after the war. One should be careful when making such statements as who's better than who. And all Mr. Dalkin claimed is that after Mahler's death the musical world was led by the two French composers.

Anyway, I can recommend this recording for those who want to hear Cooke's version, and I agree that Mahler's 10th Symphony is worth performing, but one shouldn't expect the greatness as in other Mahler's masterworks. If you do, you'll be possibly writing a review here, claiming the incompleteness of Cooke's version.

Rattle gives the best-ever reading of the Cooke completion.......2005-10-11

I can't support the view that the Mahler Tenth feels complete. What we have is one great movement that is fully completed, the opening Adagio, followed by an almost complete one (the third movement Purgatorio), and three problematic movements in bare sketches.

They are so problematic that Leonard Bernstein, Solti, Abbado, Kubelik, Karajan, and other prominent Malherians have declined to conduct any of the completions done by Deryck Cooke or his half dozen successors. Cooke did a wonderful job with what he had, but the mystery is why the Adagio is so obviously great while the remaining sektches aren't.

The Purgatorio movement doesn't give us a totally convincing picture. The finale is quite skeletal; Cooke had to work from a two-stave piano score. Either Mahelr was going to write in a mode much sparer than any he had ever used before, or his inspiration was flatging, which is entirely possible from a severely ill, depressed composer.

It's amazing than even these sketches can sound so good. Rattle gives a totally committed performance of the Tenth, probably the best on records. The Berlin Phil. plays with its customary virtuosity, even though EMI hasn't come up with the best sound; it's fairly thin, distant, and wiry in the upper registers of the violins. I am glad to have thids CD, but I don't think the Tenth is complete or a masterpiece, one movement aside.

A performance of Mahler's draft of the symphony prepared by others.......2005-10-03

Mining the notebooks of deceased composers for unpublished and nearly completed works has a long and venerable tradition. Brahms edited works by Franz Schubert and others completed works by Mozart including his famous "Requiem". Every now and again a new work is uncovered in some library and the world is hungry to hear any scrap of new music from these favorite composers. Doesn't this say something about the quantity and quality of new music? In their time, there was so much other music being written, and its expected life was so short, that no one cared a bit about "lost" compositions. There was simply too much music competing for the stage for it all to be heard.

Despite this disk being entitled Mahler's 10th Symphony, there is no such thing. Mahler's compositional process was such that he worked out a complete notebook of a symphony during his summers and worked out the final versions, often substantially revised, during his winters. However, during his last year, he spent a great deal of time preparing his ninth symphony rather than working on this piece. What we have here is the notebook draft of what would have become the 10th symphony had Mahler lived. It is a largely complete draft and was put into performable shape by others. Four names are provided on this label, but principle credit is given to Deryck Cooke.

So, what do we have here? It is a long elegiac piece that emphasizes strings. I am not convinced the winds would have been as suppressed as they are here, but we have what we have. The gestures and effects are all Mahlerian. If you heard this and were not told the composer, you would immediately know whose work it is. Or maybe, since you would not know the work, suppose it was someone imitating Mahler. There are some gorgeous moments, some incredibly poetic moments (the amazing ending to the first movement), and some wonderfully howling chords that are somewhat surprising.

If you don't know Mahler's music, start somewhere else. The first and second symphonies continue to be favorites and easily accessible. His music is clearly tonal, but highly chromatic (it slips from key to key easily and has many inflected chords). Some people refer to this music has late late Romantic, others see the budding of atonality. I personally hear this as 11:57 pm on the clock of Romanticism.

This recording is well done, poetically performed, and sensitively conducted by Simon Rattle. He is able to architect the whole work into a whole that makes sense and every moment is connected to all the others. Still, this is a work that is more for devotees of Mahler who want one more piece than for the general public. For them, there is a lot to hear before they need to spend time with performances of notebooks of uncompleted works, however beautiful individual moments might be.

Average customer rating:

Very fine but not the very best
An Emotionally Riveting, Fine Mahler Symphony Cycle From Chailly, etc.
The best and most interesting Mhaler cycle
First-rate Mahler, and a tremendous bargain!
Highly professional, hardly cataclysmic

Mahler: The Symphonies

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

The Decca Records Store | Specialty Stores | Music
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ASIN: B00092ZALS
Release Date: 2005-07-12

Customer Reviews:

Very fine but not the very best.......2007-03-26

This is a fine contemporary Mahler cycle, but some of Chailly's interpretations are among the slowest on record. For example, symphony no. 9 is incredibly slow. Despite that, most of the recordings in this set are very fine.

With one exception it is the great Concertgebouw Orchestra we hear on these recordings. The Concertgebouw concert hall is famous for its acoustics, but - surprisingly - Decca's recordings are not impeccable. Symphony 2 and 4 both sound a bit dry, lacking in atmosphere. Nonetheless, we get symphonies 3, 8-10 in moving interpretations, and very well recorded. Symphony nos. 5, 6 and 7 are however unconvincing, lacking sardonic character. They are not the recordings you will go back to when comparing them with other fine and recent recordings, such as Barshai and Barenboim (no. 5), Herbig and Sanderling (no. 6) and Barenboim and Gielen (no. 7).

So within a crowded field of Mahler cycles, including the classic sets, Chailly's set is not as consistently convincing as Bertini (EMI) and Gielen (Hänssler). Pick either of these as first choices among all-digital contemporary sets, or go for the classic Kubelik set on DG.

An Emotionally Riveting, Fine Mahler Symphony Cycle From Chailly, etc........2007-03-12

Much to the surprise of music critics and fans, Riccardo Chailly has emerged as one of our most prominent conductors of late 19th Century classical music, especially of Mahler's symphonies. Here in New York City, there is still ample praise for his spellbinding performances of the Mahler 7th Symphony with the New York Philharmonic Orchestra over a year ago. Most recently, his performance of the Mahler 5th Symphony with his current orchestra, the Leipzig Gewandhaus Orchestra, earned ample critical praise from Anthony Tommasini, The New York Times's chief classical music critic. I was present too at the same concert, and heard the finest live performance I've heard of this symphony, and one of the greatest performances I have ever heard of a Mahler symphony.

This Decca box set includes Riccardo Chailly's historically-informed interpretations of Mahler's symphonies, recorded with his former orchestra, the Royal Concertgebouw Orchestra (except for the Adagio of the unfinished 10th Symphony, which was recorded much earlier with the Berlin Radio Symphony Orchestra) from the 1990s into the early 2000s. These recordings truly rank among the finest recent recordings of Mahler's symphonies I've heard, with the most notable ones those of the 4th, 7th and 8th symphonies, though the rest are fine in their own right (I concur with another reviewer who observed that the sound quality seems slightly inferior for the 2nd symphony, but otherwise, the recordings are superb examples of Decca's state-of-the-art sound engineering.). Personally, I find the recent cycles from Abbado and Boulez more intriguing, but this is a matter of my own personal taste rather than a negative judgement of Chailly's skills as a Mahler interpreter. Without question, Chailly's emotionally riveting interpretations should be regarded favorably by anyone interested in acquiring a recently recorded Mahler symphony cycle.

The best and most interesting Mhaler cycle.......2007-01-29

When compiling my ideas and opinions of all the best and most hailed Mahler cycles out there, Bernstein, Abbado, Tilson Thomas, etc., I find Ricardo Chailly's to be the best, and most interesting recording of them all. The tone , color of the orchestra and the raw emotion and imagination that Chailly evokes from the players is unmatchable. There are however some questionable solos, particularly in the 5th that were sloppy, and the tempos in the 6th were very constrained and needed more movement. But overall Chailly is a master, and he brought the 8th to my attention like no other conductor out there. Please give it a listen.

First-rate Mahler, and a tremendous bargain!.......2006-07-18

This is as fine a Mahler box available today. First off, you have the magnificent Royal Concertgebouw, as fine an orchestra in the world today, which happens to have a great tradition of Mahler on disc, going back to Mengelberg's 4th recorded in the 30's. Throughout every single performance, they are consistently world class, responding idiomatically to Mahler's unique soundworld. In the 10th, Chailly conducts the Berlin Radio symphony and their playing equals that of the Concertgebouw's. Chailly's interpretations may lack the hysteria of Bernstein's DG Cycle, or the sheer orchestral fireworks from Solti or Tennstedt, but I found Chailly's Mahler to be consistently thoughtful and musically intelligent, more so than his competition. While some performances are better than others, his interpretive thoughts are never less than good. There's only one minor quibble I can think of. No. 2 has some issues in sound, in that it's somewhat over-reverberant, sometimes obscuring detail. But in terms of performance, it receives a fine reading from Chailly. Aside from no. 2, Decca's digital recordings are all of demonstration quality, rich yet detailed. Great Mahler cycles under 100 bucks don't exactly grow on trees, the great ones being Bertini, Bernstein I and Kubelik. This one belongs in that distinguished company. I could go into strenuous detail about each individual performance, but I'll save you the time. Just get this set and hear for yourself! Add together the superb Royal Concertgebouw, Chailly's fine interpretations, first class DDD recordings and a price of about 8 bucks a disc, and this box is just about unbeatable. Buy buy buy!

Highly professional, hardly cataclysmic.......2006-03-16

This set doesn't reach the same level of sheer audacity heard in the Solti, Bernstein or even Kubelik renditions of Mahler's beloved orchestral works, but, needless to say, the Concertgebouw Orchestra doesn't disappoint easily in this repertoire. And for Chailly, who conducted the band for almost two decades, they really are in top notch form. Orchestral execution is very good, sometimes plain marvellous, and the overall sound is nothing short of spectacular.

Then, what is this set short of? It's a question that is not answered easily. Mahler's works require not only a conductor and a band willing to explore and execute several levels of musical greatness, there also has to be the urge to bring out every drop of emotion, symbolism, love, life, death, prayer, aching nostalgia and sometimes just plain desperation. The likes of Bernstein, Gielen and Solti certainly make the best of these important elements, albeit, sometimes, at the cost of orchestral flubs or having to bear the blame for being too 'over-indulgent'.

Well, at least the last qualification doesn't apply to Chailly. His views on Mahler are more cultured, detailed and above all, musical. He let's the music speak for itself without ever crossing the border. This pays good dividends in the most neutral of all Mahler symphonies, the first, and the highly colourfull Third gets what is probably one of the three finest performances ever recorded on disc. The Fifth, although superbly played and recorded, might just lack a certain amount of emotional thrust to really let off, but the Sixth with it's unusually slow first movement comes across very satisfactory without ever being emotionally detached. The Eigth is another highlight in this set with superb vocal contributions as is the Ninth that absolutely belongs at the peak of a high mountain of outstanding Mahler Ninth's. So far, this set is nothing short of fabulous, especially with the equally excellent rendition of Cooke's reconstruction of Mahler 10.

Unfortunately, Chailly's thoughtful and sober approach leaves something to be desired in the symphonies that require just a tad more than just fabulous orchestral playing to make the music a real knock-out. The Second symphony lacks a required amount of overall tension and deliverance at the very end and the Fourth symphony simply sounds weird with a first movement that is stiff on the rubato, but the singing of Barbara Bonney is fantastic. The Seventh could not have made a bigger difference with Bernstein's neurotic all-or-nothing approach. Here Chailly chooses to accentuate elements that really show this work's influence on the Second Viennese School very effective, but as a result is sadly underplaying the finale with brass extremely timid.

To sum up, this may not be the most satisfactory complete Mahler set around, but it surely is one of the best played thanks to an orchestra with a long-standing tradition in Mahler and a conductor who really has put some thought on the music. Certainly worth having, even though you may prefer other conductors/performers in this music.

Average customer rating:

Really awesome
Surprisingly good... eventually.
What the f**k happened??!!
NOT BAD, NOT GREAT
booorrrriiinnngggg

The Horror of Realization
Scars of Tomorrow
Manufacturer: Victory Records
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

Post Hardcore | Hardcore & Punk | Alternative Rock | Styles | Music

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ASIN: B000B8T24Q
Release Date: 2005-10-18

Tracks:

The Constant Horror Of Reality
The False Love In Lust
Murderers And Madmen
SSNova
The Hidden Grudge
The Marks Of Time
The Unknown
4Smith
This Autumn Is Bleeding
The Struggle
Onthe15

Customer Reviews:

Really awesome.......2007-02-23

I don't think it's that bad as other people are saying. This is one of my favorite albums from them. None of their songs dissapoint me. Scars of Tomorrow became my favorite band ever! I own all their albums, none of them dissapoint me, none! My favorties are all of them! Buy this as soon as you can!

Surprisingly good... eventually........2006-01-11

It becomes obvious when a genre is approaching overload when cookie cutter bands with little to offer are signed. Metalcore is fast approaching that point. At first, much of Scars Of Tomorrow's `The Horror Of Realization' seems like nothing more than bog standard Metalcore, inasmuch that it is basically Machine Head on steroids, similar to any one of hundreds of albums out there. It could easily be mistaken for Killswitch Engage, Avenged Sevenfold, Atreyu, or any number of other derivative bands.

This album has all the genre standards: Metal-like guitars, solid but not flashy percussion, contrasting dual voiced vocals, staccato riffs, little in the way of musical embellishment like solos or drum fills and the ever present angst-drenched lyrics. In short, why would you bother, because you've heard it all before? Well, to listen to the first few tracks alone, you shouldn't. OK, so perhaps genre trainspotters might appreciate it but most listeners will most likely start to lose interest by the end of the third song "Murderers And Madmen".

But first impressions can be deceiving. Fourth track "SSNova" comes along and the whole mood of the album immediately changes. Taking a more minimalist approach, it starts with an acoustic intro and booming floor toms, adds Neurosis-like shrieked vocals and is layered with bass and guitar effects before fading to a breezy soundscape. Sure, the next track "The Hidden Grudge" is back to the hard-headed bludgeon, but guest vocals from Alex Varkatzas offers a vocal trade off and some variation in the guitar effects makes a change from out and out brutality. It segues straight into "The Marks Of Time", which seems like part two of the same song.

And the variety continues. "The Marks Of Time" has genuine shouted Hardcore counter-vocals. "4Smith" is an exploration of feedback and a gentle, tripped-out rhythm. "The Struggle" features melodic guitars and a Metal blast beat, while album closer "Onthe15" is an almost ambient instrumental, eventually drifting off to nothingness.

While some of the tracks of `The Horror Of Realization' are far from standard Metalcore, the main focus is still on brutality. The experimentation here may be a little more challenging than what most fans of the genre are used to but it sets Scars Of Tomorrow apart from much of the crowd. The sound may not be as far left field as the likes of Candiria or Shai Hulud, but Scars Of Tomorrow are more easily digested. Such experimentation and implementation of new sounds and influences may just be the answer to Metalcore's stagnation.

What the f**k happened??!!.......2005-11-27

I was so looking forward to this release. I own all Scars of Tomorrow releases, and had big hopes for this disc. But...how dissapointing. Very average, very bland, very uninspiring. Then again, it seems like the whole "hardcore scene" is getting to be that way. Want something good and original to listen to? Check out either release from The Number Twelve Looks Like You (An Inch of Gold for an Inch of Time, Nuclear Sad Nuclear) or the debut from As Cities Burn (Son, I loved You at Your Darkest). Anyway, this is a very mediocer release, as have been all the new releases from Victory as of late. Oh, I almost forgot, don't forget to check out "Each Breath Haunted" by The Banner. REAL hardcore with an old school punk feel!!!

NOT BAD, NOT GREAT.......2005-11-18

I thought this album was kindof plain-jane hardcore at first listen , but then it started to grow on me and now I kinda like it. #5 is easily the best song on the album. Its still growing on me but the album is worth listening to for anyone who likes metal.

booorrrriiinnngggg.......2005-11-09

typical boring metalcore. not at a special thing about it. these guys put on a pretty boring live show also. dont buy it, download it and then delete it after you realize that it sucks

Average customer rating:

Corona-Tokyo Realization

ProductGroup: Music
Binding: Audio CD

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Fourth
Twelve

ASIN: B000HXE1HI
Release Date: 2006-11-07

Album Description

Jim O'Rourke & Toru Takemitsu.

Average customer rating:

What about the dialogue?
Loved it!!!
great CD, but incomplete...
Fantastic Soundtrack
There comes a time when you find a soundtrack that's...

Kung Fu Hustle

Manufacturer: Varese Sarabande
ProductGroup: Music
Binding: Audio CD

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Kung Fu Hustle (Widescreen Edition)
Kung Fu Hustle
Shaolin Soccer
Jet Li's Fearless (Original Motion Picture Soundtrack)
House of Flying Daggers

ASIN: B0007XT7T0
Release Date: 2005-03-29

Tracks:

Kung Fu 1 - Kung Fu 1
Nothing Ventured, Nothing Gained - Nothing Ventured, Nothing Gained
Fisherman's Song Of The East China Sea - The Hong Kong Chinese Orchestra
Ambush From All Sides - The Hong Kong Chinese Orchestra
Allegro Molto Vivace From Zigeunerweisen, Op.20 - Ivan Fischer
Moderato From Zigeunerweisen, Op.20 - Ivan Fischer
Decree Of The Sichuan General - The Hong Kong Chinese Orchestra
Midnight Assassin - Midnight Assassin
The Blade Of Gu Qin - The Hong Kong Chinese Orchestra
Night Club Band - Night Club Band
Sabre Dance - Sabre Dance
Daring General - The Hong Kong Chinese Orchestra
Casino Fight - Casino Fight
Realization - Realization
Ying Xiong Men Zhan Sheng Le Da Du He - The Hong Kong Chinese Orchestra
Dagger Society Suite - The Hong Kong Chinese Orchestra
Fisherman's Song Of The East China Sea - The Hong Kong Chinese Orchestra
Buddhist Palm - Buddhist Palm
Nothing Ventured, Nothing Gained (Huang Sheng Yi) - Nothing Ventured, Nothing Gained (Huang Sheng Yi)

Album Description

Set amid the chaos of pre-revolutionary China, small time thief, Sing, aspires to be one of the sophisticated and ruthless Axe Gang whose underworld activities overshadow the city. Stumbling across a crowded apartment complex aptly known as "Pig Sty Alley," Sing attempts to extort money from one of the ordinary locals, but the neighbors are not what they appear. Sing's comical attempts at intimidation inadvertently attract the Axe Gang into the fray, setting off a chain of events that brings the two disparate worlds face-to-face.

The exotic original score by Raymond Wong is complemented by the film's classical pieces, notably Sarasate's acclaimed "Zigeunerweisen" and Khachaturian's famous "Sabre Dance."

Customer Reviews:

What about the dialogue?.......2006-04-08

I have a question about the dialogue on this CD... is it interspersed on separate tracks between songs, or do they talk during the songs?

Loved it!!!.......2005-10-21

As a Chinese, I love this soundtrack and the movie very much! There is no more I can say. However, it's a good soundtrack and I love it very much.

great CD, but incomplete..........2005-09-20

This is the soundtrack released to the U.S. Just so you know, the soundtrack sold in Asia features a few more songs. Most notably missing is a song preformed by Huang Sheng Yi, called "Zhi Yao Wei Ni Huo Yi Tian" which comes toward the end of the movie. It might be my favorite song in the movie, and it's too bad it's missing from the U.S. soundtrack.

Fantastic Soundtrack.......2005-08-20

If you have seen this unbelievable movie, then you know how incredible the music is. It matches the mood of the movie and everything the previous reviewer said I agree with. It has great sweeping scores with an extremely cool "oriental/chinese" sound and presence to it. I mostly bought it for a few cool songs I fell in love with when I saw the movie and the whole album is great. You will recognize a few of the songs used in a lot of other chop socky/martial arts movies and you'll really enjoy having them along with all the other great music on this soundtrack and it goes without saying, but if you haven't seen or bought this movie yet, get it. We need to encourage Stephen Chow and support him in his endeavors to make more great movies instead of the same old rehashed formulaic, cookie cutter, boring(need I go on?)"Hollywood Entertainment" fare.

There comes a time when you find a soundtrack that's..........2005-06-14

...Absolutely perfect!

As a collector of various movie soundtracks, there are many times when I am utterly dismayed by how unrelated they are to the movies they are supposed to complement.

The Kung Fu Hustle CD, however, is far from any of that! I watched this movie four times in the theater, and every time, the music just mesmerized me from start to finish! The movie was great, and the music was even better!

I quickly ordered the soundtrack from Amazon.com, and when it arrived, I was far from disappointed. This CD is fantastic! It does not leave anything out. What you hear in the movie is what you hear in the CD from beginning to end. The tracks are even in order of which they appear in the movie!

If you enjoyed Kung Fu Hustle, then the soundtrack is definitely for you. Go forth! Purchase the soundtrack, and prepare to be pleasantly entertained by the delightful music!

The Harmony of the World - a realization for the Ear of Johannes Kepler's Astronomical Data from Harmonices Mundi 1619

Average customer rating:

The Harmony of the World - a realization for the Ear of Johannes Kepler's Astronomical Data from Harmonices Mundi 1619

Manufacturer: The Kepler Label
ProductGroup: Music
Binding: Audio CD

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Similar Items:

The World Is Sound: Nada Brahma: Music and the Landscape of Consciousness
Harmonies of Heaven and Earth: Mysticism in Music from Antiquity to the Avant-Garde

ASIN: B00012NZPY
Release Date: 2003-11-22

Tracks:

Light Blues
Ill Wind
I've Got a Crush on You
My Man's Gone Now
L.M.E.
Last Night When We Were young
I Got Rhythm
Stardust

Album Description

The Harmony of the World
A Realization for the Ear of Johannes Kepler's Data from Harmonices Mundi 1619

The main purpose of this record is to present Kepler's Harmony of the World for a period of several centuries. We decided that the length of time represented would have to be at least as long as the period of revolution of the slowest planet, Pluto. Pluto's period is approximately 248 years or, in our terms, 20 minutes and 42 seconds, and we chose a total length of 22 minutes, representing 264 years.

When one listens to the full nine-part Harmony - six tonal and three rhythmic "voices" - one may find it difficult to sort out the individual voices and assign them to the planets they represent. Therefore we begin by introducing the planets one by one, from the innermost to the outermost. The first you hear is Mercury, which as the innermost is the fastest and the highest pitched. It has a very eccentric orbit (as planets go), which it traverses in 88 days; its song is therefore a fast whistle, going from the E above the piano (e""') down more than an octave to about C# (c#"") and back in a little over a second.

Venus and the Earth in contrast have nearly circular orbits. Venus' range is only about a quarter tone, near the E next above the treble staff (e"'); Earth's is about a half tone, from G (g") to G4# at the top of that staff. Together they drone a sixth, but the sixth is continuously changing from major to minor, or even down partway to a fifth, as the two planets go through their cycles - about 3 seconds for Venus, exactly 5 for Earth. Kepler compared Earth's sad minor second to the first minor second in the standard Do-Re-Mi scale - mi-fa-mi - and for him it sang of Earth's unending misery-famine-misery. Living into the period of the Thirty Years War, and indeed dying then, he knew what he was talking about, and for many millions in our own century, the song has not changed.

Next out from the Earth is Mars, again with an eccentric orbit. Its song is distinctive, one of the easiest to pick out in the full Harmony. Alone in the alto, it ranges from the C (c") above middle C down to about F*~ (f4t') and back, in nearly 10 seconds.

The distance from Mars to Jupiter is much greater than that between the inner planets (as mentioned above, the asteroids in this gap may represent a missing planet), and Jupiter's song is much deeper, in the baritone or bass, and much slower. It covers a minor third, from D to B (D to B) just below the bass staff. Still farther out and still lower is Saturn, only a little more than a deep growl, in which a good ear can sometimes hear the individual vibrations. Its range is a major third, from B to G (B2 to G2),the B at the top being just an octave below the B at the bottom of Jupiter's range. Thus the two planets together define a major triad, and it may well have been this concord - in the ratio 4:5:6, inevitable when angular velocities are equated with pitches - that made Kepler sure he had cracked the code and discovered the secret of the celestial harmony. Saturn's cycle is about 2 1/2 times that of Jupiter (almost 2 1/2 minutes vs. almost 1 minute), and their songs commonly strike the concordant ratios. This would be even more evident if the speed of the music were doubled, so that the cycles were half as long and the pitches were all raised an octave; together they then sing a majestic counterpoint in the key of G Major.

The outer, post-Kepler planets we have simulated not by musical tones at the given vibration frequency but by sharp rhythmic beats. Uranus is a rapid ticky-ticky-ticky changing gradually from less than 9 to more than 10 per second and back but over a period of 7 minutes, so that the change is not easy to detect. When the much steadier (because much less eccentric) Neptune is added, however, at nearly 5 per second, the changes in Uranus' rhythm become more obvious, because the ratio between the two shifts continually back and forth from less than to

Mahler: Symphony no 10 / Chailly, RSO Berlin
Average customer rating:

A polished, energized reading in very good sound

A Cohesive, Heartfelt Performance

Towering, visionary, transcendent.

The most consistent performance of Cooke's version

Mahler: Symphony no 10 / Chailly, RSO Berlin
Gustav Mahler , Riccardo Chailly , and RSO Berlin
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Mahler 9

Mahler: Symphony No.6/Zemlinsky: 6 Maeterlinck Lieder

ASIN: B00004T769
Release Date: 2000-06-13

Tracks:

Symphony No. 10 In F Sharp Minor: I Adagio
Symphony No. 10 In F Sharp Minor: II Scherzo I
Symphony No. 10 In F Sharp Minor: III Purgatorio
Symphony No. 10 In F Sharp Minor: IV Scherzo II
Symphony No. 10 In F Sharp Minor: V Finale

Amazon.com

As we all know, Gustav Mahler didn't actually compose a 10th symphony, or if he did, it was "Das Lied von der Erde," which he didn't call his 10th symphony because he was superstitious enough to believe that since Beethoven died before he could write a 10th, so might Mahler. He turned out to be right. Of a "10th" symphony, he wrote only the first movement more or less completely; the second is half done; the third is mostly unorchestrated; and the last two are well structured but remain almost entirely unorchestrated. In 1959, musicologist Deryck Cooke put together what he called "a performing version of the draft for the 10th Symphony," and it has been played (and recorded) occasionally in that form and is deemed quite a success--a sort of "next best thing." Much of it is remarkable, top-drawer Mahler, with all the potency, sadness (he was grieving over his wife's infidelity while he was composing the last three movements), and even playfulness (the second movement) he was capable of. Riccardo Chailly leads a beautiful reading in this re-release of a 1988 recording, and it is recommended. For another take, with an alteration or two, an early Simon Rattle recording is worth hearing. But Mahlerites will need a 10th, even if it was cursed. --Robert Levine

Customer Reviews:

A polished, energized reading in very good sound.......2005-11-24

If this CD had to stand only on the opening Adagio of the Tenth Sym., the one movement Mahler finished in orhcestral scoring, Chailly would rate barely three stars. This inspired tragic fragment has been performed with much greater intensity by Bernstein, Abbado, and others, compared to Chailly's fairly brisk and glib traversal. He barely pauses to make expressive points.

What makes the rest of the recording notable is that major conductors have been reluctant to touch Deryck Cooke's performing version of Mahler's often sketchy drafts. (I've heard five other reconstructions as well, and all sound inferior to Cooke's, which is hte least intrusive with new ideas.) Only the premiere recording by Ormandy (one of his best performanes, and now newly remastered on Sony) and two by Simon Rattle from Bournemouth and Berlin rival Chailly in execution, and he has the definite edge in sound. Decca's 1988 sonics are detailed and full, overall better than what EMI gave Rattle from Berlin in 1999. Chailly had trained the Berlin Radio Symphony to a high polish by this time, and it is thrilling to hear them attack much of this music.

Chailly conducts with energy and incisiveness in the last four movements. Rattle went one step further and tried to bring these sketches fully into Mahler's emotional world. We will never know if the Tenth would have been truly great--the surviving music is not wholly ocnvincing--but he had a long way to go before it was finished. Every Mahlerian should be grateful for this full-bodied and committed performance, even if it falls short of greatness. Four stars is an average between the poor Adagio and the rest of the reading, which rates five stars.

A Cohesive, Heartfelt Performance.......2004-11-20

Mahler's fragments of what was to be his Tenth Symphony contain some of the composer's most wrenchingly beautiful writing - and some sketches that obviously the composer would have re-thought had he survived to complete this gargantuan work! Yet thanks to musicologists (such as Deryck Cooke in this version) Mahler's intact Adagio first movement, his basically completed second movement, and the notes for the remainder of the work have been studied and orchestrated and allow us to experience the closing of life of one of the major symphonists in history.

Of all the numerous versions of this reconstructed work none comes out as the definitive one: just when you think Simon Rattle's live recording with the Berlin Philharmonic is the pinnacle, along comes a live performance in a concert hall (young Daniel Harding guest conducting the LA Philharmonic in the wondrous acoustic of Disney Hall) and all bets are off. This recording of Ricardo Chailly with the Radio Symphony Orchestra of Berlin has warmth and power and a sweeping vision, despite the occasional lapses in the Cooke realization of Mahler's fragments, that certainly puts it among the higher-ranking versions.

For the true Mahlerite it is probably important to have multiple recordings of the various performing versions as conducted by a variety of conductors to find out exactly what Mahler was saying and crying and sighing as his life ended. And this performance by Chailly should definitely be among them. Grady Harp, November 2004

Towering, visionary, transcendent........2001-06-01

Sir Simon Rattle's recording of Mahler 10 has received many positive reviews, and rightly so. However, this interpretation by Chailly sounds slightly better to my ears than Rattle's. It seems to me to be a little more expressive, with a greater dynamic range. But in fact both are great performances; nit-picking and splitting hairs has never appealed to me.

As for the work itself, its finale has always haunted me, with its muffled drumbeats, its cathartic dissonant chord, and its gently haunting lyric that seems to express so perfectly Mahler's intense love of life and his longing for the infinite. This symphony (as it now stands, thanks to Cooke's noble efforts) has an apochryphal and apocalyptic quality that surrounds it in mystery and depth. It is a monumental work, towering, visionary, transcendent, without a trace of bitterness or self-pity.

The most consistent performance of Cooke's version.......2000-08-29

I've been listening to this recording all afternoon, and felt no need to take it off the disc player. Compared to the first Rattle recording and the Slatkin/Mazzetti recording, I believe the Chailly beats them both in terms of musical consistency and aural sound quality, respectively. (As a serviceable alternative, I'd recommend the Slatkin, if for nothing else his fascinating Mahler lecture [recorded on a bonus CD] and for the only complete performance of the Mazzetti version in the catalog.)

IMHO, the Chailly/Cooke recording sounds the most Mahlerish. Listening to a friend's recording of Rattle's most recent recording of the tenth, Sir Simon seems to have handled the score's omissions better but now the tempos seem too slow and deliberate for me.

Tracks:

Scorpio-Libra
Mars in Libra
Anua
Spiritual Awakening
Revelation Realization
Moussaka
Omnipresence
Discoveries
Fusion
Dreams
Inside Out
Exit No. 1

Album Description

Subtitled - Anthology Volume 2 - The Capricorn Years. combines two classic albums, 'Realization' and 'Inside Out' (both recorded in 1973), featuring Herbie Hancock's Mwandishi band in which Eddie was a core player. First time on CD anywhere in the world! This music is cited as amongst the best of early 70s jazz fusion. Soul Brother Records. 2002.

Album Details

Two Albums Combined on One CD: Realization (Capricorn Cp118/K57505) and Inside Out (Capricorn Cp122/K57504)

Customer Reviews:

jazzman.......2006-11-09

Yea, baby this is the real stuff. Bless you Soul Brother
Records for re-issuing these long lost masterpieces on cd.
Dr. Eddie Henderson (he's a psychiatrist) is a BAAAAAAD
horn player. [...]. Most of
the Mwandishi band is here (minus Julian Priester on trom-
bone) along with Pat Gleeson twirling his electronic
knobs. It all meshes so well. So timeless and so forever,
it could have been recorded yesterday. Brilliant music
for open minds and ears. Pure perfection. You go Doc.

A Masterpiece On CD At Last!.......2005-10-11

Realization is one of the most important works from the fusion era, grand in scope and vision, and flawlessly executed. More melodic and ethereal than Miles Davis at his best, Eddie Henderson's Realization has a spiritual center that the Prince of Darkness never achieved (though he came close in Bitches Brew and In a Silent Way). The backup band, essentially the Herbie Hancock band at the time, goes off the charts, and Henderson is ahead of them all the way. Arguably the most beautiful jazz album recorded. Also worth buying is Herbie Hancock's Mwandishi: The Complete Warner Bros. Recordings. Same band. Same sound. Same quality.

Fusion-era electric jazz doesn't get any better than this!.......2005-03-13

Because the two albums that are reissued here -- combined in their entirety onto one CD -- have been out-of-print for so long, REALIZATION and INSIDE OUT are relative unknowns in comparison to the most acclaimed fusion-jazz era CDs by the likes Of Miles Davis, Freddie Hubbard, Weather Report, Herbie Hancock, and others. Yet after several listens to this collection I'm seriously pondering if trumpeter Eddie Henderson may have done the best job of them all in highlighting the strengths and creativity of the fusion era while avoiding its weaknesses and excesses. At the very least the albums collected here should be counted alongside the best 1970s efforts by those other artists I mentioned. It's great to have this music finally available in CD format.

Much of Herbie Hancock's Mwandishi band -- including HH himself on keyboards -- are in on these sessions. Yet given that Henderson wrote most of the tunes and has his own distinct ideas on how to focus the diverse textures that comprise this electric-meets-acoustic jazz approach, it would be unfair to look at these cuts as Hancock sessions issued under Henderson's name (as sometimes might be the case due for contractual or other reasons). As for the music, you get consistently brilliant playing by Henderson, equally strong statements by reedman Bennie Maupin, Hancock, and others, timeless instrumental textures (where you might find a combination of acoustic bass, fender rhodes, and synth washes blending seamlessly together), and a bold mix of funk and straight-up jazz rhythms. Despite all that is going on, there is a uncluttered sense of wide-open space on these tracks. Also, while the musicians are in a progressive frame of mind, the results should be easy-to-grasp for anyone who doesn't have an anti-electric jazz bias.

Absolutely fantastic.......2003-03-21

This is a brilliant CD. You'll think you have died and gone to heaven. If you love electric era Miles or Herbie Hancock's Mwandishi band you'll love this. (Actually this is the Mwandishi band!)

Average customer rating:

Beautiful and inspiring music

I Will Sing Thy Name

ProductGroup: Music
Binding: Audio CD

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When My Dream's Dream Is Done
Anjali: The Joy of Chanting the Divine Name
Songs of My Heart
The Divine Gypsy
Super Advanced Course Number 1 Lessons 1 to 12

ASIN: B00006LLHA
Release Date: 2002-09-01

Tracks:

I Will Sing Thy Name
Search Him Out In Secret
Deliver Us From Delusion
Who Is In My Temple?
Spirit and Nature
Hare Krishna, Hare Ram
In The Valley of Sorrow

Tracks:

He Bhagavan
Light The Lamp Of Thy Love
Swami Ram Tirtha's Song
Divine Gypsy
Wink Has Not Touched My Eyes
Jai Guru / Radha Govinda Jai
Om Chant

Album Description

At the heart of Indian musical tradition is the concept that music, in its highest and purest form, becomes an expression of the soul's longing for God and possesses the power to move both performer and listener into a state of heightened spiritual awareness. Several thousand voices join in an outpouring of love for God in this two compact disc set. The spiritual power generated in this gathering creates an atmosphere charged with the joyous presence of the Divine. Included are some of Paramahansa Yogananda's original compositions and several bhajans (devotional songs) from India. Self-Realization monks lead the chants and are accompanied by traditional Indian instruments.

Customer Reviews:

Beautiful and inspiring music.......2004-03-23

"I Will Sing Thy Name" consists of two CDs, that run for approximately 131 minutes.

The signature song of this album is, of course, "I Will Sing Thy Name" - it a simple, but beautiful composition which is sung by Self Realization Fellowship monks, along with approximately 2000 other people. That's really what gives 'soul' to this album. It isn't necessarily the raw music talent of the singers, but the good vibes and love you hear from over 2000 people singing from their souls. Also highly recommended is "Hare Krishna, Hare Rama"

If you like to meditate, but have a hard time calming yourself, a few selections from this album are sure to put you in the mood. It is also great during a commute. I never thought I'd be singing "Om Guru Om Guru!" in the middle of rush hour traffic!

Highly recommended and worth the money.

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