Can't Sleep

can't sleep

Track Listings

1. Can't Sleep

2. Lover Boy

3. Hold My Soul

4. Everytime

5. Get Ready

6. Noboy Knows

7. What Do? (Peace of Mind)

8. White Powder

9. See You In the Morning

10. I'm In Love Again

Editorial Reviews
About the Artist
The Count was formed by Roy Chaney over 8 years ago. He was the original bass player for Count 5 (Psychotic Reaction) in the mid 60's. Roy wanted to use as many original Count 5 band members as possible, such as; John Byrne, who makes numberous appearances with other bands singing "Psychotic Reaction" as well as being a special guest on this project with The Count. His song writing speaks for itself.

Count 5's original lead guitar player, John "Mouse" Michalski sits in regularly and jams with The Count.

Rocco Astrella, last original drummer & Member of Count 5, is The Count's drummer as well. Rocco's talents have warrented him playing with various artist's such as John K. (Steppenwolf), Doobie Brothers, Stevie Nicks, Wiley Crawford & Joe Perry Project. Rocco is also co-producer of this CD.

Phil Indovina, The Count's rhythm guitar, is an excellent musician who has been playing with Roy Chaney well over 8 years. Phil owns the studio where the band rehearses several times each week.

The Count's bass talent is that of Vincent Lopez, who adds a special zest to the band's sound. Vincent has played with numerous San Francisco Bay Area bands for many years.

Along Roy's way in forming this band, he met Dorise Ataide, who is the Lead Singer of The Count. She has been with the band 6 years now and has evolved into a passionate rock-n-roll singer/song writer.

The Count's producer, Robert Berry, also appears on the CD as a special guest musician. Robert formed a band with Keith Emerson & Carl Palmer of ELP, has played with Sammy Hagar and has his own band, Robert Berry Band. Robert Berry is a producer and owns Sound Tek Studios where The Count recorded this CD project.

Product Description
Original Rock-n-Roll

Can't Sleep,Count,Independent,Original classic-style rock and roll (just what you crave),Rock/Pop

Can't Sleep

Average customer rating:

The Rediscovery?
AMAZING
Rediscovering Leontyne Price
Masterful Recital Performance From Price at Her Peak
Love Leontyne But Stick To The Studio Gems.

Rediscovered (Dig)
Leontyne Price
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Leontyne Price: The Ultimate Collection
In Concert
Verdi: Aida/Il trovatore/Puccini: Madama Butterfly/La Rondine/Tosca/Turandot
Leontyne Price Christmas Songs Chants de Noel.Weihnachtslieden Wiener Philharmoniker Herbert Von Karajan
The Essential Leontyne Price: Spirituals, Hymns & Sacred Songs

ASIN: B00006HCUX
Release Date: 2002-09-10

Tracks:

Applause
Care selve
Bel piacere
Avanti al tuo cospetto; Piangero la sorte mia
He, Zigeuner, greife
Hochgeturmte Rimaflut
Wisst ihr, wann mein Kindchen
Lieber Gott, du weisst
Brauner Bursche f - hrt zum Tanze
Roslein dreie in der Reihe
Kommt dir manchmal in den Sinn
Rote Abendwolken ziehn am Firmament
mamma morta
Tu vois le feu du soir
Main dominee par le coeur
C'est ainsi que tu es, Paganini
Je nommerai ton front
Nocturne, Op. 13 No. 4
The Daisies, Op. 2 No. 1
Sleep Now, Op. 10 No. 2
Winter Song
In the Wand of the Wind
His Name So Sweet
My Soul's Been Anchored in the Lord
Lord, I Just Can't Keep from Cryin'
He's Got the Whole World in His Hands
Chi il bel sogno di Doretta
Summertime
Ecco: respiro appena; Io son l'umile ancella
Vissi d'arte

Customer Reviews:

The Rediscovery?.......2007-05-17

Few sopranos in their prime have consistently
balanced vocal beauty and power as well as Price did.
I'm sure her smooth legatos were the envy of
her contemporaries, and those since. However,
I do not think this album is the best recording
of her live recitals.

Vocally, Price is in great form. I have no
complaints with the voice. My issue is with the
performance as a total package, in it's entirety.
The ambiance and general "feel" of this recording
is odd. To me, it sounds like Price was coaxed into
entertaining a groups of friends after a high society
dinner party; It's as if someone had suggested after dinner,
"Leontyne, why don't you regale us with a few classical
arias?"

Truthfully, this sounds like a completely impromptu performance.
The pianist is on autopilot, banging through each aria
in a fevered, sometimes overbearing bravura. Price
displays excellent musicianship by adjusting to
the volume and varying tempos without compromising
superb artistry. At times, it appears that Price and the
pianist are battling for artistic control. The
audience is obviously in love with her, as well they
should be. They are not reserved in their thunderous
applause and whistles. I personally prefer to hear Price
backed by full orchestra. The rendition of Spirituals
are well sung and sound more appropriate with the piano accompaniment.
"Vissi d'Arte" is regal and elegant, in grand fashion.
"Chi il bel sogno" from La Rondine is a richly
legato master work.

While Leontyne Price's vocal performance on this album is
top-notched, I would only recommend this "rediscovered" performance
as a collection keepsake. For some reason, I can't part
from the feeling that perhaps this recording was never
meant to be released. It's not bad, but by no means is it
definitive of Leontyne Price's remarkable contributions
as an operatic legend.

AMAZING.......2007-02-13

Leontyne Price. Do I need to say anything more. That astoundingly wonderful voice, tremendous dramatic range --- earthy, angelic, strong, tough, tender, playful, loving --- a performer that never grows stale, always fresh and new.

Rediscovering Leontyne Price.......2005-07-28

This magnificent recording is a collection of rare and beautiful arias sung by the gifted lyric-dramatic soprano Leontyne Price, the very first successful black opera diva, who reigned supreme in the 60's and 70's. While there are many full-length operas starring Price, this compilation album is quite refreshing because it's new and lovingly remastered from the original tapes/LPs. Among the arias are Bel Piacere- a Handel piece full of gorgeous ornamentation, Care Salve from Falla's Atlantida, very beautiful and majestic. Other songs include Summertime from Porgy and Bess and songs by Samuel Barber. Leontyne Price had versatility. While she was famous for her Aida, Leonora in Trovatore, Leonora in Forza Del Destino, as Tosca, and as many of the dramatic Verdi and Puccini roles, she sung roles that were modern and thrilling- Cleopatra in Antony and Cleopatra was one. She sang Lieder, she sang Gospel, she was a one-woman opera. This recording is a fitting tribute to her artistry. However there are many other fine compilation albums out there that far surpass even this new one - the best is The Prima Donna Collection, Leontyne Price in Concert, An Evening With Leontyne Price, The Best of Leontyne Price and The Ultimate Leontyne Price.

Masterful Recital Performance From Price at Her Peak.......2005-01-21

World-renowned soprano Leontyne Price can be an intimidating presence on any stage but not on this live concert recording. She lends a warm, lovely presence and of course, her unparalleled voice, to this eclectic program, which amazingly at the age of 38, represented her Carnegie Hall recital debut in 1965. It's hard to imagine her sounding any better than this at any point in her career, and just as importantly, the program reflects her heightened awareness of what serves her powerful voice best. It's a wonderful record of an obviously triumphant evening, and in what must be one of the recording industry's most monumental oversights, it languished in the RCA vault for thirty-seven years.

Price starts with three opera arias from Handel, all very clean in delivery and one especially noteworthy, "Piangerò la sorte mia" from "Giulio Cesare in Egritto". She is simultaneously opulent and regal while displaying a strong sense of pathos as Cleopatra contemplates her fate. The ten-minute Brahms "Zigeunerlieder, Op. 103" is stunning for the freshness she provides with her flexible quicksilver tones, all delivered in her very expressive German. The four Poulenc selections are delivered in a such a delicate manner that it can only be described as buttery, and as such, perfect for the Gallic verses. And her big opera moment comes with Giordano's "La mamma morta" from "Andrea Cénier" sung with her requisite passion. Regardless though, Price really soars with the American selections where her voice takes on an added dimension of humanity. She begins this portion with three stellar selections from Samuel Barber, all shimmering showcases for her voice: the haunting "Nocturne, Op. 13 No. 4", the light and airy "The Daisies, Op. 2 No. 1" and the near spiritual "Sleep Now, Op. 10 No. 2". These segue seamlessly into two lush pieces by the relatively unknown Lee Hoiby, who wrote specifically for Price. For me personally, the high points of the entire recording are the four spirituals, which she sings with an unearthly combination of roof-raising conviction and clarion tones. She concludes with classic arias from Puccini and Cilea and of course, her definitive version of George Gershwin's "Summertime". This is as fulfilling a recital as you could possibly hear from this wondrous singer. Essential listening.

Love Leontyne But Stick To The Studio Gems........2004-03-04

I have been an admirer of the great Price since I was a boy of 10 after discovering her tremendous recoding of "Carmen" with the greats Corelli, Freni, and von Karajan. In my humble opinion, the greatest period of her voice was the 50's-60's, where her incredible force and power were nicely balanced with a lyric openness and clarity. This live recording stems from that most golden period, before the more unattractive Price qualities came into play in the early-mid 70's - a major tendency to scoop and slide, a lack of crisp enunciation, and a cloudy timbre. Be that as it may, I was disappointed with this performance on a whole. Simply put, with the exception of the Spirituals, I find Ms. Price's performance uncommitted and almost like she is rushing through from one number to the next. This might be the "fault" of her accompanist, David Garvey. In every instance where a duplicate version exists in a studio recording by Ms. Price, I wholeheartedly prefer those over these live ones. Usually artists are even more committed and intense when performing before the public. I simply do not find that intensity here. My advice - stick to the great studio recordings or, at least, different live recordings, of which I know exist but have not as of yet purchased.

Average customer rating:

The Most Beautiful Recorded Tenor Voice?
Very, very truncated.
incomplete pleasure
Finally available on CD!

Babes in Toyland / The Red Mill
Victor Herbert , Kenny Baker , and Eileen Farrell
Manufacturer: Decca Broadway
ProductGroup: Music
Binding: Audio CD

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The Desert Song / The New Moon
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The Merry Widow/The Student Prince
The Student Prince (1952 Studio Cast)
Victor Herbert: Babes in Toyland; The Red Mill

ASIN: B00006AWG2
Release Date: 2002-07-30

Tracks:

Opening - From Babes in Toyland (Herbert & MacDonough) with Kenny Baker and Karen Kemple
Toyland
Floretta
Never Mind Bo-Peep, We Will Find Your Sheep
March of the Toys
I Can't Do the Sum
Go To Sleep, Slumber Deep
Song of the Poet
The Military Ball
Hail to Christmas
Finale: He Won't Be Happy Till He Gets It and March of the Toys
When You're Pretty and the World Is Fair - From The Red Mill (Blossom & Herbert) with Wilbur Evans, Eileen Farrell, and Felix Knight
Moonbeams
In the Isle of Our Dreams
Because You're You
Every Day is Ladies' Day With me
The Streets of New York

Customer Reviews:

The Most Beautiful Recorded Tenor Voice?.......2005-06-22

Is any recorded, tenor, singing voice as lovely as Kenny Baker's? As a child, I often heard him during the 1930s on the Jack Benny show, but have scarcely thought of him since. Amazon.com offers him on four CDs: BABES IN TOYLAND, LOVE WALKED IN, THE STARLIT HOUR and WEILL FROM BERLIN TO BROADWAY. Over the years, I have heard the recorded voices of many tenors, mostly operatic. Their fine voices were excellently trained, often to a wider range and more difficult music. But note for note, their sound as recorded is not I think as sheerly beautiful as Kenny Baker's. A splendid, unspoiled, unstrained, natural gift, put to disciplined and tasteful use! His enunciation is remarkably clear, and his musical line, perfectly smooth. He makes each song a different story, as in the six pieces here from BABES IN TOYLAND.

My claim is easy to test. This website has CDs with excerpts for listening to the best tenors of the 20th century, including Enrico Caruso, John McCormack, Giovanni Martinelli, Beniamino Gigli, Tito Schipa, Richard Tauber, Richard Crooks, Jussi Bjoerling, Morton Downey, Mario Lanza, Giuseppe di Stefano, Nicolai Gedda, Jan Peerce, Leopold Simoneau, Fritz Wunderlich, Luciano Pavarotti, Placido Domingo and Jose Carreras. Of course, the earlier the career, the greater the damage to the recorded voice from primitive technology. Heard live, who knows which voice was most beautiful? But at least we have what earlier centuries could only imagine: lasting copies of live performances. Listen to Kenny Baker's voice on tracks 2 and 8 of BABES IN TOYLAND, and then compare.

The numbers from THE RED MILL will make you want to hear more. This operetta, also composed by Victor Herbert, was first produced in 1906, three years after BABES IN TOYLAND. "Moonbeams" (well sung by Eileen Farrell) is lovely; "Because You're You" (a duet between Farrell and Felix Knight) is quite simple but surprisingly affecting. The last two are the best: "Every Day Is Ladies' Day with Me," and "In Old New York." They are patter songs, perhaps inspired by, and surely as deft, as the ones that Gilbert and Sullivan were writing two decades earlier. Both are sung by Wilbur Evans, in a rich baritone, with perfect enunciation and marvelous comic flair. Great fun!

The selections on this CD were recorded in 1944 and 1945, then released in 1946 on both 78s and 10" LPs. For this CD, they were remastered from wartime lacquered-glass originals. Baker and Evans emerge in radiant form, surely much closer to live sound than reached our family radio via AM transmission 65 years ago. The orchestral and choral sound is less attractive. Poorly miked?

Very, very truncated........2002-12-09

The scores of Victor Herbert's "Babes in Toyland" and "The Red Mill" are lovely classics, but the incomplete scores represented by this Decca Broadway remastering of its antiquated 78s are not the best reprentation. My advice: wait for the John McGlinn "Babes in Toyland" to be released. As for "The Red Mill", you'd do better to pick up the Ohio Light Opera's double-CD from Albany Records.

incomplete pleasure.......2002-11-09

Two terrible mistakes keep this from 5 stars.. BABES IN TOYLAND is not complete as they are missing the delightful IN THE TOYMAKER'S WORKSHOP. Why? In THE RED MILL they use a butchered take of EVERY DAY IS LADIES DAY WITH ME. Again, why?
John McGlinn will be out with a complete BABES soon - and there is a lot of music in it - so you may want to wait.

Finally available on CD!.......2002-08-01

Decca's 1946 album of selections from Victor Herbert's celebrated musical was a welcome addition to record libraries, covering most of the major songs plus some of the delightful dance music. The album was reissued as a ten-inch Lp in 1949. A later reissue in 1957 dropped 4 songs to fit the score on one side of a twelve-inch Lp backed by six selections from Herbert's THE RED MILL. That pairing is reproduced here but the CD contains the complete BABES IN TOYLAND program! It's nice to have it back too! Nice of Decca to give us this early Christmas present this year. But BABES IN TOYLAND is a score that enchants all year round. How strange that no other complete recording exists.

Customer Reviews:

Chaliapin, the great Russian singer actor. .......2004-08-23

Born in the same year as Caruso and attracting the wild acclaim that used to be accorded to opera singers, Feodor Chaliapin is now featured in the Naxos "Great Singers" series. A selection of his acoustic recordings (1902-1924) occupy the first CD and a selection of his electric recordings (1926-1936), and in charge of restoration is Ward Marston.

Like Caruso, Chaliapin had a huge voice that nevertheless proved eminently compatible with acoustic recording processes. Indeed, collectors need not be deterred by the age of many of these recordings. Some of the very best items, whether opera or song, fall into the acoustic group. The 1911 recordings of Rubinstein's "Demon" excerpts, which I heard a few times many years ago and have never forgotten, are amongst the best of all in this entire selection.

Also like Caruso, Chaliapin's recording career owed much to producer Fred Gaisberg who, in his autobiography, allotted a whole chapter to this great singer. In recent times, eminent critic John Steane has named Chaliapin as one of the two or three great singer actors of the C20th. Gaisberg was responsible for recording the Prayer and Death of Boris during an actual performance of "Boris Godunov" at Covent Garden in 1928. Perhaps this best indicates Chaliapin's work as singer and actor. Another successful item here is the `Le veau d'or' from "Faust", which one critic has judged ideal for showing Chaliapin's special magnetism.

The notes provide an informative survey of Chaliapin's recording output. One error is the attributing some of the orchestral support in the recordings from the 1920s to the London Philharmonic Orchestra, and orchestra which was founded by Beecham in 1932.

A Chaliapin feast.......2003-02-14

It's nice of Naxos to collect in one place some of the most representative recordings of the great Russian basso, Fyodor Chaliapin. This is a 2CD set; the first CD is from the acoustic era of recording, the second from the electrical era. Not only are the expected arias and songs from the Russian literature represented, but also there are more than a few Italian/French/German selections.

There are two scenes from 'Boris Godunov': Varlaam's Song and the Farewell and Death of Boris. Three versions of Mussorgsky's 'Song of the Flea', from 1907, 1929 and 1936 (the latter his last recording) are included, all of them marvelous. Other highlights, made all the more effective by Chaliapin's amazing ability to act with the voice, are 'La calunnia' from 'The Barber of Seville' and 'Le veau d'or' from Gounod's 'Faust.' I also liked 'Chanson Bachique' by Glazunov, which I'd never heard before.

The sound is fantastic, the wizardry of Ward Marston who, along with Mark Obert-Thorn, is involved with Naxos's extensive re-issue of treasures from the history of the recorded voice.

If you don't have these selections from previous issues on other labels, you can't go wrong here. And then there's the budget price . . .

Superhits: 1967 (Time Life Music)
Average customer rating:
Superhits: 1967 (Time Life Music)
The Bee Gees , Stone Poneys , Harpers Bizarre , Bobby Vee and the Strangers , The Casinos , Petula Clark , The Monkees , Bobbie Gentry , The Young Rascals , and Spanky and Our Gang
Manufacturer: Time Life Music
ProductGroup: Music
Binding: Audio CD
ASIN: B000SJUXGE

Product Description

Released by Time Life Music . SONG LIST :1. Up-Up And Away---The 5th Dimension 2.Happy Together--The Turtles 3.Daydream Believer--- The Monkees 4. Dedicated to the One I Love---The Mamas and The Papas 5. How Can I Be Sure---The Young Rascals 6. Sunday Will Never Be the Same--- Spanky and Our Gang 7. I Second That Emotion---Smokey Robinson and The Miracles 8. 98.6--- Keith 9. I Say a Little Prayer--- Dionne Warwick 10. To Love Somebody---The Bee Gees 11. Tell It like It Is--- Aaron Neville 12.Windy---The Association 13.Don't Sleep in the Subway--- Petula Clark 14. Come Back When You Grow Up--- Bobby Vee and The Strangers 15. Different Drum--- Stone Poneys 16. The 59th Street Bridge Song (Feelin' Groovy)--- Harper's Bizarre 17. The Rain, the Park And Other Things---The Cowsills 18. Love Is Here And Now You're Gone---The Supremes 19. (The Lights Went Out In) Massachusetts---The Bee Gees 20. Green, Green Grass of Home---Tom Jones 21. Then You Can Tell Me Goodbye--- The Casinos 22.Ode to Billie Joe- Bobbie Gentry

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

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

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

ASIN: B00005B550
Release Date: 2001-05-22

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Karl Bohm: Wagner: Der Ring des Nibelungen

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

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

Marek Janowski: Wagner: Der Ring des Nibelungen

James Levine: Der Ring Des Nibelungen

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

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

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

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

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

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

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

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

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

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

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

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

Tracks:

Can't Help Lovin' Dat Man
Norwegian Wood (This Bird Has Flown)
The Joint Is Really Jumpin' In Carnegie Hall
Ol' Man River
Just You
Something You Always Knew
Hungry
Time Heals Everything
I Got Plenty O' Nuttin
Blues In The Night
I Love A Piano
I Remember
Lazy Afternoon
How Do You Keep the Music Playing
Ne Me Quittes Pas

The Columbia Albums of Irving Berlin, Vol. 1-2

Average customer rating:

The Columbia Albums of Irving Berlin, Vol. 1-2

Manufacturer: Collectables
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | New Age | Styles | Music

Meditation | New Age | Styles | Music

General | Easy Listening | Pop | Styles | Music
ASIN: B0000AHEU8
Release Date: 2003-09-02

Tracks:

It's A Lovely Day Today/Blue Skies
Maybe Its Because I Love/I Got Lost
You'd Be Surprised/I'll See You In Cuba
Always/Remember
Shaking The Blues/Play A Simple/Alexander's
Here's No Business/Got The Sun/Girl I Marry
Say It Will Music/Cheek To Cheek
It's A Lovely Day Tomorrow/ Now It Can Be Told
This Year's Kisses/Be Careful! Its My Heart
Lady Of The Evening/ Better Luck Next Time
Steppin' Out With My Baby/ You're Just In Love
Let's Face The Music/Say It Isn't So
How Deep Is The Ocean/I Never Had A Chance
Change Partners/Mandy
You Can't Brush Me/Everybody Step/Waiting At The End
Soft Lights/They Say It's Wonderful
Puttin' On The Ritz/Marie
I've Got My Love To Keep Me/Top Hat
What'll I Do/All Alone
A Pretty Girl/Isn't This A Lovely Day
Lazy/I'm Getting Tired So I Can Sleep
I'm Playing With Fire/Let's Have Another Cup
Heat Wave/Let Yourself Go
The Piccoline/No Strings

Album Description

Full Title - The Columbia Albums Of Irving Berlin Vols. 1 & 2. Composer, conductor, arranger Frank DeVol scored more than fifty movies and is best known as the composer for the theme songs for the TV series 'My Three Sons', 'The Brady Bunch' and 'Family Affair'. In the 1940s DeVol was an arranger for Dinah Shore, Tony Bennett, Rudy Vallee, Vic Damone and Doris Day. Frank DeVol received multiple Emmy Awards and Academy Award nominations for his extensive body of work. Irving Berlin's medleys featured are 'Always/Remember', 'A Pretty Girl/Isn't It A Lovely Day' and 'Say It With Music/Cheek To Cheek'. 24 tracks. Collectables 2003.

Average customer rating:

Great Album, but No Vocal Fireworks
Great Standards!!
Joni James at Abbey Road!

100 Strings & Joni
Joni James
Manufacturer: Collector's Choice
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music

General | Opera & Vocal | Styles | Music

General | Soundtracks | Styles | Music

General | Vocal Pop | Pop | Styles | Music

General | Broadway & Vocalists | Styles | Music

General | Jazz | Indie Music | Stores | Music

Traditional & Vocal Pop | Pop | Indie Music | Stores | Music
Similar Items:

My Favorite Things / Joni James Sings Gershwins
Like 3 O'Clock in the Morning/After Hours
Platinum & Gold: Mgm Years
Joni Swings Sweet/Bossa Nova Style
Something for the Boys/I'm Your Girl

ASIN: B00006B1L5
Release Date: 2003-02-11

Tracks:

My Heart Tells Me
Imagination
All Through The Day
Too Young
It Never Entered My Mind
Body And Soul
I Can Dream, Can't I?
Hi-Lilli, Hi-Lo
But Beautiful
Wait And See
It Could Happen To You
Maybe You'll Be There
I Couldn't Sleep A Wink Last Night
Let's Get Lost
I Can't Believe That You're In Love With Me
I'm In The Mood For Love
You're A Sweetheart
How Blue The Night

Product Description

1. My Heart Tells Me
2. Imagination
3. All Through The Day
4. Too Young
5. It Never Entered My Mind
6. Body And Soul
7. I Can Dream, Can't I
8. Hi-Lili Hi-Lo
9. But Beautiful
10. Wait And See
11. It Could Happen To You
12. Maybe You'll Be There
13. I'm In The Mood For Love
14. I Can't Believe That You're In Love With Me
15. Let's Get Lost
16. I Couldn't Sleep A Wink Last Night
17. You're A Sweetheart
18. How Blue The Night

Format: CD

Customer Reviews:

Great Album, but No Vocal Fireworks.......2005-09-20

This is a beautfully rendered album and Joni's voice is pitch perfect. She sings every note as written. But she takes no interpretive chances and there's no vocal fireworks. The real accomplishment here are the splendid arrangements by Jeffrey Osborne and Geoff Love - two men who never met a huge orchestra they didn't like. The lush, layered arrangements are spectacular. The musicians are also first rate and for such a large gathering there's a fantastic cohesiveness. Though her singing is pleasant enough, Joni's voice is basically the 101st instrument in the entire ensemble.

Great Standards!!.......2003-02-15

This is a great album of classic standards with lush orchestrations. Joni's voice is incredibly smooth and expressive and the selections are some of the best of the Jerome Kern era of classic songwriters. My favorite is Imagination. Best version I have ever heard...as a matter of fact many of the tunes are my benchmark arrangements. If you are a fan of the 30's-50's classic love songs and ballads, this is for you!! Great for Valentines Day. Romantic stuff. This was one of my favorite albums on vinyl as a kid. Now I can get the CD. Yeah!

Joni James at Abbey Road!.......2002-07-23

Miss Joni James swept away on a veritable ocean of violins!
This classic LP remastered in pristine sound with tender torch tunes rendered "close to the microphone" by one of the 1950s most popular singing icons. Recorded in London at the famous Abbey Road studios with those lush, sweeping Acquaviva arrangements. Joni's most divine moment! (Tacked on to the original album are 6 tracks, also with the 100 Strings orchestra, of songs from her Jimmy McHugh tribute LP.)

Average customer rating:

Orhangen

Manufacturer: Bis
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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Soderstrom, Elisabeth | Divas | Opera & Vocal | Styles | Music

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ASIN: B00000169D
Release Date: 1994-10-11

Tracks:

Misans Klagolat
Teaterrattan Emmas Visdomsord
En Gudlos Bon
Man Borde Inte Sofva
Vinden Drar - Elisabeth Soderstrom/Robert Sund/Karin Axelsson Parkman/Hakan Sund/Robert Von Bahr
Viktoria - Clas Pehrsson
Godmorgon, Min Docka
Visa Vid Midsommartid
Ekovisan
Sana Metoder (Vals)- En Dod I Skonhet (Unken Vals I Chopin-Stamning)-Glom Inte (Ettrig Vals)
Vallat
Prastkrage, Sag...
Nar Skonheten Kom Till Byn
Onskan
Midsommarblomster
Den Stora Kometen
Vem Kan Segla Forutan Vind?
Byssan Lull

Average customer rating:

This CD is on point!
a lot of good hip hop, a litlle of tony touch
Fat beats, dope rhymes and mad skills.
This is one of the best hip hop joints I've heard in a while
Can't mix a good beat

Can't Sleep on the Streets
Tony Touch
Manufacturer: Insomniac
ProductGroup: Music
Binding: Audio CD

General | Dance & DJ | Styles | Music

Turntablists | Dance & DJ | Styles | Music

General | Dance Pop | Dance & DJ | Styles | Music

East Coast | Rap & Hip-Hop | Styles | Music

Gangsta & Hardcore | Rap & Hip-Hop | Styles | Music

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East Coast | Rap & Hip-Hop | Indie Music | Stores | Music
ASIN: B000006Q1V
Release Date: 1999-05-04

Tracks:

Enter Tony Touch
Intro (Magic Juan)
Hell Is Getting Hotter- Loose Cannons
P is For The People- Drastic Measures
Interlude with BDI
Cloudy Skys- Joefinite Tha I.S.
Let's Talk
Testing One- Al Master
Deathstar- Secret Identity D128
The R Shoutout
Microphon Memoirs- Wizone
Desconnected- Cold Shoulders
Playin' With Fire-Adept
Forensics- Tony Arafat
Stick and Move- Nig Dee
Spillin' My Guts- Joefinite Tha I.S.
Ruff and Rugged-Tony Arafat
Tony Touch Outro
Insomniac- Drastic Measures and IZ-REAL

Album Description

The years best underground hip hop compilation hosted by the hottest DJ, Tony Touch. Features 19 hot Hip Hop tracks from the best underground artists.

Customer Reviews:

This CD is on point!.......2001-03-12

The artists on this CD are awesome. Real hip hop with out all of the negative rap. The beats are really good too. I reccomend this CD if you are looking for quality underground hip hop music.

a lot of good hip hop, a litlle of tony touch.......2001-02-17

if you, as myself, went crazy on tony touch's "the piece maker" cd, and want to buy another tony touch cd - this is the wrong place. tony touch is just introducing the songs on this cd - not producing them. anyhow, after the early dissapointment i sat down to listen to this cd and found some real good underground hiphop - amazing tracks by loose cannons, joefinite, drastic meassures and tony arafat, are creating a smooth collection of talents, and a fun cd to listen too. enjoy!

Fat beats, dope rhymes and mad skills........1999-10-12

This CD is loaded with some of the best underground hip hop artists I've heard in a long time. My favs are Drastic Measures (they have that track with Cappadonna), Loose Cannons, Magic Juan (he just did a track on the Beatnuts Album), and Tony Arafat. These guys are on top of the game when it comes to the underground. They put it down the right way.

This is one of the best hip hop joints I've heard in a while.......1999-10-12

This is a hot project. Brilliant idea to mix hot artists with even fatter ones. I would tell you that this cd is strictly for those that like real hip hop.

Can't mix a good beat.......1999-06-30

Can't sleep on the streets, eh? Well this 'artist' better get used to it, cause this 'album' blows chow.

Music:

Music

music