Masses

Masses

Editorial Reviews
Amazon.com
Spring Heel Jack have long had a reputation as a leading exponent of drum & bass, the beat-driven electronic music filled with complex rhythms and samples. Here, the English duo use their Thirsty Ear labelmates (an all-star collection of downtown jazz improvisers Matthew Shipp, Evan Parker, William Parker, and Tim Berne, among others) to provide the source material. Far from the upbeat electronic lounge music of St. Germain or the challenging dance-floor grooves of jazzy drum & bass producer LTJ Bukem, Spring Heel Jack provide near beatless electronic backdrops for the players to improvise over, which they do sometimes with dizzying intensity and at other times with quiet nuance. The duo then augment the tapes, to varying degrees, with an additional tapestry of players and/or electronic textures. Pushing the electronic envelope once again, Spring Heel Jack have made one of the most interesting and inventive albums of the year--electronic, jazz, or otherwise. --Tad Hendrickson

Tracks:

Never Let Me Down Again
The Things You Said
Strangelove
Sacred
Little 15
Behind The Wheel
I Want You Now
To Have And To Hold
Nothing
Pimpf
Agent Orange
Never Let Me Down Again (Aggro Mix)
To Have And To Hold (Spanish Taster)
Pleasure, Little Treasure

Amazon.com essential recording

This album is a culmination of Depeche Mode's middle-period experimentation. More informed by Goth than techno, it is still anchored by plenty of the larger-than-life-baritone melodrama so distinctive of David Gahan's vocals. The most experimental track is "Pimpf"--a song that heave-hoes along with the synthesized emulation of a Russian men's choir. Although nowhere near fast enough to be danceable, the commanding "Never Let Me Down" ranks as the best single on the track, with the most hummable "Strangelove" coming in at a close second. Each song is a praiseworthy accomplishment, but the singles here set off the experimental tracks, making the album seem thematically schizophrenic. --Beth Bessmer

Album Description

European 14-track CD on EMI.

Customer Reviews:

Depeche Mode's Most Accomplished Album.......2007-05-26

For years I overlooked this album, in favor of other Depeche Mode classics like Violator and Songs of Faith and Devotion. Yet many of the tracks from "Music for the Masses" kept popping up. Recently viewing a Depeche Mode documentary on Joost (check it out if you haven't), I realized what I'd been missing and picked it up immediately. Today, I can't get enough of it.

"Music for the Masses" is the band's most accomplished album without a doubt. When they recorded it, they were already entrenched into the dark synth-based sound that would characterize the second half of their career, away from the more catchy pop songs that were the norm in their music early on.

Every track in the album is a piece of art that collectively make the whole production sound as current and powerful at the time of this writing as it did twenty years ago, when it was released.

The albums on either side of it were arguably better, but still..........2007-04-10

"Never Let Me Down Again" is your basic work of genius, and "The Things You Said" and "Little 15" aren't far behind.

Things get a bit spottier from there, but I'm thinking you'll forgive.

Along with "Violator", forms the pinnacle of Depeche Modality.......2006-07-26

"Music for the Masses" marks Depeche Mode's true emergence as a full-fledged musical force. For awhile in the 80's it seemed like simply everyone with a synthesizer was cutting an album. But what makes Depeche different from, say, Howard Jones, was their ability to grow beyond their synthpop roots and expand their sound, as witnessed by "Masses" and its richer textures, deeper songs, and a new direction would would continue on the other great Depeche Mode album, "Violator".

I am especially fond of such unusual tracks as the Aggro remix of the album's opening track; a very different interpretation of essentially the same song, both more hard driving and darker. This remix still stands as one of my most favorite 'hard' electronic songs of all time, and convinced more than a few of my hair metal buddies that Depeche Mode was absolutely NOT "sissy music".

"Music for the Masses" functioned as my personal soundtrack for much of the summer of 1989, and if I had to finger any single Depeche Mode album as being "The" Depeche Mode album, this would probably be it.

European Flavor with Plenty of Melodrama.......2006-05-17

A good record for it's time, I must admit it has lost some of it's polish over the years. While Alan Wilder's top notch production and Martin Gore's melancholy lyrics still hold enough to muster the interest of passers by, this is really an album for those who were there & lived it. A good re-visit to the late 80's...but those who are just discovering DM may have a harder time accessing it's sound.

I don't have much to say about this ..........2006-02-20

I dont have much to say about this except CLASSIC. If you are new to DM then buy this pronto homes.

For The Masses: An Album of Depeche Mode Songs

Average customer rating:

Primarily for "hardcore-fans"
Good tribute album.
For The Masses
MINDLESS MUSIC FOR THE MINDLESS MASSES
Various Artists (And The Smashing Pumpkins) For The Masses

For The Masses: An Album of Depeche Mode Songs
Various Artists
Manufacturer: A&M
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

New Wave | New Wave & Post-Punk | Alternative Rock | Styles | Music

Alternative Rock | Compilations | Alternative Rock | Styles | Music

Post Grunge | American Alternative | Alternative Rock | Styles | Music

Ambient | Dance & DJ | Styles | Music

General | Dance & DJ | Styles | Music

General | Techno | Dance & DJ | Styles | Music

Electronica | Dance & DJ | Styles | Music

Trip-Hop | Dance & DJ | Styles | Music

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

General | Pop | Styles | Music

Pop Rock | Pop | Styles | Music

Adult Alternative | Pop | Styles | Music

Tributes | Pop | Styles | Music

General | Rock | Styles | Music

General | Compilations | Rock | Styles | Music

Alternative Metal | Hard Rock & Metal | Styles | Music

General | Hard Rock & Metal | Styles | Music

Experimental Music | Miscellaneous | Styles | Music
Similar Items:

People Are People
Goth Electro Tribute to Depeche Mode
Trancemode Express 1.01: A Tribute To Depeche
Catching Up with Depeche Mode
101

ASIN: B000009PNY
Release Date: 1998-08-04

Tracks:

Never Let Me Down Again - Smashing Pumpkins
Fly On A Windshield - God Lives Underwater
Enjoy The Silence - Failure
World In My Eyes - The Cure
Policy Of Truth - Dishwalla
Somebody - Veruca Salt
Everything Counts - Meat Beat Manifesto
Shake The Disease - Hooverphonic
Master And Servant - Locust
Shame - Self
Black Celebration - Monster Magnet
Waiting For The Night - Rabbit In The Moon
I Feel For You - Apollo Four Forty
Monument - Gus Gus
To Have And To Hold - Deftones
Stripped - Rammstein

Album Details

Depeche Mode Tribute Album.

Customer Reviews:

Primarily for "hardcore-fans".......2007-02-06

You would typically not buy this album if you were going to buy one single album to learn more about either Depeche Mode or any of the participating bands. This album is more of something you buy when you know "your" band and just want to know how their songs would sound when other established band play them or how "your" band would interpret Depeche Mode.

Good tribute album........2007-01-20

You know, tribute albums are things I rarely ever care for. In fact, one CD that I would sell if I get the oppurtunity is this one of boring U2 covers that I accidentally bought. But this album not only has some artists who already had a name, but some of the less obvious DM influences. This is part of why I appreciate this CD. Some of the covers were kind of surprising, like "Monument" from "A Broken Frame," and also "Shame" (covered by Self, the only artist I had never heard of prior to this compilation) which I wasn't aware of before I got this. While it's clear how heavily influenced a group like God Lives Underwater is by the group, I wouldn't have known that Monster Magnet and Dishwalla were groups who got influenced by DM.

It's a pretty good tribute, as well. It's really interesting to hear Locust's (not to be confused with the noisecore group) interpretation of "Master and Servant." I never have thought of an S&M-themed song being played so mellow and playful. I really liked Failure's take on "Enjoy the Silence" and the one track I had always been familiar with was the Pumpkins' take on "Never Let Me Down Again." It's surprising that they play that one clean, especially being a B-side of the distortion-happy "Siamese Dream" era. Basically, the first five tracks are my favorites. It is more hit than miss.

There are a couple points that don't really do it for me. "Monument" was never really a favorite of mine to begin with, and I don't care for the remake, either. I wish Monster Magnet would've embraced their style a little bit more on "Black Celebration" as well.

Overall, if you like '90s electronic and alternative music, I recommend this. You'll respect it even if you don't enjoy it. Totally worth getting.

For The Masses.......2006-10-25

I'm not really a fan of the band Depeche Mode, and as a general rule tribute albums are a pretty hit and miss affair (the yawn inducing tribute album to Fleetwood Mac's Rumours featuring Jewel, Tonic, and Elton John at their most boring a prime example). So why do I not only own but thoroughly enjoy this tribute album, featuring artists such as Smashing Pumpkins, God Lives Underwater, Locust, and Rammstein?
It's the lyrics that sell it. These are solid songs, but the fact is the covers are quite simply better than the originals.
The songs that stand out first are the Rammstein cover Stripped, which originally appeared as a bonus track on the album Sehnsucht, and the band Failure whose cover of Enjoy The Silence was a hit on Top 40 during the summer of 1998, but these are not the only good songs on this album.
Others I highly recommend to any potential purchaser of this album include the song Shake The Disease, covered by the band Hooverphonic. Geike Arnaert's delivery on the chorus of the song is way more powerful, to my ears, than the delivery of DM's lead singer Dave Gahan..

Here is a plea
From my heart to you
Nobody knows me
As well as you do
You know how hard it is for me
To shake the disease
That takes hold of my tongue
In situations like these

The melody is not changed much from the 80s techno the original band is known for, but the Belgian band with it's young female lead singer packs the song with more emotion.
Another selling point is the cover of the song Policy of Truth done here by the band Dishwalla, best known for the line from their one hit Counting Blue Cars, "Tell me all your thoughts on God / Cause I'm on my to see Her." Again, the lyrics are better served by another style of music, in this case rock, as opposed to 80s style techno.

Its just time to pay the price
For not listening to advice
And deciding in your youth
On the policy of truth

This album is truly a must have for people who like diamonds in that rough known as the pop music section.
Other Good Tribute Albums: Songs From A Material World (George Harrison tribute), Kindred Sprits (Johnny Cash tribute) and Killer Queen (Queen tribute).

MINDLESS MUSIC FOR THE MINDLESS MASSES.......2006-08-24

If you are a self-loathing manic depressive who wears pointy shoes and black fingernail polish then you probably own this already, the 80's were a horrible decade for music and trying to revive it with newer bands is equally bad.

Various Artists (And The Smashing Pumpkins) For The Masses.......2006-07-16

Various Artists For The Masses

I just bought this album in San Francisco (July 2006) some 8 years after it first came out.
As a long time fan of Depeche Mode who has admittedly not paid them very much attention in recent years I can honestly say that I have been reminded why I used to love them so much. Depeche Mode are bl**dy fantastic and this collection of tributes while not being universally wonderful is well worth a listen. As many people will not have heard this release I really wanted to review it. There are some turkeys and some Xmas crackers and be warned that I get a bit cross about the turkeys. Afterall, this is Depeche Mode we are talking about!

The album kicks off with Never Let Me Down Again by the Smashing Pumpkins. If you asked most fans what their 3 favourite DM tunes were, chances are that this is one of them. It's a defining anthem and it truly rocks. The fans know how good it is. We've all been to the concerts and we've all sung our hearts out. Well.... Wait till you hear what the `Smashing F**kwits' have done to it. It is hard to find the words to describe how wide of the mark they are in trying to capture the essence of NLMDA. I mean if you were going to try and do it any justice at all you might have a stab at keeping some of the power, emotional intensity and sheer b*ll**ks of the original. But no.... I don't know anything about the Smashing Turnips or their own music but it is my best guess from this effort that they basically get stoned, jam for a bit in an ineffectual way, put some p**s weak whiny vocals down, pop to the all night garage for some more skins, finish off the Stellas, and call it a day. I now know why I have never noticed anything the Smashing Numpties have ever done. (0 out of 10) Lets move on, as it gets a lot better from here.

Next up, Fly on the Windscreen cruises into town with laid back funky beats and some interesting vocal harmonies which present the tension in the song in a new way. You can nod your head to this more than the original and the dark undercurrents are maintined behind the slick groove. The vocals are more musical than DGs and they really work. It's cool and different. A big thumbs up to God Lives Underwater. There's nothing wrong with taking a song in a different direction, as long as you have one. (Smashing Wasters take note) (8 out of 10)

Enjoy The Silence by Failure doesn't deviate too much from DMs' first version apart from in the obvious, in that the guitars are in and the synths are largely out. The intro is delicate, the chorus thumps and the voice of Failures' singer (whose name I am shamefully ignorant of) resonates nicely while lacking DGs power. They've messed a bit with some of the melody in an acceptably pleasing way and it is quite ... well, enjoyable, without capturing the heartfelt passion of the original. So.. a modest success. (7 out of 10)

Now the Cure have got their work cut out here, as World In My Eyes is a bit of a personal favourite. The consumate Kraftwerk feel is gone but Robert Smith maintains the angst and delivers a very listenable performance. They've been a bit lazy on the drum programming, just using one loop with no real variation but the guitar riffs and howls are good which I guess is their forte. It's quite catchy and if anything a bit more accessible than the original. Rather lost its edge but overall not a bad effort. (7 out of 10)

Enter Dishwalla, who grind out a full throttle take on Policy Of Truth with a certain amount of welly and lots of guitar. It builds nicely throughout and ends with all guns blazing. The vocals are great and the finale sees a very musical deviation that powers it's way up to a blistering climax. How cool?.... Very. For me this is way better than the original, which I always used to find a bit dull. Can't wait to put this on in the car. Go Dishwalla!
(10 out of 10)

Somebody is presented by Veruca Salt and it gets a passionate workout here. The rhodes piano and cello really work, vocals are very genuine and you can get lost in this version the same way you get lost when Martin sings it. A beautifully constructed copy of one of DMs best ballads. (8 out of 10)

Everything Counts by Meat Beat Manifesto is a bit of let down. It's a little hard to see where the creativity went. It didn't go into the drum programming which while being marginally better than the Cures' is a bit pedestrian. Aside from trotting out the main melody, they don't really offer anything on the melodic front either which kind of just leaves noises. I didn't like their noises. Oh yes .. the vocals. A bit pants as well. (1 out of 10)

Shake The Disease has a really sparse electronic feel to it with silky vocals, both courtesy of Hooverphonic. It's a very simple cover but astoundingly beautiful and totally captures the repetitive hypnotic drive of DMs version. Go Hooverphonic! (9 out of 10)

Locust's Master And Servant has a surreal The Devine Comedy meets light jazz feel to it which puts it just above elevator muzak. This makes it slightly interesting. (2 out of 10)

I guess Shame is a surprise choice for a cover but hey why not. Selfs' version is quite catchy, in yer face and fun. Not worthy of great praise but neither was the original. (5 out of 10)

With Black Celebration we are back in anthem territory. Monster Magnet throw a lot of energy into this and I really wish they hadn't. If you are going to mess with people's melody you better do it good. i.e Compliment the original. Draw it out and reframe it. Add something. Bring something to the party goddamnit! Or as MM see it... crash the party, nick the beer, p**s all over the place and do a runner. (0 out of 10)

Waiting For The Night To Fall by Rabbit In The Moon starts with sparse beats that pick up into light drum and bass (without the bass). The vocal is a bit karaoke and the whole thing goes on for way too long. (7 minutes 34 seconds too long) (1 out of 10)

Appollo 440 take on I Feel You and the result appears to be a draw. The vocals don't really stand up to DGs but there is an energentic feel to the proceedings with some lively samples thrown in to the mix. It's OK (5 out of 10)

Gus Gus cover Monument which is an interesting choice. It's been given a far more up to date feel here while maintaining the sparse simplicity and brooding atmosphere of the original. The production is nice but the vocals are a little bit too bronski beat for my liking. Not a turkey and not a craker. (6 out of 10)

Deftones crank it up for To Have And To Hold and make a reasonable fist of it. The vocals don't quite reach the same sharp edged menace that DG gives it but the rest is all there. Screaching guitar solos and smash it all up finale. Pretty good (7 out of 10)

Finally we have Rammstein's Stripped which is completely awful. But let let's leave that to one side for a moment and deal with something else. It's funny as f**k. The vocal comes across as Rocky Horror Show meets Lordi (of recent EuroVision fame). This is all backed up by wannabe death metal come eurobeat. Whether they approached this cover seriously or not I don't know. I am confused and amused by it. Which is a shame as I'd really like to hear somebody have a proper crack at it. (no idea what mark out of 10 this gets ... probably about 4 for being weird)

For fans who want to hear a different take on their favourite band I thoroughly recommend this collection. Half of it is indeed rubbish but that's what CD rippers and MP3 players are for. If you haven't listened to your old DM albums in a while, this will ensure that you rediscover them. While you're at it get the remastered CDs in 5.1 surround sound. They're great.

Chris Danson. Ashford. Middlesex

Mozart: The Collector's Edition - (50 CD Set) Including Symphonies (selection), Piano Sonatas, Concerti, Masses, Operas (Nozze di Figaro, Zauberflote, Cosi fan Tutte), etc.

Average customer rating:

Mozart: The Collector's Edition - (50 CD Set) Including Symphonies (selection), Piano Sonatas, Concerti, Masses, Operas (Nozze di Figaro, Zauberflote, Cosi fan Tutte), etc.

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Minuets | Ballets & Dances | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

Sextets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Schubert: The Collector's Edition
Beethoven: The Collector's Edition [50-CD Box Set]
Beethoven: the collectors edition 50CD"s
Rhapsody in Blue - Ultimate Piano Collection [20 CD Set]
Bach: Complete Works - 155 CD Box Set

ASIN: B000NA2PD2
Release Date: 2007-04-24

Tracks:

I: Molto Allegro - English Chamber Orchestra
II: Andante - English Chamber Orchestra
III: Presto - English Chamber Orchestra
I: Allegro - English Chamber Orchestra
II: Andante - English Chamber Orchestra
III: Presto - English Chamber Orchestra
I: Allegro Assai - English Chamber Orchestra
II: Andante - English Chamber Orchestra
III: Presto - English Chamber Orchestra
I: Allegro - English Chamber Orchestra
II: Andante - English Chamber Orchestra
III: Molto Allegro - English Chamber Orchestra
I: Allegro Maestoso - English Chamber Orchestra
II: Andante - English Chamber Orchestra
III: Molto Allegro - English Chamber Orchestra
I: Allegro Maestoso - English Chamber Orchestra
II: Andante - English Chamber Orchestra
III: Menuetto & Trio - English Chamber Orchestra
IV: Allegro - English Chamber Orchestra

Tracks:

I: Allegro Assai - English Chamber Orchestra
II: Andante - English Chamber Orchestra
III: Allegro - English Chamber Orchestra
Appendix: Andante - English Chamber Orchestra
I: Allegro - English Chamber Orchestra
II: Andantino Grazioso - English Chamber Orchestra
III: Presto - English Chamber Orchestra
I: Allegro Con Brio - English Chamber Orchestra
II: Andante - English Chamber Orchestra
III: Menuetto & Trio - English Chamber Orchestra
IV: Allegro - English Chamber Orchestra

Tracks:

I: Molto Presto - English Chamber Orchestra
II: Andante - English Chamber Orchestra
III: Allegro - English Chamber Orchestra
I: Allegro Moderato - English Chamber Orchestra
II: Andante - English Chamber Orchestra
III: Menuetto - English Chamber Orchestra
IV: Allegro Con Spirito - English Chamber Orchestra
I: Molto Allegro - English Chamber Orchestra
II: Andantino Con Moto - English Chamber Orchestra
III: Menuetto - English Chamber Orchestra
IV: Presto - English Chamber Orchestra
I: Allegro Spiritoso - English Chamber Orchestra
II: Andante - English Chamber Orchestra
III: Menuetto: Allegretto - English Chamber Orchestra
IV: Presto - English Chamber Orchestra

Tracks:

I: Allegro Spiritoso - English Chamber Orchestra
II: Andante - English Chamber Orchestra
III: Allegro Spiritoso - English Chamber Orchestra
I: Allegro Con Spirito - English Chamber Orchestra
II: Andante - English Chamber Orchestra
III: Menuetto & Trio - English Chamber Orchestra
IV: Finale: Presto - English Chamber Orchestra
I: Adagio - Allegro - English Chamber Orchestra
II: Andante - English Chamber Orchestra
III: Menuetto: Allegretto & Trio - English Chamber Orchestra
IV: Finale: Allegro - English Chamber Orchestra

Tracks:

I: Allegro Vivace - English Chamber Orchestra
II: Andante Di Molto - English Chamber Orchestra
III: Finale: Allegro Vivace - English Chamber Orchestra
Appendix: Menuetto & Trio K409 (383f) - English Chamber Orchestra
I: Allegro Assai - English Chamber Orchestra
II: Andante Moderato - English Chamber Orchestra
III: Menuetto & Trio - English Chamber Orchestra
IV: Allegro Assai - English Chamber Orchestra

Tracks:

I: Adagio - Allegro Spiritoso - English Chamber Orchestra
II: Poco Adagio - English Chamber Orchestra
III: Menuetto & Trio - English Chamber Orchestra
IV: Presto - English Chamber Orchestra
I: Adagio - Allegro - English Chamber Orchestra
II: Andante - English Chamber Orchestra
III: Presto - English Chamber Orchestra

Tracks:

I: Molto Allegro - English Chamber Orchestra
II: Andante - English Chamber Orchestra
III: Menuetto: Allegretto & Trio - English Chamber Orchestra
IV: Allegro Assai - English Chamber Orchestra
I: Allegro Vivace - English Chamber Orchestra
II: Andante Cantabile - English Chamber Orchestra
III: Menuetto: Allegretto & Trio - English Chamber Orchestra
IV: Molto Allegro - English Chamber Orchestra

Tracks:

I: Allegro Cadenza - English Chamber Orchestra
II: Andantino - English Chamber Orchestra
III: Rondeau: Presto - English Chamber Orchestra
I: Allegro Maestoso - English Chamber Orchestra
II: Andante - English Chamber Orchestra
III: Allegretto - English Chamber Orchestra
Concerto Rondo For Piano & Orchestra No.1 In D K382 - English Chamber Orchestra

Tracks:

I: Allegro - English Chamber Orchestra
II: Larghetto - English Chamber Orchestra
III: Tempo Di Menuetto - English Chamber Orchestra
I: Allegro - English Chamber Orchestra
II: Andante - English Chamber Orchestra
III: Allegretto - English Chamber Orchestra
I: Allegro - English Chamber Orchestra
II: Andante - English Chamber Orchestra
III: Allegro - Adagio - Allegro - English Chamber Orchestra

Tracks:

I: Allegro Vivace - English Chamber Orchestra
II: Andantino - English Chamber Orchestra
III: Allegro Ma Non Troppo - English Chamber Orchestra
I: Allegro - English Chamber Orchestra
II: Andante - English Chamber Orchestra
III: Allegro - English Chamber Orchestra
I: Allegro - English Chamber Orchestra
II: Andante - English Chamber Orchestra
III: Allegro Di Molto - English Chamber Orchestra

Tracks:

I: Allegro - English Chamber Orchestra
II: Andante - English Chamber Orchestra
III: Allegretto - English Chamber Orchestra
I: Allegro - English Chamber Orchestra
II: Larghetto - English Chamber Orchestra
III: Allegretto - English Chamber Orchestra

Tracks:

I: Allegro Vivace - English Chamber Orchestra
II: Andante Un Poco Sostenuto - English Chamber Orchestra
III: Allegro Vivace - English Chamber Orchestra
I: Allegro - English Chamber Orchestra
II: Allegretto - English Chamber Orchestra
III: Allegro Assai - English Chamber Orchestra

Tracks:

I: Allegro - English Chamber Orchestra
II: Romanze - English Chamber Orchestra
III: Rondeau: Allegro Assai - English Chamber Orchestra
I: Allegro - English Chamber Orchestra
II: Larghetto - English Chamber Orchestra
III: Allegretto Assai - English Chamber Orchestra

Tracks:

I: Allegro Maestoso - English Chamber Orchestra
II: Andante - English Chamber Orchestra
III: Allegro Vivace Assai - English Chamber Orchestra
I: Allegro - English Chamber Orchestra
II: Larghetto - English Chamber Orchestra
III: Allegro - English Chamber Orchestra

Tracks:

I: Allegro - English Chamber Orchestra
II: Andante - English Chamber Orchestra
III: Rondo: Allegro - English Chamber Orchestra
I: Allegro - English Chamber Orchestra
II: Adagio - English Chamber Orchestra
III: Allegro Assai - English Chamber Orchestra

Tracks:

I: (Allegro Moderato) - David Oistrakh
II: Adagio - David Oistrakh
III: Presto - David Oistrakh
I: (Allegro Moderato) - David Oistrakh
II: (Andante) - David Oistrakh
III: Rondeau: Allegro - David Oistrakh
I: Allegro - David Oistrakh
II: Adagio - David Oistrakh
III: Rondeau: Allegro - Andante - Allegretto - David Oistrakh
Rondo For Violin And Orchestra In C K373 - David Oistrakh

Tracks:

I: Allegro - David Oistrakh
II: Andante Cantabile - David Oistrakh
III: Rondeau: Andante Grazioso - Allegro Ma Non Troppo - David Oistrakh
I: Allegro Aperto - David Oistrakh
II: Adagio - David Oistrakh
III: Rondeau: Tempo Di Menuetto - Allegro - David Oistrakh

Tracks:

I: Allegro - Jeffrey Tate
II: Rondo: Allegro - Jeffrey Tate
I: Allegro Maestoso - Jeffrey Tate
II: Andante - Jeffrey Tate
III: Rondo: Allegro - Jeffrey Tate
I: Allegro - Jeffrey Tate
II: Romance: Larghetto - Jeffrey Tate
III: Allegro - Jeffrey Tate
I: Allegro Moderato - Jeffrey Tate
II: Romance: Andante Cantabile - Jeffrey Tate
III: Rondo: Allegro Vivace - Jeffrey Tate
Rondo In E Flat K371 - Jeffrey Tate

Tracks:

I: Allegro - Gordon Hunt
II: Adagio - Gordon Hunt
III: Rondeau: Allegro - Gordon Hunt
I: Allegro - Gordon Hunt
II: Larghetto - Gordon Hunt
III: Menuetto - Gordon Hunt
IV: Allegretto Con Variazioni - Gordon Hunt
I: Allegro - Jane Glover
II: Adagio - Jane Glover
III: Rondo: Allegro - Jane Glover

Tracks:

I: Allegro Maestoso - London Philharmonic Orchestra
II: Adagio Non Troppo - London Philharmonic Orchestra
III: Rondo: Tempo Di Menuetto - London Philharmonic Orchestra
I: Allegro Aperto - Andrew Litton
II: Adagio Non Troppo - Andrew Litton
III: Rondo: Allegretto - Andrew Litton
I: Allegro - Andrew Litton
II: Andantino - Andrew Litton
III: Rondeau: Allegro - Andrew Litton

Tracks:

I: Allegro - Jane Glover
II: Romanze: Andante - Jane Glover
III: Menuetto: Allegretto & Trio - Jane Glover
IV: Rondo: Allegro - Jane Glover
I: Allegro - Jane Glover
II: Andante Ma Adagio - Jane Glover
III: Rondo: Tempo Di Menuetto - Jane Glover
I: Allegro - Jane Glover
II: Andante - Jane Glover
III: Presto - Jane Glover
I: Andante - Jane Glover
II: Allegro Di Molto - Jane Glover
III: Allegro Assai - Jane Glover
I: Allegro - Jane Glover
II: Andante - Jane Glover
III: Presto - Jane Glover

Tracks:

I: Allegro Maestoso - Allegro Molto - Yehudi Menuhin
II: Andante - Yehudi Menuhin
III: Menuetto & Trio - Yehudi Menuhin
IV: Rondo: Allegro - Yehudi Menuhin
V: Menuetto Galante & Trio - Yehudi Menuhin
VI: Andante - Yehudi Menuhin
VII: Menuetto & Trios I & II - Yehudi Menuhin
VIII: Adagio - Allegro Assai - Yehudi Menuhin
I: Marcia: Maestoso - Yehudi Menuhin
II: Menuetto & Trio - Yehudi Menuhin
III: Rondeau: Allegretto - Yehudi Menuhin

Tracks:

I: Largo - Allegro Molto - Consortium Classicum
II: Menuetto & Trios I & II - Consortium Classicum
III: Adagio - Consortium Classicum
IV: Menuetto & Trios I & II - Consortium Classicum
V: Romance: Adagio - Allegretto - Consortium Classicum
VI: Thema: Andante With Variations - Consortium Classicum
VII: Rondo: Allegro Molto - Consortium Classicum
I: Allegro - Consortium Classicum
II: Menuetto I - Consortium Classicum
III: Adagio - Consortium Classicum
IV: Menuetto II & Trios I & II - Consortium Classicum
V: Allegro - Consortium Classicum

Tracks:

I: Allegro - Consortium Classicum
II: Andante - Consortium Classicum
III: Menuetto In Canone - Consortium Classicum
IV: Allegro - Consortium Classicum
I: Allegro Spiritoso - Consortium Classicum
II: Andante - Consortium Classicum
III: Menuetto - Consortium Classicum
IV: Contredanse En Rondeau: Molto Allegro - Consortium Classicum
I: Allegro - Consortium Classicum
II: Andante Grazioso - Consortium Classicum
III: Menuetto - Consortium Classicum
IV: Allegro - Consortium Classicum
I: Andante - Consortium Classicum
II: Menuetto - Consortium Classicum
III: Polonaise: Andante - Consortium Classicum
IV: Presto Assai - Consortium Classicum
I: Allegro Molto - Consortium Classicum
II: Andantino - Consortium Classicum
III: Menuetto: Moderato - Consortium Classicum
IV: Presto - Consortium Classicum

Tracks:

I: Allegro Moderato - Heutling Quartet
II: Andante - Heutling Quartet
III: Menuetto: Allegretto - Heutling Quartet
IV: Allegretto Ma Non Troppo - Heutling Quartet
I: Allegro Non Troppo - Heutling Quartet
II: Andante Con Moto - Heutling Quartet
III: Menuetto: Allegretto - Allegro - Heutling Quartet
IV: Allegro Vivace - Heutling Quartet
I: Allegro Vivace Assai - Heutling Quartet
II: Menuetto Moderato - Heutling Quartet
III: Adagio - Heutling Quartet
IV: Allegro Assai - Heutling Quartet

Tracks:

I: Allegro - Heutling Quartet
II: Menuetto - Heutling Quartet
III: Andante - Heutling Quartet
IV: Allegro Non Troppo - Heutling Quartet
I: Adagio - Allegro - Heutling Quartet
II: Andante Cantabile - Heutling Quartet
III: Menuetto: Allegro - Heutling Quartet
IV: Allegro Molto - Heutling Quartet
I: Allegro - Heutling Quartet
II: Larghetto - Heutling Quartet
III: Menuetto: Moderato - Heutling Quartet
IV: Allegro Assai - Heutling Quartet

Tracks:

I: Allegro - Heutling Quartet
II: Andante - Heutling Quartet
III: Menuetto: Allegretto - Heutling Quartet
IV: Allegro - Heutling Quartet
I: Allegro - Heutling Quartet
II: Menuetto: Allegretto - Heutling Quartet
III: Adagio Ma Non Troppo - Heutling Quartet
IV: Adagio - Allegro - Heutling Quartet

Tracks:

I: Allegro Moderato - Heutling Quartet
II: Adagio - Heutling Quartet
III: Menuetto Ma Allegretto - Heutling Quartet
IV: Allegro - Heutling Quartet
I: Larghetto - Allegro - Heutling Quartet
II: Adagio - Heutling Quartet
III: Menuetto Ma Allegretto - Heutling Quartet
IV: Allegro - Heutling Quartet
I: Allegro Di Molto - Heutling Quartet
II: Andante - Heutling Quartet
III: Menuetto: Allegretto - Heutling Quartet
IV: Allegro - Heutling Quartet

Tracks:

Allegro Con Spirito - Sviatoslav Richter
II: Andantino Catabile - Sviatoslav Richter
III: Allegretto - Sviatoslav Richter
I: Allegro Moderato - Sviatoslav Richter
II: Andantino Sostenuto E Cantabile - Sviatoslav Richter
III: Rondo: Allegro - Sviatoslav Richter
I: Andante - Sviatoslav Richter
II: Allegro - Sviatoslav Richter
I: Allegro - Sviatoslav Richter

Tracks:

I: Allegro Con Spirito - Daniel Barenboim
II: Andantino Con Espressione - Daniel Barenboim
III: Rondeau: Allegro - Daniel Barenboim
I: Allegro Moderato - Daniel Barenboim
II: Andante Cantabile - Daniel Barenboim
III: Allegretto - Daniel Barenboim
I: Tema (Andante Grazioso) Con Variazioni (I-VI) - Daniel Barenboim
II: Menuetto - Trio - Daniel Barenboim
III: Alla Turca: Allegretto - Daniel Barenboim
I: Allegro - Daniel Barenboim
II: Adagio - Daniel Barenboim
III: Allegro Assai - Daniel Barenboim

Tracks:

I: Allegro - Daniel Barenboim
II: Andante Cantabile - Daniel Barenboim
III: Allegretto Grazioso - Daniel Barenboim
Adagio - Allegro - Andantino - Piu Allegro - Tempo I - Daniel Barenboim
I: Molto Allegro - Daniel Barenboim
II: Adagio - Daniel Barenboim
III: Allegro Assai - Daniel Barenboim

Tracks:

I: Allegro - Daniel Barenboim
II: Andante Cantabile - Daniel Barenboim
III: Allegretto - Daniel Barenboim
I: Allegro - Daniel Barenboim
II: Andante - Daniel Barenboim
III: Rondo - Daniel Barenboim
I: Allegro - Daniel Barenboim
II: Adagio - Daniel Barenboim
III: Allegretto - Daniel Barenboim
I: Allegro - Daniel Barenboim
II: Adagio - Daniel Barenboim
III: Allegretto - Daniel Barenboim

Tracks:

Tema ('Laat Ons Juichen') (Allegretto) - Daniel Barenboim
Variation 1 - Daniel Barenboim
Variation 2 - Daniel Barenboim
Variation 3 - Daniel Barenboim
Variation 4 - Daniel Barenboim
Variation 5 - Daniel Barenboim
Variation 6 - Daniel Barenboim
Variation 7: Adagio - Daniel Barenboim
Variation 8 (Tempo I) - Daniel Barenboim
Tema (Air): Allegro - Daniel Barenboim
Variation 1 - Daniel Barenboim
Variation 2 - Daniel Barenboim
Variation 3 - Daniel Barenboim
Variation 4 - Daniel Barenboim
Variation 5: Adagio - Daniel Barenboim
Variation 6 (Tempo I) - Daniel Barenboim
Variation 7 - Daniel Barenboim
Tema (Menuetto): Andante - Daniel Barenboim
Variation 1 - Daniel Barenboim
Variation 2 - Daniel Barenboim
Variation 3 - Daniel Barenboim
Variation 4 - Daniel Barenboim
Variation 5: Adagio - Daniel Barenboim
Variation 6: Allegretto - Daniel Barenboim
Tema (Menuet) - Daniel Barenboim
Variation 1 - Daniel Barenboim
Variation 2 - Daniel Barenboim
Variation 3 - Daniel Barenboim
Variation 4 - Daniel Barenboim
Variation 5 - Daniel Barenboim
Variation 6 - Daniel Barenboim
Variation 7 - Daniel Barenboim
Variation 8 - Daniel Barenboim
Variation 9 - Daniel Barenboim
Variation 10 - Daniel Barenboim
Variation 11: Adagio - Daniel Barenboim
Variation 12: Allegro - Daniel Barenboim
Tema (Air): Allegretto - Daniel Barenboim
Variation 1 - Daniel Barenboim
Variation 2 - Daniel Barenboim
Variation 3 - Daniel Barenboim
Variation 4 - Daniel Barenboim
Variation 5 - Daniel Barenboim
Variation 6 - Daniel Barenboim
Variation 7 - Daniel Barenboim
Variation 8 (Tempo Di Menuetto) - Daniel Barenboim
Variation 9 - Daniel Barenboim
Variation 10: Allegretto - Daniel Barenboim
Variation 11 - Daniel Barenboim
Variation 12 (Molto Adagio -) - Daniel Barenboim
Variation 12 (Allegretto) - Daniel Barenboim

Tracks:

Tema - Daniel Barenboim
Variation 1 - Daniel Barenboim
Variation 2 - Daniel Barenboim
Variation 3 - Daniel Barenboim
Variation 4 - Daniel Barenboim
Variation 5 - Daniel Barenboim
Variation 6 - Daniel Barenboim
Variation 7 - Daniel Barenboim
Variation 8 - Daniel Barenboim
Variation 9 - Daniel Barenboim
Variation 10 - Daniel Barenboim
Variation 11: Adagio - Daniel Barenboim
Variation 12: Allegro - Daniel Barenboim
Tema - Daniel Barenboim
Variation 1 - Daniel Barenboim
Variation 2 - Daniel Barenboim
Variation 3 - Daniel Barenboim
Variation 4 - Daniel Barenboim
Variation 5 - Daniel Barenboim
Variation 6 - Daniel Barenboim
Variation 7 - Daniel Barenboim
Variation 8 - Daniel Barenboim
Variation 9 - Daniel Barenboim
Variation 10 - Daniel Barenboim
Variation 11: Adagio - Daniel Barenboim
Variation 12: Presto - Daniel Barenboim
Tema: Andante - Daniel Barenboim
Variation 1 - Daniel Barenboim
Variation 2 - Daniel Barenboim
Variation 3 - Daniel Barenboim
Variation 4 - Daniel Barenboim
Variation 5 - Daniel Barenboim
Variation 6 - Daniel Barenboim
Variation 7 - Daniel Barenboim
Variation 8: Adagio - Daniel Barenboim
Variation 9 (Allegro -) - Daniel Barenboim
Variation 9 (Tempo Di Tema) - Daniel Barenboim
Tema - Daniel Barenboim
Variation 1 - Daniel Barenboim
Variation 2 - Daniel Barenboim
Variation 3 - Daniel Barenboim
Variation 4 - Daniel Barenboim
Variation 5 - Daniel Barenboim
Variation 6 - Daniel Barenboim
Variation 7: Adagio - Daniel Barenboim
Variation 8: Allegro - Daniel Barenboim
Tema - Daniel Barenboim
Variation 1 - Daniel Barenboim
Variation 2 - Daniel Barenboim
Variation 3 - Daniel Barenboim
Variation 4 - Daniel Barenboim
Variation 5 - Daniel Barenboim
Variation 6 - Daniel Barenboim

Tracks:

Tema: Allegretto - Daniel Barenboim
Variation 1 - Daniel Barenboim
Variation 2 - Daniel Barenboim
Variation 3 - Daniel Barenboim
Variation 4 - Daniel Barenboim
Variation 5 - Daniel Barenboim
Variation 6 - Daniel Barenboim
Variation 7 - Daniel Barenboim
Variation 8 - Daniel Barenboim
Variation 9: Adagio - Daniel Barenboim
Variation 10 (Allegro -) - Daniel Barenboim
Variation 10 (Tempo I) - Daniel Barenboim
Tema: Allegretto - Daniel Barenboim
Variation 1 - Daniel Barenboim
Variation 2 - Daniel Barenboim
Variation 3 - Daniel Barenboim
Variation 4 - Daniel Barenboim
Variation 5 - Daniel Barenboim
Variation 6 - Daniel Barenboim
Variation 7 - Daniel Barenboim
Variation 8 - Daniel Barenboim
Variation 9 - Daniel Barenboim
Variation 10 - Daniel Barenboim
Variation 11: Adagio - Daniel Barenboim
Variation 12 (Allegro -) - Daniel Barenboim
Variation 12 (Tempo I) - Daniel Barenboim
Tema: Allegretto - Daniel Barenboim
Variation 1 - Daniel Barenboim
Variation 2 - Daniel Barenboim
Variation 3 - Daniel Barenboim
Variation 4 - Daniel Barenboim
Variation 5 - Daniel Barenboim
Variation 6 - Daniel Barenboim
Tema - Daniel Barenboim
Variation 1 - Daniel Barenboim
Variation 2 - Daniel Barenboim
Variation 3 - Daniel Barenboim
Variation 4 - Daniel Barenboim
Variation 5 - Daniel Barenboim
Variation 6 - Daniel Barenboim
Variation 7 - Daniel Barenboim
Variation 8: Adagio - Daniel Barenboim
Variation 9 (Allegro -) - Daniel Barenboim
Variation 9 (Tempo I) - Daniel Barenboim
Tema - Daniel Barenboim
Variation 1 - Daniel Barenboim
Variation 2 - Daniel Barenboim
Variation 3 - Daniel Barenboim
Variation 4 - Daniel Barenboim
Variation 5 - Daniel Barenboim
Variation 6 - Daniel Barenboim
Variation 7: Adagio - Daniel Barenboim
Variation 8 (Allegro -) - Daniel Barenboim
Variation 8 (Tempo I) - Daniel Barenboim

Tracks:

Lieder: Sehnsucht Nach Dem Fruhlinge K596 - Barbara Hendricks
Lieder: An Die Hoffnung K390 (340c) - Barbara Hendricks
Lieder: Der Zauberer K472 - Barbara Hendricks
Lieder: Die Kleine Spinnerin K531 - Barbara Hendricks
Lieder: Die Verschweigung K518 - Barbara Hendricks
Lieder: Das Lied Der Trennung K519 - Barbara Hendricks
Lieder: Die Zufriedenheit K473 - Barbara Hendricks
Lieder: Als Luise Die Briefe K520 - Barbara Hendricks
Lieder: An Die Einsamkeit K391 (340b) - Barbara Hendricks
Lieder: Das Veilchen K476 - Barbara Hendricks
Lieder: Abendempfindung K523 - Barbara Hendricks
Lieder: An Chloe K524 - Barbara Hendricks
Cantata: Die Ihr Des Unermesslichen Weltalls K619 - Barbara Hendricks
Canzonetta: Ridente La Calma K152 - Barbara Hendricks
Lieder: Dans Un Bois Solitaire K308 - Barbara Hendricks
Lieder: Oiseaux, Si Tous Les Ans K307 (284d) - Barbara Hendricks
Lieder: Un Moto Di Gioia K579 - Barbara Hendricks
Lieder: Komm, Liebe Zither K351 (367b) - Barbara Hendricks

Average customer rating:

ACOP
Room To Grow
Best Cd iv listened to in a long time
A "change" of pace? Hardly
It works... kind of.

Prepare the Masses
A Change of Pace
Manufacturer: Immortal (Red)
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

Punk-Pop | Hardcore & Punk | Alternative Rock | Styles | Music

General | Rock | Styles | Music

Pop Rock | Pop | Styles | Music
Similar Items:

An Offer You Can't Refuse
Don't You Fake It
Step Outside Yourself
This Is Where You Belong
Chroma

ASIN: B000GIW9CS
Release Date: 2006-08-15

Tracks:

Prepare the Masses
How To Rape A Country
Im Alive
Shoot from the Hip
Weekend Warriors
White Lines and Lipstick
A Song the World Can Sing Out Loud
Take Care
War In Your Bedroom
I Wanna Be Your Rock & Roll
Recipe for Disaster
Safe and Sound in Phone Lines

Album Description

Following up on their tremendous success of their debut album release An Offer You Can't Refuse, Arizona's A Change of Pace returns with their highly anticipated sophomore album Prepare The Masses.

Combining forces with acclaimed music producer Elvis Baskette, A Change of Pace have made a record that will prove as both groundbreaking and timeless. Featuring the lead single "Shoot From the Hip", A Change of Pace offers a thundering anthem that introduces a newfound maturity and urgency to their sound.

Customer Reviews:

ACOP.......2007-03-15

This CD is radio friendly, and should be listened to from start to finish letting the context of the music along with the lyrics take you to the special place inside your head. In other words, a person should give this CD a listen, and you will see not only are you dancing in your seat but you are actually enjoying the tunes. This is a young band who are just finding their space in the musical spectrum, and they have grown tremendously since their first album. This is the kind of group you can grow with and not out of in time. Check it out.

Room To Grow.......2007-02-22

To all of the haters of this band and CD, please remember that this band is made up of a group of teenagers. For their young ages, this is quite an impressive effort. The opening track, along with "Take Care" and "Shoot From the Hip" are the strongest tracks, the rest falling between emo and pop-punk. This CD is quite mainstream and radio-friendly, but that dosen't mean it dosen't have its share of moments. And it does offer a lion's share of huge hooks and catchy riffs. Only thing is the relative similarity of many of the tracks...but if you like the sound, then that's just fine. This may not be the big breakout CD from this band just yet, but they have time to grow. It is a step in the right direction, especially lyrically. If these guys put it all together the next time out, look out.

Best Cd iv listened to in a long time.......2007-01-05

finaly i can get a cd that i can listen the whole way through and not skip songs, i love every song on this cd. I would recommend you buying it, i listen to this cd probly everyday. The kid things for 13 year-olds but im 15. and i dont have an account here.

A "change" of pace? Hardly.......2006-09-13

ACOP's second full length offering "prepare the masses" is anything but a "change" from the corporate faux post-hardcore trash we're subjected to on a daily basis by taking back sunday and so they say. If you're expecting something catchy, you'll be letdown. If you're expecting something heavy, you'll be letdown. If you're expecting something original...forget about it!

Aside from a small handful of radio singles, there is almost nothing memorable about "prepare the masses". It is what it is; generic post-hardcore. If you're a diehard fan of 'so they say' or 'taking back sunday' (post-tell all your friends), you may want to give this a shot. Anyone else, stay away!

It works... kind of........2006-08-19

A Change of Pace's Prepare for the Masses feels like one of the most incredibly manufactured discs I've ever heard. With a sound that might remind you of a heavier mallpunk band, such as Fall Out Boy or Motion City Soundtrack, and lyrics that on the political songs are like a bad grass roots anti war movement(with "controversial" titles such as "How to Rape a Country"), and on the love songs just seem incredibly mundane.

You listen to the album, and start to wonder... "is this a joke? a parody?" But as you get through, you realize something. This is produced in an extremely slick package. You'll be humming along with the stuff, not even realizing it. As a pop album, even with the attempts to be cutting edge, it works incredibly well, especially on the electronic tinged "I'm Alive", the drum-heavy sexy "War in Your Bedroom", and quite possibly the strongest song on the album "I Wanna Be Your Rock-n-Roll", and it hits you.

It's an incredibly fun listen. It's short, clocking in at 42 minutes, but at the length it's at, it just works. And that's what I'd say about the album as a whole. It's got many, many flaws. It borders on mundane lyrically, the musicianship doesn't feel anything special, and the sound is extremely manufactured, but as you listen to this, you can't help but like it. So with that in mind, even though my brain is telling me to tell you to ignore this album, my gut is telling you to give it a listen and enjoy it... just don't expect anything revolutionary.

Average customer rating:

Warning: This Is Not Re-Mastered!
Badass Thrash + Hilarious Vox= Classic
Classic metal sound preserved

Oppressing the Masses/Torture Tactics
Vio-Lence
Manufacturer: Megaforce
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | Rock | Styles | Music

General | Hard Rock & Metal | Styles | Music

Hard Rock | Hard Rock & Metal | Styles | Music

Thrash & Speed Metal | Hard Rock & Metal | Styles | Music

Pop Rock | Pop | Styles | Music
Similar Items:

Eternal Nightmare
Vio-Lence: Blood and Dirt [Region 2]
The Force
Power from Hell
Taking Over

ASIN: B0000CNY2F
Release Date: 2003-10-07

Tracks:

I Profit
Officer Nice
Subterfuge
Engulfed by Flames
World in a World
Mentally Afflicted
Liquid Courage
Oppressing the Masses
Torure Tactics
Officer Nice [Live]
Gutterslut
Dicks of Death

Customer Reviews:

Warning: This Is Not Re-Mastered!.......2006-04-11

The Eternal Nightmare re-issue was excellent! The CD was re-mastered and they even included a killer live bonus CD with it. After listening to that one I was so excited to hear that Oppressing the Masses/Torture Tactics was being re-issued. Boy was I disappointed after listening to it today. It has exactly the same sound quality as the original CD's! I have the first releases and I compared them. What a joke! If you already have these CD's don't waste your money on an identical copy. Although if you don't have the originals you should get it. Oppressing the Masses is one of the best thrash CD's from 1990. That's why I gave it four stars. I would of gave it five if Megaforce would of spent the time to touch it up.

Badass Thrash + Hilarious Vox= Classic.......2004-12-21

Vio-lence is probably most famous as the band that Robb Flynn was in before Machine Head, but they honestly deserve better than that. Vio-lence didn't really add much new to the thrash genre with 'Oppressing the Masses' but they did what they were doing pretty much perfectly. So, while this isn't the best thrash album I've heard, it's quite likely the funnest, and is really something of a forgotten classic.

The vox on this album are like nothing you've ever heard. I'm not even gonna bother trying to describe them, it's just beyond my ability. From a technical standpoint, Killian's vox are about as bad as you can imagine, but damn are they catchy. Having an outrageously odd style is a dangerous route to take, but it worked here. Pretty much every song here has an immediately memorable chorus, though 'World in a World' and 'Officer Nice' particularly standout.(Those also happen to be the two best songs on the album.) There's really not that much to say about this album, as all the songs sound pretty much the same, other than Mentally Afflicted, which is a bit more melodic, and a bit more ambitious structurally(and it works, too). Just unrelenting speed, riffs upon riffs, lots of gang vox and those incredbile main vocals. Vio-lence were quite obviously particularly influenced by Exodus, and they take the 'Bonded by Blood' sound to it's ultimate destination on this album.(and blow that album away while doing so) The songwriting may not be too sophisticated, but they know what they're doing within their limited goals, particularly when it comes to making the chorus really standout, but still seem like a natural extension of the track. Despite the largely unrelenting speed, the riffs maintain their rhythmic intensity and variety, rather than just becoming a blur, so the album has a solid groove from beginning to end. The solos are decent. Nothing really to write home about, but they get the job done. The production is a bit better than I'd anticipated, with a really vicious guitar tone.

As I said, there really isn't that much to say. Every song here tocks. Hard. And is plenty catchy. Definitely mandatory for thrash fans. Ya gotta buy this, that way maybe someone will re-release 'Eternal Nightmare' so I can get it, as I do not have the milliontrillion dollars needed to get a copy off of ebay. Oh yeah, and the added on 'Torture Tactics' ep isn't anything too exciting, but it's a decent bonus. 'Torture Tactics' is a solid song, though definitely not as good as the better songs on 'Oppressing the Masses'. 'Gutterslut' also deserves some credit because although I generally dislike songs that are just meant to offend, and it trys a bit too hard I can't help but have a soft spot for a song meant to infuriate crazy feminazis and hyper PC male panzies. And, the repeated chant 'Slut!Slut!Slut!Slut!' is pretty funny, I gotta admit.

THE END

Classic metal sound preserved.......2003-10-23

Not every band back in the 80's had to break out big time to strike a nerve among metal fans. Back then, some of the best metal was underground. These bands promoted their music by playing small clubs, house parties, and selling demo tapes. Some of the most notible were from the Bay-Area thrash metal scene. Some made it big (Metallica), some almost big (Testament), and others faded away (Death Angel). If you didn't scoop up thier albums, tapes, or (possibly) CDs then, you're out of luck today. Most are out of print and fetch a mighty penny on eBay. Well, don't fret thrash metal fans, because Megaforce Records knows that you're dying to have copies of one particular classic album without having to empty your wallet. That album is Vio-lence's Opressing the Masses. But that's not enough, Megaforce combines the album with the highly contrroversial (at the time) Torture Tactics EP.

It would be trite for me to describe to you how the music sounds because let's face it, the thrash metal scene was all about how fast you could play and how heavy it was. Vio-Lence is no different. The only real difference was the key and the lyrics. Don't think it's a bad thing. Take for instance "I Profit", a song about the greedy bigwigs on Wall Street, it has that great two minute, punishing intrumental introduction, followed by pounding drums and rapid fire guitar licks. What happened to those prolonged intros? When Killian kicks in on vocals, it's a ferocious aural experience. It's true that Vio-Lence's lyrics are what separates them from the pack. "Engulfed by Flames" is about spontaneous combustion, while "World in a World" desribes the horrors that lay ahead for a lifer in prison. "Officer Nice" is a tounge-and-cheek tale of a seemingly rightous police officer, who in reality is crooked. The guitar runs are quick and intricate.

The evils of alcohol are exposed by way of domestic abuse on "Liquid Courage". There's plenty of old school 'chugga-chugga' riffs here, as well as long drawn out solos. Another trend that has disappeared. "Torture Tactics" starts off the EP section of the disc. Looking at the lyrics today, it's laughable it was so contraversial that the track had to be omitted. It only speaks of the many ways you could be totured. What's so offensive about drilling teeth with no novicane, tearing off fingernails, slicing open flesh, and c-clamping skulls? Pretty tame by today's standards. It's till a powerful track though. The second appearace of "Officer Nice" is actually a 'fake' live version. The intro was taken from a live show, but it was overdubbed in the studio. Just the title of "Gutterslut" tips you off to the debautury that lies ahead. If you can't get enough of that, "Dicks of Death" continues the onslaught. This track has some GWAR-like qualities in its delivery. It's quite entertaining, and oddly the most commercial sounding track.

Bottom Line:
This CD is awesome! Some of the best thrash metal of it's time! Megaforce managed to keep Vio-Lence's sound heavy and raw by not retouching the music and losing the original tone. It was great to hear that classic metal sound again. Vio-Lence don't really stand out from their peers, but they play thrash metal just a well as the best of them.

Dunstable: Sweet Harmony - Masses and Motets
Average customer rating:

The harmonic building blocks of Renaissance music

THE GREAT LEAP FORWARD

Dunstable: Sweet Harmony - Masses and Motets

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Early Music | Historical Periods | Classical | Styles | Music
Vocal & Song | Early Music | Historical Periods | Classical | Styles | Music | Requiems
General | Classical | Styles | Music
General | Opera & Vocal | Styles | Music
Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music
$6.99 and Under | Classical Music Blowout | Stores | Music
All Classical Music Blowout | Classical Music Blowout | Stores | Music
Opera & Vocal | Classical Music Blowout | Stores | Music
Similar Items:

Leonin, Perotin: Sacred Music from Notre-Dame Cathedral

John Dunstable: Motets / Hilliard Ensemble

Nicolas Gombert: Missa Media Vita in Morte Sumus

Dufay: Missa L'homme armé; Supremum est mortalibus bonum

Das Gänsebuch (The Geese Book): German Medieval Chant

ASIN: B000B6N67M
Release Date: 2005-10-18

Tracks:

Quam Pulchra Es
Kyrie
Gloria A 4
Credo A 4
Gloria: Jesu Christe Fili Dei
Credo: Jesu Christe Fili Dei
Sanctus
Credo: Da Gaudiorum Premia
Sanctus: Da Gaudiorum Premia
Agnus Dei
Veni Sancte Spiritus-Veni Creator
Gloria In Canon

Customer Reviews:

The harmonic building blocks of Renaissance music.......2006-06-07

Take a journey back to early 15th century Europe with Tonus Peregrinus' recording of the works of English composer John Dunstable (c. 1390-1453). Dunstable worked in English-occupied France during the early 1400s, and his sweet English harmonies influenced French composers such as Dufay and Binchois. The incorporation of English harmonic technique into the Continental style was a major factor in the development of Renaissance counterpoint.

Dunstable was a master of isorhythm, a technique that involved repetition of lengthy melodic and harmonic figures (sometimes in sync and sometimes in overlapping fashion). While isorhythm contributes to the compositional integrity of Dunstable's music, it's not readily discernible by modern ears. What's most apparent in the music of John Dunstable is the forceful delivery of a new style: the sweet harmony resulting from the use of parallel 3rd and 6th intervals. Dunstable's harmonic writing is not particularly disciplined: unprepared dissonances occur, sometimes in jarring fashion. But overall, a spirit of jubilation pervades Dunstable's work, which should impress modern listeners just as it did the European composers who heard it nearly six centuries ago.

Tonus Peregrinus, a vocal consort named for an ancient chant that Christ might have sung at the Last Supper, delivers an evocative performance of Dunstable's works. The group performs Dunstable's motets "Quam pulchra es" and "Veni Sancte Spiritus - Veni Creator", sandwiched around a collection of Mass movements. "Quam pulchra es" exhibits a stately, graceful quality later found in the works of Binchois, while the first "Sanctus" achieves an otherworldly beauty that may have influenced the motets of Dufay. The acoustics of this recording, captured in an echo-filled French abbey, create a sense of time and place that enhances the authenticity of the performance.

In 1476, music theorist Johannes Tinctoris remarked, "There is no composition written over forty years ago which is thought by the learned as worth of performance." Tinctoris' dismissal presumably included the works of Dunstable. Fortunately, Dunstable's music has survived Tinctoris' sentiment, and now awaits your discovery, courtesy of this fine recording.

THE GREAT LEAP FORWARD.......2005-11-29

Goodness me, how many superlative groups of ancient music specialists can there be? Here is yet another, predictably brought to us by Naxos. There are 8 singers directed by Anthony Pitts, and the group photograph also shows us Jeremy Summerly himself in a daft-looking hat as producer, and also, most properly, the engineer Geoff Miles whose work I would call absolutely outstanding.

England was not always `the land without music'. In particular, it seems that a sudden and spectacular leap in musical development occurred precisely there in the early 15th century, and, if we are to believe the musical historian of the time Tinctoris (cited by Pitts in his liner-note), the main driving-force behind this revolution was John Dunstable, whose innovations were picked up promptly by his contemporary Dufay and thereafter by Europe in general. My own knowledge of this period is deplorably patchy, but it is quite clear that by the 12th century the ecclesiastical tradition of monodic plainsong, believed to date from the 8th century, had not changed much, even at the hands of the frumious Hildegard of Bingen. There was a parallel secular tradition, probably more than one, but if the music of the troubadours during this same period is anything to go by it had primitive instrumental accompaniment for the voices, but nothing by way of genuine `harmony' much less polyphony or counterpoint.

Enter the English, Dunstable in the lead. Not a lot seems to be known about him except that he appears to have been associated with St Albans in Hertfordshire, where his name survives in the name of a town not far away, as does that of the author of Dunstable's epitaph and Abbot of St Albans Abbey John Wheathampstead. All this information is conveyed with admirable brevity in Pitts's notes, and I take it on faith entirely. Faith of another kind shows through his phraseology here and there, as in his dedication of the recording to `a God-fearing man' (not the kind of terminology one encounters much in England these days) and in his sniffy comment in his resume that he left the BBC in protest over its screening of `a blasphemous musical'. I would only remark that the BBC never actually broadcast anything by such a description, nor did the public in general realise that they were listening to such. At the musical level by and large the liner-note is awesomely learned but slightly heavy going. It is worth absorbing slowly, but the most significant thing it says is really its naïve proclamation of how marvellous the music is. This is the dawn of the elaborate harmonisation that makes European music, so far as I know, unique, and the thrill and sense of awe that go with that are enormous for one kind of listener at least.

If I understand Pitts aright, the various sections of the mass here - including 2 glorias, 3 credos and 2 settings of the sanctus - don't incorporate one specific `mass' although they approximately follow the order of the parts normally set to music: indeed if there were a single coherent mass in it what would be the point of such duplications? The way they have sequenced it all is appropriate to isolated settings, sensibly programmed so as to avoid having the same text in successive tracks. The recital starts with one motet and ends with another, followed by a gloria that `we' have completed from the restored but deficient MS. `We' have done just brilliantly if I may say so - this is what music-making is all about, but it needs the right level of talent. The performing artists consist of 2 sopranos, 1 female and 1 male alto, 3 tenors and a single bass. I have to take the historical authenticity of this, just as I have to take the tempi adopted, on faith once again. I believe the phrase is `It works for me'. What is beyond much question is the sheer quality of the singing, and what I want to sing my own praises of is the recording, which has a perfect sense of spaciousness together with perfect clarity.

I hope I will be believed when I say that I have no link of any kind with Naxos. I collect their discs because of what these are and because of what my tastes and standards in good music are. This particular disc is from this very year 2005, and the recording was done in Chancelade Abbey in the Dordogne. Over and above the learned inputs of Mr Pitts we are given brief resumes of all the performers, and all texts are provided with English translations. These latter are a great deal better than many I have seen in the last year or two. My suspicions having relaxed, I have been less hawk-eyed than sometimes, and I don't believe that there are any serious misrenderings. In the Veni Creator if the text is right at lines 11-12 the meaning must be `Thou duly enriching our mouths with the promised utterance of the Father'; 4 lines later `perpetim' is a simple misprint for `perpeti', but as usual the translator thinks `perpeti' is some kind of adjective. It is a prolative infinitive, and lines 15-16 therefore mean `Strengthening what in our bodies is weak so as to be steadfast through virtue'.

Go forth in droves at the Christmas season and acquire this disc.

Average customer rating:

Jello Biafra wants his vocal style back
Great, but play it more than once to notice.
This one sneaks up on you
Ima Robot continues to surprise and delight
Great!!!!!!

Monument to the Masses
Ima Robot
Manufacturer: Virgin Records Us
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

Indie Rock | Indie & Lo-Fi | Alternative Rock | Styles | Music

General | Rap & Hip-Hop | Styles | Music

Pop Rap | Rap & Hip-Hop | Styles | Music

General | Rock | Styles | Music

Pop Rock | Pop | Styles | Music
Similar Items:

Ima Robot
Pieces of the People We Love
Black Holes and Revelations
Sam's Town
And the Glass Handed Kites

ASIN: B000GUK2XE
Release Date: 2006-09-12

Tracks:

Disconnect
Creeps Me Out
Cool Cool Universe
The Beat
Eskimo Ride
Chip Off The Block
Happy Annie
Pouring Pain
Stick It To The Man
What Comes Tomorrow
Lovers In Captivity
Dangerous Life

Customer Reviews:

Jello Biafra wants his vocal style back.......2007-07-06

This bands' debut was one of my favorite records of that year, and after an initial wave of disappointment, this album has been growing on me. The tempo has slowed considerably, and the pace lends itself well to catchy hooks that stick in your head like peanut butter on the roof of a dog's mouth. Wait, the last time I mentioned peanut butter and my dogs' mouth I was talking about that day when I was real lonely and...nevermind.
The only gripe I have is w/ Alex's lyrics. You've heard of the hip-hop rhyming dictionary? Somebody must have published the indie/dance rock version, because some of the couplets here are truly cringe-worthy. "Hmmm...what rhymes with insane? Pain? Brilliant!!!"
A little more effort w/ the lyrics, and this would be a near perfect sophmore release.

Great, but play it more than once to notice........2006-12-01

I came on the bandwagon for this band a little late, and it took no time for me to learn I'd buy this album the day it came out. I was at first a bit disappointed, it was much more pop-like when compared to their earlier work. Still, if you give it more than one chance it grows on you, and songs such a Disconnected, Creeps Me Out, and Stick It To The Man are instant classics. The reason I only give it four stars is because I picked up the Search and Destroy EP at a show before hand and I find that album to be much better (I also think that album is close to perfect and any IMA Robot fan needs that in their collection). Still, listen to the samples on this page and if you have any slight interest buy the album. It only gets better.

This one sneaks up on you.......2006-11-13

Ima Robot has become one of my favorite bands with this album. I got started with them on their last album with songs like Scream and Alive And I purchased Monument to the Masses becuase I thought that Creeps Me Out was a fun song. But this is one of those great albums where the song you baught it for isn't your favorite for long. After I had this CD in my car for few days I realized I was hooked. Chip Off The Block is probably my favorite track. While the sound might be a little bit 80's for some tastes Ima Robot pulls it off well. Monument to the Masses rocks with only 1 or 2 songs that I don't care for all that much, and even those are alright. If you've heard Creeps Me Out and liked it, give this album a try!

Ima Robot continues to surprise and delight.......2006-10-05

I have been a Ima Robot fan since I heard them some odd years ago, and I've been a loyal follower and listener since. However, I noticed a re-occuring trend: either people love them or they hate them, there really is no middle ground. Their self-titled debute album in 2003 exposed the masses to Ima Robot, and their follow-up "Monument To The Masses" is a superb sequel.

The first 3 tracks, 'Disconnected', 'Creeps Me Out', and 'Cool Cool Universe' really set the tone for the album, but doesnt set the standard, since tracks like 'Happy Annie' and 'Lovers in Captivity' push towards the more abstract side. Tracks like 'The Beat' and 'Dangerous Life' remind veteran Ima Robot fans of the signature sound that got them hooked on the band in the first place. There isn't a dull moment amongst the 12 tracks. My personal favorite on the album is 'What Comes Tomorrow'.

Ultimately, "Monument to the Masses" really shows how Ima Robot has matured as a band. There are subtle things on this album that a trained ear can pick up, such as the use of shaker percussions on alot of the tracks, something different from the debute album 3 years ago. David Blendeth was the head producer on this album (different from Josh Abraham on the debute album), so obviously a new sound was going to be brought to the table. The lyrics on "Monument To The Masses" also possess more political undertones, which again is either a turn-on or turn-off for the listeners, but I truthfully dig it.

Loyal fans of Ima Robot can aruge some of their best stuff is the 'lesser-known' work, such as the PrinceHouse Records release "Search And Destroy E.P" (which includes stellar tracks such as 'Paint The Town Red', 'Tumbling Down', 'Good Girl'), or the B-Sides (such as 'STD Dance', 'I'm Your Bitch', 'The Beat Goes On' ect)...but the title of "Monument to the Masses" says it all. Ima Robot pulls off cross-over appeal, something fans of both the electro/rock clash movement (that seems to be present in both LA {Ima Robot's hometown} and the UK oddly enough) and fans of the present emo/punk/pop movement can appreciate. You can only push the envelope so far musically before its becomes a turn-off on either end of the spectrum, and Ima Robot falls right in the middle.

Some side notes: members of the band, such as the keyboardist/bass player Filip Nikolic and guitarist Timmy The Terror have side-projects in which they produce electro dance/rock music that has gained popularity internationally on the dancefloors under the pseudonym of "The Hammers". The former bass player Justin Meldal-Johnsen (who is the bass player for Beck and is also a producer/song-writer/session musician for numerous musical groups: Macy Grey, Garbage, Tori Amos, ect) was involved with the production of "Monument to the Masses", but is no longer touring with the group.

This album is a must own, not only for fans of Ima Robot, but also for anybody who claims to be a fan of the current punk/pop movement that is dominating the radiowaves and MTV.

Great!!!!!!.......2006-09-26

This to me is even better than there self titled album. Alex voice sounds 100% better and the lyrics are amazing. This is a must have for all Ima fans!!! Go get it!!!!!

Haydn Masses - Nelsonmesse ~ Harmoniemesse ~ Paukenmesse ~ Kleine Orgelmesse

Average customer rating:

A generous choice
Good Choice
Glorious masterpieces, glorious recordings...

Haydn Masses - Nelsonmesse ~ Harmoniemesse ~ Paukenmesse ~ Kleine Orgelmesse

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

The Decca Records Store | Specialty Stores | Music
Similar Items:

Mozart: Masses (5)
Schubert: The 6 Latin Masses
Mozart: Masses
Purcell: Odes for St. Cecilia's Day - Music for Queen Mary / Taverner Consort
Haydn: Symphonies Nos. 40-54

ASIN: B0000041MA
Release Date: 1997-08-12

Tracks:

Missa In Angustiis: Nelson Mass, H XXII 11: Kyrie - Various Artists
Missa In Angustiis: Nelson Mass, H XXII 11: Gloria: Gloria in excelsis Deo - Various Artists
Missa In Angustiis: Nelson Mass, H XXII 11: Gloria: Qui tollis peccata mundi - Various Artists
Missa In Angustiis: Nelson Mass, H XXII 11: Gloria: Quoniam tu solus Sanctus - Various Artists
Missa In Angustiis: Nelson Mass, H XXII 11: Credo: Credo in unum Deum - Various Artists
Missa In Angustiis: Nelson Mass, H XXII 11: Credo: Et incarnatus est - Various Artists
Missa In Angustiis: Nelson Mass, H XXII 11: Credo: Et resurrexit - Various Artists
Missa In Angustiis: Nelson Mass, H XXII 11: Sanctus - Various Artists
Missa In Angustiis: Nelson Mass, H XXII 11: Benedictus - Various Artists
Missa In Angustiis: Nelson Mass, H XXII 11: Agnus Dei: Agnus Dei - Various Artists
Missa In Angustiis: Nelson Mass, H XXII 11: Agnus Dei: Dona nobis pacem - Various Artists
Missa In Tempore Belli: Paukenmesse, H XXII 9: Kyrie - Various Artists
Missa In Tempore Belli: Paukenmesse, H XXII 9: Gloria - Various Artists
Missa In Tempore Belli: Paukenmesse, H XXII 9: Credo - Various Artists

Tracks:

Paukenmesse, H XXII 9: Sanctus - J. Haydn
Paukenmesse, H XXII 9: Benedictus - J. Haydn
Paukenmesse, H XXII 9: Agnus Dei - J. Haydn
Little Organ Mass, H XXII 7: Kyrie - J. Haydn
Little Organ Mass, H XXII 7: Gloria - J. Haydn
Little Organ Mass, H XXII 7: Credo - J. Haydn
Little Organ Mass, H XXII 7: Sanctus - J. Haydn
Little Organ Mass, H XXII 7: Benedictus - J. Haydn
Little Organ Mass, H XXII 7: Agnus Dei - J. Haydn
Harmoniemesse, H XXII 14: Kyrie - J. Haydn
Harmoniemesse, H XXII 14: Gloria - J. Haydn
Harmoniemesse, H XXII 14: Credo - J. Haydn
Harmoniemesse, H XXII 14: Sanctus - J. Haydn
Harmoniemesse, H XXII 14: Benedictus - J. Haydn
Harmoniemesse, H XXII 14: Agnus Dei - J. Haydn

Customer Reviews:

A generous choice.......2007-04-06

This inexpensive twofer mixes perhaps the best work from London's 10-CD box of Haydn's complete masses recorded during the 1960s. With sparkling solo and choral singing and playing that was among hte best of its era, this set will provide insight into Haydn performance for collectors that only know his music through modern period practice performers such as Gardiner and Hickox.

Old Haydn style is clearly on display in David Willcocks' 1962 Missa in tempori belli, or mass in time of war or "Nelson" mass celebrating Admiral Nelson's victory over Napoleon at the Nile. Four and one-hald decades later this is still among the best versions of this music ever recorded. Aside from "The Creation", Haydn hardly penned a better piece of vocal music. Willcocks probably does not have a better recording to his name.

Another magnificent departure from today's period performance practice is George Guest's "Paukenmesse" and the way he features the kettledrum, espcially in the closing pages. Compared to the Gardiner period version, where the big drum is used less often and to less advantage, this must be considered a full throated attack in keeping with the composer's wishes.

The one shortcoming of the set is it divides the Paukenmesse over two CDs. This aside, no one will be disappointed with this set unless they are so dogmatic they can't set aside modern practice to accept instrumental and choral work that set a standard for 30 years.

Good Choice.......2006-08-14

I ordered this just to have Harmoniemesse but was happy to have the other pieces also. It's a nice variety of vocal arrangements. Recording is clear and chorus is good, sopranos sounding like boys choir. Ending of some phrases loses pitch sometimes but not enough to offend a sensetive ear.

Glorious masterpieces, glorious recordings..........2000-12-26

Deeply moving recordings of Haydn's awesome choral masterpieces. The conducting and singing are both impeccable and powerful, and London's acoustics are great. The soprano in the Nelson mass sings like an angel, and the organ shines through well. It was one of the earliest recordings to use Haydn's actual orchestration. The Nelson mass is available on a 24 bit CD in the Decca Legends series along with a great Handel Coronation anthem with the "God Save the King" chorus. Now back to this set... I love the kettle drum "military" portion of the Agnus Dei in the Mass in Time of War. The organ is quite charming in the Little Organ Mass, and the Harmonienmasse is sublime. The Teresienmasse is not included though.

If you like Haydn's masses, don't miss the powerful The Seven Last Words of Christ(not to be confused with Haydn's string quartet set with the same title), its finale will carry you beyond this world. Haydn's TeDeum is also quite magnificent.

Average customer rating:

great price but there are some drawbacks
Possibly Schubert's most intimate work!
Franz Schubert's "Deutsche Messe"

Schubert: The 6 Latin Masses

Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Choruses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Mozart: Masses (5)
Haydn Masses - Nelsonmesse ~ Harmoniemesse ~ Paukenmesse ~ Kleine Orgelmesse
Schubert: Masses Nos. 2 & 6
Mozart: Masses
Schubert: 24 Lieder

ASIN: B000001K6Y
Release Date: 1997-02-04

Tracks:

German Mass D. 872: Zum Eingang
German Mass D. 872: Zum Gloria
German Mass D. 872: Zum Evangelium und Credo
German Mass D. 872: Zum Offertorium
German Mass D. 872: Zum Sanctus
German Mass D. 872: Nach der Wandlung
German Mass D. 872: Anhang: Das Gebet des Herrn
German Mass D. 872: Zum Agnus Dei
German Mass D. 872: Schlussgesang
Mass No.1 In F major, D 105: Kyrie
Mass No.1 In F major, D 105: Gloria
Mass No.1 In F major, D 105: Credo
Mass No.1 In F major, D 105: Sanctus
Mass No.1 In F major, D 105: Benedictus
Mass No.1 In F major, D 105: Agnus Dei
Mass No.1 In F major, D 105: Dona Nobis Pacem
Mass No.2 In G Major. D. 167: Kyrie
Mass No.2 In G Major. D. 167: Gloria
Mass No.2 In G Major. D. 167: Credo
Mass No.2 In G Major. D. 167: Sanctus
Mass No.2 In G Major. D. 167: Benedictus
Mass No.2 In G Major. D. 167: Agnus Dei

Tracks:

Mass No.3 In B Flat Major. D 324: Kyrie
Mass No.3 In B Flat Major. D 324: Gloria
Mass No.3 In B Flat Major. D 324: Credo
Mass No.3 In B Flat Major. D 324: Sanctus
Mass No.3 In B Flat Major. D 324: Benedictus
Mass No.3 In B Flat Major. D 324: Agnus Dei
Mass No.5 In A-flat Major D. 678: Kyrie
Mass No.5 In A-flat Major D. 678: Gloria
Mass No.5 In A-flat Major D. 678: Credo
Mass No.5 In A-flat Major D. 678: Sanctus
Mass No.5 In A-flat Major D. 678: Benedictus
Mass No.5 In A-flat Major D. 678: Agnus Dei

Tracks:

Mass No.4 In C. Major D.452: Kyrie
Mass No.4 In C. Major D.452: Gloria
Mass No.4 In C. Major D.452: Credo
Mass No.4 In C. Major D.452: Sanctus
Mass No.4 In C. Major D.452: Benedictus
Mass No.4 In C. Major D.452: Agnus Dei
Mass No.6 In E Flat Major, D 950: Kyrie
Mass No.6 In E Flat Major, D 950: Gloria
Mass No.6 In E Flat Major, D 950: Sanctus
Mass No.6 In E Flat Major, D 950: Benedictus
Mass No.6 In E Flat Major, D 950: Agnus Dei
Agnus Dei

Customer Reviews:

great price but there are some drawbacks.......2006-08-30

This is good but be aware that the German mass on this recording was recorded in 1962 and the rest of the masses in 1978. The sound quality isn't the best in the world but I'm sure to most people it will be tolerable. It's just that after hearing such good quality new recordings it's kind of hard to stomach an old analog recording.

The performance is good, probably not the best though. The singers seem to really over power the instruments. some times the instruments just seem a little small. There is some background noise just like on most recordings but it's nothing terrible.

I actually recommend the Brilliant Classics Schubert Masses. The sound quality is much better in that box set and it only costs a couple of dollars more.

Possibly Schubert's most intimate work!.......2005-10-07

These masses are Schubert's hymn-like works with an enormous melodic charm. He composed part of them to texts of Johann Philip Neumann, who was a professor at the Vienna Polytechnical Institute, and they were intended for use by the students congregation at that Institute. He finished the first mass when he was only 17 and the last one just a few months before he died, so his masses, the latin as well as his german ones, really span over a relatively long time of the creative part of his career.

Technically speaking these masses seem easy, but they surely rank among Franz Schubert's best works. They certainly constitute a very mature body of work, most part of which written by the great composer towards the end of his short but very prolific life. The choral part is not overly complex, and so is the orchestral one. To me the beauty of these works is in the interaction between choral, solos and orchestral sections. Sometimes a simple work can be magnificent.

I'm not a regular churchgoer, but just like another reviewer here at Amazon.com, I happened to attend a few masses in Stuttgart and Ludwigsburg, Germany, more than a decade ago. Masses in german and english, the softly spoken magic spell accompanied by Schubert's masses. What a blissful atmosphere! When I think about it, it's very difficult to describe that feeling now, but I guess "intimate" would be the word that comes closest to it.

Franz Schubert's "Deutsche Messe".......2000-06-16

I have listened to the "Deutsche Messe" over and over again. I also had the rare opportunity to be at a mass in a church in Germany where an orchestra played Franz Schubert's "Deutsche Messe". Wow! What an experience! The music pieces have so much depths and devotion in them. You can close your eyes and feel what Franz Schubert must have felt.

Bruckner: Die 3 Messen/Masses Nos. 1-3/Les Messes

Average customer rating:

poco refinado
Poor Tuning in the Mass in E minor
not to be missed
Magnificent

Bruckner: Die 3 Messen/Masses Nos. 1-3/Les Messes

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Bruckner: Te Deum, Motets, Psalm 150 / Jochum, Berlin Philharmonic Orchestra
Anton Bruckner: Symphony No.8 - Wiener Philharmoniker / Herbert von Karajan
Symphonies 1-9
Bruckner Motets
Bruckner: Symphony No. 4 / Karl Böhm

ASIN: B000001GQ6
Release Date: 1996-01-23

Tracks:

Mass No. 1 In D Minor For Soloists, Chorus And Orchestra: I. Kyrie (Alla breve)
Mass No. 1 In D Minor For Soloists, Chorus And Orchestra: II. Gloria (Allegro - Meno mosso - Tempo I - Etwas langsamer)
Mass No. 1 In D Minor For Soloists, Chorus And Orchestra: III. Credo (Moderato - Langsam - Allegro - Tempo des 1. Satzes)
Mass No. 1 In D Minor For Soloists, Chorus And Orchestra: IV. Sanctus (Maestoso - Allegro moderato)
Mass no. 1 in D minor for solists, chorus and orchestra: V. Benedictus (Moderato - Allegro moderato)
Mass No. 1 In D Minor For Soloists, Chorus And Orchestra: VI. Agnus Dei (Andante quasi Allegro - Allegro moderato)
Mass no. 2 in E minor for 8-part choir and wind orchestra: I. Kyrie (Feierlich)
Mass no. 2 in E minor for 8-part choir and wind orchestra: II. Gloria (Allegro - Andante - Tempo I)
Mass no. 2 in E minor for 8-part choir and wind orchestra: III. Credo (Allegro moderato - Adagio - Allegro - Tempo I)

Tracks:

Mass no. 2 in E minor for 8-part choir and wind orchestra: IV. Sanctus (Ruhig; mehr langsam)
Mass no. 2 in E minor for 8-part choir and wind orchestra: V. Benedictus (Moderato)
Mass no. 2 in E minor for 8-part choir and wind orchestra: VI. Agnus Dei (Andante)
Mass No. 3 In F Minor For Soloists, Chorus And Orchestra: I. Kyrie (Moderato)
Mass No. 3 In F Minor For Soloists, Chorus And Orchestra: II. Gloria (Allegro - Andante, mehr Adagio - Tempo I - Ziemlich langsam)
Mass No. 3 In F Minor For Soloists, Chorus And Orchestra: III. Credo (Allegro - Moderato misterioso - Langsam - Largo)
Mass No. 3 In F Minor For Soloists, Chorus And Orchestra: III. Credo [Forts - Cont.] (Allegro - Tempo I - Moderato - Allegro - Etwas langsamer als anfangs - Allegro
Mass No. 3 In F Minor For Soloists, Chorus And Orchestra: IV. Sanctus (Moderato - Allegro)
Mass No. 3 In F Minor For Soloists, Chorus And Orchestra: V. Benedictus (Allegro moderato - Allegro)
Mass No. 3 In F Minor For Soloists, Chorus And Orchestra: VI. Agnus Dei (Andante - Moderato)

Customer Reviews:

poco refinado.......2005-09-27

Una versión poco refinada de las misas de Bruckner. El coro no se entiende bien, es un poco sucio y con un vibrato que ensucia más la grabación. Además, toma tempos muuuuuy lentos en algunos pasajes, lo que termina por aburrir.

Poor Tuning in the Mass in E minor.......2004-01-12

I think that Jochum's interpretation is excellent in this recording but I take issue with the performance of the chorus in the E minor Mass. The sopranos often reach for the high notes and come out under the pitch...regularly. Anything above a C# is a bit of an adventure for them. The chorus, as a whole loses pitch in unaccompanied sections. It is difficult to listen to this disc. I wish I had purchased the recording on the Hyperion label.

not to be missed.......2001-01-31

I tend to echo the sentiments of the prior reviewer. The Masses are some of Bruckner's greatest compositions and deserve the same level of respect as do his symphonies. When I was listening to the Mass No. 3 in E minor I could have sworn there was a rolling orchestral crescendo that was also used at least in part in the great adagio of his Symphony No. 7 (also in E). The texts of the Roman Catholic liturgy are delivered entirely in Latin and the choral and soloist contributions are impeccable in phrasing, diction and beauty of tone. The Benedictus passages have some extremely beautiful parts for the voice and the string sections, and nothwithstanding the lack of a violin solo can be mentioned in the same breath as that of the Beethoven Missa Solemnis. The Et Resurrexit sections of the Credos have thundering power and majesty. In some respects the Masses are a bit more closely argued in terms of musical structure and cohere better than the earlier symphonies. Eugen Jochum conducts with selfless dedication, letting this powerful music speak for itself. The playing of the Bavarian Radio Symphony Orchestra is superb, and the highly individual sound of the Mass No. 2, written solely for brass and wind instruments, almost (as the documentation implies) feels like Palestrina brought into the Romantic era. The remastering from the original issues, from 1962 to 1971, is very successful and there is a wonderful bloom on the choral sound. The spacious acoustics of the Herkules-Saal, which was also one of the venues for Jochum's first survey of Bruckner's symphonies with the same orchestra (and the Berlin Philharmonic), are heard to very good effect. Full translations of the Liturgy are printed in German, English and French.

This issue is a classic and its release as part of Deutsche Grammophon's Originals series cannot be too strongly welcomed.

Magnificent.......2000-03-23

Being long under the impression that Bruckner's major achievement lay in his symphonies, the motets and the Te Deum, this CD-set came as quite a revelation to me.

Being a very devout Catholic, Bruckner left us with sublimely beautiful music in these Masses. Although al three masses were composed in his forties, the music strongly bears his signature: elements of mystery, striking thematic material, and deep spiritual devotion.

Jochum has a powerful vision, the singing of the choir is ethereal, and the recording after all these years retains a vivid presence.

The music has a strong emotional effect on me; listening to it is a spiritual experience.

Someone once said that God gave us music so that we could pray without words. This is the music I would expect to hear upon arrival in Heaven.

Music Review:

Music Review

music review