I Can't Stand It [CD-single] [Import]

I Can't Stand It [CD-single] [Import]

Track Listings

1. I Can't Stand It [Radio Version]

2. I Can't Stand It [Full Gainer Radio Edit]

3. I Can't Stand It [Belmond & Parker Remix]

4. I Can't Stand It [Dixi Disco House Mix]

5. I Can't Stand It [Full Gainer Club Mix]

6. Close Ya Eyes [Club Mix]

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.

For all of its flaws, this is an astonishing and, for me, an indispensible recording because it made me listen to this opera with new ears. While it's not the most lyrically pleasing recording (Karajan) or musically authoritative (that would be Solti, IMHO), dramatically, this Rhinegold excells any recording I know of. I will definitely buy the rest of the set.

I Can't Stand It
Average customer rating:
I Can't Stand It
Soul Sisters
Manufacturer: Collectables
ProductGroup: Music
Binding: Audio CD

General | R&B | Styles | Music
General | Soul | R&B | Styles | Music
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ASIN: B000000911
Release Date: 1996-06-25

Tracks:

I Can't Stand It
I Love You Baby
Big Boy
Blueberry Hill
Good Time Tonight
Loop De Loop
Just A Moment Ago
Foolish Dreamer
Think About The Good Times
The Night Time Is The Right Time
Some Soul Food
That's The Way I Feel
Long Gone

Average customer rating:

Can't Stand It Pt.2
Wilco
Manufacturer: Msi/Wea
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000IO7K
Release Date: 1999-04-13

Album Description

The first single from the acclaimed alternative rock outfit's 1999 album 'Summerteeth'. Pt.2 contains 'Can't Stand It' (Album Version) and two non-album tracks, solo acoustic versioins of 'Sunken Treasure' & 'I'm Always In Love', both recorded on February

Album Details

UK Three Tracker. Includes Two Exclusive Solo Acoustic Tracks "Sunken Treasure"& "i'm Always in Love".

Average customer rating:

No More - I Can't Stand It
Maxx
Manufacturer: Pulse
ProductGroup: Music
Binding: Audio CD
ASIN: B000057KN2

Average customer rating:

Opera in English
4 1/2Stars...exciting voice and singing

Barry Banks Sings Bel Canto Arias

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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

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Gitano

ASIN: B0002AAPB2
Release Date: 2004-07-27

Tracks:

'In Dreams Of Endless Pleasure'
'Through Her Soul In Endless Grieving'
'May Destiny Befriend You'
'The Blow At Last Has Fallen'
'Could I Ever Believe'/'Her Joy Is My Joy'
'Here I Stand'/'Since It Is Not By Merit'
'Poor Lost Ernesto'/'I Shall Go, No More Returning'
'Only One Teardrop'
'Palace Of Horrors!'/'Ah, How Can I Hide The Flames'
'Darling! Darling, Let Me Embrace You!'
'I Lost The Will To Action'
'Suzel, Good Morning!'
'The Night Is Calm'

Customer Reviews:

Opera in English.......2007-03-19

Barry Banks is certainly a contender for one of the best tenors around. THis is a great example of coloratura and legato line which is very well executed in a rather booming tenor voice. I just saw Mr. Banks in "The Elixer of Love" and he was stupendous. This is a large tenor voce in the theatre which alas is difficult to capture in a studio recording...you have to take my word. THe translations are often odd as they generally are, but this recording is certainly worth having. (although I prefer in the original language)

4 1/2Stars...exciting voice and singing.......2004-12-02

Mr. Banks has a "heroic lyric tenor" if there is such a category. His fast vibrato and power lend the voice excitement and attention getting presence. I was intrigued by him in his stunning appearance in the Rimsky-Korsakov "Le'Coq d'Or" DVD (a not-to-be-missed experience)-- he was a stand-out there there and I went looking for other things by him. This CD is treasurable in many ways. The repertoire is interesting and the duets add flavor to the whole. The only small complaint I have is that perhaps Mr. Banks lacks just the last bit of emotional connection in his singing. You won't go wrong getting this excellent CD.

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I Can't Stand It
Dixi Disco
Manufacturer: Dance Street
ProductGroup: Music
Binding: Audio CD

General | Dance & DJ | Styles | Music

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

Dance & DJ | Imports | Stores | Music
ASIN: B000ADQI8A
Release Date: 2005-08-31

Tracks:

I Can't Stand It [Radio Version]
I Can't Stand It [Full Gainer Radio Edit]
I Can't Stand It [Belmond & Parker Remix]
I Can't Stand It [Dixi Disco House Mix]
I Can't Stand It [Full Gainer Club Mix]
Close Ya Eyes [Club Mix]

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25 Oldies Best "see product details"
Dozybreaky, Mick & Tick - Hold Tight / Troggs - I Cant't Controll Myself varios25 Oldies Best [Dave Dee , Tremeloes - My Little Lady / / Sam and Dave - Hold on 'Im Coming / K.c. & the Sunshine Band - Shake Your Booty , Dave Dee Dozy... -Okay / Mamas & Pappas - Dedicated to One I Love / , Real Thing - Can't Get By Without You Sam Ans Dave - The One I Love / Sam & Dave - When Something If Wrong / Searchs - Needles & Pins , / Bee Gees - Can't Get By Without You / Bee Gees - I Don't Think It's Funny / Roger Whitiekr - Fire and Rain / , Andy Williams - Yhr Long & Winding Road / Kim Carnes - Do You Want to Dance / Trini Lopes - America / Donovan - Universsl Solidier / , Fortunates - Here It Comes Again / Trini Lopez - Besame Mucho / Percy Sledge - I'vr Brrn Loving You to Long / Ike & Tina Turn - Stand By Me / Spencer Davis Group - Gimme Some Movin / , Fortunes - Caroline Sam & Dave / You Don't Know Like I Knoe/ Sam & Dave / Yupi Don't't Know Likei Knoe/ Donovan - Wear Your Love Like Heave / , and Bee Gees - The Battleof the Blue and the Grey
ProductGroup: Music
Binding: Audio CD
ASIN: B000PIL1VO

Product Description

25 Oldies Best [Dave Dee, Dozybreaky, Mick & Tick - Hold Tight / Troggs - I Cant't Controll Myself / Sam and Dave - Hold on 'Im Coming / K.c. & the Sunshine Band - Shake Your Booty , Tremeloes - My Little Lady, Dave Dee Dozy... -Okay / Mamas & Pappas - Dedicated to One I Love / Sam Ans Dave - The One I Love / Sam & Dave - When Something If Wrong / Searchs - Needles & Pins, /Real Thing - Can't Get By Without You / Bee Gees - Can't Get By Without You / Bee Gees - I Don't Think It's Funny / Roger Whitiekr - Fire and Rain / and Williams - Yhr Long & Winding Road / Kim Carnes - Do You Want to Dance / Trini Lopes - America / Donovan - Universsl Solidier / Fortunates - Here It Comes Again / Trini Lopez - Besame Mucho / Percy Sledge - I'vr Brrn Loving You to Long / Ike & Tina Turn - Stand By Me / Spencer Davis Group - Gimme Some Movin / Fortunes - Caroline Sam & Dave / You Don't Know Like I Knoe/ Sam & Dave / Yupi Don't't Know Likei Knoe/ Donovan - Wear Your Love Like Heave / Bee Gees - The Battleof the Blue and the Grey

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Hugo Wolf Society, Vol.2

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
ASIN: B000000WO6
Release Date: 1995-02-07

Tracks:

Wass Soll Der Zorn - Elisabeth Rethberg/Coenraad Van Bos
Ich Esse Nun Mein Brot - Elisabeth Rethberg/Coenraad Van Bos
Wie Soll Ich Frohlich Sein - Elisabeth Rethberg/Coenraad Van Bos
Wie Lange Schon - Elisabeth Rethberg/Coenraad Van Bos
Du Sagst Mir - Elisabeth Rethberg/Coenraad Van Bos
Ich Liess Mir Sagen - Elisabeth Rethberg/Coenraad Van Bos
Woll Kenn'Ich Euren Stand - Elisabeth Rethberg/Coenraad Van Bos
Man Sagt Mir - Elisabeth Rethberg/Coenraad Van Bos
Wenn Du, Mein Liebster - Elisabeth Rethberg/Coenraad Van Bos
Mein Liebster Singt - Ria Ginster/Michael Raucheisen
O War'Dein Haus - Ria Ginster/Michael Raucheisen
Gesegnet Sei Das Grun - Ria Ginster/Michael Raucheisen
Mir Ward Gesagt - Ria Ginster/Michael Raucheisen
Mein Liebster Ist So Klein - Ria Ginster/Michael Raucheisen
Ich Hab'In Penna - Ria Ginster/Michael Raucheisen
Gesegnet Sei, Durch Den Die Welt - Gerhard Husch/Hanns Udo Muller
Ihr Seid Allerschonste - Gerhard Husch/Hanns Udo Muller
Hoffartig Seid Ihr - Gerhard Husch/Hanns Udo Muller
Dass Doch Gemalt - Gerhard Husch/Hanns Udo Muller
Und Willst Du - Gerhard Husch/Hanns Udo Muller
Wenn Du Mich - Gerhard Husch/Hanns Udo Muller
Heut'Nacht Erhob Ich Mich - Gerhard Husch/Hanns Udo Muller
Ein Standchen - Gerhard Husch/Hanns Udo Muller
Nunn Lass Uns Frieden - Alexander Kipnis
Wir Haben Beide - Alexander Kipnis
Geselle, Woll'N Wir Uns - Alexander Kipnis
Heb'Auf Den Blondes Haupt - Alexander Kipnis
Sterb'Ich, So Hullt In Blumen - Coenraad Van Bos
Wie Viele Zeit - Alexander Kipnis
Was Fur Ein Lied - Alexander Kipnis
Muhvoll Komm'Ich - Elisabeth Rethberg/Coenraad Van Bos
Auf Den Grunen Balkon - Gerhard Husch/Hanns Udo Muller
Treibe Nur Mit Lieben Spott - Gerhard Husch/Hanns Udo Muller
Trau'Nicht Der Liebe - Ria Ginster/Gerald Moore
Sie Blasen - Ria Ginster/Gerald Moore
Biterolf - Herbert Janssen/Michael Raucheisen
Seufzer - Herbert Janssen/Michael Raucheisen
Gebet - Herbert Janssen/Michael Raucheisen

Tracks:

Auf Ein Altes Bild - Herbert Janssen/Michael Raucheisen
An Die Geliebte - Herbert Janssen/Michael Raucheisen
Verborgenheit - Herbert Janssen/Michael Raucheisen
Denk'Es, O Seele - Herbert Janssen/Michael Raucheisen
Bei Einer Trauung - Herbert Janssen/Michael Raucheisen
Ein Stundlein Wohl Vor Tag - Ria Ginster/Michael Raucheisen
Elfenlied - Ria Ginster/Michael Raucheisen
Wie Glanzt Der - Alexander Kipnis/Gerald Moore
Cophtisches Lied I - Alexander Kipnis/Gerald Moore
Der Musikant - Alexander Kipnis/Gerald Moore
Der Soldat I - Alexander Kipnis/Gerald Moore
Der Schreckenberger - Alexander Kipnis/Gerald Moore
Der Feuerreiter - Helge Roswaenge/Gerald Moore
Gesellenlied - Helge Roswaenge/Gerald Moore
Migon I: Heiss Mich Nicht Reden - Marta Fuchs/Michael Raucheisen
Migon III: So lasst Mich Scheinen - Marta Fuchs/Michael Raucheisen
An Den Schlaf - Karl Erb/Gerald Moore
Lebe Wohl - Karl Erb/Gerald Moore
Ach, Im Maien War'S - Karl Erb/Gerald Moore
Herz, Verzage - Karl Erb/Gerald Moore
Storchenbotschaft - Marta Fuchs/Gerald Moore
Neue Liebe - Marta Fuchs/Michael Raucheisen
Dereinst, Dereinst - Herbert Janssen/Gerald Moore
Alle Gingen - Herbert Janssen/Gerald Moore
Tief Im Herzen - Herbert Janssen/Gerald Moore
Zur Ruh - Herbert Janssen/Gerald Moore
Komm, O Tod - Herbert Janssen/Gerald Moore
Wiegenleid (Im Sommer) - Tiana Lemnitz/MIchael Raucheisen

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Can't Stand It [2-Track CD Single]
Jeff Tweedy , and Wilco
Manufacturer: Reprise Records
ProductGroup: Music
Binding: Audio CD
ASIN: B000RZDO06

Product Description

2 Track CD Single for the song Can't Stand It taken from the Wilco album release of 'Summerteeth' released by Reprise Records in 1999: (1) Can't Stand It (edit) 3:37 (2) Can't Stand It (album version) 3:46

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Out there in Words and Music

Peachy Keen-O
Beth Anderson
Manufacturer: Pogus
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Jazz | Styles | Music

General | New Age | Styles | Music

Electronica | Dance & DJ | Styles | Music

Classical | Indie Music | Stores | Music
ASIN: B00012CTUG
Release Date: 2003-11-18

Tracks:

Torero Piece
Tower of Power
Peachy Keen-O
Ocean Motion Mildew Mind
Country Time
Yes Sir Ree
I Can't Stand It
Joan
Ode

Album Description

This CD has pieces with an auctioneer, a Kentucky farm with birds & clover, a jazz dancer, a quivering, vibrating, sexually tinged piece full of women saying supplication, a saint dying in flames, a drum piece about frustration, mother/daughter miscommunication, a pipe organ, and punk rap with overtones of yoga. Many of Anderson's compositions from 1973-1979 use words or parts of words to make either all or part of the music. Sometimes the music is derived from the words. Some of it is considered to be part of the genre known as text-sound.

(The following is edited from Beth Anderson's liner notes) Peachy Keen-O (1973): This electro-acoustic piece is for female voices, organ, electric guitar, vibraphone, large membranophones & metalophones, improvisatory dancers, peach light and pre-recorded tape. It is what my mother called "haunted house music". Tower of Power (1973): This organ piece is a graphic score. The recording on this CD is the first performance. The ideal playback of this piece would be "as loud an amplitude as possible, using both your ears and your equipment to decide". Torero Piece (1973): The phonemic part of this text-sound piece was derived from a paint-by-numbers scroll found in a used clothing store. The vowels and consonants were chosen because they exist in the Spanish language. (I had just heard ZAJ perform and I was very enthusiastic about them). The instruction for the reading part is to describe the most dramatic event or relationship in your life. Each performer writes his/her own speech. Joan (1974; 1977): In 1974 I made an oratorio about Joan of Arc using the translation of the text of her trial as the basis. I decoded the text into pitches and used a modulating coding system with instructions and free rhythm. The concert performance was amazing…. However I was not able to hear my modulating coding system clearly in all this, so I made the version of that piece that is on this CD. This fifteen-track all piano version of only the pitches was made in 1977. Ode (1975): "Ode" was created and mixed at the Queen's College and Wesleyan electronic music studios. I Can't Stand It (1976): When I first moved to New York I had a hard time getting used to how things were here and this piece is a direct response to that frustration. It was conceived for voice and drum set. Yes Sir Ree (1978): This text-sound piece is based on phrases used by Richard Levy and things his students mumbled about him. He used to scream various encouraging words and compliments at his students in the process of teaching his class and his philosophy seemed to be that dancing was to be enjoyed massively. Ocean Motion Mildew Mind (1979): This is a Punk realization of "ommm". The words begin "ocean, motion, mildew, mind" and continue "wishin', Titian, swishin', swine." Country Time (1979): This piece is a cut-up of an additive description of a walk around my family's farm in Kentucky in early summer with a poem I wrote about other experiences in Kentucky. It is for voice and percussion with or without birdcalls.

Customer Reviews:

Out there in Words and Music.......2004-05-05

The French have an expression for it: à outrance, and has been applied to the art and ways of those who are "all out," "full out,"and "way out there." But, of course, in this "do your own thing/anything goes" aggressively eclectic cultural environment of ours, we have our own examples and icons; and in the hybridized twilight zone between the dominance of text and the hegemony of pitched sound, we find the collaged dimensions and medleys of Beth Anderson.

Ms. Anderson's creative output spans an unusually wide gamut, encompassing the lyricism of new romantic music; to vocal works that include an opera, an oratorio, and choral pieces; to theater music, and chamber and orchestral works, as well as the text-sound pieces so well represented in this new CD.

Viewed as a sonic retrospective of Ms. Anderson's vintage early work, this latest release, containing nine diverse works copied from her originally-recorded tapes, assails the complacent consciousness with sound bites of the mundane and overheard, a mother/daughter phonemic "reading," monolithic "organic" tone clusters, primeval rap, wails and rants, superimposed multi-track piano pitches, and the nasal inexorable semi-chant of an auctioneer. Except for the organ in the Tower of Power on the second track and the auctioneer on the last track, Ms. Anderson is a very effective principal or solo performer featured on the remaining tracks. Remarkably, the recordings on this CD are of very high acoustic quality despite the age of the original tapes, and one must actually read the liner notes to realize that these pieces were not originally recorded in digital audio.

Not unlike the poetry of non-sequiturs and the metasensical, Anderson's work inhabits a realm of objectified reality, where the stuff of everyday life is fragmentized, compressed, and intensified through isolation to achieve an acute sensation of the moment in sound. That said, it can fairly be asserted that as a modality of perception, Anderson's work pushes beyond a familiar formalism, disheveling expectations and taking on the challenge of the incomprehensible. However, one might also be tempted to wonder whether Ms. Anderson is really a mischievous spirit with an "off-beat" sense of humor, and an intent to prompt amusement and encourage adventure. No doubt, this listening experience will be a "turn-on" for some, a "first" for many, and a mystifying puzzlement for most.

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