No Warning

No Warning

Track Listings

1. Glow

2. No Warning

3. Tekfunk

4. Orange Eyes (Dub Revolution)

5. Percussive Slide

6. Dedication

7. Desavibes

8. Swimride

9. THP

10. Circle Down

11. Head Flow

Editorial Reviews
Product Description
No Warning is the dubby, deep house debut from rising producer Jon Delerious. With over 11 years behind the decks, Calgary's Delerious continues to refine his skills as one of Canada's leading musical innovators. His debut album ranges with ease from smoked-out house to top notch dancefloor chuggers; a testament to his studio prowess and in-demand DJ-ing schedule.

Tracks:

No Exit
Anarchy Divine
Silent Cries
In A Word
Shades Of Heavenly Death
The Ivory Gates Of Dreams: I. Innocent, II. Cold..

Customer Reviews:

Pretty average stuff.......2007-06-24

No Exit is pretty average 80s metal. It's not bad but there's nothing all that great about it either. Maybe their newer stuff is better, I don't know, but this album has made a bad first-impression on me.

Not recommended.

Brilliant Metal.......2007-05-18

That is probably the easiest way to describe this CD. "Brilliant Metal" While throwing in the crazy time signature riffs of Dream Theater and Symphony X years before either had formed, yet getting heavier than any of their previous albums, Fates Warning created a new genre with this work of art. I bought this CD mainly for The Ivory Gate of Dreams because of the last guy saying it was "roughly based on Homer's The Odyssey". As great as this track is, you must look at this album as a whole. The song No Exit only scratches the surface of what this CD represents, and as each song plays, you become entangled in the intricate story line that makes it all the way through the last few minutes of the 24 minutes epic, The Ivory Gate of Dreams. With the lyrics set aside, the music on this CD is awesome. I have all of the earlier CD's but they don't come close to the speed and ferociousness of this. Something horrible happened to the band after this CD, and i wish all of their CD's were just like this even though I love Awaken the Guardian and The Spectre Within. This is my favorite album no matter what genre I"m talking about and it has been for over a year now. If you like metal, whether it's Speed, Progressive, Thrash, please go get this, because there aren't enough Fates Warning fans out there. They should be nearly as highly regarded as Iron Maiden or at least Metallica. Fates Warning are far superior to Metallica in every aspect of what a band is and every music person should know why.

They should call me Columbus..........2007-01-10

I discovered this band while poser was listening to Queensryche's greatest hits.

HEAVY METAL AT IT'S FINEST.......2006-10-11

Queensryche? mindcrime? What we have here is something far superior to the over rated "operation mindcrime", I meen the warning was good. The self titled ep was quality but queensryche started to go BLEHHH with mindcrime. THis is fates warning and this disc contains some of the most excellent metal music ever recorded. THis is the bands last "METAL" album and it is no doubt their heaviest. Silent cries is the most kickarse heaviest metal ballad ever....a ballad is heavy?...just listen to that riff in the chorusd it demands your attention, it's simple as hell but its so AWSOME!!!! That is all I need to say about this. Buy this now if you like metal or anything else before this buy this band(every album before this is excellent GRADE A HIGH QUALITY)BUY THIS NOW!!!! It was so good it bought a tear to my eye.

The Roots of Progressive Rock were never stronger...........2006-07-29

What can i say about an album that is close to brillant. These guys go back a few years and i still listen to this album like it was released yesterday. If you like progresive rock then this is an album you want to check out. The solid composition of technical sound blended with lryics that describe and feel thoughts of genuis musical writing, push you through an oddessy of rock and ballad...As i said, these guys are old and this is one of the bands that paved the way to progessive rock. I recomend this to the young and upcomig progressive fans as well. If you like Dream Theater or any other Fates Warning album...give this one a listen, you won't be dissapointed.

Average customer rating:

Another great trip down the MFU memory lane
The best of the three Double CDs ORIGINAL soundtrack release

The Man From U.N.C.L.E., Vol. 2

Manufacturer: Film Score Monthly
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music
Similar Items:

The Man From U.N.C.L.E.
The Man from U.N.C.L.E., Vol. 3
Man from U.N.C.L.E.
Honey West
The Saint/Secret Agent

ASIN: B0006SSQ7U
Release Date: 2005-01-04

Tracks:

First Season End Title
Vulcan Affair (Suite No. 2)
Iowa-Scuba Affair
Shark Affair
Deadly Games Affair (Suite No. 2)
Meet Mr. Solo
Giuoco Piano Affair
King of Knaves Affair: Suite No. 2
First Season Main Title [Revised]
Deadly Decoy Affair
Spy With My Face
Second Season Main Title
Alexander the Greater Affair
Ultimate Computer Affair
Very Important Zombie Affair
Dippy Blonde Affair
Seadly Goddess Afair
Moonglow Affair

Tracks:

One of Our Spies Is Missing
Third Season Main Title
Sort of Do-It-Youself Dreadful Affair
Galatea Affair
Pop Art Affair
Come With Me to the Casbah Affair
Off-Broadway Affair
Concrete Overcoat Affair
Napoleon's Tomb Affair
Alternate Fourth Season Main Title
Fourth Season (End Title)
Test Tube Killer Affair
Prince of Darkness Affair
Seven Wonders of the World Affair

Customer Reviews:

Another great trip down the MFU memory lane.......2005-10-19

Volume 2 (comprised of 2 CDs) is another first rate compilation of the series' original music and not to be missed by U.N.C.L.E. fans. The liner notes are wonderful and add a lot to ones appreciation of the music.

My only problem is that THE CDs ARE COPY PROTECTED! Considerable work is needed to get the music onto your iPod, if you really want the music in your mp3 collection. This is a major hassle and a surprise, since the first set in the series was not copy protected.

The best of the three Double CDs ORIGINAL soundtrack release.......2005-07-12

Many of us have always thought The Man From UNCLE had the best music for a TV series ever, and this three double CD release confirms this. Wow! I'd be just happy with one CD, but having SIX (three double CDs packages) is absolutely out of this world, I mean, a lifetime wait come true.

Indeed, this is an unbelievable collection of three double CDs packages with the complete series soundtrack, and I mean the complete music, not a tune is missing.

And this is the ORIGINAL Man From Uncle music. Let me stress the point: this is the four years ORIGINAL soundtrack with the original recordings as they were heard throughout the series, not a no-name orchestra doing personal versions of the stuff. The audio transfer is very, very good, the music from late episodes is even in stereo.

Each individual CD carries over 70 minutes of music. All in all there you have the four TV seasons main titles and all, absolutely all of TMFU unforgetable music.

This is not a chronological release, meaning, all CDs have a mix of music from all four TV seasons. Volume 1 is heavier on early TV seasons stuff, fans of Jerry Goldsmith will love it. Those of us who prefer what Gerald Fried and later Richard Shores did with TMFU music, then volume 2 is mandatory. If you are a fan, you can't miss any of these six CDs. However if buying all three double packages is too much for you, you must go with Volume 2, no questions asked. Volume three is the weakest of them as it brings "suites" and a whole CD with "The Girl From Uncle" soundtrack, but you have a bonus "Open Channel D" beeper.

Each package is gorgeous, each with a glossy color booklet with extensive liner notes with details on how each tune was written to a specific TV series episode and how it was used onwards. You have bios on the composers, on how the recordings were made, even an overview on how many instruments were available in each of the years the music was recorded.

So, throw away your Hugo Montenegro Man From Uncle CD, this is the REAL thing.

Average customer rating:

What a major disappointment.
concert
Bad a** band
These guys should be jailed for selling out so bad
"sellouts", "linkin park wannabes"-STOP

Suffer, Survive
No Warning
Manufacturer: Warner Bros / Wea
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

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

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

General | Rock | Styles | Music
Similar Items:

No Warning
Ill Blood
Radioactivist

ASIN: B0002S93XA
Release Date: 2004-10-19

Tracks:

Dirtier Than the Next
Bad Timing
Modern Eyes
Scratch the Skin
Hopeless Case
Back to Life
No Don't Think So
Breeding Insanity
Live Through Me [*]
S304 [*]

Album Description

With Suffer, Survive, its second album, issued on Machine Shop Recordings, and the band playing on this summer's massive Projekt Revolution 2004 tour alongside Linkin Park, Korn, Snoop Dogg, MOP and The Used, No Warning gives the hardcore scene fair warning—they still rock with aggression and emotion but now there's a melodic side to the group too. After much experimentation and recording, the buzzworthy No Warning is back to do more than Suffer, Survive.

Customer Reviews:

What a major disappointment........2006-12-01

I consider myself a new "fan," of No Warning, having accidentally received their Ill Blood album from their old label, Bridge 9. Ill Blood was wicked. This, however, is completely disappointing. The change in label tells the tale: they went from all-hardcore Bridge 9 to the Linkin-Park-and-God-knows-what-else Machine Shop label. If you're a fan of Linkin Park or Sum 41, you may enjoy this, because it definitely incorporates elements from their music. More power to you. However, if you come from the Old School Hardcore school, like I do, and were really turned on by their previous albums, you'll see this one as a travesty. The worst part is that the songs are almost good, but then they break into a really lame melodic radio-friendly sound right where you think they're gonna let loose like they did in the previous albums. In short, if you were a fan of the Ill Blood or the S/T, avoid this album.

concert.......2005-12-09

I also saw them in Concert with Papa Roach last November. The combination of those two bands was one of the best pits I've been in. It's been a year since the concert and since I have even heard of this band and I'm still listening to all their stuff regularly.

Bad a** band.......2005-04-04

I have heard these guys before on cd and liked the sound and lyrics but wasn't so thrilled about them, but I recently saw them perform live this week opening for Papa Roach and they really put on a great and energetic show. They performed right before Papa Roach and got an amazing feedback from the audience. I was amazed that at their live performance! It definitely beats their prerecorded cd, but don't judge the band by their cd, go check them out live! It will be well worth your time and money you spent on the cd, you'll see!

These guys should be jailed for selling out so bad.......2005-01-05

When I first saw No Warning on the Hellfest 2003 DVD I thought wow this is one of the youngest, most full of energy tough guy hardcore bands I've seen in a long time. There music used to be tough as nails, and this album was supposed to be the album that put them up there with the rest of the tough guy hardcore kings. I had NO IDEA that this band got signed to Linkin Park's label, and also went on the POSER REVOLUTION tour. This is probably one of the biggest sell outs in history, any band that goes from making hardcore as hard as these guys used to make it to this AUTROCITY shouldn't be allowed to make music. I say if you're gonna completely abandon your sound and start ripping off Linkin Park at least change your name. The next time any of you hardcore kids see these guys be sure to throw stuff at them pathetic SELLOUTS

"sellouts", "linkin park wannabes"-STOP.......2004-12-07

alright so i went and checked out the heavyweights of hardcore tour w/hatebreed and no warning was one of the openers.i had read stuff about them on here and i was kinda surprised they would be touring with hatebreed if they soudned like linkin park.the guys took the stage and absolutely threwdown.they tore it up.the guitar riffs they churned out were heavy as ever and the drummer absolutely annihiliated his kit which was outstanding to see someone play with the intensity that i do.i immediately picked up the cd.its "mellowcore".basically,id call it a 4 way collision between hatebreed,unearth,the used (older),and linkin park "hybrid theory" choruses/deftones "adrenaline" breakdowns and choruses.they are very original and give the screaming a break alot of the time, which allows for a more enjoyable album.it may be short, but man its soooooo good.i highly recommend this album to any fan of hardcore music looking for something different or any fan of modern metal looking to branch out and get their feet wet.great album and be sure to see them on tour-they own.definitely not a linkin park wannabe (i know they signed to their label but still???not even close!!!)

Average customer rating:

Hot Solo Songs From Dave
good record, better then suffer survive

No Warning
Dave Wakeling
Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

General | Rock | Styles | Music
Similar Items:

Rub It Better
Inside My Head
All the Rage
Wha'ppen?
Special Beat Service

ASIN: B000008M2P
Release Date: 1991-03-26

Tracks:

I Want More
No Warning
Remember in the Dark
Everytime You Look at Me That Way
Sensation
Freedom Fighter
One+ One+ One
Sex With You
I'm Not Ready
She's Having a Baby

Customer Reviews:

Hot Solo Songs From Dave.......2005-06-25

Dave Wakeling, formerly of English Beat and General Public has put together a collection of catchy songs that are all readily listenable and memorable. "I Want More" and "Sex With You" are standouts while "She's Having a Baby" from the treacly movie is less moving.

If the Beat and GP got your feet moving this will too.

(The other review posted for this disc seems to be referring to some other disc- best ingore it.)

good record, better then suffer survive.......2005-02-06

when i first heard of this band it was when their first single came out from suffer survive. i liked the single and liked the cd, but when i heard this, i noticed it was alot harder and more screaming. being i like harder music this cd is deffinatly more my style. i still like the new one, but this one is a bit better. i hear they put on an awesome show too. i recommend checking this cd out.

Average customer rating:

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

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

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
Similar Items:

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

ASIN: B00005B550
Release Date: 2001-05-22

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Karl Bohm: Wagner: Der Ring des Nibelungen

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

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

Marek Janowski: Wagner: Der Ring des Nibelungen

James Levine: Der Ring Des Nibelungen

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

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

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

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

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

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

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

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

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

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

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

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

Tracks:

Behind These Walls
No Time for You
Answer the Call
Short Fuse
Wound Up
Growing Silent
Caught in the Web
All New Low
Over My Shoulder
Leech
Pushing On
Ill Blood

Customer Reviews:

Intense hardcore........2006-09-02

One of the best new hardcore CDs I've ever heard. Follows very much in the way of Madball and the Cro-Mags. The title track, Ill Blood, is one of the best hardcore vocal performances I've heard from any band in a long time. Kudos to Bridge 9 for picking up a great band.

Pretty Good for the modern day hardcore realease.......2003-05-04

If youve read my review for As The Sun Sets, youll know that i have a record store near my house that sells only local bands and independant (sorry if thats spelt wrong) labels. One label that never ceases to amaze me is Bridge Nine Records. They are a record label that produces hardcore records out of the Boston area. So far, i have not been dissapointed by there realeases over the past year or so, but Ill Blood is one of my top ranking hardcore albums. Wow. Does this band know how to play hardcore. With this album, they have gotten everything right. Their playing is amazing at least, and the amount of energy you get just by merely listening to them is incredible. They capture the escence of a live show on a studio album. They probably have one of the best hardcore singers out there also (His name is Ben Cook). And, unlike mopst hardcore bands today, they develop the beautiful noise into actual song structure, with chorusos, bridges, and verses. So, not only is this an very well played album, but it is also very, dare I say, musical. In any event, if you like old school hardcore, like the Dead Kennedys, Black Flag, or Avail, pick this record up. If your lookiung for something that leans more to the disorganized, grindcore sound, NEVERFEAR!!! BRIDGE 9 IS HERE!!! ...You will not be dissapointed. Ta Ta...See you at the next show.....

Dancing on the Edge of a Volcano: Jewish Cabaret Popular and Political Songs 1900-1945

Average customer rating:

Dancing on the Edge of a Volcano: Jewish Cabaret Popular and Political Songs 1900-1945

Manufacturer: Cedille
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Folk | Styles | Music

General | Opera & Vocal | Styles | Music

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

General | Soundtracks | Styles | Music

General | Vocal Pop | Pop | Styles | Music
ASIN: B000087D7G
Release Date: 2002-11-26

Tracks:

Part I: From the Periphery to the Habsburg Metropole: Wiener ...
Part I: From the Periphery to the Habsburg Metropole: ...Nach ...
Part I: From the Periphery to the Habsburg Metropole: Der Je ...
Part I: From the Periphery to the Habsburg Metropole: Der Leb, Der ...
Part I: From the Periphery to the Habsburg Metropole: Die Koschere ...
Part I: From the Periphery to the Habsburg Metropole: Jes Fiaker
Part I: From the Periphery to the Habsburg Metropole: Cohen Owes ...
Part II: The Crisis of Tradition and Modernity: Liebeslied an Ein ...
Part II: The Crisis of Tradition and Modernity: Couplet des ...
Part II: The Crisis of Tradition and Modernity: Eine Kleine ...
Part II: The Crisis of Tradition and Modernity: Ich Bin Von Kopf ...
Part II: The Crisis of Tradition and Modernity: Gigerlette ...
Part II: The Crisis of Tradition and Modernity: Mahnung (Warning) ...
Part III: Respose and Resistance: Political Songs: Haman-Arie (The ...)
Part III: Respose and Resistance: Political Songs: Ballade Von Der ...
Part III: Respose and Resistance: Political Songs: Der Graben (The ...)
Part III: Respose and Resistance: Political Songs: ...
Part III: Respose and Resistance: Political Songs: An Den Kleinen ...
Part III: Respose and Resistance: Political Songs: Und Es Sind Die ...
Part IV: Zionist and Pioneer Songs: Havu l'Venim (Bring the Bricks)
Part IV: Zionist and Pioneer Songs: Hine Achal'la Bachalili (Lo, I ...)
Part IV: Zionist and Pioneer Songs: Gam Haydom (Day After Day)
Part IV: Zionist and Pioneer Songs: Holem Tza'adi (My Step Resounds)
Part IV: Zionist and Pioneer Songs: Ra'inu Amalenu (We Beheld Our Toil)
Part IV: Zionist and Pioneer Songs: Ba'a M'Nucha (There Comes Peace)
Part IV: Zionist and Pioneer Songs: Banu (We've Come)

Tracks:

Part I: From the Periphery to the Habsburg Metropole: Wiener ...
Part I: From the Periphery to the Habsburg Metropole: ...Nach ...
Part I: From the Periphery to the Habsburg Metropole: Der Je ...
Part I: From the Periphery to the Habsburg Metropole: Der Leb, Der ...
Part I: From the Periphery to the Habsburg Metropole: Die Koschere ...
Part I: From the Periphery to the Habsburg Metropole: Jes Fiaker
Part I: From the Periphery to the Habsburg Metropole: Cohen Owes ...
Part II: The Crisis of Tradition and Modernity: Liebeslied an Ein ...
Part II: The Crisis of Tradition and Modernity: Couplet des ...
Part II: The Crisis of Tradition and Modernity: Eine Kleine ...
Part II: The Crisis of Tradition and Modernity: Ich Bin Von Kopf ...
Part II: The Crisis of Tradition and Modernity: Gigerlette ...
Part II: The Crisis of Tradition and Modernity: Mahnung (Warning) ...
Part III: Respose and Resistance: Political Songs: Haman-Arie (The ...)
Part III: Respose and Resistance: Political Songs: Ballade Von Der ...
Part III: Respose and Resistance: Political Songs: Der Graben (The ...)
Part III: Respose and Resistance: Political Songs: ...
Part III: Respose and Resistance: Political Songs: An Den Kleinen ...
Part III: Respose and Resistance: Political Songs: Und Es Sind Die ...
Part IV: Zionist and Pioneer Songs: Hine Achal'la Bachalili (Lo, I ...)
Part IV: Zionist and Pioneer Songs: Hine Achal'la Bachalili (Lo, I ...)
Part IV: Zionist and Pioneer Songs: Gam Haydom (Day After Day)
Part IV: Zionist and Pioneer Songs: Holem Tza'adi (My Step Resounds)
Part IV: Zionist and Pioneer Songs: Ra'inu Amalenu (We Beheld Our Toil)
Part IV: Zionist and Pioneer Songs: Ba'a M'Nucha (There Comes Peace)
Part IV: Zionist and Pioneer Songs: Banu (We've Come)

Average customer rating:

HUH CD4

Manufacturer: Huh Music Service
ProductGroup: Music
Binding: Audio CD
ASIN: B000GGOFBS

Product Description

Released with Huh Magazine

Average customer rating:

the review has to have a title so im just putting this here.

No Warning
No Warning
Manufacturer: Bridge Nine Records
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

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

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

General | Rock | Styles | Music
Similar Items:

Ill Blood
Suffer, Survive

ASIN: B00005QDG5
Release Date: 2001-10-16

Tracks:

A Day In The Life
Too Much To Bare
My World
Take It Or Leave It
Almost There
Wrong Again
Taking Sides
Too Much To Bare
Deal With It

Album Description

9 song CD debut for hardcore band on Bridge 9 Records.

Customer Reviews:

the review has to have a title so im just putting this here........2005-07-20

nobody even gave this a review? well, its one of the best hardcore cds i own. pissed off. awesome. a day in the life could be the best song. ever? eat my poop.

Music Review:

Music Review

music review