Touch Me (All Night Long), Pt. 2 [CD-single] [Import]

Touch Me (All Night Long), Pt. 2 [CD-single] [Import]

Track Listings

1. Radio Edit

2. Dee-Luxe Club Mix

Tracks:

Overture To 'Tannhauser'
Domna, Pos Vos Ay Chausida
We Don't Merely Use Instruments, We Play On Them. And They Play On Us.
Hungarian Dance No.7
The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented.
Violin Concerto In D Major (Adagio)
But For A Long Time It Was Seen As The Instrument Of The Devil.
The Soldier's Tale: Triumphal March Of The Devil
The Manipulative Seductiveness Of The Gypsy Violin.
Csardas Music
The Violin And The Initiation Of Nature
The Four Seasons (Spring, Mvt 1)
Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite.
The Four Seasons (Summer, Mvt 1)
Like The Devil, The Violin Is A Master Of Disguise.
Old Viennese Dance No.3 'Schon Rosmarin'
The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin:
Tzigane
Do We Now Have The True Measure Of This Instrument? Not Just Yet.
Caprice No.24
The Many Effects Of The String Tremolando: Brandenburg Concerto No.4 (Last Mvt)/From Joy To Fright/Quartettsatz In C Minor/The String Tremolo Practically Spells The World Agitato.
Variations On A Theme Of Frank Bridge (No.7)
Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime.
Romeo And Juliet: Act IV
Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice.
The Four Seasons (Winter, Mvt 1)
The Violin Muted
Clair De Lune
The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays.
Piano Concerto No.21 In C Major, K.467 (Slow Mvt)
The Pizzicato Violin
Pizzicato Polka
In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato.
Violin Concerto No.2 In G Minor (Slow Mvt)
Varieties Of Pizzicato: Colas Breugnon (The People's Feast)/Now A Drier, Leaner, Hungrier Pizzicato. There's Not A Lot Of Comfort Here./Capriol Suite (Tordion)/The Use Of Pizzicato As 'Percussion'/Romeo And Juliet (Act I)/Mahler Used Pizzicato...
The Planets (Mars - The Bringer Of War)
The Technique Of Double-Stopping Enables The Violin To Play Duets With Itself./Sonata No.3 In C Major For Unaccompanied Violin (Fugue)/Now A Later Example Of The Same Technique
Hungarian Dance No.4
Double-Stopping Is A Standard Feature Of A Lot Of Folk Music.
The Four Seasons (Autumn, Mvt 1)
Now The Same Technique, But The Sound Might Have Come From Another World.
Bolero
Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet.
Cadenza To The Violin Concerto By Brahms
Now Compare That With A Real Violin Duet.
Forty-Four Duos (No. 1: Teasing Song)
Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register
Forty-Four Duos (No.2: Maypole Dance)
And Now What May Be The Most Beautiful Accompanied Violin Duet In History
Concerto In D Minor For Two Violins (Largo)
The Soul Of The Violin Is In Song; But What About This Weird Passage?
Violin Concerto No.1 In D Major (Mvt 2)
The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling.
Symphony No.1 'Titan' (Mvt 1, Opening)
Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling.
The Sleeping Beauty (Act II, No.15: Entr'Acte)
Ravel's Harmonics In Mother Goose Effect A Magical Transformation.
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction)
The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'.
Also Sprach Zarathustra (Of The Afterworldsmen)
Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt.
Variations On A Theme Of Frank Bridge (No. 4)
Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood.
Four Sea Interludes (Dawn) From 'Peter Grimes'
To End This Outing With The Violins, A Charming Little Elfin Dance
Elfenreigen

Tracks:

Introduction To The Viola
Viola Concerto (Mvt 1)
Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
Gayane Suite No.1 (Armen's Solo)
Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
Passacaglia, Op.33b From 'Peter Grimes'
The Viola Can Bring A Special, Rich Twanginess To Pizzicato That The Violins Lack./Don Quixote/Berlioz Drew Sounds From It That Retain Their Metallic Strangeness Even Today.
Harold In Italy (Mvt 4)
The Muted Viola: Intimate, Gentle, Poignant In Dvork
Cypresses (No.9)
The Massed Violas Of The Modern Symphony Orchestra In Mahler
Symphony No.4 (Mvt 3)
The 'Period' Viola In Bach
Brandenburg Concerto No.6 (Last Mvt)
The Cello: A Voice Of Unique Nobility
Suite No.1 For Unaccompanied Cello (Prelude)
Brahms And The 'Soul' Of The Cello
Piano Concerto No.2 In B Flat Major (Mvt 3)
Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
Symphony No.3 'Eroica' (Finale)
But The Cello Is Not Condemned To Spend Its Life In The Basement.
Elfentanz, Op.39
Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
The Protecting Veil (Opening)
A Cello With An Identity-Crisis: The Pizzicato Flamencan
Flamenco
Double-Stopping In The Lower Reaches Of The Cello's Range
Solo Suiet For Cello And Piano (Sardana)
It's In The Middle Register That The Cello Really Comes Into Its Own.
Oriental Dance, Op.2 No.2
It Was To The Cellos That Beethoven Gave Two Of His Most Famous Themes./Symphony No.5 (Mvt 2)/Still More Famous Than That Theme Is This One From The Ninth Symphony.
Symphony No.9 (Finale)
Introduction To The Double-Bass
The Carnival Of The Animals (The Elephant)
But The Double-Bass Can Be Intensely Expressive And Graceful.
Elegy No.1 In D Major
The Range Of The Double-Bass Is The Greatest Of All The String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable Of Very Considerable Virtuosity.
Capriccio Di Bravura
Double-Bass Solos In Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (Mvt 3)/In His Third Symphony Mahler Makes A Very Different Use Of The Instrument./Symphony No.3 (Mvt 1)
The Double-Bass Muted In Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses The Double-Bass To Enhance The Winds./Romeo And Juliet (Act III)/And He Combines The Bass Clarinet With A Shivering Tremolo From The Double-Basses....
Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds

Tracks:

The Antiquity And Magic Of The Flute
Prelude A L'Apres-Midi D'Un Faune
The Versatility And Agility Of The Flute
Orchestral Suite No.2 In B Minor (Badinerie)
The Flute In Fifteenth-Century Spain
Sa'Dawi
Other Flutes: The Bass And Alto
Chamber Music No.II
The Piccolo - Aptly Named
La Naissance D'Osiris (Mvt 6)
From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth
Suite No.1 For Small Orchestra (Valse)
A Variety Of Techniques
Chamber Music No.II
Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before.
The Nutcracker (Act II, No.2: Scene)
From The Transverse To The Vertical: The Baroque Recorder
Recorded Suite In A Minor (Menuet II)
An Unfamiliar, Early Vision Of The Instrument
Naelden, Naelden
The Bachian Oboe
Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
Introduction To The Cor Anglais Or 'English Born'
Symphony No.9 'From The New World' (Mvt 2)
The Loneliness Of The Cor Anglais
The Swan Of Tuonela
The Cor Anglais Joins The French Horn In Haydn.
Symphony No.22 'The Philosopher' (Opening)
Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel
Bolero
The Clarinet Family: Boxing The Compass, From The Depths Of The Bass Clarinet.../The Egyptian (Violence)/...To The Raucous And Squealy.../Taras Bulba (The Death Of Ostap)/...To The Shrill And Complaining...
Petrushka (No.8: Peasant With Bear)/...To The High Sprits Of A Playful Puppy./Symphonie Fantastique (Last Mvt)/And To The Downright Jazzy/Romeo And Juliet (Act II)
As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft:
Gayane Suite No. 1 (Mvt 5)
The Bass Clarinet Is Used By Most Composers Mainly As A Colouring Agent.../Petrushka (No.4: The Blackamoor)/...But It Does Occasionally Get A Whole Tune To Itself./Iberia (Almeria).
The Range Of The Normal Clarinet Parts Goes Quite High...
The Snow Maiden (Scene 5: Melodrama)
...And Quite Low.
Peter And The Wolf (The Cat)
The Clarinet As Concerto Soloist
Clarinet Concerto In A Major (Rondo)
But That's Not The Instrument Mozart Wrote It For; This Is:
Clarinet Concerto In A Major (Rondo)
Introduction To The Saxophone
Hary Janos Suite (Mvt 4)
The Soprano Saxophone Has Quite A Different Feel To It.
L'Arlesienne Suite No.1 (Minuet)
The Little Sopranino Sax Goes Even Higher.
Bolero
The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel.
Pictures At An Exhibition (The Old Castle)
The Saxophone Can Be Quite Contagiously Good-Humoured.
Sax-O-Phun
The Puffa-Puffa Image Of The Bassoon
Peter And The Wolf (Grandfather)
The Bachian Bassoon, In Accompanimental Mode
Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1)
Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala)
And Ravel, Also In Spanish Mode, Does Likewise.
Bolero
The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness
Symphony No.3 (Opening)
The Eerie Bassoon In Its Highest Register
The Rite Of Spring (Opening)
Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy.
The Firebird Suite (1919, Berceuse)
The Bassoon As Concerto Soloist, Avoiding All Exaggeration
Bassoon Concerto In G Minor (Finale)
The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
The French Horn Under Its Woodwind Hat
Wind Quintet, Op.43 (Last Mvt)
Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era
Wind Quintet In A Minor, Op.100 No.5 (Mvt 2)
The Horn In Harmonious Blend With Strings In Another Quintet
Horn Quintet, K.407 (Finale)

Tracks:

The Trumpet As Virtuoso Soloist
Brandenburg Concerto No.2 (Last Mvt)
The Special Brillance Of Paired Trumpets
Concerto In C For Two Trumpets, RV537 (Mvt 1)
The Ceremonial Trumpet
Fanfare For The Common Man
Trumpets And Drums - An Incomparable Alliance
Messiah (The Trumpet Shall Sound)
The Versatility Of The Trumpet, From The Most Public To The Most Lonely
Piano Concerto In F (Slow Mvt)
The Trumpet As The Voice Of The City/An American In Paris/The Trumpet As Recruitment Officer/The Soldier's Tale (The March)/The Trumpet As Swaggerer
Carmen Suite No.2 (Habanera)
The Trumpet As The Voice Of Strength And Courage
Carmet Suite No.2 (Toreador's Song)
The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness
Billy The Kid
The Trumpet As Character Actor
Pictures At An Exhibition (No.6)
The Trumpet As The Voice Of God
Mass In B Minor ('Et Exspecto')
The Birth Of The Trombone
Aenmerckt Nu Hier
The Birth Of The Brass As A Family
Canzon 12 In Double Echo
The Trombone In The Eighteenth Century
Trombone Concerto In B Flat Major (Finale)
The Tone Of The Tenor Trombone/Romance For Trombone And Organ/The Memorable Voice Of The Bass Trombone/Requiem (Mvt 2)/But The Bass Trombone Is More Than An Instrumental Bullfrog.
Hosannah
The Trombones Become Part Of The Orchestra.
Symphony No.5 (Finale)
The Wagnerian Trombone:/Overture To 'Tannhauser'
The Trombone As Caricaturist
Pulcinella (No.19: Vivo)
The Trombone As Raspberry/Concerto For Orchestra (Intermezzo)
The Horn And The Hunt
Horn Concerto No.4 In E Flat, K.495 (Finale)
The Challenging Horn Of The Baroque
Abaris Ou Les Boreades (Menuet)
The Scarcity Of First-Rate Players In Handel's Time
Walter Music (Minuet 1)
The Horn As Magician/The Firebird Suite (1919, Finale)
Horns And The Sound Of Nobility
Overture To 'Tannhauser' (Opening)
The Special Sound Of The Horn In Its Higher Register
Mass In B Minor ('Quoniam Tu Solus Sanctus')
The Trumpet-Like Sound Of Massed Horns
Symphony No.3 (Mvt 1, Opening)
The Tuba - Unfairly Maligned?
Symphony No.6 (Mvt 3)
The Tuba Perfectly Cast By Ravel
Pictures At An Exhibition (Bydlo)

Tracks:

Introduction. And We Begin With A Bang.
Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening)
At The Opposite Extreme Is The Triangle.
Piano Concerto No.1 In E Flat (Scherzo)
Categories Of Percussion: Tuned And Untuned. The Side Drum
Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening)
The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1)
The Tambourine. One Of The Oldest Instruments In The World
Den Hoboecken Dans
Even Older Is The Originally Oriental Gong.
Ma Mere L'Oye - Mother Goose (Laideronette)
No Single Instrument Can Match The Gong In Evoking The Breaking Of Waves./Passacaglia, Op.33b From 'Peter Grimes'/But Gongs Don't Have To Be Struck To Be Effective.
Gymnopedie No.2
The Cymbals Are Generally Discovered Early In Life./The Sanguine Fan/And They Do More Than Clash Together Loudly. They Can Be Clashed Together Softly./Studio Example: But They Needn't Be Clashed Together At All/Studio Example: They Can Be Lightly...
Other Untuned Percussion Instruments Include The Whip.: Piano Concerto In G Major (Opening)/And Here Are No Fewer Than Twenty, Cracked By Tchaikovsky: The Nutcracker (Act I, Scene 5)
More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music.
Rodeo (Hoe-Down)
Related To The Wood Blocks, By Sound, Are The Castanets./Jota Aragonesa/But The Castanets Were Also Used By Monteverdi Back In The Seventeenth Century.
Scherzi Musicali (Damigella Tutta Belle)
A Still Earlier Example From Fifteenth-Century Spain
Yo M'Enamori D'Un Aire
The Birth Of The Bongo
Symphonic Dances From 'West Side Story'
From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus')
Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana
From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango
Onwards To The Tuned Percussion. First, The Timpani
Also Sprach Zarathustra (Introduction)
But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3)
Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt)
Taking Advantage Of Tunability
Music For Strings, Percussion And Celeste (Mvt 2)
The Russian Composer Rodion Shchedrin Takes A Downward Turn./Carmen Suite (Changing Of The Guard)/Tuned, Yes; But For The Truly Melodic We Must Look Elsewhere.
Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera)
Saint-Saens And The Xylophone
The Carnival Of The Animals (Fossils)
Ravel And The Xylophone
Ma Mere L'Oye - Mother Goose (Laideronette)
Introducing The Marimba/Carmen Suite (First Intermezzo)
Introducing The Vibraphone
The Treasure Of The Sierra Madre (Narange Dolce)
The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera)
Introducing The Hungarian Cimbalom
Folk Dances
The Cimbalom And The Symphony Orchestra
Hary Janos Suite (Mvt 3)
Introducing The Tubular Bells
Hary Janos Suite (Viennese Musical Clock)
A More 'Up-Front' Approach From Rodion Shchedrin
Carmen Suite (Introduction)
But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Introducing The Celeste
The Nutcracker (Dance Of The Sugar Plum Fairy)
Magic, In The Use Of Collective Percussion
Miroirs (La Vallee Des Cloches)
Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene)
A Prime Case In Point Is The Harp, Irresistible To The Romantics./The Nutcracker (Act II, No.1: Scene)/The Non-Solo Harp As An Integral Part Of The Orchestra/Hungarian Rhapsody No.1
The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra
Brandenburg Concerto No.2 (Slow Mvt)
The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That:
Petrushka (Russian Dance)
The Anti-Romantic Piano As An Integral Part Of The Orchestra
Music For Strings, Percussion And Celeste (Last Mvt)

Tracks:

Keyboard Instruments In The Orchestra - The Most Powerful Of Them All:
Symphony No.3 'Organ' (Finale)
But Things In Handel's Day Were Very Different.
Organ Concerto In B Flat, Op.4 No.3 (Last Mvt)
The Organ Is Difficult To Classify.
An Unexpected, Organ-related Guest
Concerto Pour Zampogna (Last Mvt)
Peasant-Fancying... And A Touch Of The Roaming Cowboy
Les Miserables (Drink With Me)
Outside Artefacts And The Power Of Association
Mahler's Sleighbells
Symphony No.4 (Opening)
A Roll-Call Of Some Unusual Guests/The Typewriter/Parade
Chains, And More/Integrales/An American In Paris/Sandpaper Ballet
Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening)
Don Quixote (Variation VIII)
National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale)
And The Guitar's Poor American Relative, The Banjo/Washington Breakdown
And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up)
The Balalaika For Russia/Romeo And Juliet (Act II: No.14)
The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno)
The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example
The Sitar Of India/Evening Raga: Bhapoli
The Accordion For France (Especially Paris)/Paris Canaille
The Zither For Vienna/The Third Man (Theme)
The Cimbalom For Hungary/Folk Dances
The Guitar As An Integral Part Of The Orchestra/Rondena
There Are Whole Orchestras Of Balalaikas./Sveit Mesiats
The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Nocturnes
Instruments And the Imitation Of Nature. The Clarinet As Cuckoo
The Carnival Of The Animals (The Cuckoo)
The Flute As An All-purpose Aviary
The Carnival Of The Animals (The Aviary)
The Oboe As Duck
Peter And The Wolf (The Duck)
The Recording Of Reality. Does It Work As Well?
The Pines Of Rome (The Pines Of The Janiculum)
The Recording Of Reality Electronically Reborn In New Guises
Cantus Articus - Concerto For Birds And Orchesra (Mvt 2)
Beethoven Turns Avian: Cuckoo, Nightingale, And Quail
Symphony No.6 'Pastoral' (Andante Molto Mosso)
Some Improbable Casting: The Violin As Braying Donkey
The Carnival Of The Animals (Persons With Long Ears)
A Truly Orchestral Hee-haw To Be Reckoned With
Overture To 'A Midsummer Night's Dream'
A Thunderstorm In A Million
Symphony No.6 'Pastoral (Allegro-Allegretto)
the Instrumental Depiction Of A Silent World
The Carnival Of The Animals (The Aquarium)
Saint-Saens' Menagerie Takes A Curtain Call.
The Carnival Of The Animals (Finale)

Tracks:

The Grouping Of Instrumental Families. An Additive Approach. First, Two Violins
Forty-Four Duos (No.4)
A Great Contrast, Of Both Pitch And Character: Violin And Viola
Duo For Violin And Viola In B Flat Major, K.424 (Finale, Vars 1 & 2)/Studio Example
Arrival Of The Standard String Trio: Violin, Viola, And Cello
String Trio In B Flat (Menuetto)
The String Quartet: Two Violins, Viola, And Cello
String Quartet In F, Op.18 No.1 (Mvt 3)
The String Quintet - When The Extra Instrument Is A Second Viola
String Quartet No.5 In D, K.593 (Adagio)
The String Quintet - When The Extra Instrument Is A Second Cello
String Quintet In C (Mvt 3)
The String Sextet: Two Violins, Two Violas, And Two Cellos
String Sextet In B Flat (Mvt 2)
The String Octet: The Standard String Quaret Times Two
Octet In E Flat, Op.20 (Mvt 1)
Double The String Octet: A Fully Fledged String Orchestra
String Symphony No.2 (Finale)
The Massed Strings Of A Symphony Orchestra
Fantasia On A Theme Of Thomas Tallis
Contrasts Of Pitch And Instrumental 'Colour' In The Woodwind Section
Wind Quintet In A Minor, Op.100 No.5 (Theme)
In The First Variation It's The Horn That Gets The Lion's Share.
Wind Quintet In A Minor, Variation 1
In Variation Two The Torch Is Handed To The Bassoon.
Wind Quintet In A Minor, Variation 2
In Variation Three The Oboe Leads.
Wind Quintet In A Minor, Variation 3
Variation Four: Conversation Before Returning To A Solo-dominated Texture
Wind Quintet In A Minor, Variation 4
And Variation Five is Dominated By The Clarinet.
Wind Quintet In A Minor, Variation 5
The Next To Be Featured Is The Virtuoso Flute.
Wind Quintet In A Minor, Variation 6
Individual Farewells And A Closing Chorus
Wind Quintet In A Minor, Variation 7
A Mixed Group: Clarinet, Bassoon, Horn, String Quartet, And Double-Bass
Octet In F (Mvt 3)
The Early Classical Symphony Orchestra Of Haydn And Mozart
Symphony No.29 In A, K.201 (Finale)
Strings, Wind, But No Brass. What Haydn And Mozart Never Knew
Canzon 28
Beethoven's Fifth: Two Horns, Two Trumpets, And Three Trombones Join The Team.
Symphony No.5 (Finale)
From Beethoven To The Massive Orchestras Of Berlioz, Wagner, And Mahler
Beethoven Changed The Face Of The Symphony And The Orchestra Forever
Symphoy No.6 'Tragic' (Mvt 1)
The Cult Of Orchestral Elephantiasis Reaches Its Peak.
Symphony No.1 'Gothic' (VI: Te Ergo Quaesumus)
When Large Doesn't Necessarily Mean Loud: Debussy
Images (Gigues)
A Crisis Of Confidence; The Orchestra's Survival Hangs In The Balance, But It Still Develops. The Ondes Martenot:
Turangalila Symphony (Chant D'amour 1)
The Advent Of The 'Early Music' Movement Brings A New Vitality And Freshness.
Balle De Xerxes (Gavotte En Rondeau)
Computer And Synthesiser: Friends Or Foes?
Concerto In D Minor For Two Violins (Largo)
A Speculative Look Ahead/Mass In B Minor ('Dona Nobis Pacem')

Customer Reviews:

Instruments of the Orchestra - Great Reference Material!.......2007-04-04

This set lends itself to greatly enhancing one's knowledge of the orchestra, instruments in it, and their usage. I am a huge music buff, and I still picked up a great deal I previously did not know. I highly recommend this for all who wish to understand the origin of music, as well as the processes that are employed to create music!

Beginner or Expert.......2007-03-12

This CD is excellent for the beginner or expert! To be able to haear the instrumets separately and then together really provides a good education. and/or refresher. The book thaty comes with the CD is alomost worth the price by itself!

Very Informative and Enjoyable.......2006-11-20

Whether you're a music novice or pro, "The instruments of the Orchestra" is a very worthwhile purchase. The 7 CDs, with a total of 8 hours, are expertly narrated by Jeremy Siepmann. He's a great speaker, very much like the late Leonard Bernstein was. Mr. Siepmann takes you on an unforgetable musical journey covering the origins and use of the various orchestral instruments throughout musical history. The balance between his narration and a wealth of musical examples, which range from snippets to entire movements, is superb. The comprehensive enclosed booklet is excellent and faithfully follows the 7 CDs in content. Even with my 40+ years of music training I still learned new things from this wonderful collection. Considering the excellence of the content, and a cost that translates to about $5 per disc, this collection is a great value. Grab it, you won't regret that you did. Five solid stars!

Frank's view.......2006-08-19

This boxed set of CD's with booklet achieved all I had hoped that it would. There are good samples of individual instruments and well done commentary on each. The only drawback was that some of the samples were too brief and could have been longer, hoiwever I guess this fits in with time constraints of the medium. It has given me a lot of clues as to future purchases of CD's for listening to individual instruments. Altogeth a satisfactory purchase and a welcome addition to my collection.

Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08

I've listened to classical music for years and am interested in composition. I bought this CD set to learn how an orchestra and its instruments work. I thought the CDs would be a nice but boring lecture. They aren't! Not only are they FUN but they are informative as well. I learned a huge amount from each CD and couldn't wait to listen to the next one.

The narrator and writer is a great speaker and holds your attention well. He is definitely knowledgeable. He provides musical examples for each point he makes, so you get to "hear" what he just talked about. I'd say the CDs are about 65% music and 35% narration. You'll learn about the range of instruments, some history, different ways to play them, how they sound, and how they are used in the orchestra. This CD set was a great learning experience and is sold at such a low price!

I recommend this CD for those who want to learn about classical music and those who know about it but are interested in learning more about the inner workings of an orchestra. You'll learn much useful information. For instance, the Rite of Spring (with that eerie start) is written for bassoon! I never knew a bassoon could sound like that but now I do.

The one complaint I have is the last CD. This deals with the orchestra. I wanted more of a tour of how the orchestra has been used through history up to the present. Instead, it was a tour of how different groups of instruments sound. I thought it could have been better. The other 6 CDs are excellent.

The Rocky Horror Show (2000 Broadway Revival Cast)
Average customer rating:

One of my favorite cast recordings

Thougt You Were The Candyman Didn't ya freggy!

The Rockiest Recording to Date

Good recording, bad show.

Oh Daphne!

The Rocky Horror Show (2000 Broadway Revival Cast)
Alice Ripley , Tom Hewitt , Raul Esparza , Sebastian Lacause , Jarrod Emick , Lea Delaria , Daphne Rubin-Vega , and Richard O'Brien
Manufacturer: RCA Victor Broadway
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005B605
Release Date: 2001-05-15

Tracks:

Overture
Science Fiction Double Feature
Damn It, Janet
Over At The Frankenstein Place
Time Warp
Sweet Transvestite
The Sword Of Damocles
I Can Make You A Man
Hot Patootie
I Can Make You A Man (reprise)
Touch-A-Touch-A-Touch Me
Once In A While
Eddie's Teddy
Planet Schmanet-Wise Up Janet Weiss
Floor Show/Rose Tint My World
I'm Going Home
Spaceship
Super Heroes
Science Fiction Double Feature (reprise)
Time Warp (reprise)

Amazon.com's Best of 2001

The movie version of The Rocky Horror Show has turned into such an enduring cult success that it has pretty much obliterated the fact that it all started with a stage show. And now Richard O'Brien's musical is back on stage, where some say it truly belongs (it was nominated for the category Best Revival of a Musical in the 2001 Tony Awards). With a great cast that includes Dick Cavett, Alice Ripley (Janet), Tom Hewitt (Frank 'N' Furter), and Daphne Rubin-Vega (Magenta), the revival fires on all cylinders. Note that while Joan Jett was in the cast as Columbia, she's not on the CD (Kristen Lee Kelly is). But Lea DeLaria, last seen stealing the show in On the Town, more than compensates by playing both Eddie (Meat Loaf in the movie!) and Dr. Scott--and doing great by both. As a bonus, the song "Once in a While" is back after being cut from the movie. Bursting with energy, this recording brings the rock back in Rocky. --Elisabeth Vincentelli

Customer Reviews:

One of my favorite cast recordings.......2007-01-17

This was the first Rocky Horror album I've ever listened to besides the movie soundtrack. Despite the lack of Joan Jett as Columbia and the 2nd Usherette, this album is sweet. Daphne-Rubin Vega is perfect as Magenta. And Tom Hewlett 's interpretation as Frank N. Furter is just in sync with the character. But he's still no Tim Curry. And the rest of the cast is sublime. And with Dick Cavett as the Criminologist and famed lesbian comedienne Lea DeLaria as both Eddie and Dr. Scott is just excellent.

Thougt You Were The Candyman Didn't ya freggy!.......2006-06-22

I thought that this was gonna be just another edition of the Rocky Horror Show.But boy was I wrong.I loved it they really modernized and gave it more of a Rock flavor than in the original play which was more pop.I just loved how they had the Overture and Space shipa partof the cd.They really recreated great for broadway.When i heard that broadway was doing Then Rocky Horror Show I didn't know what to think.Because Rocky Horror had been an off-broadway show for many years.The thought of it being onBroadway was just amazing Because people back in the 70's and 80's always thought that The Rocky Horror Show was much too trashy to be put on Broadway.Because you always think about broadway plays as being classy and eligent.They didn't want a play about Sex and Horror and Gay Transvestites.But this was just a head turner.I loved it.It's definitely 5 stars.The cd quality was great.It was so professionally done and it was great.I think any RHS Fan will love it.This was no candyman!

The Rockiest Recording to Date.......2006-06-07

This 2000 Broadway revival of the cult classic THE ROCKY HORROR SHOW boasts a completely re-vamped orchestration of Richard O'Brien's score. This is certainly the most rock-fused version of these songs to date, and right from the "Overture" the listener can assume this. Many may not be able to accept this harder, bolder score and I myself am a bit skeptical, considering the more piano-driven and sci-fi sounding orchestrations of the film soundtrack or Roxy cast recording. However, it is so interesting to hear these songs done like this that I cannot help but enjoy it. The performances are half-and-half. Daphne Rubin-Vega belts out the opening number in that great gravelly voice she has, and Raul Esparzza sends chills down my spine every time I hear his two great solo moments ("The darkness must flow down the river...." and "Frank 'N' Furter, it's all over..."). Sebastian LaCause is amazing as Rocky, as thankless a part that is. Eddie and Dr. Scott being portrayed by a woman (Lea DeLaria) is one of the strangest casting decisions ever and is too distracting to be able to even listen to her (his? I don't know!!!) songs: "Hot Patootie" and "Eddie's Teddy." Tom Hewitt does his best as Frank 'N' Furter, but the character was so well defined by Tim Curry in the film (one of the most underrated performances ever) that one can't help but ignore him. I'd say that this recording is something every ROCKY HORROR fan should listen to; it just all depends on whether you like the new or original orchestrations.

Good recording, bad show........2006-03-10

Rocky Horror is an American institution. It's indelible, unforgettable, and entirely unique. But without the audience participation, the show is revealed - it's simply not very good. It's a passable (if dated) parody of '50s B-movies with a transvestite main character and some halfway decent songs. The show lives with and dies without an audience. The lyrics, the characters - nothing is half as fun without the audience throwing and shouting and bantering right along.

That said, this is a VERY good recording of what's there. Tom Hewitt does as good a job as anyone trying to fill Tim Curry's sequined heels, and brings some nice twists to the table instead of going the Curry-imitation route. Raul Esparza as Riff-Raff is electric - his rendition of "Time Warp" is unlike anything else you're likely to hear on a cast recording. He blasts it right into outer space, screaming like the world's going to end. Daphne Rubin-Vega is plenty of fun as Columbia, giving a nicely sinuous and raw-edged sexiness to the role. The orchestra gives their all to the new arrangements, and they sound crystal clear.

It's definitely the best recording of the show available, even sans Tim Curry.

Oh Daphne!.......2005-12-29

Most of the reviews have it right here - this production wasn't really Rocky at it's best. That being said, I must say that Daphne Ruben-Vega as magenta is probably one of the most interesting, refreshing, and note worthy things about this recording. Very cool in that regard.

That's All...

Average customer rating:

Crossover at Its Best
If Dawn Upshaw had made only one album...
Great songs by a better than average singer. Buy It.
A must album for all musical theatre lovers.
Timeless recording

I Wish It So
soprano Dawn Upshaw , Marc Blitzstein , Eric Stern , Stephen Sondheim , Kurt Weill , Leslie Stifelman , Leonard Bernstein , and Matthias Naegele
Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

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ASIN: B000005J2V
Release Date: 1994-08-02

Tracks:

I Wish It So
There Won't Be Trumpets - Sondheim
What More Do I Need? - Sondheim
That's Him
The Girls Of Summer - Sondheim
The Saga Of Jenny
Like It Was
Stay Well
I Feel Pretty
Glitter And Be Gay
My Ship
In The Clear
Never Get Lost - Take Me To The World
My New Friends - Bernstein

Amazon.com essential recording

With a spirit of innocence and excitement, no audible breaks of register, and perfect diction, Dawn Upshaw graces us with a satisfying crossover recording in which each song is a fully realized musical monologue. The eclectic and infrequently performed repertoire, from Bernstein, Blitzstein, Sondheim, and Weill, compliments her charm and interpretive acuity. There's her humorous "Saga of Jenny," her adorable "That's Him," her poignant "Like It Was," and her freshly vibrant "I Feel Pretty." Conductor Eric Stern is divine in his arrangements and accompaniment. This is one of the best musical theater albums available. --Barbara Eisner Bayer

Customer Reviews:

Crossover at Its Best.......2006-11-15

"I Wish It So" is the CD that first introduced the exceptional "crossover" talents of soprano Dawn Upshaw. The album, which comprises (mostly) little-heard songs by Kurt Weill, Marc Blitzstein, Leonard Bernstein, and Stephen Sondheim, opens with the title number, a lyrical gem from Blitzstein's JUNO, and continues with Sondheim's vibrant "There Won't Be Trumpets," in which Upshaw, rather than belting, lets her voice ring. She then slam-dunks Sondheim's "What More Do I Need," a truly raucous number. Other highlights include the two songs from Weill's LADY IN THE DARK: the haunting ballad "My Ship" and the witty "The Saga of Jenny," presented here in a superb jazz arrangement. The sound of Upshaw's lower middle voice in this number is thrilling. Her combining of Blizstein's "Never Get Lost" and Sondheim's soaring, life-affirming "Take Me to the World" is perfect, as is her musical yet emotional rendition of "Like It Was" from Sondheim's MERRILY WE ROLL ALONG. The album climaxes with the mock-coloratura aria "Glitter and Be Gay" from Bernstein's CANDIDE, in which Upshaw scales the heights with consistently pure and beautiful tone. In a day when many great opera singers attempt, unsuccessfully, to sing "popular" song, "I Wish It So" is an example of crossover at its very best. It is a CD that no one who loves both opera and musicals should miss.

If Dawn Upshaw had made only one album..........2006-08-24

I have a weak spot for crossover albums by opera stars, which can often be train wrecks or embarrissing self-parodies. There's not a cringe-worthy note in this one, however. Dawn Upshaw has never been as vibrant on disc, and her style in pop music (albeit serious pop music) surpasses expectations. She is a master at touching vulnerability and stars-in-her-eyes vulnerability. There's no current Broadway star who can match her in any of these songs form Sondheim, Weill, and Bernstein, certainly not for sheer beauty of voice and charm. Upshaw went on to make an excellent album of Rodgers and Hart songs, but nothing else quite matches this first effort.

Great songs by a better than average singer. Buy It........2006-04-24

'I Wish It So' sung by popular / classical switch hitter, Dawn Upshaw is a very, very good interpretation of classical American musical theatre pieces by four masters of the genre, Leonard Bernstein (music), Marc Blitzstein (lyrics), Stephen Sondheim (lyrics) and Kurt Weill (music). As I am most familiar with female interpretations of Kurt Weill's songs, especially by the likes of his widow, Lotte Lenya and Weill interpreter extraordinare, Ute Lemper, I have to say that while Upshaw does them justice, she does ont outshine the very best Weill interpretations. Primarily, I believe she suffers from never actually performing the works on stage, as Lenya has.

And, since Ute Lemper did an album with a similar collection of songs (Illusions) from Sondheim and others, I thing Lemper still has the edge on interpreting other composers as well.

On the positive side, I find Upshaw's interpretation as good or better than almost everyone else who makes a career out of these songs, such as, dare I say it, Barbra Streisand. This is a good thing, because I believe Upshaw is not up to the very best mezzos who share her classical works. She can't hold a candle, for example, to Renee Fleming or Anne Sofie von Otter, although her interpretations of Weill are as good as von Otter, just not as good as Lenya and Lemper.

A very, very nice album if you like female vocalists.

A must album for all musical theatre lovers........2005-04-21

Dawn Upshaw once again disproves the adage that opera singers can't sing showtunes properly. Her diction, her ability to act out the lyrics and her crystal clear angel-like voice are just heavenly. Miss Upshaw could teach quite a few Broadway and Cabaret singers a thing or two about interpretation and she would have her hands full teaching opera singers like Te Kanawa or Fleming how to put over a showtune properly. Simply divine!

Timeless recording.......2004-07-20

This is an endlessly rewarding album by an operatic soprano who demonstrates an expressiveness and range rare in crossover albums of this sort. Upshaw modifies her classical technique without compromising it, narrating with a conversational tone and youthful ebullience well-suited to musical theater. She continues her tradition of championing obscure American art songs with three gorgeous Blitzstein pieces, and wisely avoids the standard, overdone Sondheim showpieces in favor of several gorgeous lesser-known songs. "I Feel Pretty" is given a refreshing makeover, while "Glitter and Be Gay" demonstrates both her impressive vocal control and comedic prowess. Despite the odd choice of "There Won't Be Trumpets", which demands a belter to properly execute the climax, this album is a well-conceived and cohesive collection that becomes more enjoyable on each subsequent listen.

Average customer rating:

Serious Sting fans, do pass this one up
One Of Stings Best
You Still Touch Me is GREAT!
Just ok...
A Priceless Gem Lost In Obscurity

You Still Touch Me
Sting
Manufacturer: A&M
ProductGroup: Music
Binding: Audio CD

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...All This Time

ASIN: B000002G7Y
Release Date: 1996-04-30

Tracks:

You Still Touch Me (Lp Version)
Lullaby To An Anxious Child
The Pirate's Bride
Twenty Five To Midnight

Customer Reviews:

Serious Sting fans, do pass this one up.......2006-12-23

Albums like this are the reason people go searching for B sides. Truly a crime these were not all added to Mercury Falling, but once you own, they are your own secret treasure.

Do not be surprised if you find yourself memorizing Lullaby and Pirates Bride to lullaby to a loved one. They are simply beautiful.
While not as smooth and sweeping, 25 to Midnight infectiously finishes off the set. One of my favorite overall purchases, much less a favorite Sting album.

If you enjoy this, I'd also highly recommend Brand New Day [SINGLE] (Part 1 with Windmills and End of the Game) by Sting as well and vice versa.

One Of Stings Best.......2006-08-21

I love B sides from an album. They always give you insight into the artists thoughts. Since we don't always get the full line up in the U.S. I'm thrilled to find so called singles to go with albums that I have purchased. The Pirates Bride is one of the most beautiful soulful songs Sting has ever written, and you have got to feel so moved by these thoughts in this song. Lulluby To An Anxious Child, a collaboration with Dominic Miller, is almost an apology to a child for the world being not quite right and is also truly beautiful. Twenty Five To Midnight rocks and almost sounds autobiographical if you have ever read Stings book Broken Music. You Still Touch Me definetly
not a B side and a mild hit on Mercury Falling. It is also a wonderful song with fantastic lyrics and Romantic as ever.You won't be sorry with this 4 song single it's worth every bit as much as the rest of the album.

You Still Touch Me is GREAT!.......2006-07-02

The best part about buying this disc featuring "You Still Touch Me" is getting the additional tracks with it.

"Twenty-Five to Midnight" is awesome! It's Sting at his best..wonderfully upbeat. Great horns! Great guitar! Great lyrics! I don't know where else you can find this track.

"Lullaby To An Anxious Child" is beautiful. I believe co-written by Dominic Miller.

"The Pirate's Bride" is also a beautiful tune.

Just ok..........2006-06-30

The Pirates Bride is a beautiful tune, the only track I listen to on this disc. I'm a big time Sting fan and I'm just calling it as I hear it.

A Priceless Gem Lost In Obscurity.......2006-02-08

The problem I've had with Sting over the years is that the music which is chosen for radio airplay is oftenly inadequate representations of his best work. What we have in this instance makes even less sense. Here we have a few of the finest songs Sting has ever written appearing as "B-side" tunes on a very hard-to-find CD single, and it's the only way you'll ever hear these songs because they don't even appear on any of his regular albums! I am obviously referring to the songs "Lullaby To An Anxious Child" and "The Pirate's Bride".

Thank you for the music, Sting, but why do you sometimes throw your best music away???

Offenbach: Orpheus in the Underworld / Burgess, Watson, etc (Highlights)

Average customer rating:

A Splendid Souvenir to Remember a Spectacular Performance!
god moves in a peculiar way.........i am god......
Orpheus in the Underworld
Excerpts
Highlights or total Opera?

Offenbach: Orpheus in the Underworld / Burgess, Watson, etc (Highlights)

Manufacturer: Jay Records
ProductGroup: Music
Binding: Audio CD

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Léhar: The Land of Smiles; The Merry Widow; The Count of Luxembourg (Highlights)

ASIN: B00001O2XK
Release Date: 1999-09-14

Tracks:

Orpheus In The Underworld: Prelude
Orpheus In The Underworld: Hello, I'm Public Opinion
Orpheus In The Underworld: Eurydice Is All A-flutter!
Orpheus In The Underworld: So That's The Game
Orpheus In The Underworld: I Feel A Cool Intoxication
Orpheus In The Underworld: We, The Watchdog Of The People
Orpheus In The Underworld: Tzing, Tzing, Tzing, Tzing!
Orpheus In The Underworld: A Night On The Town
Orpheus In The Underworld: Remember What You Did To Leda
Orpheus In The Underworld: Look Out, Look Out, Move Over There!
Orpheus In The Underworld: He Is Coming, Oh, How Boring
Orpheus In The Underworld: Oh, Oh, Look At That Look He's Giving Me
Orpheus In The Underworld: Though I Was King Of All Beotia
Orpheus In The Underworld: We Can Tell She's In Hell
Orpheus In The Underworld: My Little Spies Uncover
Orpheus In The Underworld: There You Are, You Look So Neat
Orpheus In The Underworld: It's Strange, But A Touch Seemed To Wake...
Orpheus In The Underworld: Do Not Look Back Or All Will Be Lost
Orpheus In The Underworld: ...He Is The Only God
Orpheus In The Underworld: Infernal Gallop

Customer Reviews:

A Splendid Souvenir to Remember a Spectacular Performance!.......2003-10-30

Having been fortunate to have seen the English National Opera's production in 1988 of "Orpheus" with Wilson and Pountney's outrageously naughty English text, this highlight CD serves as an audio souvenir. Too bad the ENO didn't have the foresight to film the production-would have made a great DVD. The CD booklet does have a few photos of the sets designed by Gerald Scarfe (who also designed Pink Floyd's "The Wall" album artwork) so you get a taste, combined with the CD selections, of what the production was like.

god moves in a peculiar way.........i am god.............2002-01-17

Offenbach is great anyhow, but this recording is riotous. The translation into English is first-rate, really funny stuff, and the singing is pretty good, too. Very worthwhile.

Orpheus in the Underworld.......2000-03-17

The rewritten lyrics, in English, are some of the wittiest and wicked in operetta. Wilson and Pountney have recaptured the spirit of naughtiness, not a small accomplishment in our licentious times. Though delighted to have the highlights, I wished a CD set or video of the full production were available.

Excerpts.......1999-12-23

This is a collection of excerpts. It is in English and is quite good. The performance of the entire operetta has been discontinued and it is a pity.

Highlights or total Opera?.......1999-11-01

I would like to know if this is highlights from the opera or the total opera.

Average customer rating:

"Classic Ross"
Diana's Ballad Tour De Force
The Soul Diva Returns After Lady Sings The Blues With An International Top 10 Album
From a Supremes vocalist to a Supreme vocalist !
Diana's Early 70s Masterpiece

Touch Me in the Morning
Diana Ross
Manufacturer: Polygram Int'l
ProductGroup: Music
Binding: Audio CD

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Reflections: The Definitive Performances 1964-1969
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To Love Again

ASIN: B000026OGE
Release Date: 2003-07-07

Tracks:

Touch Me in the Morning
All of My Life
We Need You
Leave a Little Room
I Won't Last a Day Without You
Little Girl Blue
My Baby (My Baby My Own)
Imagine
Medley: Brown Baby/Save the Children

Album Description

1973 solo album featuring the hit title track & a cover of John Lennon's 'Imagine'.

Customer Reviews:

"Classic Ross".......2007-01-14

Loved this album as a teen in the early 70's. I was thrilled to have a chance to revisit on cd. It is classic Ross.

Diana's Ballad Tour De Force.......2006-11-18

Diana Ross won acclaim for her role as Billie Holiday in Lady Sings The Blues, but she and Motown knew a
return to her signature sound should be fast in coming, so shortly after the Lady.... soundtrack was winding down on the charts, Touch Me In The Morning was released.

The tile track is the epitome of a Diana Ross ballad, and it landed her another Pop/R & B crossover hit.
With the commitment of her mentor, Berry Gordy, Diana gained more confidence as a vocalist, and this release contains some of her finest work from a cover of the Carpenter's, I Won't Last A Day Without You, to a moving take on the John Lennon masterpiece Imagine.

Her Jazz/Blues stylings from LSTB were not lost either, and the medley of Brown Baby and Save The Children
lent her more vocal credability.

Diana displayed a powerful level of emotion on this album and All Of My Life is another prime example.

Why a rating of 4 stars, as opposed to 5?. Simply put, that although the dramatic ballad is Diana's forte,
a uptempo track, or two, delivered with the same passion as the rest of this release would have taken it to the next level.

Ken

The Soul Diva Returns After Lady Sings The Blues With An International Top 10 Album.......2006-08-31

Where the Lady Sings The Blues Original Motion Picture Soundtrack (1972) totally shrugged off any Supremes-type number, showcasing Diana Ross's versatile talents, the Touch Me In The Morning (1973) project steered even further away, completely abandoning her previous commercial R&B/Soul/Pop sound. The mood is mellow and soulful throughout, emerging as one of her all-time great albums of the 1970's.

The magnificent title track, Touch Me In The Morning is an absolute cracking masterpiece and is one of Diana's most memroable and timeless classics. A young composer, Michael Masser was drafted in by Motown. His first assignment was to come up with a no.1 hit for Motown's leading lady - Diana Ross. Michael Masser immediately came up with Touch Me In The Morning with Diana Ross in mind. Touch Me In The Morning would also be aided by the compositional and lyrical finesse of Ron Miller. Basically Berry Gordy wanted a No.1 hit waiting in the wings for his leading star just in the event of a needed re-bound if the Lady Sings The Blues movie bombed. Of course we all know Lady Sings The Blues was indeed an enduring success and earned her a much deserved oscar nomination for her powerful and riviting portrayal as the tortured Jazz singer Billie Holiday. Hot on its trail came Touch Me in The Morning. After an extremely sluggish start where it literally hovered for weeks on end down the lower reaches of the Hot 100 it slowly but surely climbed up the charts and eventually zoomed into pole position, remaining there for weeks on end. The formula is vastly similar to Ain't No Mountain High Enough where the rhythm steadily builds to its exalting chrous which Diana tackles with utter style and finesse sounding gutsy and soulful. One of Diana Ross's best classics!
Incidentally Michael Masser described the recording sessions for the Touch Me In The Morning single an emotionally draining experience. He claimed that Diana was very emotional during the sessions, crying a lot when she couldn't hit the notes required for the song and Diana even believed the song was beyond her vocal abilities. After countless takes, Diana finally got that desired vocal performance mastered to perfection.

Another timeless ballad was the remarkably powerful, All Of My Life where Dianas exubearant delivery ignites this breathtakingly beautiful ballad to startling effect. All Of My Life was lifted as a single in the U.K and became a Top 10 hit.

The mood turns somewhat chilly on the atmospheric, We Need You where Diana delivers a fantastic and stirring vocal performance. We Need you was written by Deke Richards whose most famous work for Diana Ross was the U.K chart-topping, I'm Still Waiting in 1971.

Also of great musical merit was the pleasant, mid-tempo Leave A Little Room where Diana glides through the verses and is joined by a gospel choir on the chrous which merley adds to its dramatic effect.

Diana surprisingly makes her version of The Carpenters, I Won't Last A Day Without You her own but it's the latter half of the album that displays a lot of true artistic flair. Perharps holding onto Lady Sings The Blues in some way, Diana delivers two Jazz/Blues numbers that are both stunningly atmospheric. Her performance on Little Girl Blue is dreamy and rich whilst the mood deepens and steadily more sombre on the haunting, My Baby (My Own). Her striking, lower throat register performance virtually turns into a subdued howl at the climax of this track.

Diana then delivers a magnificent and sophisticated reading of the John Lennon classic Imagine which she sings with such passion in her voice.

The Touch Me In The Morning (1973)album's climax is a startling and compelling medley (a)Brown Baby (b)Save The Children. More than anything, this medley showcased her versatile vocal style and her overall diversity as a recording artist. The Medley is both touching and hauntingly atmospheric rounding the project off beautifully.

The Touch Me In The Morning (1973) set was a fantastic affair all round and was one of her most artistic and diverse efforts off the 1970's. The bonus was it proved to be another yet massive commercial success where it speedily jumped into the U.K and U.S Top 10 Album charts becoming one of her biggest sellers in that era.

Ian Phillips

August 2006

From a Supremes vocalist to a Supreme vocalist ! .......2005-10-03

The first time I heard "Touch Me in The Morning", it was evident from the opening bars of the song until the last note that her performance, was stunning and destined to be her second solo #1 single.(And the first of her recordings with Michael Masser, who co-wrote among other songs they recorded together,"Theme from Mahogany" and "It's My Turn.")The rest of the album lives up to that standard. Compare her interpretation of "Little Girl Blue," to the version recorded on "The Supremes Sing Rodgers-The Complete Sessions," to experience her growth as a vocalist.

Diana's Early 70s Masterpiece.......2005-04-12

Every artist has a defining moment in their career. For Diana Ross, there have been several moments of brilliance and 1973's "Touch Me in the Morning" was one of them.

Historically, the timing for the release of the album was of significant importance. Diana had stunned the world with her Oscar nominated and Golden Globe Award winning performance in "Lady Sings the Blues". It was time to return to the studios and the result was a collection of beautiful, timeless classics that have stood the test of time.

The album opens with that ever popular Ross ballad, "Touch Me in the Morning" which has to rank as one of the finest pop/R&B singles of the modern pop era. Diana demonstrated previously undiscovered nuances in her delivery, and displayed a talent for ballads that was fresh and exciting. Furthermore, Diana's voice was incredibly smooth, supple and dreamy. It all makes for pleasant listening.

There are no dance cuts here, just classy ballads. My personal favourites are "Leave A Little Room", "Little Girl Blue", and "My Baby, My Own". The "Brown Baby/Save the Children" medley is awesome. "Save the Children" is quite an intense experience, with Diana singing with passion and conviction. Both tracks were produced by Ms Ross.

This classy album should be part of the collection of any Ross fan. This was Diana at her best.

Average customer rating:

Kurt Weill: Re-discovery...
Incredible Live Album

Kurt Weill: The Centennial
Kurt Weill , Brock Peters , Carole Cook , Charlotte Rae , Nancy Dussault , Norm Lewis , Peter Becker , Rod McKuen , Shirley Jones , Tim Curry , and Steve Orich
Manufacturer: Lml Music
ProductGroup: Music
Binding: Audio CD

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Avant Garde & Free Jazz | Jazz | Styles | Music

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Dream: The Lyrics and Music of Johnny Mercer

ASIN: B00005U8HM
Release Date: 2002-01-08

Tracks:

Act 1: Pirate Jenny - Charlotte Rae
Act 1: I'm A Stranger Here Myself - Jodi Stevens
Act 1: Economics - Jane A. Johnston
Act 1: Is It Him Or Is It Me? - Pam Dawber
Act 1: Barbara Song - Linda Purl
Act 1: Lullaby - Kathryn Skatula
Act 1: That's Him - Nancy Dussault
Act 1: Don't Look Now - Sharon Lawrence
Act 1: Apple Jack - Norm Lewis
Act 1: Speak Low - Sally Kellerman
Act 1: September Song - Rod McKuen
Act 1: Ice Cream Sextet - David Holladay

Tracks:

Act 2: Wouldn't You Like To Be On Broadway? - David Holladay
Act 2: What Good Would The Moon Be - Melissa Dye
Act 2: It Never Was You - Hugh Panaro
Act 2: We'll Go Away Together - Hugh Panaro
Act 2: Tschaikowsky - Jack Noseworthy
Act 2: The Saga Of Jenny - Carole Cook
Act 2: Surabaya Johnny - Tim Curry
Act 2: My Ship - Shirley Jones
Act 2: Mack The Knife - Loretta Devine
Act 2: Lost In The Stars - Brock Peters

Customer Reviews:

Kurt Weill: Re-discovery..........2006-11-10

I am so impressed and pleased to have found this recording on Amazon.com. I am always amazed when I find these seemingly obscure recordings, and thrilled to know they exist. What a wonderful history of our musical world---and what a chance to hear interesting, challenging, and unusual performances from so many well-known people. The songs live on--the composer is 'new' again, and this recording becomes part of history re-discovered. Thank you Amazon.com for your continued professionalism and for having these recordings available.

Incredible Live Album.......2002-02-10

This incredible concert (which i attended) benefitting The Actors' Fund of America, contains some absolute MUST performances for any Broadway collector.

For me, the highlights are HUGH PANARO ("It Never Was You"), NANCY DUSSAULT ("It's Him") and TIM CURRY singing "Surabaya Johnny" in German!

Loretta Divine, Brock Peters, they're all great!

Touch Me in the Morning
Average customer rating:

old and young will love it

Touch Me in the Morning
Various Artists
Manufacturer: Shanachie
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music
General | Compilations | Jazz | Styles | Music
Smooth Jazz | Jazz | Styles | Music
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ASIN: B00080Z77S
Release Date: 2005-05-24

Tracks:

Touch Me in the Morning
Always and Forever
All This Love
Close the Door
Ooo Baby Baby
Always
Me and Mrs. Jones
Shining Star
Betcha By Golly Wow

Customer Reviews:

old and young will love it.......2007-05-20

I bought this for my dad christmas 2005 and my uncle requested a copy after hearing it .What can i say ? this reminds me of sitting in mt room in the late seventies when i should have been sleeping and listening to my dad and his friends playing cards and listening tosweet soul music.

Average customer rating:

Great boy treble tradition resounds
Robinson saves the best for last.

Walton: Choral Music

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

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

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

Te Deum | Vocal Non-Opera | Opera & Vocal | Styles | Music

A Cappella | Folk | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

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ASIN: B00005Y0MG
Release Date: 2002-03-19

Tracks:

Coronation Te Deum
A Litany: Drop, Drop Slow Tears
Magnificant
Nunc Dimittis
Where Does The Uttered Music Go?
Jubilate Deo
Henry V: Touch Her Soft Lips And Part
Cantico Del Sole
Henry V: Passacaglia 'Death Of Falstaff'
The Twelve
Set Me As A Seal Upon Thine Heart
Antiphon
Kyrie
Sanctus And Benedictus
Agnus Dei
Gloria

Amazon.com

St John's English Choral Music series for Naxos (this Walton disc is No. 4) has won golden opinions (and an award or two), but there has been nothing better than this. With Christopher Robinson nearing the end of his reign in charge of this world-renowned choir, there could hardly be a better testament to his work. The likes of "Drop, drop slow tears" and "Set me as a seal" are standards for choirs up and down the land, but pieces such as the remarkable "The Twelve" and "Where does the uttered music go?" require a particular virtuosity, which is more than evident here. Space doesn't permit an extolling of all the virtues--in brief, a sound fresh, rich, and natural; ensemble and balance of voices immaculate; solo contributions impressive. Christopher Whitton's organ playing also impresses, not least in arrangements of the two ubiquitous movements from Walton's film music for Henry V. The acoustics of St John's is caught just right--neither too dry nor too swimmy. As a chorister himself, Walton knew the musical traditions of the Anglican church inside out. St John's et al. show here they know his music just as thoroughly. Rush out and buy. --Andrew Green

Customer Reviews:

Great boy treble tradition resounds.......2007-01-30

Over time even traditionally great choirs vary in their excellence, so in recent years the choir of St. John's College Cambridge has a sound that is again at its apogee. Choirmaster Christopher Robinson (now, alas, recently retired from St. John's) has nurtured a choral brilliance that reminds me of the years when George Guest directed the choir. It is a delight to see that the great tradition of men and boys choirs still resounds in the Anglican Church (at least in many of England's 'Collegiate' and Cathedral choirs). St. John's is one of two ancient male voice chapel choirs at Cambridge University (the other being King's College Chapel Choir) in which the boy trebles are actually in a sense 'professionals'. Each college, in whose chapel they sing daily services, operates a nearby boarding school where the young singers--chosen for prodigious talents at strict competition-- take a high level of musical training, along with the regular school curriculum. The men's voices consist of young university students attending Cambridge on 'choral scholarships'. And for me the often heard debate regarding the merits of boy trebles versus girls (or women's) voices in church music is not moot when it comes to the Anglican musical and liturgical tradition. There is a kind of effortlessness and artlessness to the singing of the English choirboy, at this level of selection and training, that produces a wistful, often plaintive sound. It is a sound that seems most perfect for the Anglican liturgical repertoire. A female singer often seems to me likely to 'interpret' the note more, probably by virtue of natural instinct, and interject themselves more into the musical meaning of the piece. The boy treble 'tends' to have a natural emotional detachment in his singing which for me more profoundly expresses the ineffable nature of traditional Anglican music (if the expression of the ineffable is not a contradiction in terms:-). Anyway, for many all this is arcane opinion. But for lovers of this musical tradition it is its arcane nature that fills us with joy and wonderment.

Robinson saves the best for last........2002-07-14

I agree completely with the editorial review on this excellent disc; they never fail to impress. This is now the recording to have of Sir William Walton's choral music and the very tight and musical performances do justice to the composer's dramatic music. The acoustics of St. John's are the perfect atmosphere for Walton's music, much of which was composed for Christ Church Cahthedral Oxford, Britain's smallest cathedral. Many works such as 'The Twelve', with its many staccato effects and chamber music-like writing, would be out of place in a larger room. I don't remember from my visit to St. John's exactly what the acoustics are like, but I believe that the Naxos engineer did add some reverb, however it is never overdone. If I had one complaint about the disc it would be the organ playing, which is adequate for accompanying a choir, but isn't the most exciting for the transcribed solo works, luckily the organ is excellent. It is not that the playing is bad, it is just a let down after the excellent singing.

I would not let that stop the reader from buying it, as this choir is now the best men and boy's choir in the world, the conducting is excellent, and the music is uplifting.

Are You Driving Me Crazy?
Average customer rating:

my favorite one thus far

best efforts are here.

Seam

It'll Make You Grin...

Brilliant Minimalist Rock

Are You Driving Me Crazy?
Seam
Manufacturer: Touch & Go Records
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music
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Pop Rock | Pop | Styles | Music
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EndSerenading

ASIN: B0000019KX
Release Date: 1995-06-20

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Berlitz
Hey Latasha
Port Of Charleston
Rainy Season
Two Is Enough
Haole Redux
Tuff Luck
Broken Bones
Sometimes I Forget
Petty Thieves

Customer Reviews:

my favorite one thus far.......2006-06-16

I've been in an intense period of rediscovering 70s, 80s, and 90s bands lately, maybe because pop has devoured punk and birthed a toothless, ineffectual and bland slate of "indie" and "punk" bands that sell clothes, videos, and images quite well -- but either lack musicality or simply ape their influences.

So now that I've typed my screed, this is my favorite Seam album so far. The sound is the biggest, and there are some production surprises (such as horns) thrown into the mix. Even in the midst of the guitar maelstroms that the songs build to, the album has a hushed, intense quality -- like that breaking wave on the album jacket, about to fall on you and wash me away...

...this is a band that was always on my radar screen, but it's good to grab a $5 CD at the used store that is actually enjoyable and full of great songs!

The vocals reminded me of something I couldn't place for a few days, but it just hit me: Dean Wareham from Luna.

(not to say this sounds anything like Luna)

best efforts are here........2002-03-09

It might come along like any other 90's. But they've got something that would never let you to press the stop button until the player stops itself. It truly will hold your guts, stab your deep inside. Make sure to imagine certain scenes for the songs as you listen to it. Put yourself into the scenes and let your emotion wake you up. Soon you will appriciate the fact that you are not missing this great band in your life.

All the great words to go. 5 stars. Definitely.

Seam.......2000-05-28

I haven't listened to any of their new stuff, but this CD is marvelous. Every song is awesome and it has something most music out there today doesn't have: originality and talent. These guys know what they're doing.

It'll Make You Grin..........2000-03-30

If you dig Guided by Voices, The Inbreds et al, you're gonna LOVE this!

Brilliant Minimalist Rock.......1999-07-14

Ignore the two-star review. The comparisons to June of 44, in particular, are unwarranted. This is minimalist guitar rock at its best. (Unfortunately the same cannot be said of Seam's disappointing recent release, "The Pace is Glacial.")

With this record Seam demonstrate that they are one of a handful of modern rock acts who understand that while the artistic conventions of rock music have been largely exhausted, the genre still has the capacity to move the listener, that overdriven guitar amplifiers, when used with the kind of careful attention evidenced here, are capable of moments of exquisite sonic beauty. Buy this album.

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