A Better World

A Better World

Track Listings

1. Better World [Factory Team Extended Mix] - Kate Project

2. Dreaming [Original Extended Mix] - DJ Miko

3. Everytime I Say [World Tribe Remix] - Basement Three

4. Let the Rhythm [Original Mix]

5. Sex Alarm [Emergency Mix] - The Raiders

6. Universal Nation [Dumonde Remix] - Push

7. Light [Original Extended Mix]

8. Tell Me Why [The Riddle] [Club Mix] - Saint Etienne, , Paul Van Dyk

9. Fade to Grey [Scratch and Sniff Mix] - Babe Instinct

10. If You Need My Love [Extended Club]

11. Never Ending Story [Power Club Vocal Mix]

Tracks:

Main Title (I Had A Farm In Africa)
I'm Better At Hello (Karen's Theme l)
Have You Got A Story For Me
Concerto For Clarinet and Orhestra
Safari
Karen's Journey - Siyawe (African Traditional)
Flight Over Africa
I Had A Compass From Denys (Karen's Theme II)
Alone On The Farm
Let The Rest Of The World Go By
If I Know A Song Of Africa (Karen's Theme III)
End Title (You Are Karen)

Amazon.com essential recording

The great irony of John Barry's Academy Award-winning score for Out of Africa (which also took the Oscar as Best Picture) is that it almost never was; director Sydney Pollack had originally envisioned the film with native African music, going as far as laying the indigenous score down as he was editing. But the weight of John Barry's arguments--not to mention his considerable track record and composing gifts--held sway, and the composer delivered on his intent: a lush, romantic masterpiece for the ages. --Jerry McCulley

Customer Reviews:

Simply beautiful.......2007-01-11

Out of Africa is a CD with beautiful music. When I listen to it, I imagine myself in the nature of Africa. You will enjoy it!

CD has missing track.......2006-12-03

John Barry's compositions are pleasantly sweeping. There's nothing wrong with this album, just not really enough to recommend it.

I was puzzled to learn that some time between my buying the LP record and the issuing of this CD, the track "The Music of Goodbye (love theme from Out of Africa)" was omitted. It's not that this song, sung by Melissa Manchester, is a must-have; it's more that it's sneaky to leave off tracks when you reissue a soundtrack in another format.

Disappointed.......2006-11-10

I absolutely love the music from Out of Africa, but I do not recommend this CD at all. The sound quality is so poor that I could only bear listening to it once.

Worth Buying!.......2006-11-06

Highly recommended for those who love instrumental music. A lot of beautiful flute, strings and some piano and harp. Very contemplative and hauntingly beautiful music.

Great Album.......2006-11-04

For me, one of the best music of last decade. Romantic, full of sense. Please give a listen at least

Average customer rating:

Broadway: America's Music 1935-2005

Manufacturer: Decca Broadway
ProductGroup: Music
Binding: Audio CD

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White Nights

ASIN: B000B8I93Q
Release Date: 2005-10-18

Tracks:

Oh What a Beautiful Mornin'
Summertime
I Could Write a Book
It Never Entered My Mind
I Can Cook Too
Make It Another Old Fashioned, Please
If I Loved You
My Heart Belongs to Daddy
Thou Swell
I Left My Heart at the Stage Door Canteen
There's No Business Like Show Business
South American Way

Tracks:

Shall We Dance
Ohio
Luck Be a Lady
Mack the Knife
There's a Small Hotel
Once in Love with Amy
Yodel Blues
Lazy Afternoon
There Must Be Somethin' Better Than Love
You're Just in Love
Now Is the Time

Tracks:

Impossible Dream
Love Makes the World Go 'Round
Try to Remember
Put on a Happy Face
I Say Hello
Happiness
She Loves Me
What Kind of Fool Am I?
Shy
Consider Yourself
Poor Little Person

Tracks:

Magic to Do
They're Playing My Song
I Don't Know How to Love Him
I Won't Send Roses
Good Morning Starshine
Don't Cry for Me, Argentina
Hard Candy Christmas
Diamonds Are a Girl's Best Friend
Won't You Charleston with Me?
Applause

Tracks:

Phantom of the Opera
Memory
On My Own
Muddy Water
How Could I Ever Know
American Dream
I Know Him So Well
Dr. Jazz
Me and My Girl
Suddenly Seymour

Tracks:

Mamma Mia!
Popular
Seasons of Love
Oh, the Thinks You Can Think
Whatever Lola Wants
Crazy
How Deep Is Your Love
Stars
People Like Us
I Go to Rio

Average customer rating:

Mixed feelings
Your love for this superb collection will be here to stay...
He's done it again
Absolutely 'S WONDERFUL!
A beautiful 2 disc CD-another hit for Michael

The Michael Feinstein Anthology

Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

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Romance on Film/Romance on Broadway
Hopeless Romantics
Isn't It Romantic
Nice Work If You Can Get It: Songs by the Gershwins
Michael & George (Feinstein Sings Gershwin)

ASIN: B000065DVH
Release Date: 2002-05-21

Tracks:

Nice Work If You Can Get It
Isn't It Romantic
Swinging On A Star
Ask Me Again
Rhode Island Is Famous For You
'S Wonderful
Wonder Why
Too Marvelous For Words
Where Do You Start
Theme From The Bad And The Beautiful
Easy To Love
Alexander's Ragtime Band
Who Are You Now?
You're An Education
You Are There
Sophisticated Swing
Love Can Change The Stars
Come Out, Come Out Wherever You Are
Half Of April (Most Of May)
Marianne
They Can't Take That Away From Me
I Love A Piano

Tracks:

That's Entertainment
My Favorite Year
Ten Feet Off The Ground (With Rosemary Clooney)
I Never Felt Better
Someone To Watch Over Me
Kiss Her Now
The Ugly Bug Ball
For You, For Me, Forever More
The Mole People
And So To Bed
You're All The World To Me
Old Friend
Isn't It A Pity (with Rosemary Clooney)
Pattisserie
Open Your Eyes
For Love Alone
I Won't Send Roses/Time Heals Everything
Get Out And Get Under The Moon (with Page Cavanaugh)
My Romance
Love Is Here To Stay
Violin (with Liza Minnelli)

Amazon.com

The line between evangelist and entertainer has always been somewhat indistinct. But as showcased on this 43-track, double-disc collection culled from his '87-'96 recordings for Elektra/Nonesuch/Atlantic, Michael Feinstein's dedication to spreading the gospel of the American song often blurs it beyond recognition. While the singer's pedigree for the task is impeccable (a long-term stint as Ira Gershwin's assistant and early career sponsorship by Liza Minnelli), his interpretations often succeed by playing off a tense axis of fervent emotionalism and a joyous sense of irreverence.

If his readings of romantic standards can sometimes tend toward the precious, they're often balanced here by sheer dramatic power and telling insights ("Isn't It Romantic" fairly bristles with ironic chauvinism) and a few loopy curves ("The Mole People," the Sherman Brothers' "The Ugly Bug Ball," and the previously unreleased "Rhode Island Is Famous for You"). Feinstein's dedicated song archaeology is also showcased on several gems: "Violin," a duet with Liza Minnelli; "My Favorite Year," a rejected ballad for the film of that name; the sublime "lost" Gershwin classic "Ask Me Again."

Sprinkled with live performances (the forum where Feinstein's talents seem most energized) and studio outtakes and featuring a lengthy print interview with the singer, the set chronicles both the pioneering efforts of one of pop music's most successful revivalists and, crucially, the cream of his beloved American songwriters, from stalwarts Gershwin, Berlin, and Porter to later legends like Herman, Styne, Lane, Martin, and Mercer. --Jerry McCulley

Album Description

The definitive collection of performances by the Grammy nominated singer features 43 tracks from 14 albums released by Elektra, Elektra Nonesuch, and Atlantic labels from 1987-1996. Plus 8 previously unreleased live tracks only available here 'Rhode Island is Famous For You', 'S Wonderful', 'Alexander's Ragtime Band', 'I Love A Piano', 'Patisserie', 'Get Out And Get Under The Moon' (with Page Cavanaugh), 'Love Is Here To Stay' & 'Violin' (with Liza Minnelli). 2 Digipacks housed in a slipcase with a booklet. Rhino Records. 2002.

Customer Reviews:

Mixed feelings.......2005-10-05

This album has some GREAT songs on it; sophisticated swing being one of my favorites. However many of the other songs are too operatic and lame. I give three stars but this album is definatly worth it just for some of the better songs.

Your love for this superb collection will be here to stay..........2002-07-18

The magnificently talented Michael Feinstein has made one wonderful album after another for nearly two decades. Now that Elektra and Rhino have put together this anthology, I am blown away by the versatility and diversity in Feinstein's recorded output. Such amazing rare gems, combined with the most beloved favorites in the history of American Popular Song. Assembled with wit, intelligence, and obvious affection on the part of the record company, this set is a keeper. You'll love it!

He's done it again.......2002-07-15

Is there anything this man can't sing? This collection is so varied as to be the definitive collection of songs for any occassion.

This is perfect background music for a dinner party for a whole group but especially for two. Light, romantic and just gorgeous. You just can't go wrong when Michael Feinstein is your musical choice.

Way to go Michael, you've done it again!

Absolutely 'S WONDERFUL!.......2002-06-10

There are very few contemporary performers who can hold their own with the truly great interpreters of American popular song. Michael Feinstein is truly the ONLY performer of the "younger" generation who really understands what these songs are all about. His incredible knowledge of this music, and his enthusiasm and passion for it have fueled his career. Rhino Records has done a truly outstanding job of putting together an anthology that exemplifies why Mr. Feinstein has become so beloved by audiences around the world. The packaging is excellent, and filled with interesting photos and background information about many of the selections.

This collection not only contains all the favorites one would expect, but a neat group of surprises too. I especially love the duets with people like Liza Minnelli and Rosemary Clooney, and the various collaborative efforts with songwriters like Jule Styne and Burton Lane accompanying Michael at the piano.

This collection is a classic to be treasured. Bravo Michael!
Bravo Rhino!

A beautiful 2 disc CD-another hit for Michael.......2002-06-09

I have every CD Michael has ever made and this is by far one of the best ones because of Michael's range in singing and his wonderful singing voice. I love his duets with Rosemary Clooney and Liza Minelli. He is a wonderful performer on this double CD and am looking foward to the next CD.

Average customer rating:

Sheer beauty from Agnes Baltsa
A Wonderful Collection

From Greece With Love

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Troubadour From Greece
Mondo Greece
Very Best of Theodorakis
Rough Guide to Music of Greece
The Very Best of George Dalaras

ASIN: B00012ASRC
Release Date: 2004-07-13

Tracks:

Garllo st'aftA carnation behind your ear)
Oniro pediis gitoni(Dream of urban children)
O tahidr (The postman)
M Magioday in May)
To tr fi stis okthe train leaves at eight)
Se pa rodmo (I gave you rose-water to drink)
Stou Othona ta hr (When Otto was king)
pri m ke ya mas (There will be better days, even for us)
Varkar (Barcarolle)
Ta tr pou fn
,Arhssa (Princess of my heart)

Album Description

This album features Baltsa's unrivalled voice singing folk music that is a basic source of the Greek tradition in song. All tracks feature folk songs arranged by leading contemporary Greek composers.

Customer Reviews:

Sheer beauty from Agnes Baltsa.......2005-06-23

This disc from Agnes Baltsa (Greek opera-singer) containing the most beautiful Greek songs is a real treat. It's recorded in the -80s when she was around 40 and in her prime. The songs are written by famous Greek composers like Theodorakis, Hadjidakis and Tsitsanis. My only complaint is that the cd only contains 11 songs. I wish it had at least 11 more.... But fortunately, my cd-player has a "repeat-button".......(Which I might add, is soon worn-out..)

For people unfamiliar with either Greek music or opera, this is the place to start. To me it seems that Greek music often is a matter of strong likes/dislikes, as is opera. You either love it or you hate it. After listening to this disc you will definitely want to seek out more recordings of Greek music and/or opera-recordings featuring Agnes Baltsa.

I know and love Agnes Baltsa from the opera stage, but even so, this record still amazes me. You will not hear her belt out painfully high notes like an opera-star on this cd - just beautiful singing throughout the whole disc. She also has a clear phrasing which I think is great, because it enables me to understand what the songs are all about. Being a classically trained singer one should perhaps think her voice unsuitable for simple-styled Greek folk songs. You couldn't be more wrong. Her crystal clear voice lends an elegancy to the songs that has to be heard to be believed. I'm a long time fan of Greek music and own a lot of recordings from various Greek artists, but never have I heard these songs so beautifully sung. This is definitely my "desert-island-recording" of Greek songs. I never tire of hearing them played again and again and again....

My favourite tracks from the disc have to be "Oniro pedion tis gitonias", "to treno fevgi stis okto", "O tahidromos" and "Arhontissa" and not to mention "Varkarolla". Her voice is just so hauntingly beautiful in these tracks. Don't be surprised if you end up in tears. But really, all the tracks are real treasures, gift-wrapped in Baltsa's velvet voice. It's a treat to hear Baltsa sing in her native tongue for the first time. It's obvious that she feels perfectly at ease here. She captures the melancholic beauty of the Greek soul so wonderfully. To me it's a mystery why she hasn't recorded more of this sort (at least I haven't been able to find any...)

The Athens Experimental Orchestra which is playing on this disc also deserves some words of praise. They make the Greek instruments sound heavenly and in the instrumental parts of the songs you just want to get up and dance.

This disc is really a proof of Greek supremacy - the music, the lyrics and Agnes Baltsa's singing - so simple and yet so powerful and breathtakingly beautiful. What more can I say? Just buy the cd ASAP!

A Wonderful Collection.......2004-12-10

This album was first released by Deutsche Grammophon (DG) in 1986 under the title "Agnes Baltsa, Songs My Country Taught Me." I have owned it and enjoyed it for probably 15 years. It's a wonderful collection of very melodious Greek folk songs with fine arrangements sung by one of the great mezzo sopranos of our time. It's great that DG has seen fit to re-release it so many of you can also enjoy it. Buy it; you won't regret it.

Average customer rating:

If only they did their albums as live recordings.
A good CD with little replay value
Wait For The Brown Out!
This pinche cd rules!!!

Mijo Goes to Jr. College
Manic Hispanic
Manufacturer: Better Youth Org.
ProductGroup: Music
Binding: Audio CD

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

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Los Punkeros
Bring It On!
Wolfmother
Broken Boy Soldiers

ASIN: B000092Q6E
Release Date: 2003-05-06

Tracks:

Trippin on Mi Ruca
Brand New Imapla
Tio's Got a Secret
Cruise
Barrio Love
Creeper Is a Lowrider
My Homeboy Is a Joto
Big Heinas
Menudo Morning Nightmare
I.N.S. Took My Novia Away
Crusher
Get Up Your Late
She Turned into Llorana
Lupe, I'm Free
Code Brown
I Want to Be a Cholo

Customer Reviews:

If only they did their albums as live recordings........2006-01-23

This is their third album. 2003. It has all the ingredients of a MANIC HISPANIC album 1) tight musical covers of classic prime time punk songs from the last 70's and early 80's 2) funny lyrics about life as a cholo that generally rhyme with the original punk song title 3) they have yet, in 5 albums, been able to capture the amazing live sound they have. Always go see them live if you get the chance. Funny, energetic, a different guest member from some classic old Southern California punk band playin' with 'em that night or that tour. 4) Their studio albums are missing something. I don't know if it's whomever produces the albums or what. You know, there's some bands that are better in the studio and not so great live. This band is great fun and tight musically live while their albums are a bit flat, exactly like FEAR.

This album is no exception. I'd say the 4 times I've seen them in the 2000's have been some of the best live punk gigs I've been to, maybe ever, certainly in recent years. chrisbct@hotmail.com

A good CD with little replay value.......2004-01-27

This CD is a hilarious remake of several punk classics from bands like The Ramones, The Damned, and others. This CD is really funny the first time you hear it. When I first heard My Homeboy is a Joto, I [lost it]. The second time I heard this CD, it was a little less funny. The third time, a little less, and...well...you get the picture. Now I went and sold the thing because I can't stand it anymore. It's like owning a Weird Al album: you might like it at first, but by the end you'll hate yourself for ever spending money on it.
If you really want some good punk covers with endless replay value, check out Me First and the Gimme Gimmes.

Wait For The Brown Out!.......2003-10-27

AY-YI-YI! As M.H. would put it! The Manic Hispanic are back with another sack of Punque Rocks,straight outta the Barios of East L.A.! This isn't just a bunch of locos making fun of punk....no way hesse! These hombres LOVE it. They eat,drink,and respect the source music! Then they mix in some chilis,some mariachis,and bario-ize it for your enjoyment! "The Menudo Incident" was a brilliant start,"The Recline of Mexican Civilization" stumbled a little bit,but "Mijo Goes To Jr.College" puts them right back on top!

The Damned,The Ramones,D.I.,The Dickies,Danzig,The Cramps,even Freddie Blassie!,no one gets out alive! My personal favourite is their cover of The Damned's "Melody Lee",the intricate piano intro. is now replaced with an accordian intro....just as beautiful! "Sheena Is A Punk Rocker" is now "Creeper Is A Low Rider","You Drive Me Ape" is now "Get Up Your Late",and "Johnny's Got A Problem" has become a much bigger problem as we learn "My Homeboy Is A Joto".

The Manic Hispanic take it all with a sense of humour,white,black,brown....everybody's down! Break open the cervezas and let your closet chollo come out and play!

This pinche cd rules!!!.......2003-05-09

Manic Hispanic's new cd is hilarious. The covers of punk rock classics has always been sketchy, but these guys really made a classic cd. Not only did they change the words and throw in funny spanish slang, they made the songs sound the way they were back in the days. My favorite cover was of Johnny's Got a Problem. Changing it to My Homeboy is a Joto was hilarious. I bought the cd as I was driving home and I almost got into an accident because I was laughing so hard. This cd is definelty a must buy for anyone who likes the way that punk rock should sound. Or, if you feel like laughing like a pendejo, this cd es para ti!!!
Adios Pendejos,
Johnny Sancho

Average customer rating:

Ham for the Holidays
Lynn Julian "Cookie Cutter Girl"
Manufacturer: Cookie Cutter Records
ProductGroup: Music
Binding: Audio CD

Pop Rock | Pop | Styles | Music

Hanukkah | Holiday | Miscellaneous | Styles | Music

Hanukkah | Holiday Music | Special Features | Music
ASIN: B000CAKTQI
Release Date: 2005-11-08

Average customer rating:

among the best
We love this!!

E Mau Ana Ka Ha'Aheo (Enduring Pride)
Olomana
Manufacturer: Better Days
ProductGroup: Music
Binding: Audio CD

General | International | Styles | Music

Hawaii | Pacific Islands | International | Styles | Music
ASIN: B000001O2S
Release Date: 1995-03-17

Tracks:

Ho'omaka Hou
Waimanalo
E Haunani
Na Pua Lei 'Ilima
E Malama I Ka Wai
Old Time Island Music Medley
Tewe Tewe
Ku'u Pua I Paoakalanii
Walking In The Queen's Garden
E Mau Ana Ka Ha'aheo

Customer Reviews:

among the best.......2007-02-18

This CD is, along with a couple of Ho'okena CDs (namely "Na Kai 'Ewalu" and "5")is one of the all time greats, thanks in a large part to the appearance of Haunani Apolonia. Her "Na Lei Hulu Makua, Na Wahine Hawai'i" tape of 1986 is one of the alltime Hawaiian blockbusters, and it's no less than a crime that that's not available on CD (come on Prism Records, get your act in gear! tapes are also hard, if not impossible, to find!). The music, harmony, and songs on this CD are a real treasure to anyone who likes contemporary Hawaiian music.

We love this!!.......2002-12-18

If I could pick only one Hawaiian artist to listen to for the rest of my life, Olomana would be it! These are gentle, melodic, and sometimes haunting songs. I think of them as a lullabies for adults. Close your eyes, and you're in the Islands!

Average customer rating:

In A Better World
SCREAMERS
Manufacturer: Xeroid
ProductGroup: Music
Binding: Audio CD
ASIN: B000J4FOQW

Product Description

A two-disc collection of live, demo, film, and video recordings from pioneering, first-wave, Los Angeles punk legends THE SCREAMERS. Forty tracks recorded between 1977 and 1978 in such hotspots as The Whisky A-Go-Go and the Mabuhay Gardens. Packaged in a jewel case with a 28-page book packed with photos, flyers, graphics, and press.

Average customer rating:

A different direction for Jessica- 4.5
An excellent follow-up CD

Chapter 2
Jessica Jacobs , and Jessica Riddle
Manufacturer: Oarfin Records
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | Rock | Styles | Music

Pop Rock | Pop | Styles | Music
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Key of a Minor
Silence
Right Up Your Face
Jennifer Marks
Counting Down the Days

ASIN: B0000AQS0X
Release Date: 2003-01-01

Tracks:

Gravity
Homewrecker
Karma in a Gun
Drown
Can't See
Would It Kill You
Undivided
Princess Bride
Blue
Hangin On
Deserve Me

Product Description

1. Gravity
2. Homewrecker
3. Karma in a Gun
4. Drown
5. Can't See
6. Would It Kill You
7. Undivided
8. Princess Bride
9. Blue
10. Hangin On
11. Deserve Me

Format: CD

Customer Reviews:

A different direction for Jessica- 4.5.......2005-11-22

Her sound/Her music-In this CD it sounds like Jessica added lower notes to her vocal register but she still has a strong, smooth voice and stays in a range that works. This CD is basically singer-songwriter piano pop with guitar, as Jessica learned how to play the guitar too. Every song sings like a relationship diary; not a bad thing as Jessica makes it work, but there's a lot less variety of subject matter.

Her best songs-
3) Karma in a Gun-This is an interesting song that shows a new side of Jessica. She sings about a boyfriend who's not faithful to her, prompting her to fantasize about revenge. Believe it or not, this song is more perspective than it sounds, and the instrumentation is low but impressive.
4)Drown-Here Jessica is singing about a broken relationship and comparing it to taking a bath. In this case, drown is a metaphor for getting too deeply involved in the relationship. Her vocals are good; she starts by singing low and getting higher and louder as the song progresses. Her piano/guitar background music is upbeat, which makes this "sad" song more upbeat.
8)Princess Bride-This song is still about relationships, but interestingly enough it goes back to the sound of her first CD in instrumentation, lyrics, and vocals. She compares her real-life relationships to relationships in fairy tales and how she wishes hers were better. Her vocals are amazing here; she pushes herself to sing higher notes and she succeeds without sounding fake.

Final Recommendations-This CD is definitely different from Jessica's first CD, so people who really like the subject variety of that one may be disappointed, but I do recommend listening to this CD at least once. It is a change and it may take time to get used to, but in the long term it's worth it.

An excellent follow-up CD.......2003-08-21

I loved this CD. I have been waiting for it to come out since I hear Keys in a minor (under her maiden name Jessica Riddle) and I was not disappointed! My favorite song has to be Can't See and Drown, but all of them are excellent. The piano playing great and this is definelity worth your money!

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
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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.

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

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