Sometimes [EP] [Import]

Editorial Reviews
Album Description
Japanese exclusive EP for the Irish indie rock act. Tracks, 'Sometimes' & six non-LP tracks (including three from the UK two part singles*), 'Skullfull Of Sulphur'*, 'So The Story Goes'*, 'Teenage Kicks', 'Melon Farmer' (Live)*, 'Someday' (Remix) & 'Submission' (Remix). 2001.

Tracks:

Times Are Tough In Rock N' Roll
Don't Go Borrowin' Trouble
Sometimes It Takes Balls To Be A Woman
Rest Your Weary Mind
He Got No Heart
Mama's Prayers
Sunday Morning
What Do I Do
Down Girl
Gonna Be
Always Tomorrow

Amazon.com

Elizabeth Cook's cornbread-and-cracklings approach to modern country music isn't everybody's cup of homebrew. But her backwoods lineage is genuine: her daddy learned to play doghouse bass in a Georgia prison band, doing 11 years for running moonshine. And there are plucky moments--especially on "Sometimes It Takes Balls to Be a Woman," where she sounds like she could be the Coal Miner's Daughter's feminist grandkid. On this, Cook's fourth album, producer Rodney Crowell knows how to frame her as both authentic and hip, bringing alt-country prince Bobby Bare Jr. on board for the affecting mountain love song "Rest Your Weary Mind," and elsewhere imbuing her original shuffles and ballads with chickin'-pickin' guitars, languid fiddle solos, and even a jew's harp on the hoedown-ish "Times Are Tough in Rock 'n' Roll" ("All my feelings, all my fears/Were confirmed with Britney Spears.") There's a surprise around every corner--"He Got No Heart" is a sassy throwback to Wanda Jackson, while "Mama's Prayers" evokes the threadbare innocence of Iris DeMent, and "What Do I Do" finds Cook's twangy soprano leaping into the honky-tonk stratosphere. But get ready for her cover of the Velvet Underground's "Sunday Morning," which she dang near makes her own. Then again, that's something you might expect from a girl with an affinity for vintage cocktail dresses who still insists on baiting her own hook. --Alanna Nash

Customer Reviews:

how country music should be.......2007-07-08

As I listened to Elizabeth Cook's new album Balls, I wanted to open the window and scream, "Why doesn't country radio play her songs?" I love country music that sounds authentic, the kind that one has to search the internet to find. Cook's music definitely fits the bill. I really appreciated the blend of different old-time sounds: bluegrass, rockabilly and traditional country. Cooks seamlessly blends the three styles while giving it her own unique twist.

Balls is a stellar album from an undervalued singer. All eleven tracks are fantastic and make for great car-ride play. Not only does Cook possess a sweet soprano voice similar to Alison Krauss, but great songwriting ability as well. On the opening track, "Times are Tough in Rock n' Roll," a bluegrass-flavored tune, Cooks makes her disapproval with the current state of pop music known loudly and clearly. "Sometimes It Takes Balls to Be a Woman" is a rousing feminist anthem with a rockabilly sound. "He Got No Heart" blasts a lover with the searing line: "I'd shoot him down if I knew where to aim."

Perhaps one day country radio will wake up and discover Elizabeth Cook is the real deal: a traditional country singer with soul, and a songwriter with much to say.

country music.......2007-06-12

This is what country should sound like. Miss Cook has 3 cds now and every one is great. Why haven't I heard her on country music stations? She is far better than the majority of country "stars" today.

Back To Country Basics.......2007-05-30

I am a country music LOVER! I love everyone from Loretta to Gretchen but I have a new LOVE with Elizabeth Cook. This album is getting country back to its roots in the likes of Dolly Parton and Tammy Wynette. If you love country music you will not be sorry with the BALLS album. GET SOME BALLS!!!

Cookin'.......2007-05-28

"Balls" is Cook's finest record to date. Following the excellent "This Side Of The Moon" with a collection of up-tempo shuffles, wry observances and heartfelt ballads, "Balls" delivers on all fronts. No need for EC to skim the surface of her rural upbringing by talking about "muddin'" and "hick towns" and all of the transparent Music Row nonsense that passes for Country music these days. Cook is the genuine article, and her songs ring simple and true.

"Rest Your Weary Mind" is a meditation on helping her man decompress after a hard day of Life. Sung as a duet with Bobby Bare, Jr., Cook's refrains provide soothing balm to Bare's laments. Conway and Loretta never did it any better.

"Down Girl" is a snaphot of a melancholy friend's marital woes, and the stark production and quiet mood give it a lullaby feel. Beautiful.

"Gonna Be" and "Times Are Tough In Rock and Roll" are clever, light-hearted romps through the pleasures and pains of being on "the ladder", but only a rung or two up, detailing life on the road and at home for an indie artist.

"Momma's Prayers" reveals a sentiment Hallmark only wishes they could put into words.

Backed by roots rock guitar ace (and husband) Tim Carroll and the cream of Nashville's roots session players including guitar masters Kenny Vaughan and Richard Bennett, Cook's vocals are sure and plaintive, sassy and seductive. Producer Rodney Crowel kept a light touch on the proceedings, allowing the songs and the players to meet at the point of "just enough" - nothing here sounds like a demo or a New Country polished cliche.

This kind of real music is out there, despite the major labels best efforts to ignore it (see "Oh, Brother Where Art Thou?"). If you are just getting hip to EC, check out all of her albums. Now that Rolling Stone, CBS Sunday Morning, AT&T Blue Room, and Dwight Yoakam are on board, it might be too late to say "I knew her when...", but Cook is that rare new friend that sounds like an old friend. Make yourself at home, put this record on.

Great album.......2007-05-10

My favorite country album in a long time - thoughtful, clever and intelligent lyrics.

Average customer rating:

A Star Performance
Sometimes I Dream
Add this to your Andrea/Josh collection!
Good quality and service
Wonderful!

Sometimes I Dream
Mario Frangoulis
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B00006FRN6
Release Date: 2002-09-17

Tracks:

Vincero, Perdero
Buongiorno Principessa
Sometimes I Dream
Luna Rossa
Naturaleza Muerta
Nights in White Satin (Notte Di Lucce)
Ton Eafto Tou Paidi
Non Sara'
Hijo De La Luna
Night Wants To Forget
Canzone Arrabbiata
A La Luna De Valencia
Vincero, Perdero

Amazon.com

Forget the age of battling boy bands, the era of dueling young tenors is upon us. Hot on the heels of Josh Groban's dizzyingly successful, Ally McBeal-fueled debut comes this first international release from African-born, Greek-raised tenor Mario Frangoulis. There are some clear parallels between Groban's debut and this Frangoulis release, but some distinctive differences as well. While Groban coated his slick, David Foster-molded pop sense with a veneer of classical respectability, Frangoulis has effectively turned the formula inside out. With similar classical training--but a few crucial years of experience on his American rival--Frangoulis treats the classics reverently but not slavishly, with the title track effectively turning an aria from Puccini's Tosca into romantic Europop. Elsewhere, the international flavor is further expanded by three melody-rich songs ("Hijo de la Luna," "La Luna de Valencia," and "Naturaleza Muerta") by Spanish singer-songwriter Jose Maria Cano and a sing-along-ready take on the 1950s Neapolitan chestnut "Luna Rossa."

Like Groban, Frangoulis and producer Steve Woods also plumb the music of la cinema italiana for inspiration, turning Nicola Piovani's bittersweet Life Is Beautiful theme into the ponderous "Buongiorno Principessa," but faring better with a moody, dramatic take on Rota-Wertmuller's "Canzone Arribiata." The obligatory rock-pop cover here is the flamenco-inflected "Nights in White Satin", with Frangoulis joined in a bilingual duet with original Moody Blue Justin Hayward that's surprisingly effective. Less showy perhaps than Groban's debut, but a more nuanced and emotionally satisfying album overall. --Jerry McCulley

Customer Reviews:

A Star Performance.......2007-02-28

When I purchased Mario's DVD I had never heard of him. I was actually browsing Josh Groban items when I noticed the [...] suggested items below and had a look.
What a find. Mario Frangoulis is an outstanding performer with an incredible voice. The quality of his concert is excellent with a full orchestra and top notch audio quality. I have watched this performance 7 times and can't wait to see it again.

Sometimes I Dream.......2007-01-19

A wonderfull full tenor voice with the ability to sing, popular, ethnic and opera. You cannot go wrong with this album.

Add this to your Andrea/Josh collection!.......2007-01-16

I had borrowed this CD from a co-worker a couple of years ago and was so thrilled to find it available here. Mario is wonderful and so easy to listen to. If you like Josh Groban, Russell Watson, Andrea Boccelli than you'll love Mario Frangoulis.

Good quality and service.......2007-01-11

I received this cd in just a few days and it was in excellent condition.

Wonderful!.......2007-01-09

Spectacular! This one also I can't stop listening! The songs and the singer are fabulous; listening to him makes my moments very special!

Average customer rating:

World's best trumpet player
Credit Wynton Marsalis
stylistically wrong
Wynton, Wynton, Wynton.
Good, but not the best

Carnaval

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Tracks:

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Customer Reviews:

World's best trumpet player.......2007-05-12

The incredible Wynton Marsalis plays the classics of the brass solo genre.
If you want to hear some very delightful music played by a most impressive instrumentalist, get this album.

Listening to this will make you realize the mediocrity of most of today's popular music. They don't grow people like Jean-Baptiste Arban any more.

Credit Wynton Marsalis.......2007-01-25

This outstanding collection of turn-of-the-last-century cornet solos is a collector's item. Mr. Marsalis (and the ensemble) makes it all sound so easy and enjoyable. As an instrumental music teacher I find hearing these inspires many of my high school high brass players to work on them.

stylistically wrong.......2005-05-29

Having studied with an international authority on cornet playing I can con fidently say that Wynton's cornet playing is ok at best. More than anything hes tryying to sell CDs rather than capture the essence of Cornet playing, like most of wyntons playing its alot of flash but no substance. Great if your a trumpet head and you get off on empty virtuostic fluff.

Wynton, Wynton, Wynton........2005-01-01

There are times, when I'm listeing to Wynton, I get depressed like the flash of a 64th note played. His sounds is so pure and wonderful. He rocks. I don't mind realizing that there aren't many other trumpeteers out there like him.

I met him once actually. In Alice Tully Hall, after a holiday concert. He stood on the stage towering over my dad, brother and I. He called us "the frontline", after my dad telling him we play the trumpet, trombone, and clarinet. What a cool guy.

Good, but not the best.......2004-11-28

Marsalis is an excellent trumpet player, there is no question as to that. He is certainly not the best in the world, however. I prefer a better recording of Carnival of Venice and many other cornet solos by Gerard Schwarz. The spirit of such solos is lost when they are put to ensemble accompaniment, Schwarz interprets them far better in my opinion. Also, his technical mastery is at least equal to that of Wynton's, or was when he made the album. His sound is sweeter and more perfect to my ear. And this is not the only album in which you can hear dazzling technical pieces, either. Sergei Nakariakov, Rafael Mendez, and Allen Vizzutti are the most proficient players with recordings out there. Nakariakov and Mendez both do better readings of the Paganini, playing the entire song double-tonguing and circular breathing. The Mendez Flight of the Bumblebee has a much better sound and fits the piece more, too. The most amazing song I have ever heard is the Carnival of Venus, by Vizzutti. Listen to anything by Wynton and then this song, you will be absolutely amazed. The last variation of the Marsalis is Vizzutti's first, and they get harder from there. Simply put, this is a good recording and the most accessible, but there are better ones out there. I wouldn't buy this to hear cornet solos or amazing technical pieces, but for hearing other interpretations. I prefer Schwarz, Mendez, Vizzutti, and Nakariakov.

Average customer rating:

This is an amazing, amazing product
a voice teacher and early music fan
Incredible
Very inspiring for this Christian (Catholic)
Amazing!

O Magnum Mysterium
Thomas Tallis , Tomas Luis de Victoria , Morten Lauridsen , Francis Poulenc , Sergey Rachmaninov , Franz Schubert , Anonymous , Spiritual Traditional , Henryk Gorecki , Christopher Cock , Robert Shaw Festival Singers , and Robert Shaw Chamber Singers
Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004WFLW
Release Date: 2000-08-22

Tracks:

If Ye Love Me
A New Commandment
O Vos Omnes
O Magnum Mysterium
O Magnum Mysterium
O Magnum Mysterium
Praise The Name Of The Lord
Der Entfernten
Wondrous Love
Amazing Grace
Sometimes I Feel Like Moanin'
Totus Tuus

Amazon.com

The trademark qualities of a Robert Shaw-trained chorus included perfect tonal blend and balance, expressive phrasing, and superb tuning. As an interpreter, Shaw hewed to the middle road, steering clear of eccentricities and honoring the composer's intentions. On this tribute disc, we hear these virtues coalesce in works such as Poulenc's austere Christmas hymn "O magnum mysterium," one of three settings of the text here. Shaw was at his best in works whose fervent spirituality he shared, and the selection from Rachmaninov's Vespers, with its repeated alleluias, is a highlight, both radiant and passionate. But then, virtually everything here is a highlight: the Schubert part song done to a turn with soft singing projected in rounded tones; the curve of "Wondrous Love"'s melody perfectly traced; and "Amazing Grace" in Shaw's arrangement all the more moving for its calm dignity. The longest piece, Górecki's Marian hymn "Totus tuus," is otherworldly in an enthralled reading that never loses focus. Like all of Shaw's Telarc recordings, the sonics are first-class. --Dan Davis

Customer Reviews:

This is an amazing, amazing product.......2007-02-07

The only part of the CD I would quibble with is the selection from Rachmaninov's Vespers, but I'm really lucky and have heard that performed live several times and heard multiple recordings, and decided on one that I liked best early on.

If you aren't blown away by the performance of the Tallis, you'll probably still cry when you hear the Lauridsen later in the CD. One thing about this CD is that after hearing it, my standard for what I could expect in a recording became a lot higher.

a voice teacher and early music fan.......2007-01-17

When Robert Shaw retired in 1988 as Conductor of the Atlanta Symphony Orchestra he returned to the conducting of unaccompanied choral music, that he had been involved with in the Robert Shaw Chorale in the 1950's and early 60's.
The selections on this disc are taken from several different Telarc recordings that were made at summer festivals he directed during the last decade of his life.
The Poulenc "O Magnum Mysterium" is one of the four motets on a Christmas album made in 1989. "Wondrous Love", "Amazing Grace", and "Sometimes I Feel Like a Moanin' Dove" are from the collection of 'American Hymns and Spirituals', performed and recorded in 1992. Gorecki's motet "Totus Tuus" appeared on 'Evocation of the Spirit' recorded in 1994.
In the Summer of 1989, the first year of Shaw's choral festivals in France yielded an impressive array of unaccompanied music which included Rachmaninoff's 'Vespers' or 'All Night Vigil', Op.37, the 2 Thomas Tallis pieces and the two in Latin by Vittoria.
"Der Entfernten" comes from a collection of 'Schubert Songs' for Male Chorus taped in the Summer of 1992. Morton Luridsen's 'O magnum mysterium', the most recent composition on this disc as well as the last recorded (1997), was included on 'A Robert Shaw Christmas'.
It is interesting to note that there are no less than three settings of the anonymous medieval text "O Magnum Mysterium". Shaw, a deeply spiritual man, often lamented about the commercialism that had pervaded the celebraton of the American Christmas. He retained a sincere awe for the miraculous details of the Nativity story, and it was natural that he should return again to music having this text, with its wondrous mixture of the homespun and the mystical, the lowly and the most high.

This is a truly interesting variety of compositions featuring a diversified group of fine composers!!!!.Any choral group that Shaw conducted always sang with much emotion and always great skill. There is never a 'ragged' entrance OR exit; there is never poor balance between the voices; the diction is crisp and clear and never 'muddied'; and the sound is ethereally beautiful. I would have liked to know who the personnel were in each of his 2 groups on this disc, but they were not listed, so I guess I never will know. Just a fabulous recording!!!!!

Incredible.......2005-08-02

Who can listen to this without being humbled, yet enriched, as if walking through the courts of sacred and simple places?

Very inspiring for this Christian (Catholic).......2004-07-22

I'd swear that Robert Shaw must have visited heaven and come back to write his rendition of O Magnum Mysterium (particularly track #5 with the chamber singers). It's my favorite classical piece, especially among choral works. I'd love to be in a great gothic cathedral like Notre Dame or Cologne and hear this piece. Even though you'll likely only be hearing this recording through your headphones in your room, it'll take you to the cathedrals and heaven itself.

I read somewhere that Robert Shaw was deeply religious/spiritual. I have no reason to doubt this...his faith shines through on this disk. I couldn't recommend it highly enough.

"Then I saw a new heaven and a new earth; for the first heaven and the first earth had passed away, and the sea was no more. And I saw the holy city, new Jerusalem, coming down out of heaven from God, prepared as a bride adorned for her husband; and I heard a loud voice from the throne saying, "Behold, the dwelling of God is with men. He will dwell with them, and they shall be his people, and God himself will be with them; he will wipe away every tear from their eyes, and death shall be no more, neither shall there be mourning nor crying nor pain any more, for the former things have passed away." - Revelation 21

Amazing!.......2004-02-10

In my choir at school, we are singing O Magnum Mysterium; I can't help from sinking into its soft harmonies. How to describe this feeling?--each bar more poignant than the last; dynamically profound; crystal clear tone; that clash between tenors in the chorus...it makes me believe in love and god all at once! Spectacular, this CD is--how lucky I am to have found it. Recommended to anyone with hearing.

Average customer rating:

Great Music
"Your words are like knives.....they peel my skin and pierce my soul...."
City and Colour, excellent album
My boyfriend hates it. I love it.
Great stuff from Dallas Green singer from Alexisonfire

Sometimes
City and Colour
Manufacturer: Universal
ProductGroup: Music
Binding: Audio CD

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ASIN: B000BPO6WW
Release Date: 2005-11-14

Tracks:

...off by Heart
Like Knives
Hello, I'm in Delaware
Save Your Scissors
In the Water I Am Beautiful
Day Old Hate
Sam Malone
Comin' Home
Casey's Song
Sometimes (I Wish)

Album Details

Main Songwriter in Alexisonfire, Dallas Green, Demonstrates his Wide Talent by Producing an Ear Catching Debut Solo Album.

Customer Reviews:

Great Music.......2007-05-11

I really love this CD. I even bought another copy for a friend.

"Your words are like knives.....they peel my skin and pierce my soul....".......2006-10-26

Canadian singer/songwriter/guitarist Dallas Green recently made the wise decision to, on a bit of downtime from his musical priority Alexisonfire, release a solo album. None of this is new material, however. Dallas, being a gifted songwriter, simply picked his 10 favorite previously unreleased songs straight out of his closet. And the results are superb. The name of the artist is Dallas Green but he calls himself "City and Colour", supposedly not intentionally after his name(City/Dallas, Colour/Green). City and Colour is definitely oriented towards the female crowd, with it's emotionally sentimental acoustic sound and Green's pretty vocal stylings. However, if you're anything like me, you'll be right at home with Sometimes.

The majority of Sometimes is driven by Dallas's singing and acoustic guitar, although once in a while you'll hear a piano or violin. This is such a contrast to Alexisonfire(Green's main project), which is a heavy darker sounding screamer/metal hybrid. But it's for the better, because here we see what Green is capable of once left on his own.

The first track off of Sometimes is a short, albeit obscure song called "Off By Heart". Running at just under 2 minutes, I imagine it was just thrown on to create heft. Although it ended up being one of the better songs on the record, and also a good showcase of Dallas's singing abilities. Following immediately after is "Like Knives", arguably the best track on the disc. It has a beautiful soul to it, with an emotional yet at times reserved vocal, ultimately ending in an emotionally charged cry for a lost love.

"Hello, I'm in Deleware" is the third track on Sometimes, opening with an infectious "can't-get-it-out-of-your-head" acoustic melody that really shows off Green's prowess. Again this is more of the emotionally driven lyricism that dominates City and Colour's debut. The next song, "Save Your Scissors" was actually the first single off of the album(combined there are now two), a number one hit on MuchMusic here in Canada, it has an insanely catchy chorus and once again displays Dallas Green's vocals.

There is one song I could have done without, "In the Water, I am Beautiful", which I find sort of annoying and lyrically cheesy. Probably his weakest lyrics on Sometimes. Other than that the rest of the songs range from good to fantastic. "Day Old Hate" is definitely a contendor for best song off the album. Again another amazing lyrical outpouring of emotion and melody. It's a slow burn, at about 6:44, but it's definitely one of my favorite songs, about as good as "Like Knives", another beautifully written/arranged song.

I debated with myself over whether Sometimes was worthy of 5 stars or not, but after having listened to Sometimes at least 30 or so times, I can safely say that I think it's worth 5 stars. Even if a few of the tracks aren't as inspired as the rest of the album.

City and Colour's future is unknown at this point, but going based off of what Dallas Green has said concerning his music career, it sounds like this was just a product resulting from a back catalogue of previously written material and some downtime from what he holds most important right now, Alexisonfire. I can only hope that he will write some more songs and maybe throw in a few more from his back catalogue, because this album is touching, and I will forever consider it a sentimental treasure.

City and Colour, excellent album.......2006-10-09

Dallas Greens work in Alexisonfire has always been their saving grace. The guy can write a guitar riff and vocal hook like it's nobody's buisness and his clean, crystalline voice is not all too dissimilar from Thom Yorke on this album, but with much more power and less of the despair Thom litters about, almost too much these days.

Sometimes is a personal, acoustic foray that is just a well-written, well-played 46 minutes. Highly remniscent of singer-songwriters from the 70's, Sometimes has a largely classic and timeless feel while still incorporating some modern emo elements.

While most band members solo projects end up being a mess, drastically different than their bands material to the point it feels forced, and overall just not very good, City and Colour succeeds heads and shoulders above the rest.

If you're a fan of Alexisonfire, or a fan of acoustic outings, or hell just a fan of a well-written album, be sure to check this out.

My boyfriend hates it. I love it........2006-10-09

I've always been a vague fan of Alexisonfire, and my favourite thing about the band is Dallas Green's voice. There's an interesting kind of clarity to his timbre, and a kind of barely-repressed emotional bite. It was a cool combination for the frontman of a band like Alexisonfire, but in this moody, guy-with-guitar setting it's displayed perfectly.

The album plays like a love letter to a single person, with references to time and distance throughout. It sounds heartbreakingly sincere, painful and comforting all at once. It's got a wonderful, moody atmosphere and a lyrical feeling that sounds unforced and natural. I'm officially addicted.

Great stuff from Dallas Green singer from Alexisonfire.......2006-07-31

Again Great stuff from Dallas Green singer from Alexisonfire. Which contrary to the last post Alexisonfire has not disbanded but low and behold will be releasing a new album next month called crisis. I have heard it and it is the best album yet. Check it out people if you like Dallas Green you cannot help but like Alexisonfire.

Average customer rating:

Delightful
A Master Class in Singing
Bryn is swell, but the bombast is annoying
Surprisingly Fine Crossover from Fleming and Terfel
BREATHTAKING VOCAL MAGNIFICENCE~BRAVO!!!

Renee and Bryn: Under the Stars
John Harold Kander , Andrew Lloyd Webber , Claude-Michel Schoenberg , Richard Rodgers , Gerard Presgurvic , Jason Robert Brown , Meredith Willson , Lucy Simon , Cole Porter , Stephen Flaherty , Ralph Salmins , and David Hartley
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B000088E7D
Release Date: 2003-02-11

Tracks:

"Not While I'm Around" (from Sweeney Todd by Stephen Sondheim)
"Moonfall" (from The Mystery of Edwin Drood by R. Holmes)
"I Don't Remember You The Happy Tim" and "Sometimes a Day Goes By" (from Woman of the Year by Kander & Ebb)
"All the Love I Have" (from The Beautiful Game by Ben Elton & Andrew Lloyd Webber)
"I Wish I Could Forget You / Loving You" (from Passion by Stephen Sondheim)
"Stars" (from Les Misirables by Boublil & Schvnberg)
"All I Ask of You" (from The Phantom of the Opera by Andrew Lloyd Webber)
"Hello, Young Lovers" (from The King and I by Rodgers & Hammerstein)
"Pretty Women" (from Sweeney Todd by Stephen Sondheim)
"Aimer" (from Romio et Juliette by Presgurvic)
"All the Wasted Time" (from Parade by J. Brown)
"Seventy-Six Trombones" (from The Music Man by Willson)
"How Could I Ever Know" (from The Secret Garden by Simon and Norman)
"So In Love" (from Kiss Me Kate by Cole Porter)
"Wheels Of a Dream" (from Ragtime by Ahrens & Flaherty)

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In these days of the crossover, it is hardly surprising to find two great opera singers making a foray into numbers from Broadway musicals by such composers as Cole Porter, Stephen Sondheim, and Andrew Lloyd Webber. What's remarkable is that they seem completely at home in this music. Both say they grew up listening to it, and indeed they approach these songs with no less care and seriousness than they'd give the most demanding operatic arias, and without a trace of condescension. However, their vocal, expressive, and interpretive styles are very different, both in the solos and the duets. Terfel projects assertive manliness, tender, intimate affection, and rollicking humor without external effects, using only his incomparably sonorous voice and powerful personality. His diction is impeccably clear, and though he has sometimes let his theatrical flair spill over into Schubert songs, he is the soul of simplicity here. This is in stark contrast to Fleming's tendency to exaggerate colors and dynamics and to turn sentiment into sentimentality. Moreover, though she claims a background as a jazz singer, her "crooning" sounds artificial and unnatural. However, her top notes, culminating in a triumphant high C at the end of the final number, ring gloriously. Her voice glows and shimmers with irresistible luster, soaring from seductive whispers to thrilling climaxes. The program features a great variety of love songs, and includes an antiwar protest (from Beautiful Game), a celebration of the American dream (from Ragtime), and a rousing fun piece (from The Music Man). Unfortunately, even the best songs are marred by thoroughly corny arrangements. Listeners will find their own favorites, but the real "stars" on this record are the two singers. --Edith Eisler

Customer Reviews:

Delightful .......2006-07-24

I truly enjoy Terfel's vocal talent and found it to be well suited for this genre. Fleming's impeccable soprano voice is a bit overpowering for this style of music. (I own this CD)

A Master Class in Singing.......2006-06-20

This CD is a must-have for any person interested in the singing art. Ms. Fleming and Mr. Terfel gives new light to these Musical Theatre classics. Their fine vocalism in the musical theatre genre coupled with the depth of musicality and dramatic phrasing in each of the selections is truly a breath of fresh air. This recording is indeed a Master Class!

Bryn is swell, but the bombast is annoying.......2006-05-03

Love Bryn Terfel, the finest bass-baritone in Opera. Love Renee Fleming's luscious soprano. But the arrangements! Kettle drums and bombast and bang, bang, bang! Once Renee starts swooping, things go downhill, with little redemption.

It starts out beautifully. "Not While I'm Around" has never sounded more intimate to me than Terfel's caressing pianissimo. Fleming's "Moonglow" is stunningly good. Terfel makes a medley out of "I Don't Remember You and Sometimes a Day Goes By" that makes you want to cheer, and Fleming does a lovely Sondheim medley as well. Bryn sings "Stars" and makes me long for him in Les Mis. And then...things tend to go downhill. The bombast takes over and gets to you - it overwhelms two of the biggest voices now recording. Then Fleming begins to swoop and scoop, over-coloring and often coming off as simply self-indulgent, reminding one of a kid who makes a point of putting his face in a camera shot.

I don't mind Bryn as Prof. Harold Hill - I frankly think the Welsh accent is kinda cute - and it doesn't bother me on "Wheels of Dream," either, but Fleming seems to have lost her mind on that great song, and rather than indulging her, it would have simply been better left off the album. Ditto "All that Wasted Time" which is pretty much unlistenable. Ms. Fleming needs to stop thinking she is a jazz singer.

The four stars are because this album does contain some truly GLORIOUS moments, particularly in the duets, and in Terfel's solo's which are warm and memorable. Without him, the kettle drums and Fleming's self-indulgence would have made the whole endeavor unbearable.

Surprisingly Fine Crossover from Fleming and Terfel.......2006-04-18

Bryn Terfel and Renee Fleming are two of the most acclaimed opera singers of our day. But the musical theatre fan who puts on their Broadway CD, RENEE AND BRYN: UNDER THE STARS, expecting to hear a carelessly compiled hodgepodge of songs sung by voices ill-suited to them is in for a big surprise, beginning with the first phrases of the duo's warmly sung "Not While I'm Around" from SWEENEY TODD. True, these singers' beautiful voices have greater power and range than even the best of the Broadway stars', but this is an asset in these songs, most of which are either semi-operatic in nature or call (like THE MUSIC MAN's "Seventy-Six Trombones") for such an outsize personality as Terfel's. Fleming's sensuous and tonally gorgeous rendition of "Moonfall" from THE MYSTERY OF EDWIN DROOD can be placed among her very finest recordings, operatic and otherwise. And Terfel is ideally suited to both "Pretty Women" from SWEENEY TODD and "Stars" from LES MISERABLES; few if any Broadway Javerts could match the impact of his "This I swear by the stars!" Kander and Ebb's "I Don't Remember You" and "Sometimes a Day Goes By" make a perfect medley here, as do Sondheim's "I Wish I Could Forget You" and "Loving You" from PASSION. And though I don't care for the Andrew Lloyd Webber selections (ersatz Puccini) or the Jason Robert Brown one (which sounds too much like a pop song), Terfel and Fleming's singing of them is beyond reproach. The program ends with a bang: a rendition of "Wheels of a Dream" worthy to stand beside the now-classic one by Brian Stokes Mitchell and Audra McDonald on the original cast album of RAGTIME. Welshman Terfel's natural accent is noticeable here; but if one imagines him as, say, an Irish immigrant married to an African-American woman (as Fleming here sounds uncannily like McDonald or like Leontyne Price) his accent is appropriate and his voicing of the "bridge" section ("Oh Sarah, it's more than promises/Sarah, it must be true...") especially moving. Fleming's ecstatic final high note makes one want to applaud and cheer, both for the song and for the successful "crossover" effort.

BREATHTAKING VOCAL MAGNIFICENCE~BRAVO!!!.......2004-10-11

So captivating are these incredible singers in the glorious live concert "Under The Stars" creating an unforgettable musical masterpiece of epic proportions that is so moving and great to watch that I ran out and purchased this studio recorded Compact Disc the next day!! The brilliance of the live broadcast carried over into the recording studio capturing Renee and Bryn at the peak of their incredible powers emotionally and vocally making them the most effective crossover artists since the great Barbara Cook who like Miss Cook sing with emotion that is accurate for this type of material which is usually not the case with classical voices. Renee Fleming sings with genuine passion and stirring emotions and her timing is absolutely flawless and this lady has alot of soul and the Torrie Zito arranged "Moonfall" is a stunning masterpiece that clearly illustrates this. A dazzling medley each show both singers in glorious peak form with Bryn splendid in the enchanting "I Don't Remember You/Sometimes A Day Goes By" and Renee spellbinding and haunting in the gorgeous "I Wish I Could Forget You/Loving You" which will make anyone who loves a great voice fall in love with this amazingly gifted singer. "Stars" features a commanding performance from Bryn that raises the roof and this is so refreshing and inspired in these musically tired times!!! This superb showcase is full of wonderfully exciting performances which are capable of making people feel again and this is what is sorely needed in music today and BRAVO to Bryn Terfel and the gorgeous Renee Fleming for achieving this with complete artistic brilliance. Captivating duets fill this wonderous collection and never have classics such as "Not While I'm Around" or "All I Ask Of You" been sung more brilliantly than here. Renee is magical with "Hello, Young Lovers" while Bryn is commanding and winning with "Pretty Women". Renee's stunning "All The Wasted Time" is a vocal and emotional tour-de-force that is like a wild roller-coaster ride that you won't want to end as this is one of the most riveting songs that I have ever heard from a Broadway score and this certainly must be the definitive performance of this great song. This lady can really really sing and this is some deeply serious singing~WOW!!! Gorgeous together again in the beautiful "How Could I Ever Know" which is hair-raising and wonderfully soulful and sophisicated together in Cole Porter's "So In Love". A grand finale by these two awesome vocal wonders lives up to expectations being a complete blowout vocal festival and they definitely do not disappoint here!!! "Wheels Of A Dream" is mesmerizing and soars to magnificent heights with Bryn and Renee in peak form singing to the skies and hitting notes that I swear I have never heard before~BRAVO!!!!!!! You are both magically inspired and simply put as good as it gets!!!! Highly recommended if you love two awesome vocal wonders at their absolute peak in a magnificent beautifully orchestrated setting!!! Thank you Bryn & Renee...

He Has Left Us Alone But Shafts of Light Sometimes Grace the Corners of Our Rooms

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Found an Easter Egg
The world's a mess, and so are we.
my favorite ASMZ
Ecstatic
!!!

He Has Left Us Alone But Shafts of Light Sometimes Grace the Corners of Our Rooms
A Silver Mt. Zion
Manufacturer: Constellation
ProductGroup: Music
Binding: Audio CD

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Lift Your Skinny Fists Like Antennas To Heaven
f#a# (infinity symbol)
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ASIN: B00004RGC8
Release Date: 2000-04-03

Tracks:

Broken Chord Can Sing a Little
Sit in the Middle of Three Galloping Dogs
Stumble Then Rise on Some Awkward Morning
Movie (Never Made)
13 Angles Standing Guard 'Round the Side of Your Bed
Long March Rocket or Doomed Airliner
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For Wanda

Album Details

Band is Comprised of Members of Godspeed You Black Emperor.

Customer Reviews:

Found an Easter Egg.......2007-04-18

On first listening to "Long March Rocket or Doomed Airliner", the 5 second track, I heard nothing and was like, "what's this all about?" So I turned up the volume on my speakers to full blast and replayed the track. The first 2 seconds sound like one of the 'moaning angels' from the previous track, then quickly fades into the sound of an airplane... weird. But pretty cool stuff.

As for the CD itself, I find parts of it enjoyable to listen to and the instruments well arranged, but didn't find it nearly as compelling as other reviewers. Maybe I'm not in the right mood, but I got bored a few times after listening to the same musical notes five minutes at a stretch. Perhaps it'll grow on me over time and catch me off guard one day. :P

The world's a mess, and so are we........2006-09-22

This is 'ASMZ''s debut album -- a despairing, fatalistic perspective of the world and all that's contained within it.

Rarely -- so rarely -- is music this day in age put out with the ambition of creating an all-encompassing 'experience'; music for the sake of communication, rather than some sort of self-gratifying manner of egocentric show. Here, rather, 'ASMZ''s selves are transporting the message, but our selves are participating equally. It's not an 'act'. And so, the information transferred within the first twenty minutes is as such -- in the bowels of this strange, detached world we somehow came to exist in (He didn't plan on telling us how or why!), a distinct concept appears and continues to be a vague theme of the album: the contrast of the scared, confused, alone Human (conscious of it or not) unable to have a choice in the matter of being swallowed hole by this infinite, ever-changing beast called reality. The album is so assaulting in portraying this predatory force (evolving technology, mental illness, social alienation, starving countries... simply mass suffering on a global scale -- very flexible with interpretation), it ends up establishing a heavy, repeatedly deterministic way of looking at things. Though we are at heart Loving creatures, placed here by the very hands of God, the end is ultimately coming about before our very eyes -- whether we're consciously aware of it or not -- and we have little else to do but endure it 'till the end. At least, that's what I get from an album like this. Whether they're getting at the nature of suffering at large, or perhaps specific Human cause/effects and their relations to the 'chaos' of the post-modern world, I think it matters a great deal not, for ultimately the concluding emotional response turns out to be the same. Though, I do beckon, without the subtext focusing on the various ways we have been mutilated for the worse as a collective, thus really giving way to a more personal and immediate feeling towards those existing with us currently, it would not have quite the same impact. And, you know, I believe this sort of black and white approach, and its tendency to convey such an impenetrable, undefeatable force conquering helpless, alone, confused individuals within Humanity, without regard to any real sentient concerns, is probably the most romantic way in portraying the album's ultimate redemptive quality. For, at the very heart of nature, we have such a theme anyway; we come, we go, with no say of our own. But, personally, I prefer to interpret the entire work as an ode to all of us facing the hardships of a changing, bewildering life where things once known are now disappearing into oblivion. Ethics, morals, technology, identity, nature of family. Things that weigh on the mind to a hugely diminishing effect, displaying their prowess quicker and quicker with time... And how the hell are we supposed to manage all of it? It's depressingly heavy material, with things both novel and deep in implication, but instead of being allowed to think about it, we're told to drink Coors, go to McD's, watch football and F*@# each other like rabbits.

Now, for anyone who proposes the idea that 'ASMZ' is a band of nothing but false pretense -- I proudly present '13 Angels Standing Guard 'Round the Side of Your Bed', the boldest, most moving piece the band has ever written, bringing to light the fact that all three of the albums following this one have been phenomenal -- it's got only the starkest competition. So, I'm entirely, 100% honest when I say this, guys:

....never, ever in my life, have I heard a piece of written music that so divinely captures the entity of Love with such heartbreaking magnificence. While I do believe the foreshadowing cloud of darkness the album maintains 'till the track's entrance provides for an even more affecting crescendo effect than what '13 Angels' provides on its own, it is completely possible, and more than likely 'probable', that one who finds the rest of the disc unappealing may still find themselves breaking down emotionally as it dives into the soul. It is the greatest musical embodiment of pure compassion I've ever had the most grateful pleasure of listening to. Why it works the way it does, I won't even attempt to try and rationalize, because it is not a piece of analytical concern, but of the heart's yearning. When I listen to it, I for the time being view every Human being I share this strange reality with in the most empathetic light achievable, guided by none but the heart. If I don't cry while I listen to it, I feel like I want to. Keep in mind, too -- I'm no crier. In fact, I'm often a crass, obnoxious piece of flesh to the adorning public -- but there's that part of me, that child buried within, who's heart is broken in however many ways, and '13 Angels' brings him out for momentary catharsis. The track is a meditation piece of the most sincere form imaginable, and in my case, it produces an overall effect that, no matter how many times I let it nurture me for but seven minutes, becomes a 'part' of my entire being -- a representation of me and my heart; the emotionally fragile, struggling being that I am, and that you are, too. It is, love.

my favorite ASMZ.......2006-03-07

This is ASMZ's first album, and in my opinion their best. It is the most like GY!BE, epecially with the strings and background voices and samples; most like "lift your skinny fists..." to be more specific. What I like alot about this album is what made it hard to get into when i first heard it, and that is the reoccurence of similar melodies. The whole album is like one long song that revisits certain parts. Even though most of their albums seem to be concept type albums, this ones music really reflects it. The vocals are alittle rough in the beginning, but they grow on the listener. But all in all i like the emphasis on the strings the most, which is also one of my favorite aspects of Godspeed. Never a dull moment with Efrim.

Ecstatic.......2006-02-02

This album is phenomenal. Musically trimmed down compared to Godspeed You Black Emperor. Some of the most beautiful music I've heard, haunting and bereft of hubris. I don't mind the vocals but the only part I don't care for is near the beginning with some of the sound effects or recording noises at the beginning of the album.
All in all, I'd consider it one of the best albums I currently have and recommend it to those who can sit down and allow themselves to truly listen to the piece. A piece which should be enjoyed in its entirety.

!!!.......2006-01-29

Eight tracks of pure genius.

While it's a little spooky at times, and mystic in some ways, I love sleeping to this album. It's reallllly good to listen to when I'm in a contemplative mood or just thinking. It's both chaotic and melodic, which normally wouldn't sound nice but this sounds amazing.

This isn't my favorite ASMZ album (Born Into Trouble As The Spark is), but it's definitely high in the ranks.

If you're thinking about not getting this album, I'd definitely think again. It's... uplifting, almost, as long as you're not depressed. Don't listen to this if you're depressed.

Songs of Free Men/ A Paul Robeson Recital

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Robeson on wax
The voice, the sound quality and the interpretation
A Voice from the 40s, often dated, often moving
Robeson at his best
some of the greatest songs of the last century

Songs of Free Men/ A Paul Robeson Recital

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000029YJ
Release Date: 1997-12-09

Tracks:

Balm in Gilead
Chassidic Chant
Quiet Flows The Don: From Border To Border
Quiet Flows The Don: Oh, How Proud Our Quiet Don
Elijah, Op. 70: The Lord God Of Abraham
The Purest Kind Of Guy
Joe Hill
The Peat-Bog Soldiers
The Four Insurgent Generals
Native Land
Song Of The Plains
Cradle Song
Within Four Walls
By An' By
Sometimes I Feel Like A Motherless Child
John Henry
Water Boy
My Curly Headed Baby
Mah Lindy Lou
Wagon Wheels
The House I Live In
Showboat: I Still Suits Me
Sylvia
Showboat: Ol' Man River
Porgy And Bess: It Ain't Necessarily So

Amazon.com

There was nothing like the Robeson sound, ever. To describe his deep, rich, perfectly equalized instrument is futile. Go instead to "Balm in Gilead," the opening track, and see if you can listen to the last pianissimo phrase without falling to pieces. Robeson was at his best when the music was slow and the words contained spiritual or social messages. Faster, lighter fare like Kern's "I Still Suits Me" or Gershwin's "It Ain't Necessarily So" find the serious-minded singer out of his element, lacking irony and swing. "Old Man River," though, gets a simple, dignified treatment. It's Songs of Free Men, though, that will just keep Robeson's artistry rolling along, especially in Sony's astonishing transfers. --Jed Distler

Customer Reviews:

Robeson on wax.......2007-06-19

I found this album in a thrift store last week, for a couple of dollars. It's the original pressing on four 78 RPM records, in a gatefold format. It's in pristine condition. I really bought it for the incredible cover art, although I hope to be able to listen to it in this format at some point.

The voice, the sound quality and the interpretation.......2004-09-24

Put this on your stereo and if it is good enough the depth and richness of Robeson's voice will make your fillings rattle and your chest rumble. The power of his voice is awesome. This CD is superbly recorded with no audible noise at normal listening levels.

A Voice from the 40s, often dated, often moving.......2002-09-01

"Red diaper babies" have greeted this disc with nostalgic joy, and it captures a time and an aesthetic and a political belief with precision. Anyone interested in the emotional life of the pro-Soviet left of the 1940s should buy this disc. It's something like Henry Wallace set to music. There is much more to Robeson than that, however, and Sony has given us Robeson whole: there are songs by American masters of the musical, there are labor songs, religious songs, as well as the kind of faux-folk songs which the butcher supreme Josef Stalin encouraged and which were not taken seriously inside the USSR (except at gunpoint!!) but which were taken up by dupes around the world. This is Robeson at his least savory - willing propagandist for a vile mass murderer. Songs such as "Native Land" (fittingly, Robeson is referring to the Soviet Union) and the Red Army song are the equivalent of the "Horst Wessel Song", anthems of murder, and it is difficult to listen to the worst of them without retching. On the other hand, Robeson's commitment to American folk culture was real. "Balm in Gilead" is deeply beautiful; "John Henry" is heroic; "By an' By" is both resigned yet hopeful. "Joe Hill" captures an era in labor history. Anyone interested in American popular song should hear these. Turning to Broadway, his "Old Man River" is very fine, though Robeson changed the lyrics for political reasons and Leonard Warren has done the song better. I disagree with the editorial reviewer: "I Still Suits Me" is wonderfully playful and shows Robeson using his gorgeously rich voice to tease and poke fun. However, Marc Blitzstein's "Purest Kind of a Guy" is beyond saving - another example of Robeson recording an unworthy song by a political fellow-traveller. Ugh. But for every miss there are two hits. Robeson performs Mendelssohn's Elijah with nobility, and sings his favorite song, "Water Boy", with joyous pride: "There ain't no hammer that's on these mountains that rings like mine, boys, that rings like mine."
No one need have any fears about the mono sound quality. The orchestra in the second half of the program is at times a little dwarfed by Robeson's voice, but it generally sounds clean and colorful, and the great artist's voice rings like no other.

Robeson at his best.......2000-05-12

It's hard to believe that most of these recordings pre-date the advent of magnetic tape: the CD transfer is superlative. The songs and performance are beyond reproach. Notable is the imaginative packaging in miniature 'record album' format, complete with the original cover art, and a replica of the original Columbia record label applied to the CD.

In response to a previous question: Robeson's performance of Danny Boy (Londonderry Air) can be found on the Vanguard LP entitled "Robeson" (VRS-9037).

some of the greatest songs of the last century.......2000-05-05

In the 1940s, before rabid McCarthyism and racism had taken its toll on him, Robeson made these wonderful recordings of spirituals, classics and pop tunes. Accompanied by the solo piano of the incomparable Lawrence Brown, or by an orchestra, the songs ring out with pride, dignity, skill and unmatched integrity. The shameful treatment that Robeson was subject to from American authorities certainly seem grotesquely absurd to a modern listener. The wonderful version of "The House I Live In" included on this cd should forever kill off any suspicion that Robeson did not love his country deeply. This album ought to be heard by millions of people, world wide. Robeson's voice is nothing less than a glorious high point in 20th century music, and it's hard to think of any recording capturing it to greater advantage.