We Too Are One

Editorial Reviews
Album Description
Their final album recorded in 1989. BMG. --This text refers to the Audio CD edition.

Tracks:

Singin In The Rain - Gene Kelly
Theres No Business Like Show Business - Betty Hutton, Howard Keel, Keenan Wynn & Louis Calhern
'S Wonderful - Gene Kelly & Georges Guetary
Thats Entertainment! - Fred Astaire, Jack Buchanan, Nanette Fabray & Oscar Levant
Stranger In Paradise - Ann Blyth & Vic Damone
Easter Parade - Judy Garland & Fred Astaire
Lullaby Of Broadway - Winifred Shaw, Dick Powell & Chorus
Get Happy - Judy Garland
Night And Day - Fred Astaire
True Love - Bing Crosby & Grace Kelly
Honeysuckle Rose - Lena Horne w/ Benny Carter & His Orchestra
They Cant Take That Away From Me - Fred Astaire
Milkman, Keep Those Bottles Quiet - Nancy Walker & The M-G-M Studio Chorus w/ Tommy Dorsey & His Orchestra
Baby, Its Cold Outside - Esther Williams & Ricardo Montalban
For Me And My Gal - Gene Kelly & Judy Garland
Puttin On The Ritz - Clark Gable & Co.
Hallelujah! - Tony Martin, Vic Damone, Kay Armen, Ann Miller, Debbie Reynolds, Clark Burroughs & Co.
Bless Yore Beautiful Hide - Howard Keel
Taking A Chance On Love - Ethel Waters & Eddie "Rochester" Anderson
As Time Goes By - Dooley Wilson w/ Elliot Carpenter (Bonus Track)
Laras Theme (Main Title) - The M-G-M Studio Orchestra (Bonus Track)

Tracks:

Over The Rainbow - Judy Garland
Its A Most Unusual Day - Jane Powell
Wunderbar - Kathryn Grayson & Howard Keel
Cant Help Lovin Dat Man - Ava Gardner
Going Hollywood - Bing Crosby
The Trolley Song - Judy Garland, The M-G-M Studio Chorus
Gigi - Louis Jourdan
I Got Rhythm - Judy Garland, Mickey Rooney & Co.
Aba Daba Honeymoon - Debbie Reynolds, Carleton Carpenter & M-G-M Studio Chorus
The Lady Is A Tramp - Lena Horne
The Best Things In Life Are Free - June Allyson & Peter Lawford
Cheek To Cheek - Fred Astaire
A Kiss To Build A Dream On - Louis Armstrong
Put 'Em In A Box - Doris Day & The Page Cavanaugh Trio
If Swing Goes, I Go Too - Fred Astaire
Almost Like Being In Love - Gene Kelly
Lets Face The Music And Dance - Fred Astaire
Be A Clown - Gene Kelly & Judy Garland
Embraceable You - Connie Francis
On The Atchison, Topeka And The Santa Fe - Judy Garland & Co.
One For My Baby (And One More For The Road) - Fred Astaire

Amazon.com

The "Golden Age" referred to here spans The Jazz Singer and the advent of the talkies to the death throes of the old studio system in the 1960s. So vast was the era's musical landscape that even this 42-track, double-disc anthology can't encompass all its peaks. Not surprisingly, the bulk of this collection originated with the Tiffany's of the screen musical, M-G-M, a body of work whose riches here encompass both pop-cultural bedrock ("Over the Rainbow," "Singin' in the Rain," "There's No Business Like Show Business," etc.) and some less familiar, if equally delightful star turns: Clark Gable gamely "Puttin' On the Ritz"; the sassy, 1948 original of "The Lady Is a Tramp" by Lena Horne; and a loopy duet of "Baby, It's Cold Outside" by Esther Williams and Ricardo Montalban. Fred Astaire's elegant, epochal reign at RKO and M-G-M is represented by "Night and Day," "Let's Face the Music and Dance," and three others, while Metro mainstays Gene Kelly and Judy Garland share equal time and billing. It's not perfect--Cagney's "Yankee Doodle Boy" and/or some Sinatra seem more logical choices than the odd "bonus" duet of Casablanca's "As Time Goes By" and "Lara's Theme" from Dr. Zhivago that close out disc one--but it's a stunning, surprisingly comprehensive primer on the Hollywood film musical nonetheless. --Jerry McCulley

Customer Reviews:

They were right--there is NO business like the show business they did way back when !!!.......2006-11-18

Everything that happens in life
Can happen in a show
You can make 'em laugh
You can make 'em cry
Anything
Anything can go....

The clown with his pants falling down
Or the dance that's a dream of romance
Or the scene where the villain is mean
That's entertainment!

The lights on the lady in tights
Or the bride with the guy on the side
Or the ball where she gives him her all
That's entertainment!

The plot and the hot simply teeming with $ex
A gay divorcee who is after her ex
It could be Oedipus Rex
Where a chap kills his father
And causes a lot of bother

The clerk who is thrown out of work
By the boss who is thrown for a loss
By the skirt who is doing him dirt

The world is a stage,
The stage is a world of entertainment!

This two CD set amply proves that the musical melodies and lyrics from the golden age of the Hollywood musical remain unsurpassed to this day. This generous two CD set offers 42 incredible songs from Hollywood classic musicals. Most of these fine numbers are indeed from MGM, as Amazon correctly notes; but there are some RKO numbers and even a little from Warner Brothers. Thank goodness, though, that most of these songs came from MGM movies; MGM was the only studio that could boast that it truly had "more stars than there are in the heavens."

I love so many songs on these two CDs. Of course, there's the unforgettable classic "Over The Rainbow" sung by Judy Garland; she also performs "Easter Parade" and "Get Happy" on this two CD set and she carries most of the tune for "I Got Rhythm" even though Mickey Rooney helps her a little. I love "Baby, It's Cold Outside" for its' romantic overtones; and Lena Horne's "The Lady Is A Tramp" is flawless! We also get a rare chance to hear Clark Gable sing in "Puttin' On The Ritz;" and Bing Crosby's "Going Hollywood" may be brief but it's a fun song anyway.

There are two "bonus" tracks on the first CD: "As Time Goes By" from Casablanca and "Lara's Theme" from Doctor Zhivago. "As Time Goes By" is a good choice; it is another unsurpassed classic song that brings back memories and touches even the hardest of hearts. "Lara's Theme," however, is from the mid 1960s and I don't consider this period to be part of the "golden age" of Hollywood musicals.

The liner notes are excellent and they offer wonderful photos of the stars as well. The cover art is well done and the reverse cover art tells which movie each song is from and who is performing each song. Moreover, the quality of the sound is excellent especially when you consider that these numbers were recorded quite a few decades ago.

In short, this superlative two CD highlights the glory of the Hollywood musical when a certain type of sophistication dominated professional movie production. I highly recommend this CD for fans of Hollywood musicals, classic pop vocals and fans of the artists and actors who perform on this two CD set.

One of the best cds I ever bought. .......2006-06-07

What an amazon collection of songs! This is bar none my favorite cd just because of the variety and the quality of songs on it. I love music from this era, and this cd is the perfect companion to my life. Love it! Buy it, you won't regret it for a moment!

Never Sounded Better.......2006-03-16

Apart from the great selection of soundtracks, what really makes this compilation top value is the quality of the sound processing. Executed with finesse, these tracks sound better than when first issued and many are unedited, fuller versions: like "Singing In The Rain", for example. Throw in the great price, and this double disc set is a "must have" for all lovers of classic movie music.

Somewhere Over The Rainbow.......2006-02-24

A Sensational CD with Lots of Showtunes that Keep You Happy and makes You Want To Sing Along With!!!

"Hollywood Musicals of the Golden Age are still among us".......2005-07-13

Rhino Records and Turner Classic Movies Music present - "SOMEWHERE OVER THE RAINBOW: THE GOLDEN AGE OF HOLLYWOOD MUSICALS", some of the long ago musicals and stars that will never be forgotten...a 2-CD-Set covering several decades from 1935-1965 with many of the show stoppers of that time...some rare moments from entertainers that you haven't heard or thought of in sometime.

The lineup is fantastic and gives the listener a variety of what musicals were all about in the "Golden Age of the Hollywood Musicals"
June Allyson, Kay Armen, Louis Armstrong, Fred Astaire, Ann Blyth, Jack Buchanan, Louis Calhern, Bing Crosby, Vic Damone, Doris Day, Nanette Fabray, Connie Francis, Ava Gardner, Judy Garland, Kathyrn Grayson, Georges Guetary, Lena Horne, Betty Hutton, Louis Jourdan, Howard Keel, Gene Kelly, Grace Kelly, Peter Lawford, Oscar Levant, Ann Miller, Ricardo Montalban, Page Cavanaugh Trio, Debbie Reynolds, Winifred Shaw, Nancy Walker, Ethel Waters, Esther Williams, Dooley Williams and Keenan Wynn.

On Disc One 21 Classic Songs from great musicals with songs in alphabetical order:
AS TIME GOES BY - Dooley Wilson with Elliot Carpenter, pianist (1942)
BABY, IT'S COLD OUTSIDE - Esther Williams & Ricardo Montalban (1949)
BLESS, YORE BEAUTIFUL HIDE - Howard Keel (1954)
EASTER PARADE - Fred Astaire & Judy Garland (1948)
FOR ME AND MY GAL - Gene Kelly & Judy Garland (1942)
GET HAPPY - Judy Garland (1950)
HALLELUJAH! - Tony Martin, Vic Damone, Kay Armen, Ann Miller, Debbie Reynolds, Clark Burroughs (for Russ Tamblyn) (1955)
HONEYSUCKLE ROSE - Lena Horne with Benny Carter & His Orchestra (1943)
LARA'S THEME (MAIN TITLE) - M-G-M Studio Orchestra (1965)
LULLABY OF BROADWAY - Winifred Shaw & Dick Powell (1935)
MILKMAN, KEEP THOSE BOTTLES QUIET - Nancy Walker with Tommy Dorsey & His Orchestra (1944)
NIGHT AND DAY - Fred Astaire (1934)
PUTTIN' ON THE RITZ - Clark Gable & Company (1939)
'S WONDERFUL - Gene Kelly & Georges Guetary (1951)
SINGIN' IN THE RAIN - Gene Kelly (1951)
STRANGER IN PARADISE - Ann Blyth & Vic Damone (1955)
TAKING A CHANCE ON LOVE - Ethel Waters & Eddie "Rochester" Anderson (1943)
THAT'S ENTERTAINMENT - Fred Astaire, Jack Buchanan, Nanette Fabray & Oscar Levant (1953)
THERE'S NO BUSINESS LIKE SHOW BUSINESS - Betty Hutton, Howard Keel, Keenan Wynn & Louis Calhern (1950)
THEY CAN'T TAKE THAT AWAY FROM ME - Fred Astaire (1949)
TRUE LOVE - Bing Crosby & Grace Kelly (1956)

On Disc Two more memorable performances from the Golden Age of Hollywood Musicals:
A KISS TO BUILD A DREAM ON - Louis Armstrong (1951)
ABA DABA HONEYMOON - Debbie Reynolds & Carleton Carpenter (1950)
ALMOST LIKE BEING IN LOVE - Gene Kelly (1954)
BE A CLOWN - Judy Garland & Gene Kelly (1948)
BEST THINGS IN LIFE ARE FREE - June Allyson & Peter Lawford (1947)
CAN'T HELP LOVIN' DAT MAN - Ava Gardner (beautiful woman, who my youngest grandaughter is named after...Avalon) (1951)
CHEEK TO CHEEK - Fred Astaire (1935)
EMBRACEABLE YOU - Connie Francis (1965)
GIGI - Louis Jourdan (1958)
GOING HOLLYWOOD - Bing Crosby (1933)
I GOT RHYTHM - Judy Garland & Mickey Rooney (1943)
IF SWING GOES, I GO TOO - Fred Astaire (1946)
IT'S A MOST UNUSUAL DAY - Jane Powell (1948)
LADY IS A TRAMP - Lena Horne (1948)
LET'S FACE THE MUSIC AND DANCE - Fred Astaire (1936)
ON THE ATCHISON, TOPEKA AND THE SANTA FE - Judy Garland & Company (1946)
ONE FOR MY BABY (AND ONE MORE FOR THE ROAD) - Fred Astaire (1943)
OVER THE RAINBOW - Judy Garland (became her theme song for the rest of her life) (1939)
PUT 'EM IN A BOX - Doris Day & the Page Cavanaugh Trio (1948)
THE TROLLEY SONG - Judy Garland & MGM Studio Chorus (1944)
WUNDERBAR - Kathryn Grayson & Howard Keel (two of MGM's favorite singing duos) (1953)

It was once said by the songwriters of that era - "There are two artists you want perform your songs on the big screen, they are Fred Astaire and Judy Garland they sing it just the way we wrote it, for which you will have a guaranteed hit on your hands"...well, this collections certainly has some merit to that statement...because with Judy Garland and Fred Astaire performing seven songs each, there must be something to it.

This collection of musicals still has the magic that we remember from those bygone years...but as long as we have the labels and networks who play and show these wonderful films of yesteryear, they will never be forgotten...hats off to Rhino Records, George Feltenstein (producer) and Doug Schwartz (engineer) and Turner Classic Movies for sharing those 42 selections from 42 films...celebrating decades of the tunes and artists that gave it their all...from what it commonly called "The Hollywood Dream Factory"...The Golden Age of Hollywood Musicals is still among us...gotta love it!

Total Time: 2-CD-Set ~ Rhino Records 78323 ~ (6/02/2002)

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

General | Jazz | Styles | Music

General | Opera & Vocal | Styles | Music

General | Pop | Styles | Music

General | Oldies | Pop | Styles | Music

Traditional Pop | Oldies | Pop | Styles | Music

General | Vocal Pop | Pop | Styles | Music

Nostalgia | Miscellaneous | Styles | Music

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

Traditional Vocal Pop | Broadway & Vocalists | Styles | Music

General | Broadway & Vocalists | Styles | Music
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Romance on Film/Romance on Broadway
Hopeless Romantics
Pure Gershwin
Isn't It Romantic
Nice Work If You Can Get It: Songs by the Gershwins

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:

Great Hits from Sigmund Romberg

Great Hits from Sigmund Romberg

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

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Ah, Sweet Mystery of Life: The Songs of Victor Herbert
A Victor Herbert Showcase: The Greatest Hits of the Father of American Popular Song
Deep in My Heart
The Desert Song / The New Moon

ASIN: B000000X26
Release Date: 1992-06-12

Tracks:

The Desert Song: It
Maytime: Waltz Medley
Girl Of The Golden West: Who Are We To Say?
The New Moon: Introduction - Stout Hearted Men - Lover Come Back To Me - Girl On The Prow - Try Her Out At Dances - Wanting You - Softly As In A Morning Sunrise - One Kiss - Finale
Nina Rosa: The Gaucho March
The Desert Song: Waltz
Viennese Nights: Introduction - I Bring You A Love Song - Here We Are - You Will Remember Vienna - Regimental March
Blossom Time: Song Of Love
My Maryland: Introduction - Dixie - Boys In Grey - Mother - Silver Moon - Your Land Is My Land
Bimbo: In Old Granada
The Desert Song: Introduction - Riff Song - One Flower In Your Garden - Waltz - The Foreign Legion - Romance - One Alone
Maytime: Farewell To Dreams
Nina Rosa: Your Smiles, Your Tears
The New Moon: Marienne
The New Moon: Softly As In A Morning Sunrise
Nina Rosa: My First Love, My Last Love
Viennese Nights: I Bring A Love Song
The Night Is Young: When I Grow Too Old To Dream
The Student Prince: Intorduction - Arrival Of The Prince - Serenade - Deep In My Heart, Dear - Drinking Song - Just We Two - Students' March Song

Customer Reviews:

Great Hits from Sigmund Romberg.......2007-01-04

Excellent audio product, especially considering its age and the state of technology.

Siegfried (Goodall Ring Cycle/Chandos Opera in English)

Average customer rating:

Goodall's Siegfried
"Do you know what Wotan wills?"
Slow and steady wins the race
Absolutely better than you think, the best of Goodal's Ring!
Better than you might think....

Siegfried (Goodall Ring Cycle/Chandos Opera in English)
English National Opera
Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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Wagner: The Rhinegold
Wagner: The Valkyrie
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ASIN: B000056KNC
Release Date: 2001-02-27

Tracks:

Act I.: Prld - Barry Tuckwell
Act I., Scene 1: Wearisome Labour! - Gregory Dempsey
Act I., Scene 1: Hoiho! Hoiho! - Alberto Remedios/Gregory Dempsey
Act I., Scene 1: Well, There Are The Pieces - Alberto Remedios/Gregory Dempsey
Act I., Scene 1: A Whimpering Babe - Gregory Dempsey
Act I., Scene 1: Much You've Taught To Me, Mime - Alberto Remedios/Gregory Dempsey
Act I., Scene 1: I Found Once in The Wood - Gregory Dempsey/Alberto Remedios
Act I., Scene 1: And Now These Fragments - Alberto Remedios/Gregory Dempsey
Act I., Scene 1: He Storms Away! - Gregory Dempsey
Act I., Scene 2: Hail There, Worthy Smith! - Norman Bailey/Gregory Dempsey
Act I., Scene 2: I Sit By Your Hearth - Norman Bailey/Gregory Dempsey
Act I., Scene 2: What You Needed To Know - Norman Bailey/Gregory Dempsey
Act I., Scene 2: The Fragments! The Sword! - Gregory Dempsey/Norman Bailey

Tracks:

Act I., Scene 3: Accursed Light! - Gregory Dempsey
Act I., Scene 3: Hey There! You Idler! - Alberto Remedios/Gregory Dempsey
Act I., Scene 3: Have You Not Felt Within The Woods - Gregory Dempsey/Alberto Remedios
Act I., Scene 3: Give Me These Pieces - Alberto Remedios/Gregory Dempsey
Act I., Scene 3: Notung! Notung! Sword Of My Need! - Alberto Remedios/Gregory Dempsey
Act I., Scene 3: Hoho! Hoho! Hohi! - Alberto Remedios/Gregory Dempsey
Act II.: Prld - Barry Tuckwell
Act II., Scene 1: In Gloomy Night By Fafner's Cave I Wait - Derek Hammond-Stroud
Act II., Scene 1: To Neidhohl By Night I Have Come - Norman Bailey/Derek Hammond-Stroud
Act II., Scene 1: Not My Plan! - Norman Bailey/Derek Hammond-Stroud
Act II., Scene 1: Fafner! Fafner! You Dragon, Wake! - Norman Bailey/Derek Hammond-Stroud/Clifford Grant
Act II., Scene 1: Now, Alberich! That Plan Failed! - Norman Bailey/Derek Hammond-Stroud
Act II., Scene 2: We Go No Further! - Gregory Dempsey/Alberto Remedios
Act II., Scene 2: So He's No Father Of Mine - Alberto Remedios

Tracks:

Act II., Scene 2: Could I But Know - Alberto Remedios
Act II., Scene 2: See My Mother - Alberto Remedios
Act II., Scene 2: Ha Ha! At Last With My Call - Alberto Remedios/Clifford Grant
Act II., Scene 2: Who Are You, Youthful Hero - Clifford Grant/Alberto Remedios
Act II., Scene 2: The Dead Can Tell No Tidings - Alberto Remedios/Maurine London
Act II., Scene 3: Hehe! Sly And Slippery Knave - Derek Hammond-Stroud/Gregory Dempsey
Act II., Scene 3: Tarnhelm And Ring, Here They Are - Alberto Remedios/Maurine London/Gregory Dempsey
Act II., Scene 3: Be Welcome, Siegfried! - Gregory Dempsey/Alberto Remedios/Derek Hammond-Stroud
Act II., Scene 3: You Lie There Too, Mighty Dragon - Alberto Remedios/Maurine London
Act III.: Prld - Barry Tuckwell
Act III., Scene 1: Waken, Wala! Wala! Awake! - Norman Bailey
Act III., Scene 1: Strong Is Your Call - Anne Collins/Norman Bailey
Act III., Scene 1: You Unwise One, Learn What I Will - Norman Bailey
Act III., Scene 2: I See That Siegfried's Near - Norman Bailey

Tracks:

Act III., Scene 2: My Woodbird Fluttered Away - Alberto Remedios
Act III., Scene 2: Young Man, Hear Me - Norman Bailey/Alberto Remedios
Act III., Scene 2: Child, If You Knew Who I Am - Norman Bailey/Alberto Remedios
Act III., Scene 2: With His Spear in Splinters - Alberto Remedios
Act III., Scene 3: Here in The Sunlight - Alberto Remedios
Act III., Scene 3: Come, My Sword! - Alberto Remedios
Act III., Scene 3: Hail, Bright Sunlight! - Rita Hunter/Alberto Remedios
Act III., Scene 3: Siegfried! Siegfried! Glorious Hero! - Rita Hunter/Alberto Remedios
Act III., Scene 3: And There Is Grane, My Sacred Horse - Rita Hunter/Alberto Remedios
Act III., Scene 3: Oh! I Cared Always - Rita Hunter/Alberto Remedios

Customer Reviews:

Goodall's Siegfried.......2007-06-22

This is completely worth it. Other reviews aptly pointed out everything good, and this *is* good--brilliant. Alberto Remedios is the best Siegfried I've ever heard, and Rita Hunter is a stunning and convincing Brunnhilde. If I could give this more than five stars, I would.

"Do you know what Wotan wills?".......2007-06-12

Okay, so we have the Solti, Bohm, Karajan, Goodall, Boulez, Janowski, Levine, Haitink, 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
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 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: nothing is faster than andante. 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.

Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works only if you hear AND see it (the DVD's work best).

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.

Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).

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 Two Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.

Boulez's Bayreuth Festival: While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Mime's motifs) fares better than Berlin's and English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness. Beauty makes up for the irritatingly quick "Wotan's Farewell".

Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Boulez's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are heard clear in this Ring. 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.

Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, only this sounds much more poignant. The strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.

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.

Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.

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

Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).

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).

Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".

-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, 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, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, 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. Three exceptions, though: Goldberg and Schunk don't sound heroic enough, and Norman for Levine 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.

Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. Again, the DVD's are your safest bet.

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. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.

Haitink: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm. Bravo!

-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.

Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.

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.

Haitink: No offense, but Theo Adam as Alberich? Come on . . .

-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.

Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

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. He is equal to Zednik when it comes to humaneness and lyricism. 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.

Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).

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 during the Trilogy.

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. Again, another Loge that's marred by lack of cunning.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. 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.

Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief!

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 and Zednik depend only on vengeance and deviousness, Stolze only imagination and deviousness, Windgassen and Svanholm 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 Zednik. 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. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. 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, Neuhold's Badische version, and the essential mono recordings (Furtwangler, Krauss, etc.), 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 industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.

The Box Set: Wagner: The Ring Cycle (Box Set)
-The Rhinegold (Part 1): Wagner: The Rhinegold
-The Valkyrie (Part 2): Wagner: The Valkyrie
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Slow and steady wins the race.......2007-02-07

Yes, we all know that Reginal Goodall's Wagner is VERY deliberate (read slow) at times. When I heard the late Rita Hunter singing in Sydney in the 80s, I asked her about working with Maestro Goodall, she said he was one of the most thorough and demanding conductor's you could wish to work with.

For me, this whole cycle is desert island material because the English translation is just superb. Fine singing and marvellous playing from the ENO orchestra.

Absolutely better than you think, the best of Goodal's Ring!.......2005-05-03

As good as his die Walkure is, Goodall's Siegfried is even better. For me this is the most difficult opera of the entire Ring and Goodall pulls it off with honors indeed. Remedios is a wonder! Wish we had had him in the Met Ring Cycles of the past decade. Hunter again is a wonder with beauty and strength of tone. Once more I enjoy Bailey. I found That Alan Blyth in Gramophone 5/01 and I seem to appreciate him. It would seem that Goodall gives this opera all the wonderful performance it needs. Not an easy show to pull off. This recording absolutely belongs in any Wagnerian's collection. Had I been at this live performance, I definitely would not have fallen asleep and would have regretted its coming to its inevitable end. And the orchestra rises to the occasion splendidly. From Siegfried's climb to Brunhilde's rock until the end of the duet, the orchestral playing is rich, very moving bordering on the monumental just because it is live and thus more of a risk than a studio recording. Hunter is nothing short of stunning. The duet alone makes the recording a must have. Too bad artists are not fully appreciated until we no longer have them around to enjoy. Thank God this is on CD to be enjoyed at the listener's command.

Better than you might think...........2002-03-17

I had to think more than twice before purchasing this recording, especially since it isnt at a budget price, but I dont regret having done so. Wagner's original German language opera sung in English might seem more like a novelty recording (or a horrifying experience to hardcore Wagner fans) than a serious approach to the music, but surprisingly it works (for the most part). For the listener who doesn't speak and understand German this is a great way to understand Wagner's opera, as the connection between text and drama is made clearer--though I sometimes wish the singers diction and pronunciation were a bit clearer--but hey, its still opera and a complete English only libretto is included (along with a scene by scene summary of the drama, a summary of the preceding two operas, and an essay and photos of this particular project). Overall the orchestra and conducting is up to par and the sound is clear, balanced, and spacious, the only annoying thing being the audience clapping after the end of each act--its a live 1975 recording. While this is no substitute for the original in German, think of it as a great resource ... to understanding Wagner's opera cycle for listeners without the time or inclination to learn German.

Average customer rating:

Eurythmics: We Too Are One (1989)
The Last Eurythmics Album of the 80s, a classic
Last 80's Eurythmics album
Big improvement from "Savage"
Much Different From Earlier Work

We Too Are One
Eurythmics
Manufacturer: Arista
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

New Wave | New Wave & Post-Punk | Alternative Rock | Styles | Music

General | Pop | Styles | Music

Pop Rock | Pop | Styles | Music

General | Rock | Styles | Music

Dance Pop | Compilations | Dance & DJ | Styles | Music
Similar Items:

Revenge
Be Yourself Tonight
Savage
Touch
Peace

ASIN: B000002VGV
Release Date: 1989-08-24

Tracks:

We Two Are One
The King and Queen Of America
(My My) Baby's Gonna Cry
Don't Ask Me Why
Angel
Revival
You Hurt Me (And I Hate You)
Sylvia
How Long?
When The Day Goes Down

Album Description

Their final album recorded in 1989. BMG.

Customer Reviews:

Eurythmics: We Too Are One (1989).......2005-10-10

In early 1988, Annie Lennox suffered great tragedy when she gave birth to a still-born baby. I do not have children at this moment, so through experience, I have no idea how Annie must have felt. But through commen sense, I understood what must feel like for a mother to lose her child when the child is born. But Annie pulled herself together as most people do.

In 1989, Annie moved on with her life, where she and David, as Eurythmics released their final studio recorded album of the 80s. The album is entitled, WE TOO ARE ONE. This album shows that Eurythmics were going out with a bang. This is an incredible album and I have enjoyed it since the day I got it, although, it does not match up to that of their seventh album, SAVAGE. But there are many great songs on this album for everyone to enjoy. This whole album is for everyone to enjoy.

WE TWO ARE ONE
The album's title track, although instead of writing it as "We Too Are One", as in the album title, they wrote this title track as "We Two Are One", Two as in the word-form for the number. An amazing song that should be heard by every fan. No excuses.

THE KING & QUEEN OF AMERICA
The third single from the album. This song is definitely my favorite off of this album. The choruses are absolutely incredible. Annie's voice is absolutely amazing and powerful.

(MY MY) BABY'S GONNA CRY
The fourth single from the album. Great song, where David Stewart actually sings the second half of each verse, right after Annie sings the first half of each verse. David, just like Annie, has got an ace of a voice.

DON'T ASK ME WHY
The second single from the album. Great song.

ANGEL
The fifth & final single from the album. A beautiful, moving ballad. I could listen to this one over and over again. This song is actually about her still-born son. This song came from Annie's heart, which gives me more reason to love this song.

REVIVAL
The first single from the album. Not bad.

YOU HURT ME (AND I HATE YOU)
Another classic break-up song. This is another one of my favorites.

SYLVIA
Amazing.

HOW LONG?
Amazing.

WHEN THE DAY GOES DOWN
Amazing.

What a way to close out the 80s. Eurythmics were one hell of an 80s synthesized band. They have made millions of fans around the world, most of who still enjoy their music today. After the release of this album, Annie and Dave went on to persue other projects. In 1992, Annie Lennox had released her first solo album entitled, DIVA, which features the hit single, "Why". In the same year, Annie even provided a theme song for the 1992 remake of BRAM STOKER'S DRACULA. The theme song for that film is entitled, "Love Song For A Vampire". But this album shows how great Eurythmics were. Buy this album and enjoy it.

The Last Eurythmics Album of the 80s, a classic.......2004-08-22

No more heavy synth riffs for the Eurythmics, its onto more pop like music than New Wave, yet still keeping the New Wave roots slightly, such in songs like "Sylvia". Annie delivers more powerful vocals in songs such as "Revival", "How Long", "You Hurt Me (And I Hate You)" and "When the Day Goes Down" than "Sweet Dreams (Are Made of This)". I'd like to make special mention on the song "When the Day Goes Down" probably one of my favorite songs of all time, could bring tears to even the toughest people. No average singer could create that effect.

Last 80's Eurythmics album.......2004-04-07

This album was my favourite record of the 1989-90 season. We were fortunate enough to have Eurythmics tour Australia in December, and they played several songs from this album at the concert I attended here in Hobart, including the wonderful ballad Angel and the elegant, stylish pop of Don't Ask Me Why. Other choice cuts include the valedictory When The Day Goes Down , which for 10 years stood as a fitting coda to the group's terrific run of 80's songs, and the jaunty, lighthearted single Revival. This record has a professional pop sheen to it that marks it as being from the late phase of the band's career, and the quirky, ear-catching sounds of the Eurythmics' innovative early 80's records are missing, yet it's still a good album.

Big improvement from "Savage".......2002-06-04

I totally thought I was going to hate an album with a song called "You Hurt Me And I Hate You" (does this sound like a three-year-old's whiny tantrum or what?) but in fact it's one of my favorite songs on the album. It starts off with a grandiose, soulful cry for help, then goes into a big funky verse and chorus, before leading into that MAGNIFICENT middle-eight where Annie deepens her voice with dark menace and purpose. It's really satisfying; this is one time you can tell Annie isn't going to take the heartache of life lying down.

That's probably why in the end this has become one of my favorites; Annie sings more about dealing with pain and moving on ("When the Day Goes Down","Revival","The King and Queen of America") than just wallowing in it. Couple that with a bigger production than usual and you have a really fun album to listen to. And I love to hear David play his funky guitar to boot!

Much Different From Earlier Work.......2001-01-18

Here was the Eurythmic's last album of the 80's, although much different from their earlier work, Annie & Dave dish out a few songs that may seem reminscent to earlier work. "We Two Are One" vividly returns to the "Revenge" album fusing soul and rock together, while "Sylvia" returns to the Sweet Dreams era with all the right synthesizer keys with Annie's voice gliding smoothly over it. The album ends with a beautiful song "When The Day Goes Down" most likely the most beautiful song they ever wrote together. While this album doesn't churn out many hits, it's worth having just because this is one of the most memorable groups of the 80's. Enjoy!

Average customer rating:

Not worth the asking price..................

Wall to Wall Richard Rodgers
Various Artists
Manufacturer: Varese Sarabande
ProductGroup: Music
Binding: Audio CD

General | Musicals | Broadway & Vocalists | Styles | Music

General | Broadway & Vocalists | Styles | Music

General | Soundtracks | Styles | Music
ASIN: B000068TMM
Release Date: 2002-07-02

Tracks:

Mahattan
Little Girl Blue
Ten Cents A Dance
I Have Dreamed
Mountain Greenery
It Never Entered My Mind
Climb Ev'ry Mountain/You'll Never Walk Alone
There's A Small Hotel
You Are Too Beautiful
Sing For Your Supper
Bewitched, Bothered And Bewildered
Johnny One Note
Where Or When
People Will Say We're In Love
There Is Nothin' Like A Dame

Customer Reviews:

Not worth the asking price.........................2007-05-04

Have to be honest. I've got dozens of Broadway musical recordings, along with loads of 'em by lounge-singers and ballad performers. The performances here are, for the most part, nothing special; in fact, most of the male voices are kind of "stinky." Sorry, guys. Singer, Steve Ross ("I Have Dreamed"), does have a very unusual voice, I'll give him that. But, but, but........the only male singer (Patrick Quinn) placed in the only romantic duet ("People Will Say We're In Love") has a voice much more suited to Broadway comedic roles---nothing romantic-sounding about it.

The girls come off better. Maureen McG. is her reliable self, and Judy K. and Debbie G. are their normal and known selves.

In the end, I recommend saving your money for better done songs from Broadway.

****

Average customer rating:

Complete Secular Songs (3cd)

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

The Complete Odes and Welcome Songs of Henry Purcell / King's Consort
Sacred Music Complete
Purcell: Complete Ayres for the Theatre
Dowland - The Collected Works / The Consort of Musicke, Rooley

ASIN: B0000DJENT
Release Date: 2004-01-13

Average customer rating:

The Best of Gilbert & Sullivan

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
ASIN: B00004SSJR
Release Date: 2002-11-05

Tracks:

The Mikado: Overture
The Mikado: A Wandering Minstrel I
The Mikado: Our Great Mikado, Virtuous Man
The Mikado: Young Man, Despair
The Mikado: Behold The Lord High Executioner!...Taken From The County Jail
The Mikado: As Some Day It May Happen
The Mikado: Three Little Maids From School Are We
The Mikado: Were You Not To Ko-Ko Plighted
The Mikado: I Am So Proud
The Mikado: The Sun, Whose Rays
The Mikado: Here's A How-De-Do!
The Mikado: Miya Sama (Entrance Of The Mikado)
The Mikado: A More Humane Mikado Never
The Mikado: The Criminal Cried
The Mikado: See How The Fates Their Gifts Allot
The Mikado: The Flowers That Bloom In The Spring
The Mikado: Alone, And Yet Alive!...Hearts Do Not Break!
The Mikado: On A Tree By A River
The Mikado: There Is Beauty In The Bellow Of The Blast
The Mikado: For He's Gone And Married Yum-Yum
Trail By Jury: The Learned Jungle
H.M.S. Pinafore: I'm Called Litttle Buttercup
H.M.S. Pinafore: My Gallant Crew...I Am The Captain Of The Pinafore
Sorry Her Lot Who Loves Too Well
H.M.S. Pinafore: When I Was A Lad I Served A Term

Tracks:

H.M.S. Pinafore: Fair Moon, To Thee I Sing
H.M.S. Pinafore: Things Are Seldom What They Seem
H.M.S. Pinafore: The Hours Creep On Apace
H.M.S. Pinafore: Never Mind The Why And Wherefore
The Pirates Of Penzance: Oh, Better Far To Live And Die
The Pirates Of Penzance: Oh, Is There Not One Maiden Breast
The Pirates Of Penzance: Poor Wandering One!
The Pirates Of Penzance: I Am The Very Model Of A Modern Major-General
The Pirates Of Penzance: When The Foeman Bears His Steel
The Pirates Of Penzance: Ah, Leave Me Not To Pine
The Pirates Of Penzance: When A Felon's Not Engaged In His Employment
The Pirates Of Penzance: With Cat-Like Tread
Patience: The Soldiers Of Our Queen...If You Want A Receipt For That Popular Mystery
Patience: Am I Alone And Unobserved...If You're Anxious For To Shine
Patience: Sad Is That Woman's Lot...Silvered Is The Raven Hair
Patience: A Magnet Hung In A Hardware Shop
Patience: Love Is A Plaintive Song
Patience: So Go To Him And Say To Him
Patience: When I Go Out Of Door
Patience: After Much Debate (Finale Act 2)
Iolanthe: When I Went To The Bar As A Very Young Man
The Lady Of My Love...(Finale Act 1)

Tracks:

When All Night Long A Chap Remains
When Britain Really Ruled The Waves
When You're Lying Awake With A Dismal Headache
If You Go In, You're Sure To Win
Ruddigore: My Boy, May Take It From Me
Ruddigore: The Battle's Roar Is Over
Ruddigore: In Sailing O'er Life's Ocean Wide
Ruddigore: You Understand?
Ruddigore: When The Night Wind Howls
Ruddigore: My Eyes Are Fully Open
Ruddigore: There Grew A Little Flower
The Gondoliers: We're Called Gondolieri
The Gondoliers: From The Sunny Spanish Shore...In Enterprise Of Martial Kind
The Gondoliers: I Stole The Prince
The Gondoliers: When A Merry Maiden Marries
The Gondoliers: Take A Pair Of Sparkling Eyes
The Gondoliers: Dance A Cachucha, Fandango, Bolero
The Gondoliers: There Lived A King, As I've Been Told
The Gondoliers: I Am A Courtier Grave And Serious
The Yeoman Of The Guard: I Have A Song To Sing, O!
The Yeoman Of The Guard: How You Say Maiden, Will You Wed
The Yeoman Of The Guard: Where I Thy Bride
The Yeoman Of The Guard: Oh! A Private Buffoon Is A Light Hearted Loon
The Yeoman Of The Guard: Comes The Pretty Young Bride

Average customer rating:

Better than the poor reviews it got
Spectacular close to the 1980s!
Pleasant, most pleasant.
Thank Goodness it wasn't their last album
Farewell to the 80s

We Too Are One
Eurythmics
Manufacturer: SMG
ProductGroup: Music
Binding: Audio CD

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Revenge
Savage
Be Yourself Tonight
Touch
In the Garden

ASIN: B0000CFXNU
Release Date: 2005-11-15

Tracks:

We Two Are One
The King And Queen Of America
(My My) Baby's Gonna Cry
Don't Ask Me Why
Angel
Revival
You Hurt Me (And I Hate You)
Sylvia
How Long?
When The Day Goes Down
Precious
See No Evil
The King And Queen Of America (Dance Remix)
Angel (Choir Version)
Last I Dreamt That Somebody Loved Me

Amazon.com

This edition has been digitally re-mastered from the original master tapes by Eurythmics mastermind Dave Stewart, with input from collaborator Annie Lennox. In addition, there are seven bonus tracks: a mixture of b-sides, remixes, and previously unreleased material (notably a cover of the classic Smiths song "Last Night I Dreamt That Somebody Loved Me"). The packaging is a six-panel digipack redesign orchestrated by Laurence Stevens Design, the firm who art-directed all the original releases, while the thick booklets contain rare photos and insightful, new sleeve notes.

Album Details

Re-release featuring Four Bonus Tracks.

Customer Reviews:

Better than the poor reviews it got.......2007-04-06

By 1989, the appeal of the Eurythmics was slowly easing off. Perhaps people were tired of them. In Australia, the first single lifted from this album was "revival" which was perhaps a poor choice as it did nothing on the charts. Radio started to pick up album tracks such as "King and Queen of America" which was extremely catchy tune. This was not the next single in Australia despite airplay. The second single was "Don't ask me why" which is a more mature sounding Eurythmics and remains one of my all time favourites to this day. That was the last single lifted in Australia after the album failed to make much impact. Despite that, the album is chock full of fanatastic songs, including the American single "Angel" and the great title track.

While I love "Be Yourself Tonight" and "Savage", I am more likely to put this album on when I need a dose of the Eurythmics possibly because of the more mature sound, and some very well crafted tunes.

Don't let this album slip by your Eurythmics collection,

Spectacular close to the 1980s!.......2006-07-21

It has been two years since the experimental and innovative classic "Savage" was released and The Eurythmics duo were beginning to become increasingly fractured as Annie Lennox and Dave Stewert were increasingly at odds with each other to the point that they actually recorded their albums in separate studios. Yet amidst the acrimony, the duo managed to produce one last album entitled "We Too Are One" which is ironic since the duo were very distant from each other and would split the following year. This final release from them is a major shift away from the feminine rage of "Savage" in favor of a more soulful jazzier sound on the slower tracks but almost pure rock with the more energetic tracks. "The King and Queen of America" is arguably the fastest song the duo have recorded to date. But my favorite song is "How Long" which is about a fractuous relationship and waiting for it to reach the breaking point. The CD closes with the beautiful and haunting "When The Day Goes Down".

Pleasant, most pleasant........2006-04-16

Dig it, can you dig it? This LP coming from the D & A team of glories is to be pressed in diamond, the hardest substance on earth, as to preserve it's greatness. This LP contains some of the most poetic lyrics ever written. It also contains some of the most haunting instrumentations ev1.
1. We Two Are One - Wa, wa wa. The synclavier is used to perfection on this dance track.
2. The King And Queen Of America - A lyrical triumph set to a great arrangement and hooks aplenty.
3. (My My) Baby's Gonna Cry - Boo Hoo. A superb blend of bass and electric piano.
4. Don't Ask Me Why - The percussion alone within this track is bliss. Don't to mention a premonition of Annie's solo writings.
5. Angel - The ballad for Elvis to envy.
6. Revival - A lyrical homage to "Missionary Man". Fun and frisky without the darkness. Compelling us to dance and forget about the fairytale of religeon.
7. You Hurt Me (And I Hate You) - Simplistic lyrics with an in your face bass line. Perfect.
8. Sylvia - The only haunting song on the LP. Triumphant although in the end. Vocals are great.
9. How Long? - Sweeping instrumentation with Annie's soul.
10. When The Day Goes Down - Tell it Annie. Juxta-dance.

Buy this sucker. This collection isn't BS, this re-issue is quality, through and through.

Thank Goodness it wasn't their last album.......2006-02-09

When Annie Lennox released "Diva" to fantastic sales and acclaim in 1992, it looked like "We Two Are One" (1989) would end up being the last Eurythmics album. Fortunately, we got the significantly better "Peace" in 1999.

"We Two are One" is not altogether bad, but is bad in places. Why "Revival" was chosen as the lead single from this one is very hard to remember at this point, but it is, as one reviewer said above, campy--and not in a good way. "Angel" and "Don't Ask Me Why" find Eurythmics at their finest, but most of the album falls flat. We can attribute this to the fact that tensions were high between Dave and Annie at this point, and it was time to take a break. But we must not overlook faulting Jimmy Iovine here--I have never liked him as a producer. He puts way to much of a commercialized sheen on things, and may have been instrumental in toning down the edge that always made Eurythmics interesting.

Once again, good remastering, but lackluster bonus tracks. "Last Night I Dreamt" comes across better than most of the other cover songs, because Annie manages to channel the melodramatic despair of Morrissey.

Overall, Eurythmics at their worst--which is better than many at their best, but still mostly for completists.

Farewell to the 80s.......2006-01-08

After dominating the decade with their sublime music, Eurythmics bowed out in 1989 with this accomplished pop album, full of their usual strong hooks and poetic lyrics.

The farewell feeling is very tangible throughout the album, especially so on the rousing but sad King and Queen of America ("... the king of nothing/and the queen of pain ...") and the atmospheric When The Day Goes Down with its beautiful lyric about compassion for the weak.

Don't Ask Me Why and Angel made the charts in the UK and are the more immediately accessible tracks here. Not quite as brilliant as Savage, Be Yourself Tonight or Revenge, this is nevertheless still a strong album which all Eurythmics fans will appreciate.

The album has now been substantially enhanced with bonus tracks and deluxe packaging that includes a booklet with previously unreleased photographs and historical notes.

Of the additional tracks, my favorites are their interpretation of The Smiths' Last Night I Dreamt That Somebody Loved Me, the dance remix of The King And Queen Of America and the soulful Angel (Choir Version). This enhanced album is absolutely essential for Eurythmics fans.

Average customer rating:

Conspicuous Extravagance
A decent chance to hear the complete score
Really helpful learning CD
Every note exactly as it was written - Fabulous!
I never made it past disc one.

Kiss Me, Kate (1993 London Studio Cast)

Manufacturer: Jay Records
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Kiss Me, Kate (1999 Broadway Revival Cast)
Sweet Charity (1995 Studio Cast)
Kiss Me Kate (Broadway Revival - PBS Great Performances)
The King and I (1992 Hollywood Studio Cast)
Children of Men (Widescreen Edition)

ASIN: B000005BHS
Release Date: 1996-06-18

Tracks:

Overture - NSO/John Owen Edwards
Another Op'nin, Another Show - Shezwae Powell/Original Cast
Why Can't You Behave? - Diane Langton/Graham Bickley
Wunderbar - Diana Montague/Thomas Allen
So In Love - Diane Montague
Padua Street Scene/We Open In Venice - NSO/Diana Montague/Thomas Allen/Graham Bickley/Diane Langton
Tom, Dick or Harry - Michael Bauer/Graham Bickley/Paul Manuel/Diane Langton
Rose Dance - NSO/John Owen Edwards
I've Come To Wive It Wealthily in Padua - Thomas Allen/Original Cast
I Hate Men - Diana Montague
Were Thine That Special Face - Thomas Allen
I Sing Of Love - Diane Langton/Graham Buckley/Original Cast
Dance/Tarantella - NSO/John Owen Edwards
Finale Act One - Thomas Allen/Diana Montague/Brian Greene/Original Cast

Tracks:

Entr'acte - NSO/John Owen Edwards
Too Darn Hot - Paul Collis/Original Cast
Where Is The Life That Late I Led ? - Thomas Allen
Always True To You In My Fashion - Diane Langton
Bianca - Graham Buckley/Original Cast
So In Love Reprise - Thomas Allen
Brush Up Your Shakespeare - Brian Greene/Matt Zimmerman
Pavane - NSO/John Owen Edwards
I Am Ashamed That Women Are So Simple - Diana Montague
Shrew Finale/Grand Finale - Diana Montague/Thomas Allen/Original Cast
Can Can Overture - NSO/John Owen Edwards
Jubilee Overture - NSO/John Owen Edwards
Out Of This World Overture - NSO/John Owen Edwards

Customer Reviews:

Conspicuous Extravagance.......2004-09-08

It takes much more than this generally lack-luster performance delivers to overcome the intrinsic embarrassments of 'Kiss Me Kate'. While minor misogynies were then more or less default, if not de riguer, it is doubtful even the nudge-nudge friendly audiences of the 1940's and `50's would have put up with Cole Porter's stale, striving, prep school vulgarities had he not possessed an uncommon lyric gift.

And the set is too long. No one (except, apparently, devotees unwilling to settle for less than every note) needs instrumental reprises and variation-less dance numbers--especially when no purpose is discernable beyond running up a second disc. Most CD players have a Repeat mode. (At least the McGlinn/Barstow/Hampson EMI effort offers up some interesting out-takes to pad the second side; this one kicks in 15'' of overtures.)

Barring the two leads, the cast is ho-hum, and while Thomas Allen has his moments, he will not be remembered for his Fred Graham.

Notwithstanding all of the above, one is tempted to declare it all worth putting up with just to hear Diana Montague sing 'So in Love'--possibly Porter's loveliest song. (Why has no one thought of doing the reprise as a duet?) She even renders listenable the insufferably adolescent 'I Hate Men'. There's just not enough for her to sing in this show. Unless money is no object, go--for Montague alone--for the highlights disc.

A decent chance to hear the complete score.......2003-12-11

Until you've heard the complete score to "Kiss Me, Kate" with Robert Russell Bennett's original orchestrations recorded in good, modern sound, you don't know what you've been missing. Matchless as the original Broadway leads were, neither of the recordings they made satisfy completely. Both the original Columbia and the Capitol remake are missing huge chunks of the score and neither adequately conveys the quality of the orchestrations even in the parts that are recorded.

So it is slightly frustrating that there have been two complete recordings of "Kiss Me, Kate" in modern sound featuring the original orchestrations, and both of them have significant problems. The earlier recording, an EMI release conducted by John McGlinn, is not currently available in the U.S., while this JAY release is conducted by John Owen Edwards. Even though the EMI is not available, I'm going to compare the two, for those who are interested.

Both recordings are well-conducted, but I feel McGlinn gets more out of the score than does Owen Edwards. McGlinn can often be a bit stodgy, but his "Kate" is just gorgeous. He does a better job of bringing out all the neat touches in the orchestration than does Owen Edwards, and he's also better in the jazzier sections. Owen Edwards does a good job, but it's sad to hear him completely miss some moments, like when he fails to slow down sufficiently for the crucial second "And you're mine, dear" in "Wunderbar." Overall, McGlinn just points things better without getting too fussy. If only the same could be said for his cast.

But both recordings fall down in their casts. As Fred/Petruchio, McGlinn's Thomas Hampson is completely at sea. The music doesn't lie well for him, seeming to mostly sit in the least attractive part of his range. And his readings of the dialogue that is included is labored and self-conscious. Thomas Allen, on this JAY release, sounds older than Hampson, but his basic sound seems more attractive to me, the music lies better for him, and his dialogue, if not great, is at least not painful.

It must be said, though, that Hampson has been coached thoroughly in the role, and is aware of every nuance. The trouble is that he overdelivers on every nuance, whereas Allen almost sounds like he's sight-reading some of the score. Still, he's preferable to Hampson. I wish, though, that the JAY people had realized that they were using the bowdlerized British edition of the score. In "I've Come to Wive It Wealthily in Padua," Allen sings "doggone nose" instead of "goddamned nose." It's just not the same.

As Lilli/Kate, EMI's Josephine Barstow tries hard, perhaps a bit too hard, but what she does seems to me mostly suitable for the role. She does well everywhere except "I Hate Men," in which her vocal style just doesn't work, and she is further hampered by some lyrics not usually heard, and with good reason. The rest of the time, she puts out 110 percent. I suspect some may find her a bit too operatic, but I'm convinced by her. JAY's Diana Montague sings well, but is a bit pallid and humorless. She could use more of Barstow's spunk.

And so it goes. As Lois/Bianca, EMI's Kim Criswell is a bit pinched and colorless. JAY's Diane Langton sounds a bit old for the role, with some of her top notes a tad frayed, but brings more humor and brio to the role in general, especially "Always True to You in My Fashion," and this is one song on which Owen Edwards surpasses McGlinn.

As Bill/Lucentio, EMI's George Dvorsky is OK but a little staid, with "Bianca" oversung. JAY's Graham Bickley is more winning, even if his British accent shows through at moments. Without oversinging "Bianca," he still sounds like he has a voice that might have been good for Fred/Petruchio, and I suspect he would have better in the role than either Hampson (well, I'm sure of that) or Allen.

On the other hand, EMI's gangsters, Robert Nichols and David Garrison, are a hoot, surpassing JAY's pair, who are certainly good enough. And the other supporting roles tend to be a bit better on the EMI, with Davis Gaines and John Mark Ainsley particularly funny in their introductory sections to "Tom, Dick or Harry," while their counterparts on JAY don't seem to realize they could be funny. On JAY, Shezwae Powell does a good job with "Another Op'nin'," but with McGlinn's fabulous conducting, Karla Burns is even better on EMI. Similarly, Paul Collis does a nice job on "Too Darn Hot" on JAY, but Damon Evans really sizzles on EMI.

EMI also has more interesting filler, with cut songs from "Kate," although JAY's filler of the overtures to "Can Can," "Jubilee," and "Out of This World" is certainly nice to have.

So, on balance the EMI is perhaps a little bit better, if you can get past Hampson. But as long as it's not available, this JAY version will serve adequately.

Really helpful learning CD.......2003-03-11

As an MD for an amateur production of Kiss Me Kate, I found this recording useful as it contains not only every single note in the score, but also every encore as well. It was really helpful in learning the orchestration, as the score was a piano reduction. It certainly saved a lot of time in rehearsal trying to work out who has what tune etc. - I could do it from memory in that I knew the trumpet had the tune there etc. The choreographer used this recording to estimate how long each dance was - something very important as other shows I have done the Choreographer was using a different version of the show (such as the broadway revival of Kiss Me Kate).
Singers can listen to this and know exactly what they will hear from the pit - which is always a helpful thing!! And less experienced singers (or non singers!!) can learn by ear.
I agree with another review that dislikes the singing - however my use was only for learning. The voices don't seem well suited for the parts, however they are not so bad that you cringe in horror - I think stopping after the first disc is a bit excessive!

Every note exactly as it was written - Fabulous!.......2002-05-09

Great CD - Don't be fooled by other 'jazzed up' versions - this is how it was written and how you'll normally hear it performed. A very gutsy and earthy performance all round. The original Broadway album, sounds great but has alot of "enhancements" which the composer never wanted put in and disapproved of. Go for this one if you want the true Kiss Me, Kate in it's full version - NO CUTS or HIGHLGHTS!

I never made it past disc one........2000-07-04

It's a shame the John McGlinn recording on EMI is out of print, because this travesty is no compensation at all. The singers are really, really bad. And the conductor fails to capture the swing of the score, leaving it sounding dull and lifeless. Run, don't walk, away from this CD.

Music: