You Can't Stop Me [CD-single] [Import]

Editorial Reviews
Album Details
The First Single from the Album "Walking on a Thin Line". Includes an Excluive Track Not on the Album.

Broadway - The American Musical (PBS Series)
Average customer rating: 5 out of 5 stars
  • Fabulous for any Broadway-lover
  • Top Shelf
  • TERRIFIC CD'S
  • Great Collection of Broadways greatest Songs
  • Great Compilation!
Broadway - The American Musical (PBS Series)

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. The Best of Broadway - The American Musical (PBS Series)
  2. Broadway: The American Musical
  3. Broadway: The American Musical
  4. Broadway - The American Musical (PBS Series)
  5. Somewhere over the Rainbow: The Golden Age of Hollywood Musicals

ASIN: B00064ADMK
Release Date: 2004-10-19

Tracks:

  1. Give My Regards To Broadway- Joel Grey
  2. Swanee- Al Jolson
  3. When The Moon Shines On The Moonshine- Bert Williams
  4. A Pretty Girl Is Like A Melody- John Steel
  5. My Man- Fanny Brice
  6. Fascinating Rhythm- Fred Astaire, Adele Astaire
  7. If You Knew Susie (Like I Know Susie)- 78rpm Version Eddie Cantor
  8. Someone To Watch Over Me- Gertrude Lawrence
  9. Bill- 78 rpm Version Helen Morgan
  10. Ol' Man River- Paul Robeson
  11. Ain't Misbehavin'- Louis Armstrong & His Orchestra
  12. Ten Cents A Dance- Ruth Etting
  13. Body And Soul- Libby Holman
  14. Brother, Can You Spare A Dime- Bing Crosby
  15. Night And Day- Fred Astaire
  16. Heat Wave- Ethel Waters
  17. Smoke Gets in Your Eyes- Tamara
  18. You're The Top- Ethel Merman
  19. Summertime- Anne Brown
  20. September Song- Walter Huston
  21. My Heart Belongs To Daddy- Mary Martin
  22. It Never Entered My Mind- Shirley Ross
  23. Bewitched, Bothered, Bewildered- Vivienne Segal
  24. Oh, How I Hate To Get Up In The Morning- Irving Berlin
  25. Oh, What a Beautiful Mornin'- Alfred Drake

Tracks:

  1. New York, New York- Cris Alexander,Adolph Green,John Reardon
  2. If I Loved You- John Raitt,Jan Clayton
  3. Come Rain Or Come Shine- Ruby Hill,Harold Nicholas
  4. There's No Business Like Show Business- Ensemble
  5. How Are Things In Glocca Morra? From "Finian's Rainbow"- Ella Logan
  6. Once In Love With Amy- Ray Bolger
  7. Wunderbar- Alfred Drake,Patricia Morison
  8. Some Enchanted Evening- Ezio Pinza
  9. Lost In The Stars- Todd Duncan
  10. Diamonds Are A Girl's Best Friend- Carol Channing
  11. Luck Be A Lady- Robert Alda,Guys
  12. Getting To Know You- Gertrude Lawrence
  13. Who Cares?- Jack Carson,Betty Oakes
  14. Stranger In Paradise- from " Kismet" Doretta Morrow,Richard Kiley
  15. Ballad Of Mack The Knife- Gerald Price
  16. Hey There- from "The Pajama Game" John Raitt
  17. Whatever Lola Wants- Gwen Verdon
  18. I Could Have Danced All Night- Julie Andrews
  19. Standing On The Corner- from "The Most Happy Fella, 1956" Shorty Long,John Henson,Alan Gilbert
  20. The Party's Over- Judy Holliday
  21. Glitter And Be Gay- Barbara Cook
  22. Tonight- Larry Kert, Carol Lawrence

Tracks:

  1. Seventy-Six Trombones- Robert Preston
  2. I Enjoy Being A Girl- from "Flower Drum Song, 1958" Pat Suzuki
  3. Everything's Coming Up Roses- Ethel Merman
  4. My Favorite Things- from "The Sound Of Music" Mary Martin
  5. Put On A Happy Face- from "Bye Bye Birdie" Dick Van Dyke
  6. Try To Remember- Jerry Orbach
  7. Camelot- from "Camelot" Richard Burton
  8. Love Makes The World Go 'Round- Anna Maria Alberghetti
  9. I Believe In You- Robert Morse And Co.
  10. The Sweetest Sounds- Diahann Carroll,Richard Kiley
  11. Comedy Tonight- Zero Mostel
  12. What Kind Of Fool Am I?- Anthony Newley
  13. As Long As He Needs Me- Georgia Brown
  14. Hello, Dolly!- Carol Channing,Cast
  15. People- Barbra Streisand
  16. Anyone Can Whistle- from "Anyone Can Whistle" Lee Remick
  17. If I Were A Rich Man- Zero Mostel
  18. Night Song- Sammy Davis, Jr.
  19. The Impossible Dream- Richard Kiley
  20. If My Friends Could See Me Now- Gwen Verdon
  21. Open a New Window- from Mame Voice

Tracks:

  1. Willkommen- from "Cabaret" Joel Grey
  2. Let The Sunshine In- James Rado,Lynn Kellogg,Melba Moore,Cast
  3. I'll Never Fall In Love Again- Jill O'Hara,Jerry Orbach
  4. The Ladies Who Lunch- from "Company" Elaine Stritch
  5. Tea For Two- Roger Rathburn,Susan Watson
  6. I'm Still Here- Yvonne De Carlo
  7. I Don't Know How To Love Him- Yvonne Elliman
  8. We Go Together- Adrienne Barbeau,Barry Bostwick,Walter Bobbie,Cast
  9. Corner Of The Sky- John Rubinstein
  10. Send In The Clowns- Glynis Johns
  11. Ease On Down The Road- Stephanie Mills,Tiger Haynes,Ted Ross,Hinton
  12. One- from "A Chorus Line" Cast
  13. All That Jazz- Chita Rivera,Ensemble
  14. Tomorrow- Andrea Mcardle
  15. Don't Cry For Me Argentina- Patti Lupone
  16. Come Follow The Band
  17. Lullaby Of Broadway- Jerry Orbach
  18. And I'm Telling You I'm Not Going- Jennifer Holliday
  19. The Bells Of St. Sebastian- Raul Julia

Tracks:

  1. Memory- Betty Buckley
  2. I Am What I Am- George Hearn
  3. Move On- Bernadette Peters,Mandy Patinkin
  4. Do You Hear The People Sing?- Michael Maguire,Cast
  5. The Music Of The Night- Michael Crawford
  6. You're Nothing Without Me- James Naughton,Gregg Edelman
  7. The American Dream- Jonathan Pryce,Cast
  8. Doctor Jazz- Gregory Hines,Company
  9. With One Look- Glenn Close
  10. On Broadway- Adrian Bailey,Frederick B. Owens,Ken Ard,Victor Trent Cook
  11. Le Jazz Hot- Julie Andrews,Ensemble
  12. Seasons Of Love-
  13. Hakuna Matata- Max Casella,Tom Alan Robbins,Scott Irby-Ranniar,Jason Raize
  14. I Wanna Be A Producer- Matthew Broderick,Ensemble
  15. Dancing Queen- Louise Plowright,Jenny Galloway
  16. Good Morning Baltimore- Marissa Jaret Winokur
  17. Movin' Out- Michael Cavanaugh,Band
  18. I Go To Rio- Hugh Jackman,Company
  19. Defying Gravity- Kristin Chenoweth,Idina Menzel

Customer Reviews:

5 out of 5 stars Fabulous for any Broadway-lover.......2007-01-30

Packs into 5 CD's a sampling of Broadway tunes from the 20's thru (almost) today, mostly from original cast recordings. Includes not just well-known hits, but also some lesser-known gems. Sound quality is first rate, booklet is informative too. Have given this as a gift to several friends with rave reviews.

5 out of 5 stars Top Shelf.......2007-01-04

This is THE definitive collection of Broadway hits. I have other collections, and none of them measure up. A great deal of care was obviously taken in compiling and presenting this box set. It covers a lot of ground, starting with some long-forgotten but still very enjoyable hits from the days of yore, and finishing with present-day favorites. To the best of my knowledge, the recordings are by those who made them famous. You won't be disappointed.

5 out of 5 stars TERRIFIC CD'S.......2006-03-23

THESE BROADWAY MUSICALS CD'S ARE A BROADWAY LOVERS DREAM. WITH EACH SONG, MEMORIES COME FLOODING BACK. BOTH THE FAMILIAR AND THE FORGOTTEN SONGS ARE A TRUE LISTENING PLEASURE. IF YOU LIKE BROADWAY, YOU'LL LOVE THIS SET.

5 out of 5 stars Great Collection of Broadways greatest Songs .......2005-06-14

This Collection was perfectly made it has almost all the most famous Broadway songs on this 5 cd set. The Music is great and has Broadways greatest treasures like "Memory""People""With One Look""Give my regards Too Broadway" just to name a few of this numerous cd set with over 100 songs. This is a great buy if you like musicals or The music of Broadway

5 out of 5 stars Great Compilation!.......2005-01-17

If you are a fan of the Broadway Musicals, this is a collection that you should purchase. Since I got the 5 disc set I've enjoyed listening to it. The majority of the songs are done by the original singers. The collection is priceless considering that you will have over 100 songs from popular musicals since the beginning of Broadway
Big: The Musical (1996 Original Broadway Cast)
Average customer rating: 4 out of 5 stars
  • didn't work for rehearsals
  • Big for folks doing the Musical
  • It's Awesome, It's Amazing, It's BIG!!!!
  • a lost gem
  • Ungodly awful
Big: The Musical (1996 Original Broadway Cast)
Richard Maltby Jr.
Manufacturer: Decca U.S.
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Big: The Musical
  2. Baby (1983 Original Broadway Cast)
  3. Little Women The Musical (2005 Original Broadway Cast)
  4. Curtains (2007 Original Broadway Cast)
  5. The Drowsy Chaperone (2006 Original Broadway Cast)

ASIN: B000005AY0
Release Date: 2001-09-25

Tracks:

  1. Overture/Can't Wait
  2. Talk To Her/Carnival/Zoltar Speaks
  3. This Isn't Me
  4. I Want To Go Home
  5. The Time Of Your Life/Fun
  6. Josh's Welcome/Here We Go Again
  7. Do You Want To Play Games?/Stars, Stars, Stars
  8. Cross The Line
  9. It's Time
  10. Stop, Time
  11. The Nightmare
  12. Dancing All The Time/I Want To Know
  13. Coffee, Black
  14. The Real Thing
  15. One Special Man
  16. When You're Big/Skateboard Ballet
  17. I Want To Go Home/Stars, Stars, Stars (Reprise)/Finale

Customer Reviews:

4 out of 5 stars didn't work for rehearsals.......2007-03-22

I used this CD to help me rehearse for the BIG production I was in, but it didn't match the libretto at all. I think there was one song on there that I could use.

3 out of 5 stars Big for folks doing the Musical.......2006-03-20

If you're getting this CD to help prepare for your school or community group doing the musical, there are a lot of changes from the CD to the book. Aside from finding the book in a new key and some chunks added/deleted, Here We Go Again and When You're Big aren't included anymore.

Overall, the music's a little trite, but there are some nice moments -- mostly the stuff sung by the female leads.

5 out of 5 stars It's Awesome, It's Amazing, It's BIG!!!!.......2006-01-22

My high school did "Big" my sophomore year, and oh my god, it was such a fun musical to do. I kind of forgot about it until my senior year, when I suddenly craved some of that music again. So I purchased this CD and I've been loving it since. They got rid of a couple of the songs and replaced them with others as the show progressed on Broadway, so I was suprised to hear new material (to me anyways), and for the most part, I actually enjoyed these original songs over their replacements that my production contained. This cast is phenomenal and the guy who plays Josh Baskin sounds so much like Tom Hanks at points, its crazy. It's a simple, yet a bit fantastic musical about growing up, and it's funny and romantic, and a lot of fun. I love all the songs, and it's a shame it didn't do too well on B-way. At least this recording will keep the music alive.

"This Isn't Me" is one of my favorite tracks, as it's a lot of fun and has a great beat, but suprisingly it was replaced with "Good Morning to Mom", which was only so-so. "I Want To Go Home" is a great ballad that Josh sings, and its simple, a bit funny, and the ending is the best, as its cute and sad. Another song they got rid of, "Here We Go Again", is a song Susan sings, and again, I like it alot. It has a quirky melody that I like. "Stars, Stars, Stars" is another great song, and is quite cute. One of the more popular songs. "Cross The Line" is the finale to Act I and is also very excellent and up beat, and makes you want to dance. "Stop, Time" is my favorite song on the album by far. Sung by Josh's mom, it is one of the more poignant moments of the show. Heartfelt, sad, and truly beautiful, it defiantely makes you appreciate your mom. Barbara Walsh sounds superb on this: she has a great voice. I love this one. "Dancing all the Time" is another good Susan song, and it leads into "I Want To Know" by Young Josh, which is another good ballad. "Coffee, Black" is another showstopper, fun ensemble song, and again, very comedic. "One Special Man" is Susan's ballad to Josh, and it is very beatiful. My only regret is that its only 2:21 so its a short one, and I just want her to start belting at the end, but no, its a quiet ending. Still, I love this one too. The finale is great too, and features an amazing duet between Josh and Susan. I love the harmonies they do.

All in all, this is a great album. Sample the songs and give it a try. This is a must have!!

4 out of 5 stars a lost gem.......2004-10-14

i saw this musical at the local high school in 2001 and was plesently suprised i of course saw the movie and the only thing i knew about this musical was it didnt stay long on broadway, so when i saw it was i shocked this is a delight cross the line still resenates in my head 5 years later.

1 out of 5 stars Ungodly awful.......2004-06-19

BEWARE. This musical is perhaps one of the five worst pieces of music I have ever experienced. I began to wonder if the composer was attempting to make the world's worst musical. Listen for yourself and enjoy the disjunct vocal lines, the desperate attempt at "fun music", and - worst of all - how the highlight of the entire show both dramatically and musically is the insipidly awful "Heart and Soul". Stick to the movie because this baby is horrendous.
Rodgers & Hammerstein: Songbook for Orchestra (Orchestral Suites)
Average customer rating: 5 out of 5 stars
  • Irresistible
  • "Some Enchanted Evening" with Kunzel and the Cincinnati Pops
  • Excellent!
  • Great Arrangments
Rodgers & Hammerstein: Songbook for Orchestra (Orchestral Suites)

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Lerner & Loewe Songbook for Orchestra
  2. Rodgers & Hammerstein - The Complete Overtures ~ Opening Night / Hollywood Bowl Orchestra · Mauceri
  3. Puttin' on the Ritz: The Great Hollywood Musicals
  4. The Sound Of Music (1987 Studio Cast)
  5. Classics of the Silver Screen

ASIN: B000003CXQ
Release Date: 1992-01-28

Tracks:

  1. Oklahoma!
  2. Carousel
  3. State Fair
  4. South Pacific
  5. The King And I
  6. Cinderella Waltz
  7. Flower Drum Song
  8. The Sound Of Music

Customer Reviews:

5 out of 5 stars Irresistible.......2005-07-29

From beginning to end this CD is pure delight. A great recording has great music, a great performance, and great sound; this one scores on all three counts.

Rodgers and Hammerstein's musicals dominated Broadway in the 1940s and 1950s, and American musical theater has produced no more consistently eloquent and durable voice than Richard Rodgers. From his fertile genius flowed a surprising number of memorable songs, many of which have passed into and become an accepted and beloved part of modern American culture.

This well-filled CD (77:36) features symphonic arrangements (all but two by Robert Russell Bennett) of the music from Oklahoma (1943), Carousel (1945), State Fair (1945), South Pacific (1949), The King and I (1951), Flower Drum Song (1958), and The Sound of Music (1959). All the great tunes are here in suites from each musical that average 10-12 minutes in length. The arrangements are expert: rich, varied, and colorful. The performances are polished, idiomatic, and irresistible; Kunzel and this orchestra are thorough masters of this kind of material. And Telarc's sound (recorded 1991) is state-of-the-art (engineer Michael Bishop deserves to take a bow).

In short, there's nothing here to cloud your listening pleasure (the only quibble I can imagine is that some of your favorites may not last long enough), so it's hard for me to envision anyone with ears and a taste for music who wouldn't enjoy this CD. Warmly recommended. Finally, if you like this one as much as I do, you might want to know that the same team has produced a companion volume, the Lerner & Lowe Songbook for Orchestra.

5 out of 5 stars "Some Enchanted Evening" with Kunzel and the Cincinnati Pops.......2003-12-26

Erich Kunzel's Rodgers and Hammerstein anthology with the Cincinatti Pops Orchestra is one of the best and most ravishing instrumental Rodgers and Hammerstein albums of all time. With sumptuous arrangements and warm, natural Telarc recording, this glorious 77-minute CD presents sweeping, melodic arrangements of over 60 Rodgers and Hammerstein selections, spanning eight scores, and Kunzel allows the Pops to play with a characterful and polished understanding of the Rodgers and Hammerstein idiom. The disc is enough to cheer you up on a dull day and make you smile, and it might even want to make you feel like a convert to Rodgers and Hammerstein musicals.

This CD has all the scores arranged chronologically. The OKLAHOMA! suite that opens this disc promises a feast for the senses, Kunzel ably evokes the territory's "bright, golden haze" in the way he conducts the various excerpts, until you feel the atmosphere of the country charm of the show, and the love-affair between Curly and Laurey. Then, in CAROUSEL, he ably evokes the pathos of this tragic R&H masterwork, especially in the truncated Waltz, but he leads a wonderfully melodic "June is Bustin' Out All Over" and a devotional "You'll Never Walk Alone." Although this suite does not include Billy's pivotal Soliloquy, it includes "If I Loved You" as an expression of his love for Julie, and within minutes you could be soaked in the ups and downs of the show's mood.

After a brief STATE FAIR suite, with sweeping renditions of "It Might As Well Be Spring" and "It's a Grand Night for Singing", we are brought into the disc's showstopping highlights. These highlights are the excerpts from SOUTH PACIFIC, THE KING AND I, and THE SOUND OF MUSIC. But yet Kunzel conducts the rest of the disc until the various suites amount to a series of showstoppers. These three suites present wonderfully-arranged versions of their many familiar classic songs, with well-played solos. The SOUTH PACIFIC suite presents the songs in chronological order, yet preserves the atmosphere of the show at the same time. Kunzel ably brings out the romance in "Some Enchanted Evening" and "Younger than Springtime," and contrasts it with the exotic and dreamlike "Bali Hai'i" and the comic "There is Nothing like a Dame" and "I'm Gonna Wash That Man Right Outa My Hair". Although the suite ends quietly with a reprise of "Dites-Moi" rather than the reprise of "Some Enchanted Evening," within minutes we are swept into the KING AND I suite. Kunzel ably brings out the Oriental pathos in this score, and he captures the warmth of Anna's rapport with the King's Siamese children in "Getting to Know You", and with the King himself in "Shall We Dance." There is also romance in the love ballads "I Have Dreamed" and "We Kiss in a Shadow." Similarly, in the selection from THE SOUND OF MUSIC, Kunzel conducts this until the orchestra soaks itself in the atmosphere of this Austrian R&H score. This SOUND OF MUSIC suite has more of a feel of the score compared to the bonus track on Sony's reissued version of the Broadway recording. You can almost feel as if you are following the progress of the Trapp family and how it lifts its spirits with the joy of music. Kunzel gives us a soaring version of the title song, and spirited versions of "Do-Re-Mi" and "My Favourite Things." He balances it with the open-air quality of "Edelweiss" and "The Lonely Goatherd." Although this suite could have included "Something Good," the love ballad written for the film, the three recollections of the songs that were cut from the movie only last for a while. And, the towering version of "Climb Every Mountain" crowns this portion of the disc, and this sumptuously-produced recording. But, I should also mention the infectuous FLOWER DRUM SONG medley, where Kunzel turns this underrated score into a work of art, until it convinces you to buy the cast recording. And, don't forget about the brief CINDERELLA WALTZ, too, when Kunzel conducts it magically, until you feel like you are in the company of Cinderella and the Prince. He is able to show how this R&H score marked a comeback for R&H after the failiures of Me and Juliet, and Pipe Dream.

Overall, this glorious Rodgers and Hammerstein recording is guarunteed to make you want to pucker your lips out for a whistle or sing along (to paraphrase another revew for Kunzel's Disney Spectacular disc) - even if this recording is music only, and as long as you know the words to the songs (and you might know a large handful of them already.) There is always a certain magic in this fine CD that makes you feel like you're sitting in the theatre watching these musicals, until it makes you feel like it is truly, to borrow two R&H song titles, "Some Enchanted Evening" and "Something Wonderful" to be in Kunzel's company for this R&H offering. It would certainly be one recording that could make you feel willing to buy the complete cast recordings of the shows. And I guaruntee that it will make you feel willing to pull out your existing copies of the cast recordings to listen to them again. I also guaruntee that it will be a cornerstone in any Rodgers and Hammerstein collection, just as it is in mine. Recommended heartily to any Rodgers and Hammerstein enthusiast and to fans of Erich Kunzel's work. And, you can play it while reading the Richard Rodgers biography, Musical Stages, until Rodgers himself would count this as his favourite disc in the afterlife.

By the way, most of the arrangements for the suites on this CD were done by the veteran R&H orchestrator Robert Russell Bennett, and it surely adds to the appeal of this recording. This itself is enough to amount to the icing on the cake, since Kunzel conducts them well on here, and since this recording still allows the suites to have the original theatrical atmosphere. And, although this recording is like the Mauceri collection of the Rodgers & Hammerstein overtures in compiling orchestral suites of Rodgers & Hammerstein, I think that I like the Kunzel recording even more because Kunzel has more magic in his conducting of these suites.

5 out of 5 stars Excellent!.......2003-04-08

This is one of the best Erich Kunzel/Cincinnati Pops collections we own! A must for Rodgers and Hammerstein fans, too.

5 out of 5 stars Great Arrangments.......2001-09-02

This is a first rate album with great arrangments and orchestrations. If you're a Rodgers and Hammerstein fan, you can't afford to miss this specatacular album
The Michael Feinstein Anthology
Average customer rating: 4.5 out of 5 stars
  • Mixed feelings
  • Your love for this superb collection will be here to stay...
  • He's done it again
  • Absolutely 'S WONDERFUL!
  • A beautiful 2 disc CD-another hit for Michael
The Michael Feinstein Anthology

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

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Similar Items:
  1. Romance on Film/Romance on Broadway
  2. Hopeless Romantics
  3. Pure Gershwin
  4. Isn't It Romantic
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ASIN: B000065DVH
Release Date: 2002-05-21

Tracks:

  1. Nice Work If You Can Get It
  2. Isn't It Romantic
  3. Swinging On A Star
  4. Ask Me Again
  5. Rhode Island Is Famous For You
  6. 'S Wonderful
  7. Wonder Why
  8. Too Marvelous For Words
  9. Where Do You Start
  10. Theme From The Bad And The Beautiful
  11. Easy To Love
  12. Alexander's Ragtime Band
  13. Who Are You Now?
  14. You're An Education
  15. You Are There
  16. Sophisticated Swing
  17. Love Can Change The Stars
  18. Come Out, Come Out Wherever You Are
  19. Half Of April (Most Of May)
  20. Marianne
  21. They Can't Take That Away From Me
  22. I Love A Piano

Tracks:

  1. That's Entertainment
  2. My Favorite Year
  3. Ten Feet Off The Ground (With Rosemary Clooney)
  4. I Never Felt Better
  5. Someone To Watch Over Me
  6. Kiss Her Now
  7. The Ugly Bug Ball
  8. For You, For Me, Forever More
  9. The Mole People
  10. And So To Bed
  11. You're All The World To Me
  12. Old Friend
  13. Isn't It A Pity (with Rosemary Clooney)
  14. Pattisserie
  15. Open Your Eyes
  16. For Love Alone
  17. I Won't Send Roses/Time Heals Everything
  18. Get Out And Get Under The Moon (with Page Cavanaugh)
  19. My Romance
  20. Love Is Here To Stay
  21. 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:

3 out of 5 stars 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.

5 out of 5 stars 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!

5 out of 5 stars 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!

5 out of 5 stars 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!

5 out of 5 stars 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.
Broadway: America's Music 1935-2005
Average customer rating: Not rated
    Broadway: America's Music 1935-2005

    Manufacturer: Decca Broadway
    ProductGroup: Music
    Binding: Audio CD

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    4. White Nights
    5. Spring Awakening (2006 Original Broadway Cast)

    ASIN: B000B8I93Q
    Release Date: 2005-10-18

    Tracks:

    1. Oh What a Beautiful Mornin'
    2. Summertime
    3. I Could Write a Book
    4. It Never Entered My Mind
    5. I Can Cook Too
    6. Make It Another Old Fashioned, Please
    7. If I Loved You
    8. My Heart Belongs to Daddy
    9. Thou Swell
    10. I Left My Heart at the Stage Door Canteen
    11. There's No Business Like Show Business
    12. South American Way

    Tracks:

    1. Shall We Dance
    2. Ohio
    3. Luck Be a Lady
    4. Mack the Knife
    5. There's a Small Hotel
    6. Once in Love with Amy
    7. Yodel Blues
    8. Lazy Afternoon
    9. There Must Be Somethin' Better Than Love
    10. You're Just in Love
    11. Now Is the Time

    Tracks:

    1. Impossible Dream
    2. Love Makes the World Go 'Round
    3. Try to Remember
    4. Put on a Happy Face
    5. I Say Hello
    6. Happiness
    7. She Loves Me
    8. What Kind of Fool Am I?
    9. Shy
    10. Consider Yourself
    11. Poor Little Person

    Tracks:

    1. Magic to Do
    2. They're Playing My Song
    3. I Don't Know How to Love Him
    4. I Won't Send Roses
    5. Good Morning Starshine
    6. Don't Cry for Me, Argentina
    7. Hard Candy Christmas
    8. Diamonds Are a Girl's Best Friend
    9. Won't You Charleston with Me?
    10. Applause

    Tracks:

    1. Phantom of the Opera
    2. Memory
    3. On My Own
    4. Muddy Water
    5. How Could I Ever Know
    6. American Dream
    7. I Know Him So Well
    8. Dr. Jazz
    9. Me and My Girl
    10. Suddenly Seymour

    Tracks:

    1. Mamma Mia!
    2. Popular
    3. Seasons of Love
    4. Oh, the Thinks You Can Think
    5. Whatever Lola Wants
    6. Crazy
    7. How Deep Is Your Love
    8. Stars
    9. People Like Us
    10. I Go to Rio
    Wagner: The Rhinegold
    Average customer rating: 4.5 out of 5 stars
    • A Rose By Any Other Name...
    • "Thus I salute the stronghold, safe from dread and dismay!
    • Free at last!
    • I Love This Recording
    • The Goodall Ring - 1975 - Restored and Remastered
    Wagner: The Rhinegold
    English National Opera
    Manufacturer: Chandos
    ProductGroup: Music
    Binding: Audio CD

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

    ASIN: B00005B550
    Release Date: 2001-05-22

    Customer Reviews:

    5 out of 5 stars A Rose By Any Other Name..........2007-07-02

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

    4 out of 5 stars "Thus I salute the stronghold, safe from dread and dismay!.......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 Valkyrie (Part 2): Wagner: The Valkyrie
    -Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
    -Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

    5 out of 5 stars Free at last!.......2004-09-18

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

    5 out of 5 stars I Love This Recording.......2002-04-05

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

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

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

    4 out of 5 stars The Goodall Ring - 1975 - Restored and Remastered.......2001-06-08

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

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

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

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

    For all of its flaws, this is an astonishing and, for me, an indispensible recording because it made me listen to this opera with new ears. While it's not the most lyrically pleasing recording (Karajan) or musically authoritative (that would be Solti, IMHO), dramatically, this Rhinegold excells any recording I know of. I will definitely buy the rest of the set.
    Lil Abner/Broadway Bouquet
    Average customer rating: 4 out of 5 stars
    • It's not stereo
    • classic arrangements by the classic gentlemen ~ Percy Faith
    Lil Abner/Broadway Bouquet

    Manufacturer: Collectables
    ProductGroup: Music
    Binding: Audio CD

    All Works by BernsteinAll Works by Bernstein | Bernstein, Leonard | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
    LoungeLounge | Easy Listening | Pop | Styles | Music
    GeneralGeneral | Easy Listening | Pop | Styles | Music
    Orchestral PopOrchestral Pop | Easy Listening | Pop | Styles | Music
    GeneralGeneral | Pop | Styles | Music
    GeneralGeneral | Vocal Pop | Pop | Styles | Music
    Traditional PopTraditional Pop | Oldies | Pop | Styles | Music
    GeneralGeneral | Opera & Vocal | Styles | Music
    Traditional Vocal PopTraditional Vocal Pop | Broadway & Vocalists | Styles | Music
    Solo InstrumentalSolo Instrumental | New Age | Styles | Music
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    1. Subways Are for Sleeping / Do I Hear a Waltz
    2. Porgy & Bess / Most Happy Fella
    3. More Themes for Young Lovers/Latin Themes for Young Lovers
    4. Kismet/Music From Hollywood
    5. Great Folk Themes: American Serenade

    ASIN: B0000996GC
    Release Date: 2003-09-16

    Tracks:

    1. It's A Typical Day
    2. The Way To A Man's Heart
    3. Love In A Home
    4. Medley: Jubilation T. Cornpone / (What's Good For) General Bullmoose (Is Good For The U.S.A.)
    5. Unnecessary Town
    6. The Country's In The Very Best Of Hands
    7. There's Room Enough For Us
    8. Progress Is The Root Of All Evil
    9. If I Had My Druthers
    10. Oh Happy Day
    11. Matrimonial Stomp
    12. Namely You
    13. Hello, Dolly!
    14. Once Upon A Time
    15. Somewhere
    16. Sunrise, Sunset
    17. Who Can I Turn To (When Nobody Needs Me)
    18. A Quiet Thing
    19. Make Someone Happy
    20. What Kind Of Fool Am I?
    21. Long Ago
    22. The Sweetest Sounds
    23. As Long As He Needs Me
    24. Theme From "Golden Boy"

    Album Description

    The jaunty Gene DePaul score for the musical play "Lil' Abner" based on the comic strip by Al Capp is heard instrumentally - and it's quite a show! "Broadway Bouquet" from 1965 is an important part of the famed Faith "string" album series - perhaps the pinnacle of his rich string sound that spanned gorgeous melodies and counterlines across sections of the large orchestra. (Bill Halvorsen)

    Album Description

    Pianist Percy Faith, a pioneer of the Easy Listening genre, had a successful and lengthy career as the in-house conductor and arranger for Columbia Records. Faith was renowned for his musical interpretations of Broadway and motion picture music. These two reissues from Collectables on 1 CD were originally released in 1965. 24 tracks. 2003.

    Customer Reviews:

    3 out of 5 stars It's not stereo.......2005-01-10

    I bought this solely for "Once Upon a Time", and was dismayed that the CD is mono, not stereo. The quality of the recordings leaves much to be desired, as many of them lack the pristine quality I'm used to on a CD.

    5 out of 5 stars classic arrangements by the classic gentlemen ~ Percy Faith.......2004-02-16

    Two albums from the Columbia Records people blending different decades "Li'l Abner" (originally released CL 955 in 1956) and "Broadway Bouquet" (originally released LS 9156 in 1965), sharing the unmistakable style of the "Percy Faith Touch" ~ you know in an instant you're in for the best of the best ~ Duke Ellington was so taken with Faith's arrangements, that he would give anything to be able to arrange in that fashion.

    Let's begin with "IT'S A TYPICAL DAY" along with "LOVE IN A HOME", both from "Li'l Abner", wonderful opening counterparts and the stirring arrangements by Maestro Percy Faith ~ "JUBILATON T. CORNPONE", uplifting cue that will keep bouncing in your head for hours, maybe even days ~ "IF I HAD MY DRUTHERS", one of the forgettable tunes from the show ~ "NAMELY YOU", has to be the best and favorite song of the Johnny Mercer and Gene De Paul score ~ by the way, these two composers penned the lively screen musical "Seven Brides for Seven Brothers", both scores were sure winners from two talented songwriters, Percy Faith steps up to the podium and takes it to another level.

    Now with "Broadway Bouquet", we have perfection within the realm of lush arranging, so flawless "HELLO, DOLLY!" (Jerry Herman), "ONCE UPON A TIME" (Adams/Strouse), "SOMEWHERE" (Sondheim/Bernstein), "SUNRISE, SUNSET/FIDDLER ON THE ROOF" (Harnick/Bock) (one of my all-time favorites, can't get enough of this score), "WHO CAN I TURN TO (WHEN NOBODY NEEDS ME)" (Bricusse/Newley), "A QUIET THING" (Ebb/Kander), "MAKE SOMEONE HAPPY" (Comden/Green/Styne), "WHAT KIND OF FOOL AM I?" (Bricusse/Newley) (two of the best songwriters in the business), "LONG AGO" (David Heneker), "THE SWEETEST SOUNDS" (Richard Rodgers) (his credit of compositions goes through the ceiling, will never be another like 'em), "AS LONG AS HE NEEDS ME" (Lionel Bart) (a wonderful classic that is still popular by today's standards), "THEME FROM "GOLDEN BOY" (Adams Strouse) (another team of composers that have made an impact on the Broadway scene) ~ an example of the "Percy Faith Touch", so effortless, you feel like you're floating on a cloud ~ falls into Percy's many albums of fabulous string arrangements, they grabbed the attention of the listener and wouldn't let go. Can't think of any other arranger/composer who left such a great legacy as this man!

    Highly recommend to ALL fans of Percy Faith ~ thanks to Collectables for releasing this collection from the vaults of Columbia Records ~ so listeners sit back, relax and enjoy a small part of Maestro Percy Faith's fabulous career!

    Total Time: 70:49 on 24 Tracks ~ Collectables 7564 ~ (9/16/2003)
    Bonnie Langford: Now (Selections From Her One Woman Show Live and Direct)
    Average customer rating: Not rated
      Bonnie Langford: Now (Selections From Her One Woman Show Live and Direct)
      Bonnie Langford
      Manufacturer: EPL Records
      ProductGroup: Music
      Binding: Audio CD
      ASIN: B000LOMDCS

      Product Description

      This CD contains 15 songs performed by British stage singer and actress Bonnie Langford. Song list is: 1. Let the Good Times Roll, 2. Because I'm a Woman, 3. Some Cats Know (From the musical Smokey Joes Cafe), 4. Memory (From the musical Cats), 5. Blues Melody, 6. Somewhere That's Green (From the musical Little Shop of Horrors) 7. Sweet Charity Melody (From the musical Sweet Charity), 8. The Best is Yet to Come, 9. The Other Side of Me, 10. I Can't Stop Loving You, 11. Sixties Melody, 12. A Singer in a Night Club (From the musical Tallulah for a Day), 13. I'm a Woman (From the musical Smokey Joes Cafe), 14. I Am Changing (From the musical Dreamgirls), and 15. The Music That Makes Me Dance (From the musical Funny Girl).
      You Can't Stop Me Satan
      Average customer rating: Not rated
        You Can't Stop Me Satan
        Sister Lucille Pope
        Manufacturer: Atlanta Int'l
        ProductGroup: Music
        Binding: Audio CD

        GeneralGeneral | Christian & Gospel | Styles | Music
        GospelGospel | Christian & Gospel | Styles | Music
        GospelGospel | Christian & Gospel | Indie Music | Stores | Music
        ASIN: B000005RD2
        Release Date: 1995-07-11

        Tracks:

        1. Great Reunion
        2. You Can't Stop Me Satan
        3. Reach Out
        4. Tell The World About Jesus
        5. God's Love
        6. His Precious Gift
        7. Wake Up America
        8. What Will You Be Doing (When Jesus Comes?)
        You Can't Stop God from Blessing Me
        Average customer rating: Not rated
          You Can't Stop God from Blessing Me
          Dove Brothers
          Manufacturer: Crossroads Records
          ProductGroup: Music
          Binding: Audio CD

          GeneralGeneral | Christian & Gospel | Styles | Music
          GospelGospel | Christian & Gospel | Styles | Music
          Christian Contemporary MusicChristian Contemporary Music | Christian & Gospel | Styles | Music
          ASIN: B00009B8EN
          Release Date: 2003-05-20

          Tracks:

          1. You Can't Stop God from Blessing Me
          2. Hear Me Lord I Pray
          3. I'm Going There
          4. God Can
          5. Heaven Is Better Than This
          6. Just Another Hill
          7. He'll Pilot Me
          8. Sweet Baby Girl (Kalea's Song)
          9. He Did It All for Me
          10. Glory Glory Amen

          Music:

          1. You Know Who Your Friends Are
          2. You Told Me To Sing
          3. 3
          4. American Rivers and Roads
          5. Babytown
          6. Basher: The Best of Nick Lowe [Import]
          7. BBC Sessions [Import] [Original recording remastered]
          8. Beautiful South [Import]
          9. Bedtime for Democracy
          10. Best of Blondie

          Music

          music

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          Wildflower [Import]

          Constantin Lifschitz en concert à Montréal

          Conducts Orchestral Favourites 1

          Country Greats Sing Gospel

          Downpayment on Future Glories

          Donizetti: Don Pasquale

          Calling All Movers

          EDWARD ELGAR - Enigma Variations - The Wand Of Youth

          Clawhammer Banjo, Vol. 2

          Caravan of Dreams

          Cop/Young God/Greed/Holy Money

          A Giria E Do Povo [Import]

          Communicate [Import]

          Bach: De Occulta Philosophia

          Kenny Chesney - Greatest Hits