Velocity

Editorial Reviews
Album Description
Fitting the Summit Education mold, Columbus State University is a university of over 6,000 students located in Columbus, Georgia. The Schwob School of Music (where this recording was produced), housed in the state-of-the-art $67 million RiverCenter for the Performing Arts, is a highly selective school of music offering undergraduate and masters degrees in various musical disciplines. The wind ensemble activities at CSU are directed by Dr. Robert W. Rumbelow. This includes the CSU Wind Ensemble, a premier touring ensemble. Clarinetist Dr. Lisa Oberlander joined the faculty of Columbus State University in 1998. She has made several recordings and is a frequent chamber musician, solo recitalist, and clinician, giving recitals across the U.S.

Tracks:

A m y L e e
D o I t A g a i n
H a r d M i n d
S o m e t h i n g W i c k e d
I ' l l N e v e r K n o w
S u n P r a i r i e B l u e s
N e v e r G o n n a C h a n g e
R U 4 R e a l ?
O u t I n T h e R a i n
L e a v e H e r B e
M e t M y M a t c h

Product Description

Blue Velocity is a record which aptly
showcases many sides of this brilliant
artist in the context of high energy
blues-rock with moments that bring to
mind legendary artists as diverse as
Stevie Ray Vaughan, Jimi Hendrix and
Eric Johnson. Duarte has made the
kind of guitar-driven blues record that
fans have been waiting for.

Album Description

Chris Duarte Group emerged on the scene out of Austin, Texas in the early 90's and gained notoriety after wowing a packed room of industry insiders at the South X Southwest convention. In the wake of Stevie Ray Vaughan's passing, Duarte quickly gained a national reputation as a young man imbued with a playing style comparable at times to the late guitarist.

Average customer rating:

A nice compilation

Serene Velocity: A Stereolab Anthology
Stereolab
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

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The Information

ASIN: B000GH3PPY
Release Date: 2006-08-29

Tracks:

Jenny Ondioline (Part 1) (7" version)
Crest
French Disko
Ping Pong
Wow And Flutter (7" version)
Cybele's Reverie
Metronomic Underground
Percolator
Brakhage
Miss Modular
Infinity Girl
Come And Play In The Milky Night
Space Moth
Double Rocker
Vonal Declosion
...Sudden Stars

Album Description

This newly-compiled collection explores the many-splendored sounds of Stereolab's career from their formation in London in 1991, through rising out of the underground, to becoming one of the most influential rock bands of the '90s.

Customer Reviews:

A nice compilation.......2006-09-04

Stereolab has always created nice mix albums which show the flexible nature of their creative gift. The length and breadth of their continuing exploration of musical potential can be both awe-inspiring and intimdating at the same time - where does one start if you haven't been there from the begining? This mix feels like a even more edited release of "Oscillons From the Anti-Sun", bringing samples from the past and combining them with the current, but on one disc instead of three (no DVD either). The liner notes are well written, taking into account both the perspectives of the critics and the fans, and provides encouragement to those who want to delve deeper into the work of this phenomenal band. A must have for those of us who want all Stereolab releases (a next to impossible goal), and a great collection of fan favorites. Upbeat rock, mellow electronica, smooth jazz, all incorporating the famous wit and political perspective of one of the 90's greatest bands.

Average customer rating:

Please enter a title for your review
Accessible Progressive music
Re-Loused in the Comatorium
amazing
Breathe in, Breathe out, your final mission

The Philosophy of Velocity
Brazil
Manufacturer: Immortal (Red)
ProductGroup: Music
Binding: Audio CD

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A Hostage and the Meaning of Life
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ASIN: B000I2JTH0
Release Date: 2006-10-03

Tracks:

On Safe-Cracking and Rubella
Crime (and the Antique Solution)
You Never Know
The Vapours
Cameo
Candles (Cast Long Shadows)
Au, Revoir, Mr. Mercury
Captain Mainwaring
A Year in Heaven
The Remarkable Cholmondley Chute System
Breathe
Strange Days

Album Description

Brazil returns with their much anticipated full length and debut album for Immortal Records: "The Philosophy of Velocity", produced by Dave Fridmann and Brazil.

Customer Reviews:

Please enter a title for your review.......2007-04-07

never achieving any complex or intricate cohesion between multiple instrumental parts being played at the same time, so ultimately it's just dull, your focus is always directed to one primary rhythm or melody, the backing layers acting as mere window dressing. the polyrhythms they seem to be aspiring to never materialise.

Accessible Progressive music.......2006-11-22

A lot of ppl have been comparing this band to the Mars Volta, which I don't agree with. Nobody sounds like the Mars Volta. No, Brazil has their own sound. At the center of their sound is the piano. The band plays a progressive style of rock that accompanies melodies and at times, catchy songs. I would compare their style to 70's rock but with a modern twist. This stuff sounds very epic with production from Dave Fridman(Flaming Lips, Thursday). Just check out the track 2 "Crime". I was sold after that track alone.

Re-Loused in the Comatorium.......2006-10-06

Jonathon Newby must have a set of pitch pipes tuned to Cedric Bixler's vocal cords, because there are times that his singing inflection is a dead ringer for the current Mars Volta vocalist's style. "The Philosophy of Velocity" itself plays like a sequel to that band's 2003 release, "De-Loused in the Comatorium"--a punk's brisk run through poppy fields planted with lyrical razorwire. Although Newby's lyrics are considerably more "down-to-earth" when put up against contemporaries like the Mars Volta, it's the uniquely energized crunch of this album that should earn Brazil a spot in today's music scene beyond "that band that sounds like At The Drive-In with a piano."

Their "Philosophy" bumps shoulders with various facets of Omar and Cedric's bands, but at all the right moments: opener "Crime (And The Antique Solution)" busts out of the start-gate with a punishing-yet-trippy think-it's-a-guitar riff and a vocal inertia that should win over naysayers within a few bars. The music is complex, but with stronger reliance on polyrhythm rather than the inclusion of "strange" rock instrumentation.

"A Year In Heaven"'s grand chording on piano suggests epic jazz-blues at first, but delivers a soupy feast of guitar experimentation and self-harmonizing from Newby, still underscored by the same piano. The song later enters an acoustic finger-plucked passage supported with woebegone electric piano arpeggios, then revs back up for a grand exit. Then we go down "The Remarkable Cholmondeley Chute System" in just under 50 seconds, and come across "Breathe," a song which bears little resemblance to the Pink Floyd song of the same name, except perhaps in spirit. Among the most straightforward rockers on "Philosophy," "Breathe" still manages to sound like nothing else being produced today. Even the Mars Volta don't sound like this anymore.

Few modern artists possess the fearlessness required to repeat the experiments of yesteryear, and even fewer of them have the talents to come out of such re-experiments with something listenable in hand. Brazil have done it with their latest record. Even if it's only a trip down memory lane, "The Philosophy of Velocity" is a trip any fan of concept albums and madman experimentation can't afford to pass up.

amazing.......2006-10-05

it's so hard to find a song, and even more so an album, that is put together so well that it tells a rich and endearing story, with multiple facets that come at you from every angle. i've listened to this album straight through so many times, and every time i listen to it i hear something new and fascinating. conceptually from start to finish, it is inspiring and awesome. great producer, great mastering, great band. i always bitch about how music in general just ain't how it used to be (in reference to Queen, Rush, or any solid rock band in the 70s and 80s) and Brazil has tried and succeeded in making something real and beautiful again in music. http://www.braziltheband.com

Breathe in, Breathe out, your final mission.......2006-10-05

Brazil has been one of my favorite bands for a couple years now. A Hostage...
is a top 20 album for me; naturally I've been waiting for their next effort with great anticipation. Once again they do not dissapoint, fellow fans and I. It has many similarities to A Hostage, that makes them unique. It's a little more accessible than A Hostage, but it shows that their pop sensibilities excel the majority of music today. Breathe, Crime and Antique, and You never Know are my personal faves.

Average customer rating:

Fairly ordinary new age
velocity of love
Space Age love songs
Brilliant. Perhaps her best work. Even today
Very relaxing music; great used as background music

The Velocity of Love
Suzanne Ciani
Manufacturer: Seventh Wave
ProductGroup: Music
Binding: Audio CD

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The Private Music of Suzanne Ciani
Silver Ship
Pianissimo III
Seven Waves
Pianissimo

ASIN: B000003M2S
Release Date: 1995-12-05

Tracks:

The Eighth Wave
Lay Down Beside Me
The Velocity Of Love
Malibuzios
History Of My Heart

Album Description

The Velocity of Love is a Ciani classic, originally released on RCA and now on the artist's own label. The title song has become Ciani's signature composition and appears in many wedding music anthologies. A seminal work for the New Age Genre, it has sold over 200,00 copies. Composed, arranged, produced and performed by Ciani on an array of synths with special guest artist Vangelis.

Customer Reviews:

Fairly ordinary new age.......2005-07-12

I'm probably not the normal "new age" listener in that I despise the very notion of "background music": I'm an active listener and I don't think of music as ambient "noise" to have on while I read/watch TV/play video games/play cards, etc. When I choose to listen to music, I listen to it. That means I don't want something that meanders into oblivion and tends to induce boredom or day-dreaming. I want something that inspires feelings in me, be they melancholy sighs, bubbly smiles, tearful grieving, or visceral anger (in the case of hard rock/metal or punk).

In the end, this means that I usually favour strongly melodic new age over music that employs a lot of "noodling" over washes of synths. Music as "texture" is not my thing.

HIGHLIGHTS:
Ciani's music seems warmer when centered around her piano, with the synths just added for flavour. She wisely chose to title the album around "Velocity of Love", one of the better tracks here. (A synth "trumpet" takes a brief solo, then the theme returns to piano). A near martial feel characterizes "History of my Heart"..maybe meant to evoke the feel of the battles "fought" to gain control of it?

LOWS:
"Malibuzios" starts strong but flags in the middle before rebounding at the end. I think it simply runs too long at nearly 9 minutes without enough musical ideas. Had it been trimmed to 5 or 6 minutes with the best bits kept, we'd have a stronger tune.

BOTTOM LINE:
While there are moments of beauty here, much of this tends to wash into the background. It's not awful, but it's far from what I'd consider a high-water mark in new age or even in Ms. Ciani's music.

velocity of love.......2005-06-14

this was instantly a classic, from the first time i heard it
and it still takes my breath away

Space Age love songs.......2002-11-29

Suzanne has bridged classical and electronic music to create her most heartfelt release to date. Her delicate touch is used to it's greatest effect in these lilting love songs. On the title track, her most passionate playing is in full force. However, her sound is as expansive as it is passionate. The depth of her moods is conveyed through her phrasing of time and space in her harmonies and solos. She demonstrates her mastery not only on the piano, but on electronic instruments on tracks, "Lay down beside me" and "Malibuzios." Suzanne creates expansive moods while playing romantic melodies.

Brilliant. Perhaps her best work. Even today.......1999-02-23

Brilliant. Perhaps her best work. Even today

Very relaxing music; great used as background music.......1998-07-21

This CD was one of the first new age music CD's that I bought. These songs have played in the background many-a-times while I do my physics homework both in undergraduate, and now in graduate school! Well worth purchasing, although I do tend to like the Wave Live! album from 1997 a bit better.

Average customer rating:

Different, punky, happy, and fun
Man, This Sucks...
Rotten apples
Welcome back Mitch!
Guitar Takes Over

Velocity of Sound
The Apples in Stereo
Manufacturer: Spin Art
ProductGroup: Music
Binding: Audio CD

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Fun Trick Noisemaker

ASIN: B00006L3I8
Release Date: 2002-10-08

Tracks:

Please
Rainfall
That's Something I do
Do You Understand?
Where We Meet
Yore Days
Better Days
I Want
Mystery
Baroque
North America (Bonus Track)
She's Telling Lies (Bryce's Mix)

Customer Reviews:

Different, punky, happy, and fun.......2005-10-20

Don't buy this album expecting to hear the clear guitar hooks of "Tin Pan Alley" or the goofy and nasal voices of "Go" and "The Bird that You Can't See."
But do buy this album.
This is The Apples in Stereo as a power-pop-punk outfit with countless catchy hooks, happy lyrics, but with everything swirling in a churning wave of fuzz and distortion. Fun and fast punk guitar, a great mix of various male and female vocals, the feels of 1950s radio ditties and 1960s surf rags and 1970s punk and 1990s crunch.... It's all here, and you will enjoy it, whether you're an Apples in Stereo fan or whether you've never heard them before but just like to rock out and feel good. Check it out.

Man, This Sucks..........2004-04-18

Dude, what is this man? It's like, all happy and stuff. That's crap man. I'll admit, these guys used to kinda catchy, but now they sound like the Beach Boys molested by the Jesus And Mary Chains' Psychocandy. I mean, those guitars! They don't even do anything except play some chords again and again. And it keeps going and going. I mean, alright, I guess if you danced to it would be kinda fun. But real music is about feeling. There aren't any feelings on this record. It makes me all smiley, and I really don't like being smiley. There's so much pain out there, how can you just ignore it? Velocity Of Sound? I don't get it. It's too simple, it's too jolly, the lyrics don't mean anything. Okay, I'm done. Now where's that Ramones record...

Rotten apples.......2003-12-12

Before we get started here, I have a guilty confession: I like pop music. The really bouncy kind, the kind that's so sugary it could rot teeth. Or, to use another metaphor, music that sounds like someone stuffing prozac in your ears.
As such, it was love at first listen the first time I heard the Apples in Stereo. On earlier albums, I pictured Robert Schneider (the lead singer and primary songwriter) as something like Brian Wilson's hyperactive kid brother, compensating for his lack of musical or lyical depth and his tendency toward repetition with a boundless energy and optimism. And while I'm not placing, say, "Tone Soul Evolution" up there next to "Pet Sounds", I loved it.
So like the mindless consumer I am, "Velocity of Sound" came out and I skipped all the way to the record store and slapped my $15 or so on the counter without hearing a single track, popped the CD in my CD player and cried all the way home.

Okay, that's an exaggeration. But not by much. I know they couldn't be shiny and happy forever, and it's good that they tried to climb out of the musical niche they had carved for themselves. But I've listened to it ten times, in good moods and bad, and I just can't force myself to like it. Change is good, but changing into a generic clone of The Strokes is bad, and that's what they did. They added a distorted guitar or so and tried to sing/shout over it (I'll admit here that the resulting vocals are occasionally less abrasive than the nasally ones we've come to know and tolerate), and decided that if they couldn't have good lyrics, they'd have lyrics that were harder to understand. In this confusion, they lost their melodies, which before were the selling point of their songs, leaving the bouncy listener humming it under her breath all day. What remains just sounds kind of tone-deaf.

Given the recent "returning to the roots of rock" movement (whatever the name for it is I'm sure it's equally stupid), I can't help but feel like the Apples are attempting to gain a bigger fan base by riding in the wake of The Stokes/Hives/Vines. The result is something that manages to completely miss both the original Apples sound and the sound of the bands they seek to imitate. Here's hoping the next time they try to expand their style, they do it in a way that's a little more true to them.

Welcome back Mitch!.......2003-10-23

Well, we`ve waited 15 years for the next Let`s Active / Mitch Easter record---and here it is!! It was well worth the wait. FABULOUS!! Welcome back Mitch!

Guitar Takes Over.......2003-09-01

OK, I had finally come to accept that the Apples in Stereo were not going to get any better than they already were. I thought Fun Trick Noisemaker was a solid album, but the vocals got on my nerves at times. But this album was surprisingly full of great guitar and the vocals did not get overbearing with a bunch of "la la la's" that I am used to hearing from them. And while many may say the album is too short (it's less than 30 minutes!), the truth is it would lose its charm if it were any longer. In addition, the Apples may have solved my "vocals problem" by inserting smack dab in the middle of the album a different lead vocalist, bass guitarist Eric Allen. I only wish there was more of Mr. Allen because his contribution, "Yore Days" is possibly the strongest song on the album. While the first song "Please" is a little bit on the "gooey" side, it has an engaging chorus that I found myself singing long after the CD was finished. About the only song I may have a problem with is "Where We Meet", in which lead singer Robert Schneider does a great job of whining like a kid in a candy store, refusing to leave until he gets his lollipop.

Tracks:

Concerto No.3, Op.26: Andante, Allegro Theme And Variations
Concerto No.3, Op.26: Tema: Andantino
Concerto No.3, Op.26: Variation I: Listesso tempo
Concerto No.3, Op.26: Variation II: Allegro
Concerto No.3, Op.26: Variation III: Allegro moderato (poco meno mosso)
Concerto No.3, Op.26: Variation IV: Andante meditativo
Concerto No.3, Op.26: VariationV: Allegro giusto
Concerto No.3, Op.26: Tema: Listesso tempo
Concerto No.3, Op.26: Allegro ma non troppo
Concerto: Allegro maestoso
Concerto: Andante con anima
Concerto: Allegro brillante
Preludes, Op.34: No.14 In E-Flat Minor
Preludes, Op.34: No.10 In C-Sharp Minor
Preludes, Op.34: No.5 In D

Customer Reviews:

uncomparable.......2007-02-14

The bravura, power, strenth, energy, virtuosity of the pianio in Khachaturian concerto is simply unbeliveble. Surprisingly to me, there are also moments full of poetry and nostalgia in second part.
And the orchesta with the Kusewicki - this is really strong support, and - despite the age of the recording - the details are quite well audible (I know Naxos edition, they made wonders!)
Simply amazing!
One of the greatest piano concerto recording I have ever heard (not the same with the concerto). Two great artists inspired to its heights by each other!
To comparision I know only another version of the piece - with Kapell again - the one with Ormady. The orchestra is not as marvelous as Boston.

Khachaturian/Prokofiev concertos.......2007-01-10

This is one of the the best Khachaturian and Prokofiev recordings ever!
Tiroui

The Kachaturian Piano Concerto belongs to William Kapell!.......2004-10-27

Please do not waste your time and money searching another other performance of Kachaturian . This is by far , the supreme jewel in the musical universe since its first release in 1945 in vynil .
Kapell simply was far beyond of being inspired , he threw over the concert and literally explored every little detail , you will feel the anxiety , the nostalgia , the delirium , the caucasion moods , the unbetable rage and the most passionated lyricism ever made in this concert .
And despite Koussevitzky with The Boston Symphony makes a great team . This orchestra , gifted with such tonal color , his strings and brass ; cellos and counterbass , winds and metals were simply a real tour de force .
The rapport was inmediat and this recording became in the hitherto of the Kachaturian Piano Concerto .
Believe me I ve heard this work since 1973 and not least than three hundred times . Its frenetic intensity , its febrile majesty and vibrating erotism is absolutely overpowered .
The Prokoviev is very interesting though I find it too fast in the first movement and somehow this hyperkinetism may work out if you do not know for instance the Samson Francois version in which S.F. articulates lyricism and powerful .
But despite this last commentary about the Third , the record is fundamental for you to acquire the essential and more astonishing performance of this Concerto .

Genius.......2004-06-05

William Kapell on this CD played with an incomparible fire. Both piano concertos are beautifull pieces and were fully realized on this album as great works of music.

Rachmaninoff: Concerto No. 2; Rhapsody on a Theme of Paganini

Average customer rating:

Technically Brilliant-- but not Emotionally
the rapsody is a spoiler
William Kapell : Unforgetable!

Rachmaninoff: Concerto No. 2; Rhapsody on a Theme of Paganini

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B000040JEC
Release Date: 2000-02-08

Tracks:

Rhapsody On A Theme Of Paganini, Op.43: Introduction: Allegro vivace - Variation I
Rhapsody On A Theme Of Paganini, Op.43: Tema: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op.43: Variation II: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op.43: Variation III: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op.43: Variation IV: Piu vivo
Rhapsody On A Theme Of Paganini, Op.43: Variation V: Tempo precedente
Rhapsody On A Theme Of Paganini, Op.43: Variation VI: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op.43: Variation VII: Meno mosso, a tempo mederato
Rhapsody On A Theme Of Paganini, Op.43: Variation VIII: Tempo I
Rhapsody On A Theme Of Paganini, Op.43: Cariation IX: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op.43: Variation X: Poco marcato
Rhapsody On A Theme Of Paganini, Op.43: Variation XI: Moderato
Rhapsody On A Theme Of Paganini, Op.43: Variation XII: Temp di minuetto
Rhapsody On A Theme Of Paganini, Op.43: Cariation XIII: Allegro
Rhapsody On A Theme Of Paganini, Op.43: Variation XIV: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op.43: Variation XV: Piu vivo scherzando
Rhapsody On A Theme Of Paganini, Op.43: Variation XVI: Allegretto
Rhapsody On A Theme Of Paganini, Op.43: Variation XVII: Allegretto
Rhapsody On A Theme Of Paganini, Op.43: Variation XVIII: Andante cantabile
Rhapsody On A Theme Of Paganini, Op.43: Variation XIX: A tempo vivace
Rhapsody On A Theme Of Paganini, Op.43: Variation XX: Un poco piu vivo
Rhapsody On A Theme Of Paganini, Op.43: Variation XXI: Un poco piu vivo
Rhapsody On A Theme Of Paganini, Op.43: Variation XXII: Un poco pui vivo (Alla breve)
Rhapsody On A Theme Of Paganini, Op.43: Variation XXIII: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op.43: Variation XXIV: A tempo un poco meno mosso
Concerto No.2, Op.18: Moderato: Allegro
Concerto No.2, Op.18: Adagio sostenuto
Concerto No.2, Op.18: Allegro scherzando
Prelude, Op.3 No.2 In C-sharp Minor
Preludes, Op.34: No.24 In D Minor
Preludes, Op.34: No.10 In C-sharp Minor
Preludes, Op.34: No.5 In D

Customer Reviews:

Technically Brilliant-- but not Emotionally.......2007-06-23

Sorry. That should be three stars above.
This is a great work --so powerful you can almost see Pagnini's battle between good and evil brought out by Rachmaninoff. (It was rumored he had a pact with the Devil to play so well).
It doesn't come across for me in this recording.
There is technical brilliance here. Amazing finger work of incredible speed. But I find it empty of both the darker, threatening visage from the orchestra and the sweet moment of love that tries to 'save' the music's decent into darkness.
Yet our other reviewer from South America finds it outstanding. I agree with the first reviewer-- not enough.
That love song on Track 19 should lift the listener to a sigh of aching joy and relief from dancing madness. It is among the greatest ever written. It deserves emotion as well as brilliance.

the rapsody is a spoiler .......2006-01-19

the rapsody is a spoiler. This product is featured on many recordings and does not have that everlasting value which the products of Rach do have at least for me. Sound quality is average.

William Kapell : Unforgetable!.......2005-03-11

Rachmaninoff's Second Concert is the most played work of this composer . You can make an impressive account of one hundred performances at least in the last forty years .

But to be true only seven versions deserve to be in the list of the most remarkable, and this is precisely one of them. Kapell made of this performance a farewell concert far beyond of the overindulgence and heartfelt phrase. Kapell never sounded romantic. He was a mature artist and avoided above all the cliches. He won will all the honors a honest and convincing performance without tears, but filled with noblesse.

The real winner performance of this fundamental album is Rachmaninoff's Variations. There has not ever born any pianist previous or later who had got so flammigerous, incandescent, furtive and fierce reading of this work as Kapell did it. Precision, conviction, phrasing, technique, histamina, poetry and rapture are some of the most remarkable adjectives I can find for this recording. Reiner directed admirably too to be honest. And this superb version is a real landmark and believe or not the time not only has elevated this status version, but besides has reached in the present times colossal dimensions. And I would really recommend another three additional performances: another version recently released live by Kapell and under Bernstein's batoon and two recordings by Richter: one from 1955 and the ultra known of 1958 with Stanislav Wisloscki.

Shostakovich;s Preludes are OK, but there's a name in these works: Tatiana Nikolayeva.

Average customer rating:

Very touched
In Memorium
Priceless Souvenirs from a Rare Genius: Ave Atque Vale
Poetry without words
What Is Technically Difficult Is Not Always Pleasant To Hear

William Kapell Edition (Box Set)

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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William Kapell in Performance: Brahms & Prokofiev Piano Concertos
Prokofiev: Sonata No.7/Toccata, Op.11/Barber: Sonata, Op.26/Kabalevsky: Sonata No.3/Fauré: Nocturne No.13/Poulenc: Pr
William Kapell, Vol.I: Rachmaninov/Khachaturian
Plays Schubert
Furtwangler Conducts Beethoven - Beethoven: symphonies no 3,4,5, & 9, Leonore

ASIN: B00000B9MR
Release Date: 1998-09-29

Tracks:

Mazurkas: Op. 6, No. 2
Mazurkas: Op. 7, No. 2
Mazurkas: Op. 7, No. 5
Mazurkas: Op. 17, No. 2
Mazurkas: Op 17, No 3
Mazurkas: Op. 17, No. 4
Mazurkas: Op. 24, No. 1
Mazurkas: Op. 24, No. 3
Mazurkas: Op. 30, No. 3
Mazurkas: Op. 33, No. 1
Mazurkas: Op. 33, No. 3
Mazurkas: Op. 33, No. 4
Mazurkas: Op. 41, No. 1
Mazurkas: Op. 41, No. 2
Mazurkas: Op. 50, No. 2
Mazurkas: Op. 50, No. 3
Mazurkas: Op. 56, No. 3
Mazurkas: Op. 59, No. 1
Mazurkas: Op. 59, No. 2
Mazurkas: Op. 63, No. 2
Mazurkas: Op. 63, No. 3
Mazurkas: Op. 67, No. 2
Mazurkas: Op. 67, No. 3
Mazurkas: Op. 67, No. 4
Mazurkas: Op. 68, No. 2
Mazurkas: Op. 68, No. 3
Mazurkas: Op. 68, No. 4
Mazurkas: Op posth. - 'Notre temps'
Mazurkas: Op posth - In B Flat

Tracks:

Sonata No. 3, Op. 58 In B Minor: Allegro maestoso
Sonata No. 3, Op. 58 In B Minor: Scherzo: Molto vivace
Sonata No. 3, Op. 58 In B Minor: Largo
Sonata No. 3, Op. 58 In B Minor: Finale: Presto, non tanto
Waltz, Op. 18 In E Flat Major
Sonata No. 2, Op. 35 In B-Flat Minor: Grave; Doppio movimento
Sonata No. 2, Op. 35 In B-Flat Minor: Scherzo
Sonata No. 2, Op. 35 In B-Flat Minor: Marche funebre
Sonata No. 2, Op. 35 In B-Flat Minor: Presto
Nocture, Op. 9, No. 1 In B Flat Minor
The Sheperd's Complaint: No. 5, Songs Without Words, Op. 67
Romance, Op. 28, No. 2 In F Sharp
Sonata No. 16, K. 570 In B Flat: II. Adagio

Tracks:

Rhapsody On A Theme Of Paganini, Op. 43: Introduction: Allegro vivace; Variation I: (Precedente)
Rhapsody On A Theme Of Paganini, Op. 43: Tema: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Varation II: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Varation III: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Varation IV: Piu Vivo
Rhapsody On A Theme Of Paganini, Op. 43: Varation V: Tempo precedente
Rhapsody On A Theme Of Paganini, Op. 43: Varation VI: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Varation VII: Meno mosso, a tempo moderato
Rhapsody On A Theme Of Paganini, Op. 43:: Varation VII: Tempo 1
Rhapsody On A Theme Of Paganini, Op. 43: Varation IX: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Varation X: Poco marcato
Rhapsody On A Theme Of Paganini, Op. 43: Varation XI: Moderato
Rhapsody On A Theme Of Paganini, Op. 43: Varation XII: Tempo di minuetto
Rhapsody On A Theme Of Paganini, Op. 43: Varation XIII: Allegro
Rhapsody On A Theme Of Paganini, Op. 43: Varation XIV: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43:: Varation XV: Piu vivo scherzando
Rhapsody On A Theme Of Paganini, Op. 43: Varation XVI: Allegretto
Rhapsody On A Theme Of Paganini, Op. 43: Varation XVII: [Allegretto]
Rhapsody On A Theme Of Paganini, Op. 43: Varation XVIII: Andante cantabile
Rhapsody On A Theme Of Paganini, Op. 43: Varation XIX: A tempo vivace
Rhapsody On A Theme Of Paganini, Op. 43: Varation XX: Un poco piu vivo
Rhapsody On A Theme Of Paganini, Op. 43: Varation XXI: Un poco piu vivo
Rhapsody On A Theme Of Paganini, Op. 43: Varation XXII: Un poco piu vivo (Alla breve)
Rhapsody On A Theme Of Paganini, Op. 43: Varation XXIII: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Varation XIV: A tempo un poco meno mosso
Concero No. 2, Op. 18 In C Minor: Moderato; Allegro
Concero No. 2, Op. 18 In C Minor: Adagio sostenuto
Concero No. 2, Op. 18 In C Minor: Allegro scherzando
Prelude, Op. 3, No. 2 In C Sharp Minor
Preludes, Op. 34: No. 24 In D Minor
Preludes, Op. 34: No. 10 In C Sharp Minor
Preludes, Op. 34: No. 5 In D Major

Tracks:

Concerto No. 3, Op. 26 In C: Andante; Allegro
Concerto No. 3, Op. 26 In C: Tema: Andantino
Concerto No. 3, Op. 26 In C: Variation I: Listesso tempo
Concerto No. 3, Op. 26 In C: Variation II: Allegro
Concerto No. 3, Op. 26 In C: Variation III: Allegro moderato (poco meno mosso)
Concerto No. 3, Op. 26 In C: Variation IV: Andante meditativo
Concerto No. 3, Op. 26 In C: Variation V: Allegro giusto
Concerto No. 3, Op. 26 In C: Tema: Listesso tempo
Concerto No. 3, Op. 26 In C: Allegro ma non troppo
Concerto: Allegro mastoso
Concerto: Andante con anima
Concerto: Allegro brillante
Preludes, Op. 34: No. 14 In E Flat Minor
Preludes, Op. 34: No. 10 In C Sharp Minor
Preludes, Op. 34: No. 5 In D Major

Tracks:

Concerto No. 2, Op. 19 In B Flat Major: Allegro con brio
Concerto No. 2, Op. 19 In B Flat Major: Largo
Concerto No. 2, Op. 19 In B Flat Major: Rondo: Allegro scherzando
Moment Musical: Moment Musical In F Minor, D. 780, No. 3
Waltz: Waltz In B Major, D. 145, No. 2
Waltz: Waltz In B Major, D. 145, No. 6
Waltz: Waltz In E Major, D. 365, No. 26
Waltz: Waltz In F Major, D. 365, No. 32
German Dances: German Dance In B Flat Major, D. 783, No. 6
German Dances: German Dance In B Flat Major, D. 783, No. 7
Waltz: Waltz, In F Major, D. 365, No. 34
Landler: Landler, In G Major, D. 734, No. 1
Landler: Landler, In D Major, D. 734, No. 2
Impromptu: Impromptu In A Flat Major, D. 935, No. 2
Romance: Romance In F Sharp Major, Op. 28, No. 2
Intermezzo: Intermezzo In E Major, Op. 116, No. 6
Sonetto No. 104 del Petrarca - Liszt
Hungarian Rhapsody No. 11 - Liszt
Mephisto Waltz No. 1 - Liszt

Tracks:

Partita No. 4 In D Major, BWV 828: Ouverture
Partita No. 4 In D Major, BWV 828: Allemande
Partita No. 4 In D Major, BWV 828: Courante
Partita No. 4 In D Major, BWV 828: Aria
Partita No. 4 In D Major, BWV 828: Sarabande
Partita No. 4 In D Major, BWV 828: Menuet
Suite In A Minor, BWV 818: Allemande
Suite In A Minor, BWV 818: Courante
Suite In A Minor, BWV 818: Sarabandes 1 & 2
Suite In A Minor, BWV 818: Gigue
Sonata In E Flat Major, K. 380 - L. 23
Sonata In B Flat Major, K. 570: 2. Adagio
From Iberia: Evocacion
Piano Playtime: No. 1: Waltz Of The Rainbow
Piano Playtime: No. 4: By The Brook
Piano Playtime: No. 5: Dancing Bagpipes
Piano Playtime: No. 6: Tricky Trumpet
Children's Corner: Dr. Gradus ad Parnassum
Children's Corner: Jimbo's Lullaby
Children's Corner: Serenade For The Doll
Children's Corner: The Snow Is Dancing
Children's Corner: The Little Shepherd
Children's Corner: Golliwog's Cakewalk
Toccata ostinato

Tracks:

Sonata In G Minor, Op. 19: Lento; Allegro moderato
Sonata In G Minor, Op. 19: Allegro scherzando
Sonata In G Minor, Op. 19: Andante
Sonata In G Minor, Op. 19: Allegro mosso; Meno mosso; Moderato; Piu vivo
Sonata In F Minor, Op. 120, No. 1: Allegro appassionato
Sonata In F Minor, Op. 120, No. 1: Andante un poco adagio
Sonata In F Minor, Op. 120, No. 1: Allegretto grazioso
Sonata In F Minor, Op. 120, No. 1: Vivace
Sonata In D Minor, No. 3, Op. 108: Allegro
Sonata In D Minor, No. 3, Op. 108: Adagio
Sonata In D Minor, No. 3, Op. 108: Un poco presto e con sentimento
Sonata In D Minor, No. 3, Op. 108: Presto agitato

Tracks:

Piano Sonata (1941): Molto moderato
Piano Sonata (1941): Vivace
Piano Sonata (1941): Andante sostenuto
Nocturne In E - Flat - Op 55, 2
Mazurka In C - Op 33, 3
Polonaise-Fantasie In A - Flat - Op 61
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: The Gnome
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: The Old Castle
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: Tuileries
Pictures At An Exhibition: Bydlo
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: Ballet Of The Unhatched Chicks
Pictures At An Exhibition: Samuel Goldenberg And Schmuyle
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: Limoges - The Market
Pictures At An Exhibition: Catacombs
Pictures At An Exhibition: Con mortuis In lingua Mortua
Pictures At An Exhibition: The Hut On Fowl's Legs
Pictures At An Exhibition: The Great Gate At Kiev
No 1 - Kinderszenen: About Foreign Lands And People
Sonata In E (K 380) - L. 23

Tracks:

Partita No. 4 In D Major, BWV. 828: Allemande (Beginning)
Sonata No. 10 In C Major, K. 330: 1. Allegro moderato (Beginning)
Sonata No. 3 In B Minor, Op. 58: 1. Allegro maestoso (Beginning)
Sonata No. 3 In B Minor, Op. 58: 3. Largo
Mazurka In A Flat Major, Op. 17, No. 3
Sonata No. 3 In D Minor, Op. 108: 2. Adagio
No. 4, Songs Without Words, Op. 67: Spinning Song
Interview With William Kapell

Amazon.com essential recording

Blessed with transcendent technique and an affinity for big, bold Romantic works, William Kapell has been hailed as America's greatest homegrown pianist. This comprehensive collection of his complete recorded output, previously unreleased recordings, and broadcast tapes adds luster to a reputation that's become legendary since his tragic death in a plane crash at age 31. The earliest recordings, from the mid-1940s, bristle with raw energy and virtuosic flourishes tempered by an innate musicality that rises above mere display.

The disc coupling Khachaturian and Prokofiev concertos is charged with excitement; the Rachmaninoff pairing of the Paganini Variations and the Concerto No. 2 weds the Grand Romantic style to poetic lyricism; and an inspired Liszt group is charged with dynamic energy. Best may be the two Chopin discs: spontaneous, rhythmically flexible sonatas and mazurkas. The later recordings demonstrate the repose that comes with artistic maturity, and the "live" broadcasts reveal Kapell's warmth and spontaneity in concert. Splendid transfers help make this long-awaited set appealing to music lovers in general, as well as piano buffs. --Dan Davis

Customer Reviews:

Very touched.......2006-09-24

I wrote my doctoral dissertation on William Kapell (we share the same school, and my teacher was a student of his), and to still see the outpouring of admiration and love for Kapell's art is still very moving for me.

In Memorium.......2005-10-29

I heard William Kapell play the Rachmaninov Rhapsody on a Theme by Paganini with the fledgling Atlanta Symphony Orchestra in the late 1940's or very early 1950's. My only memory of the occasion is that I was enthralled. Kapell has held me in thrall ever since.

A few years later, in the middle 50's, I bought Kapell's recording of the same work, with Fritz Reiner and the Robin Hood Dell Orchestra (alias of The Philadelphia Orchestra). I still have that LP, though I wore it out long ago. It was the beginning of my musical education. But since 1998, we have had this wonderful box of reissues from the vaults of RCA. The sound is mostly excellent, considering the age of the monophonic originals. To this day, Kapell's Rachmaninov Rhapsody remains-in my opinion-the most impassioned, yet the most musical, reading of the piece ever recorded. No one had, or has, Kapell's combination of white-hot temperament, technical brilliance, and musical insight. We have had musical geniuses; technical wizards abound. It is the combination of these gifts, as Kapell possessed them in particular, married to his incendiary passion, that made him unique.

He was still learning, and he was learning at such an astounding rate! He had moved from Khachaturian to the most unforgettable Chopin B minor Sonata ever recorded in little more than a decade. His deep throated, noble, and articulate Bach has caused some to speculate that Glenn Gould might have found his inspiration in Kapell. One Gould biographer, and a New York critic, wrote that the reverse was true. The critic acknowledged the error, in print, noting that Kapell could not have been influenced by Gould's style since he had been dead for two years by the time of Gould's debut recital in New York City in 1955.

The lyrical side of romantic music is not what Kapell was or is known for, not his "style" as people remember him now. But listening to the lyrical music in this set shows a side of him that was, nevertheless, as real as any, and perhaps more revealing. It also gives us a notion of what we might have expected of William Kapell had he lived a normal span of years and played a normal variety of music. In a live performance, he plays Chopin's Nocturne, Op. 9, No. 1, with melting legato and exquisite timing: his innate sense about when to tug on the beat and when to surge forward makes the music breathe. His use of dynamic variety demands the greatest respect: at one point, the repetition of a melodic phrase is but a pale echo of its first statement. His tonal palette is no less wondrous. When a deep bass note suddenly appears, early in the A section of the ABA structure, it sounds-not loud nor quiet, not muffled nor distinct-but awesomely subterranean. Kapell begins the piece without much sustaining pedal, but in the B section, he subtly adds more and more. Then, when the A section returns near the end, the pedal disappears. This dramatic change in color-along with Chopin's change of key-seems like the parting of clouds. We are in the hands of two masters here, Chopin and Kapell. Kapell gave this performance in Carnegie Hall in February of 1945, when he was twenty-two years old.

In the Bach and Chopin works I've discussed, the steely, percussive tone that some speak of is nowhere to be heard. Rather, we hear a full, rich, and complex piano tone. In the Chopin Sonatas, the Debussy pieces, and the Schubert, Schumann, Mendelssohn, Debussy, and Albeniz, the sound Kapell produces is beautiful and varied.

He was a chamber musician of the first order, as his collaborations with Heifetz prove. (He was one of the very few musicians who had the force of personality to make Heifetz accompany HIM. And you can hear it.) And if you've never heard Rachmaninov's great Cello Sonata, played here with the grand Russian/German cellist Edmund Kurtz, you're in for a treat. There are several fine, modern stereo recordings, but this one is special. The piano part is very important-Rachmaninov did write it, after all-and Kapell is magnificent. This was Rachmaninov's next published work after the 2nd Piano Concerto, to give you an idea of its melodic grandeur. If there is a flaw here, it is that the piano is recorded too far back, relative to the cello.

Kapell died on October 30, 1953. He had just turned thirty-three. He played his last recital in Geelong, Australia, on the 22nd. It included the Chopin 2nd Piano Sonata which contains the well-known "Marche funèbre." That performance is included here, transferred from the original acetates. It is a great performance but very hard to listen to now, in light of what was to follow just over a week later. I am writing this one day short of the 52nd anniversary of Kapell's death. Had he lived until today, he would be younger than either Earl Wild or Ivan Moravec, both of whom are still making magnificent music. For those of us who love William Kapell's music, it is heartbreaking to consider, and fruitless. Thank Heaven we have recordings like the ones in this set. They are essential for any lover of good music.

John Pendley

Priceless Souvenirs from a Rare Genius: Ave Atque Vale.......2005-10-28

During the last century we have had many tragic losses in the arts, often affecting men and women who are at the peak of their careers, shimmering with excellence, only to be silenced by death and all too often, by accidental death. The names of Anton Webern, Fritz Wunderlich, WG Sebald, Sylvia Plath, Dinu Lipatti, and so many others arise, but none as tragic as the death of William Kapell in 1953.

William Kapell is still considered by most as the America's greatest pianist, even fifty odd years after his death at the age of 31 in a plane crash. Those who heard him perform still rhapsodize over the magic he created. Those of us who are left with only recordings, such as this spectacular boxed set of all of his recordings, can only be uplifted by the man's genius, his extraordinary technical facility, and his intuitive, profound approach to the great works of music.

All styles of music were easily accessible to Kapell. Listen to the Mozart, Bach, Scarlatti, Paganini and Mendelssohn and try to imagine performances of more clarity and finesse than these. His Chopin is well represented in this set and glows with the uncanny power and tenderness that Chopin combined in his works. His works for solo piano by Rachmaninov and Shostakovich are the gold standard, and yet his Schubert, Schumann, Brahms, Mussorgsky and Liszt raise the bar for excellence that has since not been excelled. Joyously this set includes concerti including Prokofiev, Beethoven, Khachaturian, and Rachmaninov with the various conductors who saw Kapell's gifts and championed them.

The memory of this great artist is felt throughout the year, but never as acutely as on October 29th which marks the date of his cruel death. The world was brightened for too short a time by William Kapell, yet because of his recorded legacy his legend lives on. This is an impossibly fine box set of treasures. Highly Recommended. Grady Harp, October 05

Poetry without words.......2004-12-14

In listening ot this collection, I think of the other 20th century pianistic genius who died tragically young: Dinu Lipatti (d. 1950). Both men excelled at Chopin but each had a thoroughly individual sound. In addition to Chopin, the Rachmaninoff and Prokofiev are especially fine. Highly recommended.

What Is Technically Difficult Is Not Always Pleasant To Hear.......2004-10-02

Piano enthusiasts might find this set incredible, but I prefer my music to be pleasant. Consider your tastes before buying.

Average customer rating:

Golden Age of Indy Pop
Simpatico Never Gets Old
Blast from the past!
Just Awesome
This album is pop at it's finest!

Simpatico
Velocity Girl
Manufacturer: Sub Pop
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

Indie Rock | Indie & Lo-Fi | Alternative Rock | Styles | Music

General | Indie & Lo-Fi | Alternative Rock | Styles | Music

General | Rock | Styles | Music

Pop Rock | Pop | Styles | Music
Similar Items:

Velocity Girl
Everything's Alright Forever
Secret Swingers
For Keeps
Star

ASIN: B0000035GE
Release Date: 1994-06-14

Tracks:

Sorry Again
There's Only One Thing Left To Say
Tripping Wires
I Can't Stop Smiling
The All-Consumer
Drug Girls
Rubble
Labrador
Hey You, Get Off My Moon
Medio Core
What You Left Behind
Wake Up, I'm Leaving

Customer Reviews:

Golden Age of Indy Pop.......2006-06-20

This album is filled with charming meledios and pop harmonies. It is filled with songs that capture the sound of 90's Indy pop.

This album still holds up, as the songs were filled with sincerity, and hope. A must have for any record collection/

Simpatico Never Gets Old.......2005-11-17

This is the first Velocity Girl album I picked up and it's still my favorite Velocity Girl release. From the opening driving riffs of "Sorry Again," this album is relentless, sugary power pop. It's hard to pick a favorite track because they are all so finely crafted, with one song seeming to blend seemlessly into the next, but if I had to I'd pick "The All-Consumer." Sarah Shannon's voice is perfectly suited to the music and on "The All-Consumer" she is accompanied by Archie Moore on harmonies that are simply brilliant.
The lyrics are equally gripping. On "Tripping Wires," Shannon warns, "You know I never liked boys prettier than me, I warned you ... I don't want to know what hides inside infatuation." Brian Nelson adds little guitar hooks here and there that play off the rhythm guitar of Moore.
This is the perfect driving record with its high-energy, hook-filled sugary power-pop (with the exception of the beautiful ballad "Hey You, Get Off My Moon"). "Simpatico" gets me singing along every time and turns a normally boring drive along country roads into a pure pleasure.
And for any price less than $2 this album is a steal! Take it from me, you won't regret purchasing this album.

Blast from the past!.......2005-05-12

Man I can't listen to this album without feeling a wee bit subdued and chilled. It is good, it's catchy, man you hear dem song man and it's like "whoa". I bet Mannie Fresh was thinking about "drug girls" when he was making that song "Real Big" (which is why he sounds so distracted). Come to think about it, that song is genious, he just tells us that he likes oh everything REAL BIG. But by the same token we can say that Velocity Girl likes things real chill, this was from an era when Alternative music didn't mean anything on the radio, it was an actually form of music. And you could say this is alternative (but not by modern day standards unfortunatly. We all know the tragic tale and it's a little too late to get way too revivalistic about it, just appreciate the old music for what it was. I'd have to say that this is a great piece of music from the mid 90's, a mixed decade when it came to good music. Man I'm just distracted cause I'm listening to V. Girl (well) just like Mannie Fresh. He likes everything big, I mean he prolly has like a big watch on his wrist, which would be big enough to be considered a clock but it's a watch cause it's on his wrist. Man who ever watches thier watch? They should call it a glance, of course I haven't had a wrist watch for like a year now so why do I care. Time, time is a... oh where am I. I just don't really need to define this album for you, I mean they have songs samples, 30 seconds of something so awesome you really don't need to tap me on the shoulder and say "hey Mic will ya' tell me about V. Girl's sound." Fool please! Mannie Fresh, oh my what a song that is "real big" he must wear t-shirts that are the size of blankets to men of ordinary stature, almost god-like in apperance he must peer over his shoulder as meer mortals such as you and I see him in public. Real Big they tell me, oh I've lost the numbers, but I think it adds up to an incredable sum, one that is to soon be lost after recitation. This man, rich from his ego, will burn faster in the final days.

Just Awesome.......2003-07-16

This is one of the best cd's I ever bought. In fact, I have two copies, just in case one were to get scratched up. This is pure pop-music perfection. There isn't a bad song on this cd. Sarah Shannon's vocals are so beautifully delicious. The music is just perfect. A step up from their previous effort "Copacetic" which had a lot of distorted guitars. I don't want to go into a song by song review. This is just as perfect as a pop-rock cd can get.

PS- If you like this cd, you may want to also check out Charming's "Champagne & Magazines".

This album is pop at it's finest!.......2002-04-02

Not many people know that Velocity Girl was just behind Nirvana and in terms of Sub Pop sales (!Simpatico! and Copacetic are the number three and four all-time best sellers in Sub Pop's catalogue, behind Nirvana's Bleach and Sebadoh's Bakesale.) The melodies and lyrics on this album are full of energy, jangly guitars, fun lyrics and great harmonies. The playful cover artwork perfectly represents the music on the disc. This album is definately amongst my top 10 albums (I have over 600 CDs). The only thing I regret is never having the opportunity to see Velocity Girl live (they broke up in 1996...sniff). If you buy this album, you will want to buy their entire catalog (sadly only three albums and one EP).

Average customer rating:

bALLADS and FREESTYLE lOVERS-tHIS cd IS 10++++~infinity
Freestyle diva from the bay
THE BEST!!
I REALLY LIKE THIS CD AND I THINK EVERYBODY SHOULD BUT IT.
not as I expected

First Love
Buffy
Manufacturer: Velocity
ProductGroup: Music
Binding: Audio CD

General | Dance & DJ | Styles | Music

General | Dance Pop | Dance & DJ | Styles | Music

General | Soul | R&B | Styles | Music
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Always Dreamin
Jocelyn
Sincerely Yours
Instant Pleasure
Just the Beginning

ASIN: B0000010F3
Release Date: 1996-04-30

Tracks:

Give Me A Reason
No One
2 Find U
Someday
It's Your Love
I Miss You
First Love
Gotta Believe
Give Me (At-A-Ballad)
No One (Matador Mix)
No One (Boy Meets Girl Mix)

Customer Reviews:

bALLADS and FREESTYLE lOVERS-tHIS cd IS 10++++~infinity.......2003-11-19

If you never heard of FREESTYLE music, this albulm will give you great tracks that really deliver.
This albulm is as classic as "The Best of Stevie B." iF YOU LIKE STEVIE B, CYTHIA, MG, then you'll love Buffy.

Her lyrics captures the ol skool freestyle style because, the lyrics have depth, and they tell stories with sincerity. If
you love dance beats, it has that, if you want a romantic ballad, 1'st love is like Selena's "Dreaming of you" with a hint
of freestyle. All her songs are hits on my list. She's also a local artist like Kai.

The Freestyle community has not been endorsed by mainstream media, and it's sad because if it was, then the
music video's would be tight. Stevie B, jOHNNY o, Cythia, should have been awarded in Best American Music Awards.
But hey, the less people know, the more chances there are to buy a rare freestyle CD. tHE ONLY PROBLEM IS THAT
rare CDS like these ARE rare.

I hope your 2nd Albulm will be just as great. It was great to know that the FUture of FREESTYLE still continued to
excell with the new generation of the 90's like Buffy. Buffy, your music is PURE FReEsTyLE baby. You should team up
with Jocylen ENRIQUEZ and Stevie B.

Freestyle diva from the bay.......2001-09-14

Well this cd I baught when it first came out and combined old skool Freestyle with new, and is absolutely one of the best Freestyle cds ever released . It is definitly on my top 10,I love the songs "No one" and the remix ,also "Give me a reason"
and the tribute song to the late Selena.This cd is amust for Freestyle fans! I know Buffy has probably stayed home taking care of her child,from what I heard and hopefully she will come out with a long waited Freestyle cd, like other Freestyle artists did when they had children ,like Cynthia and many other artists.

THE BEST!!.......2000-10-16

I GIVE THIS GIRL A LOT OF PROPS. SHE CAME OUT WITH HER HIT SONG "GIVE ME A REASON" WHEN I WAS BACK IN HIGH SCHOOL BACK IN 95-97. HER VOICE THRILLS ME AND KEEPS ME GOING. I WISHED SHE CAME OUT WITH ANOTHER ABLUM. She is well known in the bay area and most of California. I just wished she could have been more recognized in the musci industry. I HAVE NO IDEA SHE IS UP TO RIGHT NOW. I HOPE HER THE BEST! IF YOU LIKE ARTISTS LIKE M:G, Jocelyn Enriquez, and many other asian artists, I say go for it. =)

I REALLY LIKE THIS CD AND I THINK EVERYBODY SHOULD BUT IT........1999-10-27

BUFFY YOU ARE A GREAT SINGER AND I HOPE YOU GET ALL YOU DESERVE IN LIFE. I WISH YOU THE BEST. I REALLY INJOYED YOUR MUSIC AND I HOPE YOU COME OUT WITH MORE BAD A-- HITS!

not as I expected.......1999-09-21

Some songs are ok. Like, "Give Me A Reason". Why are all the songs, high pitched (hurting my ears)and they basically have the same beats. People want to hear different variations of songs, not similar songs. I prefer Jocelyn Enriquez's songs.

Music Review:

Music Review

music review

Music Review

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