My Ride's Here

Amazon.com
Warren Zevon has always been one of the most literate songwriting storytellers. Thus, it makes sense that My Ride's Here (the title refers to the vehicle the Grim Reaper might drive) comes in the form of a cool rock-literary crossover. Zevon once used novelist Thomas McGuane as a collaborator; here, he employs the considerable talents of Hunter S. Thompson, Carl Hiaasen, and sportswriter Mitch Albom (of Tuesdays with Morrie fame) to aid in his satiric little gems, and he's hit a grand slam this time out. "Basket Case," the Hiaasen collaboration, is the ultimate music/book tie-in, sardonically performed in the metallic style of the Slut Puppies, the band in Hiaasen's bestselling mystery novel Basket Case. "You're a Whole Different Person When You're Scared," the Thompson collaboration, is a dark, bluesy, philosophical vamp, but it's Albom's humorous "Hit Somebody (The Hockey Song)"--featuring guest vocalist David Letterman(!)--that ultimately steals the CD. Not that Zevon banks solely on his book-writing buddies. "Sacrificial Lambs," a cynical (but sadly true) look at modern celebrity; "MacGillycuddy's Reeks," an authentic-sounding Irish folk parody; and the Dylanesque hallucinations of the title track all prove the once excitable boy is still in fine shape. --Bill Holdship

My Ride's Here,Warren Zevon,Artemis Records,Album Rock,Pop,Rock,Rock/Pop,Singer/Songwriter

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My Ride's Here

Average customer rating: If you love Zevon, it is really a five star album. No Albom in my Zevon, please Eat My Dust and I'll Clean Your Clock My Ride's Here One of Warren's Best

My Ride's Here Warren Zevon Manufacturer: Artemis Records ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music Singer-Songwriters | Pop | Styles | Music Pop Rock | Pop | Styles | Music General | Rock | Styles | Music Singer-Songwriters | Rock | Styles | Music Album-Oriented Rock (AOR) | Classic Rock | Styles | Music Classic Rock | Rock | Indie Music | Stores | Music Singer-Songwriters | Rock | Indie Music | Stores | Music Similar Items: Life'll Kill Ya Mutineer The Wind Bad Luck Streak in Dancing School Learning to Flinch ASIN: B0000641B3 Release Date: 2002-05-07

Tracks:

1. Sacrifical Lambs
2. Basket Case
3. Lord Byron's Luggage
4. MacGillycuddy's Reeks
5. You're a Whole Different Person When You're Scared
6. Hit Somebody! (The Hockey Song)
7. Genius
8. Laissez-Moi Tranquille
9. I Have to Leave
10. My Ride's Here

Amazon.com

Warren Zevon has always been one of the most literate songwriting storytellers. Thus, it makes sense that My Ride's Here (the title refers to the vehicle the Grim Reaper might drive) comes in the form of a cool rock-literary crossover. Zevon once used novelist Thomas McGuane as a collaborator; here, he employs the considerable talents of Hunter S. Thompson, Carl Hiaasen, and sportswriter Mitch Albom (of Tuesdays with Morrie fame) to aid in his satiric little gems, and he's hit a grand slam this time out. "Basket Case," the Hiaasen collaboration, is the ultimate music/book tie-in, sardonically performed in the metallic style of the Slut Puppies, the band in Hiaasen's bestselling mystery novel Basket Case. "You're a Whole Different Person When You're Scared," the Thompson collaboration, is a dark, bluesy, philosophical vamp, but it's Albom's humorous "Hit Somebody (The Hockey Song)"--featuring guest vocalist David Letterman(!)--that ultimately steals the CD. Not that Zevon banks solely on his book-writing buddies. "Sacrificial Lambs," a cynical (but sadly true) look at modern celebrity; "MacGillycuddy's Reeks," an authentic-sounding Irish folk parody; and the Dylanesque hallucinations of the title track all prove the once excitable boy is still in fine shape. --Bill Holdship

Customer Reviews:

If you love Zevon, it is really a five star album........2006-01-04

Not all of these songs are great, but two are, and another four or five are very good. That's pretty good for ten songs at the end of one's life. Warren Zevon had a knack for lyrics and putting music to them in a way that was interesting, but let the story be told.

In my view the three great songs are the title track, "My Ride's Here", "Basket Case" and "Lord Byron's Luggage". From "My Ride's Here":

I was staying at the Westin
I was playing to a draw
When in walked Charlton Heston
With the Tablets of the Law
He said, "It's still the Greatest Story"
I said, "Man, I'd like to stay"
But I'm bound for glory
I'm on my way
My ride's here ...

That is pretty good stuff.
From "Lord Byron's Luggage":

I had a little friend named Mister Johnson
Who always tried to be like me
He rose to the heights of this profession
He was hard on his friends and family

Still out here in the wind and the rain
Look a little older but I feel no pain
And it stands to reason
I'm still looking for love

Not bad, not bad `tall.

I also like "Sacrificial Lambs", "McGillycuddy's Reeks", "I have to leave", and especially, "Genius". "Hit Somebody (The Hockey Song)" is OK, but is it really Warren Zevon? Really? The same guy who brought us "Roland the Headless Thompson Gunner". Yes, Zevon was older and less angry, but sentimental? For my money, you can keep the other songs. It is true that we are indeed different people when we are scared, but the song is kind of boring and the French song is not memorable even if you want to remember it.

No Albom in my Zevon, please.......2005-02-28

My Ride's Here contains some great songs, a few fair cuts, and two really substandard tracks. "Sacrificial Lambs", "Basket Case", "Genius", and "Laissez-Moi Tranquille" all show Zevon trying out new and wildly divergent techniques in production and arrangement. "Basket Case," in particular, features a great vocodered (?), syncopated vocal break right out of Walter Carlos's playbook. "Lord Byron's Luggage" and "Macgillicudy's Reeks" find Warren using Celtic cliches to good effect. The final pair of songs are closer to old-school Zevon in production.
There's a bit of self-plagiarism (from "Life'll Kill You") here, though: "Basket Case" bears some considerable melodic resemblance to the easily superior "Porcelain Monkey", and "Lord Byron's Luggage" is a fairly straightforward rewrite of "Dirty Little Religion" -- which is fine with me, since this one's much better.

The album's real weak spot is in the middle, the album's two longest songs. I had expected great things from a collaboration with HST. While the lyrics to "You're a Whole Different Person..." are decent, the music is nothing but dull. I had no such hopes for "Hit Somebody!", but the very accurate hockey references made me smile at first. The end of the story, though, telegraphed from miles away, could only have come from Mitch Albom -- and David Letterman's off-beat contributions are nothing short of painful. Zevon's proved in the past, with "Boom Boom Mancini", that sports songs don't have to be novelty tunes, but this is a bad example of the genre.

Of his final albums, "Life'll Kill You" and "The Wind" are both stronger than this one.

Eat My Dust and I'll Clean Your Clock.......2004-01-25

After the comfortable, personal warmth of "Life'll Kill Ya," Warren rocks a little harder on this great collection of songs. It's also his most literate, as he shared the writing with such notables as Carl Hiaasen, Paul Muldoon and Hunter S. Thompson. This is also one of his albums where Warren allowed his more sophisticated musical tastes to flow freely (the string arrangement on "Genius" being the finest example).

In fact, it's hard for me to pick a favorite from this album. Every song has it's own particular charm. Be it David Letterman's guest bark on "Hit Somebody," or the Hollywood Idolmaker machine that would put Saddam Hussien at the same party as Russell Crowe (in "Sacrificial Lamb"), or the (now even more) ironic Dylanesque limo-ride-to-heaven title track that closes this disc, Zevon played to all his strongest points on "My Ride's Here." I can even stomach the bizarre inclusion of "Laissez-Moi Tranquille" sung in French.

After all, how can you resist an album that compares Albert Einstein to Charlie Sheen? And what's a Canadian farm boy to do? Dammit, I am gonna miss this guy. Warren, I hope you really are writing sonnets while wrestling the angels.

My Ride's Here.......2003-11-29

Over Warren Zevon's three-decade career he has had the privilege of working with such seminal recording artists as Bob Dylan and Neil Young to future hall-of-famers REM and Flea. For My Ride's Here, Zevon collaborates his characteristically dark and sardonic songwriting with that of a four-some of best-selling authors. Working with the literary world is not wholly foreign to Zevon as in 1998 he formed the "Rock Bottom Remainders," a band comprised of those musical powerhouses Steven King, Dave Barry, and Amy Tan. Long-time friend Hunter S. Thompson (Fear and Loathing in Las Vegas) contributes his paranoia to "You're A Whole Different Person When You're Scared" while "Basket Case," co-written with Carl Hiaasen, inspired the author's prize-winning novel of the same name. Zevon also has the distinction of being the only man to fill in for Paul Shaffer on The Late Show with David Letterman as musical director. The late-night duo both show their appreciation by lending their organ skills and backing vocals respectively to "The Hockey Song (Hit Somebody)" co-written by Tuesdays With Morrie author, Mitch Albom. Zevon gives Serge Gainsbourg a complete makeover with his cover of "Laissez-Moi Tranquille." My Ride's Here is definitely an interesting album with its various collaborations, flowing surprisingly well given such, while staying true stylistically to other Zevon releases. (originally written July 2002).

One of Warren's Best.......2003-11-09

This album is stellar. It doesn't get any better than this.

Average customer rating: Only half the songs of the original set!! Its all Christmas A Good Basic Collection cd reviews Poor Quality

The Time-Life Treasury of Christmas Manufacturer: Time Life Records ProductGroup: Music Binding: Audio CD All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Herbert | Herbert, Victor | ( H ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Tchaikovsky | Tchaikovsky, Peter Ilyich | ( T ) | Featured Composers, A-Z | Classical | Styles | Music Suites | Forms & Genres | Classical | Styles | Music Marches | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Contemporary | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Opera & Vocal | Styles | Music Noels | Vocal Non-Opera | Opera & Vocal | Styles | Music Holiday Music | Compilations | Miscellaneous | Styles | Music General Christmas | Holiday | Miscellaneous | Styles | Music Opera & Vocal | Holiday | Miscellaneous | Styles | Music Pop Vocal | Holiday | Miscellaneous | Styles | Music Traditional Vocal Pop | Broadway & Vocalists | Styles | Music General | Broadway & Vocalists | Styles | Music General | Vocal Pop | Pop | Styles | Music Classic | Vocal Pop | Pop | Styles | Music Orchestral Pop | Easy Listening | Pop | Styles | Music Traditional Pop | Oldies | Pop | Styles | Music General Christmas | Holiday Music | Special Features | Music Pop Vocal | Holiday Music | Special Features | Music Similar Items: Time-Life Music: Treasury of Christmas - Holiday Memories Ultimate Christmas A Christmas Festival Now That's What I Call Christmas! Now That's What I Call Christmas! The Signature Collection ASIN: B00005NOZH Release Date: 2001-09-11

Tracks:

1. Home For The Holidays - Perry Como
2. White Christmas - Bing Crosby
3. Jingle Bells - Ella Fitzgerald
4. Do You Hear What I Hear? - Andy Williams
5. Carol Of The Bells/Deck The Halls - The Robert Shaw Chorale
6. I Heard The Bells On Christmas Day - Harry Belafonte
7. Blue Christmas - Elvis Presley
8. My Favorite Things - Eddie Fisher
9. Joy To The World - Julie Andrews
10. Here We Come A-Caroling - The Mormon Tabernacle Choir
11. March Of The Toys - The Saint Louis Symphony Orchestra
12. O Holy Night - Luciano Pavarotti

Tracks:

1. Rudolph The Red-Nosed Reindeer - Gene Autry
2. It's The Most Wonderful Time Of The Year - Andy Williams
3. The Twelve Days Of Christmas - Roger Whittaker
4. Dance Of The Sugar Plum Fairy - The Boston Pops Orchestra
5. Mary's Boy Child - Harry Belafonte
6. I'll Be Home For Christmas - Elvis Presley
7. Rockin' Around The Christmas Tree - Brenda Lee
8. Sleigh Ride - Johnny Mathis
9. Tennessee Christmas - Alabama
10. Baby's First Christmas - Connie Francis
11. The Little Drummer Boy - Harry Simeone Chorale
12. Auld Lang Syne - Guy Lombardo

Customer Reviews:

Only half the songs of the original set!!.......2007-01-17

Although I love the CDs, I was disappointed that there were only about half of the songs I thought there would be. I bought the original double cassette set back in the early 90's and when I found the CDs with the same name and cover, I thought I was getting the same thing only on CD. But the Cassettes had twice as many songs, including Let it Snow,Have Yourself a merry Little Christmas,The First Noel, Jingle Bells by Jim Reeves, The Christmas song by the Carpenters and so many others!!

Its all Christmas.......2007-01-09

It reminded me of Christmas as a child. I played this all throughout the holidays.

A Good Basic Collection.......2006-02-11

This is a good, basic collection of Christmas Music. As a general rule, Time-Life has selected what is probably the definative artist/arangement of each song.

My only complaints are that there are only 24 songs on two disks and one or two of them are not ones that I would have picked (not my style).

Overall, it's a good set that I would recommend to anyone who wants to start a collection.

cd reviews.......2006-01-15

this cd was very good, much recommended

Poor Quality.......2005-12-05

The only good thing about this collection is the inclusion of so many Christmas standards. I was very disappointed in the quality of the recordings, they obviously need digital inhancement.

Average customer rating: "Lord, How Come Me Here" WOW! uhm......yeah right!! scadalise my name Broadway takes on the spiritual ...

Spirituals in Concert Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Amazing Grace: Jessye Norman The Essential Leontyne Price: Spirituals, Hymns & Sacred Songs Kathleen Battle · Wynton Marsalis ~ Baroque Duet / Anthony Newman · Orch St. Luke's · Nelson Kathleen Battle & Christopher Parkening ~ Pleasures of Their Company The Best of Kathleen Battle ASIN: B000001GDC Release Date: 1991-03-08

Tracks:

1. In That Great Getting Up Morning
2. Sinner, Please Don't Let This Harvest Pass
3. Over My Head/ Lil' David
4. Oh, What A Beautiful City
5. Lord, How Come Me Here
6. I Believe I'll Go Back Home-Lordy, Won't You Help Me
7. Ride On, King Jesus
8. Swing Low, Sweet Chariot-Ride Up In The Chariot
9. You Can Tell The World
10. Scandalize My Name
11. Great Day
12. Oh, Glory
13. Calvary-They Crucified My Lord
14. Talk About A Child
15. Gospel Train
16. My God Is So High
17. There Is A Balm In Gilead
18. He's Got The Whole World In His Hand

Customer Reviews:

"Lord, How Come Me Here".......2007-06-18

I must add, to the praises above, that Kathleen Battle's "Lord, How Come Me Here" is the best "quick" explanation of the long-lasting effects of slavery that I can think of. The line, "They sold my children away," says it all.

And the VERY funny "Scandelize My Name" is also worth the price of the total album!

Alinde O'Malley

WOW!.......2007-03-22

You know, after owning both the CD and VHS of this performance, and having been coached by Sylvia Olden Lee herself, it is no wonder why spiritual mean so much to me. And these two ladies bare their souls and bring these masterpieces to life! WOW!!!

uhm......yeah right!!.......2006-06-21

Clearly you are mistaken. I don't know who that guy is-the person below recommended-but there is NO COMPARISON to JESSYE NORMAN AND KATHLEEN BATTLE!!!! Jessye Norman herself has *30* HONARY DOCTRATES from places like Harvard, Juliard, Yale, Cambridge....I mean HELLO!!!! That guy had no where near the ease, the musicality or even the breath support as these two veterans show!! It is a beautiful CD though it came out in 1991 and I HIGHLY recommend it.

scadalise my name.......2004-10-29

this isn't that good specially after hearing William Warfeild sing it. You can find him at www.wlym.com

Broadway takes on the spiritual ..........2004-01-29

... takes it on and puts it on the canvas by the end of the first round.

I'm going to be the dissenting voice here: thank goodness I signed this disk out of the public library 'cause I'm sure not going to listen to it twice.

There is nothing wrong with the performances. Jessye Norman and Kathleen Battle sing beautifully, and there's no problem with the pick-up orchestra under James Levine.

The problem, and it's huge, is the conception of the show and the musical arrangements. To make the video marketable, I suppose, the producers decided that the concert had to be big: big names, big arrangements, big effects. So we have eighteen spirituals given the musical theatre treatment, with a philharmonic chorus providing chain-gang sound effects, big brass, and big percussion -- including a chinese gong. A chinese gong in a spiritual??? Spare me! Almost every track turns out sounding like either a curtain-raiser or a big, end-of-act production number with cute and predictable modulations between some of the stanzas and the sort of curly-cue orchestral ornamentation typical of Broadway shows.

And you know what? It all kills the spirituals stone dead. The spiritual is one of those musical forms where less is more and very little is best of all. That's how they started, after all. That's how and why they worked for their original audiences, and that's why they were powerful enough to make the transition from folk song to art song. If you want to hear Battle sing spirituals that are irresistible, listen to the set on her Salzburg recital CD, also with Levine (ASIN B00000E31B). There, the music speaks for itself and speaks with a strength and a beauty that the tracks on this disk never approach.

Average customer rating: Absolutely Amazing!!! ('specially for white folk) Not Up to Shaw's Usual Standard A Must CD for Choral Music Lovers Soul-stirring Soul-stirring

Amazing Grace (American Hymns & Spirituals) Manufacturer: Telarc ProductGroup: Music Binding: Audio CD Texas Blues | Regional Blues | Blues | Styles | Music Piano | Blues | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music Compilations | Classical | Styles | Music General | Folk | Styles | Music General | Opera & Vocal | Styles | Music Folk Songs | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music General | Easy Listening | Pop | Styles | Music General | Vocal Pop | Pop | Styles | Music Similar Items: Irish Folk Songs Sea Shanties Battle Cry of Freedom The Power & The Majesty: Essential Choral Classics Gloria: Music of Praise & Inspiration ASIN: B000003CZ1 Release Date: 1993-09-28

Tracks:

1. To God Our Strength
2. Come Away To The Skies
3. Wondrous Love
4. God Is Seen
5. Hark, I Hear The Harps Eternal
6. Bright Caanan
7. Amazing Grace
8. His Voice As The Sound
9. I Will Arise
10. Saints Bound For Heaven
11. Ride On, King Jesus
12. Poor Mourner
13. Swing Low, Sweet Chariot
14. Dere's No Hidin' Place
15. My God Is a Rock
16. Sometimes I Feel Like a Moanin' Dove
17. I Got Shoes
18. Soon One Mornin'
19. Same Train
20. Lord, If I Got My Ticket

Customer Reviews:

Absolutely Amazing!!! ('specially for white folk).......2004-03-27

This is an absolute must!!! I have never heard such passionate singing of spirituals from non-black choirs. Perhaps that is attributed to Shaw's minister roots. As usual, the sonority of Shaw's singers is second to none. This is a fun CD that all can enjoy...not just the choral buffs who know just how good Shaw and his choirs are!!!

Not Up to Shaw's Usual Standard.......2002-03-23

Maybe just personal taste. I don't find the arrangements and vocalizing as interesting and satisfying as "Sea Chanties" and "23 Glee Club Favorites", the latter setting a standard never equaled.

A Must CD for Choral Music Lovers.......2001-01-03

Amazing Grace is a very appropriate title for this recording. For those of you who love Sacred Harp , Southern Harmony and Spirituals, you will revel in the folk traditions of this album. Parker and Shaw arrangements, and sometimes just one or the other are so well done. The singers, of course, do an excellent job of making music under Shaw's direction. "Hark I Hear.." arr. by Parker is becoming a standard for choruses and this album will help you hear why. "If I've got my ticket" by Shaw is a wonderful exchange between solo and chorus. You will be playing this CD over and over once you hear it.

Soul-stirring.......2000-08-10

I have thoroughly enjoyed this CD. The thoughtful and meditative, "What wondrous love is this, O my soul, O my soul" sends the listener awe-struck to the foot of the cross. The triumphant "Ride on King Jesus!" reminds the listener of final victory. I highly recommend this CD to anyone who appreciates musical and cultural heritage or for anyone who appreciates religious music.

Soul-stirring.......2000-08-10

I have thoroughly enjoyed this CD. The thoughtful and meditative, "What wondrous love is this, O my soul, O my soul" sends the listener awe-struck to the foot of the cross. The triumphant "Ride on King Jesus!" reminds the listener of final victory. I highly recommend this CD to anyone who appreciates musical and cultural heritage or for anyone who appreciates religious music.

Average customer rating:

Soft and Sentimental Tutti Camarata Manufacturer: Avid Records UK ProductGroup: Music Binding: Audio CD All Works by Gershwin | Gershwin, George | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Porter | Porter, Cole | ( P ) | Featured Composers, A-Z | Classical | Styles | Music Romberg, Sigmund | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Jazz | Styles | Music Swing General | Swing Jazz | Jazz | Styles | Music Classic Big Band | Swing Jazz | Jazz | Styles | Music Contemporary Big Band | Swing Jazz | Jazz | Styles | Music General | Opera & Vocal | Styles | Music Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music English | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music General | Soundtracks | Styles | Music General | Easy Listening | Pop | Styles | Music General | Vocal Pop | Pop | Styles | Music Pop | Imports | Stores | Music Similar Items: Tutti's Trumpets and Trombones Goz the Great ASIN: B00009NJ6U Release Date: 2003-05-19

Tracks:

1. Night Is Young and You're So Beautiful
2. It Might as Well Be Spring
3. I'll Remember April
4. Paris in the Spring
5. Spring Will Be a Little Late This Year
6. April in Paris
7. Spring Is Here
8. Spring Romance
9. Stars Fell on Alabama
10. Moonlight in Vermont
11. Poinciana
12. Softly, As in a Morning Sunrise
13. Stella by Starlight
14. Summer Serenade
15. Summertime
16. Heat Wave
17. By the Sleepy Lagoon
18. In the Still of the Night
19. June in January
20. So Deep Is the Night (Tristesse)

Album Details

20 Beautiful Melodies, Produced, Arranged and Conducted by the Legendary Camarata.

Average customer rating:

My Own Space Manufacturer: PC Ford Productions ProductGroup: Music Binding: Audio CD Cool Jazz | Jazz | Styles | Music General | Jazz | Styles | Music ASIN: B000CAFFZ8 Release Date: 2001-12-18

Average customer rating: Holiday Pops Best for Christmas Cheer !! Can listen all year A Must For Boston Pops Lovers Thank you, Keith Lockhart

Holiday Pops Manufacturer: RCA ProductGroup: Music Binding: Audio CD All Works by Berlioz | Berlioz, Hector | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Vaughan Williams, Ralph | ( V ) | Featured Composers, A-Z | Classical | Styles | Music Suites | Forms & Genres | Classical | Styles | Music General | Vaughan Williams, Ralph | Composers | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Contemporary | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Oratorios | Opera & Vocal | Styles | Music Noels | Vocal Non-Opera | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music General Christmas | Holiday | Miscellaneous | Styles | Music Opera & Vocal | Holiday | Miscellaneous | Styles | Music General Christmas | Holiday Music | Special Features | Music Opera & Vocal | Holiday Music | Special Features | Music Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Sleigh Ride A Christmas Festival Christmas at the Pops (RCA Greatest Hits) The Celtic Album Pops Christmas Party ASIN: B000007QGW Release Date: 1998-09-29

Tracks:

1. Gloria
2. Christmas Waltzes
3. Carol Of The Bells
4. Fantasia On Christmas Carols!
5. Tomorrow Is My Dancing Day
6. Shepherd's Chorus (From L'Enfance Du Christ)
7. Farandole (From L'Arlesienne)
8. Christmas Time Is Here (From A Charlie Brown Christmas)
9. Good Swing Wenceslas
10. Mary's Little Boy Child
11. Sleigh Ride
12. Frosty All The Way!
13. Merry Christmas, Merry Christmas (From Home Alone 2)

Customer Reviews:

Holiday Pops.......2007-01-21

I ordered this CD because I had received one for the music library at the public radio station where I was music director before my retirement. I loved hearing it every Christmas when I programmed music from it to air on my station, so I decided to get one for my own library at home when I no longer had access to the CD at work. I love it! And amazon.com processed my order quickly. Thanks!

~Mary Lee Warner

Best for Christmas Cheer !!.......2007-01-12

This is one of the cleanest orchestral recordings of the 90s and shows the Boston Pops to great advantage. The production values are amazingly good to my ears, as is the wonderful interpretation of Maestro Lockhart. Amazon should list his name (not Mark Oswald's) to increase sales. This one will put you in the spirit of the holidays, for certain!

John Whitney, Music Director, Southern Tier Symphony

Can listen all year.......2004-10-20

This is a great cd and Farandole has been a favorite of our son for over a year (he's 2 1/2). I highly recommend it!

A Must For Boston Pops Lovers.......2003-12-04

Poor Keith Lockhart did not have the easiest time when he first came to Boston. He made a few major mistakes. First, he shortened the 1812 Overture at the July 4th Concert at the Esplanade, which may have been a decision of the television stations carrying the broadcast, but it, went over with a thud. His first few Christmas concerts were not critically acclaimed, though crowds still attended. By the time his album HOLIDAY POPS was released, things got a bit better for poor Keith, and now he is as much of a Boston institution as anyone.

The collections greatest strength is the lush sound of the orchestra and Lockhart's excellent handling of the ensemble. No matter what he selected as music for this album, it probably would have worked rather well. The track has a "Gloria" that was commissioned by the Boston Symphony. There are also familiar arrangements in the style associated with the Boston Pops of Christmas waltzes, a track called "Frosty All the Way," "Good Swing Wenceslas," and perhaps the best track on the disc "Tomorrow Is My Dancing Day." The chorus adds to numbers such as "The shepherd's Chorus," "Sleigh Ride," and John William's "Merry Christmas, Merry Christmas" from HOME ALONE 2.

Lockhart's style differs greatly from the legendary Arthur Fiedler and his successor John Williams, but for those who love the Boston Pops, especially at Christmastime, will not have a complete collection without this disc.

Thank you, Keith Lockhart.......2001-12-05

In an age of Christmas artists like Mannheim Steamroller and Trans-Siberian Orchestra (Who came up with these names anyway?), it's a blessing that we still have artists who have become as timeless as the Christmas music that they play. For many years, the Boston Pops Orchestra has had an annual tradition of performing Holiday Pops concerts in December, with the audiences enjoying champagne and refreshments on the floor. And Keith Lockhart has certainly done an excellent job of carrying on the tradition long maintained by Arthur Fiedler and John Williams.

This CD is an excellent compilation of the Boston Pops at its finest. From the opening "Gloria" to "Merry Christmas, Merry Christmas," each selection has its own unique touch applied to it. My favorites are "Gloria," "Christmas Waltzes," "Carol of the Bells," "The Shepherds' Chorus," "Christmas Time Is Here," and the swinging compilation "Frosty All The Way!"

He also presents a different version of the tune "Sleigh Ride," long a Pops Holiday staple, but I still think it sounds better without the lyrics. Fortunately, I have other recordings by Fiedler and Williams of this work. But other than this, it's a great CD overall. Thank you, Keith Lockhart, for keeping the tradition of great holiday music going. Your orchestra certainly has the timelessness that Mannheim Steamroller will never have.

Average customer rating: Beauty, power, and clarity Not traditional American Negro spirituals mostly. Great opera, not spiritual style I thought title suggested. A Glorious Burgeoning Diva! Classical music with heart and soul

Mosaic: A Collection of African-American Spirituals With Piano and Guitar Manufacturer: Albany Records ProductGroup: Music Binding: Audio CD General | Blues | Styles | Music Electric Blues Guitar | Blues | Styles | Music Modern Blues | Blues | Styles | Music Chamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Similar Items: The Essential Leontyne Price: Spirituals, Hymns & Sacred Songs Cecilia Bartoli ~ Opera Proibita (Handel · Scarlatti · Caldara) / Les Musiciens du Louvre · Minkowski ASIN: B0006A9FUU Release Date: 2004-11-30

Tracks:

1. Ev'ry Time I Feel the Spirit
2. Roun'about de Mountain
3. Lord, I Just Can't Keep from Cryin'
4. My Soul's Been Anchored
5. City Called Heaven
6. Give Me Jesus
7. O Glory
8. Come Down Angels
9. He Never Said a Mumblin' Word
10. Watch and Pray
11. Walk Together Children
12. Deep River
13. This Little Light of Mine
14. Lord, How Come Me Here?
15. He's Got the Whole World in His Hands
16. Ride Up in the Chariot

Customer Reviews:

Beauty, power, and clarity.......2007-05-06

Buy this CD for her rendition of "He Never Said a Mumbalin' Word" alone --- truly lovely, simply brilliant.

Not traditional American Negro spirituals mostly........2005-10-24

If you are looking for the soulfull melodic or jubilation of traditional American Negro spirituals, this is not it. But it is masterful musicianship.

Great opera, not spiritual style I thought title suggested........2005-09-08

This is a very good classical collection. The rating would have been higher if the description had suggested the actual style of the music. I am giving it 3 stars because this is a very good OPERA style collection - not the spiritual style I was hoping for. Given the title and simple instruments, I thought it would be different - more relaxed. I wish a sample of the music had been available. If you want spirituals sung in an OPERA style you will love this. She is an amazing talent.

A Glorious Burgeoning Diva!.......2005-05-07

Though this particular selection of songs may not be one the recital lover would choose, MOSAIC introduces to the recording audience the magnificent voice of Angela M. Brown, a gifted singer whose career has been nurtured by appearances with small opera companies until her highly successful Metropolitan Opera debut in 'Aida' last year. Now this intelligent singer is currently replacing the indomitable Jessye Norman in a Detroit Opera premiere and even in that vulnerable position of comparison she is making a triumphant statement.

MOSAIC is pleasant enough recital of African American Spirituals with sensitive piano and guitar accompaniment. But it is in the few unaccompanied songs that the splendor of this very large voice with a seemingly bottomless register is best displayed. Brown has a glowing top as well as a lush bottom in her register and her attention to the control of the cascade of sound is simply thrilling. Brown knows this repertoire well and is convincing in her delivery of not only the message but the depth of emotion of each song.

Hopefully a recording of songs and arias will follow soon, especially as her opera reputation grows. But for now, MOSAIC is a fine introduction to a voice whose destiny seems assured. Grady Harp, May 05

Classical music with heart and soul.......2005-03-01

Daniel Alexander Payne, sixth bishop of the African Methodist Episcopal Church worked tirelessly to purge emotionalism from African American modes of worship, and derided spirituals as "corn field ditties." Starting with the Fisk Jubilee Singers and into current century, composers such as Florence Price, Margaret Bonds, Moses Hogan and Joseph Joubert have sought new, classical interpretations of these timeless, soulful songs.

I must confess, I've never been a big fan of classicised spirituals. Spirituals ARE emotional, expressions of unbearable pain, of longing, of optimism and ultimate belief in salvation. To strip them of that by prettying them up is to deny their very reason for being.

But having said all that: I absolutely loved MOSAIC! Angela Brown does not let her classical training get in the way of putting a song over with heart and soul. She obviously loves these songs, and her rich voice moved me to tears on several occasions. The instrumental accompaniments (Joseph Joubert on piano, Tyron Cooper on guitar) are gorgeously subtle and supportive.

The sound quality of this disc is superb, a fitting tribute to the many African American composers represented here. Highly recommended!

Average customer rating: "Broadway Shows from the 1960's ~ Percy Faith"

Subways Are for Sleeping / Do I Hear a Waltz Percy Faith Manufacturer: Collectables ProductGroup: Music Binding: Audio CD General | Easy Listening | Pop | Styles | Music Orchestral Pop | Easy Listening | Pop | Styles | Music General | Vocal Pop | Pop | Styles | Music Traditional Vocal Pop | Broadway & Vocalists | Styles | Music Traditional & Vocal Pop | Pop | Indie Music | Stores | Music Easy Listening | Pop | Indie Music | Stores | Music Similar Items: Lil Abner/Broadway Bouquet Porgy & Bess / Most Happy Fella Born Free/Windmills of Your Mind Kismet/Music From Hollywood Great Folk Themes: American Serenade ASIN: B000066JEB Release Date: 2002-05-21

Tracks:

1. Ride Through The Night
2. I'm Just Taking My Time
3. When You Help A Friend Out
4. Who Knows What Might Have Been?
5. I Just Can't Wait
6. Getting Married
7. Be A Santa
8. How Can You Describe A Face?
9. Comes Once In A Lifetime
10. Now I Have Someone
11. I Said It And I'm Glad
12. What Is This Feeling In The Air?
13. Do I Hear A Waltz?
14. Here We Are Again
15. Moon In My Window
16. This Week Americans
17. Someone Like You
18. We're Gonna Be All Right
19. No Understand
20. Take The Moment
21. Thinking
22. A Perfectly Lovely Couple
23. Stay
24. Thank You So Much

Customer Reviews:

"Broadway Shows from the 1960's ~ Percy Faith".......2004-02-23

Percy Faith blends two award winning Broadway Shows together "Subways Are For Sleeping" (originally released on Columbia Records CS 8533 in 1961) and "Do I Hear A Waltz?" (originally released on Columbia Records CS 9117 in 1965), following the formula of previous albums from the vault of rare finds ~ two more winners are under the baton of the Maestro.

First twelve tracks "Subways Are For Sleeping", featuring the songs of Betty Comden, Adolph Green and Jule Styne with outstanding arrangements on very catchy tunes ~ like "BE A SANTA", "COMES ONCE IN A LIFETIME", "GETTING MARRIED", "HOW CAN YOU DESCRIBE A FACE?", "I JUST CAN'T WAIT", "I SAID IT AND I'M GLAD", "I'M JUST TAKING MY TIME", "NOW I HAVE SOMEONE", "RIDE THROUGH THE NIGHT", "WHAT IS THIS FEELING IN THE AIR?", "WHEN YOU HELP A FRIEND OUT" and "WHO KNOWS WHAT MIGHT HAVE BEEN?", all have the hallmark sound and the authentic "Percy Faith Touch" on every selections.

Second twelve tracks ~ "Do I Hear A Waltz", featuring the tunes of Richard Rodgers and Stephen Soundheim enhanced by the performances of arranger/conductor Percy Faith and his Orchestra ~ "A PERFECTLY LOVELY COUPLE", "DO I HEAR A WALTZ?", "HERE WE ARE AGAIN", "MOON IN MY WINDOW", "NO UNDERSTAND", "SOMEONE LIKE YOU", "STAY", "TAKE THE MOMENT", "THANK YOU SO MUCH", "THINKING", "THIS WEEK AMERICANS" and "WE'RE GONNA BE ALL RIGHT", enamored to the luxurious sound of Faith's string arrangements ~ you're immediately hooked on these tracks ~ marvelous performances enthralling listener's for some fifty years.

The people at Collectables should be commended for bringing back some of Maestro Faith's best works on compact disc ~ there is so much more in the vast vaults, hopefully there will be more to follow...gotta love it!

Total Time: 68:19 on 24 Tracks ~ Collectables 7480 ~ (5/21/2002)

Average customer rating: "The death-doomed alone are destined to look on me." Breathtaking, powerful, accessible, not just an alternative Absolutely Breathtaking! A powerful reading of the most moving opera in the Ring. The power of Wagner's music drama is now fully accessible

Wagner: The Valkyrie Manufacturer: Chandos ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Similar Items: Siegfried (Goodall Ring Cycle/Chandos Opera in English) The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English) Wagner: The Rhinegold ASIN: B00004YU6Z Release Date: 2000-11-28

Tracks:

1. Act I: Prld - English Nat Opr Orch/Reginald Goodall
2. Act I, Scene 1: The Storm Drove Me Here - Alberto Remedios/Margaret Curphey
3. Act I, Scene 1: This House And This Wife - Margaret Curphey/Alberto Remedios
4. Act I, Scene 1: Evil Fortune's Never Far From Me - Alberto Remedios/Margaret Curphey
5. Act I, Scene 2: There He Lay, Feeble And Faint - Margaret Curphey/Clifford Grant/Alberto Remedios
6. Act I, Scene 2: Through Field And Forest - Alberto Remedios/Clifford Grant/Margaret Curphey
7. Act I, Scene 2: Friedmund No One Could Call Me - Alberto Remedios/Clifford Grant/Margaret Curphey
8. Act I, Scene 2: The Neidings Raided Again - Alberto Remedios
9. Act I, Scene 2: So The Norn Who Dealt You This Fate - Clifford Grant/Margaret Curphey/Alberto Remedios
10. Act I, Scene 2: I Know A Troublesome Race - Clifford Grant
11. Act I, Scene 3: A Sword Was Pledged By My Father - Alberto Remedios
12. Act I, Scene 3: Are You Awake? - Margaret Curphey/Alberto Remedios
13. Act I, Scene 3: My Husband's Kinsmen - Margaret Curphey
14. Act I, Scene 3: Yes, Loveliest Bride - Alberto Remedios/Margaret Curphey
15. Act I, Scene 3: Winter Storms Have Vanished (Siegmund's Spring Song) - Alberto Remedios
16. Act I, Scene 3: You Are The Spring - Margaret Curphey
17. Act I, Scene 3: Oh Sweetest Enchantment - Alberto Remedios/Margaret Curphey
18. Act I, Scene 3: The Stream Has Shown My Reflected Face - Margaret Curphey/Alberto Remedios
19. Act I, Scene 3: Siegmund Call Me, And Siegmund Am I! - Alberto Remedios
20. Act I, Scene 3: Siegmund, The Walsung, Here You See! - Alberto Remedios/Margaret Curphey

Tracks:

1. Act II, Scene 1: Go Bridle Your Horse, Warrior Maid! - Norman Bailey
2. Act II, Scene 1: Hoyotoho! Hoyotoho! (Brunnhilde's Battle Cry) - Rita Hunter
3. Act II, Scene 1: The Usual Storm, The Usual Strife - Norman Bailey/Ann Howard
4. Act II, Scene 1: Pretend That You Don't Understand! - Ann Howard/Norman Bailey
5. Act II, Scene 1: Now It's Come To Pass! - Norman Bailey
6. Act II, Scene 1: So This Is The End Of The Gods And Their Glory - Ann Howard
7. Act II, Scene 1: You Never Learn What I Would Teach You - Norman Bailey/Ann Howard
8. Act II, Scene 1: What Must I Do? - Norman Bailey/Ann Howard
9. Act II, Scene 1: Hiaha! Hiaha! Hoyotoho! - Rita Hunter/Ann Howard/Norman Bailey
10. Act II, Scene 2: Fricka Has Won The Fight - Rita Hunter/Norman Bailey
11. Act II, Scene 2: When Youth's Delightful Pleasures Had Waned - Norman Bailey
12. Act II, Scene 2: She Refused To Reveal More About It - Norman Bailey/Rita Hunter
13. Act II, Scene 2: There's More To Tell - Norman Bailey
14. Act II, Scene 2: Yet One Can Accomplish What I May Not - Norman Bailey
15. Act II, Scene 2: But The Walsung, Siegmund - Rita Hunter/Norman Bailey
16. Act II, Scene 2: Then Siegmund Must Fall In His Fight? - Rita Hunter/Norman Bailey
17. Act II, Scene 2: I Give You My Blessing, Nibelung Son! - Norman Bailey/Rita Hunter
18. Act II, Scene 2: No, Have Mercy - Rita Hunter/Norman Bailey

Tracks:

1. Act II, Scene 2: So I Obey His Command - Rita Hunter
2. Act II, Scene 3: Rest Here For A While; Stay By My Side! - Alberto Remedios/Margaret Curphey
3. Act II, Scene 3: Away! Away! - Margaret Curphey/Alberto Remedios
4. Act II, Scene 3: Where Are You, Siegmund? - Margaret Curphey/Alberto Remedios
5. Act II, Scene 4: Siegmund! Look At Me! (Announcement Of Death) - Rita Hunter/Alberto Remedios
6. Act II, Scene 4: And If I Come - Alberto Remedios/Rita Hunter
7. Act II, Scene 4: Then Greet For Me Walhall - Alberto Remedios/Rita Hunter
8. Act II, Scene 4: Woe! Woe! Sister And Bride - Alberto Remedios/Rita Hunter
9. Act II, Scene 4: Two Lives Now Lie In Your Power - Alberto Remedios/Rita Hunter
10. Act II, Scene 5: Charms Of Sleep Are Sent To Still - Alberto Remedios
11. Act II, Scene 5: I Hear Your Call - Alberto Remedios/Margaret Curphey
12. Act II, Scene 5: Wehwalt! Wehwalt! - Clifford Grant/Alberto Remedios/Margaret Curphey/Rita Hunter/Norman Bailey

Tracks:

1. Act III, Scene 1: Hoyotoho! Hoyotoho! (Ride Of The Valkyries) - Katie Clark/Anne Evans/Elizabeth Connell/Helen Attfield/Shelagh Squires/Anne Conoley
2. Act III, Scene 1: Shield Me And Help - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
3. Act III, Scene 1: Hear While I Tell You - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
4. Act III, Scene 1: Pray Suffer No Sorrow For Me - Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne...
5. Act III, Scene 1: Fly Him Swiftly, Away To The East! - Rita Hunter
6. Act III, Scene 1: O Radiant Wonder! (Parting Salute) - Margaret Curphey
7. Act III, Scene 1: Stay, Brunnhild! - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
8. Act III, Scene 2: Where Is Brunnhild? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
9. Act III, Scene 2: Weak-Spirited, Womanish Brood! - Norman Bailey
10. Act III, Scene 2: Here I Am, Father - Rita Hunter/Norman Bailey
11. Act III, Scene 2: No More Will You Ride From Walhall - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
12. Act III, Scene 2: Did You Not Hear What I Decreed? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
13. Act III, Scene 3: Was It So Shameful - Rita Hunter/Norman Bailey
14. Act III, Scene 3: I Know So Little - Rita Hunter/Norman Bailey
15. Act III, Scene 3: You, Who This Love Into My Heart Revealed - Rita Hunter/Norman Bailey
16. Act III, Scene 3: You Indulged Your Love - Norman Bailey
17. Act III, Scene 3: Unworthy Of You This Foolish Maid - Rita Hunter/Norman Bailey
18. Act III, Scene 3: You Fathered A Glorious Race - Rita Hunter/Norman Bailey
19. Act III, Scene 3: In Long, Deep Sleep - Norman Bailey/Rita Hunter
20. Act III, Scene 3: Farewell, My Valiant, Glorious Child! (Wotan's Farewell) - Norman Bailey
21. Act III, Scene 3: These Eyes So Warm And So Bright - Norman Bailey
22. Act III, Scene 3: Loge, Hear! Come At My Call! - Norman Bailey
23. Act III, Scene 3: Magic Fire Music - Norman Bailey

Customer Reviews:

"The death-doomed alone are destined to look on me.".......2007-06-12

Okay, so we have the Solti, Bohm, Karajan, Goodall, Boulez, Janowski, Levine, Haitink, and Sawallisch Rings on the market (I haven't listened to the other Ring recordings yet, sorry to say). And all of these leave me to one conclusion: the many differences lead me to believe that all of these ring sets have their own authenticities and setbacks. And here they are:

TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 minutes
Sawallisch's Ring: 14 hours, 0 minutes

CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.

Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.

Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.

Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.

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

Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".

Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.

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

Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.

ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.

Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.

Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.

Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act Two Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.

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

Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Boulez's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are heard clear in this Ring. The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.

Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.

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

Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.

SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).

Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.

Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".

Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.

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

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

Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.

-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.

Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).

Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."

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

Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.

Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).

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

-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Three exceptions, though: Goldberg and Schunk don't sound heroic enough, and Norman for Levine doesn't sound young and innocent enough.

-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.

Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.

Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.

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

Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.

Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.

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

-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").

Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.

Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.

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

Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.

Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.

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

-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.

Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.

Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.

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

Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. He is equal to Zednik when it comes to humaneness and lyricism. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.

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

Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.

-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on during the Trilogy.

Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Again, another Loge that's marred by lack of cunning.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.

Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.

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

Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt and Zednik depend only on vengeance and deviousness, Stolze only imagination and deviousness, Windgassen and Svanholm only peril. His odd conversations with Alberich and the gods/goddesses are classic.

Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.

Sawallisch: Robert Tear is on par with Stolze and Zednik. Sometimes he takes things too low, but all is forgiven with his management of character development.

-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.

CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation, Neuhold's Badische version, and the essential mono recordings (Furtwangler, Krauss, etc.), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.

The Box Set: Wagner: The Ring Cycle (Box Set)
The Rhinegold (Part 1): Wagner: The Rhinegold
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)

Breathtaking, powerful, accessible, not just an alternative.......2005-05-03

This is one of three Walkure's in my collection: the very underrated Leinsdorf, the thrilling Boehm and this one with Goodall. I believe Goodall is right up there with the best of them. Remedios, Hunter and Bailey sing beautifully and with sufficient drama. I'll go out on a musical limb and say I believe Bailey is one of the finest Wotan's on disc. Many will disagree but I think he has the measure of the role, the power to pull it off and a burnished timber that never becomes coarse under powerful climaxes... Remedios may well be the star of the trilogy along with Hunter and Bailey. His Siegmund is beautifully sung and his Siegfried by the way, is no mean stint either. Would that we had tenors that could sing Siegfried without sounding stretched beyond their limits. I am continually puzzled by the bad reviews that the orchestra playing receives from ARG, Classics Today and a few others. The ENO is not a Concertgebouw or Vienna Philharmonic but I think they play beautifully, a few clinkers notwithstanding. For a live show, they do a pretty d..... good job. THe sound from both orchestra and singers is exceptionally fine. This set belong in your collection if you like Wagner and, Die Walkure, in particular. If I had been at the performance in the 1970's I would have come home very happy, satisfied and richer for the experience.

Absolutely Breathtaking!.......2002-09-13

I had long cringed at the thought of this magnificant masterpiece recorded in English. Even after reading several rave reviews on this cylce that I've read by authoritive Wagnerites and critics, I was still skeptical. Finally, I decided to add Goodall's 'Ring' as my third complete cycle (after Solti & Bohm) for one reason: because it was in English and I felt it would enhance my understand of 'The Ring.' In fact, after achieving that "higher understanding" I was planning on selling this set on Ebay. That was, of course, before I heard this magnificant recording.

During the course of my research on 'The Goodall Ring' most of the praised seemed to heighten around 'Siegfried,' which is my absolute favorite of the cycle. That also helped to seal the deal. As the critics said, 'Siegfried' under Goodall is excellent, but not as monumental as Solti's reading, which IMHO is the greatest recording of 'Siegfried.'

The set that stands out, to me, in 'The Goodall Ring' is this recording; The Valkyrie. It is absolutely breathtaking. Not only is it my favorite of this set, it is my favorite Valkyrie recording period (I am very familiar with Boehm's, Solti's, Karajan's, Furthwanglers, Levines, and others). Alberto Remedios (Siegmund here and Siegfried in the last two operas) is truly magnificant. It is the best Siegmund I have heard on disc (and his Siegfried rivals Windgassen). Coupled with Margaret Curphey (Sieglinde), you get the most beautiful and moving duo I have heard on record. The duet in Act I is simply glorious. You also get the bonus of Norman Bailey's triumphant Wotan (and Wanderer too). He has such command and prescene. He sounds like a God. Throw in Rita Hunter, who holds her own as Brunnhilde, Goodall's miraculous conducting, and excellent playing by the orchestra and it all adds up to a stunning recording.

I can only say that in a way it's a shame this set is in English. Were it not, I believe Goodall's 'Ring' would be one of the most talked about, popular, and sought after complete recordings of the cycle. I can only say that I am so happy that I finally opened up to opera recorded in a different language than written.

I have fallen completely in love with Goodall's entire cycle. And, I have fallen in love with 'The Ring' all over again.

A powerful reading of the most moving opera in the Ring........2001-08-30

This performance of *Die Valkure,* the second and most popular opera in Wagner's Ring Cycle, is musically splendid. Its special significance, however, is that it is sung in English. An English performance of the Ring is perhaps more important than that of any other opera(s), because Wagner's libretti are suffused with his ideas about society, fate, justice, and love. Even if (at times) you need to read along to understand what the singers are saying, *hearing* the lyrics in English is truly stirring in a way that performances in your non-native language cannot match.
A particular stand-out on this recording is the Wotan. His timbre, diction, and delivery perfectly embody the troubled god who tries desperately, and in vain, to keep the world under his control. His angst and wrath are utterly convincing.

The power of Wagner's music drama is now fully accessible.......2001-01-30

I have never been a fan of opera in translation, but I must say that Andrew Porter's rendering of The Ring in English is amazing. He uses modern, not archaic, English, and the word choice is so very earthy and Germanic that the noble yet somewhat severe atmosphere of the Teutonic myths is conveyed perfectly. The sound, in other words, is an elegantly Germanic, and totally appropriate for the music and the Story it tells. It is not true that you can't understand the English anyway, because you can understand if you care to pay any attention at all. The translation is lucid, and so it the marvelous singing that conveys it.

Goodall's sense of music drama is lush, and takes some getting used to after the crash-and-burn Solti set, but after a time or two it seems just right. Goodall is not always slower than the rest, either; for example, the famous Ride of the Valkyries that begins Act III is quicker than Solti's surprisingly slow and heavy account. It is the most exciting that I have heard--and I have heard quite a few--but it is not so fast that the power is lost in favor of urgency.

This is not an urgent Die Walkure, and it is all the better for it. Goodall takes the time to actually tell the story, and is sensitive to the drama's needs over what could be called convention. For example, Wotan's Farewell doesn't thunder out after Brunnhilde's final declamation, like in so many recordings; rather, Goodall's interpretation is more dreamy, mysterious, and appropriately trance-like, in keeping with the action on stage.

I own the complete Solti Ring, but I must say I will be the first in line to get each new installment of this remarakable Ring as soon they hit the shelves. If you are new to Wagner, and are willing to make the plunge into a complete Ring, then start with this one and see if you want to continue. This recording is definitely one of the great Rings, and the superb translation will open up the work in ways that following the libretto just won't. I promise that you won't be able to put this one away easily. Get it!

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