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Amazon.com
The Fort Collins, Colorado-based Drag the River are rooted in punk--their songwriters are Jon Snodgrass of Armchair Martian and Chad Price of the post-Descendants group All--yet their sound is much subtler than one might expect. The country rock on Closed, the follow-up to their 2000 debut Hobo's Demos, is not aggressive or all-out roaring as much as it is hard-driving and confessional. Zach Boddicker paints steel-guitar stripes on steady-rolling roots-rock cuts ("Medicine," "Song for Robin Reichhardt") and downtempo cautionary tales ("Smokefinger"). Elsewhere, the quintet devotes equal time to speedy shuffles (the loser's anthem "Get Drunk") and barroom weepers ("Forgiveness"). --Anders Smith Lindall

Closed,Drag the River,Upland Records,Alternative Country,Pop,Rock,Rock/Pop,Roots Rock

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Average customer rating: Takes Me Back Just What I Wanted! Charlie Rich at his best His two biggest hits are both here The Silver Fox: My intro to Country Music

Behind Closed Doors Charlie Rich Manufacturer: Sony ProductGroup: Music Binding: Audio CD General | Country | Styles | Music Nashville Sound | Traditional Country | Country | Styles | Music General | Traditional Country | Country | Styles | Music CDs $7 - $10 | Country General | Country | Today's Deals in Music | Formats | Music All Bargain Titles | Country General | Country | Today's Deals in Music | Formats | Music 4-for-3 Country | 4-for-3 Music | Stores | Music 4-for-3 Pop | 4-for-3 Music | Stores | Music 4-for-3 All Music | 4-for-3 Music | Stores | Music Similar Items: Charlie Rich - Greatest Hits Ultimate Collection 16 Biggest Hits The Silver Fox/Every Time You Touch Me (I Get High) Charley Pride - 24 Greatest Hits ASIN: B000058T5Z Release Date: 2001-02-06

Tracks:

1. Behind Closed Doors
2. If You Wouldn't Be My Lady
3. You Never Really Wanted Me
4. A Sunday Kind Of Woman
5. Peace On You
6. The Most Beautiful Girl
7. I Take It On Home
8. 'Til I Can't Take It Anymore
9. We Love Each Other
10. I'm Not Going Hungry
11. Nothing In The World (To Do With Me)
12. Mama, Take Me Home
13. Ruby, You're Warm
14. Papa Was A Good Man
15. I've Got Mine

Amazon.com

Within the Nashville of the early 1970s, Charlie Rich's talent was a given. His blues-drenched vocals, jazzy piano work, and moody intimacy reflected a raw integrity that no one could sell to the mainstream. That changed in 1973, when the singles "Behind Closed Doors" and "The Most Beautiful Girl" made him a household name, as did this album. But at that time, many longtime fans viewed the "new" Charlie Rich warily; their fear was that mass success came at a cost. The songs were undeniably more commercial, and his Epic producer Billy Sherrill shifted his sound to one clearly aimed at a broader audience. However, in 2001, the arguments and concerns seem moot. By and large, this music holds up, particularly compared to many of Rich's later, less substantive lightweight efforts. "I Take It On Home," for example, is as fine and funky a number as anything he recorded. Moreover, this excellent reissue highlights the contrasts in the Epic years by appending four pre-"Closed Doors" tracks, among them the magnificent "Ruby, You're Warm" and the majestic honky-tonker "Mama, Take Me Home." Decide for yourself. --Rich Kienzle

Album Details

Tracks Include: The Most Beautiful Girl, Big Boss Man, on My Knees, Pass on By, Cc Rider, who Will the Next Fool Be, Behind Closed Doors and More.

Customer Reviews:

Takes Me Back.......2007-06-01

I enjoyed this album so much in the '70s. I was afraid the CD wouldn't be enhanced, but the quality of the sound is terrific. I enjoy it just as much now as I did 30 years ago.

Just What I Wanted!.......2007-01-27

This was the fastest delivery I've ever had!!! And the cd's were in great shape...so I'd rate their service extreme high! ***** Lori from Illinois

Charlie Rich at his best.......2006-08-20

Got this last Christmas, A well written and great sounding album..An all time classic. I remember hearing this growing up. If your a fan of classic country..you need this album. Oh, and too D.V. Lindner on his review of this album..You got too much time on your hands boy.

His two biggest hits are both here.......2005-01-13

Charlie Rich was a hugely talented singer-pianist who, for whatever reason, never really fulfilled his potential. His career began in the fifties on Sun records in the early days of rock'n'roll. Charlie also recorded jazz and I suspect that he really wanted to sing but it was in country music that Charlie became successful for a brief period in the seventies.

This album, as originally released in 1973, spawned two major international pop hits - Behind close doors and The most beautiful girl. It also included other classic songs such as We lover each other (a minor UK pop hit), I take it on home (his first significant hit on the country charts, preceding the big two), Peace on you, Sunday kind of woman, Till I can't take it anymore and If you wouldn't be my lady.

Although Charlie recorded some other good songs and had further success on the country charts, he was never comfortable with country music and he never came close to matching this album for its overall quality and eventually faded into obscurity, eventually dying in 1995 of complications caused by a blood clot in one of his lungs..

This album, now re-mastered with extra but unnecessary tracks, remains the ultimate Charlie Rich album and shows just what a great singer he was at his best.

The Silver Fox: My intro to Country Music.......2004-05-09

I foundly remember hearing "Behind Closed Doors" and "The Most Beautiful Women in the World" and wondering out loud sometimes "Why is my mom playing this?" Well soon I realized why...the Silver Fox was a damn good singer and his songs had a profound meaning. Living in South Central Los Angeles it was rare to hear this type of music playing or played, but my mom played it and she played it often enough that I would go to school singing "The Most Beautiful Women in the World". Now 20 odd years later I play this for my kids and they appreciate the music and his voice just like I did.

Average customer rating: Great Album! Beautiful moving CD...well worth the price Simply Brilliant Far up there she'll answer you (like lovers do)

And She Closed Her Eyes Stina Nordenstam Manufacturer: Wea International 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 Dream Pop | Indie & Lo-Fi | Alternative Rock | Styles | Music General | International | Styles | Music General | Rock | Styles | Music Pop Rock | Pop | Styles | Music International | Imports | Stores | Music Rock | Imports | Stores | Music Similar Items: The World Is Saved Dynamite Smiling & Waving Fisherman's Woman Memories of a Color ASIN: B0000072LN Release Date: 1995-12-19

Tracks:

1. When Debbie's Back from Texas
2. Viewed from the Spire
3. Crime
4. Fireworks
5. Proposal
6. Little Star
7. Hopefully Yours
8. Murder in Mairyland Park
9. I See You Again
10. So This Is Goodbye
11. Something Nice
12. And She Closed Her Eyes

Album Description

International edition of the ethereal Swedish singer/songwriter's 1994 album for East West. 12 tracks including 'Crime', featuring avant-garde trumpeter Jon Hassell & the acoustic 'Little Star' (also included on the Romeo & Julliet soundtrack). For fans of David Sylvian's Brilliant Trees. Warner.

Customer Reviews:

Great Album!.......2006-11-19

"Little Star" was the first song I heard from Stina Nordenstam, it got some good airplay as part of the Romeo and Juliet Soundtrack. On a whim I bought this album. That was 10 years and I still listen to this album regularly. Stina's voice is amazingly beautiful.

Beautiful moving CD...well worth the price.......2004-07-18

I rarely give out five-star reviews - - but Stina Nordenstam's "And She Closed Her Eyes" is one of the few exceptions I'm making. "And She Closed Her Eyes" is one of the loveliest albums I've heard in a long time.

The first I learned of Stina was through someone's Amazon.com wishlist. For some reason, the cover of her album drew me. Her pose and demeanor looked a great deal like mine. I wasn't sure I'd like the album, but I decided to give it a chance.
Later, I learned that Stina had contributed to the Romeo and Juliet soundtrack. If I had known she was one of the artists who sang for the movie, I probably wouldn't have given the album a chance. I wasn't sure I'd like this album, but on first listen, I fell in love with it. It hasn't left my turnstill since I started playing it.

Stina's voice is unique. It is light and almost bell-like; however, I don't believe it's quite child-like as some have described it. Child-like implies naivete and innocence - Stina is neither. When I listen to Stina's voice, I think of spider silk which seems fragile at first, but is tensile and durable. I believe Stina is quite adept at confronting her own pain. Her voice, her songs perfectly capture the starkness, silence, sadness, and numbness that pain leaves once all pretense and defensiveness is stripped away. Stina's honesty and her vulnerability are her strengths.

I have a lot of favorite moments on this cd. Stina ability to use her voice to convey emotion/tell a story is unparraleled in my opinion. "When Debbie Comes Back Home From Texas" is haunting. When Stina sings the line "You just follow the bridge.." she follows with the most amazing cooing that recalls a long wistful journey. Fireworks is another moving example where she expresses fragility and pain with such honesty. Some of the album's most beautiful songs are when she combines choral elements with the songs like Crime, Little Star, Murder in Maryland Park, and I See You Again. The lyrics are like little movie stills.

I'm gushing about this album, I know - but it hasn't left my turnstill since I started listening to it. It's a beautiful, honest album. You'll probably hear others compare Stina to Bjork, The Cardigan's Nina Persson, or Ricki Lee Jones(this last comparison I don't understand at all - but I have not heard Stina's first album, so I can't give my opinion about this comparison.)

I enjoy Bjork, Stina, and Nina's work - but all three have their separate merits. Stina's arrangments are less-complicated than Bjork's. Although both artists infuse their work with honest,raw emotion, Stina's is much more vulnerable and kittinish than Bjork's. Stina takes a less theatrical approach than Bjork. As far as the comparisons to Nina Persson, Stina is more emotional than Perssons's. Persson's sweet voice is often used to underscore the irony of certain situations - and sometimes even borders on sounding jaded.

That being said, Stina's album is sad but a comforting one. I'm not naive enough to say that everyone will enjoy this cd. Stina's voice will not be enjoyed by all, but I liked it. If you're feeling sad, depressed, or in need to commisserate, then Stina's album is a perfect. It's also nice to chill out to if you're feeling wistful.

Simply Brilliant.......2004-05-08

I bought this album when it first came out, almost ten years ago, and have loved it ever since. Stina is a complete original, her songs - intense, personal, and deeply moving, are like no other, her voice, unique, sensitive, vulnerable and beautiful.

I have cried so many times listening to her music and her beautiful voice more than any other artist I care to think about, due to her intrinsic beauty and ability to touch the heart. This album is a classic, there is no doubt about it. I am sure many female singer-song writers of today would have a copy of this CD tucked away somewhere. Stina wears her heart on her sleeve musically and writes songs like a director shoots a film.

The most captivating aspect of this CD is Stina's voice... way way up in the mix, it makes you feel like she is a ghost entering the room to sing directly to you, like some private guest, some broken hearted child invading your most lonely moment. The music is sublime, well produced and arranged. I personally adore the choral voices at the end of songs like Murder in Mairyland Park", the bittersweet "Hopelessly yours", the absolutely gorgeously heartbreaking "So this is goodbye", probably the finest song about breaking up with a lover ever committed to tape. Ahh... words fail me... just get this CD, drink a wine, turn the lights down and swoon.

Favorite Lyric -

"My fingerprints are all over the world
You see my jacket in the street what if they hear your heart beat

Cause you've been seen with another girl
She's in everyone you meet and I can hear your heart beat"

Crime.

(By the way, all her other albums are equally brilliant! Go and explore!!)

Far up there.......2003-12-27

I got the word on Stina by friends who were always telling me to check her out since I'm a diehard Anja Garbarek fan. Just about all the reviews here are dead on. This is one of the very few albums you'll get through your life that will completely move you, that will make you want to get under a bunch of covers in your bed with the lights off and bliss out forever. It's so rich and deep, it will affect you in a very personal way. I know that sounds cheesy but you just have to check this album out.

Stinas voice barely breaks a whisper as she mainlines her whispering vocals right into your ear drums while the ethereal-ish folky music envelopes and hypnotizes you to the threshold, as if you are suspended in a warm milky womb where no matter what is going on, you'd rather be nowhere else but in front of your speakers. The music is light, something to listen to alone... definitely nothing you could dance to.

This is a difficult album to review because nothing really sounds like it, aside from Anja Garbarek who has a much more surreal atmosphere. The album is sad, but it is probably best recieved by those who can ultimately see the beauty in sadness... and in that aspect, this is an incredibly beautiful record.

she'll answer you (like lovers do).......2003-12-09

Stina Nordenstam is today what Emily Dickinson was a century ago - profoundly ahead of her time. Ask anyone who's ever heard her voice, they'll tell you that she epitomizes the term "acquired taste." I discovered this siren when I bought the William Shakespeare's Romeo and Juliet soundtrack, on which her astounding "Little Star" is featured. Five years later, I found this CD on sale for 7 bucks and picked it up - back then, I wouldn't have bought it at full price. I heard the record once, twice, and couldn't adjust. Her voice was too subtle, the music like undulating whispers - this was my impression of the entire album. But I knew I wasn't being open minded, because I still very much enjoyed "Little Star" - I was simply not ready to take in something so eccentric. Several weeks later, when I realized this, I played the record for a third time - this time with and open mind and open ears - and my reaction was undescribable. The music played right into my gut and heart. It took me back to a nostalgic time in my childhood and teenagehood, helping to unlock certain things that had happened which I had viscerally tucked away in the corners of my mind. And she Closed her eyes is haunting, not despite the softness but because of it. Stina's voice, the music, the choirboys' voices and the pillow-soft drizzle of rain all blend seemlessly to create a series of stories rarely ever disclosed with this much rawness (as in Tori Amos raw - vehement, not necessarily frurious). If you listen to it once and don't comprehend it, listen to it again. Consider it a lesson in open-mindedness.

Average customer rating: awsome CDs Beware! This is NOT the official soundtrack! Not the original music

The Lord of the Rings 3 CD Set Manufacturer: Delta ProductGroup: Music Binding: Audio CD Movie Scores | Soundtracks | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music General | Easy Listening | Pop | Styles | Music General | Vocal Pop | Pop | Styles | Music Similar Items: Themes from Lord of the Rings: Trilogy The Lord of the Rings: The Return of the King The Lord of the Rings: The Two Towers Music from The Lord of the Rings Trilogy The Lord of the Rings: The Fellowship of the Ring ASIN: B0002C4GTW Release Date: 2004-06-15

Tracks:

1. Prophecy
2. Concerning Hobbits
3. Shadow of the Past
4. Treason of Isengard
5. Black Rider
6. At the Sign of the Prancing Pony
7. Many Meetings
8. Ring Goes South
9. Bridge of Khazad Dum
10. Lothlorien

Tracks:

1. Samwise the Brave
2. Evenstar
3. Black Gate Is Closed
4. Taming of Smeagol
5. King of Golden Hall
6. Passage of the Marshes
7. Riders of Rohan
8. Hornbug
9. Uruk-Hai
10. Forbidden Pool

Tracks:

1. Storm Is Coming
2. Hope and Memory
3. Minas Tirith
4. White Tree
5. Steward of Gondor
6. Minas Morgul
7. Ride of the Rohirrim
8. Grey Havens
9. Return of the King
10. Into the West

Customer Reviews:

awsome CDs.......2007-04-08

the CDs are in Great shape and the music sounded even better. It was even delivered at a fast pace with normal shipping. A good buy thanks!!

Jessie

Beware! This is NOT the official soundtrack!.......2006-07-12

I played my official soundtrack CDs to death so I was looking for a replacement. This is not the real thing. A lot of the tracks aren't even on these, and the order on the rest of them is all mixed up. Bad quality sound, without the energy and passion of the original -- sounds like elevator music. There are even misspellings throughout the playlists. It is not readily obvious to the buyer that it isn't what you think it is, until it arrives.

The Fellowship volume won't play on one of my hard drives at all; it plays, but fuzzily, on my laptop. I gave up before trying it in the CD player in my vehicle.

Not the original music.......2005-07-13

I was expecting this to be the music from the movies - it isn't. It is nicely done, but if you're expecting the same style and sound as from the movies, look elsewhere (this sounds more MIDI than orchestra).

Average customer rating: Awesome cd closed casket My favourite Esham album Eshams darkest album to date Kkkill the Fetus

Closed Casket Esham Manufacturer: Warlock Records ProductGroup: Music Binding: Audio CD General | Soul | R&B | Styles | Music Gangsta & Hardcore | Rap & Hip-Hop | Styles | Music General | Rap & Hip-Hop | Styles | Music Pop Rap | Rap & Hip-Hop | Styles | Music General | Rap & Hip-Hop | Indie Music | Stores | Music Similar Items: KKKill the Fetus Boomin' Words from Hell Dead Flowerz Detroit Dog Shit Tongues ASIN: B000003ZPQ Release Date: 1994-11-22

Tracks:

1. The Eulogy
2. The Wicketshit Will Never Die
3. My Homie Got Shot
4. Mental Stress
5. Can't Take It Wit Cha
6. Brainwashed
7. Drive U2 Suicide
8. Chatty Ass Nigga
9. Slug From 45
10. Was It Sum'n I Said
11. Flatline
12. I Don't Owe U Shit
13. Therapy
14. Make Me Wanna Holla
15. Would You Die 4 Me
16. 2 Dollahoe
17. 24/7
18. Diggin On Da D-L
19. Premature Ejaculation
20. I'll Be Glad When You Dead
21. Closed Casket

Customer Reviews:

Awesome cd.......2007-04-18

This is my favorite Esham cd. The beats are knockin and the flow is great. The subject matter is dark and grim, just how wicked rap use to be, before ICP got all "happy" on us. (Homies, The People, I Do This) If you've never heard of Esham I reccomend this one first, because then you'll be a fan for life fool!

closed casket.......2006-11-24

this album is classic.esham is one of the best rappers in the game.definately the best from the 313 .hes a legend in my book.there are only two songs i ain't feelin on this album .cop this album u wont regret it

My favourite Esham album.......2006-05-29

This is an underground classic, if you've never heard of Esham-you need to hear this guy. He is one of the greatest rappers ever. Its amazing that he gets such little credit in the rap game though. He should be right up there alongside all the greats.

MCL
Jono

Eshams darkest album to date.......2006-04-15

This is true music to slit your wrists to! haha jp
This album takes an acquired taste if you are easily offended from subjects of drug abuse, murder, rape, suicide, satan worship and the occult. Every taboo known to man is on this cd! I love it. I listened to the whole thing road tripping the other day and I was depressed the whole ride, it was bitter-sweet, its funny how an album can change your mood. Dark and grim, closed casket is a masterpeice

Kkkill the Fetus.......2005-03-31

This album is great and Esham's use of poetry in Homie Got Shot/ Slug from a .45 is amazing but do not forget KKKill the Fetus. I'd say that album is top to bottom Esham's best but Closed Casket definately kicks ass. And for the entire underground versus mainstream arguments Esham has attended MTV music awards. Moreover, listen to the 2nd to last cut on Dre's Chronic 2001...The title may ring a bell with juggalos 'Anybody Killa'

Average customer rating: A masterful interpretation What a spectacular period seven assembly this could be!! Rythm, mesmerizing Reinvigorating a tormented soul An Amazing Tribute to Poe

Closed on Account of Rabies: Poems and Tales of Edgar Allan Poe Various Artists Manufacturer: Island / Mercury ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music Ambient | Dance & DJ | Styles | Music General | Dance & DJ | Styles | Music General | Dance Pop | Dance & DJ | Styles | Music Avant Garde & Free Jazz | Jazz | Styles | Music Bebop General | Bebop | Jazz | Styles | Music General | Jazz | Styles | Music Modern Postbebop | Jazz | Styles | Music General | Poetry, Spoken Word & Interviews | Miscellaneous | Styles | Music Spoken Word | Poetry, Spoken Word & Interviews | Miscellaneous | Styles | Music General | Miscellaneous | Styles | Music Experimental Music | Miscellaneous | Styles | Music General | Pop | Styles | Music Pop Rock | Pop | Styles | Music General | Rock | Styles | Music General | Compilations | Rock | Styles | Music Similar Items: Weird Nightmare - Meditations on Mingus Edgar Allan Poe Audio Collection Dead City Radio Kerouac: Kicks Joy Darkness Biography - Edgar Allan Poe: The Mystery of Edgar Allen Poe (A&E DVD Archives) ASIN: B000003ZVR Release Date: 1997-12-09

Tracks:

1. Alone - Marianne Faithfull
2. The Raven - Christopher Walken
3. The Tell-Tale Heart - Iggy Pop
4. The Conqueror Worm - Ken Nordine
5. The Black Cat - Diamanda Galas
6. For Annie - Gavin Friday
7. To Helen - Ed Sanders

Tracks:

1. The Haunted Palace - Ed Sanders
2. Ulalume - Jeff Buckley
3. Berenice - Dr. John
4. The City And The Sea - Deborah Harry and the Jazz Passengers
5. Annabel Lee - Marianne Faithfull
6. The Masque Of The Red Death - Gabriel Byrne
7. The Raven (excerpt) - Abel Ferrara

Amazon.com

One of the true marks of a horror artist is to create something that is at once completely terrifying and utterly fascinating. It's not about blood, guts, and gore, as anyone who's ever seen Psycho could tell you, but about suspense, story, and the characters themselves. Edgar Allan Poe's stories rank as some of the greatest horror ever written--and that's before the likes of Iggy Pop, Diamanda Galás, Abel Ferrara, and Christopher Walken (chilling, as he reads from "The Raven") got their hands--er, voices--on Poe's words. This two-disc compilation is a success if only for treating Poe's texts in the right manner, with subtle backing music and sounds and restrained, ominous performances from the readers (other fine readings come from Ken Nordine, Dr. John, and Jeff Buckley). One reason for the album's quality may be producer Hal Willner; if you enjoy this, you might also want to check out his work on Weird Nightmare: Meditations on Mingus, The Carl Stalling Project, Vol. 1, and Spare Ass Annie. --Randy Silver

Customer Reviews:

A masterful interpretation.......2005-06-27

There isn't a child who grew up in this country who hasn't been influenced, in one way or another, by the poems and short stories of Edgar Allan Poe. Or writer or producer or musician, for that matter, it seems. If we have one thing in common, one little shared bit of ourselves, it may be a love (or at least respect) of Poe - his irony, his forboding sense of things not really the way they seem, his ability to look not only into the eyes of us all, but into our dreams, our nightmares, our inner, hidden secrets. That was his talent.

Musical producer Hal Willner knows it. The beat poet Allen Ginsberg once told him in passing, "Everything leads to Poe." And seeming to follow that lead, Willner ushers everyone and everything he can think of into his project - "Closed On Acount Of Rabies" (the title is based on a new theory that Poe may actually have died of rabies instead of the alcoholic debauchery that is a major part of the Poe legend) features the talents of varied performers such as Marianne Faithfull, Christopher Walken, Diamanda Galas, Iggy Pop, Ken Nordine, Jeff Buckley, Dr. John, Deborah Harry, Gabriel Byrne... Ginsberg was right.

The disc is beautifully produced. From Marianne Faithfull's opening reading of "Alone," a moving, mood-setting short poem that sets the stage and establishes the late poet's sense of isolation (she returns later to read the famous "Annabel Lee"), the listener knows a special treat is in store. Careful, subtle sound effects and musical accompaniment accent the performances with added drama. Actor Christopher Walken's reading of "The Raven" is right in synch with the quirky characters he's known for portraying in film, and Iggy Pop delivers "The Tell-tale Heart" with just the necessary overly-controlled restraint the story demands.

Other highlights of the two disc set include Ken Nordine performing the poem "The Conqueror Worm" and full-length renditions of the Poe classics "The Black Cat," read by Diamanda Galas, a particularly hypnotic "Berenice" read by Dr. John and "The Masque of the Red Death" read by Gabriel Bryne.

Oddly, the discs' weaker moments come from musical interpretations of "To Helen" and "The Haunted Palace," sung by Ed Sanders, and a strangely uninspired "The City and the Sea," sung by Deborah Harry and the Jazz Passengers.

One of the most entrancing performances comes from Jeff Buckley as he reads "Ulalume." When he reads "...I replied, 'This is nothing but dreaming, let us on by this tremulous light - let us bathe by this crystalline light... Then my heart it grew ashen and sober, as the leaves that were crisp'd and sear, as the leaves that were whithering and sear; and I cried "It was surely October on this very night of last year that i journeyed, I journeyed down here, that I brought a dread burden down here, on this night of all nights of the year ; oh what demon has tempted me here?..." it's clear that Edgar Allan Poe's influence remains stong, true and unabated to generation after generation of creative talents.

What a spectacular period seven assembly this could be!!.......2002-02-27

These kinds of tribute albums are always tricky, even when they are just dealing with a musician's body of work. What Hal Willner has done on this two-CD set is amazing, though. To try to collect the pieces from Edgar Allan Poe's eclectic catalog of stories and poetry, find the write artists to read, sing, and/or interpret those works, and then to package it all appropriately was a major feat. Every track is not a five-star work, but the collection earns the five stars for sheer effort and uniqueness. From the cover art by Ralph Steadman, appropriately weird and spooky-looking, to the fabulous liner notes by Charles Baudelaire and Willner, himself, this CD set has been an indispensable part of my Grade 11 English (American Literature) curriculum since its release.

Everyone is going to have his or her favorite tracks/stories/poems, but here are mine:
1. Gabriel Byrne reading "The Masque of the Red Death" -- great accent, cool music and background noises; nicely understated, Byrne lets the story tell itself.
2. Diamanda Galas reading "The Black Cat" -- smoking five packs a day does pay off for some people. . . . I almost wet my pants when I first heard her read the opening line of the story.
3. Dr. John reading "Berenice" -- not the typical Poe selection, very cool New Orleans accent and grovely voice.
4. Iggy Pop reading "The Tell-Tale Heart" -- classic story, great voice and interpretation.
5. Marianne Faithfull reading "Alone" -- again, great voice and creepy effects.

I'm leaving out Ken Nordine, Jeff Buckley, and Christopher Walken, all of whom turn in outstanding performances.

Weak points aside, this CD earns five stars for the total package. The cover art is very cool, the liner notes are very interesting and informative, the sound production is superb, and a vast majority of the renditions maximize Poe's eccentricities and creepy weirdness. The musical artists and actors put themselves somewhat at risk with these alternative performances, and their risks pay off big time! If you are a fan of Poe, this is a must-have CD set. If you are a fan of any of the performers, you likely won't be disappointed either. If you are just a fan of creative and alternative works, this is well worth a try. Everybody wins!

Rythm, mesmerizing.......2002-02-11

What makes Poe's poetry so gripping? It is not the words themselves, but rather the rythm and beat they create. His poems are just begging to be read and these cd's do just that. A great piece of work.

Reinvigorating a tormented soul.......2002-02-08

This is a mixed bag all right, the most egregious negatives being perpetual freak-fringe figure Ed Sanders' ostenisble "songs", and Abel Ferrara's too-jokey "Raven". But -oh- Dr. John's reading of "Berenice" is sheer magic. This underrated tale in the Poe canon, of incestuous necrophile dental obsession is totally buoyed by the swampy southern stylings of music and voice. It's perhaps the best recording of a Poe story ever, and I'm a huge fan of the Vincent Price/Basil Rathbone recordings of the 1960s. Ken Nordine could read a cereal box and make it sound good; I wish he had a longer selection on this CD-set. Marrianne Faithfull croaks out "Alone" with that special vocal quality that only years of smoke, whiskey and drug abuse can engender. It's all peaks and valleys - but what peaks!

An Amazing Tribute to Poe.......2001-08-09

If you are a Poe fan, this is a must for your collection. The title, taken from a recent theory that Poe died of rabies contracted after a dog bite, is just the beginning of the creativity behind these CDs. Christopher Walken's reading of "The Raven" is second only to Vincent Price. Iggy Pop's rendition of "A Tell-Tale Heart" is chilling, to say the least, and is definitely worth getting the CDs for. I love listening to the stories and poems on a regular basis, and have a great time setting up the fog machine and blasting these CDs from my stereo on Halloween.

I also use this in my classroom every year. Poe, in general, is great for helping resistant students discover a love of literature and this CD is specifically responsible for creating readers out of some of my most unwilling students. While I am not too fond of the musical tracks on these CDs, my students enjoy them very much and they have inspired some of them to set Poe's work to their own music. All in all, I truly feel as if I've gotten my money's worth from these CD's and find them to be both enjoyable and useful.

Average customer rating: Beautiful Different, but still superb another excellent cd by anuna

Behind the Closed Eye Anuna Manufacturer: Danu ProductGroup: Music Binding: Audio CD General | Folk | Styles | Music Irish Folk | Traditional British & Celtic Folk | Folk | Styles | Music Britain | British Isles | Europe | International | Styles | Music Ireland | British Isles | Europe | International | Styles | Music General | International | Styles | Music General | Celtic | International | Styles | Music New Age | Celtic | International | Styles | Music Fusion | Celtic | International | Styles | Music Celtic New Age | New Age | Styles | Music General | Opera & Vocal | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Vocal Pop | Pop | Styles | Music Similar Items: Cynara Essential Anuna Deep Dead Blue Sensation Christmas Songs ASIN: B00008RGZU Release Date: 2003-04-01

Tracks:

1. August - AnMichael McGlynn, Ulster Orchestra
2. Aisling - AnUlster Orchestra
3. Great Wood - AnMonica Donlon, Ulster Orchestra
4. From Nowwhere to Nowhere - AnUlster Orchestra
5. Annaghdown - AnRn Dempsey, , Ulster Orchestra
6. Ceann Dubh Ds - AnMichael McGlynn, Mark O'Sullivan, Garrath Patterson, Ulster Orchestra
7. Ave Marie - AnMiriam Blennerhassett, Ulster Orchestra
8. Gathering Mushrooms - AnMichael McGlynn, Ulster Orchestra
9. Behind the Closed Eye - AnUlster Orchestra
10. Midnight - AnUlster Orchestra
11. Coming of Winter - AnUlster Orchestra
12. Where All Roses Go - AnMichael McGlynn, Ulster Orchestra
13. 1901 - AnDeirdre Gilsenan, Ulster Orchestra

Customer Reviews:

Beautiful.......2005-06-04

Another triumph for Anuna- this album incorporates more instruments than other albums, but it is done so tastefully and it really adds a whole new dimension to the crisp voices of Anuna.

Definitely worth a place in any music library!

Different, but still superb.......2003-12-29

Unlike most of the albums Anuna has put out so far, most tracks on this album are for choir AND orchestra. The harmonies are definitely 20th century, but they are pleasing to the ear almost always add to the already excellent sound of the choir. Of particular note are the tracks "The Great Wood" (available for download on Anuna's site if you're curious to hear before buying) and the final track, "1901".

Although the sound may be different than what you have come to expect from previous albums, I would still recommend this one wholeheartedly.

another excellent cd by anuna.......2003-06-11

I bought this album when it was still only available in Ireland, and it was well worth the extra money then. Like Cynara and Deep Dead Blue, this CD has more modern music, including some songs composed by Anuna members, as well as the more traditional music they're known for. Perfect for studying or working to.

Average customer rating: Perfect album not to play in cafes ABSOLUTELY THE GREATEST SOPRANO OF THE 20TH CENTURY Greatest Soprano of the 20th Century(?)

Magnificathy: The Many Voices of Cathy Berberian Manufacturer: Wergo Germany ProductGroup: Music Binding: Audio CD Cage, John | ( C ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gershwin | Gershwin, George | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Monteverdi | Monteverdi, Claudio | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Weill | Weill, Kurt | ( W ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Debussy | Debussy, Claude | ( D ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Modern | 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 Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music English | Languages | Opera & Vocal | Styles | Music Madrigals | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music General | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music Classical | Imports | Stores | Music Similar Items: Berio: Recital I for Cathy / Folk Songs / 3 Songs by Kurt Weill Schubert: Piano Duets The Ligeti Project II: Lontano / Atmosphères / Apparitions / San Francisco Polyphony / Concert Românesc - Berlin Philharmonic Orchestra / Jonathan Nott Osvaldo Golijov: Ayre Peter Lieberson: Neruda Songs ASIN: B000025QZS Release Date: 1993-12-08

Tracks:

1. Claudio Monteverdi: La Lettera Amorosa
2. Chansons De Bilitis: La Flute De Pan
3. Chansons De Bilitis: La Chevelure
4. Chansons De Bilitis: Le Tombeau Des Naiades
5. A Flower
6. The Wonderful Widow Of Eighteen Springs
7. O, Atti Vocali (Aus La Passion Selon Sade)
8. Surabaya-Johnny (Aus Happy End)
9. A Ticket To Ride
10. Summertime (Aus Porgy And Bess)
11. Stripsody

Customer Reviews:

Perfect album not to play in cafes.......2004-09-30

this (...) totally rocks the mic. especially enjoyable are the monteverdi selections. i mean, if you're a dumbass little punk you're probably not gonna like it... but hey! why can't dumbass little punks be more like alex de large? you know... with some class... why do they all have to be like dim?

ABSOLUTELY THE GREATEST SOPRANO OF THE 20TH CENTURY.......2003-12-02

I had the great good fortune to hear Ms Berberian live in the early seventies perform most of the music included on this disk.
The event was one of the high points of my childhood.

As at home singing avant-garde as she was singing pop and classical music, many composers wrote for Ms. Berberian simply because there were no other singers accomplished enough to bring their musical visions alive.

This disk offers up a wonderful cross-section of all of the
kinds of music in Cathy's vast repertoire. I recommend it most highly

Greatest Soprano of the 20th Century(?).......2002-06-22

It's incredible to me that the name Cathy Berberian is so unknown today. Listen to the performance of Debussy's Chansons de Bilitis; it's the greatest recorded vocal performance I've ever heard. Throughout the disk, she lives up to the title. Rather than sing in big soprano mode, she is a vocal chameleon who adapts to the subject matter, from Monteverdi to Lennon & McCartney to John Cage. You will not be disappointed.

Average customer rating: an alt.country classic Drinks, drugs and emotional wreckage anchor alt.country gem

Closed Drag the River Manufacturer: Upland Records ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music Alt-Country & Americana | Country | Styles | Music General | Rock | Styles | Music Country Rock | Rock | Styles | Music Pop Rock | Pop | Styles | Music Alt-Country & Americana | Country | Indie Music | Stores | Music Similar Items: It's Crazy Hobo's Demo's Hey Buddies... Chicken Demos Live at the Starlight ASIN: B000063KQ2 Release Date: 2002-03-26

Tracks:

1. Embrace The Sound
2. Medicine
3. Forgiveness
4. Losin' Everyone
5. So Lonely
6. Song For Robin Reichhardt
7. Barroom Bliss
8. Disclaimer (Pts.2 & 1)
9. Booze N' Pills
10. Calloused Heart #2
11. Get Drunk
12. Lost Weekend
13. Life Of Ruin
14. Smokefinger

Amazon.com

The Fort Collins, Colorado-based Drag the River are rooted in punk--their songwriters are Jon Snodgrass of Armchair Martian and Chad Price of the post-Descendants group All--yet their sound is much subtler than one might expect. The country rock on Closed, the follow-up to their 2000 debut Hobo's Demos, is not aggressive or all-out roaring as much as it is hard-driving and confessional. Zach Boddicker paints steel-guitar stripes on steady-rolling roots-rock cuts ("Medicine," "Song for Robin Reichhardt") and downtempo cautionary tales ("Smokefinger"). Elsewhere, the quintet devotes equal time to speedy shuffles (the loser's anthem "Get Drunk") and barroom weepers ("Forgiveness"). --Anders Smith Lindall

Customer Reviews:

an alt.country classic.......2002-06-14

i am baffled by the previous reviewer's accolades and then a three star rating. in my view this cd is a long awaited revival of true altcountry music. wonderful steel, gritty vocals and, yes, songs about drinking (and its consequences). things have gotten way too tamed down as of late, thanks dtr.

Drinks, drugs and emotional wreckage anchor alt.country gem.......2002-04-20

The second album from this Ft. Collins, Colorado aggregation sounds less like a side-project for its punk-rock membership (Chad Price of All, Jon Snodgrass and Paul Rucker of Armchair Martian) and more like a solid alt.country songwriting partnership and band. Though heavy on the electric guitars, there's plenty of melodically careening steel (courtesy of Zach Boddicker), drawled vocals and down-in-the-mouth lyrics.

Price sings with a gruff bluesiness similar to Jon Dee Graham. He and Snodgrass write of the emotional triggers leading to a cozy relationship with the bottle, and the dead-end life of such self-medication. Their songs slide from emotional catastrophes ("So Lonely," "Song for Robin Reichhardt," "Calloused Heart #2," "Lost Weekend") into a downward spiral of drink, drugs and co-dependence ("Forgiveness," "Barroom Bliss," "Booze 'n' Pills," "Get Drunk," "Smokefinger," "Medicine"), with only a brief pitstop at the junction of introspection and hope ("Embrace the Sound," "Life of Ruin").

One might take these songs literally (and, thus, be on the lookout for news of the band's sextuple liver transplant) if their lyrical detail didn't suggest an extended bout of lucidity. Factt, fiction, or somewhere in between, these stories of tormented hearts provide an edginess that's stripped of tear-in-your-beer romance. For maximum commiseration, set your CD player to "repeat."

3-3/4 stars, if Amazon allowed fractional ratings.

Average customer rating: A Rose By Any Other Name... "Thus I salute the stronghold, safe from dread and dismay! Free at last! I Love This Recording The Goodall Ring - 1975 - Restored and Remastered

Wagner: The Rhinegold English National Opera Manufacturer: Chandos ProductGroup: Music Binding: Audio CD 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 Valkyrie ASIN: B00005B550 Release Date: 2001-05-22

Customer Reviews:

A Rose By Any Other Name..........2007-07-02

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

"Thus I salute the stronghold, safe from dread and dismay!.......2007-06-12

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Box Set: Wagner: The Ring Cycle (Box Set)
-The Valkyrie (Part 2): Wagner: The Valkyrie
-Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Free at last!.......2004-09-18

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

I Love This Recording.......2002-04-05

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

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

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

The Goodall Ring - 1975 - Restored and Remastered.......2001-06-08

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

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

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

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

For all of its flaws, this is an astonishing and, for me, an indispensible recording because it made me listen to this opera with new ears. While it's not the most lyrically pleasing recording (Karajan) or musically authoritative (that would be Solti, IMHO), dramatically, this Rhinegold excells any recording I know of. I will definitely buy the rest of the set.

Average customer rating: My personal fav. from an AWESOME group!! You might say I'm a fan

Behind Closed Doors Thunder Manufacturer: EMI Int'l ProductGroup: Music Binding: Audio CD General | Rock | Styles | Music General | Hard Rock & Metal | Styles | Music Hard Rock | Hard Rock & Metal | Styles | Music Hard Rock & Metal | Imports | Stores | Music Rock | Imports | Stores | Music Similar Items: The Magnificent Seventh! The Thrill of It All Gimme Some Thunder Rare Raw & the Rest Backstreet Symphony ASIN: B0000074GL Release Date: 1995-04-05

Tracks:

1. Moth To The Flame
2. Fly On The Wall
3. I'll Be Waiting
4. River Of Pain
5. Future Train
6. 'Til The River Runs Dry
7. Stand Up
8. Preaching From A Chair
9. Castles In The Sand
10. Too Scared To Live
11. Ball And Chain
12. It Happened In This Town

Customer Reviews:

My personal fav. from an AWESOME group!!.......2001-11-07

Let's get right to the point..Do you like Led Zeppelin/Bad Company/Whitesnake and/or Journey?Because this was a (recently disbanded)British band that could EASILY have been JUST as popular as the above mentioned groups! Yes-they were THAT good!! If you enjoy CLASSY "classic rock",then order this c.d. NOW and discover an incrediblly underrated band for yourself!! I guarantee you won't be disappointed-and you will want to search out their other fine releases. ENJOY!!

You might say I'm a fan.......2000-06-07

Another wonderful album from the heirs to the throne. Every album these guys have done is awesome & I recommend that anybody who misses good rock 'n' roll to check this band out!

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