Don't Be Afraid

Track Listings

1. Don't Be Afraid

2. Bilbao Song

3. The Liquor Dealer's Dream

4. Youkali Tango

5. The Drowned Girl

6. Sailor's Tango

7. Supply & Demand

8. Remembering Maria A.

9. Surabaya Johnny

10. Ballad Of The Lily Of Hell

11. Mandelay Song

12. Hollywood

13. The Swamp

14. Solomon Song

15. Moritat (Mac The Knife)

Tracks:

Jesus Christ Superstar: Overture - Andrew Lloyd Webber
Jesus Christ Superstar: Everything's Alright - Yvonne Elliman/Murray Head/Ian Gilllan
Jesus Christ Superstar: I Don't Know How To Love Him - Yvonne Elliman
Jesus Christ Superstar: Gethsemane (I Only Want To Say) - Steve Balsamo
Jesus Christ Superstar: Superstar - Murray Head
Evita: Oh What A Circus/Sing You Fools - Antonio Banderas
Evita: I'd Be Surprisingly Good For You - Elaine Paige/Joss Ackland
Evita: Another Suitcase In Another Hall - Barbara Dickson
Evita: Don't Cry For Me Argentina - Julie Covington
Evita: High Flying, Adored - Mandy Patinkin/Patti LuPone
Cats: The Jellicle Ball - Andrew Lloyd Weber
Cats: Memory - Elaine Paige
Cats: Gus: The Theatre Cat - Susan Jane Tanner/John Mills
Cats: Mr Mistoffelees - Paul Nicholas
Song And Dance: Take That Look Off Your Face - Marti Webb
Song And Dance: Tell Me On A Sunday - Marti Webb
Song And Dance: Unexpected Song - Sarah Brightman
Song And Dance: Nothing Like You've Ever Known - Sarah Brightman
Song And Dance: Introduction - Andrew Lloyd Webber
Song And Dance: Variations 1 -4 - Andrew Lloyd Webber

Tracks:

Starlight Express: Starlight Express - El Debarge
Starlight Express: Crazy - Greg Ellis/Reva Rice/Caron Cardelle/Samantha Lane/Voyd
Starlight Express: Next Time You Fall In Love - Reva Rice/Greg Ellis
Starlight Express: I Am The Starlight - Lon Satton/Ray Shell
Starlight Express: Light At The End Of The Tunnel - The Company
Requiem: Hosanna - Placido Domingo
Requiem: Pie jesu - Sarah Brightman/Paul Miles-Kingston
The Phantom Of The Opera: The Phantom Of The Opera - Michael Crawford/Sarah Brightman
The Phantom Of The Opera: The Music Of The Night - Michael Crawford
The Phantom Of The Opera: All I Ask Of You - Sarah Brightman/Steve Barton
The Phantom Of The Opera: Entr'acte - Andrew Lloyd Webber
The Phantom Of The Opera: Masquerade - The Company
The Phantom Of The Opera: Wishing You Were Somehow Here Again - Sarah Brightman
Aspects Of Love: Aspects Of Aspects - Orchester Der Vereinigten Buehnen Wien
Aspects Of Love: Love Changes Everything - Michael Ball
Aspects Of Love: Seeing Is Believing - Michael Ball/Ann Crumb
Aspects Of Love: The First Man You Remember - Kevin Colson/Diana Morrison
Aspects Of Love: Anything But Lonely - Sarah Brightman
Aspects Of Love: Chanson D'Enfance - Sarah Brightman

Tracks:

Joseph And The Amazing Technicolor Dreamcoat: Any Dream Will Do - Jason Donovan
Joseph And The Amazing Technicolor Dreamcoat: Joseph's Coat - Maria Friedman/Richard Attenborough/Donny Osmond
Joseph And The Amazing Technicolor Dreamcoat: Close Every Door - Donny Osmond
By Jeeves: Travel Hopefully - John Scherer/Martin Jarvis/Don Stephenson
By Jeeves: When Love Arrives - Steven Pacey/Diana Morrison
By Jeeves: Half A Moment - Sarah Brightman
Sunset Boulevard: With One Look - Glenn Close
Sunset Boulevard: New Ways To Dream - Glenn Close/Alan Campbell
Sunset Boulevard: The Perfect Year - Glenn Close/Alan Campbell
Sunset Boulevard: Sunser Boulevard - Alan Campbell
Sunset Boulevard: As If We Never Said Goodbye - Glenn Close
Whistle Down The Wind: Whistle Down The Wind - James Graeme/Lottie Mayor
Whistle Down The Wind: Cold - Everly Brothers
Whistle Down The Wind: No Matter What - Children/Adult Chorus
Whistle Down The Wind: The Nature Of The Beast - Marcus Lovett/Lottie Mayor
The Beautiful Game: Overture - Andrew Lloyd Webber
The Beautiful Game: The Beautiful Game - The Company
The Beautiful Game: Our Kind Of Love - Hannah Waddingham
The Beautiful Game: Dont Like You - Josie Walker/David Shannon
The Beautiful Game: Let Us Love In Peace - Josie Walker/Omagh Youth Community Choir

Tracks:

Oh What A Circus - David Essex
Memory - Betty Buckley
The Phantom Of The Opera - Sarah Brightman/Steve Harley
All I Ask Of You - Sarah Brightman/Cliff Richard
Love Changes Everything - Michael Ball
Any Dream Will Do - Donny Osmond
Amigos Para Siempre (Friends For Life) - Sarah Brightman/Jose Carreras
As If We Never Said Goodbye - Barbra Streisand
The Perfect Year - Dina Carroll
With One Look - Petula Clark
You Must Love Me - Madonna
The Heart Is Slow To Learn - Kiri Te Kanawa
A Kiss Is A Terrible Thing To Waste - The Metal Philharmonic Orchestra
Whistle Down The Wind - Tina Arena
No Matter What - Boyzone
The Vaults Of Heaven - Tom Jones
Try Not To Be Afraid - Boy George
Pie Jesu - Charlotte Church

Tracks:

Make Believe Love - Wes Sands
Down Thru' Summer - Ross Hannaman
I'll Give All My Love To Southend - Ross Hannaman
Believe Me I Will - Sacha Distel
Joseph And The Amazing Technicolor Dreamcoat (1969 Radio Luxembourg Commercial) - Joseph Consortium/Pete Murray
Try It And See - Rita Pavone
Come Back Richard Your Country Needs You - Time Rice And The Webber Group
Goodbye Seattle - Paul Raven
John 19:41 - The Andrew Lloyd Webber Orchestra
What A Line To Go Out On - Yvonne Elliman
Disillusion Me - Gary Band
The Ballad Of Robert And Peter - Tim Rice
Christmas Dream - Maynard Williams
It's Only Your Lover Returning/All Through My Crazy And Wild Days/Don't Cry For Me Argentina - Julie Covington
It's Easy For You (1977 Jungle Room Session Version) - Elvis Presley
Magdalena - Tony Christie
Buenos Aires - The Roja Rockers
Pollicle Dogs And Jellicle Cats - Andrew Lloyd Webber
Mungojerrie And Rumpleteazer (Live At The Sydmonton Festival 1980) - Gemma Craven
I Could Have Given You More - Petula Clark
I've Been In Love Too Long - Marti Webb
Benedicite - The Stephen Hill Singers

Album Description

Disc 1: Selections from Jesus Christ Superstar, Evita, Cats, and Song and Dance

Disc 2: Selections from Starlight Express, Requiem, Phantom of the Opera, and Aspects of Love

Disc 3: Selections from Joseph nad the Amaziong Technicolor Dreamcoat, By Jeeves, Sunset Boulevard, Whistle Down the Wind, and The Beautiful Game

CD 4: 1. "Oh What a Circus" --David Essex 2. "Memory" - Betty Buckleey 3. "The Phantom of the Opera" -Sarah Brightman, Steve Harley 4. "All I Ask of You" --Sarah Brightman, Cliff Richard 5. "Love Changes Everything"--Michael Ball 6. "Any Dream Will Do"--Donny Osmond 7. "Amigos Para Siempre (Friends for Life)"--Sarah Brightman, Jose Caerras 8. "As if We Never Said Goodbye"--Barbra Streisand 9. "The Perfect Year"--Dina Carroll 10. "With One Look" --Petula Clark 11. "You Must Love Me" 12. "The Heart Is Slow To Learn" --Kiri Te Kanawa 13. "Whistle Down the Wind"--Tina Arena 14. "A Kiss Is a Terrible Thing To Waste"--The Metal Philharmonic 15. "No Matter What"--Boyzone 16. "The Vaults of Heaven"--Tom Jones and Sounds of Blackness 17. "Try Not To Be Afraid"--Boy George 18. "Pie Jesu"--Charlotte Church

Disc 5: (All tracks available for the first time) 1. "Make Believe Love"--Wes Sands 2. "Down Thru' Summer"--Ross Hannaman 3. "I'll Give All My Love to Southend"--Ross Hannaman 4. "Believe Me I Will"--Sacha Distel 5. "Joseph and the Amazing Technicolor Dreamcoat: 1969 Luxembourg Radio Commercial--The Jospeh Consortium, Pete Murray 6. "Try It and See"--Rita Pavone 7. "Come Back Richard Your Country Needs You"--Tim Rice and the Webber Group 8. "Goodbye Seattle"-- Paul Raven 9. "John 19:41"--The Andrew Lloyd Webber Orchestra 10. "What a Line To Go Out On"--Yvonne Elliman 11. "Disillusion Me" --Gary Bond 12. "The Ballad of Robert and Peter"--Tim Rice 13. "Christmas Dream" --Maynard Williams 14. "It's Only Your Lover Returning/All through My Wild and Crazy Days/Don't Cry for Me Argentina--Julie Covington 15. "It's Easy for You" (1977 Jungle Room Session version)--Elvis Presley 16. "Magdalena"--Tony Christie 17. "Buenos Aires"--The Rioja Rockers 18. "Pollicle Dogs and Jellicle Cats"--Andrew Lloyd Webber original demo 19. "Mungojerrie and Rumpleteazer" (Live at Sydmonton Festival 1980)-Gemma Craven 20. "I Could Have Given You More"--Petula Clark 21. "I've Been in Love Too Long"--Marti Webb 22. "Benedicte"-- Stephen Hill Singers

Customer Reviews:

I waited for this for five years.......2006-06-30

Between Amazone, Ebay and Napster, I don't usually buy CDs anymore, and I usually wait till I can buy them cheaper "new and used". When this set came out, I was excited, mainly by Disc 5, but wasn't going to spend $70 on it. I waited till it was cheap enough, and got it for Father's day this year.
It was worth the wait.

The concept is great. The packaging is great. The recording is great. Disc five is really cool for an ALW aficionado. There are a few real gems on it; my favorites are Petula Clark's "I Could Have Given You More" and "Benedicite."
I've always thought "Gus the Theatre Cat" made a great medley on the piano with "Unexpected Song" and "I DOn't Know How to Love Him," but wished there was an alternate lyric to match the other two songs. Now that I know there *is*, and it's a good lyric, it's a dream come true.
The melody of "Benedicite" is one of my favorites from _Sunset_ (the book mis-identifies it as "SUrrender"; it's actually "The Lady's Paying" and "Eternal Youth is Worth a Little Suffering"). The lyrics are the canticle from Daniel 3, which comes up every odd Sunday in the Divine Office, so it's nice to have cool music to sing it with.

I haven't bought _By Jeeves_ or _THe Beautiful Game_ yet, to it was great to sample them.

There are other parts of the CD taht aren't found in my collection. I like CD 4 "The Hits."

But the selections on CDs 1-3 don't make sense.

First, any self-respecting ALW fan has the Original London Cast of _Phantom_, so six tracks are totally useless. Why not draw from the Canadian cast with Colm Wilkinson? Or pull out some obscure recordings never published.

Why two different tracks with Michael Ball singing "Love Changes Everything", yet they're hardly any different?

On Disc 5 is "It's Only Your Lover Returning," sung by Julie Covington. It's an early draft of the song (Lloyd Webber and Rice went through several suggested titles) and quite nice. The very thing one expects on a Boxed Set.
So why have the Julie Covington "Don't Cry for Me" on disc 1?? The only difference is a few words, but it's otherwise identical. Why not Elaine Paige or Patti Lupone or Madonna?

The _Evita_ section is otherwise the best, choosing a sample from each major recording, though I'd have chosen slightly differently (as above).

There is a great selection of "Mungojerrie and Rumpleteazer" from the Sydmonton festival, using the original music that was changed when _Cats_ went to Broadway_. It would have been nice if they'd included more recordings from Sydmonton, like the original lyric of "All I Ask of You" shown on the second DVD to the _Phantom_ movie.

With so many great actress-singers who've played Norma Desmond, why does the collection beat us over the head with Glenn Close?

Paul Miles Kingston must be set for life in royalties, for the number of albums the original recording of "Pie Jesu" has appeared on. "Amigos Para Siempre" is nice, but it reminds me of Shari Lewis's "The Song that Doesn't End," especially when it's been used on so many compilations.

In short, this is a great collection for the obscure material, if you can get it cheap. But for a boxed set, it's a poor sampling, drawn mostly from the most familiar recordings.

Excellent collection but BIG PUBLISHING MISTAKE! .......2006-01-10

Please beware they made a mistake on this. It's actually the shortened Ray Shell version of STARLIGHT EXPRESS from the original 1984 London cast - NOT the El Debarge single from 1987 like it says on the box. I don't know how they let that goof pass. Sorry to Ray Shell. Having said that, this is an outstanding compilation of Lloyd Webber's greatest hits.

ONE OF LLOYD WEBBER'S BEST COMPILATIONS, DESPITE A FEW FLAWS.......2005-03-21

Regardless of the fact that some of his latest efforts (most notably, The Woman in White) are disappointing, there can be little doubt that Andrew Lloyd Webber is one of the greatest composers ever to work in the musical theatre. Ever since his "Jesus Christ Superstar" hit the stage in the early 70-is, it was clear that the conception and perception of musicals are never going to be the same again. Many of his songs became standards not only in the theatre history, but also as tops on the charts. Even though he's British, his influence on the shape of the modern musical theatre expanded over the West End boundaries long ago and has thus made an enormous impact on Broadway. Two of his shows ("Cats" and "The phantom of the opera") hold the record as two the longest running shows in the history of Broadway. He has also been the only composer to have three of his shows running at Broadway concurrently. Some of his awards include three Grammies, a Golden Globe, an Oscar and a bunch of Tony awards. But perhaps most of all, Lloyd Webber is responsible for bringing the musicals and the theatre appealing to the wide audiences, who in different circumstances would not consider seeing a musical. The secret of his success is probably the mixture of beautiful and catchy melodies, interesting subject matter (though some, like Starlight Express, are too thin) and grandiose staging.

Over the years many compilations of his work have emerged. In the late 80-is and early 90-is it was the "Encore" series and lately the one-disc collection called "Gold". The one in question here can be considered one of the best currently on the market. First, it includes a 3-disc selections from all of his shows, minus the latest one, i.e., "The Woman in White", which, considering the triviality of the score, is no great lost. The fourth disc covers some of his most known songs sung by the famous artists. Then, there is the fifth disc with previously unreleased material, most of which are the songs ALW wrote with Tim Rice for various artists during the 70-is. The disks are all neatly packed in a hardcover book that features 67 pages of pictures and text with information about each of ALW's shows. One of the other assets here is the perfect sound quality, since all of the tracks have been digitally remastered.

Here are my basic impressions and comments regarding the material on the discs:

* Disc #1 has the selections from "Jesus Christ Superstar", "Evita", "Cats" and "Song & Dance". The Superstar material mostly comes from the Concept Recording. Although the songs sound beautiful as always, their orchestration is a bit dated now. Only Steve Balsamo's "Gethsemane" from the 1996 revival cast has a modern rock sound. "Evita" comes with the material from all of the major recordings: London, Broadway and the movie productions, as well as the Concept album. No objections here; since this is one of ALW's most satisfying works, every song is just perfect, although Patti LuPone, the Broadway and overall the best Evita, is left with only a couple of lines. With the selections from "Cats", however, I have some doubts. A plus to the choice of the "Jellicle ball" impressive orchestral sequence from the 1998 movie version and "Mister Mistoffelees" from the 1981 London cast. One of the best known ALW's songs, "Memory", also comes from that album. It's a pretty version and Elaine Paige's rendition cannot be matched, but why include this when the definite version, featuring an 80-piece orchestra and Elaine Paige with much better interpretation, can be found in the same movie version. Thusly, one has to buy Elaine Paige's latest 2-disc compilation "Centre Stage: The very best of Elaine Paige" to get that one. And "Gus the theatre cat" is more a recital than a song, so there was not much point in including that. Marti Webb brings her vocal charm to the "Song & Dance" sequence, Sarah Brightman sings "Unexpected song" with her famous soprano, but as much as I like her version, Bernadette Peters, who was in this show on Broadway is strangely left out here.

* Disc # 2 starts with "Starlight Express". This was never one of my favorite ALW's shows; the plot is even lighter than in "Cats" and the 1984 original cast recording is terribly dated. Yet, here we have one terrific duet, "I am starlight" from the original together with three songs from the later revivals and it seems that fresh orchestrations were just the thing Starlight needed. My favorite remains a touchy ballad, "Next time you fall in love". "Requiem" is the most solemn of all ALW's compositions, written in 1985 to commemorate the death of his father. Placido Domingo's tenor rides together with the chorus all the way through the strong "Hosanna", only to be joined by Sarah Brightman in the final moments of this song. She then gives an echoing deliverance of "Pie Jesu". What can be said of ALW's next show, "The Phantom of the Opera"? A phenomenon in its own right, it's easy to see from the six numbers included here why this is one of the best and most beloved musicals of all time. The cast, the music, the story - everything is perfect. Although "Aspects of love" was never a popular hit, it does have some of the most beautiful love melodies ALW has ever written. "Love changes everything" sung by Michael Ball is probably one of the best tunes ever about love. The rest of the selected material here has a dreamy love flavor and the melodies find their way into your brain in the best Lloyd Webber way.

* ALW's first musical, "Joseph and the amazing Technicolor dreamcoat" was more successful in its revival form than the original from the 70-is. The three songs included here are sung by the show stars, Jason Donovan and Donny Osmond. Maria Friedman was not a lucky choice to play the narrator, as the track from the 1998 movie version shows. "By Jeeves" was ALW's only big flop when it came to the stage in the 70-is. The 1995 revival sounds much better though, full of funny numbers in the best manner of the musical comedy. "Travel hopefully" remains one of the show's highlights on this compilation. "Sunset Boulevard" comes next. "Sunset" remains for me one of Webber's best scores; lush and beautiful. I listen to the original cast recording with Patti LuPone all the time. However, here most of the songs are performed by Glenn Close. A big mistake. If you've ever listened the American premiere recording with her, you'll know what I am talking about. She may have a strong stage presence, but her vocal abilities are too limited, and her aggressive approach to the role lacks any subtlety. Therefore, the two big numbers from this show, "With one look" and "As if we never said goodbye" are ruined by the fact she can't sing. The same goes for the American Joe Gillis, who was played by Alan Campbell. Luckily, Patti LuPone and Kevin Anderson, the original Norma and Joe from the London production, make their brief entrance here with the "Perfect year"; enough to show how better they are. The funny thing is, on the jacket and inside of it, Glenn Close and Alan Campbell are credited as performers in this song as well. If this was a mistake on ALW's part, it was a good one. The next ALW's show, "Whistle down the wind" was never a critic's dear and yet the audiences rushed in to see it in London. The score brings back ALW to his rock and roll roots of the seventies and the story is quite interesting. But the selections here are not the happiest, since the cast recording boasts with much better songs. And finally, "The Beautiful Game". Again, we have one of those ALW's shows that is worth in its individual parts rather than as a whole. "Our kind of love" and "Let us love in peace" are two catchy ballads. The latter is a nice amalgam version not available elsewhere. The two other tracks here I could live without.

* Disc # 4 has the songs from all the above shows performed by different artists. The assembled tracks have their pros and cons. For example, we have some previously unreleased stuff, like Dame Kiri Te Kanawa's operettic rendition of "The heart is slow to learn", or a stunning and epic "A kiss is a terrible thing to waste" from "Whistle down the wind", performed by The Metal Philharmonic Orchestra. Then again, what was the point in including almost identical tracks as the ones on the previous disks? So we have Michael Ball again singing "Love changes everything" with only a bit different orchestration; Sarah Brightman comes out again with the same Phantom duets, but only with the different male singers. It would be much more appropriate to include tracks from the Toronto Cast of the Phantom, with Colm Wilkinson. Other pop deliverances (Tina Arena's "Whistle down the wind", Barbra Streisand's "As if we never said goodbye", Boyzone's "No matter what" and many more) were wisely chosen. Patti LuPone is again nowhere to be found and Petula Clark's "With one look" sounds too worn-out.

* The last disc is probably the one that will be of most interest to Lloyd Webber aficionados. It consists of entirely previously unreleased material ALW for the most part wrote for various artists during his early years, with Tim Rice. Some of these tunes, not successful as a singles, were later used in his shows. Thus "Down thru' summer" became "Buenos Aires"in Evita, "Try it and see", an unsuccessful attempt for the Eurovision was used for "King Herod's song" in "Superstar" and so on. Some of these songs are nicely made pop songs: "Make believe love", ALW's first recorded composition, for which he provided the lyrics; "Goodbye Seattle", sung by Paul Raven, who later became Gary Glitter; "Come back Richard, your country needs you", from a never made musical, sung here by Tim Rice, or Latin flavored "Magdalena", with Tony Christie singing. My all time favorite here is a song called "It's easy for you", sung by none other than Elvis Presley himself. Lloyd Webber and Rice sent him a demo recording that he accepted and recorded this live version a couple of weeks before he died. It's amazing to hear how his voice remained in the perfect shape. Also, there is a track of Andrew Lloyd Webber singing "Policle dogs and Jellicle cats" while plying the piano. His voice doesn't sound bad at all.

Taken as a whole, this compilation makes a perfect birthday or Christmas present to any fan of Andrew Lloyd Webber shows, or just anybody interested in some of the best tunes from the modern era of the musical theatre; despite the flaws I mentioned above. To the former, it may just be the final addition for the Andrew Lloyd Webber collection.

SUCH MAGICAL MUSIC OF THE NIGHT!.......2003-01-19

"Evita." "Sunset Blvd." "Starlight Express." "Jesus Christ Superstar." "Joseph and the Amazing Technicolor Dreamcoat." "Requiem." "Aspects of Love." The man who is the most recognized composer in the history of the musical theatre, the man who has won more Tonys than any other composer, the man who boasts the best-selling show of all time ("The Phantom of the
Opera") and the longest-running show of all time ("Cats"), the man whose homes are filled with three Grammys, five Oliviers, a Golden Globe, and Oscar and too many other honors and hosannas to mention, the man knighted in 1992 certainly doesn't need an introduction. Now Decca Broadway pays tribute to Sir Andrew Lloyd Webber with "Now and Forever," a spectacular 5-CD set compiled and produced by Sir Andy himself. It's cheaper than a
ticket to "The Producers" ... and more much exciting. This treasure trove contains highlights from all of Webber's shows, and a bonus disc of tunes sung by Betty Buckley, Barbara
Streisand, Jose Carreras, Boy George, Charlotte Church, Madonna, Tom Jones, Petula Clark, even Elvis! A must for lovers of theatre---and good music.

A Must Have for Sir Andrew fans.......2002-05-21

This five-CD collection of Andrew Lloyd Webber's career is fantastic. It leaves virtually no stone unturned. I have no doubt that diehard Webber fans will love this, especially for the 5th disc entitled "From the Vaults." This disc alone is worth the price as it contains tunes never before heard by the typical fan. Who knew Elvis did a Lloyd Webber tune?!? I didn't! Also the tune "Benedictine" which the composer wrote for his most recent marriage is not only pretty, but it has the same medley as "The Lady's Paying" from "Sunset Blvd." which I found highly enjoyable. Another great track is the composer himself singing a cut song from "Cats" entitled "Pollicle Dogs and Jellicle Cats" which has the same tune as "Jellicle Songs for Jellicle Cats," but to hear Sir Andrew sing is a blast...he sounds a lot like Al "Year of the Cat" Stewart.
The cuts from the musicals are great but are likely owned by ALW fans as they are on the original cast albums. And I'm glad that there were tunes included from the composers most recent efforts which have yet to make it beyond London (Whistle Down the Wind, Beautiful Game).
My only complaint is the inclusion of way too many tracks by Sarah Brightman. She must've received a great divorce settlement that included having tunes on any ALW collection until the end of time!! Her interpretations of some of the tunes were limp and uninspired. I would've much rather heard casts from around the world rather than yet another song by this disdainful soprano! How about Colm Wilkinson's version of "Music of the Night" from the original Canadian cast of "Phantom"? Or Michael Crawford's version of "Unexpected Song"? What? No Betty Buckley from "Sunset Blvd."? And of course there are songs you KNOW are going to be on the collection before you even listen to it as they have been on EVERY ALW collection for the past decade or so.
A great collection but too much Sarah Brightman!

Average customer rating:

classic Cray
Was It A Woman Or A Bottle?
Some good tracks, some great ones.
The worst of a very good bunch
blues at it's best

Don't Be Afraid of the Dark
Robert Cray Band
Manufacturer: Island / Mercury
ProductGroup: Music
Binding: Audio CD

Contemporary Blues | Blues | Styles | Music

General | Blues | Styles | Music

Electric Blues Guitar | Blues | Styles | Music

Modern Blues | Blues | Styles | Music

General | Soul | R&B | Styles | Music

General | Rock | Styles | Music
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Midnight Stroll
I Was Warned
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Bad Influence

ASIN: B000001FOF
Release Date: 1990-10-25

Tracks:

Don't Be Afraid Of The Dark
Don't You Even Care?
Your Secret's Safe With Me
I Can't Go Home
Night Patrol
Acting This Way
Gotta Change The Rules
Across The Line
At Last
Laugh Out Loud

Customer Reviews:

classic Cray.......2007-04-29

Great set from the Georgia-born bluesman and his band, despite the criticisms that the album was too pop oriented and that Cray had sold out. While this album certainly does not top its predecessor "Strong Persuader", it does manage to deliver some great blues from one of the music's finest performers. Cray needs no introduction to fans of the blues, playing to sold-out concerts and working the blues circuit loyally.

"Don't Be Afraid of the Dark" is a solid release from the veteran Cray, though he has made better albums since. As is always the case with Robert Cray releases, I listen intently to the dazzling guitar work to remember why Cray gets paid to do this. The band does not often get the credit they so duly deserve, as Richard Cousins (bass), Peter Boe (keyboards) and David Olson (drums) do an excellent job of accompanying Cray on these tunes.

The horns on here are supplied by The Memphis Horns and Wayne Jackson, and David Sanborn appeared courtesy of Warner Brothers playing saxophone on "Acting This Way". "At Last", track 9, is a 50s feeling blues ballad with Cray singing backed by the horns. Overall this is a high quality outing by the old hand of blues vocals and guitar, deserving a spot in your music collections today!

Personnel:
Robert Cray (guitar & vocals)
Richard Cousins (bass)
Peter Boe (keyboards)
David Olson (drums)
The Memphis Horns (horn section)
Wayne Jackson (trumpet & trombone)
David Sanborn (alto sax on "Acting This Way")

Was It A Woman Or A Bottle?.......2006-03-01

Tough to follow up an album that catapulted you to stardom, but I still give this one 4 stars. I like to think of this as Young Bob's Guitar Slinger album. He's just squeezing sparks out of his Stratocaster all over the place. If you've ever encountered homelessness & thought "there but for the grace of God...", then Night Patrol is gonna speak to you. I can remember the first time I heard this song like it was yesterday. I think this song is Mr. Cray's greatest recorded guitar playing.

Some good tracks, some great ones. .......2005-12-22

When Robert Cray is at the top of his game, his smooth vocals, stinging guitar work and clever songwriting put him on par with the best the modern, electricified blues has to offer. The title track, "Your Secret's Safe With Me," and "Across The Line" fall in this category, in my opinion. Most of the other tracks are pretty good, the rest are okay, although if you appreciate a more soulful sound, you might enjoy this album more than I do. Still, I've had this CD for years, I play it often, and it has aged well.

The worst of a very good bunch.......2001-08-23

This album followed up the "Strong Persuader" LP (yes, it was that long ago) and hit the pop side of the Cray ouevre far too hard. It has several good songs (such as "Your Secret's Safe with Me," and "Across the Line," which are even better live) but also more stuff that sounds like a beer commercial (the title track) or ez-listening ("Night Patrol") than any album by someone this talented should feature. You would be better served by _False Accusations_, _Strong Persuader_, or _Midnight Stroll_ for your first dose of Robert Cray. Then go see him live. While "Young Bob" is now "Older Bob", he's still well worth a night out.

blues at it's best.......2001-02-13

This is robert at his very best. Serious blues.

Don't Be Afraid: The Music of Charles Mingus

Average customer rating:

This just doesn't work
Mingus Lives at Lincoln Center
Excellent recording
Mingus on sedatives

Don't Be Afraid: The Music of Charles Mingus
Lincoln Center Jazz Orchestra , and Wynton Marsalis
Manufacturer: Palmetto Records
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music

Contemporary Big Band | Swing Jazz | Jazz | Styles | Music
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ASIN: B000BC8SQ0
Release Date: 2005-10-18

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Dont Be Afraid, the Clowns Afraid Too (9:58)

Album Description

In January 2005, Palmetto Records released an impressive debut recording by one of jazz's best big bands, The Lincoln Center Jazz Orchestra with Wynton Marsalis. Demonstrating their dedication to the great music of jazz, the LCJO took on one of the great masterpieces of jazz, John Coltrane's A Love Supreme. They prove their musical mettle again with their choice of the music of Charles Mingus as their follow-up recording. Don't Be Afraid...The Music of Charles Mingus features six compositions by the legendary bassist and composer. LCJO trombonist Ron Westray arranged the music for the recording, which was produced by Delfeayo Marsalis. As Stanley Crouch comments in the album's liner notes, "The band has the uncanny ability and the scope to live up to its credo: all jazz is modern. This means that all great jazz music, like all great drama, is as contemporary as the vitality of its performance... That is exactly what this recording represents because it is one of the finest gatherings of music by Charles Mingus and achieves what some once thought was impossible--truly powerful performances without Mingus himself playing bass and exhorting the musicians."

Customer Reviews:

This just doesn't work.......2006-08-03

This is just another bland recording from Wynton Marsalis. AS compared to the recordings of the Mingus Big Band, these tracks are unemotional and poorly executed, despite the talented band personnel. It is more about "big band" than it is about Mingus and as such this CD lacks character, emotion and doesn't reflect much understanding of Mingus' music. Pass this one by and try the Mingus Big Band recordings if you want to hear another take on Mingus' composing.

Mingus Lives at Lincoln Center.......2006-06-27

When I think of Charles Mingus, I think primarily of sextet and septet settings. But his writing was so rich and full that there is plenty for a big band arranger to chew on. In fact his widow, Sue Mingus, has kept the Mingus Big Band going since the early `90s. Thus inspired, Wynton Marsalis decided to put his Lincoln Center Jazz Orchestra to the test on a program of Mingus tunes arranged by trombonist Ron Westray, and the result as heard on Don't Be Afraid... is a marvelous musical feast.

It's hard to generate the spontaneity and abandon so crucial to Mingus' music with a fifteen piece band, but Westray and Marsalis have succeeded in producing a remarkable approximation. The players are some of the best on the New York scene, and the arrangements manage to show the wit, irreverence, tumultuous cacophony and simultaneous harmonic complexity without resorting to outright mimickry. It's a courageous feat that succeeds spectacularly.

Eschewing obvious hits like "Goodbye Pork Pie Hat" and "Better Git It in Your Soul" from Mingus Ah Um in favor of the seldom heard "Don't Be Afraid, the Clown's Afraid Too" from Let My Children Hear Music and three tunes---"Dizzy Moods," "Tijuana Gift Shop," and "Los Mariachis"---from New Tijuana Moods, Marsalis and company explore the vast richness found in the legendary bassman's songbook. Two lengthy suites, "Black Saint & the Sinner Lady (parts 1 & 2)" and "Meditation on Integration," serve as the soulful heart of this recording, challenging the listener while displaying the invigorating compositional intricacies that can be unleashed in a jazz context.

Anything that brings the music of Charles Mingus to a wider audience is OK with me. In this case, the rewards are many for those willing to open their ears. --Jim Newsom

Originally published in Port Folio Weekly - January 10, 2006
Copyright 2006 Port Folio Weekly. All Rights Reserved. Used by Permission.

Excellent recording.......2006-05-22

Once again the LCJO has surpassed my expectations. Don't Be Afraid...The Music Of Charles Mingus is truly a classic. Ron Westray's arrangements of both Don't Be Afraid, The Clown's Afraid Too and The Black Saint And The Sinner Lady are outstanding. It is evident that he truly invested time and effort in putting together all of the arrangements. The orchestra sounds amazing. One of my favorite tunes is Los Mariachis. I love the interplay between the orchestra and soloists. This recording truly captures the emotional depth of Mingus and his music.

Mingus on sedatives.......2005-12-22

I never thought the music of Charles Mingus could be made to sound so unemotional. The performance is lifeless compared to any of the originals. Wynton Marsalis's latest effort to score a historical piece for an orchestra again fails. As with Coltrane's A Love Supreme, the original small group performance set the bar very high. That is not to say that any attempt to score these works is a guarenteed failure (see many recordings by the Mingus Big Band). The reason these works fail along with many other of Marsalis's are due to a lact of emotional fire, and originality (the artist must at least attempt to provide some personal statement to the piece, or all you can to is compare it to the original).

Average customer rating:

Better than most all the ordinary FF soundtracks
I love this CD.
For those who wanna get their FF orchestra groove on...
The Fantasy Continues...
One of the Best (non OST) Final Fantasy works

20020220: Music From Final Fantasy
Nobuo Uematsu , and Shiro Hamaguchi
Manufacturer: Japanese Import
ProductGroup: Music
Binding: Audio CD

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Final Fantasy: Symphonic Suite
Final Fantasy IX: Piano Collections
Final Fantasy VII - Advent Children (Limited Edition Collector's Set)
Final Fantasy VIII: Piano Collections
Final Fantasy VII Piano Collections

ASIN: B000063VTH
Release Date: 2003-07-08

Tracks:

Tuning
Liberi Fatali (FF VIII)
(FF IV)
MC-1
Final Fantasy I-III
MC-2
(FF VII)
Don't Be Afraid (FF VIII)
(FF VI)
MC-3
(FF V)
Vamo' Alla Flamenco (FF IX)
MC-1
(FF X)
(FF X)
MC-2
Love Grows (FF VIII)
(FF X)
MC-3
Melodies Of Life (FF IX)
MC-4
(FF VII)
MC-5
The Man With The Machine Gun (FF VIII)
Final Fantasy

Album Description

Music From Final Fantasy recorded live at Tokyo's International Forum on February 20, 2002. The show was the first 'Final Fantasy' full orchestra concert (the Tokyo Philharmonic Symphony Orchestra). Guest performers include Emiko Shiratori and Rikki who performed the theme songs. The CD includes enhanced material with a comment from Nobuo Uematsu and backstage footage.

Album Details

Music from 'final Fantasy' at the Tokyo International Forum.

Customer Reviews:

Better than most all the ordinary FF soundtracks.......2007-01-24

First of all, people seem to be overly critical of the choir. They say that it sounds out of tune or whatever, but this is only because they were recorded live. In Advent: One-Winged Angel, the same choir sounds totally incredible. The choir itself isn't bad, it's the recording environment that was not so hot.
That said, I can say that this is a very impressive two CD set, even though several of the songs I don't recognize. The music is professionally composed and arranged, and just goes to show that Final Fantasy music is proffesional level. The only cons are the lesser sound quality of being recorded live and the MC tracks, which can get to be a bit long. The way they keep talking makes me really want to know what they're saying. My favorite pieces are:
1. One-Winged Angel: I do admit that the FFVII Reunion Tracks arrangement is better, but only because of the recording environment. This arrangement has a lot of cool new elements and an awesome sound. The only problems I see with this arrangement is the absent-minded microphone placement and a bit of background shuffling that is heard at one part. The shuffling is very quiet and you get used to it, but I'm just picky about these things. As for the microphone placement; whoever put one right next to the #%@$in' snare drum deproved the quality of the piece a bit much. The snare drum during the chorus is louder than any of the other parts, and the choir is already being a bit overpowered by the orchestra. This makes for a choral section that isn't heard well enough. Despite all these slight cons, however, this arrangement of the classic piece remains superb and awesome-sounding.
2. Liberi Fatali: Same choir rant as before. This arrangement doesn't sound quite as good as the original, but it's not really that different, it's still an incredible piece.
3. Melodies of Life: This arrangement is better, I think, than the original except for the singing. She sounded a lot more confident in the original. But aside from that, this song is a great classic.
4. Suteki Da Ne: The original was quite a bit better, both in sound quality and in the singing. Rikki was nervous during the performance, it is shown by her incessant breath-taking in the middle of phrases and low confidence in her voice. However, the instrumentation does sound nicely different in some spots, and Rikki's singing is still beautiful.
This album is a must-have for any FF freak, and is better than most all the ordinary FF soundtracks. Don't miss it.

I love this CD........2004-02-23

Firstly, Mr. Gibbs -- why would anybody buy this if they haven't played Final Fantasy games?

Secondly, this is an amazing CD. With the exception of One-Winged Angel, every track on this CD is (in my opinion) the best orchestral version of these songs ever done. And this is coming from somebody who owns Celtic Moon, Grand Finale, Fithos Lusec, and a smattering of Orchestral Game Concert CDs.

Do yourself a favor and buy this CD. It really is excellent.

For those who wanna get their FF orchestra groove on..........2004-02-20

Final Fantasy 20020220 is worth buying. It is a great CD to listen to if you want to hear orchestrated versions performed live, mistakes and all. That said, let me point out everything that is wrong with the performances, and why I did not give 20020220 a 5/5. As partial as I am to Final Fantasy music, I must criticize the singing in this performance. In both tracks that featured a choir (Liberi Fatali and One Winged Angel) it seemed like everyone was trying to outsing each other, the tenors in particular would sing awfully loud, while everyone else was drowned out. The soloists RIKKI and Emiko Shiratori did a fabulous job, in my opinon. Others said that they sounded nervous, I do not agree. The actual performance by the orchestra was brilliant. I especially liked Liberi Fatali, One Winged Angel, and Vamo' Alla Flamenco. I wish I could speak Japanese, because 8 of the 25 tracks on the 2 disc set are nothing but the concert MCs talking about stuff. All in all I would like to restate that FF20020220 is worth buying, but maybe you should play some of the FF games to hear these songs before you listen to the orchestra version, all the more to appreciate this masterpiece.

The Fantasy Continues..........2003-06-10

Nobuo Uematsu truly holds true to the Final Fantasy music legacy he himself set down beginning with the Final Fantasy Symphonic Suite CDs. Although I do have a few complaints, my overall take on this album is extremely positive. I'd say my favourite renditions on this CD are "Vamo' Alla Flamenco", lush, rich arrangement for orchestra (which truly is the greatest symphonic rendering I've seen from almost any game composer [thanks to Shiro Hamaguchi]) and the brass-graced Final Fantasy VI's "Terra" / "Tina" (which almost lives up to the Grand Finale version). Basically, every single song on these two CDs were mind-blowing with the exceptions of the two most crucial ones, "Liberi Fatali" and "One-Winged Angel". Okay, fine... I've got to give credit where credit is due, Liberi Fatali isn't THAT bad. It falters near the end though, but the primary complaint isn't the symphonic elements (or even the annoying snare [?] drum... *grrr*), but rather the supposed choir they assigned. Not very harmonic or in-tune, but I still give it 4-stars.
To sum it all up, all very nice arrangements with those little differences which make it all the more enjoyable. Cons? The choir voices and the MC segments (I don't speak Japanese, so my apologies if you do and find them entertaining).

One of the Best (non OST) Final Fantasy works.......2003-02-19

There hasn't been a live CD since the ill-fated "Symphonic Suite" many years ago and now there is this - quite simply put a live version of some of the best Final Fantasy songs. The Tokyo Philharmonic is on every beat and adds alittle more to the Final Fantasy melodies. The MC's get annoying and their Japanese is very hard to understand. The choice of songs was superb yet there is no "live feel" as most of the songs are played just as you would have heard them on another Final Fantasy CD. All in all, this is one of the best and one can easily see by some of its few flaws to its real beauty - the epitome of Nobuo Uematsu's Final Fantasy work.

Average customer rating:

I wanted to love this cd
Don't knock it till it's knocked you
Lo-Fi....doesn't have a comeback...
Allstars - Lead Singer = Stereo MCs + Fatboy Slim
If this isnt my favorite CD of all time, its in the top 5

Don't Be Afraid Of Love
Lo Fidelity Allstars
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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How to Operate with a Blown Mind
On the Floor at the Boutique
Abstract Funk Theory
Back On A Mission
On the Floor at the Boutique

ASIN: B00005OUJ1
Release Date: 2002-03-05

Tracks:

What You Want
Deep Ellum... Hold On
Lo Fi's In Ibiza
Somebody Needs You
Don't Be Afraid Of Love
Feel What I Feel
On The Pier (feat. Bootsy Collins)
Just Enough
Cattleprod
Tied To The Mast
Sleeping Faster
Dark Is Easy

Amazon.com

As another slab of exceedingly danceable, electro-laden funk, the Lo Fidelity Allstars' Don't Be Afraid of Love makes for addictive listening, whether you've already learned How to Operate with a Blown Mind or not. The moody opening track, "What You Want," certainly gets the party started, but it does little to set the tone for the rest of the album. Clashing guitars give way to Lisa Millet's emotive vocal on the Balearic "Lo-Fi's in Ibiza" and from there on in, it's hooky samples, pure Vocoder soul, and familiar, frenetic acoustics all the way. On the heels of their On the Floor at the Boutique compilation, this release will leave you feeling anything but low. --Ruby Tuesday

Customer Reviews:

I wanted to love this cd.......2004-05-14

What happened to the Allstars since "How to Operate With a Blown Mind"? What happened to the overwhelming fast, intense, dark, futuristic sound of this band? Why have they gone soft? I miss the lyrics most of all, they were a huge part of this groups sound. I mostly listen to electronic, mostly breaks and drum + bass, and just hate the mellow soft stuff, too boring. I wouldn't say that this new cd is bad though. I am just disappointed, and compared with How to Operate I think this cd is definetely lacking.

Don't knock it till it's knocked you.......2004-01-31

So wrekked train is gone. Their 'morbid' poetry is gone. Their mindless rough beatings of musicality in general is gone. What Lo fi replace it with, however, is something so diverse one can only respect them. Critiquing this album would be simple and worthless - but so would be critiquing the first album. Honestly - what made the Allstars allstars? Their difinitive style... and it's still here, folks. Quality artists will always be quality artists. The Allstars will always rock out to anything they can get their greedy little fingers spinning. The hardcore hip-hop edge is gone from this CD but it is replaced with an eclectic blend of dance, R & B and funky grooving action that will leave you in a stupor. Wipe that drool off your chin, junior, Lo Fi's still got it.

Lo-Fi....doesn't have a comeback..........2003-09-14

I bought this CD when i was just into really pure techno stuff...
and fatboy slim...anyways...
i walked into my local sam goody and saw these guys on a rack, and i had seen the name from the Skint records site, and listened to their loop on there, and i was all...hey, those guys could be pretty good!
so i bought the cd, and was all "HEY! what is this? it has LYRICS!" the only song i really dug was 'dark is easy' cos it had plenty of turntable scratching.
anyways, i put it away for a few weeks (or months) don't remember...
and then i stuck it back into my cd player and was astounded by the sound. (heh, funny!)
it was put in the #2 slot in my cd case, ('cos i ALWAYS had my cds with me no matter where i was. even in my BASEMENT!) but after fatboy slim. geez he has neat music.

the beats are always great and lo-fi, the vocals always vocoded, and all the songs feel complete.

so in conclusion...if you're into JUST techno, you probably shouldn't get this cd, but if you're into ALL genres...doesn't matter. but if you're into lyrical techno, BUY THIS!!! RIGHT NOW!

Allstars - Lead Singer = Stereo MCs + Fatboy Slim.......2003-07-01

It's true. Having lost the most unique aspect of their cadre, the lead singer & lyricist (Wrekked Train), the Allstars now sound like a combination of Fatboy Slim and the Stereo MCs. These are not bad influences by any means, and their comeback is respectable but not impressive. I personally enjoyed the dark yet subtle sci-if/fantasy motif of the lyrics on How to Operate With a Blown Mind, and don't ask me why, but I love snotty British vocals when done well. Also, the drum/beat work isn't as pronounced on this album. Sure it's more danceable, but that's merely because it's more 'generic' than before.

Not a bad purchase though, especially if you like the above mentioned artists.

If this isnt my favorite CD of all time, its in the top 5.......2003-04-12

Wow. ok. where to start? With the last CD? ok... this album sounds almost nothing like "How to Operate..." well.. thats sort of a lie. the killer bass and guitars are the same mostly, but the rambling vocals, dark poetry, and drunk beats are gone. Not that the first album wasnt great, it was. But like another reviewer said, it was a personal experience (except for Battleflag and 1 or 2 others).

This album is nothing of a personal experience. This is music to be enjoyed by all very VERY loudly. The first track took some getting used to, as did track 8.. the rest were first-time-listening HITS.
This album goes from funky, to bouncy, to clap-along, to chill, to sing-a-long, to giggle, to GET-...UP-AND-DANCE, and back again. and does every single one of them with grace and style.
if youre willing to give music you havent already heard on the radio a chance, this album is for you.
As for the tune "Cattleprod".. well.. as the fatboy track goes "if this dont make your booty move, your booty must be dead".
thats my favorite track, but that same catchline goes to tracks 2,3,4,6,9,10. the rest are a bit chilled. they RULE.. but theyre chilled.

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, Levine, Janowski, Goodall, 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
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 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: everything is slower than adagio moderato. 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.

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.

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

Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Bohm's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are found in this Ring. I can hear harps in Flight of the Valkyries! 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.

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.

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

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).

-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm. Jon Vickers for Karajan, Alberto Remedios for Goodall, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, 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, Jessye Norman for both Janowski and Levine, 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. Two exceptions, though: Robert Schunk doesn't sound heroic enough, and Jessye Norman for Levine's Ring 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.

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. I don't know Levine should've chose Kollo when he recorded his Ring.

-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.

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.

-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.

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. 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.

Levine: Heinz Zednik is yet another excellent mime. He is equal to Schreier when it comes to humaneness and lyricism. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

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 in the Ring.

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. Still, it's satisfactory, and his "Ihrem ende eilen sie zu" gives great foreshadowing.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. 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.

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 depends only on imagination and deviousness, Stolze only vengeance and deviousness, and Windgassen 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 Schreier. 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 (maybe not in Swarowsky's version). Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm and Goodall. 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 and the essential mono recordings (Furtwangler, Krauss), 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 calculated Janowski, the relaxed Levine, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.

Sir Georg Solti: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti

Karl Bohm: Wagner: Der Ring des Nibelungen

Herbert von Karajan: Der Ring des Nibelungen / Karajan / Berlin Philharmonic

Goodall: 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)

Marek Janowski: Wagner: Der Ring des Nibelungen

James Levine: Der Ring Des Nibelungen

-Wolfgang Sawllisch: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sawallisch, Bayerischer Staatsoper

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.

Don't Be Afraid: Get On
Average customer rating:

VERY SOLID ALBUM

Don't Be Afraid: Get On
Cooly's Hot Box
Manufacturer: Purpose Records
ProductGroup: Music
Binding: Audio CD

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Tamia: Between Friends

ASIN: B0006A9G2W
Release Date: 2004-11-23

Tracks:

Don't Be Afraid
Motions
Get On
Touch My Body
Are We Lovers
Maybe I
Time 2 Be In Love
After Life
Give Me Your Money
Wait 4 U
Lose Your Friends

Customer Reviews:

VERY SOLID ALBUM.......2005-02-26

It sounds a bit like old Incognito mixed with Raw Stylus, but the sound is still original. "Wait 4 U" has to be one of the most swingin' spiritual love songs I've heard in a year. "Don't be Afraid" and "Motions" really set the tone for the album -- makes you shake your rump even if you don't wanna. Get this album...

Average customer rating:

Call It Love

Manufacturer: Bay View Recording Co
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004WF9O
Release Date: 2000-01-01

Tracks:

I Could Be Happy With You [From the Boy Friend]
You-Don't-Want-To-Play-With-Me-Blues [From the Boy Friend]
Thank You Ladies
Medusa [From Slings and Arrows]
Gaiety Gloom [From See You Later]
1930's Girl [From See You Later]
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I Will Miss You [From Valmouth]
Blondes for Danger [From Divorce Me Darling]
Don't Say Goodbye to Berlin [From Goodbye to Berlin]
It Might Have Been Worse [From Goodbye to Berlin]
Marriage [From "His Monkey Wife"]
Take Me Home to Cleves [From Oh Henry!]
Don't Be Afraid of the Dark [From See You Later]
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Love Song in Rag [From Call It Love] - Richard Owens,
I Know, Know, Know [From Call It Love] - Richard Owens,
Hate Each Other Cha-Cha-Cha [From Call It Love] -
Call It Love [From Call It Love] - Richard Owens, Company
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Whatever Happened to Love? [From Divorce Me Darling!]
Together Again [From Divorce Me Darling!]
Outdoor Girl [From Pieces of Eight]

Average customer rating:

Exceptional Weill
not amused
Eisler and Weill with an edge
Absolutely Nothing to Fear !

Eastside Sinfoniette: Don't Be Afraid

Manufacturer: True Classical
ProductGroup: Music
Binding: Audio CD

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ASIN: B00009ZYBA
Release Date: 2003-06-24

Tracks:

Don't Be Afraid
Bilbao Song
The Liquor Dealer's Dream
Youkali Tango
The Drowned Girl
Sailor's Tango
Supply & Demand
Remembering Maria A.
Surabaya Johnny
Ballad Of The Lily Of Hell
Mandelay Song
Hollywood
The Swamp
Solomon Song
Moritat (Mac The Knife)

Customer Reviews:

Exceptional Weill.......2005-05-14

I second the comments of the previous review--Weba Garretson's "Youkeli Tango" is remarkably beautiful. The whole cd is terrific, with the orchestrations contributing what amounts to half of a spectacular duet.

not amused.......2005-03-09

i feel that brechts style of lyrical flow could not have been more distantly branded as ok

Eisler and Weill with an edge.......2004-02-23

The Eastside Sinfonietta's "Don't Be Afraid," featuring the nuanced, cutting vocals of Weba Garretson, adds a (West Coast) American voice to the current of Weill and Eisler songs sung in English (and sung as they should be sung. ) In recent decades the Australian Robyn Archer and the German Dagmar Krause have released wonderful CDs in English, to add to Gisela May's benchmark German language recordings. This recording belongs in that exalted league, recreating these songs, forcing them to full and bitter flowering once again for this century and this generation of listeners. The musical interpretations here grow out of an avant garde/club scene sensibility. There are other ways to do this music, but this approach tends to strip off the cloying nostagia which sometimes comes with Weimar era music, nostalgia which is in truth completely opposed to the spirit of Brecht's words, and Eisler's and Weill's music. One has to hope that Ms. Garretson and the Eastside Sinfonietta of Los Angeles will attempt an album devoted exclusively to Hanns Eisler's powerful songs -- so little known by American singers and audiences.

Absolutely Nothing to Fear !.......2004-02-06

One has reason to fear the too well traveled Weil/Brecht musical terrain. It' s been trampled to death with second rate homages. So it was with a jolt of excitement and welcome surprise that I experienced the Don't' Be Afraid album. The Eastside Sinfonietta, and the remarkable Weba Garretson, have infused the repertoire (plus the happy inclusion of Hanss Eisler pieces) with a fresh and inspired take on the songs. The extremely gifted ensemble performs the difficult trick of channeling the Weimar standards so that they are born again with a rare clarity and contemporary impact. Weba Garretson dazzles with her version of Youkali Tango and personalizes all the favorites that had lost their impact until she came along. This CD is a fearsome experience. Don't hesitate for a minute. Enjoy!

Average customer rating:

Exciting!
pretty decent

Don't Be Afraid
Aaron Hall
Manufacturer: Mca
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000DE1C
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Customer Reviews:

Exciting!.......2006-10-05

"Don't Be Afraid" is one of my all-time favorite songs and has been on my MP3 player for over a year now. This song is dangerously exciting, passionate, and enticing. I get goosebumps each time I listen to it. Many R&B songs on the radio today do not give me that same feeling.

pretty decent.......2003-11-03

this song was okay but I was sick of it there were other songs on the juice soundtrack anyway aaron went for his without teddy riley.

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1. Don't Be Afraid
2. Bilbao Song
3. The Liquor Dealer's Dream
4. Youkali Tango
5. The Drowned Girl
6. Sailor's Tango
7. Supply & Demand
8. Remembering Maria A.
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