Man with a Plan

1. Home Sweet Home

2. Paris, Tennessee

3. Good News, Bad News

4. My Side Of Town

5. I Am Just A Rebel

6. Man With A Plan

7. Hi O Silver

8. The Chapel Of The Friendly Bells

9. The Only Slide I Ever Played On

10. All The Way To San Antone

Tracks:

Act I.: Prld - Barry Tuckwell
Act I., Scene 1: Wearisome Labour! - Gregory Dempsey
Act I., Scene 1: Hoiho! Hoiho! - Alberto Remedios/Gregory Dempsey
Act I., Scene 1: Well, There Are The Pieces - Alberto Remedios/Gregory Dempsey
Act I., Scene 1: A Whimpering Babe - Gregory Dempsey
Act I., Scene 1: Much You've Taught To Me, Mime - Alberto Remedios/Gregory Dempsey
Act I., Scene 1: I Found Once in The Wood - Gregory Dempsey/Alberto Remedios
Act I., Scene 1: And Now These Fragments - Alberto Remedios/Gregory Dempsey
Act I., Scene 1: He Storms Away! - Gregory Dempsey
Act I., Scene 2: Hail There, Worthy Smith! - Norman Bailey/Gregory Dempsey
Act I., Scene 2: I Sit By Your Hearth - Norman Bailey/Gregory Dempsey
Act I., Scene 2: What You Needed To Know - Norman Bailey/Gregory Dempsey
Act I., Scene 2: The Fragments! The Sword! - Gregory Dempsey/Norman Bailey

Tracks:

Act I., Scene 3: Accursed Light! - Gregory Dempsey
Act I., Scene 3: Hey There! You Idler! - Alberto Remedios/Gregory Dempsey
Act I., Scene 3: Have You Not Felt Within The Woods - Gregory Dempsey/Alberto Remedios
Act I., Scene 3: Give Me These Pieces - Alberto Remedios/Gregory Dempsey
Act I., Scene 3: Notung! Notung! Sword Of My Need! - Alberto Remedios/Gregory Dempsey
Act I., Scene 3: Hoho! Hoho! Hohi! - Alberto Remedios/Gregory Dempsey
Act II.: Prld - Barry Tuckwell
Act II., Scene 1: In Gloomy Night By Fafner's Cave I Wait - Derek Hammond-Stroud
Act II., Scene 1: To Neidhohl By Night I Have Come - Norman Bailey/Derek Hammond-Stroud
Act II., Scene 1: Not My Plan! - Norman Bailey/Derek Hammond-Stroud
Act II., Scene 1: Fafner! Fafner! You Dragon, Wake! - Norman Bailey/Derek Hammond-Stroud/Clifford Grant
Act II., Scene 1: Now, Alberich! That Plan Failed! - Norman Bailey/Derek Hammond-Stroud
Act II., Scene 2: We Go No Further! - Gregory Dempsey/Alberto Remedios
Act II., Scene 2: So He's No Father Of Mine - Alberto Remedios

Tracks:

Act II., Scene 2: Could I But Know - Alberto Remedios
Act II., Scene 2: See My Mother - Alberto Remedios
Act II., Scene 2: Ha Ha! At Last With My Call - Alberto Remedios/Clifford Grant
Act II., Scene 2: Who Are You, Youthful Hero - Clifford Grant/Alberto Remedios
Act II., Scene 2: The Dead Can Tell No Tidings - Alberto Remedios/Maurine London
Act II., Scene 3: Hehe! Sly And Slippery Knave - Derek Hammond-Stroud/Gregory Dempsey
Act II., Scene 3: Tarnhelm And Ring, Here They Are - Alberto Remedios/Maurine London/Gregory Dempsey
Act II., Scene 3: Be Welcome, Siegfried! - Gregory Dempsey/Alberto Remedios/Derek Hammond-Stroud
Act II., Scene 3: You Lie There Too, Mighty Dragon - Alberto Remedios/Maurine London
Act III.: Prld - Barry Tuckwell
Act III., Scene 1: Waken, Wala! Wala! Awake! - Norman Bailey
Act III., Scene 1: Strong Is Your Call - Anne Collins/Norman Bailey
Act III., Scene 1: You Unwise One, Learn What I Will - Norman Bailey
Act III., Scene 2: I See That Siegfried's Near - Norman Bailey

Tracks:

Act III., Scene 2: My Woodbird Fluttered Away - Alberto Remedios
Act III., Scene 2: Young Man, Hear Me - Norman Bailey/Alberto Remedios
Act III., Scene 2: Child, If You Knew Who I Am - Norman Bailey/Alberto Remedios
Act III., Scene 2: With His Spear in Splinters - Alberto Remedios
Act III., Scene 3: Here in The Sunlight - Alberto Remedios
Act III., Scene 3: Come, My Sword! - Alberto Remedios
Act III., Scene 3: Hail, Bright Sunlight! - Rita Hunter/Alberto Remedios
Act III., Scene 3: Siegfried! Siegfried! Glorious Hero! - Rita Hunter/Alberto Remedios
Act III., Scene 3: And There Is Grane, My Sacred Horse - Rita Hunter/Alberto Remedios
Act III., Scene 3: Oh! I Cared Always - Rita Hunter/Alberto Remedios

Customer Reviews:

Goodall's Siegfried.......2007-06-22

This is completely worth it. Other reviews aptly pointed out everything good, and this *is* good--brilliant. Alberto Remedios is the best Siegfried I've ever heard, and Rita Hunter is a stunning and convincing Brunnhilde. If I could give this more than five stars, I would.

"Do you know what Wotan wills?".......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 Rhinegold (Part 1): Wagner: The Rhinegold
-The Valkyrie (Part 2): Wagner: The Valkyrie
-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

Slow and steady wins the race.......2007-02-07

Yes, we all know that Reginal Goodall's Wagner is VERY deliberate (read slow) at times. When I heard the late Rita Hunter singing in Sydney in the 80s, I asked her about working with Maestro Goodall, she said he was one of the most thorough and demanding conductor's you could wish to work with.

For me, this whole cycle is desert island material because the English translation is just superb. Fine singing and marvellous playing from the ENO orchestra.

Absolutely better than you think, the best of Goodal's Ring!.......2005-05-03

As good as his die Walkure is, Goodall's Siegfried is even better. For me this is the most difficult opera of the entire Ring and Goodall pulls it off with honors indeed. Remedios is a wonder! Wish we had had him in the Met Ring Cycles of the past decade. Hunter again is a wonder with beauty and strength of tone. Once more I enjoy Bailey. I found That Alan Blyth in Gramophone 5/01 and I seem to appreciate him. It would seem that Goodall gives this opera all the wonderful performance it needs. Not an easy show to pull off. This recording absolutely belongs in any Wagnerian's collection. Had I been at this live performance, I definitely would not have fallen asleep and would have regretted its coming to its inevitable end. And the orchestra rises to the occasion splendidly. From Siegfried's climb to Brunhilde's rock until the end of the duet, the orchestral playing is rich, very moving bordering on the monumental just because it is live and thus more of a risk than a studio recording. Hunter is nothing short of stunning. The duet alone makes the recording a must have. Too bad artists are not fully appreciated until we no longer have them around to enjoy. Thank God this is on CD to be enjoyed at the listener's command.

Better than you might think...........2002-03-17

I had to think more than twice before purchasing this recording, especially since it isnt at a budget price, but I dont regret having done so. Wagner's original German language opera sung in English might seem more like a novelty recording (or a horrifying experience to hardcore Wagner fans) than a serious approach to the music, but surprisingly it works (for the most part). For the listener who doesn't speak and understand German this is a great way to understand Wagner's opera, as the connection between text and drama is made clearer--though I sometimes wish the singers diction and pronunciation were a bit clearer--but hey, its still opera and a complete English only libretto is included (along with a scene by scene summary of the drama, a summary of the preceding two operas, and an essay and photos of this particular project). Overall the orchestra and conducting is up to par and the sound is clear, balanced, and spacious, the only annoying thing being the audience clapping after the end of each act--its a live 1975 recording. While this is no substitute for the original in German, think of it as a great resource ... to understanding Wagner's opera cycle for listeners without the time or inclination to learn German.

Average customer rating:

Man with the Plan
Thomas Richardson
Manufacturer: Avanti Records
ProductGroup: Music
Binding: Audio CD

General | R&B | Styles | Music
ASIN: B00008G3J7
Release Date: 1998-11-03

Tracks:

Man With the Plan
I'm Your Superman
Church Girl I Am So in Love With You
Real Love
Never Again Will I Cry
Tyrone's Reply
If the World Was Color Blind
Man With the Plan [Instrumental Remit]

Average customer rating:

almost the perfect James Bond collection
Good Collection
Not excatly what I expected
The James Bond CD for the John Barry purist?
Very enjoyable with most of the BOND music you'd want.

James Bond Collection

Manufacturer: Silva America
ProductGroup: Music
Binding: Audio CD

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

General | Classical | Styles | Music

General | Soundtracks | Indie Music | Stores | Music
Similar Items:

Best of Bond James Bond
The Best of James Bond 30th Anniversary
You Only Live Twice
The Essential James Bond (Film Score Re-recording Anthology)
Live and Let Die

ASIN: B00006JTGH
Release Date: 2002-10-22

Tracks:

Dr. No: The James Bond Theme (Original Version)
Dr. No: Suite
From Russia With Love: From Russia With Love (Film Version)
From Russia With Love: The Zagreb Express
From Russia With Love: The Golden Horn
From Russia With Love: Girl Trouble
From Russia With Love: 007 Takes The Lektor
From Russia With Love: From Russia With Love (Symphonic Version)
Goldfinger: Into Miami/Alpine Drive
Goldfinger: Dawn Raid At Fort Knox
Goldfinger: Goldfinger
Thunderball: Thunderball
Thunderball: The Bomb/Cafe Martinique
Thunderball: Fight On The Disco Volante/Death Of Largo

Tracks:

You Only Live Twice: Bond's Funeral/Mountains And Sunsets
You Only Live Twice: The Wedding/Capsule In Space
You Only Live Twice: You Only Live Twice
On Her Majesty's Secret Service: This Never Happened To The Other Fella'
On Her Majesty's Secret Service: We Have All The Time In The World
On Her Majesty's Secret Service: Bond Meets The Girls
On Her Majesty's Secret Service: The Ski Chase
Diamonds Are Forever: Mr. Wint And Mr. Kidd
Diamonds Are Forever: Circus, Circus
Diamonds Are Forever: Blofeld's Laser
Diamonds Are Forever: Diamonds Are Forever
Live And Let Die: Live And Let Die

Tracks:

The Man With The Golden Gun: The Man With The Golden Gun
The Man With The Golden Gun: Kung Fu Fight/Let's Go Get 'Em
The Man With The Golden Gun: Chew Me In Grisly Land/Return To Scaramanga's Fun House
The Man With The Golden Gun: Slow Boat From China/Nick Nack
The Spy Who Loved Me: Nobody Does It Better
The Spy Who Loved Me: The Tanker
The Spy Who Loved Me: Ride To Atlantis
Moonraker: Arrival At Chateau Drax/Freefall
Moonraker: Miss Goodhead Meets Bond
Moonraker: Flight Into Space
Moonraker: Moonraker
For Your Eyes Only: For Your Eyes Only
Octopussy: Suite: Bond Meets Octopussy/The Palace Fight
Octopussy: All Time High

Tracks:

A View To A Kill: Wine With Stacy/Fanfare/Snow Job
The Living Daylights: Koskov Escapes/Hercules Take Off
The Living Daylights: Mujahadin/Afghanistan Plan
The Living Daylights: Air Bond/Necros Attack
The Living Daylights: End Title
Licence To Kill: Suite
Goldeneye: Goldeneye
Goldeneye: Tank Drive Around St. Petersburg
Tomorrow Never Dies: Tomorrow Never Dies
Tomorrow Never Dies: Surrender
The World Is Not Enough: Ice Bandits
The World Is Not Enough: Access Denied
The World Is Not Enough: The World Is Not Enough
The James Bond Theme (Symphonic Version)

Amazon.com

The exploits of Ian Fleming's British super-agent James Bond have long since become the longest running film series in history, spanning 40 years and counting. Not the least of the cycle's charm has been its music, a body of work that encompasses pop clichés (the twangy guitar of Monty Norman's original "James Bond Theme") and elegant underscores alike. While this collection spans music from Dr. No to The World Is Not Enough, decades of various legal entanglements prevented it from becoming the ultimate Bond music anthology. This is more a credible simulation, a newly recorded collection of cues and suites (including music previously unreleased on the original soundtracks) performed by Nic Raine and the City of Prague Symphony Orchestra. With John Barry's lush, ever-evocative scores both forming the core and setting the tone (but also featuring the work of George Martin, David Arnold, Michael Kamen, Bill Conti, and Eric Serra), it's the most comprehensive--if not exactly authentic--collection of Bond music yet attempted. --Jerry McCulley

Customer Reviews:

almost the perfect James Bond collection.......2005-07-20

this 4 CD box has most of the familiar James Bond compositions.

Still,some tunes are missing(from for instance Thunderball and For Your Eyes Only)and most of the time the attention is on the instrumental version of the title track which is a bit of a shame.And yet,there are too many great pieces on this collection to make it a failure.Alpine Drive,Dawn Raid at Fort Knox,On Her Majesty's Secret Service(every track),Miss Goodhead and so on.All great pieces that not only show the great talent of John Barry but also the great power of James Bond films.Cause when you hear the music,you see the scenes in front of you.

Very much a recommendation to all Bond and Barry fans although sometimes it focusses too much on title songs.The only solution is to buy all separate soundtracks.

Good Collection.......2005-02-24

Very nice packaging and good tracks from the Bond music library make this an anoutstanding item. "From Russia With Love" and "Diamonds Are Forever" contain beautiful and energetic renditions. The John Barry music is handled quite well. I didn't real care for the David Arnold selections. "The World Is Not Enough" was weak. Overall it is a good collection just the same.

Not excatly what I expected.......2003-04-10

I when I read some of the reviews of this I thought that this was a complete collection of all the originals of the Theme songs of every James Bond movie and remakes done by the Prague Philharmonic of some of the other songs in the various movies. After recieveing this ... I started to listen to it and found out that it was all done by the orchestra. The are very good, but to a point it is not the same thing as owning a disc will all the orignal songs on it. Overall, this good if all the you want is the orchestral versions of most of the songs in the movies or the suites out of some of the movies. To a point these don't compare to the orignals. Keep looking if you want a set with all the orignals songs in it.

The James Bond CD for the John Barry purist?.......2003-01-28

Let's cut to the chase. Nic Raine and the City of Prague Philharmonic Orchestra do John Barry's work justice. 90% of this collection is as close as you can get to the original James Bond soundtracks. The other 10% lends itself to some artistic license with respect to the arrangements. Most notable is the main theme to Goldfinger. Also Nic slips in a few previously unreleased tracks. You will find these on the On Her Majesty's Secret Service and Golden Eye tracks. This CD boxed set is definitely made for the Bond soundtrack fan. The die hard John Barry "purist"/ traditionalist may find some of these tracks questionable at first, but after a few times Nic Raine's artistic license gives a fresh perspective to the familiar Bond/ Barry themes. The only reservation I have with this CD set is with some of selections that are performed. For instance, from Goldfinger, "Dawn Raid At Fort Knox" was a poor selection considering the selection available on that particular soundtrack. The most famous 007 soundtrack of all I dare say. Overall Nic hits the mark, and this CD set is a tribute to Barry's (as well as, George Martin's, Marvin Hamlish's, and Bill Conti's and David Arnold's) work. It's all here in one collection. I am a die-hard Bond soundtrack fan, and to the casual soundtrack fan I say this CD is set all you need to experience the Bond music legacy. To those who are hard core 007 soundtrack fans ...this is a FANTASTIC "addition" to your collection. This has to be the BEST (and probably the only) 007 "soundtrack" compilation. Whereas all the others feature the "main themes" from the Bond films as originally recorded, this one truly gives you the Bond experience.

Very enjoyable with most of the BOND music you'd want........2002-12-08

This is similar but more comprehensive than another BOND collection on one CD by the City of Prague Philharmonic. These are good renditions but clearly not the orginals. I must ask if the Prague Philharmonic does not own a harp? It is glaringly missing in the Goldfinger themes and i am sure on others. That harp is an exciting and beautiful touch to the wonderful GOLDFINGER theme and its absents is unfortuneatly very noticeable. Also some of the other themes can even sound muzaky if thats a word(elevator music)
It gets 3 solid stars good collection yet defineatly something is lacking.

Average customer rating:

Man with the Plan, Vol. 1
Q
Manufacturer: Push Play Records
ProductGroup: Music
Binding: Audio CD

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"DJ PACK / 46 TRACKS on 3 CDs"
2 3 Break (feat. DJ Klever + DJ Melo-D), The Great Caper (feat. Dujeous?), Hip Hop On Wax (feat. Large Professor + DJ Radar) A Supernatural Intro (feat. Supernatural) , Ghetto Interlude, The Ghetto, Sub Level (feat. J-Live) Salsa Scratch (feat. Bob James + D-Styles) , Eddeganz + DJ Quest), Tronic (feat. The Human Orchestra Kenny Muhammed), Interview With Colored Man (feat. Supernatural + DJ Radar),Trunk Of Funk, Sound Event The Program (feat. Gudtyme , Spittin - Synas, Stand Up - Akil, Mekanism - Skam, O.K. - Ha The Jet Black, So What - Jigmastas feat. Guru, Dime Out - Dynas feat. Skam Rap Shit - Shadowman , My Momma - Mr. Complex & El Fudge, Hey Love - Mr. Akil, Stones - Jigmastas My Style - Shadowman , Plan X - Sadat X, Proof - Dynas feat. Akil Breathe - Shadowman , Ha The Jet Black, Akil, Shadowman, Skam, Don't Get It Twisted (PUTS Remix) - Jigmastas feat. Sadat X, So What (Ken Sport Remix) - Jigmastas feat. Guru This Ain't A Game - BX Crew , Be My Man - Bardeux/Acacia, Harden My Heart - Euro-Vision, Feeling Of Love - George X Can I Kick It - Suiken , Ya Llego - El Maestro, Esta Loca - Xpin, Love Attack - Ferrara You'll Never Be Mine - Project FM , and Burning With Fire - Tapps, Funkytown - Lipps, Inc., Capitol Tropical - Two Man Sound, Three Time Lover - Bardeux, Panic - French Kiss, Samba - Johnny Chingas Love & Desire - Arpeggio
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