White House

1. Blue Eyed Darlin'

2. Cedar Grove

3. Drifting and Dreaming of You

4. Cotton Eyed Joe

5. Mother Is Gone

6. Country Side of Heaven (Where the Bluegrass Music Flows)

7. Don't Hold Your Breath

8. Rock Bottom

9. Searching for Yesterday

10. Who Done It?

11. Uptown Blues

12. Going to the Races

Tracks:

Letzte Szene: "Ah! Du wolltest mich nicht deinen Mund"
Mondscheinmusik
Letzte Szene: "Morgen mittag um elf!"
Frühling (Hermann Hesse)
September (Hermann Hesse)
Beim Schlafengehn (Hermann Hesse)
Im Abendrot (Joseph von Eichendorff)

Amazon.com

This gifted Swedish soprano, rapturously praised internationally in Wagner, is clearly eager to stake a claim in Strauss. She has the necessary vocal strength, wide range, fine musicianship, clear textual delivery, and flexibility. But listen to legendary benchmarks of Strauss singing (Ljuba Welitsch in the Salome scene, Elisabeth Schwarzkopf or Lisa della Casa in the other material on this disc) and you'll hear voices of pristine timbre and absolute steadiness, both of which Stemme lacks; her vibrato might be less intrusive in the theater, but on records it consistently puts her at a disadvantage, especially in Strauss. Even if the Salome finale offers a certainly amount of feverish excitement, throughout the program the singing generally wants variety of color. With the Capriccio Countess, the line-by-line specificity for this demanding characterization - above all, the lady's abundant charm - is conspicuously missing. Likewise, phrase after phrase of the Four Last Songs lacks profile, and here the vibrato prevents Stemme from achieving the serenity so crucial to this sublime music. EMI provides fine supporting singers (but why weren't the Capriccio Majordomo's opening lines included?) and a splendid Strauss orchestra, that of London's Royal Opera House, elegantly led by music director Antonio Pappano. --Roger Pines

Album Description

Tracklisting:

Richard Strauss- Songs & Scenes
Salome (Hedwig Lachmann after Oscar Wilde)
1. Letzte Szene: "Ah! Du wolltest mich nicht deinen Mund"

Capriccio (Clemens Krauss/Richard Strauss)
2. Mondscheinmusik
3. Letzte Szene: "Morgen mittag um elf!"

Four Last Songs
4. FrÃ¼hling (Hermann Hesse)
5. September (Hermann Hesse)
6. Beim Schlafengehn (Hermann Hesse)
7. Im Abendrot (Joseph von Eichendorff)

Customer Reviews:

Not a desert island recording.......2007-07-12

This is not a recording to take to that desert island, if you can only pack the essentials. Nina's voice is okay but with the recordings of Jesse Norman and Kiri Te Kanawa still very much in-print, why bother with this one. Nina sounds like a Bayreuth house soprano and her rendition is in no way startling or original. Just adequate. Skip this recording and buy one of the other two.

EUREKA, I've found out what is lacking............2007-06-24

Timbre is to the voice what French Silk is to chocolate pudding; the difference between rich cream and skim milk, it is texture, depth and perspective, and sheen. Nina Stemme does not have the finer of those qualities, but she is not alone.

She seems to me the hope for tomorrow, so low is her tone, firm her committment, and classic her appearance - even if not on this cover. Her singing is very musical, but I don't hear beauty - the production is too narrow and this works for Wagner but not Strauss. Her phrasing is straight - very little variance and again - Wagnerian, not Strauss. Ideally, the portamento and a floating vibrato free tone (ethereal) are two of the hallmarks of Strauss singing. The most fine singer of these wonderful songs - to me - will always be the late Elizabeth Schwarzkopf but Rene Kollo (tenor) also recorded them. His Abendrot is very touchingly sung. But Nina Stemme brings her own touch that validates this attempt. Any singer who attempts Four Last Songs is brave indeed, not only for attempting the difficult music, but for the grand tradition preceeding them.

Somehow, Nina Stemme seems more serious than the airy prima donnas of the past 10 years - Fleming and Angela Alagna come to mind first -- also this young Russian woman (her name escapes me). Stemme is a classic woman, knowing, practical - she is a prima donna, an authentic opera singer - very far from Church, Bocelli, and those pop-classical people (where are they now?) --- she is the beginning of a new practical era where the Art is the measure of productivity - not the Spin Meister.

Brava Nina!!!

Another one bites the dust.......2007-05-25

I could not believe it when I picked up this disc in my local music store to see my favourite music by Strauss on one CD. The first thing I thought is how is Nina Stemme going to pull off each of these selections. The answer is unfortunately, much to my expectations, she excels in the Salome scene, while the remainder of the CD shows her to a bit of a disadvantage. She sings the Countess's Final Scene music well enough, but just like the 4 Last Songs, she lacks the inner-most feeling and cannot penetrate the music like Fleming or Schwarzkopf. Her vibrato also seems to get in the way of most of the music, although it seems to work better in the Salome Final Scene than anywhere else. Pappano and ROH Orchestra provide worthy accompaniment.

Marvellous Salome.......2007-05-24

Stemme makes a most dramatic, marvellous interpretation, one of the best I have ever heard, of the final scene of Salome. The sheer power in her voice points forward to Elektra and Brünnhilde. And the orchestra is in top form. The reason why I do not give this record five stars is to be found in the final scene from Capriccio. Stemme seems not quite to understand the deeps of this role. The best recording ever made of this scene is done by Elisabeth Söderström, CBE - also on EMI.
It is wonderful to hear a "Hochdramatische" sing Vier letzte Lieder! Strauss obviously wanted this kind of voice, and here Stemme, I must confess, scores over Flagstad. Ms. Stemme has to attend to a small vibrato. But: Do not miss this record!

Disappointing Strauss: Expert-polished orchestra, Adequate Soprano.......2007-05-21

If I could only take one Richard Strauss vocal disc to my lonely desert island, I would be torn between choosing the highlights of Der Rosenkavalier, and the Four Last Songs. Come to think of it, I bet the Four Last Songs and other orchestrated songs would finally win out, though I suppose I could try to burn a personal combo disc of the four songs plus at least the bulk of the Rosenkavalier excerpts.

So we come to Nina Stemme singing both a couple of opera excerpts from Salome and Capriccio, and the songs. The orchestra is Covent Garden, with their current music director, Antonio Pappano, leading.

Right off you hear that Pappano is generating a leaner, cleaner Strauss orchestra sound than the lavish, sumptuous sound we now tend to expect. He is not asking the band for high calorie strings, and daring the woodwinds and the brass to cut through when possible. Instead he brings a clean touch that reminds a listerner of George Szell and Cleveland. The difference is that Pappano also generates more warmth of tone, and the sort of razor-edged, hair-pin precision that we associate with Fritz Reiner and Chicago in their heyday.

In sum, this combo approach works, definitely. The orchestra draws a listener in, and gets all the right Straussian juices going. One wants to hear more Richard Strauss - opera, plus orchestral, plus songs - from Pappano and Covent Garden then. Much, much more. There hasn't been such a gifted Strauss conductor resident in England, apparently, since the late, great Tommy Beecham.

Now to the soprano, Nina Stemme.

I have nothing against a bigger voice doing the songs. If only Flagstad had lived to record them in better conditions. For a hint of that imaginary blessing, check out her Mahler song cycles with orchestra, under Vienna led by Boult and Knappertsbusch.

What I think you will hear from Flagstad, that, alas, I do not hear from Ms. Stemme is yet another confidence and physical embodiment, bolstered by seasoned years of professional work, founded on unfailing vocal technique.

At first and later plays, I thought that Ms. Stemme just missed the stylistic differences between opera and lieder in her overall way with musical phrasing. And maybe the differences between Strauss and Puccini. Overall sweep and lift are there, but the focus in her voice gets to spread too much, as if general intention and vocal gesture and obvious involvement were all there was to it.

No, I am afraid I am disappointed. Is Ms. Stemme yet another gifted younger singer who is being pushed too fast into the limelight, short-cutting her technical foundations? Was she just having a bad day?

Other passing deficits, which are indeed not all that terrible but not all that great either, include a so-so take on the texts, again as if one could make the point with just singing this music and letting the texts slide into home base, whenever and however they may.

Not so, again check out other Straussians like Schwarzkopf whose way with lieder was justly renowned. Even Flagstad shows more lieder text insight in her Mahler cycles. Even Jesseye Norman, whose downside is the just okay support she gets from Kurt Masur and the Leipzig band.

One suspects that Stemme has notable gifts which still need a further technical foundation to fully realize them. Breath control is the deep foundation of tonal control. And even more focus on not just hitting the notes, but keeping them fine tuned wouldn't hurt. Now in her favor, Ms. Stemme does not sing out of tune at all, no. But she lets her tone spread and vibrate every time she reaches up, or tries to point the arch of the phrase, and this bodes ill generally for her interpretations, with ill effects in her lieder phrasing particularly.

My guess is this goes back to resale. But I will watch like a hawk or a night owl for more Richard Strauss from Pappano.

Three stars, then. Adequate. Probably for die hard fans of Ms. Stemme, and for listeners who can prize Pappano and Covent Garden as the real treasure trove here.

My recommends? Well, Schwarzkopf/Szell, plus Isokowski/Janowski, plus Norman/Masur, plus Te Kanawa/Davis, plus Auger/Previn, plus Fleming/Eschenbach, plus Lott/Jarvi, plus Brewer/Runnicles, plus Janowitz/Karajan, plus Price/Leinsdorf. Not a thin field, then. Take your pick and love it. The music is the thing.

Average customer rating:

Great Band
Not a bad influential acid house album, but it's so cheesy and unaccessible that most non-acid house fans simply won't like it
One of the greatest music industry jokes has turned into a truly classic LP ...
Definitive dance music
Great Dance Classic!

White Room / Justified & Ancient
The KLF
Manufacturer: Arista
ProductGroup: Music
Binding: Audio CD

Ambient | Dance & DJ | Styles | Music

General | Dance & DJ | Styles | Music

House | Dance & DJ | Styles | Music

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

Rave | Dance & DJ | Styles | Music

General | Rock | Styles | Music

Pop Rock | Pop | Styles | Music

Chill Out
Doctorin' the Tardis
The History of the JAMS a.k.a. The Timelords
Hits & Mixes
Justified and Ancient

ASIN: B000002VMN
Release Date: 1992-02-20

Tracks:

What Time Is Love?
Make It Rain
3 A.M. Eternal
Church Of The KLF
Last Train To Trancetral
Build A Fire
The White Room
No More Tears
Justified And Ancient

Tracks:

Stand By The Jams
Stand By The Jams (12in Version)
'The White Room' Version
All Bound For Mu Mu Land
Let Them Eat Ice Cream

Amazon.com

A crazy experiment in music-industry manipulation, the KLF remain one of dance's more groundbreaking acts. Having already scored hits as the Jams and the Timelords, Bill Drummond and Jimi Cauty christened the KLF with Who Killed the Jams? Though they were originally considered part of England's acid-house scene, the KLF's high-energy mix of disco-diva vocals, rapping, breaks, and samples was truly club-friendly pop. The White Room contains three of the group's greatest moments, the top 10 hits "What Time Is Love?," "Last Train to Transcentral," and "3 A.M. Eternal." Amid their success, Drummond and Cauty retired from the music industry, deleting their back catalogue in the process. The White Room is a fitting (if somewhat short) epitaph that stands the test of time. Its futuristic musical themes are somewhat silly, but genuine musicianship makes the songs themselves quality fun. --Liisa Ladouceur

Customer Reviews:

Great Band.......2007-05-16

This has always been one of my most favorite CDs. I was leaving in France when it came out. I was always disappointed that it was not as popular here in the states.

Not a bad influential acid house album, but it's so cheesy and unaccessible that most non-acid house fans simply won't like it.......2006-01-04

This was a very influential acid house album in its day, but it hasn't aged well at all. It's not terrible, but most people simply will hate it. It's DEFINITELY acid house - you either like it or you dont (though some songs contain some interesting instrumentation ideas. As a whole, though, it's hard to listen to and very much a guilty pleasure). I can't imagine that most people would have fun dancing to this as that's essentialy all it's good for. I'm pretty confident in saying the only song most people will enjoy is the first one (which really starts about a minute into the song - it's still a VERY guilty pleasure). The rest are pretty hard to listen to, even IF parts of the songs are interesting (usually the electronic bits). I would've given it 2.5 stars, but its historical influence pushes it to a 3. Not recommended unless you're interested in the history of acid house or if you're just a die-hard acid house fan.

Highlights include:
"What Time Is Love? (LP Mix)"
"Make It Rain" (certain parts of it)
"3 A.M. Eternal (Live)" (certain parts of it)
"Church Of The KLF" (some of the electronic parts are interesting)
"Last Train To Transcentral (LP Mix)" (parts of it)
"The White Room" (SMALL parts of it)
"No More Tears" (it's not bad)

One of the greatest music industry jokes has turned into a truly classic LP ..........2005-08-14

If you ran into James Cauthy & Bill Drummond today, they would probably tell you how much they hated the KLF (which stood for the Kopyright Liberation Front). After releasing "The History of the Jams a.k.a. the Timelords" LP on TVT (which features sample theivery that rivals the Beastie Boys' "Paul's Botique") and realising a #1 hit song ("Doctorin' the Tardis"), he two musical pranksters wanted to release a pop album, just to see how easy it is to win a #1 single. And you know what? They did just that.

If one listens to "the White Room" today, it's obvious that they were intentionally trying to make the most ridiculous album they could think up of. (Recall, they even released a book before this album's release entitled "The Manual: How to Make #1 Singles With the Least Amount of Effort"). This is a full-on yet masterfully constructed prank. Just listen to the lyrics of the version of "Justified & Ancient" that closes the LP (the one WITHOUT Tammy Wynette): "They're justified & they're ancient / And they know what time is love / Rockman, he's just made of bricks / and Kingboy loves his screws / The JAMS don't need no master plan / To do whatever, whatever they can / Oooh nah-nahnahnahnah" This is not high art by any means. Yet, the more one sees that it's a joke, the funnier the album gets.

But the music? For just about being 15 years old at this point, it holds up REMARKABLY well. Opening track "What Time is Love?", after the brief mellow chorus of "Justified & Ancient", a sample of MC5's "Kick Out the Jams" kicks in, and then full-on techno keyboards start up (which sounds like the theme that guys who made the "Mortal Kombat" theme blatantly stole from). It's a dance-floor grinder in the highest order, and harder than any of the songs on the album.

"Last Train to Transcentral" continues on the electro-dance-burner trend. "3 A.M. Eternal," though good, isn't even one of the best singles on the album. Though the radio singles are no doubt fascinating (and hearing Tammy Wynette, a country starlet, sing jibberish like "All Bound for Mu Mu Land" is very amusing), songs like the title track get lost in the mix. And "The White Room" is a fantastically catchy piece of work, featuring mellow almost monologue-ish verses (which somehow sound like Chris Martin nowadays), and an irresistable oboe (!) rythym line. Even the 4-chord keyboard melody of "Make It Rain" manages to make its catchy way into your head. And to balance it all out, the mellow "Build a Fire" makes surprisingly effective use of slide guitars for the penultimate chill-out song on the LP.

It's an odd contradiction of an album. For something that was made as a total joke and only to make money, it holds up to the test of time amazingly well. Sure, they may be waiting for World Peace before they record again ... but, for all we know, this could be just another elaborate joke ...

Definitive dance music.......2005-06-14

It has to be said, although many have done so already, that the KLF's 1992 LP The White Room is probably the best dance music album ever recorded. Splitting its nine tracks between chart-friendly techno and blissed-out ambient, the disc covers a diverse range of styles which serves to make it all the more essential.

Bill Drummond and Jimmy Cauty were obviously well ahead of their time, and their popularity in the UK proves that (only five singles released, charting at 5, 1, 2, 2 and 4 respectively). They disbanded on 5 May 1992, and took their entire back catalogue with them, which included the legendary Black Room LP.

The highlights on this album are obviously the three dance singles, of which Last Train to Trancentral is the best. But the other cuts, such as Justified and Ancient, shouldn't be ignored.

This album is such a masterpiece, I've had to give it five stars-- the only time I've ever done so.

Great Dance Classic!.......2005-01-20

Hey
the packaging is very missleading! I thought it was going to be two cds but then discovered that they added the single to JUSTIFIED AND ANCIENT onto the White Room Album which i thought was so cool! So i don't have to have two cds and keep trading.
I bought this cd for the JUSTIFIED & ANCIENT song but then found out that there are some great dance tunes along with some slow grooves. BUILD A FIRE is a great song to chill to. The other singles WHAT TIME IS LOVE?, 3 A.M. ETERNAL, LAST TRAIN TO TRANCENTRAL are very good and bring me back to the days in Bismarck. So if you remember when you first heard these song then they'll take you back!
My love though is JUSTIFIED & ANCIENT
STAND BY THE JAMS 7" (this is the radio edit and is only 3 min long)
STAND BY THE JAMS 12" (this is a longer version with a break that i think is very cool a guy comes on and explains about the Justified and ancient traveling in their ice cream van very cool)
ALL BOUND FOR MU MU LAND (this has Tammy singing the Chorus but Maxine Harvey sings the lyrics. This is 7 min long also. Very cool)
LET THEM EAT ICE CREAM (this is like a dub version it has the guitar form the song and the hype men talking but no words just the music)
All in all i love this cd!

Sousa Original / United States Marine Band

Average customer rating:

Enjoyed very much despite muted scratchy sound on last track
Great Band and Greater Music
A Moderate Sampling of Sousa
Start of a great series for Sousa admirers
Sousa Played as only the Marines can do

Sousa Original / United States Marine Band

Manufacturer: Altissimo Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Jazz | Styles | Music

Marches | Miscellaneous | Styles | Music
Similar Items:

Sousa Original II / United States Marine Band
Sousa 3
Sousa, Vol. 4
Sousa's Greatest Hits
Stars & Stripes Forever and the Greatest Marches

ASIN: B00000IK8P
Release Date: 1996-04-23

Tracks:

Semper Fidelis
Presidential Polonaise
Mahattan Beach March
Comrades Of The Legion March
Saber And Spurs March
Gridiron Club March, The
King Cotton March
Easter Monday On The White House Lawn
Who's Who In The Navy Blue March
Invincible Eagle March, The
Excerpts From Mars And Venus March
Washington Post March (1890), The
Washington Post March (1988), The

Customer Reviews:

Enjoyed very much despite muted scratchy sound on last track.......2007-02-07

I gave this to my father. He was thrilled by the collection of songs. He said the last track was a little scratchy and lower volume but that the sound quality of all of the other tracks was great.

Great Band and Greater Music.......2006-03-18

Having taught music for 41 years, I do appreciate the quality of a good band, good music and a good recording. This series is all three! My only complaint is that the CD's are not long enough. I would like to have them last much longer. Enjoyed them very much!

A Moderate Sampling of Sousa.......2003-12-04

Actually one of the better CDs of the limited Altissimo! line of products. At least we have the Marine band playing Sousa, as it should be, but many of the selections are what we have heard already on countless CDs of Sousa. A few of the selections here are different and worthwhile. The problems we encounter are a mixture of recording styles taken from different internal tracks from the Marine Band Library. These recordings were never intended for commercial use. Hence the un-even sound at times. Also the brief durration of the CD indicates as well that it was never intended for public use. Finally, lack of any worthwhile liner notes tops off a rather un-professional job overall.

Start of a great series for Sousa admirers.......2002-09-07

The President's Own play these like no other ensemble. I don't know what the current occupant of the White House thinks about them, but this wind ensemble is a national treasure in my book. This whole series is highly recommended. They play with more energy than the fine musicians of the Detroit Concert Band who sound a little bored on the complete Walking Frog set. They are a much finer ensemble, playing with greater precision and balance than Kieth Brion's British players on Naxos. The only weakness is in the documentation. There is none. We are not even told who the excellent conductor is. But that doesn't prevent one from enjoying the inspiring performances. Highly recommended!

Sousa Played as only the Marines can do.......2001-11-01

This release by Altissimo! is a great collection of Sousa Recordings played by the band that Sousa made great. There are tons of Sousa recordings out there, but none feature the US Marine band. Sousa marches don't sound the same until you have heard them played by the Marines. Sousa wrote many of these marches while bandmaster of the Marines, thus the reason why the renditions of these works are so excellent here. The band playes with a real drive and energy, the likes of which few can compare. While not a large selection of marches, this CD is only volume one of a four volume set of Sousa's music featuring the US Marine band. (...) Now more than ever, with our nation in crisis, we need the inspired music of our great service bands.

Walt Disney's Snow White And The Seven Dwarfs: Classic Soundtrack Series

Average customer rating:

The Churchill's are very talented persons.
One Song
good soundtrack for halloween
REMasterpiece!
A Magical, Delightful Soundtrack

Walt Disney's Snow White And The Seven Dwarfs: Classic Soundtrack Series
Leigh Harline
Manufacturer: Disney
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

General | Children's Music | Styles | Music

General | Vocal Pop | Pop | Styles | Music

Disney Records | Amazon.com Label Stores | Stores | Music
Similar Items:

Cinderella
Sleeping Beauty
Pinocchio
Pocahontas: An Original Walt Disney Records Soundtrack
Snow White and the Seven Dwarfs: CD Read-Along

ASIN: B000001M4D
Release Date: 2001-09-25

Tracks:

Overture - Larry Morey/Frank Churchill
Magic Mirror - Leigh Harline
I'm Wishing/One Song - Adriana Caselotti/Harry Stockwell
Queen Theme - Frank Churchill
Far Into The Forest - Larry Morey/Frank Churchill/Paul J. Smith/Leigh Harline
Animal Friends/With A Smile And A Song - Adriana Caselotti
Just Like A Doll's House - Frank Churchill/Paul J. Smith
Whistle While You Work - Adriana Caselotti
Heigh-Ho - The Dwarf Chorus
Let's See What's Upstairs - Frank Churchill/Paul J. Smith
There's Trouble A-Brewin' - Larry Morey/Frank Churchill/Leigh Harline
It's A Girl - Leigh Harline/Frank Churchill
Hooray! She Stays - Frank Churchill
Bluddle-Uddle-Um-Dum (The Dwarfs' Washing Song) - The Dwarf Chorus
I've Been Tricked - Leigh Harline
The Dwarf's Yodel Song (The Silly Song) - The Dwarf Chorus
Some Day My Prince Will Come - Adriana Caselotti
Pleasant Dreams - Paul J. Smith/Frank Churchill
A Special Sort Of Death - Leigh Harline
Why Grumpy, You Do Care - Frank Churchill/Leigh Harline/Larry Morey
Makin' Pies - Leigh Harline/Larry Morey/Frank Churchill
Have A Bite - Leigh Harline
Chorale For Snow White - Frank Churchill
Love's First Kiss (Finale) - Frank Churchill/Leigh Harline/Larry Morey
Music In Your Soup - The Dwarf Chorus
You're Never Too Old To Be Young - The Dwarf Chorus

Amazon.com essential recording

Disney's Snow White, the world's first animated musical feature (1937), is still a standard in the industry. Though 1930s recording technology was primitive by today's standards, the Disney music studios have always used the available technology to its fullest, and this recording still stands up. The mature but hauntingly childlike Adriana Caselotti as Snow White is a unique vocal presence, and the songs include "Whistle While You Work," "Heigh-Ho," and "Some Day My Prince Will Come." The score is nearly as great an accomplishment as the film itself. --John Sanchez

Customer Reviews:

The Churchill's are very talented persons........2007-02-13

When I was 6, I already had a very good sense of what is a fine music score. I'm 73 now and still loving that music.

One Song.......2006-02-19

I bought this album almost especially for the piece of music entitled "Special Sort Of Death." It does sound creepy but that's what I loved about it. From I saw the film I was like I have to have that.

Anyway another reason for me purchasing this album was the main titles for the film I love the ochestration. My favourite song on this album would have to be One Song followed by with A Smile and a Song.

And number 5 (a piece of music) I can't remember what it's called but it is creepy too the part that has snow white running through the woods.

Someday my prince will come is nice too. Adriana's voice is a little high and annoying sometimes though. But it's still nice to listen to. I listen to this album alot it's very nice and I like to listen to the version of One Song that is played at the end of the movie.

good soundtrack for halloween.......2005-07-14

first of all, i have seen the movie and the hag scares me very much. about the music,it's not good music for children because the orchestral moving creates dark suites. the other part of makin' pies is no exception. i listened to special sort of death on a site called mp3.com and the beginning is very disturbing almost, because it's when the queen appears as the old witch and she plots to destroy snow white
Queen:(laughing)it's not for you, it's for snow white
anyways, bye-bye

REMasterpiece!.......2003-01-21

This soundtrack is a perfect compliment to the film, and It's gloriously remastered to make you feel you are still watching and not just listening to the music from the movie itself.

In the liner notes I read the original soundtrack only consisted of five songs, the five songs we hear sung in the film. "One song/I'm Wishing", "Hi Ho", "The Yodeling Song", "Some day my prince will come", and "Whistle while you work". Over the years, the instrumental musical score was thrown in to create a wonderful masterpiece of a soundtrack.

I highly recommend purchasing this. If you like the music from the movie, you will love this. After hearing this for the first time(I've now heard it at least 100, thanks to my 2 yr. old), the movie is brought out to be more of a musical adventure as well as a wonderful story to be told.
This is my son's favorite c.d., and he has so much fun dancing and singing along.

A Magical, Delightful Soundtrack.......2002-10-07

This was the first of the newly remastered and expanded "Disney classic soundtracks" that I purchased for my collection, and it's still my favorite. How wonderful to have, not only the vocals from the old vinyl version ("I'm Wishing/One Song," "With a Smile and a Song," "Heigh-Ho," "Bluddle-Uddle-Um-Dum," "The Dwarfs' Yodel Song" (and if you don't want to get up and dance to it, there's something wrong with you!), and "Some Day My Prince Will Come"), but the background instrumentals from the track, never before available to the at-home audience. The "Queen Theme," the chilling "Far Into the Forest," and "I've Been Tricked" particularly bring scenes from the movie springing to mind. There are also two songtracks that were cut from the film print. If you're a Disney-lover, your collection must positively include this CD.

Average customer rating:

Incredible vocal set...but so many rareties in short versions...

Party Groove: White Party, Vol. 7
Junior Vasquez
Manufacturer: Centaur
ProductGroup: Music
Binding: Audio CD

General | Dance & DJ | Styles | Music

House | Dance & DJ | Styles | Music

General | Dance Pop | Dance & DJ | Styles | Music
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Masterbeat - White Party 2005
I Love New York
I Love Miami
Danceculture
Masterbeat - Winter Party 2006

ASIN: B000CRR32Y
Release Date: 2006-01-10

Tracks:

Stupid Like U [Junior Vasquez Remix] - Deborah Cox, Fanatic
Here I Come [Rooster & Sammy Peralta Remix] - Katy Ellis, Tom Stephan
Y'all Had Enuff Yet? - Ellis D, Vernessa Mitchell
I Want More (Cling Onto Me) [Offer Nissim Mix] - Amuka
Relentless (Just a Game)
No More [Tomer G Remix] - Jason Walker
U Know I Love It [Tracy Young Remix] - Superchumbo
Free Yourself - Tina Cox,
Funk [Robbie Rivera Mix] - Matteo Esse, , Corrina Joseph, , Sant
Shake Yourself Loose - Dynamix, Cissy Houston, The Sweet Inspirations
ClichTim Letteer Remix] - Simone Denny
Love Will Find a Way [Matt Piso Remix] - Vernessa Mitchell
Stand Up for Love [Junior Vasquez Remix] - Destiny's Child

Customer Reviews:

Incredible vocal set...but so many rareties in short versions..........2006-01-18

I've awaited this Junior Vasquez mix for months, and would say song selection wise, it's just about one of the best commercial mixes he's ever done, selecting gems that finally reflect his true peak hour moments at the clubs. But, it's unfortunate to find that we're only given about 5 minutes of many of these exclusive mixes you can't get anywhere else, including the Deborah Cox and the Destiny's Child. Also surprising is junior's decision not to use his own mixes of tracks by Jason Walker and Simone Denny, the diva responsible for the vocals on Widelife's Queer Eye theme song. Junior's alter ego "ellis d" is here with a simple tribal track that samples the line "y'all got enough yet" from Vernessa Mitchell's "this joy". And Whitney's mom Cissy even makes an appearance on a Dynamix production, probably her first club track in decades. By the way--the junior mix of Destiny's Child's ballad is total cheese, and not a shining club moment for either artist or remixer. As Abigail once sang, "if it don't fit, don't force it."

Let's hope Junior does more mixing for party groove compilations. Track times:

1. stupid like you(junior Vasquez mix)...fanatic with Deborah cox (4:41)
2. Here I come...tom Stephan (4:40)
3. Y'all had enuff yet...ellis d with vernessa Mitchell (4:40)
4. I want more...amuka (6:23)
5. Relentless...tim rex & veronica (5:10)
6. No more (tomer g mix)...jason walker (7:45)
7. U know I love it (tracy young mix)...superchumbo (5:39)
8. Free yourself...junito perez project (4:41)
9. Funk (Robbie rivera mix)...matteo esse (4:41)
10. shake yourself loose...sweet inspirations & cissy Houston (8:54)
11. Cliché (tim leteer mix)...simone denny (6:25)
12. Love will find a way...vernessa Mitchell (8:25)
13. stand up for love (junior Vasquez mix)...destiny's child (4:50)

Average customer rating:

The best musical theatre score of the 1970's
Haunting, forgotten score.
A flop, maybe, but still better onstage
A Week of Flops Revisited
A mixed but decided blessing.

Bernstein: A White House Cantata
Barbara Hendricks , Kenneth Tarver , London Symphony Orchestra , London Voices , June Anderson , and Neil Jenkins Thomas Hampson
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

General | Jazz | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Spring Awakening (2006 Original Broadway Cast)
Company (2006 Broadway Revival Cast)
Bravo Giovanni (1962 Original Broadway Cast)
The Golden Apple (1954 Original Broadway Cast)
Pipe Dream (1955 Original Broadway Cast)

ASIN: B00004VU0I
Release Date: 2000-09-12

Tracks:

A White House Cantata: Part I: Prelude
A White House Cantata: Part I: President George Washington (1789 - 97) - Ten Square Miles By The Potomac River (George Washington And Congress Choose A Location For the Capital City.) (President Washington, Delegates Of The 13 States)
A White House Cantata: Part I: President John Adams (1797 - 1801) - If I Was A Dove (Little Lud Escapes From Slavery...) (Little Lud, Slaveowners)
A White House Cantata: Part I: President John Adams (1797 - 1801) - Welcome Home, Miz Adams (... And Helps Abigail Adams Find The Unfinished White House.) (White House Servants)
A White House Cantata: Part I: President John Adams(1797 - 1801) - Take Care Of This House (Mrs. Adams, Little Lud)
A White House Cantata: Part I: President Thomas Jefferson (1801 - 09) - The President Jefferson Sunday Luncheon March (Thomas Jefferson entertains.) (President Jefferson, Guests)
A White House Cantata: Part I: President James Madison (1809 - 17) - Seena (Grown-Up Lud Admires Thomaseena, Another Young Servant. (Lud)
A White House Cantata: Part I: President James Madison (1809 - 17) - Sonatina (The British Dine At The White House.) (Admiral Cockburn, Officers Of The Royal Navy, Lud)
A White House Cantata: Part I: President James Monroe (1817 - 25) - Lud's Wedding (Lud And Seena Are Married.) (Lud, Seena, Chorus)
A White House Cantata: Part I: President James Monroe (1817 - 25) - The Monroviad (James And Eliza Monroe Are Sleepless. He Had Decided To Send All The Blacks, Including The Servants, To Liberia. His Wife Disagrees.) (President Monroe, Mrs. Monroe)
A White House Cantata: Part I: President James Monroe (1817 - 25) - This Time (For Lud And Seena, And For All Blacks, The Streets Of Washington Have Become More Dangerous.) (Seena, Lud)
A White House Cantata: Part I: President James Buchanan (1857 - 61) - We Must Have A Ball (How Can James Buchanan Avert A Civil War? (President Buchanan)
A White House Cantata: Part II: President Andrew Johnson - Bright And Black (Following Lincoln's Abolition Of Slavery And The End Of The Civil War, The White House Servants Celebrate Their Future.) (Henry, Little Lud, Seena, Lud, Other Servants)
Part II: Presidents Ulysses S. Grant (1869 - 77) And Rutherford B. Hayes (1877 - 81) - Duet For One (At The Hayes Inauguration, Julia Grant And Lucy Hayes Reflect On Their Futures - And On One Another.) (Mrs. Grant, Mrs. Hayes, President Hayes, Judge)
A White House Cantata: Part II: President Chester Alan Arthur (1881 - 85) The Money-Lovin' Minstrel Show: (A) Minstrel Parade (President Arthur Entertains Mr. Rockefeller And Mr. Vanderbilt With A Minstrel Show.) (Minstrels, Mr. Simoleon, Shekel Brothe...
A White House Cantata: Part II: President Chester Alan Arthur (1881 - 85) - The Money-Lovin' Minstrel Show: (B) Pity The Poor (Minstrels, Mr. Simoleon, Shekel Brothers)
A White House Cantata: Part II: President Chester Alan Arthur (1881 - 85) - The Money-Lovin' Minstrel Show: (C) The Grand Old Party (Minstrels, Mr. Simoleon, Shekel Brothers)
A White House Cantata: Part II: President Theodore Roosevelt (1901 - 09) - To Make Us Proud (Theodore Roosevelt Brings New Dedication To A New Century.) (President Roosevelt, Entire Company)

Amazon.com

There is a resurgence of interest in Leonard Bernstein the composer these days. This disc helps to readdress the hegemony of West Side Story, a piece that has tended to eclipse his remaining output. Bernstein prepared A White House Cantata as a concert version of the musical that was written in collaboration with Alan Jay Lerner, 1600 Pennsylvania Avenue. The cantata presents scenes that are centered on the White House, and simultaneously explores racial issues, in an engaging and often witty (sometimes hilarious) way. DG has assembled an all-star cast: Thomas Hampson is the perfect choice for the President, his voice deep and authoritative. The production is blessed also with the excellent chorus London Voices; the LSO under Kent Nagano is in top form. Special mention should go also to 15-year-old Victor Acquah, who is quite superb in "If I Was a Dove." Bernstein's musical voice is archetypically American, and his country of origin is immediately apparent in the nostalgic prelude. His send-up of perceived Englishness is deliciously witty, but it is when Bernstein is in inspirational mode that he is most successful. --Colin Clarke

Customer Reviews:

The best musical theatre score of the 1970's.......2005-07-04

Do yourself a favor and listen to one of the most complex theatre scores ever written. With lyrics by Alan Jay Lerner and music by Leonard Bernstein, this cd will haunt you for the rest of your life. I was an actor living in New York when this show opened; however, I was on the road in "Jesus Christ Superstar" and didn't get to see any of its few performances. From the things I have read about the production, "1600 Pennsylvania Avenue" suffered from lack of cohesiveness and too much control for Bernstein and Lerner. It went through two directors who didn't have a great track record then or now. If only Jerome Robbins hadn't deserted Broadway for the ballet world, who knows what this rich score would have harvested? All we have now is this cd and alas it is not complete.

In this lamentable conservative era, some brave Broadway producer should hire Joe Mantello to direct and Kristen Chenoweth, Brian Stoke Mitchell, Billy Porter and Audra MacDonald to star. Broadway would have the artistic shot in the arm it so desparately needs.

Haunting, forgotten score........2001-05-23

"A White House Cantata" is a vitally important piece of work. It is the only document we have of one of Broadway's most legendary flops (rivalled only by Irving Berlin's "Mr. President"), "1600 Pennsylvania Avenue." Bernstein and Lerner spent four years ('72-'76) working on the score and book, then obtained nearly a million dollars from Coca Cola to stage the show. The result? An unmitigated disaster for all involved. The reason? Lerner's characteristically convoluted, muddled book. The score and lyrics were almost universally praised.

Bernstein forbid a cast recording after "1600" closed following only seven performances on Broadway. Until now, only "Take Care of This House" obtained a life of its own; the rest of the score, though parts were later recycled by Bernstein in other pieces, languished unheard. Finally, someone has been interested enough to take approximately half of Bernstein's massive score and make an absolutely superb recording of it. "1600 Pennsylvania Avenue" is, at last, available (albeit in a drastically abridged form) for those who might have been wondering what exactly the show was about.

The score is a masterpiece and this recording is first-rate. Though many reviewers have complained about the "operatic" performances on the disc, Bernstein set Lerner's lyrics in an operatic fashion. Lerner, a superb interpreter of his own songs, said numerous times that the songs in "1600" were the only ones he wasn't able to sing. The performances are magnificent, exactly as Bernstein intended for them to be sung. This wasn't written to be standard Broadway fare. Patricia Routledge, who played the First Ladies during the brief Broadway run, said she felt one of the show's flaws was that Lerner was trying to write another musical while Bernstein was writing a grand opera. She had a point.

The orchestrations (by Bernstein and two others) are superb, coloring the music to perfection. The conducting and vocals are fantastic, and if there is any doubt that "1600 Pennsylvania Avenue," despite its confusing plot, was a major achievement (musically and lyrically), this recording should dispel that idea. Lerner's lyrics are witty, literate, by turns hilarious and poignant: a tremendous display of lyrical virtuosity. Bernstein's score contains some of the most vital, diverse and accomplished music of his career. No wonder the musical's failure was such a crushing blow to him; he had to have known how good the score was, and to have it lost after only seven performances was a shame.

"A White House Cantata" is a unique experience, and worth every penny of its price.

A flop, maybe, but still better onstage.......2001-03-17

One of my fondest memories of going to the theatre as a kid was the opening number of "1600 Pennsylvania Avenue" entitled "Rehearse." Even though the show was done eons ago and I only saw it once, that Bernstein melody (rhythmic, syncopated, exciting) has always stayed with me. How disappointing then to not find that song on this album. The show was about a theatrical ensemble presenting to the audience the history of the White House, and the songs were divided between those of the ensemble "rehearsing" and the actual enactments themselves. Nagano and his producers have made the decision to exclude all but the latter from their cantata, and for simplicity's sake this would seem to make sense. However, the historical numbers on their own prove not to be very good. In fairness, the other half of the show may not have been all that brilliant either. ("1600..." was, after all, a notorious flop.) But my dim, adolescent recollection was that it all worked much better in performance. Bernstein's melodies are, for the most part, uninspired (except for the haunting "Take Care of This House" and the jazzy "Lud's Wedding") and Lerner's lyrics are arch, forced, and unnecessarily complicated. (Could I do better? Hell, no; this is simply my most humble opinion.) Thomas Hampson is in splendid voice (as always), but June Anderson is unfortunately humourless, particularly in the tour de force number in which she plays competing First Ladies. (I'll never forget Patricia Routledge's near genius interpretation of this on stage.) Let's hope someone will come along and do a full recording of all the material from the show, one that lacks the pretentiousness that so often sabotages this recording.

A Week of Flops Revisited.......2001-02-21

It was Thursday, May 6, 1976 and I was in New York for a business trip and what was to become my weekend of Broadway flops. Since, I was a last minute replacement on the trip; I hadn't made any plans for my free time, which meant I had to take my chances on the TKTS line. Thursday evening I got tickets to REX at the Lunt-Fontanne with Nichol Williamson and Glenn Close. Friday, I headed uptown to the Harkness to see Robert Morse in So, Long 174th Street. And Saturday evening, it was Pacific Overtures at the Winter Garden. REX was regrettable, Robert Morse was fun, and Pacific Overtures became one of my all-time favorites.

But it was the Saturday matinee of Bernstein's 1600 Pennsylvania Avenue at the Mark Hellinger that I had to tell everyone about when I got back to Saint Louis. At the time I didn't realize that the show closed that day and that I was be one of the few people to actually get to see it. To be honest, except for Bernstein's music and some of the performances the show itself was totally forgettable. Sitting in the theater, I remember thinking that the show would really be better on the cast album.

So why couldn't I wait to tell everyone about it? Well, it was just one of those once in a lifetime theatrical experiences. The audience that day was sparse. It seemed like there were more performers on stage. Although I had a great seat...center orchestra with no one around me in all directions - I had a feeling that the producers had been giving tickets away on the street in an attempt to pad the house. In the left section there was a large Italian family group - grandma to babes in arms. In the middle of the first act mama opened a basket she had brought and began passing out plates of food to the family. The resulting melee attracted more attention than the performance on stage. Even the actors had to see what was happening. So, how could you forget the experience like that?

Unfortunately my hopes of the cast album went unfulfilled, though all the other flops and near flops I saw that week were eventually preserved on original cast recordings in LP, cassette and CD formats. Over the years, I've heard rumors that in his lifetime Bernstein had stopped attempts to record or revive the show because he had borrowed so much of the score for other projects.

Now we have The White House Cantata. It is a brave attempt, but in terms of recreating 1600 Pennsylvania Avenue it is more of a failure than the original show. I love Thomas Hampson and June Anderson on the opera stage, but 1600, like West Side Story, Candide and the other Bernstein shows, was not written as an opera. It was intended to be a bold and brassy Broadway show, and I would give anything to hear it done again by the likes of Ken Howard, Patricia Routledge, Gilbert Price and Emily Yancy.

A mixed but decided blessing........2001-02-03

I'll counter-intuitively start with the bottom line: this album is a delightful listen, and is necessary for serious fans of musical theatre as well as Bernstein admirers.

What precedes the bottom line, though, is less pleasant. This isn't a terribly theatrical recording -- DG chose to eschew singing actors (such as those who were so vibrant in the original production of this failed show) in favor of legitimate singers. Moreover, there is little dialogue preserved (though I admit that I would not like to see any songs omitted to make room for it). As a result, the score comes across much more strongly as music than as a representation of a theatrical event, and some of the lyrics aren't given their full due.

But it's still hard to dislike the album. June Anderson has been roundly criticized for her First Lady, but she's very good on all of the songs that don't require her to excel at comedy. The showstopper "Duet For One" does have such a requirement, but as it has already been brilliantly recorded by Judy Kaye, Anderson's botch job is less of a tragedy.

The other lead, Thomas Hampson, is a fine singer with real presence on his major numbers. Everyone else in the cast does well enough, and the technical elements of the recording are fine.

Tracks:

The Lea-Rig
My Collier Laddie
O, This Is No My Ain Lassie
My Nanie, O
Fragment
The Posie
The Mill, Mill O
O, Were I On Parnassus Hill
The German Lairdie
The Battle Of Sherra-Moor
Lament Of Mary Queen Of Scots
You're Welcome, Willie Stewart
Killiecrankie
Galloway Tam
Strathallan's Lament
The Fornicator
Here's To Thy Health
Last May A Braw Wooer
Gloomy December
Jamie, Come Try Me
The White Cockade
The Cardin O't
Sandy And Jockie
Hey, Ca' Thro'

Customer Reviews:

The penultimate disc in a superb set of Burns!.......2000-01-29

Volumes 5 & 6 pick up where the previous two discs left off. (Was there no end to Robert Burns's genius at songwriting? Apparently not.) Play this disc and warm the cockles of your heart.

Average customer rating:

Symphonic Sousa!
Superb Sousa - Strictly Speaking
More Than Spectacular!!

Strictly Sousa

Manufacturer: Reference Recordings
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Marches | Miscellaneous | Styles | Music
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Fennell Conducts Sousa
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ASIN: B00005JI2X
Release Date: 2001-06-05

Tracks:

Solid Men To The Front!
The Black Horse Troop
Hands Across The Sea
Nobles Of The Mystic Shrine
The Prides Of The Wolverines
Semper Fidelis
The Glory Of The Yankee Navy
Easter Monday On The White House Lawn
Manhattan Beach
Salute To Kansas
The Liberty Bell
The Gallant Seventh
El Capitan
The Rifle Regiment
The Washington Post
The Picadore
The Thunderer
King Cotton
The Stars And Stripes Forever
The Star-Spangled Banner
The Liberty Bell, "Tritone"
Musicians Reaction

Customer Reviews:

Symphonic Sousa!.......2007-05-12

This recording is unique. I've heard lots of march recordings, and the Dallas Wind Symphony takes a different approach. This is real music. Sousa was a great composer and this recording gets him out of the oom-pah crash-crash rut. There's subtlety here, variations, detail, and the recording itself shows it all with great dynamic range. It's as if Beethoven met Sousa in Dallas.

Superb Sousa - Strictly Speaking.......2007-02-16

Absolutely love this CD! A great collection of my favorite marches and it is well done by this orchestra. My only issue with it is that I was expecting better sound dynamics. The whole CD seems quiet to me. When I used to play marches in the school band I was used to the thunderous, booming crescendos! Eh, I just turn it up louder! Also, my 8-month old son loves this CD. He perks right up and claps when I put it on.

More Than Spectacular!!.......2001-07-24

When I purchased this CD, I did not know what to expect (this is the first CD I purchased with only marches on it). But, I knew if it was from Reference Recordings, the sound would be spectacular! Spectacular marches from a spectacular bandmaster from a spectacular recording label equals something much more than spectacular, to say nothing of the spectacular performances of the Dallas Wind Symphony! To describe this HDCD as a toe-tapper is setting the bar far too low. Listening to just a few of these marches can change a gloomy day to sunny - and I mean it! These marches are impeccably played with such verve and gusto that you are transported right to Main Street USA. And all this marching emotion is captured as faithfully as possible by the "Professor" Keith O. Johnson of Reference Recordings.

If this CD does not get your heart pumping, better call 911!

Tracks:

What Time Is Love? [LP Mix]
Make It Rain
3 A.M. Eternal [Live at the S.S.L.]
Church of the KLF
Last Train to Trancentral [Live from the Lost Continent][Mix]
Build a Fire
White Room
No More Tears
Justified and Ancient

Customer Reviews:

The KLF are underrated in the US.......2006-06-03

They are very much seen just as another late eighties/early nineties club band, along the lines of 2 Unlimited. A latter day example of what kind of band they are seen as would be Basement Jaxx or Fatboy Slim. Innocuous, fun music that critics and serious music fans don't take seriously.

However, their music is quite good and subtle. Plus there's the fact that they were absolutely crazy and scary weird.

Justified and ancient.........2004-04-04

This album was sort of an underrated classic of the early 90's. The most noteable tracks are probably the KLF Theme ( I think it's called justified and ancient ) and "Doctor Who and the Tardis" which contains an amusing sample of Gary Glitters "Rock and Roll". It's sort of tounge and cheek, the album owes a lot to the literary influence of Robert Anton Wilson, author of the classic "Illuminatus!" Trilogy ( conspiracy nuts, like myself, will recognize references to various secret societies in the lyrics. Such as the J.A.M.'s and the A.A.A. ).

It's a fun CD loosely in the vein of other post rock/ post punk reactionaries ( like B.A.D the Mick Jones follow-up to the clash, Age of Chance, and later progenitors like the Shamen ). If you like that stuff, you'll like this. Although, it doesn't get 5 stars in my book because it just didn't have the lasting appeal of albums like B.A.D.'s "medicine show" or Age of Chance's "1000 years of trouble" ( which is impossibly rare to find, and utterly the best of it's kind. Innovative to this day! ). Still White Room is good and worthy of note, regardless. Anybody interested in a dose of sci-fi influenced early 90's dance music will like it. It's an old nugget.

One of the best there is!.......2004-02-23

I owned this album in high school growing up, and it was my introduction to rock/dance so to speak. They paved the way for groups like Linkin Park & Limp Buscuit. If you're a true fan of Dance, Electronica or Rock, your collection isn't complete without this album!!!

Average customer rating:

A Box Of Brilliance

A Box of Sousa

Manufacturer: Altissimo Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | International | Styles | Music

General | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Marches | Miscellaneous | Styles | Music

General | International | Indie Music | Stores | Music
ASIN: B00005Y7U0
Release Date: 2001-10-16

Tracks:

Semper Fidelis
Presidential Polonaise
Manhattan Beach March
Comrades of the Legion March
Saber and Spurs March
Gridiron Club March
King Cotton March
Easter Monday on the White House Lawn
Who's Who in Navy Blue March
Invincible Eagle March
Excerpts from Mars and Venus
Washington Post March (1890)
Washington Post March (1988)
Stars and Stripes Forever [Live]
Man Behind the Gun
Selections from the Operetta, the Bride Elect
Reine de la Mer
Sound Off
Royal Welch Fusiliers
By the Light of the Polar Star
Beneath the Southern Cross
Mars and Venus
Gallant Seventh
Thunderer March [Historic 1896 Recording]
Fairest of the Fair
Hands Across the Sea
Diplomat
Rifle Regiment
Occidental
Riders for the Flag
Hail to the Spirit of Liberty
High School Cadets
Boy Scouts of America
Picador
Directorate
Black Horse Troop
Nobles of the Mystic Shrine
Beau Ideal
Belle of Chicago
Corcoran Cadets
National Game
Loyal Legion
Liberty Bell
Liberty Bell [Historic 1894 Recording]
Century of Progress
Atlantic City Pageant
Free Lance
Glory of the Yankee Navy
March of the Mitten Men
Minnesota March
Northern Pines
Our Flirtations
Pride of the Wolverines
Solid Men to the Front
White Rose
Bullets and Bayonets
In the Land of the Golden Fleece
Pathfinder of Panama
Liberty Loan
Peaches and Cream
National Fencibles [Historic 1890 Recording]

Album Description

Box Set of 4 CDs by The United States Marine Band.

Customer Reviews:

A Box Of Brilliance.......2004-01-13

Brilliant is a good word for this set of must have band classics, all of these songs are as american as apple pie. Its a must have for any true patriot or band lover. Sousa is the Motzart of the marchign band world and truly this capture so much more than any other collection.

Music Album:

Music Album