| 1. Night of the Mockingbird |
| 2. Taos Rain |
| 3. Black Crow |
| 4. Earth |
| 5. People of Redwood |
| 6. Canyon of Dreams |
| 7. Where Eagles Fly |
| 8. Ascension [Solo Flute Version] |
| 9. In the Land of Dreams |
| 10. Farewell to a Friend |
Editorial Reviews
Paul Brotzman, CEO, Four Winds Trading Company
"John Huling's music has been our #1 bestseller for the last four years!" --This text refers to the Audio CD edition.
Product Description
Drawing upon inspiration from the Desert Southwest, Pacific Northwest, Central Plains, and Eastern Woodlands, John Huling's music takes the listener on a meditative journey for the spirit. Native American flute and gentle drumming with a beautiful array of nature sounds including thunderstorms, brooks and birds make up this excellent collection of music from North America... "In the Land of Dreams" --This text refers to the Audio CD edition.
The Land of Dreams
I decided to buy the album after hearing 'Sail Away' - a friend loaned me the album and I fell in love instantly: his heart stopping clarity, his cynic lover American gaze.. Sail Away, where it's not overly simple, is elegaic and powerful. So, I fell in love with Sail Away and rushed to my computer to order anything else I could find by Randy. My first two orders were this and Randy Newman's first album. The first album SOARS! it's one of my favorite discoveries of the last five years! His orchestral arangements flesh out the simplicity of his vignettes so that each song is a miniature symphony. The lonliness of his voice is made beautiful by the orchestral richness -- and the caterwalling, the wail, really sings in it's infancy. Anyway -- that first album took everything that I loved about Sail Away and magnified it.
Land of dreams is destroyed by its claustrophobic mid 80's production -- the life that is so apparent in his first album here is completely plastic, formless, tired. Listening to the first couple tracks made me immensely sad. The lyrics, too, seem predictibly nemwanesque. It's an attempt at honesty -- I bet the fans at the time loved this -- but it seems so colored, so dramatized, full of smoke and mirrors, I can't help but feel manipulated. This is LA's cookie-cutter Randy Newman. Roll em out, ship em hot. Americans love caricature.
I had the same reaction to a compilation of ray charles duets. The authenticity of Ray's character was pummeled by horrible production -- synth strings, drums machines, big cymbal rolls and glistening chimes -- the drama was overbearing. Mocked the wonderful flaws of Ray's voice. It's like the producers want you to forget that this is a person singing -- this is the same voice this person orders pizza with, yelled at the umpire with... It's aweful karaoki.
Like I said, I haven't made it through the CD. I intend to try again. I'm sorry that I have to put 'stars' to my feelings. I put three stars so that you the reader might not discard this review as cynical, overbearing. But I feel like the recording is unapproachable. It's like watching an interview between Christina Aguilara and Anselm Kiefer -- how painful! How awkward and Painful!
It's interesting to note that on Randy's most recent recording (Songbook vol. 1) which features just Randy at his piano playing through some of his favorite pieces, he plays nothing from this record. I wonder how he feels about this recording.
Well, of course we know what happened. "Land of Dreams" did well enough ("It's Money That Matters" wafted in and out of the airwaves in 1988), but, alas, was not the huge blockbuster some thought it could or should be. Newman went back to his lucrative day job and didn't surface again until 1995's "Faust". In his wake, however, he left a great album.
"Dixie Flyer" and "New Orleans Wins the War" are amongst Newman's best songs. Both talk about his southern American upbringing (both were also produced by Knopfler; his trademark volume-pedal guitar seeps in and out of the mix). "Four Eyes" takes on the subject of childhood cruelty in a sink-or-swim manner imposed by his father. Newman's record of his first taste of reality? The 1980s sythesizers kick in here as well, changing the mood and sound drastically from the first two songs. "Falling in Love" (produced by ELO's Jeff Lynne - so Newman was apparently forgiven for 1979's "The Story of a Rock And Roll Band") and "Something Special" should have put Newman on the charts. Both are uplifting unsappy portaits of that fuzziest of all human emotions. The eerie "Bad News From Home" presents the other side of the story. Nothing special about that love. "Roll With The Punches" reintroduces Newman's famous "Big Jerk" character (the same who sang "Yellow Man", "You Can Leave Your Hat On", "Memo To My Son", "Short People" and many others). It speaks for itself. "Masterman and Baby J" doesn't play too well these days. In 1988 it played like a great parody of the lame pop rap that was just beginning to infiltrate the airwaves. Unfortunately, it hasn't aged well. The same can be said for "Red Bandana". These two tracks are the album's weak spot. "Follow The Flag" presents an empty anthem. Which flag is being followed? The assumption is the American Flag, but why think that? It more reflects on people's tendency to group under a symbol. "It's Money That Matters" sounds a little too real for comfort at times. Lyrically, it now seems a bit too prophetic for its own good. Still a great song. Then the devastating closer: "I Just Want You To Hurt Like I Do". On tv and in concert, Newman often introduces this one as his "We Are The World". He asks the audience to imagine a big line of people, hands joined, all swaying to the rhythm and singing in unison. The song is also amongst Newman's best and most poignant. Whew, what a closer.
Newman closed out the 1980s with incredible style. Unfortunately he did only produce two non-film albums that decade (and went on to do the exact same in the 1990s). Newman never lost it, and still hasn't. One wonders if the sheer paucity of his later output contributes to his continued quality. If so, then the wait between albums was well worth it.
The songs and sounds of the Marx Brothers brought back great memories but the skips in the CD and the overall quality of sound was a bit disheartening. If you love the Marx Brothers then buy this CD for the memories, as for the quality, I would definately think twice.
This CD contains music from two of the Marx Brothers' early Paramount films, "The Cocoanuts" (their first) and "Monkey Business." Since these films were made in the late 1920s and early 1930s, the sound quality isn't the best (and the dialog occasionally carries over in the music), but considering that a CD like this is hard to find, it's certainly worth adding to your Marx Brothers collection. Not only do you get Chico's chord-smashing, finger-accented piano playing, or Harpo's dreamy, beloved harp playing, you get some of the Brothers' comedy bits from these two movies - such as their hilarious Chevalier "impersations" and the immortal "Why-a-duck?" exchange.
Just a tiny bone to pick: Harpo's solo in "Monkey Business" is actually called "I'm Daffy Over You" (written by Chico!), not "Sugar in the Morning" as the CD case says.
Sym. #1: We start off on a high point. This work, subtitled 'Winter Dreams,' is the most immature of the symphonies, relying on much repetition in place of solid sonata development, and at times it's hard to distinguish why this is a symphony and not part of a ballet suite. However, the melodies are gorgeous, and a conductor with real conviction can make the music come across. Abbado spins out the balletic first movement with energy and verve--it makes the often recommended Tilson Thomas version from Boston (on DG) seem overly refined. The lyrical second movement evokes real tenderness, the Scherzo (another balletic movement) skips along lightly but could use more rhythmic emphasis, and the finale, after an Andante lugubre introduction that could be darker, sweeps convincingly into the grand allegro, which has lots of punch and vitality. In all, an excellent performance. After you count in the fine sonics and the gorgeous playing of the Chicago Sym., Abbado outshines all his Western competition, including Karajan, Mehta, and Bernstein in their complete sets.
Sym. #2: Outstandings recordings of the First Sym. are thin on the ground, but not of the 'Little Russian,' which boasts a classic from Giulini (EMI) and a committed reading from Bernstein (Sony). Abbado has a great advantage in outstanding solo parts played with style and commitment by the Chicagoans--you won't hear better from Karajan's Berliners. Rather than aiming for folk-style earthiness, Abbado takes the work to be grander, more symphonically European. In that vein the first movement is convincing and thrilling. But the march that follows is reticent and fussy. The performance is back in form with an energetic, propulsive Scherzo, a total success. The finale is imposingly grand at the outset, rich with brass sonorities, and although the main allegro section sounds a bit fussed over, it has requisite vigor and enthusiasm. In sum, another success, much better played and recorded than esteemed rivals like Dorati on Mercury and Markevitch on Philips.
Sym. #3: The "Polish" Sym. is the problem child, a score so drawn out and balletic (Balanchine based his full-length "Jewels" on it) that few conductors can hold it together symphonically. It doesn't help matters that so much of the music hovers around Andante instead of a vigorous Allegro, or that the harmonies are often ambiguous. Abbado takes the shadowy first movement as a processional, delicately nuanced in the phrasing but moving along. It works well, but the next movement "Alla Tedesca" sounds exactly the same; he hasn't found any contrast in tempo or mood. The third movement, which is yet another shadowy andante, sounds inward and melancholy. By now the wandering nature of the piece has won out; attention begins to wander, to. Abbado doesn't find enough earthiness in the mercurial Scherzo to salvage matters, so we might as well give in and enjoy this as ballet. Tchaikovsky wants the finale to be played "with fire," but Abbado remains at low temperature, smooth and flowing. I've been highly critical here, so let it be said that none of Abbado's Western rivals do any better. Call this attempt to interpret a sprawling ballet-symphony a middling success, with reservations.
Sym. #4: The last three symphonies are meat for every great conductor, needless to say, so Abbado had little chance of rising to the very summit. He competes with himself, in fact, given that his Decca recording of the Fourth with the Vienna Phil. ranks among his best recordings from the Seventies. A good or even very good reading won't do, and that's about all that Abbado gives us. The CSO brass suddenly begin to snarl a bit, a la Solti, and softer passages get fussed over. The first movement fails to cohere convincingly, and one wonders exactly where the interpretation is going. Is this just big-band international Tchaikovsky? On the whole, yes. The oboe solo in the Andante flows by without much individuality or expression, and you realize that this music doesn't mean much to anyone here. The Scherzo is virtuosic without being thrilling. The finale is heavy and not fast enough to raise one's blood, immediately turning tepid in the lyrical second subject. All in all, not an inspired reading. In fact, a definite miss unless you simply must hear the CSO run thorugh its paces.
Sym. #5: Although much loved, the Fifth suffers from repeating the same motive in the first and last movements, as well as repetitive development sections that hammer simple rhythmic patterns over and over. To really succeed, an interpretation must be intense, dramatic, and played with edge of the seat intensity (in a word, the way Mravinsky does it). Abbado starts out with a full, broad statement that isn't premonitory enough (it doesn't promise great things to come), but no one can doubt how detailed and beautiful the playing is. There's a lot to be said for avoiding banality in this music or hollow grandiosity. Add in the outstanding Chicago playing (thankfully less blaring in the brass), and the first movement turns into a real success. Likewise the Andante, which begins with ravishing cellos and a natural, unforced solo horn. Here Abbado moves things along rather quickly, perhaps too much so for the music to tell as expressively as it might. But again, no sentimentality allowed. The waltz Scherzo is weaker in its characterization, coming off as well played but faceless. Up to this point, I've been feeling that Abbado's reading deserves respet, which is confirmed by a sober but full-voiced finale, the place where sentimentality and false heroics lay real traps. In all, I like this Fifth and rate it higher than the Fourth. Those who prefer blood-and-thunder won't agree. This is a Fifth for those who usually avoid the work.
Sym. #6: It's as difficult to produce a truly memorable 'Pathetique' as it is to produce a truly memorable Beethoven Fifth, and yet neither work ever misfires under a good conductor. So the challenge is greatness, pure and simple. Abbado had looming over his head Reiner's acclaimed Sixth with the same CSO in Living Stereo on RCA, a classic. Let's note right off that the playing and recording here are up to Reiner's standards. Reiner was a cool customer, perhaps the greatest technicin of his day. Abbado is cool, too, but without the intensity of a master craftsman. His 'Pathetique' is too loose-limbed at the beginning; one soon realizes that as with the Fourth, he has no pressing thing to say in this music. One episode follows another beautifully, if at times cautiously (E.g., a tepid second subject in the opening movement that needs to soar). The succeeding movements don't change that impression, even though everyone concerned tries to thrill us in the Scherzo, and do. Tchaikovksy's last symphony rises and falls on its tragic finale--I want a wrenching catharsis--but Abbado has decided that pathos is the dominant feeling. He's not alone in that, so if you want less than catharsis, here is a well-played finale that I find unmemorable. In all, I'd place Abbado's Sixth a little higher than the Fourth but well shy of the Fifth.
Overall judgement: I was surprised, given its lackluster reputation, that this is often a spectacular set, full of exciting playing. Abbado has no riveting conception in the last three symphonies, and in fact rises to his best in the First and Second. For overall conviction, I'd buy the Temirkanov set on RCA, but Abbado is more convincing to me than Karajan, and better in the early works than Bernstein. Experienced collectors will already have multiple favorites among the individual suymphonies and won't want a complete set. For them, Abbado's "Winter Dreams" is the overlooked gem.
"John Huling's music has been our #1 bestseller for the last four years!" --This text refers to the Audio CD edition.
Product Description
Drawing upon inspiration from the Desert Southwest, Pacific Northwest, Central Plains, and Eastern Woodlands, John Huling's music takes the listener on a meditative journey for the spirit. Native American flute and gentle drumming with a beautiful array of nature sounds including thunderstorms, brooks and birds make up this excellent collection of music from North America... "In the Land of Dreams" --This text refers to the Audio CD edition.
The Land of Dreams
The Land of Dreams,John Huling,Red Feather,Int'l & World Music,Native American,Pop,World Music
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TV Land Presents: Favorite TV Theme Songs
Cyndi Grecco , and Jones, Jack Manufacturer: Rhino / Wea ProductGroup: Music Binding: Audio CD  Movie Soundtracks
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ASIN: B00006EXIL Release Date: 2002-08-20 |
Tracks:
- I Love Lucy Theme - Wilbur Hatch
- Dragnet - Ray Anthony
- The Twilight Zone - Rod Open
- Bonanza - Al Caiola & His Orchestra
- The Andy Griffith Theme - Earle Hagen
- The Ballad Of Jed Clampett - Earl Scruggs
- The Addams Family (Main Theme) - Vic Mizzy
- Munsters Theme - Jack Marshall
- The Ballad Of Gilligan's Isle - Morton Stevens
- Green Acres - Eddie Albert
- Jeannie - Hugo Montenegro
- Batman Theme - Neal Hefti
- (Theme From) The Monkees - The Monkees
- Star Trek (Main Title & Closing Theme) - The Royal Philharmonic Orchestra
- Mannix - Lalo Schifrin
- Hawaii Five-O - Mort Stevens & His Orchestra
- Theme From The Brady Bunch - The Brady Bunch
- Come On Get Happy - The Partridge Family
- Those Were The Days - Carroll O'Connor
- And Then There's Maude - Donny Hathaway
- Good Times - Jim Gilstrap
- Movin' On Up - Oren Waters
- The Rockford Files - Mike Post
- Them From S.W.A.T. - Rhythm Heritage
- Happy Days - Pratt & McClain
- Making Our Dreams Come True - Cyndi Grecco
- Chico And The Man - Jose Feliciano
- Welcome Back - John Sebastian
- What's Happening!! - Henry Mancini
- Barney Miller - Jack Elliott
- Charlie's Angels - Jack Elliott
- Love Boat Theme - Jack Jones
- Angela (Theme From 'Taxi') - Bob James
- It Takes Diff'rent Strokes - Gloria Loring
- Theme From Dukes Of Hazzard (Good Ol' Boys) - Waylon
- Theme From Magnum, P.I. - Mike Post
- The Theme From Hill Street Blues - Mike Post
- Theme From Dynasty - Bill Conti
- Theme From 'Greatest American Hero' (Believe It Or Not) - Joey Scarbury
- Thank You For Being A Friend - Cynthia Fee
Album Description
TV Land brings you 40 of your favorite evening show theme songs. Highlights include 'Happy Days', 'The Greatest American Hero', 'Dukes Of Hazzard (Good Ol' Boys)', 'Laverne & Shirley', 'I Dream Of Jeanie', 'I Love Lucy', 'Welcome Back, Kotter', 'The Love Boat', 'Hawaii Five-O', 'The Golden Girls' and many, many more. 2002. Rhino.Customer Reviews:
good memories for me and fun "new" songs for my children.......2007-06-27
memories.......2007-02-22
TV Theme Songs.......2007-01-13
TV themes.......2006-07-05
Deja Vu.......2006-02-17
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Land of Dreams
Randy Newman Manufacturer: Reprise / Wea ProductGroup: Music Binding: Audio CD General
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ASIN: B000002LF9 Release Date: 1990-10-25 |
Tracks:
- Dixie Flyer
- New Orleans Wins The War
- Four Eyes
- Falling In Love
- Something Special
- Bad News From Home
- Roll With The Punches
- Masterman and Baby J
- Red Bandana
- Follow The Flag
- It's Money That Matters
- I Want You To Hurt Like I Do
Amazon.com
During the 1970s, singer/songwriter Randy Newman distinguished himself by dodging the prevailing confessional trend that was de rigueur for his peers, preferring to build his songs around richly detailed, often grotesque characters, and taking his story lines from anyone's history but his own. By the late '80s, however, his parallel ambitions as a film composer now yielding a separate, equally distinctive body of work, Newman was relaxed enough to allow introspection: 1988's Land of Dreams spins Newman's childhood sojourn in wartime New Orleans into the wonderful, opening title song and the farcical "New Orleans Wins the War," relives grade school traumas ("Four Eyes"), and offers a bleak portrait of a marriage unraveling on the quietly devastating "Bad News from Home." These songs, and two atypically tender love songs, "Something Special" and "Falling In Love," are as close to autobiography as he's ever gotten. --Sam SutherlandCustomer Reviews:
couldn't make it through (1 star?).......2006-06-17
I decided to buy the album after hearing 'Sail Away' - a friend loaned me the album and I fell in love instantly: his heart stopping clarity, his cynic lover American gaze.. Sail Away, where it's not overly simple, is elegaic and powerful. So, I fell in love with Sail Away and rushed to my computer to order anything else I could find by Randy. My first two orders were this and Randy Newman's first album. The first album SOARS! it's one of my favorite discoveries of the last five years! His orchestral arangements flesh out the simplicity of his vignettes so that each song is a miniature symphony. The lonliness of his voice is made beautiful by the orchestral richness -- and the caterwalling, the wail, really sings in it's infancy. Anyway -- that first album took everything that I loved about Sail Away and magnified it.
Land of dreams is destroyed by its claustrophobic mid 80's production -- the life that is so apparent in his first album here is completely plastic, formless, tired. Listening to the first couple tracks made me immensely sad. The lyrics, too, seem predictibly nemwanesque. It's an attempt at honesty -- I bet the fans at the time loved this -- but it seems so colored, so dramatized, full of smoke and mirrors, I can't help but feel manipulated. This is LA's cookie-cutter Randy Newman. Roll em out, ship em hot. Americans love caricature.
I had the same reaction to a compilation of ray charles duets. The authenticity of Ray's character was pummeled by horrible production -- synth strings, drums machines, big cymbal rolls and glistening chimes -- the drama was overbearing. Mocked the wonderful flaws of Ray's voice. It's like the producers want you to forget that this is a person singing -- this is the same voice this person orders pizza with, yelled at the umpire with... It's aweful karaoki.
Like I said, I haven't made it through the CD. I intend to try again. I'm sorry that I have to put 'stars' to my feelings. I put three stars so that you the reader might not discard this review as cynical, overbearing. But I feel like the recording is unapproachable. It's like watching an interview between Christina Aguilara and Anselm Kiefer -- how painful! How awkward and Painful!
It's interesting to note that on Randy's most recent recording (Songbook vol. 1) which features just Randy at his piano playing through some of his favorite pieces, he plays nothing from this record. I wonder how he feels about this recording.
Genius.......2006-02-19
Newman on the brink of big 1980s success..........2004-12-01
Well, of course we know what happened. "Land of Dreams" did well enough ("It's Money That Matters" wafted in and out of the airwaves in 1988), but, alas, was not the huge blockbuster some thought it could or should be. Newman went back to his lucrative day job and didn't surface again until 1995's "Faust". In his wake, however, he left a great album.
"Dixie Flyer" and "New Orleans Wins the War" are amongst Newman's best songs. Both talk about his southern American upbringing (both were also produced by Knopfler; his trademark volume-pedal guitar seeps in and out of the mix). "Four Eyes" takes on the subject of childhood cruelty in a sink-or-swim manner imposed by his father. Newman's record of his first taste of reality? The 1980s sythesizers kick in here as well, changing the mood and sound drastically from the first two songs. "Falling in Love" (produced by ELO's Jeff Lynne - so Newman was apparently forgiven for 1979's "The Story of a Rock And Roll Band") and "Something Special" should have put Newman on the charts. Both are uplifting unsappy portaits of that fuzziest of all human emotions. The eerie "Bad News From Home" presents the other side of the story. Nothing special about that love. "Roll With The Punches" reintroduces Newman's famous "Big Jerk" character (the same who sang "Yellow Man", "You Can Leave Your Hat On", "Memo To My Son", "Short People" and many others). It speaks for itself. "Masterman and Baby J" doesn't play too well these days. In 1988 it played like a great parody of the lame pop rap that was just beginning to infiltrate the airwaves. Unfortunately, it hasn't aged well. The same can be said for "Red Bandana". These two tracks are the album's weak spot. "Follow The Flag" presents an empty anthem. Which flag is being followed? The assumption is the American Flag, but why think that? It more reflects on people's tendency to group under a symbol. "It's Money That Matters" sounds a little too real for comfort at times. Lyrically, it now seems a bit too prophetic for its own good. Still a great song. Then the devastating closer: "I Just Want You To Hurt Like I Do". On tv and in concert, Newman often introduces this one as his "We Are The World". He asks the audience to imagine a big line of people, hands joined, all swaying to the rhythm and singing in unison. The song is also amongst Newman's best and most poignant. Whew, what a closer.
Newman closed out the 1980s with incredible style. Unfortunately he did only produce two non-film albums that decade (and went on to do the exact same in the 1990s). Newman never lost it, and still hasn't. One wonders if the sheer paucity of his later output contributes to his continued quality. If so, then the wait between albums was well worth it.
Fabulous album.......2004-11-10
Mister Randy Newman.......2004-03-20
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Hitman: Codename 47 / Hitman 2 - Silent Assassin
Jesper Kyd Manufacturer: La-La Land Records ProductGroup: Music Binding: Audio CD Movie Soundtracks
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ASIN: B000A2GP5W Release Date: 2005-08-30 |
Tracks:
- Intro
- Main Title (Extended Version)
- Hong Kong Themes
- Jungle Exploration
- Dark Jungle
- Hotel Themes
- Harbor Themes
- Hospital Themes
- Hotel Music (Early Demo)
- Rainforest (Early Demo)
- Atmosphere Demo
- Main Title (Original Slow Version)
Tracks:
- Hitman 2 Main Title
- Waiting For Action
- Action Begins
- 47 Makes A Decision
- The Penthouse
- Japanese Mansion
- Japanese Snow Castle
- Streets Of India
- Mission In India
- 47 In St. Petersburg
- Trouble In Russia
- Desert Sun
- Arabian Dance
- The Setup
- End Boss
- Slow Ambience
- Fast Ambience
- H2 Exploration
- H2 Action
- Dreams Of Instanbul (Bonus Track)
Customer Reviews:
Pretty Good.......2006-07-29
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Great Hits from Sigmund Romberg
Manufacturer: Pearl ProductGroup: Music Binding: Audio CD Romberg, Sigmund
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ASIN: B000000X26 Release Date: 1992-06-12 |
Tracks:
- The Desert Song: It
- Maytime: Waltz Medley
- Girl Of The Golden West: Who Are We To Say?
- The New Moon: Introduction - Stout Hearted Men - Lover Come Back To Me - Girl On The Prow - Try Her Out At Dances - Wanting You - Softly As In A Morning Sunrise - One Kiss - Finale
- Nina Rosa: The Gaucho March
- The Desert Song: Waltz
- Viennese Nights: Introduction - I Bring You A Love Song - Here We Are - You Will Remember Vienna - Regimental March
- Blossom Time: Song Of Love
- My Maryland: Introduction - Dixie - Boys In Grey - Mother - Silver Moon - Your Land Is My Land
- Bimbo: In Old Granada
- The Desert Song: Introduction - Riff Song - One Flower In Your Garden - Waltz - The Foreign Legion - Romance - One Alone
- Maytime: Farewell To Dreams
- Nina Rosa: Your Smiles, Your Tears
- The New Moon: Marienne
- The New Moon: Softly As In A Morning Sunrise
- Nina Rosa: My First Love, My Last Love
- Viennese Nights: I Bring A Love Song
- The Night Is Young: When I Grow Too Old To Dream
- The Student Prince: Intorduction - Arrival Of The Prince - Serenade - Deep In My Heart, Dear - Drinking Song - Just We Two - Students' March Song
Customer Reviews:
Great Hits from Sigmund Romberg.......2007-01-04
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Cocoanuts/Monkey Business
Manufacturer: Soundtrack Factory ProductGroup: Music Binding: Audio CD General Modern
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ASIN: B00004W0YR Release Date: 2004-04-05 |
Tracks:
- Main Title [From the Cocoanuts]
- Florida by the Sea
- Bell-Hops
- When My Dreams Come True
- "Harpo's Working"/When My Dreams Come True - The Marx Brothers, Harpo Marx
- When My Dreams Come True - The Marx Brothers, Harpo Marx
- Monkey Doodle Doo
- When My Dreams Come True [Orchestral Version]
- Ballet Music
- When My Dreams Come True
- Tale of the Shirt
- Gypsy Love Song - The Marx Brothers, Chico Marx
- When My Dreams Come True/End Title
- Main Title [From Monkey Business]
- Sweet Adeline - The Marx Brothers, Chico Marx, Groucho Marx, Zeppo Marx
- "Tango" - The Marx Brothers, Groucho Marx
- You Brought a New Kind of Love to Me - Maurice Chevalier, The Marx Brothers, Chico Marx, Groucho Marx, Zeppo Marx
- "Incidental Music"
- "Piano Medley" - The Marx Brothers, Chico Marx
- More Incidental Music
- "Dance Music"
- O Sole Mio - The Marx Brothers, Harpo Marx
- Sugar in the Morning - The Marx Brothers, Harpo Marx
- End Title [From Monkey Business]
- "Preparing a Land Auction" [*] - The Marx Brothers, Chico Marx, Groucho Marx
- "Pines Away" [*] - The Marx Brothers, Groucho Marx
Customer Reviews:
Great memories but nothing Remastered here........2006-04-15
The songs and sounds of the Marx Brothers brought back great memories but the skips in the CD and the overall quality of sound was a bit disheartening. If you love the Marx Brothers then buy this CD for the memories, as for the quality, I would definately think twice.
If comedy were still like this . . ........2005-08-20
This CD contains music from two of the Marx Brothers' early Paramount films, "The Cocoanuts" (their first) and "Monkey Business." Since these films were made in the late 1920s and early 1930s, the sound quality isn't the best (and the dialog occasionally carries over in the music), but considering that a CD like this is hard to find, it's certainly worth adding to your Marx Brothers collection. Not only do you get Chico's chord-smashing, finger-accented piano playing, or Harpo's dreamy, beloved harp playing, you get some of the Brothers' comedy bits from these two movies - such as their hilarious Chevalier "impersations" and the immortal "Why-a-duck?" exchange.
Just a tiny bone to pick: Harpo's solo in "Monkey Business" is actually called "I'm Daffy Over You" (written by Chico!), not "Sugar in the Morning" as the CD case says.
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Land of Dreams
Charles Davis Manufacturer: Smalls Records ProductGroup: Music Binding: Audio CD Bebop General
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ASIN: B000O5B4UG Release Date: 2007-04-10 |
Tracks:
- JC
- Moon Nocturne
- How Am I To Know?
- If You Could See Me Now
- Love For Sale
- Some Wandering Bushman
- Strangeness
- We See
- Land Of Dreams
Album Description
"Minton's Playhouse, one of the holiest jazz landmarks in New York, reopened in May for the first time since 1974 ... saxophonist Charles Davis was there over the weekend, playing in a way that few musicians do anymore; he represents something as genuine and worth celebrating as the club itself." -- Ben Ratliff, New York TimesSaxophonist and international jazz star Charles Davis has appeared on classic jazz recordings for over fifty years, in the company of Billie Holiday, Ben Webster, Dinah Washington, Sun Ra, Kenny Dorham, Elvin Jones, and more. He is recognized as one of the great saxophonists in the history of jazz.
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Land of Hopes and Dreams
Mike Rowland Manufacturer: Oreade Music ProductGroup: Music Binding: Audio CD General
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ASIN: B000059PZP Release Date: 2001-03-06 |
Tracks:
- Glimmer Of Hope
- The Dream
- Serenade In G
- Dreamflight
- You Are Near
- Immortal Dawn
- Spirit Within
- A Summer Day
- Land Of Hope
Customer Reviews:
Another Masterpiece.......2001-03-17
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Alive and Well ... Livin' in the Land of Dreams
Larry Gatlin and the Gatlin Bros. Manufacturer: Sony Music Entertain ProductGroup: Music Binding: Audio CD General
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ASIN: B00000DS5P Release Date: 1989-08-18 |
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Tchaikovsky: Symphonies Nos. 1-6; Orchestral Works (Limited Edition)
Manufacturer: Sony ProductGroup: Music Binding: Audio CD All Works by Tchaikovsky
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ASIN: B00006OA67 Release Date: 2002-01-01 |
Tracks:
- Symphony No 1 In G Minor
- Symphony No 2 In C Minor
- Symphony No 3 In D Major
- Symphony No 4 In F Minor
- Symphony No 5 In E Minor
- Symphony No 6 In B Minor
Customer Reviews:
Is Abbado better or worse in Tchaikovsky than his reputation?.......2007-02-17
Sym. #1: We start off on a high point. This work, subtitled 'Winter Dreams,' is the most immature of the symphonies, relying on much repetition in place of solid sonata development, and at times it's hard to distinguish why this is a symphony and not part of a ballet suite. However, the melodies are gorgeous, and a conductor with real conviction can make the music come across. Abbado spins out the balletic first movement with energy and verve--it makes the often recommended Tilson Thomas version from Boston (on DG) seem overly refined. The lyrical second movement evokes real tenderness, the Scherzo (another balletic movement) skips along lightly but could use more rhythmic emphasis, and the finale, after an Andante lugubre introduction that could be darker, sweeps convincingly into the grand allegro, which has lots of punch and vitality. In all, an excellent performance. After you count in the fine sonics and the gorgeous playing of the Chicago Sym., Abbado outshines all his Western competition, including Karajan, Mehta, and Bernstein in their complete sets.
Sym. #2: Outstandings recordings of the First Sym. are thin on the ground, but not of the 'Little Russian,' which boasts a classic from Giulini (EMI) and a committed reading from Bernstein (Sony). Abbado has a great advantage in outstanding solo parts played with style and commitment by the Chicagoans--you won't hear better from Karajan's Berliners. Rather than aiming for folk-style earthiness, Abbado takes the work to be grander, more symphonically European. In that vein the first movement is convincing and thrilling. But the march that follows is reticent and fussy. The performance is back in form with an energetic, propulsive Scherzo, a total success. The finale is imposingly grand at the outset, rich with brass sonorities, and although the main allegro section sounds a bit fussed over, it has requisite vigor and enthusiasm. In sum, another success, much better played and recorded than esteemed rivals like Dorati on Mercury and Markevitch on Philips.
Sym. #3: The "Polish" Sym. is the problem child, a score so drawn out and balletic (Balanchine based his full-length "Jewels" on it) that few conductors can hold it together symphonically. It doesn't help matters that so much of the music hovers around Andante instead of a vigorous Allegro, or that the harmonies are often ambiguous. Abbado takes the shadowy first movement as a processional, delicately nuanced in the phrasing but moving along. It works well, but the next movement "Alla Tedesca" sounds exactly the same; he hasn't found any contrast in tempo or mood. The third movement, which is yet another shadowy andante, sounds inward and melancholy. By now the wandering nature of the piece has won out; attention begins to wander, to. Abbado doesn't find enough earthiness in the mercurial Scherzo to salvage matters, so we might as well give in and enjoy this as ballet. Tchaikovsky wants the finale to be played "with fire," but Abbado remains at low temperature, smooth and flowing. I've been highly critical here, so let it be said that none of Abbado's Western rivals do any better. Call this attempt to interpret a sprawling ballet-symphony a middling success, with reservations.
Sym. #4: The last three symphonies are meat for every great conductor, needless to say, so Abbado had little chance of rising to the very summit. He competes with himself, in fact, given that his Decca recording of the Fourth with the Vienna Phil. ranks among his best recordings from the Seventies. A good or even very good reading won't do, and that's about all that Abbado gives us. The CSO brass suddenly begin to snarl a bit, a la Solti, and softer passages get fussed over. The first movement fails to cohere convincingly, and one wonders exactly where the interpretation is going. Is this just big-band international Tchaikovsky? On the whole, yes. The oboe solo in the Andante flows by without much individuality or expression, and you realize that this music doesn't mean much to anyone here. The Scherzo is virtuosic without being thrilling. The finale is heavy and not fast enough to raise one's blood, immediately turning tepid in the lyrical second subject. All in all, not an inspired reading. In fact, a definite miss unless you simply must hear the CSO run thorugh its paces.
Sym. #5: Although much loved, the Fifth suffers from repeating the same motive in the first and last movements, as well as repetitive development sections that hammer simple rhythmic patterns over and over. To really succeed, an interpretation must be intense, dramatic, and played with edge of the seat intensity (in a word, the way Mravinsky does it). Abbado starts out with a full, broad statement that isn't premonitory enough (it doesn't promise great things to come), but no one can doubt how detailed and beautiful the playing is. There's a lot to be said for avoiding banality in this music or hollow grandiosity. Add in the outstanding Chicago playing (thankfully less blaring in the brass), and the first movement turns into a real success. Likewise the Andante, which begins with ravishing cellos and a natural, unforced solo horn. Here Abbado moves things along rather quickly, perhaps too much so for the music to tell as expressively as it might. But again, no sentimentality allowed. The waltz Scherzo is weaker in its characterization, coming off as well played but faceless. Up to this point, I've been feeling that Abbado's reading deserves respet, which is confirmed by a sober but full-voiced finale, the place where sentimentality and false heroics lay real traps. In all, I like this Fifth and rate it higher than the Fourth. Those who prefer blood-and-thunder won't agree. This is a Fifth for those who usually avoid the work.
Sym. #6: It's as difficult to produce a truly memorable 'Pathetique' as it is to produce a truly memorable Beethoven Fifth, and yet neither work ever misfires under a good conductor. So the challenge is greatness, pure and simple. Abbado had looming over his head Reiner's acclaimed Sixth with the same CSO in Living Stereo on RCA, a classic. Let's note right off that the playing and recording here are up to Reiner's standards. Reiner was a cool customer, perhaps the greatest technicin of his day. Abbado is cool, too, but without the intensity of a master craftsman. His 'Pathetique' is too loose-limbed at the beginning; one soon realizes that as with the Fourth, he has no pressing thing to say in this music. One episode follows another beautifully, if at times cautiously (E.g., a tepid second subject in the opening movement that needs to soar). The succeeding movements don't change that impression, even though everyone concerned tries to thrill us in the Scherzo, and do. Tchaikovksy's last symphony rises and falls on its tragic finale--I want a wrenching catharsis--but Abbado has decided that pathos is the dominant feeling. He's not alone in that, so if you want less than catharsis, here is a well-played finale that I find unmemorable. In all, I'd place Abbado's Sixth a little higher than the Fourth but well shy of the Fifth.
Overall judgement: I was surprised, given its lackluster reputation, that this is often a spectacular set, full of exciting playing. Abbado has no riveting conception in the last three symphonies, and in fact rises to his best in the First and Second. For overall conviction, I'd buy the Temirkanov set on RCA, but Abbado is more convincing to me than Karajan, and better in the early works than Bernstein. Experienced collectors will already have multiple favorites among the individual suymphonies and won't want a complete set. For them, Abbado's "Winter Dreams" is the overlooked gem.
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Scandinavian Songs and Ballads
Manufacturer: Gala ProductGroup: Music Binding: Audio CD All Works by Sibelius
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| Stenhammar, Wilhelm
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ASIN: B000001XMM Release Date: 2000-06-06 |
Tracks:
- You Are Near Me In My Dream
- Bacchanal
- Little Princess
- Sweden, Op. 22:2
- A Ballad About Lamech's Sons
- A Ballad About The Jester And Death
- A Ballad About Good Sleep
- You Are Near Me In My Dreams
- Black Roses, Op. 36:1
- Sigh, Rushes, Sigh Op. 36:4
- En svane, Op. 25:2
- Thou Blessed Land
- The Diamond On The March Snow
- The Tryst, Op. 37:5
- Among The High Fir Trees In The Forest, Op. 5:4
- The Enchanted Lake
- Evening Mood
- Toward The Sea
- Visions
- The Enchanged Lake
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