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| 1. Barcelona |
| 2. Snake Heads |
| 3. Bullet Proof |
| 4. Johnny Morris |
| 5. Hay Stack |
Editorial Reviews
Product Description
Debut EP from these Londoners who are being compared with the American New West sound (i.e. Lambchop,Ryan Adams, etc..).On the track 'Johnny Morris' UNCUT says, '...the songs haunting trombone solo is easily the saddest since Robert Wyatt's 'Shipbuilding'. 'There's no irony in the lyrics I write...they're all pretty much straight from the heart' so says the lead singer Alex. Released on the Narwhal label. Tracks, 'Barcelona', 'Snake Heads', 'Bullet Proof', 'Johnny Morris' and 'Hay Stack'. 2000 release. Digipak.
I also recommend Charlotte Church - (in her earlier career) - including Voice of an Angel and her self-titled album. I also recommend Love Changes Everything - The Andrew Lloyd Webber Collection Vol.2 - just another grouping of Webber's classics. I also recommend Andrea Boucelli - he's awesome!
Among the most creative and imaginative musicians in the last generations, Liebert must be included in the most representative lists. His creativeness and above all his powerful vision in what it concerns to the necessary oxygen the Flamenco needed, was intuited by him and so dedicated all his energies in search of its renovation, achieving a remarkable success.
To my mind the most interesting tracks of this valuable album are: Heart still beating, Barcelona nights, Santa Fe, Isla del sol, Bullfighter's dream and La Rosa Negra, but there is not any minor track.
If you really are searching for new inspiration motives and creative sounds, this album is a must for you.
But their debut album "Let Me Introduce My Friends" is nothing like Spanish music. Instead, this lovable, enormous Swedish band sounds sort of like a cross between Architecture in Helsinki and the Polyphonic Spree -- sunny, twinkly, shimmery pop music.
It opens with Emanuel Lundgren drawling, "Daaaaaaamn!/Oversleeping again/Daaaaaaaaamn!/I can't believe I did it once again." He then describes what he'll have to do to "make it on time." It's a mundane topic for a pop song, but it's framed with a sparkling pop tune full of catchy guitar, twinkly xylophone and the occasional bell chime.
The songs that follow are in the same mold -- the lyrics are about confusion, chicken pox, broken hearts, stamp collecting, and finding a spot for the perfect treehouse. And the songs wrapped in them are just as charming: folky pop, driving guitars, twee little sugarpuffs, shimmery bell-augmented pop, and the sprawling orchestral sound of "Olakola."
"Let Me Introduce My Friends" is basically pop for people who like bands with a slightly sugary sound, but a pleasant melody as well. "Let Me Introduce My Friends" is basically all sunshine, spring grass and childlike fun -- very charming.
You can't really single out any band members, since there are almost thirty of them, but the instrumentation is nicely polished and solidly played. The songs are wrapped in unstoppable swirling riffs, banjo, solid percussion, sweeps of wobbly and/or sputtering synth, rattling bells and what sounds like a xylophone.
Lundgren has a nice smooth voice, although at times he sounds a bit like he's singing a nursery rhyme. The lyrics are a bit short and simplistic, but they do admittedly sum up the childlike enthusiasm of the music ("You know I can't believe I'm telling everyone that I know/That every stamp in my collection is a place we could go!").
"Let Me Introduce My Friends" has rather simple songwriting, but deliciously twee pop and some solid, catchy tunes. Nice, unpretentious fun.
But besides that this cd is very good. With manye nice and difficult songs (I've sung some of the myself in siningclass).
So if you like Andrew's music this most sertanly is a most have.
Some examples: this version contains Memory sung by Betty Buckley while the Elaine Page version is light years better. Then it contains Patti Lupone's version of Don't Cry For Me Argentina. Even though Madonna wasn't the best Evita, she definitely sung Argentina in a way no-one could before or will ever. Whistle Down The Wind is represented with 3 songs - the place of the Tom Jones song is not here (the same could be said of Tina Arena's song o the European edition). Instead of the TJ song they could have included Take That Look Off Your Face by Marti Webb - one of the best songs by Webber. Pie Jesu from the Requiem is much better sung by Sarah Brightman. These are the faults.
What about the rest? Pure joy and material worth of 6 stars. Superstar, Phantom Of The Opera, Music Of The Night, I Don't Know How To Love Him, All I Ask Of You, No Matter What, Oh What A Circus - wonderful songs and wonderful performers. My all-time favorite from Webber will always be Music Of The Night and the version included here is the mesmerizing adaptation of Michael Crawford.
I don't advise anyone not to buy this album - it's good material, however it's far from being perfect.
So here are my thoughts about the tracks in this one:
1. "Superstar" and "I don't know how to love him" are both from the concept album of "Jesus Christ Superstar". They sound wonderful as ever, although the orchestrations may seem a bit dated by now.
2. "Sunset Boulevard" is marked here with two songs. Barbra Streisand's powerful voice shines all the way through in "As if we never said goodbye"; it's a shame she never played Norma Desmond on Broadway, since Patti LuPone wasn't allowed to take her Norma to New York, and Glenn Close butchered the role. Her limited vocal abilities were hardly suited for the material, as it is shown by the second Sunset song, "The perfect year", performed by Close and Alan Campbell. They both lack a decent singing voice, so this is the one song I skip regularly. The song itself sounds much better in its single version with pops orchestration, as can be heard on the European version of this compilation, where it is performed by Dina Carroll. This version here can hardly be considered a gold one.
3. "The Phantom of the Opera" is represented by three songs. Michael Crawford and Sarah Brightman performance in the song of the same title is amazing. They were both born to play their roles in this show and their voices fit together perfectly. Sarah can hit the high notes in the end like no other Christine. Cliff Richard and Sarah sing the lovely ballad "All I ask of you" with passion, and Cliff has a wonderful warmth in his voice. Finally, Michael Crawford gives his unique and mesmerising interpretation in "The music of the night".
4. The 1996 movie version of "Evita" is Madonna's best role to date and it brought an Academy Award for Lloyd Webber and Tim Rice, who wrote "You must love me" especially for the big screen. This is another wonderful ballad with the haunting cello and piano solo. It just proves that Lloyd Webber and Tim Rice were the best collaborators. They really should do another musical together.
5. "The Joseph and his amazing Technicolor dreamcoat" was Webber's first musical and the signature song "Any dream will do" is performed here by Donny Osmond, who also appeared in the video version. I find his rendition even better than London's Jason Donovan, since Donny isn't strictly bound by the notes and so sings it more casually. A wonderful pop piece.
6."Memory" from "Cats" is probably the most famous of all Webber's songs, recorded by numerous artists. This version is sung by Betty Buckley, who was Broadway's Grizabella. Although Betty's performance can't be considered bad, I prefer Elaine Paige, who sung the song first, in the London production. Elaine has a note of sorrow in her at times husky voice, which I found very intriguing. Her performance can be considered definite, as heard on "Cats" DVD or in her latest two-disc compilation, "Centre stage: The very best of Elaine Paige", issued in May 2004. Still, those who prefer Ms. Buckley or who saw her on stage in this role won't be disappointed.
7. "Pie Jesu" is the best known song from Webber's "Requiem", written in 1985 to commemorate the death of his father. I'm not too keen on the version included here, performed by Charlotte Church, because her voice isn't as pretty as Sarah Brightman's on the original recording and the tempo is somewhat faster here.
8. "Don't cry for me Argentina" is among my all-time Lloyd Webber's favourites. I like all the ladies who performed "Evita" on the stage and on the screen (Julie Covington, Elaine Paige, Patti LuPone and Madonna), but on this disc is the version I am most satisfied with, since it is sung by Patti LuPone. Ms. LuPone has a very powerful voice with an amazing range and she deserved her Tony Award for this role. She was able to sound both vulnerable and decisive while singing this, whereas the other leading ladies emphasized one or the other in their interpretation. Mandy Patinkin's "Oh what a circus" is not the best, the orchestration is a little bit weak and his voice sounds thin to me. David Essex on the London cast recording is more suitable.
9. "Aspects of love" boast here with its top song, "Love changes everything", performed wonderfully by Michael Ball. It was his #1 hit and is probably one of the most beautiful love anthems ever written.
10. Three songs come from "Whistle down the wind". The studio release of the same title is one of the reasons I bought this compilation, although I already have the European one. It is performed by Sarah Brightman with Lloyd Webber playing the piano and a symphonic orchestra who nicely takes the lead of the main melody. Sarah voice is angelic; she sings it like a little bird. Very charming. Boyzone's "No matter what" was a huge pop hit in the charts. Again, we have a song with the suitable orchestrations and vocals. And lastly, Tom Jones' deep voice in combination with the back vocals of "The Sounds of Blackness" gives a rocking rendition of the church hymn "The vaults of heaven". It can't be found on the European version and Tom's voice shows it hasn't aged. Way to go.
11. For the 1992 Barcelona Olympics, Webber wrote, together with his long-time lyricist Don Black, this last song, "Amigos para siempre or Friends for life". It's a nice duet between Sarah Brightman and Jose Carreras, their voices sore when bound together. The melody itself is neat, especially when the orchestra takes the lead.
Besides the fact that some of the performers here were not the best for my taste, there is also the fact that some of Lloyd Webber's shows are omitted in this version, most notably, "Tell me on a Sunday". Also, unlike its European counterpart, this compilation isn't aligned chronologically, so we have 1970 Superstar being the first song, 1993 Sunset Blvd comes the second, followed by The Phantom from 1986 and so on. None the less, this CD is excellent as an introduction to Lloyd Webber's music and one can continue with his cast recordings from there. It's also very handy as a single disc compilation for the American fans.
When all is said and done,however, I hope more people will come to know and love opera through his music.
First of all, I bought this CD never having heard of Mr. Watson--I just liked the looks of it and thought I'd give it a try. So my perception was based solely on what the CD offered. And I liked it! Both the first time and the next several times. (If I want to get analytical, I can find flaws here and there, but somehow I always enjoy hearing it. Period.)
Why do I like it? For a starter, the performances are musical, interesting, exciting, and aesthetically appealing--and that's my first test of quality. (What good is the greatest, most refined, rendition if you find your attention wandering?) Next, I think Watson's musical instincts (and those of whoever else assisted in creating this CD) are pretty much dead-on. There isn't one track I don't like, though some are clearly my favorites.
OK, the operatic bits don't sound like Pavarotti or Domingo, whom I also love very much. So what? Who says there has to be only one way to do an aria? This music is good enough to support a variety of interpretations. (Now if I could only afford one CD, I'd have to be more demanding.)
This is music for regular people, not necessarily for the elite, and I'm enough of a musical democrat to welcome it. If Watson didn't emerge from a high-class musical background, but still found his way to this music, I say more power to him! He must have an inborn feeling for it, and enough of a voice to perform it convincingly.
We've known a few other tenors from humble musical settings who've risen to popular acclaim (e.g., Mario Lanza). They happen to hear some fine tenor singing and find they can imitate it, and not too badly. With a little encouragement they keep at it, take a few lessons, and soon they're on their way. Where they go from there depends on talent, luck, and choices. I don't know where Watson's career will go in the long run, but I like this initial CD (and the two or three following it).
One concern I felt in listening to "The Voice" was for the voice itself. It seemed to me that Watson might have been forcing it too much, in heroically belting out those high notes. From what I now read, that concern was well founded, for Mr. Watson has had to undergo throat surgery. I hope his recuperated voice will retain the excitement and charm we have grown accustomed to and will serve him (and us) for many years.
Opera purists are a dying race. Making opera accessible to other people is not a crime. I have been brought up in a house filled with music, quite a lot of opera. And I do not think that making opera more accessible is a bad thing. Bringing a more youthful image to opera is a very positive thing. We are seeing a whole generation of artists with wonderful voices, ridding opera of its middle aged image.
Bravo, Russell! You're doing a great job.
PS: Opera purist, I can assure you Russell does not spend a sleepless night on account of your whining. So I suggest you learn to deal with the new youth of opera.
Some critics are hard on him for pandering to the pop aspects of modern operatics, but I wouldn't call him a sell out at all, as he certainly has the vocal skills to back up his commercial appeal.
Caballe of course is spectacular, though definitely not annoying or screechy as (in my experience) some opera can be. She functions as the perfect partner in crime for Mercury as they both held each other in awe and reverance, even after they became acquainted.
Every song is complex, layered and utterly brimming with emotion. Though Mercury went on to record two more albums with Queen (with Innuendo being one of the best of the entire Queen catalog), Barcelona stands in my mind as his crowning musical achievement.
In a compilation of songs like this you're always going to have tracks that you prefer over others, but the majority of the renditions in this CD are great. This is simply one of the best collections of Sondheim out there. You get interpretations that span from "classical" (Green Finch), to bordering on insane (Anything Twice). This is to demonstrate how versatile this composer really is.
In my opinion, some of the best renditions are "Not a Day Goes By," "Anyone Can Whistle", "Girls Upstairs Medley," "Losing My Mind/Drive a Person Crazy," and "Weekend inthe Country." Makes me wish I had been there to witness it first hand.
If you love Sondheim and enjoy hearing Broadway performers, get this CD. A great recording.
Yup, most of the songs are extremely Indian in flavor. I did not get this CD set with the hopes of hearing Spanish sung to Indian beats and with Indian inflections/vocal modulation. But that's what this is. A friend of mine who is a native Spanish speaker even attested some of the vocals, while Spanish, were actually tinged with an Indian accent. Couldn't this collection have had music actually from Spain?
If you have hopes for something guitar flavored or merely Spanish in the most stereotypical of senses, steer far from this. The Argentinian and Red Eye Frequent Flyer collections are not bad, however, and true to their titles.
Streisand's rendition of MEMORY has always been my favorite version of the song outside of the show...Betty Buckley's is my favorite within the show. I am a Streisand afficiando, and this is my FAVORITE Streisand song period..so it must be good...
Michael Ball singing anything is wonderful...It captures the wonderful feeling of being on a cloud when you listen to this album
As most Global Underground fans are aware, these compilations are saturated with techno and trance. Enter Mr Lavelle with his in-your-face break beats and trippy electronica. Definitely different from the previous 22 Global Underground releases...gutsy and appreciated.
My only gripe with this two disc set is how ordinary the second disc is. Disc 1 is powerful and easily tells the tale of Lavelle's careful track selection and layout. He really wanted this album to be special and I truly believe that half of it is!
Unlike most Global Underground compilations for the city series, the first disc is usually lighter and more mellow while the second has a little more oomph. The opposite holds true with this album. The second disc loses the intensity of the first...and to be frank, is a little dull and monotoneous in its track selection.
Disc 1 gets 4/5 stars while disc 2 gets 3/5.
CD1 starts with a DJ Shadow tune running into a wicked groove by Leftfield with rapping by Roots Manuva, soon easing into a tune from Sasha's Airdrawndagger. This one is all over the board yet there is a steady groove underneath it all with solid mixing and song transitions. Somehow it works.
CD2 follows a similar notion with a similar mix of styles from Meat Katie onto a heavily laced beat propping up Dead Prez's refrain of "still bigger than hip-hop" rocking back into a cool groove from Lee Burridge ending on a high note by tossing in a rock and roll song with a mindbending take on 'There Goes the Fear' from Doves.
It's a mix that keeps the listener busy, especially with headphones, as sirens, airplanes, chirping crickets and other background noises give your brain a tweak. Genre busting and really good stuff.
2000man
75% of this mix is absolutely flawless, even the breaks/prog disc 2. You can really tell maybe Lavelle has put more effort into his mix than previous gu djs because he actually uses some of his own production in the mix to astounding effect. If you've maybe grown a little weary of the usual trendy swooshing mix than this mix will restore your faith. Gracias, Mr. Lavelle.
Debut EP from these Londoners who are being compared with the American New West sound (i.e. Lambchop,Ryan Adams, etc..).On the track 'Johnny Morris' UNCUT says, '...the songs haunting trombone solo is easily the saddest since Robert Wyatt's 'Shipbuilding'. 'There's no irony in the lyrics I write...they're all pretty much straight from the heart' so says the lead singer Alex. Released on the Narwhal label. Tracks, 'Barcelona', 'Snake Heads', 'Bullet Proof', 'Johnny Morris' and 'Hay Stack'. 2000 release. Digipak.
Barcelona,Lincoln,Import [Generic],Pop,Popular Music,Rock,Rock/Pop
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The Andrew Lloyd Webber Collection
Manufacturer: Decca Broadway ProductGroup: Music Binding: Audio CD  Requiems
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ASIN: B00000I0XW Release Date: 1999-06-01 |
Tracks:
- The Phantom Of The Opera: The Phantom Of The Opera
- Song & Dance: Unexpected Song
- Aspects Of Love: Chanson D'enfance
- The Phantom Of The Opera: All I Ask Of You
- Evita: Don't Cry For Me Argentina
- Evita: Another Suitcase In Another Hall
- Aspects Of Love: Love Changes Everything
- Friends For Life
- Cats: Memory
- Cats: Gus: The Theatre Cat
- Aspects Of Love: Anything But Lonely
- Cats: Macavity: The Mystery Cat
- Tell Me On A Sunday/Song & Dance: Tell Me On A Sunday
- The Phantom Of The Opera: Wishing You Were Somehow Here Again
- Requiem: Pie Jesu
- The Phantom Of The Opera: The Music Of The Night
Amazon.com essential recording
Sarah Brightman's career was launched by her success in Andrew Lloyd Webber's Phantom of the Opera, so it's no surprise to hear the soprano paying homage to the composer on this disc. Really a Brightman best-of, the album includes the Phantom theme (a duet with Michael Crawford), the light-opera fare of "Chanson D'enfance" from Aspects of Love, "Don't Cry for Me, Argentina" from Evita, and numerous other Lloyd Webber classics. Throughout, Brightman's diminutive voice lends a fragility to these musical theater tunes that you'll either love or despise. On Evita's "Another Suitcase, Another Hall" and Cats' "Memory," she literally chirps through the vocal lines. No matter. The growing legion of Brightman fans wouldn't have it any other way. --Jason VerlindeAlbum Details
Another Compilation of Stage Favourites - Some Tracks Are Hard to Find Elsewhere.Customer Reviews:
The Andrew Lloyd Weber Collection.......2007-05-12
Andrew Lloyd Webber .......2007-02-12
The Andrew Lloyd Webber Collection.......2007-01-05
The Best You'll See from Sarah.......2006-09-09
I also recommend Charlotte Church - (in her earlier career) - including Voice of an Angel and her self-titled album. I also recommend Love Changes Everything - The Andrew Lloyd Webber Collection Vol.2 - just another grouping of Webber's classics. I also recommend Andrea Boucelli - he's awesome!
The Angel of Music.......2006-03-13
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Barcelona Nights: The Best of Ottmar Liebert, Vol. 1
Ottmar Liebert Manufacturer: Higher Octave ProductGroup: Music Binding: Audio CD Germany
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ASIN: B000059T5L Release Date: 2001-02-27 |
Tracks:
- Barcelona Nights
- Santa Fe
- Isla Del Sol
- Bullfighter's Dream
- In The Hands Of Love
- Heart Still/Beating
- Driving 2 Madrid (B4 The Storm)
- August Moon
- Dancing Under The Moon
- Festival (Of 7 Lights)
- La Rosa Negra
- 2 The Night
- Borrasca
- Bajo La Luna Mix
Amazon.com
This compilation project's official title is already long enough, but for true accuracy it should read, The Best of Ottmar Liebert's First Two Recordings, Volume 1. Barcelona Nights strings together the more upbeat and animated selections from his two earliest recordings, Nouveau Flamenco (his famed debut) and Borrasca (plus one track, "Festival," from Poets and Angels). The package serves as the first installment in a two-disc series; the subsequent Surrender to Love will patch together romantically inclined selections of those early 1990s recordings. It's the same music, but with different sequencing and different packaging. As such, it offers graceful and pleasant listening, though the similarity in tempos gives the disc a slightly homogenous feel. Many like-minded guitarists have traveled the path that Liebert originally blazed, and Barcelona Nights offers an appealing reminder of the qualities that elicited such a huge initial reception: nimble, articulate fingerwork; charming, uncomplicated melodies; and just enough flamenco authenticity to convince maturing pop listeners that they had discovered something exotic. Highlights include the beckoning cheer of the well-known title track, and the earnest, uplifting energy of another early hit, "Heart Still/Beating." --Terry WoodCustomer Reviews:
Great High Octave Guitar Jazz.......2006-08-24
If you are looking for new sounds come and get it!.......2006-06-12
Among the most creative and imaginative musicians in the last generations, Liebert must be included in the most representative lists. His creativeness and above all his powerful vision in what it concerns to the necessary oxygen the Flamenco needed, was intuited by him and so dedicated all his energies in search of its renovation, achieving a remarkable success.
To my mind the most interesting tracks of this valuable album are: Heart still beating, Barcelona nights, Santa Fe, Isla del sol, Bullfighter's dream and La Rosa Negra, but there is not any minor track.
If you really are searching for new inspiration motives and creative sounds, this album is a must for you.
Very nice music, Ottmar is very talented!.......2004-02-09
Don't bother........2004-02-01
Cross-pollination angers Nationalists.......2003-09-30
In my estimation, Flamenco has always been an art form influenced by many different forces and subject to change and evolution. Why is there such a nationalistic pride among many of its fans that ends up precluding such visionaries as Liebert, who have devoted their lives to making wonderful music, from taking part? Is it because he is not 100% Spanish?
The same exclusionary mentality that wants to limit Flamenco works well in Bible music in the South. The irony is that a Latin talent is often more welcome in other genres than a Gringo's is to Flamenco. The entire genre of Flamenco suffers much more from exclusionary thinking than it does from cross-pollination. How sad that such a beautiful art form is tainted by control freaks. Those of you who bash the likes of Liebert bash one who is intensely accomplished and pays such homage and utmost respect (not to mention commercial attention and longevity) to the art form. Very sad, indeed. You should be bashing Ricky and Enrique first!
Those of you who are so close-minded (You're probably ignoring me because of my Gringo status, anyway) should check out a really cool blue grass band I know. You'll be made to feel much more welcome than Liebert has in the wild world of Flamenco "purists."
This album is a wonderful collection of soulful, technically masterful sounds from a true visionary who pays the highest tribute to Spanish guitar by infusing it with fresh blood and vouchsafing its wonders to the masses. And it's better quality Flamenco than lots of other stuff on the market! Oh, sweet blasphemy! This is no dilettante - this man lives and breathes his music.
Other genres should only be so lucky!
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Let Me Introduce My Friends
I'm from Barcelona Manufacturer: Mute U.S. ProductGroup: Music Binding: Audio CD General
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ASIN: B000MQ55GQ Release Date: 2007-03-20 |
Tracks:
- Oversleeping
- Collection Of Stamps
- We're From Barcelona
- Treehouse
- Jenny
- Ola Kala
- Chicken Pox
- Rec & Play
- This Boy (feat. Loney, Dear)
- Barcelona Loves You
- The Saddest Lullaby (feat. Mathias Alrikson)
- The Painter
- Glasses
Amazon.com
"We started this journey in the summer of 2005. None of us knew we would become a band," says the liner note in I'm from Barcelona's debut album, Let Me Introduce My Friends. For all their newness, Barcelona loves simplicity, singing about stamp collections, oversleeping, and treehouses--with lean guitars and drums bolstered by glockenspiel, ukulele, and well over 20 voices. Irresistibly sunny and numerically massive, Barcelona intricately weaves single-syllable choruses behind Emanuel Lundgren's chesty lead vocal, dizzying the ears. So many voices come to the fore that songs like "Treehouse" are unabashed tapestries of pop delight, exuberant and magnetic and chiming. The Swedish ensemble doesn't play the French horns and harps that mark Polyphonic Spree, but they do indulge every rock opera (as in Hair) inclination that can fit under their purview. Everyday's mid-summer here. --Andrew BartlettAlbum Description
U.S. EXCLUSIVE BONUS TRACKS! LET ME INTRODUCE MY FRIENDS is a collection of bubblegum classics filled with extravagant call-and-response backing vocals, shimmering pop spirit and youthful optimism.Customer Reviews:
I am from Barcelona!.......2007-03-20
But their debut album "Let Me Introduce My Friends" is nothing like Spanish music. Instead, this lovable, enormous Swedish band sounds sort of like a cross between Architecture in Helsinki and the Polyphonic Spree -- sunny, twinkly, shimmery pop music.
It opens with Emanuel Lundgren drawling, "Daaaaaaamn!/Oversleeping again/Daaaaaaaaamn!/I can't believe I did it once again." He then describes what he'll have to do to "make it on time." It's a mundane topic for a pop song, but it's framed with a sparkling pop tune full of catchy guitar, twinkly xylophone and the occasional bell chime.
The songs that follow are in the same mold -- the lyrics are about confusion, chicken pox, broken hearts, stamp collecting, and finding a spot for the perfect treehouse. And the songs wrapped in them are just as charming: folky pop, driving guitars, twee little sugarpuffs, shimmery bell-augmented pop, and the sprawling orchestral sound of "Olakola."
"Let Me Introduce My Friends" is basically pop for people who like bands with a slightly sugary sound, but a pleasant melody as well. "Let Me Introduce My Friends" is basically all sunshine, spring grass and childlike fun -- very charming.
You can't really single out any band members, since there are almost thirty of them, but the instrumentation is nicely polished and solidly played. The songs are wrapped in unstoppable swirling riffs, banjo, solid percussion, sweeps of wobbly and/or sputtering synth, rattling bells and what sounds like a xylophone.
Lundgren has a nice smooth voice, although at times he sounds a bit like he's singing a nursery rhyme. The lyrics are a bit short and simplistic, but they do admittedly sum up the childlike enthusiasm of the music ("You know I can't believe I'm telling everyone that I know/That every stamp in my collection is a place we could go!").
"Let Me Introduce My Friends" has rather simple songwriting, but deliciously twee pop and some solid, catchy tunes. Nice, unpretentious fun.
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Gold: The Definitive Hits Collection
Andrew Lloyd Webber Manufacturer: Decca ProductGroup: Music Binding: Audio CD Movie Soundtracks
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ASIN: B0000657XY Release Date: 2002-05-07 |
Tracks:
- Superstar - Murray Head w/ the Trinidad Singers (Jesus Christ Superstar)
- As If We Never Said Goodbye - Barbra Streisand (Sunset Boulevard)
- The Phantom Of The Opera - Sarah Brightman & Michael Crawford (The Phantom Of The Opera)
- You Must Love Me - Madonna (Evita)
- Any Dream Will Do-Donny Osmond (Joseph & The Amazing Technicolor Dreamcoat)
- Memory - Betty Buckley (Cats)
- Pie Jesus - Charlotte Church (Requiem)
- The Music Of The Night - Michael Crawford (The Phantom Of The Opera)
- I Don't Know How To Love Him - Yvonne Elliman (Jesus Christ Superstar)
- Don't Cry For Me Argentina -Patti Lupone (Evita)
- Love Changes Everything - Michael Ball (Aspects Of Love)
- All I Ask Of You - Sarah Brightman (The Phantom Of The Opera)
- The Perfect Year - Glenn Close & Alan Campbell (Sunset Boulevard)
- The Vaults Of Heaven - Tom Jones & Sounds Of Blackness (Whistle Down The Wind)
- No Matter What - Boyzone (Whistle Down The Wind)
- Oh What A Circus - Mandy Patinkin (Evita)
- Whistle Down The Wind - Sarah Brightman (Whistle Down The Wind)
- Amigos Para Siempre (Friends For Life) - Sarah Brightman & Jose Carrerras (1992 Olympics Theme)
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The critical debate over Andrew Lloyd Webber's musical legacy will no doubt rage for decades. Is he the shrewd populist composer who almost single-handedly revived the moribund stage musical--or a crass, Barnum-esque showman (who almost single-handedly revived the moribund stage musical)? This 18-track anthology chronicles the high points of Sir Andrew's enduring songcraft and the irrefutable impact it's made across a remarkably disparate swath of tastes and genres, from Broadway to Top 40 radio and even the classical repertoire.If some have accused Lloyd Webber's songs--like "The Music of the Night" (from Phantom of the Opera) and the title tune from Whistle Down the Wind, included here--of having all the melodic and lyrical sophistication of a children's lullaby, that's likely the very element that's made them so appealing to a mass audience. If nothing else, it's a compelling argument for that old notion about it being "the singer, not the song." Indeed, there are few contemporary composers whose music could entice divas from Streisand ("As If We'd Never Said Goodbye" from Sunset Blvd.) to Madonna (Evita's "You Must Love Me") and Charlotte Church ("Pie Jesu" from Requiem) to cover it, let alone forge the very careers of artists like Sarah Brightman and Michael Crawford. And if there's any substance to that other criticism of Lloyd Webber lifting the melodic ideas of composers from Verdi to John Williams (we swear that's the theme to Jurassic Park bubbling up in Tom Jones's camped-up take on Whistle's "The Vaults of Heaven"), at least, like virtually every major composer, he's stolen--er, borrowed--from the best. --Jerry McCulley
Customer Reviews:
Andrew LLoyd Webber - Gold Hits.......2007-07-13
The Gold By Andrew.......2007-04-23
But besides that this cd is very good. With manye nice and difficult songs (I've sung some of the myself in siningclass).
So if you like Andrew's music this most sertanly is a most have.
The best of Webber.......2005-09-12
Some examples: this version contains Memory sung by Betty Buckley while the Elaine Page version is light years better. Then it contains Patti Lupone's version of Don't Cry For Me Argentina. Even though Madonna wasn't the best Evita, she definitely sung Argentina in a way no-one could before or will ever. Whistle Down The Wind is represented with 3 songs - the place of the Tom Jones song is not here (the same could be said of Tina Arena's song o the European edition). Instead of the TJ song they could have included Take That Look Off Your Face by Marti Webb - one of the best songs by Webber. Pie Jesu from the Requiem is much better sung by Sarah Brightman. These are the faults.
What about the rest? Pure joy and material worth of 6 stars. Superstar, Phantom Of The Opera, Music Of The Night, I Don't Know How To Love Him, All I Ask Of You, No Matter What, Oh What A Circus - wonderful songs and wonderful performers. My all-time favorite from Webber will always be Music Of The Night and the version included here is the mesmerizing adaptation of Michael Crawford.
I don't advise anyone not to buy this album - it's good material, however it's far from being perfect.
THE BEST OF LLOYD WEBBER MADE FOR THE AMERICAN AUDIENCES.......2005-01-31
So here are my thoughts about the tracks in this one:
1. "Superstar" and "I don't know how to love him" are both from the concept album of "Jesus Christ Superstar". They sound wonderful as ever, although the orchestrations may seem a bit dated by now.
2. "Sunset Boulevard" is marked here with two songs. Barbra Streisand's powerful voice shines all the way through in "As if we never said goodbye"; it's a shame she never played Norma Desmond on Broadway, since Patti LuPone wasn't allowed to take her Norma to New York, and Glenn Close butchered the role. Her limited vocal abilities were hardly suited for the material, as it is shown by the second Sunset song, "The perfect year", performed by Close and Alan Campbell. They both lack a decent singing voice, so this is the one song I skip regularly. The song itself sounds much better in its single version with pops orchestration, as can be heard on the European version of this compilation, where it is performed by Dina Carroll. This version here can hardly be considered a gold one.
3. "The Phantom of the Opera" is represented by three songs. Michael Crawford and Sarah Brightman performance in the song of the same title is amazing. They were both born to play their roles in this show and their voices fit together perfectly. Sarah can hit the high notes in the end like no other Christine. Cliff Richard and Sarah sing the lovely ballad "All I ask of you" with passion, and Cliff has a wonderful warmth in his voice. Finally, Michael Crawford gives his unique and mesmerising interpretation in "The music of the night".
4. The 1996 movie version of "Evita" is Madonna's best role to date and it brought an Academy Award for Lloyd Webber and Tim Rice, who wrote "You must love me" especially for the big screen. This is another wonderful ballad with the haunting cello and piano solo. It just proves that Lloyd Webber and Tim Rice were the best collaborators. They really should do another musical together.
5. "The Joseph and his amazing Technicolor dreamcoat" was Webber's first musical and the signature song "Any dream will do" is performed here by Donny Osmond, who also appeared in the video version. I find his rendition even better than London's Jason Donovan, since Donny isn't strictly bound by the notes and so sings it more casually. A wonderful pop piece.
6."Memory" from "Cats" is probably the most famous of all Webber's songs, recorded by numerous artists. This version is sung by Betty Buckley, who was Broadway's Grizabella. Although Betty's performance can't be considered bad, I prefer Elaine Paige, who sung the song first, in the London production. Elaine has a note of sorrow in her at times husky voice, which I found very intriguing. Her performance can be considered definite, as heard on "Cats" DVD or in her latest two-disc compilation, "Centre stage: The very best of Elaine Paige", issued in May 2004. Still, those who prefer Ms. Buckley or who saw her on stage in this role won't be disappointed.
7. "Pie Jesu" is the best known song from Webber's "Requiem", written in 1985 to commemorate the death of his father. I'm not too keen on the version included here, performed by Charlotte Church, because her voice isn't as pretty as Sarah Brightman's on the original recording and the tempo is somewhat faster here.
8. "Don't cry for me Argentina" is among my all-time Lloyd Webber's favourites. I like all the ladies who performed "Evita" on the stage and on the screen (Julie Covington, Elaine Paige, Patti LuPone and Madonna), but on this disc is the version I am most satisfied with, since it is sung by Patti LuPone. Ms. LuPone has a very powerful voice with an amazing range and she deserved her Tony Award for this role. She was able to sound both vulnerable and decisive while singing this, whereas the other leading ladies emphasized one or the other in their interpretation. Mandy Patinkin's "Oh what a circus" is not the best, the orchestration is a little bit weak and his voice sounds thin to me. David Essex on the London cast recording is more suitable.
9. "Aspects of love" boast here with its top song, "Love changes everything", performed wonderfully by Michael Ball. It was his #1 hit and is probably one of the most beautiful love anthems ever written.
10. Three songs come from "Whistle down the wind". The studio release of the same title is one of the reasons I bought this compilation, although I already have the European one. It is performed by Sarah Brightman with Lloyd Webber playing the piano and a symphonic orchestra who nicely takes the lead of the main melody. Sarah voice is angelic; she sings it like a little bird. Very charming. Boyzone's "No matter what" was a huge pop hit in the charts. Again, we have a song with the suitable orchestrations and vocals. And lastly, Tom Jones' deep voice in combination with the back vocals of "The Sounds of Blackness" gives a rocking rendition of the church hymn "The vaults of heaven". It can't be found on the European version and Tom's voice shows it hasn't aged. Way to go.
11. For the 1992 Barcelona Olympics, Webber wrote, together with his long-time lyricist Don Black, this last song, "Amigos para siempre or Friends for life". It's a nice duet between Sarah Brightman and Jose Carreras, their voices sore when bound together. The melody itself is neat, especially when the orchestra takes the lead.
Besides the fact that some of the performers here were not the best for my taste, there is also the fact that some of Lloyd Webber's shows are omitted in this version, most notably, "Tell me on a Sunday". Also, unlike its European counterpart, this compilation isn't aligned chronologically, so we have 1970 Superstar being the first song, 1993 Sunset Blvd comes the second, followed by The Phantom from 1986 and so on. None the less, this CD is excellent as an introduction to Lloyd Webber's music and one can continue with his cast recordings from there. It's also very handy as a single disc compilation for the American fans.
Super good CD.......2004-12-31
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Russell Watson · The Voice
Russell Watson , Stephen Warbeck , Giuseppe Verdi , Lucio Dalla , Zucchero , Cesar Franck , Ernesto de Curtis , Umberto Giordano , Nigel Hess , Russell Gordon Alistair / Mahoney Gary / Watson , Paul Simon , William / Ure, James Allen Christopher / Cann Warren / Currie , Luigi Denza , Freddie Mercury , Giacomo Puccini , Ennio Morricone , John Themis , Richard Harvey , and Caroline Dale Manufacturer: Decca ProductGroup: Music Binding: Audio CD General
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ASIN: B00005B7JD Release Date: 2001-04-17 |
Tracks:
- Nella Fantasia
- Amor Ti Vieta
- Pelagia's Song (Captain Corelli's Mandolin)
- Caruso
- Miserere
- Panis Angelicus
- Non Ti Scordar Di Me
- La Donna E Mobile
- Saylon Dola
- Someone Like You
- Bridge Over Troubled Waters
- Vienna
- Funiculi
- Barcelona (With Shaun Ryder)
- Nessun Dorma!
Amazon.com
Russell Watson's story is a classic rags-to-riches fairy tale: The former welder, after years of singing in pubs and clubs, traveled from Salford, his hometown, to London. He turned up unannounced at the Decca offices and was promptly signed up by one of the most important classical labels in the world. Vocal coaching followed, as did a number of successful live appearances supporting Cliff Richard. Now, we have this recital CD, which explores a wide range of musical styles. Watson's Italian is a little ponderous in tracks such as "Amor Ti Vieta," but this is more than offset by his captivating and utterly natural-sounding tenor voice. The inevitable popular arias are here, namely "La Donna è Mobile" and "Nessun Dorma," sung with a refreshing and youthful vitality. Pop tracks, including Ultravox's classic 1980s hit "Vienna" and a witty cover version of "Barcelona" sung with former Happy Mondays frontman Shaun Ryder, sit comfortably on the disc. Watson performs them with integrity, not simply paying lip service to the music of his generation. Watson has the potential to do for classical music what Jamie Oliver has done for cookery, and there are few people who won't find this debut CD appealing. --Rebecca AgnewAlbum Details
Full Length LP from the British Tenor that Shot Straight to the Top of the UK Classical Charts. Features Many Beautiful Renditions of Classical and E-z Listening Standards, plus a Version of 'nessun Dorma', which Watson Often Sings Before High-profile English Soccer Matches.Customer Reviews:
Unsure.......2006-01-07
When all is said and done,however, I hope more people will come to know and love opera through his music.
A tenor for the masses.......2005-11-07
First of all, I bought this CD never having heard of Mr. Watson--I just liked the looks of it and thought I'd give it a try. So my perception was based solely on what the CD offered. And I liked it! Both the first time and the next several times. (If I want to get analytical, I can find flaws here and there, but somehow I always enjoy hearing it. Period.)
Why do I like it? For a starter, the performances are musical, interesting, exciting, and aesthetically appealing--and that's my first test of quality. (What good is the greatest, most refined, rendition if you find your attention wandering?) Next, I think Watson's musical instincts (and those of whoever else assisted in creating this CD) are pretty much dead-on. There isn't one track I don't like, though some are clearly my favorites.
OK, the operatic bits don't sound like Pavarotti or Domingo, whom I also love very much. So what? Who says there has to be only one way to do an aria? This music is good enough to support a variety of interpretations. (Now if I could only afford one CD, I'd have to be more demanding.)
This is music for regular people, not necessarily for the elite, and I'm enough of a musical democrat to welcome it. If Watson didn't emerge from a high-class musical background, but still found his way to this music, I say more power to him! He must have an inborn feeling for it, and enough of a voice to perform it convincingly.
We've known a few other tenors from humble musical settings who've risen to popular acclaim (e.g., Mario Lanza). They happen to hear some fine tenor singing and find they can imitate it, and not too badly. With a little encouragement they keep at it, take a few lessons, and soon they're on their way. Where they go from there depends on talent, luck, and choices. I don't know where Watson's career will go in the long run, but I like this initial CD (and the two or three following it).
One concern I felt in listening to "The Voice" was for the voice itself. It seemed to me that Watson might have been forcing it too much, in heroically belting out those high notes. From what I now read, that concern was well founded, for Mr. Watson has had to undergo throat surgery. I hope his recuperated voice will retain the excitement and charm we have grown accustomed to and will serve him (and us) for many years.
A wonderful voice.......2005-05-28
Opera purists are a dying race. Making opera accessible to other people is not a crime. I have been brought up in a house filled with music, quite a lot of opera. And I do not think that making opera more accessible is a bad thing. Bringing a more youthful image to opera is a very positive thing. We are seeing a whole generation of artists with wonderful voices, ridding opera of its middle aged image.
Bravo, Russell! You're doing a great job.
PS: Opera purist, I can assure you Russell does not spend a sleepless night on account of your whining. So I suggest you learn to deal with the new youth of opera.
Opera for the Masses.......2005-04-25
Some critics are hard on him for pandering to the pop aspects of modern operatics, but I wouldn't call him a sell out at all, as he certainly has the vocal skills to back up his commercial appeal.
There will be copycats but Russell Watson is an Original!.......2005-03-04
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Barcelona
Freddie Mercury , and Montserrat Caballe Manufacturer: Hollywood Records ProductGroup: Music Binding: Audio CD General
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ASIN: B000000OC6 Release Date: 1992-07-14 |
Tracks:
- Barcelona
- La Japonaise
- The Fallen Priest
- Ensueno
- The Golden Boy
- Guide Me Home
- How Can I Go On
- Overture Piccante
Customer Reviews:
THE Mercury Showcase.......2007-01-12
Caballe of course is spectacular, though definitely not annoying or screechy as (in my experience) some opera can be. She functions as the perfect partner in crime for Mercury as they both held each other in awe and reverance, even after they became acquainted.
Every song is complex, layered and utterly brimming with emotion. Though Mercury went on to record two more albums with Queen (with Innuendo being one of the best of the entire Queen catalog), Barcelona stands in my mind as his crowning musical achievement.
Astounding.......2006-10-21
Made in heaven.......2005-08-26
brilliant.......2005-07-12
Barcelona.......2005-07-10
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Sondheim - A Celebration at Carnegie Hall (1992 Concert Cast)
Stephen Sondheim , Betty Buckley , Paul Gemignani , Patti LuPone , Liza Minnelli , and Bernadette Peters Manufacturer: RCA Victor Broadway ProductGroup: Music Binding: Audio CD General
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ASIN: B000003FDW Release Date: 1993-02-23 |
Tracks:
- Symphonic Sondheim: Sweeney Todd--orchestra, Jerry Hadley ("Johanna"), Eugene Perry,Herbert Perry ("Pretty Women")
- Evening Introduction--Bill Irwin
- Loveland/Getting Married Today--Ensemble, Jeanne Lehman, Mark Jacoby, Madeline Kahn
- Waiting for the Girls Upstairs--George Lee Andrews, Michael Jeter, James Naughton/Love, I Hear--Michael Jeter/Live Alone and Like It--James Naughton
- Someone Is Waiting--Richard Muenz/Symphonic Sondheim: Barcelona--orchestra
- Being Alive--Patti LuPone
- Good Thing Going--The Tonics
- Losing My Mind/You Could Drive a Person Crazy--Dorothy Loudon
- Our Time--Boys Choir of Harlem/Children Will Listen--Betty Buckley
- Anyone Can Whistle--Billy Stritch
- Water Under the Bridge--Liza Minnellli, Billy Stritch
- Back in Business--Liza Minnellli, Billy Stritch, Ensemble
Tracks:
- Symphonic Sondheim: Comedy Tonight--Bill Irwin, orchestra
- Sooner or Later--Karen Ziemba
- Pretty Lady--Mark Jacoby, Eugene Perry, Herbert Perry
- Green Finch and Linnet Bird--Harolyn Blackwell
- The Ballad of Booth--Patrick Cassidy, Victor Garber
- Broadway Baby--Daisy Eagan
- I Never Do Anything Twice--BETTY
- With So Little to Be Sure Of--Jerry Hadley, Carolann Page
- Not a Day Goes By--Bernadette Peters
- Remember?--Ron Baker, Peter Blanchet, Carol Meyer, Bronwyn Thomas, Blythe Walker (Quintet)/A Weekend in the Country--Kevin Anderson, George Lee Andrews, Mark Jacoby, Beverly Lambert, Maureen Moore, Susan Terry, Quintet
- Send in the Clowns--Glenn Close
- Old Friends--Liza Minnelli
- Sunday--Bernadette Peters, Broadway Chorus
Customer Reviews:
Great CD.......2006-08-06
Simply the Best.......2005-06-29
In a compilation of songs like this you're always going to have tracks that you prefer over others, but the majority of the renditions in this CD are great. This is simply one of the best collections of Sondheim out there. You get interpretations that span from "classical" (Green Finch), to bordering on insane (Anything Twice). This is to demonstrate how versatile this composer really is.
In my opinion, some of the best renditions are "Not a Day Goes By," "Anyone Can Whistle", "Girls Upstairs Medley," "Losing My Mind/Drive a Person Crazy," and "Weekend inthe Country." Makes me wish I had been there to witness it first hand.
If you love Sondheim and enjoy hearing Broadway performers, get this CD. A great recording.
Inconsistent, but mostly excellent.......2004-03-21
"Celebration" is not strong enough a word.......2003-04-30
I have been a major Sondheim fan for quite some time, and I finally obtained a copy of this album. I was blown away by the excellent cast and phenomenal selection of music. It is obvious how much work went into this production, considering that this is the live recording of a one time show, and it's flawless. The songs cover all of his shows with the exception of "Passion," which was released 3 years after this show. Also, the shows for which he wrote only lyrics are ommited, like West Side Story, Gypsy, etc. Thus, you can find material from A Funny Thing Happened on the Way to the Forum, Anyone can Whistle, Company, Follies, A Little Night Music, Pacific Overtures, Sweeney Todd: The Demon Barber of Fleet Street, Merrily we Roll Along, Sunday in the Park with George, Into the Woods, and Assassins.
There are two striking things about this CD (besides the music and performers themselves). First of all, some of the songs are completely stylistically reworked. The most obvious are "Good Thing Going" and "I Never do Anything Twice." Both are traditionally very ballady with a piano accompaniment, but here they have been redone as jazzy tunes. The result is excellent. Such reworkings demonstrate that Sondheim writes music for virtually any style, and in these cases, across several styles. It's a great example of his variety. The other interesting thing is how many songs have overlapping melodies of songs from different shows. Case in point, "Our Time" and "No one is Alone" are sung seperately by the Harlem Boys Choir and Betty Buckley (the original Grizabella in Webber's atrocious "CATS," although Buckley was excellent) respectively, and then combined. Putting these two songs together offer different meanings to each, and the music is only enhanced. Another example, the trio of "Waiting for the Girls Upstairs," "Love, I Hear," and "Live Alone and Like It" are sung in that order, and then the latter two are combined. Again, the meanings of the songs change, this time in an almost narrative style, and offering different takes on love in the same montage. Lastly (at least for this review, there are more), Dorothy Laudon's (the original Ms. Hannigan in Annie) combination of "Losing my Mind" and "You Could Drive a Person Crazy" is brilliant. Those who are familiar with these songs will wonder how exactly they fit, but trust me, they do. She swtiches back and forth between melodies to create a number that starts poignant and beautiful, and soon moves to become uproariously funny. Both the song reworkings and overlapping melodies of unrelated songs are all for the better.
I recommend this recording to anyone wanting to get better acquainted with some of Sondheim's best work, or those already familiar who want to hear a tour de force of phenomenal music. It has been said that Sondheim is a masterful lyricist (which he is), but lacks real talent for music. This CD is the final proof that such critics are wrong. His music may take a few listenings to get into, contrary to Webber or Wildhorn, but unlike those two, he doesn't cater to the audience. He challenges them to think outside of traditional musical theater in a glorious repertoise of shows that reach for a smarter, more sophisticated form.
A maginificent evening, a magnificent album.......2001-12-16
This wonderful double CD shows off the best and brightest of the musical theatre composer and it is, as one person put it, "an embarassment of riches." With songs from his finest works done in amazing arrangements (listen to that harmony in "We Had a Good Thing Going"!) combined with fabulous performers this is a Sondheim lovers delight.
My favorite song is, without a doubt, Dorothy Louden and her wonderful medley of "Losing My Mind" into "You Could Drive a Person Crazy" followed very closely by the recently departed Madeline Kahn singing "Getting Married Today."
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Frequent Flyer: Barcelona
Various Artists Manufacturer: Kinkysweet ProductGroup: Music Binding: Audio CD General
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ASIN: B000IHY9C0 Release Date: 2007-03-27 |
Tracks:
- Bea & David Ferrero - VShery's Ronda
- B&D - Amanecer en Menorca
- Chic & Choc - Pura Sangre
- Electronic Orchestra of Madrid - I'm Burning 4 U
- Lentejitas - Te Alejabas de Mi
- United Feature Syndicate - Aire de Baleares (Groovin' 7.Jerez Mix)
- Klub Rider - Buleria del Alba
- Solar Sides - Estrella de Mar
- Sweet Bee - Parvathanma
- Gaudi feat. Ojos de Brujo - Babylon Flamenco
- Peppe Tuccillo - Eve's Garden
Tracks:
- Animaya - Todo es Arte
- Fresh Now - Fronteras en el Mar
- Lentejitas - Mimoso
- Le Griser -Volando Alto
- Adani and Wolf - Wings of Santa Lucia
- David Ferrero - Mi Castigo
- Cordovan - Sangre de Amantes
- Prompt - Piano Cantado
- Aloeverah- Tan Cañi
- Marc Antoine - Cantar Al Amor
- Kimahri - A la Alhambra
Album Description
The greatest dance music producers are influenced by the rhythms of many cultures. Frequent Flyer focuses on those locales around the world that have had a profound influence on dance music. Frequent Flyer: Barcelona is the latest CD in the series and the second of four new "Destinations." For this edition, we touch down in the capital of Catalonia, the heart and soul of Spain's cultural renaissance and a city that leads the way in architecture, food, fashion and of course music. Taking inspiration from the many varied forms of Flamenco the music on Frequent Flyer: Barcelona is a subtle mix of laid-back electronic beats and shimmering acoustic guitars. The music mix is perfect for languid afternoons spent sipping sangria with friends, so sit back and relax...Customer Reviews:
Not Spanish Music.......2007-06-27
Yup, most of the songs are extremely Indian in flavor. I did not get this CD set with the hopes of hearing Spanish sung to Indian beats and with Indian inflections/vocal modulation. But that's what this is. A friend of mine who is a native Spanish speaker even attested some of the vocals, while Spanish, were actually tinged with an Indian accent. Couldn't this collection have had music actually from Spain?
If you have hopes for something guitar flavored or merely Spanish in the most stereotypical of senses, steer far from this. The Argentinian and Red Eye Frequent Flyer collections are not bad, however, and true to their titles.
Pretty damn good!.......2007-05-13
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Andrew Lloyd Webber: The Premiere Collection Encore
Andrew Lloyd Webber , Royal Philharmonic Orchestra , Trevor Nunn , Sarah Brightman , Jose Carreras , Michael Ball , Barbra Streisand , Lon Satton , and Ray Shell Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD Requiems
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ASIN: B000001E0E Release Date: 1993-03-09 |
Tracks:
- Amigos Para Siempre ( Friends For Life) - Jose Carreras, Sarah Brightman
- Love Changes Everything - Michael Ball
- Memory - Barbara Streisand
- I Am The Starlight - Lon Satton, Ray Shell
- Wishing You Were Somehow Here Again - Sarah Brightman
- Argentine Melody - San Jose, Rodriguez Argentina
- Oh What A Circus - David Essex
- Seeing Is Believing - Michael Ball, Ann Crumb
- The Jellicle Ball - The Royal Philharmonic Orchestra
- Any Dream Will Do - Jason Donovan
- Everything's Alright - Sarah Brightman
- Close Every Door - Phillip Schofield
- The First Man You Remember - Michael Ball, Diana Morrison
- Anything But Lonely - Sarah Brightman
- Point Of No Return - Michael Crawford, Sarah Brightman
- Hosanna - Placido Domingo
Customer Reviews:
Premier Collection a hit.......2006-05-10
Streisand's rendition of MEMORY has always been my favorite version of the song outside of the show...Betty Buckley's is my favorite within the show. I am a Streisand afficiando, and this is my FAVORITE Streisand song period..so it must be good...
Michael Ball singing anything is wonderful...It captures the wonderful feeling of being on a cloud when you listen to this album
It is a great CD........2005-10-14
Problem.......2003-11-02
Okay.......2003-04-17
Even Better than the Original.......2001-08-18
Average customer rating:
|
Barcelona
James Lavelle , and Various Artists Manufacturer: Global Underground ProductGroup: Music Binding: Audio CD General
| Dance & DJ
| Styles
| Music
House
| Dance & DJ
| Styles
| Music
General
| Dance Pop
| Dance & DJ
| Styles
| Music
General
| Dance & DJ
| Indie Music
| Stores
| Music
Similar Items:
ASIN: B00006J4AW Release Date: 2002-10-07 |
Tracks:
- 1-3AM Intro Part One - Unklesounds
- Mongrel...Meets His Maker - DJ Shadow
- Dusted - Leftfield
- Night Beats - Thomas Bangalter
- The Vibe - Sotero
- Let The Good Times Roll - Layo & Bushwacka!
- Fundamental - Sasha
- Hold Back - Force Mass Motion Vs. Dylan Rhymes
- Crooked - Evil Nine
- Breakin On The Streets - Stir Fry
- No Soul - Ils
- Invincible Bass - Drumattic Twins
- Shining Through - Layo & Bushwacka!
- F.E.A.R. - Ian Brown
Tracks:
- 3-5AM Intro Part Two - Unklesounds
- Underground Sound - Pitch Black
- Revolution - Kybosh
- Atmosphere - Meat Katie
- Next Life - Meat Katie
- Dirty Waltzer - Soul Of Man
- Black Widow - Uberzone
- Hip Hop - Dead Prez
- On The Bandwagon - Peace Division
- Ultra Savant - Duncan Gray
- Juicy - Phil Kieran
- Lost - Lee Burridge
- Dark Clouds - Halo
- Glitterball - FC Kahuna
- Gravastar - Hybrid
- Vodka - Smithmonger
- There Goes The Fear - Doves
Amazon.com
DJ, Mo' Wax label linchpin, and U.N.K.L.E. architect James Lavelle is an icon for good reason. His ease in dovetailing hip-hop, progressive house, and trip-hop is legendary, and it's part of what makes the two-disc Global Underground: Barcelona compilation such a corker. Thanks to clever mixing, cuts from Mo' Wax protégé DJ Shadow seem right at home next to those by former Stone Roses howler Ian Brown, dub-dancehall king Roots Manuva, brilliant Brit DJs Layo & Bushwacka, and agit-prop rappers Dead Prez. Brown's trippy, staccato "F.E.A.R." is almost a full-blown suite, and fans of U.N.K.L.E.'s Psyence Fiction platter will hear familiar snippets (ditto fans of Shadow's Private Press). The flow never stops as Lavelle scorches through these 30-odd tracks without pausing for breath, showing he is to the Barcelona rave scene what Jose Padilla's Cafe del Mar series was to Ibiza: mind-numbingly cool and absolutely essential. --Kim HughesAlbum Details
James Lavelle is Captured Mixing Live in a Super Set from the Spanish city. The Set features Plenty of Deep House, Hard Nosed Beats, Funky Breaks and Techno.Customer Reviews:
Serious Break Beats.......2007-03-30
As most Global Underground fans are aware, these compilations are saturated with techno and trance. Enter Mr Lavelle with his in-your-face break beats and trippy electronica. Definitely different from the previous 22 Global Underground releases...gutsy and appreciated.
My only gripe with this two disc set is how ordinary the second disc is. Disc 1 is powerful and easily tells the tale of Lavelle's careful track selection and layout. He really wanted this album to be special and I truly believe that half of it is!
Unlike most Global Underground compilations for the city series, the first disc is usually lighter and more mellow while the second has a little more oomph. The opposite holds true with this album. The second disc loses the intensity of the first...and to be frank, is a little dull and monotoneous in its track selection.
Disc 1 gets 4/5 stars while disc 2 gets 3/5.
Sonically fantastic as well as alternative to the genre.......2007-01-26
This one stands out among GU releases..........2006-12-09
CD1 starts with a DJ Shadow tune running into a wicked groove by Leftfield with rapping by Roots Manuva, soon easing into a tune from Sasha's Airdrawndagger. This one is all over the board yet there is a steady groove underneath it all with solid mixing and song transitions. Somehow it works.
CD2 follows a similar notion with a similar mix of styles from Meat Katie onto a heavily laced beat propping up Dead Prez's refrain of "still bigger than hip-hop" rocking back into a cool groove from Lee Burridge ending on a high note by tossing in a rock and roll song with a mindbending take on 'There Goes the Fear' from Doves.
It's a mix that keeps the listener busy, especially with headphones, as sirens, airplanes, chirping crickets and other background noises give your brain a tweak. Genre busting and really good stuff.
Ahh... the DJ mix.......2005-01-23
2000man
best alternative gu mix so far.....................2004-03-23
75% of this mix is absolutely flawless, even the breaks/prog disc 2. You can really tell maybe Lavelle has put more effort into his mix than previous gu djs because he actually uses some of his own production in the mix to astounding effect. If you've maybe grown a little weary of the usual trendy swooshing mix than this mix will restore your faith. Gracias, Mr. Lavelle.
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