title: The Bicentennial Collection /Celebrating the 200th Aniversary of "The President's Own" United States Marine Band (10 CD Box Set)

text:
Disc 1. Early acoustic recordings, 1889-1914
Disc 2. Acoustic recordings, 1914-1923
Disc 3. Historic soloists
Disc. 4. Historic soloists / Taylor Branson, William F. Santelmann, [conductors]
Disc 5. Albert F. Schoeper, Dale L. Harpham
Disc 6. Jack T. Kline, John R. Bourgeois
Disc 7. Timothy W. Foley
Disc 8. Composers conduct / Husa, Colgrass, Benson
Disc 9. Composers conduct and guest conductors
Disc 10. Guest conductors.

CD#1: Early Acoustic Recordings (1899-1914)
1 Farewell to Dresden (1891) (02:43)
2 Hornpipe Polka (1890) (02:13)
3 National Fencibles (1890) (02:35)
4 Yorktown Centennial (1890) (02:25)
5 Wedding March From "A Midsummer Night's Dream" (1890) (01:43)
6 Washington Post (1892) (02:35)
7 The Liberty Bell (1894) (02:49)
8 The Thunderer (1895) (02:24)
9 Belle of New York (1896) (02:52)
10 The Red White & Blue (1897) (02:37)
11 Selections From Erminie (1897) (02:41)
12 Old Hickory (1897) (02:28)
13 Manhattan Beach (1897) (02:31)
14 Smokey Mokes (1899-09-20) (01:58)
15 Old Club March (1899-09-18) (02:15)
16 Admiral Dewey March (1899-09-20) (02:09)
17 The Picadore (1899-10-11) (02:09)
18 The Merry War March (1899-10-11) (02:07)
19 Semper Fidelis (1899-10-11) (01:54)
20 The Coquette (1909-05) (02:12)
21 Lola Waltz (1909-08) (02:11)
22 Kaiser Friedrich (1909-11) (02:11)
23 Salute to Washington (1910-04) (02:08)
24 Southern Ideal (1910-11) (02:12)
25 Maple Leaf Rag (1906-10-15) (02:34)
26 Marsovia Waltzes (1909-02-17) (03:22)
27 Lincoln Centennial (1909-02-16) (03:03)
28 Gate City (1914-03-20) (02:54)
29 National Emblem (1914-03-21) (02:59)
30 German Fidelity (1914-03-21) (03:02)

CD#2: Early Acoustic Recordings (1914-1923)
1 Good Night Harvard (1914-03-22) (03:21)
2 Krupp March (1914-03-21) (02:50)
3 Grand Duke of Baden (1914-03-21) (02:44)
4 National Capital Centennial (1921-04-30) (02:54)
5 Marine Corps Institute (1921-04-28) (03:19)
6 The Rifle Regiment (1921-04-28) (03:05)
7 Anchors Aweigh (1921-09-26) (03:23)
8 Marche Turque Patrol (1921-09-26) (02:58)
9 The Messenger (1921-04-28) (03:14)
10 Old Comrades (1921-10-05) (04:05)
11 Polonaise Militaire (1921-10-11) (04:07)
12 True to the Flag (1921-10-11) (03:32)
13 Joyce's 71st New York Regiment (1922-10-05) (03:43)
14 74th Regiment (1922-10-05) (04:00)
15 The Father of Victory (1923-10-09) (03:33)
16 Marche Militaire (1923-10-09) (04:20)
17 Washington Post (1923-10-09) (03:49)
18 Brooke's Triumphal (1923-10-10) (03:57)
19 Under the Star of the Guard (1923-10-19) (04:12)
20 Pomp & Circumstance March No.1 (1921-10-05) (04:20)

CD#3: Historic Soloists
1 Night Soliloquy (1953, feat. Donald Peck, flute) (04:34)
2 Flight of the Bumblebee (1959-05-14, feat. clarinet section) (01:16)
3 Fantasie on Themes from Verdi's Rigoletto (1960-07-30, feat. Harold Malsh, clarinet) (05:22)
4 Beautiful Colorado (1948, feat. Kenneth Douse, alto saxophone) (03:52)
5 Serenade (1932, feat. Kenneth Douse, alto saxophone) (02:30)
6 Cornet duet, "Short and Sweet" Polka (1891, feat. unknown soloists) (02:32)
7 Premier Polka (1910-08, feat. Arthur Whitcomb, cornet) (04:05)
8 My Heart at Thy Sweet Voice from Samson & Dalila (1915-08, feat. Arthur Whitcomb, cornet) (04:21)
9 Fantasia Capriccioso (c. 1934, feat. Winfred Kemp, cornet) (04:11)
10 La Joya (c. 1947, feat. Edward Masters, cornet) (03:43)
11 Stars in a Velvet Sky (c. 1950, feat. Robert deHart, cornet) (03:27)
12 Somewhere a Voice Is Calling (c. 1950, feat. Robert deHart, cornet) (01:20)
13 Hungarian Melodies (1959, feat. Charles Erwin, cornet) (04:12)
14 Carnival of Venice (1958-04, feat. Fredric Erdman, cornet) (03:04)
15 All Those Endearing Young Charms (1957-06, feat. Arthur Lehman, euphonium) (05:21)
16 Starlight (1953-08-14, feat. Dale Harpham, trombone) (03:51)
17 Thoughts of Love (1952, feat. Robert Isele, trombone) (04:35)
18 Piece Concertante (1959-05, feat. Robert Isele, trombone) (06:38)
19 Annie Laurie (1965, feat. James Erdman, trombone) (04:12)

CD#4: Historic Soloists (Continued), Taylor Branson, William F. Santelmann, Albert F. Schoepper
1 Andante & Scherzo (1950, feat. Louis Saverino, tuba) (05:24)
2 Zigeunerweisen (1951, feat. Charles Owen, marimba) (04:41)
3 Largo al factotum from "The Barber Of Seville" (1959, feat. Willian Jones, baritone) (04:43)
4 Drum Major's Aria from "Le Caïd" (1987, feat. Michael Ryan, baritone) (05:24)
5 Second Regiment Connecticut (1927-09-24, conducted by Taylor Branson) (02:30)
6 Stephen Foster Melodies arranged by Guzman (1934-11-2&3, conducted by Taylor Branson) (19:26)
7 March of the Women Marines (c. 1942, conducted by William F. Santelmann) (02:27)
8 The Marines' Hymn (c. 1942, conducted by William F. Santelmann) (01:12)
9 Overture to "Russlan & Ludmilla" (c. 1945, conducted by William F. Santelmann) (05:40)
10 The Directorate (c. 1950, conducted by William F. Santelmann) (02:32)
11 Polonaise from "Eugene Onegin" (c. 1950, conducted by William F. Santelmann) (04:42)
12 Marche Militaire Française (1953-05-01, conducted by William F. Santelmann) (04:37)
13 On the Quarterdeck (c. 1953, conducted by William F. Santelmann) (02:17)
14 Ride of the Valkyries from "Die Walküre" (1984-03-30, conducted by William F. Santelmann) (05:29)
15 Semper Fidelis (1984-03-30, conducted by William F. Santelmann) (03:08)

CD#5: Albert F. Schoepper, Dale L. Harpham
1 Prelude to Act 3 and Bridal Chorus from "Lohengrin" (1959, conducted by Albert F. Schoepper) (06:33)
2 Chorale and Alleluia (1960, conducted by Albert F. Schoepper) (05:35)
3 Bugler's Holiday (1962-12-10, conducted by Albert F. Schoepper) (02:24)
4 Commando March (1962-12-10, conducted by Albert F. Schoepper) (02:52)
5 The Stars and Stripes Forever (1962-12-10, conducted by Albert F. Schoepper) (03:17)
6 The Chimes of Liberty (1962-12-10, conducted by Albert F. Schoepper) (03:06)
7 March of the Steelmen (1962-12-10, conducted by Albert F. Schoepper) (02:56)
8 Man of the Hour (1962-12-10, conducted by Albert F. Schoepper) (03:08)
9 Fanfare and Allegro (1963-05-22, conducted by Albert F. Schoepper) (05:47)
10 Purple Pageant (1968-01-15, conducted by Albert F. Schoepper) (03:22)
11 Athletic Festival March, Op. 69, No. 1 (1970-01-12, conducted by Albert F. Schoepper) (03:37)
12 Overture to "La Forza del destino" (1971-11-25, conducted by Albert F. Schoepper) (06:52)
13 Molly on the Shore (1958, conducted by Dale Harpham) (04:09)
14 Symphony in B-Flat for Concert Band: Moderately fast, with vigor (1958-02-05, conducted by Dale Harpham) (06:02)
15 Symphony in B-Flat for Concert Band: Andantino Grazioso; Fast and gay (1958-02-05, conducted by Dale Harpham) (05:13)
16 Symphony in B-Flat for Concert Band: Fugue (1958-02-05, conducted by Dale Harpham) (04:38)
17 Hail to the Spirit of Liberty (1972-04-30, conducted by Dale Harpham) (03:13)
18 Washington Grays (1973-05-27, conducted by Dale Harpham) (03:37)

CD#6: Jack T. Kline and John R. Bourgeois
1 March from "Symphonic Metamorphoses" (1974, conducted by Jack T. Kline) (05:09)
2 Overture to "Le Corsaire" (1975, conducted by Jack T. Kline) (08:42)
3 The Glory of the Yankee Navy (1978, conducted by Jack T. Kline) (03:19)
4 Festive Overture, Op. 96 (1978, conducted by Jack T. Kline) (06:34)
5 The Pride of the Wolverines (1978, conducted by Jack T. Kline) (03:58)
6 La Fiesta Mexicana: Prelude and Aztec Dance (1987, conducted by John R. Bourgeois) (09:37)
7 La Fiesta Mexicana: Mass (1987, conducted by John R. Bourgeois) (07:15)
8 La Fiesta Mexicana: Carnival (1987, conducted by John R. Bourgeois) (06:42)
9 Entry March of the Boyares (1989, conducted by John R. Bourgeois) (05:29)
10 The Liberty Bell (1983, conducted by John R. Bourgeois) (03:41)
11 Florentiner (1986, conducted by John R. Bourgeois) (05:55)
12 Apothéose from "Symphonie funèbre et triomphale" (1985, conducted by John R. Bourgeois) (08:52)

CD#7: Timothy W. Foley
1 Lincolnshire Posy: "Lisbon" (Sailor's Song) (1997-11-08, conducted by Timothy W. Foley) (01:26)
2 Lincolnshire Posy: "Horkstow Grange" (The Miser and his Man: A Local Tragedy) (1997-11-08, conducted by Timothy W. Foley) (02:35)
3 Lincolnshire Posy: "Rufford Park Poachers" (Poaching Song) (1997-11-08, conducted by Timothy W. Foley) (04:02)
4 Lincolnshire Posy: "The Brisk Young Sailor" (returned to wed his true love) (1997-11-08, conducted by Timothy W. Foley) (01:36)
5 Lincolnshire Posy: "Lord Melbourne" (War Song) (1997-11-08, conducted by Timothy W. Foley) (03:12)
6 Lincolnshire Posy: "The Lost Lady Found" (Dance Song) (1997-11-08, conducted by Timothy W. Foley) (02:40)
7 "Derivations" for Clarinet & Winds: Warm Up (1996-04-21, conducted by Timothy W. Foley, feat. Lisa Kadala, clarinet) (03:10)
8 "Derivations" for Clarinet & Winds: Contrapuntal Blues (1996-04-21, conducted by Timothy W. Foley, feat. Lisa Kadala, clarinet) (06:00)
9 "Derivations" for Clarinet & Winds: Rag (1996-04-21, conducted by Timothy W. Foley, feat. Lisa Kadala, clarinet) (02:18)
10 "Derivations" for Clarinet & Winds: Ride Out (1996-04-21, conducted by Timothy W. Foley, feat. Lisa Kadala, clarinet) (04:17)
11 Symphony for Band, "West Point": Epitaphs (1998-04-26, conducted by Timothy W. Foley) (11:25)
12 Symphony for Band, "West Point": Marches (1998-04-26, conducted by Timothy W. Foley) (08:22)
13 Circus Polka (1998-05-24, conducted by Timothy W. Foley) (03:43)
14 Fugue in C (1998-05-24, conducted by Timothy W. Foley) (06:20)
15 Chorale Prelude, "Wir Glauben all' an einen Gott" (1998-05-24, arranged by Stokowski, conducted by Timothy W. Foley) (03:37)
16 Finale from Symphony No. 1 (1993-04-21, conducted by Timothy W. Foley) (08:17)
17 Dance of the Jesters from "The Snow Maiden" (1997-10-31, conducted by Timothy W. Foley) (04:24)

CD#8: Composers Conduct: Husa, Colgrass, Benson
1 Concerto for Wind Ensemble: Drum Ceremony (1984-4-16, conducted by Karel Husa) (05:23)
2 Concerto for Wind Ensemble: Elegy (1984-4-16, conducted by Karel Husa) (10:20)
3 Concerto for Wind Ensemble: Perpetual Motion (1984-4-16, conducted by Karel Husa) (08:06)
4 Winds of Nagual: The Desert (1986-4-23, conducted by Michael Colgrass) (05:47)
5 Winds of Nagual: Carlos stares at the Water (1986-4-23, conducted by Michael Colgrass) (02:17)
6 Winds of Nagual: Gait of Power (1986-4-23, conducted by Michael Colgrass) (02:01)
7 Winds of Nagual: Asking twilight for calmness and power (1986-4-23, conducted by Michael Colgrass) (05:01)
8 Winds of Nagual: Juan Clowns for Carlos (1986-4-23, conducted by Michael Colgrass) (02:19)
9 Winds of Nagual: Last Conversation and Farewell (1986-4-23, conducted by Michael Colgrass) (04:42)
10 Symphony II - "Lost Songs" (1988-12-14, Conducted by Warren Benson) (28:22)

CD#9: Composers Conduct, Guest Conductors
1 Wings (1988-12-14, conducted by Warren Benson) (05:06)
2 Three City Blocks: Fervent & Resolute (1993-12-15, conducted by John Harbison) (06:31)
3 Three City Blocks: Tough- Driving (1993-12-15, conducted by John Harbison) (04:26)
4 Three City Blocks: With Relentless Energy (1993-12-15, conducted by John Harbison) (04:17)
5 Passacaglia (Homage on B-A-C-H) (1994-05-08, conducted by Ron Nelson) (11:12)
6 ...and the mountains rising nowhere (1987-07-21, conducted by David Hunsberger) (12:11)
7 Emblems (1998-01-26, conducted by Leonard Slatkin) (09:59)
8 George Washington Bridge (1998-01-26, conducted by Leonard Slatkin) (07:26)
9 Country Band March (1998-01-26, conducted by Leonard Slatkin) (04:23)
10 Coronation March, "Crown Imperial" (1973-03-01, conducted by LtCol Sir Vivian Dunn) (09:31)

CD#10: Guest Conductors
1 Hammersmith: Prelude and Scherzo (1987-07-21, conducted by Frederick Fennell) (14:28)
2 Suite No. 1 in E-flat: Chaconne (1997-04-24, conducted by Frederick Fennell) (04:50)
3 Suite No. 1 in E-flat: Intermezzo (1997-04-24, conducted by Frederick Fennell) (02:48)
4 Suite No. 1 in E-flat: March (1997-04-24, conducted by Frederick Fennell) (03:10)
5 Toccata Marziale (1997-04-24, conducted by Frederick Fennell) (05:05)
6 The Black Horse Troop (1997-04-24, conducted by Frederick Fennell) (03:45)
7 Theme and Variations, Op. 43a (1998-05-24, conducted by Gunther Schuller) (11:56)
8 Colonial Song (1998-02-22, conducted by Timothy Reynish) (06:40)
9 Music Festival (1984-03-30, conducted by Leonard B. Smith) (03:47)
10 The Boys of the Old Brigade (1978-06-27, conducted by George W. Wilson) (02:23)
11 H.M. Jollies (1989-01, conducted by LtCol John Ware) (02:42)
12 Music for a Festival: Intrada (1989-01, conducted by LtCol John Ware) (01:57)
13 Music for a Festival: Overture (1989-01, conducted by LtCol John Ware) (03:52)
14 Music for a Festival: Round of Seven Parts (1989-01, conducted by LtCol John Ware) (02:00)
15 Music for a Festival: Air (1989-01, conducted by LtCol John Ware) (02:57)
16 Music for a Festival: Finale (1989-01, conducted by LtCol John Ware) (06:17)


title: truly beautiful, relaxing music

text:
This is truly beautiful, relaxing music. It has a very trancendental feel to it, and I am sure that any lover of classical music can appreciate it!

I've thoroughly enjoyed this CD. It helps you get through those sleepless nights. I had listened to this CD when I came home from the hospital and was in such great pain. It helped me relax and concentrate on the music and cleared my mind of negative thoughts.


title: Muse

text:
For the last few years, Muse, which is vocalist/guitarist Matthew Bellamy, bassist Chris Wolstenholme, and drummer Dominic Howard, have played to sell-out crowds throughout the U.S., Asia, Australia, and Europe in support of their previous album Black Holes and Revelations, which debuted at Number 9 on Billboard's album chart in July 2006. In the U.S., the band, which hails from the tiny town of Teignmouth in Devon, England, performed at the Lollapalooza Festival, the Austin City Limits Music Festival, Las Vegas's Vegoose Festival, The Coachella Music and Arts Festival and KROQ's Almost Acoustic Christmas, and sold out New York City's Madison Square Garden and The Forum in Los Angeles.

The band are now touring in support of The Resistance, which earned Muse their highest-ever debut on the Billboard album chart when it bowed at No. 3. The Resistance also notched 20 No. 1 debuts around the world, including Australia, France, Germany, Italy, Ireland, and the U.K. The album's first single, "Uprising," topped Mediabase's Alternative Rock chart for 19 consecutive weeks, breaking the record for number of consecutive weeks at No. 1 on the Mediabase Alternative Rock chart for the 2009 calendar year.


title: THE BEST OF: L'il Wally's polka parties

text:
L'il Wally has a wonderful polka voice and a warmth that makes you feel like you've been invited to a party.

12 songs altogether. Kick back, enjoy Wally's incomparable sincerity and the occasional snatches of inspired improvisation by the uncredited sidemen.

I keep coming back for more Li'l Wally. It's like Mickey Katz meets Preservation Hall Jazz Band with a dash of Ferko String Band thrown in. I'm raising my rating to an A.

Li'l Wally (August 1, 1930 - August 17, 2006), who was one of the top Polish-American polka musicians from Chicago. Although he had lots of hits, his most famous song was probably "No Beer In Heaven". Other hits included "I Wish I Was Single Again.", "Li'l Wally Twirl," "Johnny's Knockin'," "She Likes Kielbasa," "Seven Days and Seven Nights," "Take Me Baby," "Chicago Is a Polka Town," "Lichtensteiner Polka," "Two Bucks Polka," and "To Be in Love With Someone."

Walter "Li'l Wally" Jagiello was renowned for his drumbeats and slower, more danceable tempo, which became a mainstay of "Chicago Style" Polish polka sound.  His nickname was derived from his relatively short height (5 foot 6), especially during his youth, when he often stood on a picnic table to sing. He  appeared several times on The Lawrence Welk Show, and was one of the first two inductees into the International Polka Association's Hall of Fame in 1969. In total, he collected 17 gold and 4 platinum records.

In his later years, he retired to Miami Beach, Florida, but continued to perform and record nationwide. Li'l Wally died in 2006 in Florida at the age of 76.


title: The Classics of Kiddy Tunes

text:
The classics of kiddy tunes, will have them bouncing and dancing, and tired enough to take that nap.

Also some soothing tunes for when a toddler needs to calm down.


title: JAZZ IN THE HOUSE 12 phil asher

text:
Well what would you expect? We're talking about Phil Asher, of course it would have to be a great CD, wouldn't it?

1 DJ Oji & Una -  We Lift Our Hands At The Sanctuary (Friday Night At The Sanctuary Mix)

2 Blaze -  We Are One (Shrine Vocal Mix)

3 DJ Fudge* -  If I Had A Band

4 DJ Jorj -  Only You (Blaze Mix) Featuring - Gary Pinto Remix - Blaze

5 Black Joy -  Untitled

6 Blak Beat Niks -  The Sun Will Shine (Radio Mix)

7 Nikos & Lamech -  Jubilee Funk

8 Nathan Haines -  Squire For Hire (Capricorn Mix) Featuring - Marlena Shaw

9 Blaze -  What We Need Is Love

10 Rain People -  Trippin' On Love Featuring - Marcus Begg

11 Reel People -  The Light Featuring - Vanessa Freeman

12 Elastic Band, The (2) -  Sunny (City People Edit) Remix - City People

This is a pretty slammin' little compilation of house jams as compiled by, as usual, Phil Asher aka Restless Soul. The series spans 14 volumes that I'm aware of and is usually pretty solid in giving you a good mix of house, nu-jazz and soul.

The CD starts out with an almost discoteque(sp?) like cut with Graceland feat Lauren David in "Call Me". The song has a whip to it that's pretty basic, but I wonder what some of the remixes are like. House guru Jon Cutler follows up with a good steady beat on "Runnin'" before Vivian Greene pipes in with a slow and sensual R&B cut that's almost like a late night ballad with a slow finger snap - thanks to Osunlade. But one of the highlights to this album to me was the Sterling Ensemble track, "The World", given a remix by EOL; think Masters at Work, all the way. Amazing song that'll hook you within the first 14 seconds with a great vibe, occasional broken beat and a breathtaking change of pace midway through the cut. To find this on 12"! Another highlight to me was Diviniti's "Find A Way" given a steady remix by Danny Krivit. Great vocal, loads of good points... just a sweet house track. And then there's Bah Samba's rendition of the classic Teena Marie track "Portuguese Love", given a KICKIN' remix by Restless Soul (Phil Asher). Stellar work!

I can't mention them all, but there are more cuts on here that I certainly enjoyed... like Blaze, Bah Samba and MAW so I DEFINITELY recommend this to the house fan that likes nu-jazz mixed in.


title: from Paulette, with love

text:
"There might be a couple numbers that challenge the title - maybe Birth of the Blues, or Cabaret, or Orange Colored Sky -- but we had variety in mind as well.

MY VOICE IS MELLOW no matter what. Then there is Dave Tatrow on the sweetest trumpet I've ever heard. He talks to you via the trumpet. Pat Cronley , pianist extraordinaire as well, offers versatility and styling that will consume you. The outstanding rhythm section is made up of Gary Allen on bass and guitar, John Hill on drums, and Zack Himelhoch on bongos.

A few reactions so far from complete strangers to family and friends: "That is an excellent album." "That may be the best album I've ever heard." "Wow, Paulette. Where can I pick up a copy?"

I have always loved to sing, and thanks to my dear husband accompanying me on piano during thousands of practices, his idea of an album blossomed. (I suppose he just couldn't get enough of me!) Due to all of these practices, my repertoire is immense! And, yes, I will sing anywhere!"


title: SLARAFFENLAND, the 1st Album

text: Slaraffenland is the Danish experimental pop band who has spent years developing a sound that conjures everything from melodious addictive building rock and pop to tumbling jazz and noise. As if Sun Ra, Animal Collective and Broken Social Scene went camping together.  Slaraffenland is Danish for "The Land of Milk and Honey." Bjørn Heebøll, Christian Taagehøj, Jeppe Skjold, Niklas Antonson and Mike Taagehøj formed the band in 2002. (Most of them childhood friends and Christian and Mike are twins) and released their first album Slaraffenland in 2004. Slaraffenland is now building their own studio in Copenhagen, where they plan to work and do all their future recordings and experiments.


title: The Great Stars Sing the Great Songs of Christmas Nat King Cole

text: With Nat King Cole, Peggy Lee, Gordon McRae, Marlene Dietrich, Al Martino, Bing Crosby, Ella Fitzgerald, Dean Martin, Jose Feliciano and Wayne Newton.


title: Southern Son, so Far by James Justin Burke

text:
James Justin and Co., a trio made up of singer James Justin Burke, Bailey Horsley on Banjo and John Kennedy on Bass. Southern Son, So Far, their debut album, is a simple, middle of the road album that straddles the line between Bluegrass and Americana Country. In an increasingly single oriented, I-Pod age, this is an old fashioned album, meant to be listened to as a whole rather than in pieces. Burke offers a pleasant cohesion and simplicity that fits well with the folksy aesthetic of his lyrics. The melodies flow into each other for a CD that creates a mood, evoking the warm and slightly lazy comfort of a summer evening on a back porch. There is a hint of a bygone era, but it is one where barefoot mothers watch their playing children in bell bottom jeans or hemp skirts. Southern Son, So Far is an engaging debut album that bodes well for the future of this trio.

The album opens with "In The Garden," a pragmatic love song where James Justin Burke (Jupiter's Garden) invites a potential love interest to "plant your seeds in my back yard," where they can have years of love and profound conversations. Ben Bridwell, from The Band of Horses, lends heavenly harmony vocals to "The Rescue." The roots rock of "Free Love" is tempered and brought back to the same mountain country as the rest of the album by Bailey Horsley's banjo. The fusion of banjo, mandolin and harmonies on "Count On Me" harken back to The Clinch Mountain Boys. Jesse Pritchard's haunting violin blends with Howard Dlugasch's organ, creating an almost Gothic back drop for one of the albums most striking tracks, "Just a Dream." "Won't take me back to good old days, where the sun and rain, shine and fall on you," the trio sing on "I Know You Will," a gently swaying ballad that is reminiscent of Old Crow Medicine Show's early work. "You're Not Alone" plays almost like an old fashioned hymn with gentle harmonies and a slow build from a simple banjo to a full instrumental choir. Turn This Thing Around is a sprightly song about finding strength and hope in a community, which find Burke hoping "one by one we're gonna get up off the ground, two by two we're gonna make each other proud, three by three we're gonna turn this thing around." The album closes with the strongest track, "Chaser Boy," a song that explores Burke's search for truth while pulling from the bluegrass and gospel themes of the album.

Southern Son, So Far is, by and large, a quiet album with straightforward songs and simple arrangements. On such tracks as "The Rescue" and "Turn This Thing Around," this simplicity is quite delightful. The more memorable tracks on album tend to lean towards the roots rock and gospel side of the band, the bluegrass features some of the most enjoyable banjo this side of Mumford and Sons. So here's hoping that James, Justin and Co give us more albums that cater to both sides of their musical muse. --  Stormy Lewis,Roughstock


title: Now Hear This - Independent Music Awards - 2008 Winners

text:
This is the second Music Resource Group Independant Music Awards collection that I have been smitten with. The 2007 edition was the first I heard of this. I found some real gems. The 2008 edition is no different. You WILL find something you like on it. My personal favorites on 2008 are: Disc 1 track 9 - "Michael (Jump In) Disc 1 track 13 - "I Only Have Good Days" Disc 2 track 1 - "Same Old Drag" Disc 2 track 6 - "Jim Gordon Part II" A notable exception here is disc 1 track 8. This Miguel Migs tune has been out for awhile now. I'm not sure how it ended up on this compilation but it's the icing on the cake. These collections are worth every penny, and more!Ha Dias by Luca Mundaca - is a wonderful Brazilian song that you will listen to nonstop. Some others are fun too, although a mixed bag of styles." -- Isosceles, The home of WOXY.com

The Independent Music Awards (IMAs) is an international program that honors top-ranked independent (indie) artists and releases in more than 50 Album, Song, Music Video and Design categories.

IMA honors are awarded to independent artists who broaden the definition of commercial music and represent the diversity of the global indie music scene. The program creates marketing, sales, and promotional opportunities to expand the fan base for artists and releases that are traditionally ignored by mainstream gatekeepers, mass media, and big box retailers.

The IMAs were created in 1999 by Music Resource Group (MRG), publisher of the music industry's popular print and online contact databases, The Musician's Atlas and AtlasOnline. The program receives submissions from previous major-label artists as well as self-released and indie label talent from more than 70 countries on 6 continents.


title: Remember The '70s

text: Remember The '70s? The best of the decade's musicians will help with their hit tunes: including Rod Stewart, Cat Stevens, Hall & Oates, Elton John, Three Dog Night, The Grass Roots, Tom Jones, Looking Glass, 10cc, Rupert Holmes.


title: More to Show You ~ Stephanie Corby

text:
tephanie Corby's remarkable vocal range - from a husky, sultry alto to a true soprano that lifts the musical lines in a near-astonishing way - is the marked feature of "More to Show You."  A pleasure to listen to, it's going to make its mark on Americana playlists in the near future. - John McLaughlin, Host/Producer, WMUC-FM

"Here's what Stephanie Corby brings to the party: heartstopping vocals, appreciation for smart language, a buoyant sense of melody and more than a little bit o' soul!" - Marilyn Rea Beyer, Music Director, WUMB

"Stephanie has the kind of voice that can make the waters part; loud, sweet, and soulful, and she has an engaging, original stage spirit as well-- she could have saved Moses a lot of trouble." - Ellis Paul, Singer/Songwriter

2000 Kerrville Folk Festival - New Folk Finalist
2002 Falcon Ridge Folk Festival - Emerging Artist
2003 South Florida Folk Festival - Songwriting Finalist
2003 Susquehanna Music & Arts Festival - Songwriting Finalist
2003 Southwestern Regional Folk Alliance - Official Showcase Artist
2008 Founders Folk and Bluegrass Festival - Songwriting Finalist


title: Birdsong At Morning: Lumens

text:
With their earlier recordings Bound, Heavens, and Vigil, heard on more than 50 stations across the country, New England-based chamber-pop ensemble Birdsong At Morning is proud to announce the release of their irresistibly catchy, radio-friendly fourth album entitled Lumens, on Blue Gentian Records.

Contrasting the darker mood of the band's previous release, Lumens lightens the tone and quickens the heartbeat. Opening track "Velvet Indigo," features a chorus that lifts the spirits like clouds parting after a rainstorm. "Can't Help Myself" pulses with new wave energy, filtered through a string quartet, culminating in a sing-along chorus. "Heartland" recalls the ethereal colors of Heavens and Vigil, in a moving tale of longing and stasis. "Never Make Me Cry" is a cover from Fleetwood Mac's oft-overlooked album Tusk, given the delicate Birdsong At Morning treatment.  Middle Eastern and African drums, capped by Zeppelin-esque Arabic strings, propel the fourth track "Light," a prayer to our better natures. The album catches its breath with "Morning Glory," an ode to the power of the new day dawning. Lumens concludes with long-time set closer, "Catch Me," an upbeat and unapologetic embrace of the blatantly romantic.is proud to announce the release of their irresistibly catchy, radio-friendly fourth album entitled Lumens, on Blue Gentian Records.

Contrasting the darker mood of the band's previous release, Lumens lightens the tone and quickens the heartbeat. Opening track "Velvet Indigo," features a chorus that lifts the spirits like clouds parting after a rainstorm. "Can't Help Myself" pulses with new wave energy, filtered through a string quartet, culminating in a sing-along chorus. "Heartland" recalls the ethereal colors of Heavens and Vigil, in a moving tale of longing and stasis. "Never Make Me Cry" is a cover from Fleetwood Mac's oft-overlooked album Tusk, given the delicate Birdsong At Morning treatment.  Middle Eastern and African drums, capped by Zeppelin-esque Arabic strings, propel the fourth track "Light," a prayer to our better natures. The album catches its breath with "Morning Glory," an ode to the power of the new day dawning. Lumens concludes with long-time set closer, "Catch Me," an upbeat and unapologetic embrace of the blatantly romantic.


title: Symphonic Battle Scenes: Lorin Maazel

text:
The musicianship is masterful, and the trumpets shine.

I very much enjoyed the Beethoven "Wellington's Victory" and Lizst's "Battle of the Huns" on the Musical Heritage Society version of this CD, released under contract from the parent recording. "Wellington" springs forth with vigor and fire, the battle sequence is very exciting, and the ending is monumental. The Lizst is another very good recording, surging forth with emotion and vision.


title: CLASSICAL MUSIC: Oasis disc manufacturing: alternative: radio sampler, vol. 3

text:
Oasis CD Manufacturing Samplers aren't usually available for general sale to the public. They are distributed to 400 to 700 (depending on genre) radio stations nationwide: (College Media Journal) CMJ-reporting stations, Triple-A stations, American stations, and more.

These CDs include classical samplings from:

Bavarian Radio Symphony Orchestra

Berlin Radio Symphony Orchestra

Danish Radio Chamber Choir

Bratislava Radio Symphony Orchestra

Finnish Radio Symphony Orchestra

Turin Radio Symphony Orchestra

Czecho-Slovak Radio Symphony Orchestra

Slovak Radio Symphony Orchestra

Swedish Radio Orchestra

Czecho-Slovak Radio Symphony Orchestra

ORF Vienna Radio Symphony Orchestra

Radio France Orchestre Philharmonique

Bulgarian Radio Symphony Orchestra

Netherlands Radio Choir

Munich Radio Orchestra

Luxembourg Radio Orchestra

French Radio Orchestra

Belgian National Radio Philharmonic Orchestra

Leipzig Radio Symphony Orchestra

Tchaikovsky Symphony Orchestra of Moscow Radio

USSR Radio & TV Symphony Orchestra

All-Union Radio Symphony Orchestra

Radio Symphony Orchestra

Polish Radio Orchestra & Chorus Krakow

Spanish National Radio Orchestra

Spanish National Radio Choir

Czech Radio Symphony Orchestra (Pilsen)

SWR Stuttgart Radio Symphony Orchestra

Bulgarian Radio Symphony Chorus

Members of the Leipzig Radio Symphony Orchestra

NDR Hannover Radio Philharmonic

Stuttgart Radio Orchestra

French National Radio Chamber Orchestra

Hungarian Radio Children's Choir

Hamburg Radio Symphony Orchestra

Hannover Radio Symphony Orchestra

Saarbrucken Radio Symphony Orchestra

SWR Radio Orchestra Kaiserslautern

State Radio Orchestra

Estonian Radio Choir

Netherlands Radio Chamber Orchestra

Wernigerode Radio Youth Choir

All-Union Radio Symphony Orchestra

Spanish Radio Chorus

hr_Sinfonieorchester (Frankfurt Radio Symphony Orchestra)

Ljubljana Radio Orchestra


title: As Usual

text: Richard, a native of Nashville, Tennessee has lived in Florida for over twenty years where he continues to be one of the top singer/keyboard artists of the east coast of the Sunshine State. Richard, along with Buzz Cason, Billy Smith, Chester Powers and the late Johnny McCreery formed Nashville's original rock 'n roll band, the Casuals in 1956. The band went on to tour all 50 states and Canada with rock stars of the day including Jerry Lee Lewis, Carl Perkins, The Big Bopper and ultimately, The Casuals became Brenda Lee's first full time back up band during the time of her mega hits and for several years thereafter. The Richard Williams As Usual CD, from ArenA Recordings includes a modern version of the Johnnie Ray classic, "Cry" plus "As Usual", the Brenda Lee classic, "Keeper Of The Stars" and rockers "Trashy Women" and "Dead Letter". The latter is a new song as well as the lovely ballad, "The Happiest Day Of My Life". Richard's powerful, yet velvet smooth tones and delivery enhance this new work, recorded in Nashville in 2001 at the historic Creative Workshop Studios in both the analog and digital rooms located there. Truly a treasure of exciting and entertaining music.


title: How to dance (Remix, 1991, feat. Princessa) [Single] [Audio CD] Bingoboys

text:
Track List

1 How To Dance (Lesson 1: Four-Count-Knee-Drop Crazy Leg Mix) Remix - Bingoboys 7:46

2 How To Dance (Lesson 2: Four-Count-Knee-Drop Radio Version) Remix - Bingoboys 3:52

3 How To Dance (Lesson 3: Locking-Arm-Movement Hip Bop Mix) Remix - Georg O. Luksch, Stevie B (2) 6:08

Credits'

Producer - Martin Neumayer

Rap - Princessa (2)

Written-By - Bingoboys


title: October Valentine: Chris Kokesh

text:
With the inception of the band Misty River in 1997, Chris Kokesh became a distinctive voice on the Northwest music scene. With the 2010 release of her solo CD October Valentine her stunning songwriting, crystalline vocals, tasty fiddle and solid guitar have distinguished her as a stand-alone talent.

Veteran of stages including the Strawberry Music Festival (CA), the Walnut Valley Festival (KS), Sisters Folk Festival (OR), and Wintergrass (WA), Kokesh helped create Northwest favorite Misty River's signature vocal blend and modern folk style. After 12 years of touring, Kokesh set out to find her own voice. The challenge was to put her own sense of style and musicianship up front and take her audience on a new journey.

She was up to the challenge: onstage Kokesh brings songs to life with a transparency that draws audiences in. She reveals the inner workings of her heart with grace and humor. She is real.

"I write songs about real people, and my audiences see themselves there. There are plenty of people who are louder and showier than I am. My strength is in my emotional connection with the song and the music. I believe in the stories I tell, and that comes through."

In 2010 Kokesh released October Valentine. In honest and intimate performances, these songs of love lost, bad timing, resolve and perseverance weave sadness and hopefulness into the exquisitely bittersweet. Acoustic instruments including the beautiful guitar work of Dale Adkins frame Kokesh's eloquent vocals.

Jeff Douglas, of Oregon Public Broadcasting says, "When a song really works it's hard to imagine those words with any other music, like they always went together and the writer just discovered them. Chris Kokesh is writing songs like that."

Folk are taking notice. In July 2010, October Valentine debuted on the Folk DJ charts at #20. That same month Kokesh received an honorable mention from the Woody Guthrie Song Contest. In the past year, Kokesh has played at the Sisters Folk Festival (OR) and taught at the associated Americana Song Academy, toured the Northwest solo as well as with Jonathan Byrd, Beth Wood and Lincoln Crockett, and accompanied such artists as Johnsmith, Martyn Joseph, Peter Mulvey, Po' Girl, Ellis, Keith Greeninger, and Tom Prasada-Rao.

What is next? "I hope to continue to expand my touring range. This spring Jonathan Byrd and I recorded a duets album, so we will release that soon. And I am writing more than ever; I've got a bunch of songs for my next CD," Kokesh says. "It's exciting to be reaching people with my music."


title: Benny Goodman: Hit Collection

text:
Benjamin David "Benny" Goodman[1] (May 30, 1909 - June 13, 1986) was an American jazz and swing musician, clarinetist and bandleader; widely known as the "King of Swing".

In the mid-1930s, Benny Goodman led one of the most popular musical groups in America. His January 16, 1938 concert at Carnegie Hall in New York City is described by critic Bruce Eder as "the single most important jazz or popular music concert in history: jazz's 'coming out' party to the world of 'respectable' music."

Goodman's bands launched the careers of many major names in jazz, and during an era of segregation, he also led one of the first now well known racially-integrated jazz groups. Goodman continued to perform to nearly the end of his life.


title: Influential contemporary Christian worship music

text:
Brian Robert Doerksen (pronounced "durkson") is a Canadian Christian singer-songwriter and worship leader from Abbotsford, British Columbia born in 1965.

For many years Doerksen was part of the Vineyard Churches as well as Vineyard Music Group. In that context he has been extremely influential in the area of contemporary Christian worship music. He was a featured worship leader on many Vineyard worship CDs and has also taught extensively on worship leading and song writing. Brian's worship recordings are known for their high production values and quality songwriting.

Notable songs written by Doerksen include "Come Now is the Time to Worship".

Brian Doerksen received the Gospel Music Association Dove Award, only the second Canadian to be so honoured. He has also won a string of Covenant Award, among them: Artist of the Year, Praise And Worship Album Of The Year and Praise And Worship Song Of The Year.

Come Now Is the Time To Worship (Introit)

Lyrics:

Come, now is the time to worship
Come, now is the time to give your heart
Come, just as you are to worship
Come, just as you are before your God, come

One day every tongue will confess You are God
One day every knee will bow
Still the greatest treasure remains for those
Who gladly choose You now

Additional spontaneous lyrics:
Sing to the Lord a new song ...
Come, come, come (Just as you are)
Come, come

Notes:
Introit: a term used in the Anglican church for a song at the beginning of a service, calling people to worship.
Sung by Brian and Wendy Whitehead, worship leader of the Southend Vineyard.


title: BAILOTECA PA'BAILAR Y REMATAR

text: 1 todavia - la factoria // 2 me tiene loco - Puerto Rican power // 3 callate - fulanito // 4 cuidado con el perro - fustino omaras // 5 no te olvidare - staff,srgio vargas // 6 matecaña emperadora - orq. Matecaña // 7 el baile del pescado - aldo ranks // 8 te dejo libre - pedro arroyo // 9 quimica - rika rena // 10 pensaras en mi - tito rojas // 11 entregame tu amor - los inquietos // 12 por si acaso - manolo lescano // 13 que me maten - la factoria // 14 que puedo hacer yo - albert Mendez // 15 en la costa con guayaba - guayaba // 16 la culpable - big boy // 17 no voy a dejarte ir - Andres cepeda // 18 la venia vendita - marco Antonio solis.


title: RARE, HARD TO FIND

text:
Oasis CD Manufacturing Sampler CD's have never been available for general sale to the public. They are distributed to 400 to 700 (depending on genre) radio stations nationwide: (College Media Journal) CMJ-reporting stations, Triple-A stations, American stations, Alt-Country stations, and more.

It also goes to a fantastic list of industry insiders who have asked to hear each Sampler as it comes out.


title: Versatile singing talent Guy Rotondo

text:
Boston Garden national anthem singer and versatile singing talent, Guy Rotondo.

Guy was also featured in the original cast album of To Broadway With Love, the Great White Way's contribution to the 1964 World's Fair, having fun camping up Bock and Harnick's "Beautiful Lady" with Bob Carroll,


title: Cruzandoel Milenio Joe Arroyo

text:
Joe Arroyo for those of you who do not know of him, he is a treasure in Cartagena, Colombia, my native land. Joe has been around since I can remember and it seems that his music gets better and better each year. This cd is no exception. Salsa, cumbia, merengue, he is the king of it all. I totally recommend this CD.

Lista de canciones
Disco 1
1 PañUelo Y Guayoco / El Huevo / Mi Pañuelo / El Indio Y La India

2 Noche De Arreboles

3 La Mini Mini

4 Se Rompió El Paraguas

5 Tú Volverás

6 Por El Suelo

7 Lina Balina

8 Deja Que Te Agarre


title: Dionne & Friends - That's What Friends Are For (Featuring Elton John, Gladys Knight and Stevie Wonder)

text:
"That's What Friends Are For" is a 1982 song written by Burt Bacharach and Carole Bayer Sager best known for its cover version by Dionne Warwick and Friends.

A one-off collaboration featuring with Gladys Knight, Elton John on piano and Stevie Wonder on harmonica, it was released as a charity single in the United Kingdom and the United States in 1985, it was recorded as a benefit for American Foundation for AIDS Research, and raised over US$3 million for that cause.

The tune peaked at number one for three weeks on the soul chart and for four weeks on the Billboard Hot 100 interestingly becoming the final US number one for all but John in January 1986 and became Billboard's number one single of 1986. In the U.S. it was certified Gold on 1/15/1986 by the R.I.A.A.

In 1988, the Washington Post wrote, "So working against AIDS, especially after years of raising money for work on many blood-related diseases such as sickle-cell anemia, seemed the right thing to do. 'You have to be granite not to want to help people with AIDS, because the devastation that it causes is so painful to see. I was so hurt to see my friend die with such agony,' Warwick remembers. 'I am tired of hurting and it does hurt.'"

Dionne and Friends version of the song won the performers the Grammy Award for Best Pop Performance by a Duo or Group with Vocal, as well as Song of the Year for its writers, Bacharach and Bayer Sager. It also was ranked by Billboard magazine as the most popular song of 1986.

Dionne Warwick, Elton John, Gladys Knight, and Stevie Wonder performed the song live together for the first time in 23 years at the 25th Anniversary AmfAR Gala in New York on February 10, 2011.

Dionne and Friends' version also listed at #61 on Billboard's Greatest Songs of all time.


title: Goldene Schlager Oldies

text:
Track Listing:

1 Monja
 2 Schuld War Nur Der Bossa Nova
 3 Dich Erkenn Ich Mit Verbundnen Aug.
 4 Marina
 5 Leise rauscht es am Missouri
 6 Fahrende Musikanten
 7 Aber Dich Gibt's Nur Einmal F. Mich
 8 Marigot Bay
 9 Tom Dooley
 10 Weine Nicht Kleine Eva
 11 Volare
 12 Sag Dankeschoen Mit Roten Rosen
 13 Die Gitarre und das Meer
 14 Mein Schimmel wartet im Himmel
 15 Hallo Teddybaer
 16 Was Wirklich Zaehlt
 17 Angie
 18 Das Kartenspiel
 19 Die Legende Von Babylon
 20 Rhodos Bei Nacht
 21 Candida
 22 Gina Marina
 23 Glaube mir
 24 Herzklopfen
 25 Memories of Heidelberg
 26 Mr. Cannibal
 27 Pretty Baby
 28 Du Hast Ja Traenen In Den Augen
 29 Mexican Girl
 30 2 Gitarren am Meer
 31 Ein Lied Zieht Hinaus In die Welt
 32 Der Junge Mit Der Mundharmonika
 33 Emanuela
 34 Ein Schlafsack Und Eine Gitarre
 35 Caribean Love Affair
 36 Das alte Haus von Rocky Docky


title: Goodbye Jen

text: This American Rock, Adult Alternative Pop/Rock band is very entertaining and they songs contain a soundscape of killer electric & acoustic guitars, catchy lyrics, groovy drums and rock percussion.


title: Unreleased 1: Believe in we/Ferosh

text:
They say you'll never work a day in your life if you love what you do. If that's the case, then Tracy Young hasn't worked in 20 years.

What the electronic music dynamo has done over the last two decades is taken her irresistible passion for dance music from the underground to the mainstream, going from clubland cause célèbre to mainstream celebrity in the process.


title: Schubert: Favorite Lieder / Robert White, Graham Johnson

text:
Robert White is an American tenor who has had a major career in North America and Britain as a concert and operatic tenor, and as an "Irish tenor."

Lachen und Weinen, song for voice & piano, D. 777 (Op. 59/4)5:40
Die Taubenpost ("Ich hab' eine brieftaub'"), song for voice & piano (Schwanengesang), D. 965a (D. 957/14)3:40
Auf der Bruck ("Frisch trabe sonder Ruh' und Rast"), song for voice & piano, D. 853 (Op. 93/2)2:06
Erster Verlust ("Ach, wer bringt die schönen Tage"), song for voice & piano, D. 226 (Op. 5/4)3:17
Frühlingsglaube ("Die Linden Lüfte"), song for voice & piano (3 versions), D. 686 (Op. 20/2)2:42
Liebesbotschaft ("Rauschendes Bächlein"), song for voice & piano (Schwanengesang), D. 957/1 2:59
Ständchen ("Horch, horch, die Lerche"), song for voice & piano, D. 889 3:17
Lied eines Schiffers an die Dioskuren ("Dioskuren, Zwillingssterne"), song for voice & piano, D. 360 (Op. 65/1)2:49
An die Musik ("Du holde Kunst..."), song for voice & piano, D. 547 (Op. 88/4) 2:17
Der Wanderer an den Mond ("Ich auf der Erd'"), song for voice & piano, D. 870 (Op. 80/1)2:45
Gesang ("Was ist Sylvia,..."), song for voice & piano, ("An Sylvia"), D. 891 (Op. 106/4) 4:15
Ständchen ("Leise flehen meine Lieder"), song for voice & piano (Schwanengesang), D. 957/4 2:18
Die Forelle ("In einem Bächlein helle"), song for voice & piano, D. 550 (Op. 32)3:10
Fischerweise ("Den Fischer fechten Sorgen"), song for voice & piano, D. 881 (Op. 96/4) 2:29
Die Liebe hat gelogen, song for voice & piano, D. 751 (Op. 23/1)4:05
Du bist die Ruh, song for voice & piano, D. 776 (Op. 59/3)1:48
An die Laute ("Leiser, leiser, kleine Laute"), song for voice & piano, D. 905 (Op. 81/2) 4:14
Heimliches Lieben ("O du, wenn deine Lippen..."), song for voice & piano (two versions), D. 922 (Op. 106/1)4:59
Litanei auf das Fest Aller Seelen ("Ruh'n in Frieden alle Seelen"), song for voice & piano, D. 343 4:16
Im Frühling ("Still sitz ich"), song for voice & piano, D. 882 2:02
Seligkeit ("Freuden sonder Zahl"), song for voice & piano ("Minnelied"), D. 433
2:02

Robert White is an American tenor who has had a major career in North America and Britain as a concert and operatic tenor, and as an "Irish tenor."

He was born and raised in the Bronx (one of New York City's five boroughs). His father was from Kerry and his mother from Galway. His father, Joseph White, was a professional singer and radio actor, who played NBC's The Silver-Masked Tenor. Joseph White brought his son proper vocal delivery and technique beginning at the age of nine. The boy also learned from the records of the leading Irish tenor, John McCormack.

Robert was a chorister at St. Jerome's Church in the Bronx. He was for several years asked to sing at Cardinal Spellman's annual Christmas Party for the New York Foundling Hospital. At one of them he was seated next to Mrs. John McCormack. Her son, Count Cyril McCormack, gave White a silver cup, roses, and an Irish harp for his contribution to Irish song.

Beginning in 1945, Bobby White began appearing regularly as an actor and singer on radio programs. He was a regular member of Coast to Coast on a Bus, hosted by Milton Cross, and had several soap opera roles. One of radio's best running gags was the supposed feud between Jack Benny and Fred Allen. Since Benny had a resident Irish tenor (Dennis Day) it was natural that Allen hired Bobby White. On the show, he sang with such stars as Bing Crosby and Frank Sinatra, and in one skit played a Scoutmaster (Humphrey Bogart was the Boy Scout!)

At the same time, he was a serious high school student, and then continued at Hunter College. After that, he studied voice with Gerard Souzay and pursued further musical studies with Nadia Boulanger. He was interested in a wide range of musical history. In addition to premiering works by Milton Babbitt, Gian Carlo Menotti, and Samuel Barber, he joined the New York Pro Musica under Noah Greenberg, one of the U.S.'s finest pioneer early music ensembles. He obtained his Masters at Juilliard in 1968, started teaching music history at Hunter and the Manhattan School of Music, and continued his professional singing career.

At a dinner after he had sung in a Schubert Mass, music patroness Alice Tully, seated next to him, nostalgically lamented that nobody could sing John McCormack's songs any more. He asked her what song she had in mind. "Mavis," she replied, and White promptly sang it, and she started to cry.

This suggested to White that there must be others who felt the same way about this music. This led to him and accompanist Samuel Sanders making the RCA Red Seal hit album When You and I Were Young, Maggie, re-launching him as an Irish tenor. Eventually, he sang a "Homage to John McCormack" concert at Alice Tully Hall in New York in the 1985-1986 season.

His Irish singing led to a concert tour with flutist James Galway in England, which led to the BBC giving him his own radio show, on which he sings a whole range of classical repertory, show tunes, and Irish favorites. As a result, he is better known in Britain than in his birth country, and is, of course, a favorite in Ireland. He has sung at numerous festivals and many major orchestras and halls, appeared in operas as diverse as Don Giovanni, Carmen, The Long Christmas Dinner (Hindemith) and Labyrinth (Menotti), and recorded over a dozen solo albums. He has recorded for RCA, Virgin Classics, EMI, and Hyperion. He is a member of the Voice Faculty of the Juilliard School. ~ Joseph Stevenson, Rovi

Graham JOHNSON O. B. E. After arriving in Britain from his native Rhodesia (now Zimbabwe),Graham Johnson studied at London's Royal Academy of Music and subsequently with the late Geoffrey Parsons. In 1972 he was official accompanist at Peter Pears's first Master Classes at The Maltings, Snape, and thereafter worked regularly with the great tenor. In 1975 he was invited by Walter Legge to accompany Elizabeth Schwarzkopf. In 1976 he formed The Songmakers' Almanac to further the cause of neglected areas of piano-accompanied vocal music and to place the staple repertoire of song in new and challenging contexts. This endeavour was much supported by the late Gerald Moore, whose guiding influence in Johnson's career was of crucial importance.

Apart from devising and accompanying over one hundred and fifty Songmakers' recitals, Graham Johnson has presented a number of summer recital cycles for London's South Bank and Wigmore Hall, as well as a seven-part cycle of Goethe settings for the Alte Oper, Frankfurt. He has written and presented programmes for both BBC Radio and Television on the songs of Schubert, Poulenc, Liszt and Shostakovich. He is Professor of Accompaniment at London's Guildhall School of Music, and a Fellow of that School as well as of the Royal Academy of Music. He has given Master Classes as far afield as Finland, New Zealand, and the Music Academy of the West in Santa Barbara, California.

Graham has accompanied such distinguished singers as Elly Ameling, Victoria de los Angeles, Arleen Auger, Brigitte Fassbaender, Lucia Popp, Tom Krause, Jessye Norman, Peter Schreier, Marjana Lipovsek, Felicity Palmer, Ann Murray, Christine Schäfer, Anthony Rolfe Johnson, Matthias Goerne and Dame Margaret Price. He has accompanied Dame Felicity Lott since their student days at the Royal Academy of Music where they worked together with the late Flora Nielsen.

Graham's ten year project to record the entire Schubert Lieder for Hyperion continues to attract critical acclaim, including the 'Gramophone' Solo Vocal Award in both 1989 (for his disc with Dame Janet Baker) and 1996 (for 'Die schöne Müllerin' with Ian Bostridge); his other collaborators in the series include Thomas Allen, Brigitte Fassbaender, Thomas Hampson, Christoph Prégardien, Dame Margaret Price, Dame Felicity Lott, Ann Murray, Edith Mathis, Philip Langridge, Arleen Auger, Lucia Popp, Marjana Lipovsek, Christine Schäfer, Matthias Goerne and Peter Schreier. He has now embarked on a new project for Hyperion, to record the entire Lieder of Schumann. The first disc in this series, with Christine Schäfer, won the 1997 'Gramophone' Solo Vocal Award.

Graham Johnson was awarded an OBE in the 1994 Queen's Birthday Honours list. Graham's hobbies include collecting books.


title: Joe Public, new jack swing group

text:
Joe Public is a new jack swing group from Buffalo, New York. It consisted of lead singer and bass guitarist Kevin Scott, keyboardist and guitarist Jake Carter, percussionist and drummer Dwight "Mr. Dew" Wyatt and lead guitarist Joe "J.R." Sayles. They are best known for their hit single "Live and Learn," which reached #4 on the Billboard Hot 100 chart in 1992.

Joe Public evolved from the group Atension, signed to Island Records in 1989. They released their debut album Joe Public on Columbia Records, which contained their hit single "Live and Learn", which became their only top forty hit, peaking at #4 on the Billboard Hot 100. Their follow-up single, "I Miss You" reached #55 on the same chart.

They hosted the "NBA Jams Music Video," a VHS promotional release for the video game NBA Jam that contained music videos intercut with professional basketball highlight footage. The video for "Live and Learn" is contained on it, as well as improvised live footage between video segments.

They later released their second studio album Easy Come, Easy Go in 1994, also under Columbia Records.

They continue to act as songwriters, writing the song "Keep It Comin" by Keith Sweat in 1991 and also writing songs for Tyrese.


title: RARE PROMOTIONAL SAMPLER DISC "SHOUT! FACTORY - FALL 2005 SAMPLER"

text:
RARE PROMOTIONAL SAMPLER DISC TITLED "SHOUT! FACTORY - FALL 2005 SAMPLER".

BRAND NEW & FACTORY SEALED. COMES IN A CARDBOARD SLEEVE.

SONGS:

1.DON'T SLANDER ME - ROKY ERICKSON
2.POPCORN - HERB ALPERT AND THE TIJUANA BRASS
3.COMMON PEOPLE - WILLIAM SHATNER
4.THE LIVING DEAD - PHANTOM PLANET
5.BAD, BAD LEROY BROWN - JIM CROCE
6.MAKE DO WITH WHAT YOU GOT - SOLOMON BURKE
7.IKO IKO - DR. JOHN
8.SLIDE - SLAVE
9.STONED PART 1 - LEWIS TAYLOR
10.MISSISSIPPI DELTA - BOBBIE GENTRY
11.LOS ANGELES (LIVE) - X FEAT JOHN DOE
12.YOU REALLY GOT ME - THE KINKS
13.AIN'T THAT A BITCH - JOHNNY GUITAR WATSON
14.PENITENTIARY BLUES - DAVID ALLAN COE
15.I LOVE MICKEY - MICKEY MANTLE & TERESA BREWER
16.PICK UP THE PIECES - AVERAGE WHITE BAND
17.BLISTER IN THE SUN (LIVE) - THE VIOLENT FEMMES

RARE PROMOTIONAL SAMPLER DISC TITLED "SHOUT! FACTORY - FALL 2005 SAMPLER".

BRAND NEW & FACTORY SEALED. COMES IN A CARDBOARD SLEEVE.

BY "SAMPLER" WE MEAN IT IS A COLLECTION OF FULL-LENGTH SONGS EITHER TAKEN FROM VARIOUS ALBUMS MUCH LIKE A "GREATEST HITS" COLLECTION OR EVEN A COLLECTION OF SONGS FROM VARIOUS ARTISTS.


title: Acoustic driven hard rock from the midwest

text: Circle of Trust CD: A Smashed Productions exclusive. The best of acoustic driven hard rock from the midwest. 10 tracks


title: Innovator on the harp, joins Yanni on world-wide tours

text:
Víctor Espínola, (born in Paraguay) is an innovator on the harp, who has joined Yanni on world-wide tours.

Victor is also a multi-instrumentalist and singer, most known for playing the Paraguayan harp. His style of music is influenced by a combination of Flamenco, Gypsy, Brazilian, Middle Eastern, African, Pop, and Dance.

Espínola has toured throughout the world including Brazil, Argentina, Chile, Switzerland, Italy, Austria, and Germany.

Espínola also was a featured concert instrumentalist with Yanni, touring during the 2003 and 2004 Ethnicity world tours, the 2005 Yanni Live! The Concert Event tour, and the 2009 Yanni Voices tour.


title: the "Ministry" when dance music was cool - 3CDs

text:
A must purchase for anyone who remembers the "Ministry" when dance music was cool!!!

This box set comprises of 4 top dj's across 2 cd's and one drum 'n' bass cd.
Cd1 "RULIN'" has 12 top tunes mixed superbly by CJ MACKINTOSH and TODD TERRY taking such tunes from Inner City and C&C Music Factory and giving it a "put this on before you go out on a friday night kinda vibe".

Cd2 "FRISKY?" has 14 tunes mixed by SEB FONTAINE and JON PLEASED WIMMIN which I found has a slightly more heavier feel and definately has to be played loud!!! with such mixes of Jaydee's "Plastic Dreams" and More Kante's "Yeke Yeke" the pace gets quite frantic and the neighbours will definately be calling the police!!!!

Cd3 "LOGICAL PROGRESSION" by LTJ Bukem/MC Conrad is over 60 minutes of speaker thumping Drum 'n' Bass, again this has to be played rather loudly!!!!
To conclude, if you weren't around when this was released try, beg, borrow a copy of this set as compared to the newer Ministry Of Sound albums this is a total classic that will never date and correctly takes you to the ambience and mood from that era.


title: Mandingo "Bailalo" [Import]

text:
Audio Mixer: Hector Miranda.

Recording information: Studio J.G.M., Apodaca, N.L., Mexico.

Unknown Contributor Role: José Guadalupe Esparza.

Arranger: Mandingo .

1. Bailalo
2. Niña
3. Sin Ella
4. Horoscopo
5. Si Tu Supieras
6. Rivales
7. Como El Viento
8 .Desahuciado En El Amor
9. Por Amor A Ti
10. Brindo Por Ti


title: Very helpful for learning Arabic grammar and idiom

text:
This method utilizes four people - the teacher (Jane Wightwick), two students and a native Arabic speaker (Mahmoud Gaafar), who provides examples of correct pronunciation.

Jane "drills" the students by asking them to compose phrases and sentences using the different verb forms (past and present) for singular and plural, and for first, second and third person. Future tense is also addressed, but it is not a separate verb form.

The students may answer correctly or incorrectly, but even the incorrect responses are helpful because Jane corrects them and explains why they are wrong. After the students' responses, Mahmoud supplies the native-speaker's pronunciation. In short, it's very much like sitting in an actual Arabic class led by a very competent teacher.

The emphasis is not on vocabulary, but on mastery of Arabic grammar and idiom. My only caveat about this method is that it is geared towards Egyptian Arabic, and not Modern Standard Arabic.

user_id: AETTAWVJLJQWXLZMCWAAFNMZMHHA


title: ¡¡¡ Paradigm Patty !!!

text: This is Sandi at her very BEST. You had better be prepared to ramp up the volume in order to fully appreciate the quality of her voice. Each selection is superb. Just when you think that she is at the maximum of her range, she sets new limits. I almost want to stand up when she sings the national anthem, but it causes the car to swerve too much so I refrain.


Bought this for my Dad....he loves it. Awesome old music that I grew up listening to. Delivered in great condition and ahead of schedule.


title: Fun

text: I love this CD an ex stole it from so Im so happy i found it thanks sooo much! There is a hidden track at the end wait for it.


title: Love it!

text: I got this for my granddaughter and love it!


title: Works as the original

text: Works well. Super impressed with the merchant who upgraded the shopping at no extra cost to me. So this arrived pretty fast


title: Great CD

text: This had the songs i was looking for.


title: Great Jazz singer

text: Saw Yve at the Sun Valley Jazz Festival and really liked her work. She is a great Jazz singer and we hope we get to see her again.


title: Good band.

text: These guys have some very decent tunes on this album.  I really enjoyed it.  I would definitely only recommend it, but only for people well versed in the Russian language andculture.  There are many idiomatic expressions and Russo-American pop culture references in these songs, which will make them harder to understand if the listener is unfamiliar with them.  Overall though....I really liked the CD.


title: Five Stars

text: Another masterpiece from the progressive gods !!


title: Truly Powerful

text: I have been a fan of great guitar playing for most of my adult life. It began with Carlos Montoya, and my favorites include Carlos Santana, Joe Satriani, Eric Clapton, Jesse Cook, Ottmar Liebert, Govi, Peter White, Albert Lee, Larry Carlton, Craig Chaquico, Steve Morse, and Christopher Parkening. I had never heard of Johnny Markin until I came across his video of the Doxology on Youtube. He apparently was a well-known rock guitar player in the past, but I believe he has become a Christian clergyman, and has been out of circulation for a while. This album is magnificent. Larry Carlton has an old album called Alone But Never Alone that I played until I wore it out, and Johnny Markin's album is the only thing I have heard which compares with it. His accompaniment are excellent musicians in their own rights, and what they bring to the album just helps to accentuate his masterful performance of these old hymns. A lot of the instrumental renditions of hymns available to the public are background music. They are nice, but they are nothing you wish to listen to for the sheer beauty of the music. Not so with Markin. This album is riveting, both in the more majestic sounding hymns, as well as in the more quiet and contemplative. It is a really well put together assortment of songs. Check it out.


title: I paid for Garbage!

text: I really don't want this crap now I see it. The front is all scratched up, the book is missing and the discs are scratched. Surprised they would even sell this in this condition. I had it before but someone stole it, now my replacement is something I wouldn't even have payed for. It said it was in good condition. I'm upset. I paid for Garbage!

attachment_type: IMAGE


title: Amazing

text: Beautiful voice, beautiful hymns, spiritually uplifting. Byzantine chant in English normally does not sound as amazing as Fr. Apostolos Hill has made it sound. He has a very clean voice that touches your heart


title: Five Stars

text: Great CD


title: Great compilation although I was disappointed after I found out ...

text: Great compilation although I was  disappointed after I found out theres a deluxe version for just $5.00 more. I will be buying the deluxe but man I longed for this Album and Mantronix has some deep bass, hard-hitting beats. probably, in my opinion, in the top ten hip-hop bands. Cus we are  the crew I know who like!!!


title: Five Stars

text: great music from the foo


title: Gloria a Dios alabanzas del Rey.

text: Bonitas alabanzas.


title: Gloria a Dios me encanta la alabanza.

text: Bonitas alabanzas.


title: Nope

text: Bottom part of the outer plastic was open. I didn't even get my poster or my postcard with this, assuming that it fell out.


title: Great

text: LOVE THIS ALBUM! Great quality, well made, beautiful photos


title: Great

text: As far as albums go, this one is made fairly cheap but the book is huge and photos are beautiful.


title: Five Stars

text: happy


I have been Looking for Something like this for a while, Yarbrough & Peoples 12" I'm glad I found what I was Looking for!!


title: Three Stars

text: I'm Glad I did Buy The Ultimate of Sade, But theirs One Problem can't play the 📀


title: In fine voice

text: Okay. Needs more original music


title: Hella Good Album

text: Flutes is easily the best of the MT albums. In My Heart is worth the price alone—IMO, its Grammy worthy.


title: Simply sublime

text: I have listened to a number of performances of the Beethoven string quartets over the years, and I believe I can honestly say this one surpasses them all.  There's an effortlessness here which belies the ensemble's mastery.  It is as though the Quartetto Italiano had been born especially to play these works. There is a serenity here, an inevitability, which gives the listener the deepest kind of pleasure.  Highlights are the three Rasumovsky quartets, played with grace, nuance, and quiet power.


title: A Solid Debut CD [...]

text:
To clear up things, this is not a CD by the band that put out Actual Reality in 1998. It's by a band in Los Angeles, California. I should know, it's my band.

This CD features songs written over a large span of time. There are plenty more songs to be released on future CDs.

This is the "get-your-foot-in-the-door" release. The uptempo songs like "Elevator", "Down In the Dumps," and "Doubt" are cushioned between edgy dark tunes "Ever After" and a political song "Model Citizen." There's also a dose of pop/rock with harmony vocals in the songs "Waiting," "Justify," and "A Common Destination." There's even a bonus track that "completes" the CD experience.

A standout track, the one that sort of adds a pause to the affair, is the solo acoustic song "Unsure." This, and the lilting "Wishing Well" have been preferred by many, because they are so distinctive. Peter Gabriel even sent his kudos for "Wishing Well" !

So take a listen, and purchase the songs via iTunes, or the CD via CD Baby.com. The band hasn't sent any copies to Amazon, and has no account with them, and the copies on offer probably haven't even been purchased yet, and being flipped at an exaggerated price by someone set on ripping you off.

[...]


title: Inspirational and thought provoking book

text:
this book, which was written a few decades ago seem more relevent today then ever, the lonliness and isolation that it describe, addiction ot TV and other technological invention as well as the search for spiritual understanding and attachment to other human seem even more true to our information revolutionalized society then it was back then.

the book raises a lot of very interesting question, such as - what's human? what's murcy? what's religion and why we need faith? what are the things that makes us diffrent from one another, or the same? it talks about many importent theams such as raceizm, popular calture vs. religion, proggress and war.

this is the story of a day in the life of an androide bounty hunter, and his meeting with an anroide that makes him question his beliefe about what's human and what's not as he hunt 6 androides who escaped from mars and found their way to earth. the diffrent charecters that he meets and that efect his life and view, such as his wife, his comandder, a fellow anrdoides hunter, a TV anchor and a god reflect on diffrent views about what's human and what's not, and answer that question, each in his \ her own way.

i liked the audio version of this book a lot, mathew modin and Clarissa Flockhart are doing exelent job in bringing the plot and massage alive with many diffrent accent and intonation for the diffrent charecters, and it was very fun to listen to it. a lot of audio books feel dry and read from the book but this one have more of a feel of seeing a play or a show, which make it more entertining to listen to.


title: Amazing guitarist

text: Michael Gungor is simply one of the greatest guitarists of our generation. He is young man with quite mature hands. This is a great album for Christian music fans or rock music fans in general. His guitars and vocals weave together a tapastry unlike any other. Simply astounding.


title: Worth the money

text: I ordered this for Christmas as a gift to someone and they loved it.


title: Improved sound.

text: This remastered La-La Land release is a definite and worthwhile improvement over the old, out-of-print FSM version, with smoother sound. Otherwise, the CD content is the same.


title: Makes the older release redundant

text: A very fine and substantially improved release of this Addison master work. Sound here is altogether better than the older RYKO version.  Kritzerland is to be congratulated for a very fine remastering. Anyone who loves this terrific score will insist on having a copy of this limited edition ahead of any other.


title: Terrific thriller score. Top class.

text: This is going to appeal immensely to those who love edgy, dramatic orchestral scores full of beautifully crafted mystery and suspense. There's a touch of Bernard Herrmann and even Jerry Goldsmith about some of the proceedings here, but Miller is very much his own man and expertly stamps his own accomplished style on everything.This composer-produced Limited Promotional issue is hard to find and I personally rate it as the composer's finest work to date. Sound quality is exceptionally good.


title: Not Bad

text: I REALLY  LOVED the movie and songs so I wanted to get the CD. I gave it 4 stars for you REALLY  have to crank the volume up and words are hard to understand.  I have played it on ALEXA and its better


title: Prompt delivery

text: The recording was excellent.


title: Great games!

text: My grandson loves these! Thank you.


title: Below par for BeeGee

text: Not as good as her other CD's.I have most of her CD's and they are all great!!


title: Soothing and relaxing

text: Very relaxing and soothing.  I purchased it for my office waiting room but loved it so much I am keeping it by my bed for now to improve my relaxation time at home.


title: Five Stars

text: We love all of Randy Travis' cd's...this is great


title: Great CD, Great Vendor

text: It’s all about the service when ordering from an online seller. This vendor exceeded expectations. The CD shipped quickly and was packaged securely. The CD is a must have for Greatful Dead fans. Highly recommend the CD and the seller.


title: Nice video a  must fot all ELO fans

text: Beautiful music from a great group


title: No songs I recognized.

text: No songs on CD I recognized.


title: WHERE'S ARETHA?

text: The 1980s were arguably the worst years for popular music since the early '60s--bland, boring, over-produced and artificial. Sadly, Aretha found herself on Clive Davis's Arista label, where she fell victim to Davis's questionable tastes. Anyone who has read either of his biographies knows that he values Big Hits over creative quality since Big Hits are easily digestible and appeal primarily to the widest, least demanding audience. In other words, Big Bucks rather than true artistic merit. If these are the best tracks Aretha performed during this era, I will gladly stick with her Atlantic and even Columbia efforts, neither of which buried her in strings (real or synthesized) and back-up singers. To be fair, there are some good moments here, but not enough for a whole album.


title: Quite satisfied.

text: Received in timely manner.  Cover was in good condition and vinyl record played well.  As good as I could expect for a used vinyl record.


title: Delivered in good condition and on-time!

text: Everything on 'this' shipment went as expected! Very good.


title: A must have for musical fans.

text: Great 40s musical with a super cast..Gloria de Haven sings some great numbers. A real morale booster.


title: Rare Tracks

text: I bought this for the Gloria de Haven tracks, which are mostly hard to find. These have obviously been copied fromold 78's but most have have had te clicks and scratches removed, and all in all are very satisfactory. The Pier Angeli tracks are good recordings and one or two are very familiar.<br />Well worth the price.


title: great music

text: beautiful music qa great singer her video is great a joy to watch and listen to over and over again.


title: I've been looking for this freebie packaged with 1 of his CD's for years.

text: It arrived quickly, as described, packaged well & had a nice price.


title: Five Stars

text: Beautiful music


title: Excellent orchestration and harmonies

text: I listen to this album every night at bedtime. It soothes and relaxes me.  I love this album so much!!


title: Great little opera,

text: and includes an English libretto, something you normally don't get these days.  That alone would qualify for 5 stars, unless there was something otherwise egregiously terrible (which there isn't).


title: Haydn's Lord Nelson Mass in the building where Lord Nelson is interred

text:
I bought this CD used here on Amazon and it was very inexpensive.  And it was worth it.  I was interested in hearing Haydn's Lord Nelson Mass in St. Paul's Cathedral, where Lord Nelson's funeral services were held and where he was buried in 1805.

That is although I have no information on whether the Mass was played there originally (it was composed in 1798, celebrating one of Nelson's victories), or even for his funeral service.  But I still do like the historical connection, because he's buried there.

The performance of all these pieces is very good and one can also hear the amazing reverberation in that building.

The recording quality, however, is not what I would call very good--that is the reason for lowered rating.  Sure, it says it is "meticulously remastered digitally from the original first-generation analogue master tapes" etc., which would tend to make one think it will sound really great.  But it could also just mean they're aware the original is substandard and they did everything they could.

O well, as I say, it was inexpensive, and it was worth it, being inexpensive.


title: Jean Pierre Leguay plays Haydn, Mozart, Beethoven, Brahms

text:
I was really happy to get this CD, having heard Leguay play a concert at Sejong Concert Hall in Seoul, Korea, of all places, in 1980.  This CD contains the Beethoven 'Three Pieces for Mechanical Organ', and the Mozart 'Fantasia No. 2 in F minor', which he also played at that concert.  I was mesmerized, and it was one of the determining factors in making my decision to major in organ performance!  Hard to believe, he was only 41 years old at the time, and I was 21.  He just celebrated his 80th birthday, on July 4, 2019, and I am 60 ... how time flies!!!!

In that recital, he also played a Sonata of his own composition, which as I recall took about a half hour, and was rather, how shall we say, avant-garde.  He also did the Messiaen Dieu Parmi Nous.  As encore, he played Bach's 'O Mensch bewein', and Gigout's Toccata in B minor.

One should note Leguay is blind, which adds to the miracle of his virtuosic playing!

This 2-CD set includes notes in French, English, German and Dutch, the main article of which is written by Leguay himself.  However and unfortunately, it gives no information whatsoever on the organs used.  CD1 contains music by Beethoven, Haydn, and Mozart, and was recorded at Eglise Cantate Domino, Frankfurt, and at Semur-en-Auxois, France.  I'll be darned if I can uncover which parts were recorded in Frankfurt, and which at Semur-en-Auxois.  Based on my research which is by no means definitive, I believe the Beethoven and Mozart were recorded at Frankfurt, and the Haydn at the other.  However, don't quote me, and if anyone knows for certain, please let me know.

There’s no question the Brahms was done at St. Ouen, Rouen, a venue which should be familiar to all organ CD collectors.

Here is my breakdown of the contents, if anyone might find it useful:

CD1:
  Recorded at Eglise Cantate Domino, Frankfurt;
  and Collegiale, Semur-en-Auxois, France.
  (I believe the Mozart and Beethoven were recorded
  at the former, only the Haydn at the latter.)
  Beethoven:
  1 – Three Pieces for a Mechanical Organ
  2 – Prelude 1 thru all the Major Keys
  3 – Prelude 2 thru all the Major Keys
  Haydn Eight Pieces for a Musical Clock:
  4 – No. 23, Allegro
  5 – No. 6, Minuet
  6 – No. 13, Allegretto
  7 – No. 14, Vivace
  8 – No. 16, Andante cantabile
  9 – No. 8, Minuet
  10 – No. 18, Vivace
  11 – No. 21, Vivace
  Mozart:
  12 – Fantasia No. 1 in F minor (1790)
  13 – Andante in F Major (1791)
  14 – Fantasia No. 2 in F minor (1791)

CD2 – Recorded at St. Ouen, Rouen:
  Brahms:
  1 – Prelude and Fugue in A minor (1856)
  2 – O Traurigkeit, O Herzeleid (1882)
  3 – Prelude and Fugue in G minor (1857)
  4 – Fugue in A flat minor (1864)
  Brahms Eleven Chorales (1896):
  5 – No. 1, Mein Jesu, der du mich
  6 – No. 2, Herzliebster Jesu
  7 – No. 3, O Welt, ich muss dich lassen
  8 – No. 4, Herzlich tut mich erfreuen
  9 – No. 5, Schmucke dich, o liebe Seele
  10 – No. 6, O wie selig seid ihr doch, ihr Frommen
  12 – No. 7, O Gott, du frommer Gott
  13 – No. 8, Es ist ein’ Ros’ entsprungen
  14 – No. 9, Herzlich tut mich verlangen
  15 – No. 10, Herzlich tut mich verlangen
  16 – No. 11, O Welt, ich muss dich lassen


title: Christmas in the Missions (San Luis Obispo & San Miguel)

text:
I suppose this CD has been out of print for quite a few years.  Too bad, I visited both these missions just yesterday and expected to see it in their gift shop.  There are a lot of visitors (especially to the former;  San Miguel is more remote) and I am sure these CDs would go flying out like hotcakes.  Alas, the mission bookstores only have non-descript Gregorian chant and harp CDs from, with all respect, unrecognizable artists.

The cover art is of Mission San Miguel, the more original of the two, in fact I believe they said it still had the original paint in there!  BTW, for some reason, the recording engineer of the San Miguel sessions liked to cut the sound off abruptly, the instant the music ended.  I guess they were afraid to show a small amount of ambience.

"Christmas in the Missions" ... a slightly optimistic title :)  Only in the modern era did they ever have such concerts.  Actually I would enjoy also hearing a reconstructed musical service from 1790 California (if there were any at all) ... a half-dozen amateurs singing monody and possibly two rickety string instruments, if they were lucky?  It was a far different time ...


title: Palace Organ in St. Petersburg

text:
I have SO many organ CDs, it's usually a chore to sit thru yet another. Not so with this one. It's really beautiful and makes even the most familiar repertoire sound fresh.

Amazon, as usual, not giving us any composer names ... I was thinking this would feature some offbeat Russian or Eastern European composers, or perhaps some odd Russian-style temperament, but it does not. That's OK, as mentioned. It stands very well in the standard repertoire.

Here is the program:

Buxtehude Prelude & Fugue in G minor.

Couperin, from Kyrie de la Messe pour les Paroisses: Plain-chant; Fugue sur les jeux d'anches; Recit de cromorne; Dialogue sur le trompette et le cromorne; Plain-chant.

J.S. Bach, Organ Concert in D minor after Vivaldi; Three chorales from the Orgelbuchlein: O Lamm Gottes, unschuldig; Der Tag, der ist so freudenreich; Christ lag in Todesbanden.

Mendelssohn, Variations serieuses, op. 54, transcribed by Reitze Smits.

Brahms, three chorales posthumous: Herzliebster Jesu; O Welt, ich muss dich lassen; O wie selig seid ihr doch, ihr Frommen.

8-minute Improvisation by the performer (Juan de la Rubia).

Of this program I was familiar with everything except the Mendelssohn, which I presume is a piano piece and sounds very good indeed on organ, quite a scorcher! And of course the Improvisation, which is very well done.

The organ is obviously a tracker and of a very mild unequal temperament, one that sounds good in all repertoire, not at all awkward in the Romantic. I play almost all this stuff and I usually somewhat dislike hearing music I also do--this is a major exception.

This is a very carefully produced "studio" recording with no audience present, and both the performance and recording very clean and clear.

If I ever had the good fortune to visit St. Petersburg, I'd certainly want to hear this organ live in concert.

Highly recommended :)


title: Recorded at too low a level

text:
This review is for the Brahms 4th Symphony arranged for two pianos and released on the Ars Musici label.

Five stars for the music, arrangement, performance, and concept.

Unfortunately, it's recorded at too low a level.  Sure, I can take it in my den and crank it up on the "big" amplifier.  However, sometimes I like to listen to music on a boombox, or Walkman.  In that case, full-blast is not enough--even though full-blast is MORE more than enough volume on the majority of other classical CDs I own.


title: Happy 332nd birthday today J.S. Bach and let's review the Klemperer 1961 Brandenburgs

text:
First off my general attitude on Otto Klemperer (1885-1973).  Anyone who has the gumption, brains and ambition to escape from a mental institution, that's someone I respect and want to pay careful attention to what he does with the rest of his life :)  Of course, that's as long as he didn't commit any violent crimes, which I have never heard that Klemperer did!

I need not go over Klemperer's life story, that can be obtained from Wikipedia, I will only say a few more things I find particularly interesting.  He was a disciple and associate of Gustav Mahler (1860-1911), just as was Bruno Walter (1876-1962).  And yet, recordings of Mahler symphonies by Klemperer and Walter made 50 or more years later, don't bear any special resemblance to each other any more than that of any other great Mahler specialists who were born long after Mahler was dead.  So therefore one can't go around saying Klemperer (or Walter) performed this or that in Mahler's presence, so therefore it must be Mahler's way in every detail, etc.

I assume the reader has seen the amusing little video where the interviewer asks Klemperer about comparing himself to Walter.  Klemperer chuckles, 'Walter was a moralist, I am an immoralist.'

I also see Klemperer was conductor of the L.A. Philharmonic for several years in the '40's.  Sorry I missed him by a couple of decades.  And he didn't like the climate ... now that I don't understand.

Klemperer was father of Werner Klemperer, a.k.a. Colonel Klink on Hogan's Heroes.

Klemperer had trouble finding a long-standing conductorship of a major orchestra throughout his life, likely due to his instability with mental health issues.  Late in life, about 1960, he was called up to be one of the main house-conductors of EMI to record most of the Romantic repertoire in stereo with the Philharmonia Orchestra.  Most listeners agree his interpretations are on the stately, monumental side.

Klemperer also considered himself a Bach specialist, and I think from the modern point of view, that simply means he was willing to conduct Bach, and wanted to.  Like Karajan who was soon to follow, Klemperer's Bach recordings were simply readings of the Bach Gesellschaft score done with a symphony orchestra.  He was just beyond the generation that loved to dink around with instrumentation and meter.  So he had no problem using modern instruments, and his rhythm was quite steady (although there are a few mild ritards here and there for notable cadences).

Modern audiences probably consider Karl Richter the antithesis of 'HIP' performance.  Well, Klemperer was much more reactionary.  Richter's Brandenburgs were quite a bit faster than Klemperer's.  I don't recall Richter using rubato at all, Klemperer uses a little.  Richter used recorders in the 2nd concerto instead of transverse flutes, which I think was a terrible mistake ... they sound weird in the context of modern strings.  Klemperer uses flute.  Most importantly, Richter, like it or not (and I am one of the world's greatest Richter fans) was looking for a serious, steely tone, and Klemperer was going for warmth.

Now about this particular record set.  It is an NOS vinyl set with the dullish-yellow shrinkwrap and it was opened tonite, some 45 years after being assembled at the factory.  It is the light blue Angel label which I have generally had good results all the way back to the 1970s.  Although sometimes there have been terrible defects, this was pretty darn good.

The center holes are not in perfect alignment, so few LP's are!  But off-center center holes obviously must not bug the vast majority of people.  I have heard so few complaints about it over the years;  but that's why I play a Dual 1019 turntable with removable spindle.  If I were to return every LP with center holes out of alignment, I'd have almost nothing in my collection.

For anyone interested, here's the center hole alignment error on this particular set:
Side 1 - about 0.2 millimeter horizontal movement, that I don't notice.
Side 2 - (on a different disk), same.
Side 3 - 0.8 millimeter horizontal movement, does needs mechanical correction.
Side 4 - 0.0 - perfect, thank you.

So aside from one side that needed manual recentering (and again, I don't think most people would notice that small a discrepancy) ... the vinyl was exemplary.  It was smooth and beautiful from beginning to end, like listening to a master tape.  Yes, better than average for blue Angels.

I will give the briefest musical summary for now, maybe expand on it later.  The set throughout is undoubtedly slower than you are accustomed to.  But although it is slow, it is 'supported' throughout and feels right, to me anyway.  It gives you chance to savor the music instead of being fed intravenously using a pressure nozzle.  I am well aware some people will hate it because of that.  They like the pressure nozzle.

It is about the same tempos overall used by Karajan, and Baumgartner.  Quite a bit slower than Richter, although I think Richter's are unrepresentatively fast for Richter.  Possibly a bit slower than Busch's on 78.  But nothing, nothing, NOTHING like Klemperer's lethargic St. Matthew Passion or Mass in B Minor, which I do hate.  O, don't get me started on those.

I guess a couple of the inner movements, such as the 2nd concerto, are a bit too slow, they did remind me a little of Klemperer's St. Matthew Passion.  I could take it.  At least they didn't have Peter Pears.

The overall interpretation is reasonable tempi, conservative, gentle and warm renditions, not steely and dramatic like Richter's, and nothing outright weird, like Cortot's on 78.  Of course, comparing them to anything like Musika Antiqua Koln etc. ... they are mutually unrecognizable.  That is like comparing apples and orange-colored Martian rocks.

Klemperer does use harpsichord on the 5th, played by George Malcolm, and it is a quiet harpsichord for a change, not the piano with thumbtacks Malcolm normally uses :)

And one final word of criticism, the two chords of the 'middle movement' of the 3rd ... that is just about the most uninspiring treatment of two chords I've ever heard.  Surely even a pair of chords could be played with a little more pizzazz, other than "plunk, plunk, go."

But this is one of my new favorite Brandenburgs.  It still does not quite threaten first place, which still belongs to Paillard's first recording (I believe 1958) with Jean-Pierre Rampal and Maurice Andre, for modern instruments, and Harnoncourt's first recording (I believe 1962) for original instruments.  Both for sonics and interpretation, I like those the best.  (Yes, I have heard most.)

Respectfully submitted :)


title: Ashkenazy vastly overqualified, but I do not mind :-)

text:
It seems strange to me that someone can be one of the great piano virtuosos of the world, and seemingly take a career-step "up" to becoming a conductor, when it is actually no such thing.  With all due respect to the great conductors of the world ... being a piano virtuoso of the rank of Ashkenazy is, I would estimate, about one in a billion people.  Hm, does that mean there are SEVEN pianists in the world today at the level of Ashkenazy?  Interesting question.

Nevertheless, let us be even more ridiculously generous--let us say Ashkenazy is only one in 500 million.  (Now that implies there are as many as 14 Ashkenazy's out there.)  Now, consider being an accomplished orchestral conductor ... well, that is about, uh, one in a hundred thousand.  OK, pick your own number--it's still a rarefied group, but nothing, nothing like a piano virtuoso.

So, what is the allure?  More money?  Prestige?  I suppose, but I do not know.

Still, if you go chat with the average concert-goer, you will eventually hear something like this:  "Oh, Ashkenazy (or Barenboim, or whoever, there is a small handful of them) ... he was such a great pianist, he was actually qualified to step up and become a conductor."  LOL!!!

Now let me break a couple of news items to anyone who would like to learn.  Take a great piano major from a great music school.  They might even become a concert pianist, although not many do.  But they could practice the piano 10 hours a day, every day for the rest of their lives, and they would never begin to cover the repertoire that Ashkenazy has stored away in his noggin that he could call up at a moment's notice.  That is because Ashkenazy is a world-class virtuoso.

And yet, you could take that same talented piano major, and give him a few extra semesters of specialized training in your Conservatory, and voila, he would emerge a fully trained and competent orchestra conductor.

(Odd, because as you know, conductors think they're God :-)

Or, you could take someone who is NOT an instrumental major of any kind, but who was absolutely bound and determined to become an orchestral conductor, and even they could possibly do it.  However ... if this same person were bound and determined to become a piano virtuouso like Ashkenazy, then sorry no, they couldn't do it.  Not even if they practiced the piano 12 hours a day for the rest of their life.  Sorry!

Now, about that freshly-minted orchestral conductor who just graduated from the Conservatory.  Of course, just as with a medical doctor, it would be good if he could get some real-world experience.  No symphony orchestra would hire him except as an 'associate conductor' for maybe about 20 years.  BUT ... that's not because he doesn't have the training or know-how.

I could name at least one associate conductor I have heard with my own ears, that is clearly better in every way than the seasoned maestro under whom he is supposedly apprenticing.  I shall not go any further, just urge you to think about these things.  Ashkenazy did not become a conductor because he had supposedly "earned the right" by being a great pianist.  It is definitely a step down that he took for his own reasons, whatever they are.

But I am glad he did so.  This is a very poetic Beethoven Fifth.  Nowadays everyone is such a great time-beater / slash / racehorse jockey.  Ashkenazy reveals himself to be a true Romantic of the old school.  Well, I have to admit, Ashkenazy is 79 years old!!!  Somehow, I always think of him as young.  OK, I believe this was recorded about 1982, so he would be, I suppose, 45.

Still, it is a great, poetic reading.  One of my favorite Beethoven Fifths.


title: Prokofiev Scythian Suite on 78s

text:
Who knows what today is?  Well, January 16, 2016 is the 100th anniversary of the premiere of Sergei Prokofiev's Scythian Suite!  And what a way to celebrate, listening to it on 78s, a performance (and product) from when the composer was still alive!

I notice on Wikipedia the premiere date is given as "16/29 January 2016" without explanation, other than being from Prokofiev's notebook.  I am not sure but I assume Prokofiev was giving dates in both 'Old Style' and 'New Style', considering Russia made the change to Gregorian calendar at the time of the revolution in 1917, several hundred years after the rest of Europe.

I think that's a logical conclusion, rather than there being two premieres ... maybe for a 20 minute piece, they premiered the first 10 minutes on the 16th, and the second 10 minutes on the 29th?  No, I don't think so.  Anyway I suppose to properly celebrate, one could listen to it on BOTH the 16th and 29th, that problem I could handle :)

The music brings to mind the exotic tonalities of the Russian Mighty Handful, Borodin's wild and crazy dances in Prince Igor, or Balakirev's Islamey, only updated 30 years to a post-Stravinskian, even wilder and crazier era of even fewer restraints.  Indeed, Borodin and Balakirev pale in comparison, even Stravinsky sounds a little behind the times!

Prokofiev is one of my very favorite composers;  along with Britten and perhaps a few others, a true "blank-check" composer.  Even among Prokofiev's other works, the Scythian Suite stands out as something special.


title: 1939 recording of Peter and the Wolf

text:
This is a review of the original 6-side 78 set from 1939. It was the first Peter and the Wolf recorded, having been composed only 3 years earlier. As a historical curiosity, it is priceless. However, I would not hold it out as the "definitive" P&W.  Aside from the limited sonics of 76-year-old technology ... it is just too heavy-handed both in orchestral conducting and in verbal histrionics.

It sounds like Koussevitzky is using the entire huge symphony orchestra and the effect is somewhat similar to the Siegfried Funeral March of Wagner, only slightly more bombastic.  The narrative is done with a near-hysterical fortissimo with quivering tremolo.  I think that may have been a common approach to storytelling in the 1930s, not sure.  But I think today's children would have trouble understanding it (even if it were presented in hi-fidelity, which it isn't).

I think that over the decades P&W has evolved into a much gentler chamber piece, both orchestrally and narratively.  This reminds me more of certain other 1930s' era childrens fare such as Disney's wicked witch scene in Snow White, or Fantasia's demons being tossed into hell.  I do think P&W has been improved by softening it a bit.  Ironically it was Boris Karloff himself who gave us one of the most tender versions ever done.  That was from 1957, still my unsurpassable favorite.

So as I said, this 1939 version has historical interest, but I would recommend Rossi/Karloff for everyday enjoyment, and for kids:  [[ASIN:B000HRME32 Prokofiev: Peter & the Wolf]]


title: 1955 Met Faust w/ Monteux, Peerce, Siepi, de los Angeles, Merrill

text:
OK folks, I am reviewing the Monteux Faust referenced in the title, and I am doing the review in the correct place.  But, per Amazon common practice, I see there are 5 other reviews here and none of them are for the Monteux Faust (!), rather they are for Beecham, Plasson and others.  And I'm pretty sure this Monteux Faust review will be cast hither and yon to other unrelated Fausts much to the confusion and dismay of Amazon customers.

But Amazon has been sprinkling their reviews around like this for quite a few years and apparently has no interest in fixing the problem (or recognizing there is a problem).  But if anyone would like a review of the Monteux Faust, here it is ... and disregard if/when it's attached elsewhere!

This is a great recording with a stellar cast.  I am especially happy to have Jan Peerce as Faust, and Robert Merrill in the relatively small role of Valentin.  I believe the last surviving member of cast is Mildred Miller as Siebel.  Mildred Miller was a dependable and talented Met artist for over two decades and I think it's only because of her down-home name that she's not more instantly recognizable today.  (You know, for example, a certain talented pianist named Lucy Hickenlooper became vasty more famous as the exotic 'Olga Samaroff'!)  So I toast Mildred Miller who is still with us at 90 years old :)

I notice the recording is no longer readily available on Amazon or elsewhere, and I assume this is because of legal issues with the Met since it is now downloadable from their website, although I have not yet availed myself of that service.  It is a great performance and a decent, clear recording from the timeframe.  It lacks the ballets but I believe otherwise complete.

Certainly a great performance whether you get it on CD or elsewhere, and highly recommended :)


Stanfour was opening for A-ha in Berlin 2016.  They were great.  Damn good band and I'm 63.  Never thought I would enjoy rock music again.  Too bad they don't travel to the USA.


I am very disappointed. This was a promo album a while back. I wanted a Zac Brown Band CD. Wish I had not ordered it !


title: Five Stars

text: Beautiful and inspiring worship songs!


title: London Symphony At It’s Best.

text: One of the best Victoria Secret, although the first one was a masterpiece. Have been a fan of classical music for 35 years because of these CD’s.


title: Goid purchase

text: Very pleased


title: Best of Country Roland

text: This CD contains the best of Country Roland.  The sound is excellent.  His music should be remastered and made available again.  His sound is unique.


title: Get the multi-channel DVD

text:
Bernie D is a drummer's drummer, a master on the trap set. These songs are amazingly arranged, and the musicians he's got in the band are the top of the best out there. The trombone player's so good it made me go hunting for more albums he's been on.

Get the multi-channel blu-ray disk version. Some multi-channel productions are silly at best, and a few rise to the level of interesting. The multi-channel production here puts you right in the midst of the band... second trombone or second trumpet perhaps, with the band all around you.

Not saying the two channel doesn't sound great, because it does. But the multi-channel is a spectacular example of what multi-channel SHOULD be.


title: Five Stars

text: Fantastic Voice, Better man is worth the price of the albun


They work perfectly.


title: Classic

text: My wife wanted this CD and she loves it. Classic. Total classic. Tina Turner is an unprecedented talen.


title: Sophmore effort still excellent

text: Urban Cookie Collective's second major release, `Tales From the Magic Fountain' is a change in style, not enthusiasm or excellence.  While `High on a Happy Vibe' was more club/dance music,  `Tales' has more of a house feel.  Again, Diane Charlemagne's soulful voice rings through.  Of note are the almost ballad like "So Beautiful" and the uplifting "The Rest of my Love."  Overall, if you are a lover of the mid 90's club house scene, you will enjoy this lighter side of the genre.


title: Amazing "Year" Dance Complation

text: I bought this CD when it first came out in 94.  Wow, this has all of the heavy hitting dance hall favorites of 94.  Most of these songs are now lost in obscurity, but you could not hit the floor in New York and not hear most of these songs in 1994.  And for the songs that were not popular, they are strong as well.  This is so true of Urban Cookie Collective's 'Feels Like Heaven' that I bought their CD.  If you are a child of Early '90s dance this compilation is a must.


title: Asphyxization

text:
What can i say about Asphyx? Another smashing album into my face.
Asphyx never disappoints me, each record is brutal and you can't stop headbang even on the doomy parts.
Each track is a killer, and the title track in the end is just beautiful.
Martin's vocals is one of the best in the business.
I believe any death metal fan should own it.


title: not for me. not really my style.

text: not for me.  not really my style.