5 comments about Schumann: Piano Works.

1. I almost passed on this set due to the 2 reviewers that trashed it. I am so glad that I trusted the majority and purchased this set! I have enjoyed every minute of it. It has to be the best sampler of Schumann's solo piano music on the market today. You will not regret this purchase.



2. 
   Wilhelm Kempff made sing the piano as any other pianist ever born. But besides, his profound domain of the thematic material as well as his tune produced a Schumann so original, expressive and eloquent with sentiment but no sentimentality.
   
   This album is a formidable and fundamental set of the most remarkable Schumann piano works. To create such atmosphere and interpretative freshness in this composer is not easy, but in Kempff hands we are talking about another dimension of pianism.
   
   In this age, pitifully, you cannot count with many thinkers pianists; ones due the very adjusted schedule and the rest by unknown reasons seem to consider a matter of second priority to play with a determined conception. The technique seems to prevail under any other aspect. And that's not a good symptom.
   
   That is why among other arguments you should acquire as soon as possible this extraordinary set.
   
   Absorbing and rewarding in summon grade.



3. When I first read the reviews here on Amazon, I was a bit concerned about buying this set. I truely love Kempff and elegant performing style, but after having almost around 150 of his collections and cd's, I know that he can be dreadful when he is not on form. So I was worried about this set, but it was useless.
   
   This 4-cd set contains some of the best performances that Kempff could offer considering his age. There are numerous highlights here: Papillons, Davidsbündlertänze, fantasy,..... All of them find him on top form. Although one might argue that there are studio recordings and who knows how many takes one recording must have to become perfect, but let me tell you, even in his live and extremely nerve breaking situations and venues such as the Salzburg festival, he was always on top form.
   
   So Kempff's fan, buy this. It's worth it. In here you won't quite find the excitement that Richter put into his Schumann, but you will find the poetry, emotions and sensitivity that many others lack in their recordings.



4. Despite his reputation as one of the towering exponents of the 19th Germanic repetoire, Kempff acquits himself poorly in these recordings, made at the end of his life. Whether these weak performances are due to his advanced age or to more basic flaws in his training and capabilities is purely academic. They are among the poorest choices in the catalogue, perhaps the very worst. But please - don't take my word for it. Listen to the Etde IX in the op. 13, on disc 2. Kempff's attempt to pull this off is embarrassingly amateurish; he cannot even cover all the notes at "presto possibile", much less raise his playing to something approaching an interpretation. Elsewhere, you can expect the same. The op. 17 is played with little poetry, no finesse and palpable frustration in following Schumann's basic roadmap. You cannot run away from this mess fast enough.



5. this compilation has the benefit of including most of schumann's important keyboard works (among excluded works are the toccata, first sonata, bunte blatter and fantasiestucke), under the hands of an extraordinary schumann interpreter.

   recorded in the 1970's, when kempff was nearing 80, this is genuinely classic schumann. the virtuosic extremes of the symphonische etuden and kriesleriana are not quite fully exploited, but there is no flubbing, stumbling or cutting corners: kempff has things always under control. look to argerich, pollini or pogorelich for white hot schumann, kempff delivers him as a human being.

   for the sheer poetry of schumann, kempff has never been bettered. his davidsbundlertanze, especially the last 5 movements, is without peer. the kinderszenen is delightful. the poetry of the fantasie in C is magnificent. there is a lifetime of musical experience and temperament in this playing.

   kempff's approach stands apart for his remarkable ability to turn the mood and momentum of the music from one measure to the next, never in a random or willful manner, but with an alert insight and organic flow. other players tend to caricature schumann by emphasizing the contrasts, swinging from bombast to bathos: kempff emphasizes the transitions and continuities. if his fortissimo chords clang a little, the pianissimos are breathtakingly transparent. and no one, simply no one, captures schumann's nobility of heart and aching yearning for the beyond -- in the fantasie, in "zart und singend" -- better than kempff. a benchmark for any schumann collection.

5 comments about Ringo Starr & His All-Starr Band: The Anthology.

1. First - it is hard to listen to Ringo's songs, many of which are ratcheted down several steps so that he can reach the higher notes. And - the background vocalists are hard to take on the Beatles songs. Sometimes they are Americans that you can tell are trying to sound like Liverpudlians John and Paul.
   
   The highlights on this are the non-Ringo songs. Yes - Felix Cavaliere pretty much carries the entire set. Raining in my Heart is another pinnacle. Timothy B. Schmit sounds great. Peter Frampton is pretty good. Iko Iko rocks.
   
   But I agree with other reviewers. Good golly, Joe Walsh - what the heck are you doing singing Henley songs? Please . . . no, no, nooo!
   
   And Todd Rundgren - no, it is never time to get "stupid". Give it a break!
   
   But you can hear the band having a blast throughout, and you really want to be there live, hearing these legends playing on stage together.
   
   When you listen to this entire 3 CD set, and place the first CD in, you're thinking, "Oh brother, here we go - for the next two and a half hours I gotta listen to this." But as you go through it you find yourself paying attention and . . . enjoying it. By the time the last track on the 3rd CD plays out, you actually start to miss it a little.
   
   I know - no one's forcing you to listen to the entire thing, but in my case I try to get to this one at least once a year, and I always listen for something different.
   
   All in all - thank you Ringo, for bringing us your music in this novel form. It is not as well-produced and crisp as the VH-1 Storytellers (which is done with more respect and love for the Beatles) - and for Beatles covers, this album always falls short. But the covers of most of your guest artists are a real treat, in most cases.
   
   But there are WAY better live albums out there for Beatles fans: the 5 stars: Concert for George, Tripping the Live Fantastic; and 4 Stars: VH-1 Storytellers, Paul McCartney Unplugged, Wings over America, George Harrison Live in Japan, and Paul is Live - - - that the Ringo Anthology simply does not rise to those other stellar levels.
   
   I will relegate it to a 3-star, with John Lennon's Live in New York City and Live Jam.
   
   I would only recommend this CD set to fans of the Fabs, whose favorite Beatle was Ringo. The rest of you are taking a chance.



2. With so many different versions of some songs available, and some left off competely (Octopus' Garden, Goodnight, Conquistador, etc.), this is a huge and welcome addition to any Ringo (or classic rock) collection--but even at the risk of repeating several songs, the alternate versions of some of Ringo's classics with different line-ups, plus the extra material not used (partially for that reason) beg for a sequel!



3. These 3 CDs contain the very best of Ringo Starr And His All-Starr Band from 1989 to 2000. With performers like Joe Walsh, Randy Bachman, John Entwistle, Billy Preston, and so many other rock greats, there is something to please almost every rock music fan. Many rock classics are played, such as "Life in the Fast Lane," "Takin' Care of Business," "Will it Go Round in Circles," "American Woman" and "I Feel Free." Not to mention Ringo's own songs, which include "It Don't Come Easy," "Photograph," "Back Off Boogaloo," and his usual assortment of Beatles songs. This CD is an absolute thrill for any rock music fan.



4. This neat and convenient 3-CD package contains the best of his All-Starr Band tours from 1989-2000. You get to hear all of Ringo's big songs, including "Photograph," "It Don't Come Easy," "Yellow Submarine," "Back Off Boogaloo" and more. Ringo sounds stronger on this CD than he did on his 2001 or 2003 tours. Maybe age really can hit a Beatle! After all, he is 65 now. The other performers are quite good too. I really liked John Entwistle's "Boris The Spider" (I am a huge fan of the Who also). Other reviewers have complained about sound quality, but I don't think it's that bad. But then again, I spend a lot of my time listening to bootlegs, so maybe I'm just used to it.



5. I highly recommend you purchase this CD & the accompanying DVD. Great songs, (all of which you will know) played by musicians who obivously checked the own indivdual egos at the door. My only complaint about the CD (and the reason for 4 stars instead of 5) is first, the engineering & mixing of these songs. In some cases the volume level of these songs are so low, you really need to crank your stereo to hear properly. Then the next song will come on, and your speakers just shake your room because of the volume levels being set to high. Secondly, in some cases the vocals are lost behind the instruments. Lastly (and this is just my own personal opinion) the CD was great listening too, until the end of disc 3. I never was a fan of Eric Carmen, and his 2 songs at the end of the CD just ruin a fun filled CD. His songs just bring the CD to a screeching halt. I would have loved to hear Joe Walsh's Rocky Mountain Way, or additional songs from Billy Preston and/or Burton Cummings, who only received 1 song from each. Other than that, I still highly recommend buying this CD. It's not only great listening, but it's historical too!

1 comments about Rimsky-Korsakov: Sadko.

1. If the sound in this recording was just a bit better, it would be one of Bolshoi's greatest recordings ever made. All singers are wonderfull and the stage movement is not very distracting. It is unfortunate that the names of the performers are either incorect or just not shown. Liubava is sung by Larisa AVDEYEVA, not Andreyeva. The foreign mercheants, or guests are sung by Alexander Vedernikiov (Scandinavian guest), Alexey Maslennikov (Indian guest) and Yuriy Mazurok (Venetian guest). All three singers are very well known, so it would make sence to put their names on the package. In addition, the Spirit is sung by baritone Vladimir Valaitis. Svetlanov conducts very well, and the singers follow him. Sadko is not an easy opera to listen to, unless you speak Russian very well, and know ancient Slavic words and expressions. I personaly recomend you to start with such operas as The Tsar's Bride or May Night. However, if you are interested in the Bolshoi's greatest period 1940-1980, this is a recording that you need. Tenor Vladimir Petrov, in no relation to the great bass Ivan Petrov, is not the most famous tenor of his period. Maslennikov, Vladimir Atlantov and Vladislav Pyavko are much more famous, but he is one of the best Sadko's.

5 comments about Dick's Picks Vol. 12: Providence Civic Center, 6/26/74 & Boston Garden, 6/28/74.

1. By '74 the Dead had mastered China Cat -> I Know You Rider and this is the proof. Gone is the hesitation that exists in early versions gone is any question of where they were going the tune or the transition. This is the best China/Rider that you're ever likely to hear. It's so good that it's broken down into 4 distinct tracks on the cd. There's a dabbling lead in part blossoming into China Cat then a seperate, distinct, middle transition jam and an unhesitating I Know You Rider. The fluidity is astounding you find yourself wondering when the transition occurred it just morphs into another, different, song. Quite Simply Amazing. The Eyes on cd2 is great and it ends on the third cd with Ship of Fools. Don't lend your hand to raise no flag atop no ship of fools. Instead go out ... right now ... and buy this Dick's Picks you won't regret it.



2. The first disc is non-stop sweetness, and a perfect intro to those wondering what all the fuss with the good old Grateful Dead is about.
   Yeah, it's true, most of their studio albums kind of blow. They were a live band, and this first disc from the 6/26/74 show displays their wares quite admirably. It's all about the jams, and there are some mighty fine ones from this first Providence show.
   '74 was a Grate year due not only to the Wall of Sound, perhaps the greatest PA any band ever had, but also because Mickey was still absent, and using only one drummer let the band turn on a dime. They were much jazzier and more supple, and this 70-minute slab o' bliss shows that clearly.
   The China/Rider says it all. No other band ever came close to this level of intuitive interplay combined with the desire and ability to go wherever the music leads.
   []
   If you'd like to hear this whole show, it's at the non-profit website of (can't break amazoon's rules here, they already censored this review) the folks who use the word archive before they dot the org. The archive has almost EVERY Dead show for free, 24/7, soundboard and audience recordings! It's impossible to describe how wild it is as a real fan of the band's music to suddenly have access to everything ever, immediately (and to thousands of other bands' shows, and tons of great spoken word, etc. It's a true treasure trove). Years later, it still hasn't really sunk in.
   Suffice to say, if you like their music, and they've got something for everybody, then this site will keep you busy and happy for ever and ever.
   I guess some of the best things in life really are free!
   Thanks to the Boys for being so much weirdass fun.



3. 
   The Loser from Aug 20 , 1987 is among the finest interpretations of music i ve heard w my ears . Other moments in music are ' around ' and can be found and discussed due to the fine output and availability of music recordings to us , music fans . Beethoven symphonies . Electronic music a la Klaus Schulze , Steve roach and robert rich ( and Bass communion Steve wilson ) . Well .. But so .. what about this live show ( s ) from 1974 in the Dead s early 70 s universe in time .
   
   Going back to music as being well done ( as in that 87 show i mentioned above ) , it is done here with a style and sound only heard by this band and in that time period . For me , personally , the band didnt come around to kicking a*s until about 1993 , then 94 and finally 95 ( That is my objective opinion ) , and many may think other moments were their favorite or more potent . This band leaves quite a bit of ' stuff ' or subject matter ' in any sense to discuss .
   
   The 3 disc DP is fine . The playing quality on the first two discs is very tight & strong . But when you get to the third disc , pay close attention . After the nice Weather report Suite and let it Grow , the band slides down to jam that begs for open mindedness . The Grateful dead in 1974 had the best ( yes they did ) sound system on the planet . The best technology to amplify their sound - called the Wall of sound and its described in detail in a book called Grateful Dead Gear .
   
   If you are able when listening to the 23 minute jam that percedes Let it grow , you can almost climb inside Jerry s mind , and think ' We got an excelent sound system .. let s take it to places we are qualified to prove its greatness ' . The jam flows into a Mind left body jam ( 6 minutes duration ) , then back into a bridge that would take the band into US Blues . After US Blues , a short tuning break and a 3.5 minute Promised land . Then without stopping a GDTRFB . Show closer Sunshine daydream . Encore Ship of fools .
   
   Rest in peace Jerry . Thanks for leaving us with such great stuff



4. lots of jams on this one
   discs one and two feature some classic improv
   Garcia really rocks on this one



5. I've got a lot of Dick's Picks, and a lot of Grateful Dead in general, and this one is really my favorite. (I should mention, by the way, that I am a fan of Donna when she is in tune, and this was one of her better nights. Ok, I'll admit it - for me, there are some Dead songs that aren't complete without her, especially "Weather Report Suite," "Scarlet Begonias" and "Lay Me Down.")
   
   The best parts about this particular Pick are the energy, the singing, the recording quality and, above everything else, the profound beauty of Jerry's solos. Quite frankly, there are Jerry moments on this Pick that are as perfect as anything he ever did that I've heard. Some of these solos are so heart wringing and soul-touching that they'll probably be part of whatever flashes through my mind as I leave this world.
   
   The Dead as a whole were really on during this show, and it's one of the shows that I would highly recommend as a newcomer's first taste of what the Dead were really all about.
   
   My personal tragedy is that I never saw them. In college I had "Skeletons from the Closet" and I assumed that that was the G.D. It wasn't until the late 90's, when I rented a "View From the Vault" on a whim that I finally understood, too late, what they really were.
   
   Luckily, we have enough taped music from them to wind it around the backside of the moon and back to earth six or seven times. Dick's Picks 12 is some of the best I've heard yet.

4 comments about Aces Back to Back.

1. To me, Roland Rahsaan Kirk reached his peak with "The Inflated Tear". After that, even though he still came out with some classic music, he tended to be somewhat self indulgent (i.e. using sound effects, spending too much time with dated hip talk on live recordings). If his music hadn't sold so well, he'd be classed as an outsider artist and he certainly has fans within the indie rock world such as Sonic Youth (considering that live, Kirk's performances would involve smashing up a chair, compared to many sedate jazz artists, he could be classed as punk, within the jazz community). As for these four albums, they have aspects of free jazz, hard bop, dixieland, ragtime, gospel, blues a full orchestra on some tracks, uncategorable experimentation including the use of home made instruments and as mentioned weird sound effects. Still within the realm of free jazz, I find this a lot more interesting than free jazz that is strictly avant-garde classical and are "compisitions" or tuneless blasting not grounded in anything musically (though that can be fun at times). I think that by including forms of jazz that were considered dated at that time along with the free jazz/playing 3 saxophones at a time out there aspects, Roland Rahsaan Kirk was trying to say that his music was not trying to pigeonhole itself but was open to all forms of jazz and that jazz was not evolutionary but that all styles from all eras were equally valid. That said "Left and Right" is the most solid album (even with the orchestrations), "Rahsaan, Rahsaan" is a classic concert. The other two albums, "Prepare Thyself.." and "Other Folk's Music" are not quite as good. However, no one can contest the statement that Kirk was probably the most unique jazz musician in history. His music takes some getting used to but once you readjust your sensors, you can find a lot that is rewarding.



2. Over orchestrated? I don't think so, but that's not the issue. This is a must have for any "long time fan" of Rahsaan. I still have all of these on vinyl and will surely be adding this box set to my collection too. Worth it just for Rahsaan Rhasaan although, Left & Right and Other Folks Music are good too. Even Stanley(the grouch) Crouch wrote a positive review on the LP version. Where can you get four discs for a deal like this?



3. I think that this collection of titles is quite unique for rahsaan. They are a bit different from the Mercury recordings and not exactly straight ahead, but hell, I don't think rahsaan was very straight ahead for most of his life. This collection is VERY much worth the money for four albums and I LOVE THEM... actually, I love every one of the 40 or so Rahsaan discs I have on vinyl and CD. He is one artist that you should have every little piece of his and I intend to do just that. I also highly recommend the Mercury box set. Buy it as well, but remember, you'll still be missing alot of rahsaan. dfielding@figleaf.com



4. As a longtime R.R.Kirk listener and fan, this was a big disappointment to me. I had never heard of any of the four albums on this reissue, and there's a good reason. Kirk worked best in small groups; heck, he WAS a group. Most of the material here is overorchestrated, in an embarrassingly dated way. There's good stuff here, but you have to pick through a lot of mediocre-to-bad material. If you're looking for bargains, get "Dog Years in the Fourth Ring".

5 comments about 20 Years of Dischord.

1. i was at a store looking for a fugazi cd and couldn't find it, but i came across this box set and figured why not get it. im so glad i couldn't find that fugazi cd cus if i had i never would have bought this. it's amazing, the booklet is really informative and they made great choices for the songs that represent the bands the best. a must have!



2. I bought this because I found out that it has two unreleased outtakes from Void's split LP sessions and a video clip of Void playing live in '83. Those things alone make it more than worth the purchase price, to me anyway. I'm sure I'll get around to enjoying the other stuff on these three disks, but for now, I'm happy.



3. the first cd is dischord as a hardcore label. the second cd is dischord as a more general indie/punk label. there are a bunch of great bands on the second, like lungfish, fugazi, q and not u, and the warmers. there are also a bunch of great bands on the first, like minor threat, government issue, shudder to think, and rites of spring.
   
   it's a $25 value for a pair of mix cd's plus a rare/unreleased disc that i haven't really gotten into. it's worth it just for the experience of listening to new music that probably won't disappoint (mostly). if you hate hardcore, this might be too expensive to be worth it.
   
   it costs 2 cents more at dischord, but they don't charge for S/H, ever.



4. why are you buying this from amazon? oh, just because its cheaper than buying it from the friggin' label. come on guys let's stick it to the man...or save money.



5. On the basis of the ambitiousness of this project alone, "20 Years of Dischord" should garner a really high star rating. Now, while I'm not too keen on some of the bands on the second disc -- it's just not my taste -- I LOVE the majority of tunes on the first and third discs. The huge, beautiful full color booklet is a great touch too. Makes for nice bathroom reading. ha.

   Anyway, one thing I really enjoyed about this set is the chronological order that shows a very clear evolution in "the DC sound." First you get the primitive hardcore of Teen Idles and Untouchables. These are great bands, but they lead up to the real meat of the first disc: The CLASSICS from Minor Threat, GI, SOA, Void, Youth Brigade and Faith. But the neatest thing about it is as soon as the Faith song is finished, you can tell the DC sound had reached a turning point. "20 Years of Dischord" really demonstrates, as never before to those who weren't there in the early years of harDCore, how important Faith was to the scene. They're the true roots of the "emo" style that would develop later, with introspective lyrics, more complicated and melodic guitar work, and less harsh vocals. They're still a hardcore band, yeah, but they do mark a departure from the straightforward thrash of Minor Threat and the others.

   After Faith, things get more melodic, with Marginal Man, Embrace and the impeccable Rites of Spring. There's plenty of just "what the hell" type stuff from the "Revolution Summer" era too... take Beefeater's almost metallic funk-punk and The Snakes' silly "Snake Rap." Other mid-era highlights include Gray Matter and Dag Nasty. Towards the end of disc one it's evident that Dischord has outgrown the hardcore trappings it started with and is focussed on independent music of any kind in DC. It's cool, but not exactly my steez, if you get me. So I usually only listen to a few tracks on disc two (Nation of Ulysses, Slant 6 and The Make-Up are great, and of course, Fugazi has to be mentioned).

   And disc three is great icing on the cake, with unreleased/rare songs from (mostly early hardcore) bands. There are some video clips too that I haven't been able to figger out how to play on my comp, blast it!

   "20 Years of Dischord" is the most bang, and band, for your buck you can get. Three discs and a huge booklet for less than most new DVDs? Snap this up. Great history lesson on one of the most influential and important record labels in HISTORY.

4 comments about Sergei Rachmaninoff: Orchestral Music.

1. Here we essentially have a large compendium of Rachmaninoff's arrangements of very old Russian folk songs. It's a 3-CD set and there's not a clinker in the bunch. Some will append "gloomy" to this music but it is what it is. The vocals (choruses) are outstanding with a lot of energy and the orchestral activities are nice and tight. "Isle of the Dead" is particularly well-done. I love putting these CDs on as "wallpaper" at low volume while I'm reading, especially when it's Russian literature! This is my favorite Rachmaninoff CD (of about 10 or so) -- I hope you enjoy it as much as I do.



2. This is one of my most prized Rachmaninov Cds, and it is one I have owned for well over a decade. Whenever I rediscover it in my collection, I am amazed at how well it stands up, to say nothing of the incredible breadth of repertoire! Slatkin is an inspired Rachmaninov interpreter, and the St. Louis Symphony plays extremely well for him (as it does on his great collection of the Symphonies). The more popular works may not be the absolute best available, but they offer some fresh insights and can stand up with the best. It's very well recorded, too.
   
   The big surprises here are the relatively unknown Rachmaninov: Caprice Boheme, Prince Rostislav, "Youth" Symphony, Scherzo, Spring, and the incredible Three Russian Songs. Except for the lsat two works, these are all early pieces, some extremely so: the Scherzo was written by a 13 year-old Rachmaninov who was tinkering in Mendelssohn's style. Nevertheless, it's a remarkable piece that plays well despite its derivative nature. Though the "Youth" Symphony (like the Scherzo and the First Symphony, in D Minor) and the symphonic poem, Prince Rostislav, where never published with an opus number, they are extremely indicative of Rachmaninov's style and very impressive pieces. The "Youth" Symphony reflects the darkness of the First Symphony, but is more claustrophobic and less expansive (perhaps why he abandoned it). It contains a brooding, Isle of the Dead-like atmosphere, and features a very memorable, yearning melody which is Rachmaninov through and through. And even more distinguished melody is found in Prince Rostislav--extremely Russian (in terms of The Five), and as passionate as anything he would write in his symphonies or concertos. This is a fascinating discovery, a bit reminiscent of Balakriev's Tamara or Rimsky's Sadko, but extremely impressive nonetheless.
   
   His more mature music is found in the Caprice Boheme on "Gypsy Themes," which is in the tradition of Tchaikovsky's Capriccio Italien. It's an extremely confident work, bold in orchestration, and surprisingly upbeat for the melancholy early Rachmaninov (compare it to The Rock, for example). It has great melodies and an extremely wild climax at the end. It's sad to think how this confident, creative artist's spirits would be dashed by the colossal failure of his First Symphony's premier.
   
   Spring and the Three Russian Songs are getting more exposure these days, but they remain little explored. Spring was written after Rachmainov's creative "spring" following the successful Second Concerto. It is contemporary with it, the Cello Sonata, and the Second Suite for Two Pianos. It's back to Rachmaninov's more bleak outlook, but it's masterfully written and has an operatic sense of drama and conflict. The ending of the piece dissolves into a touching portrait of spring and forgiveness, even if Rimsky criticized it (somewhat ridiculously) for lacking the true character of the season (it's based on a Nekraskov poem, most of which takes place in the winter, which is admirably captured). The Three Russian Songs is one of his last orchestral works, and one of his most poignant. Each brief song is brilliantly captured in nostalgic orchestral colors, simple, spare, and heartbraking. This was music of Rachmaninov the exile, as exhibited in his two masterpieces, the Third Symphony and the Symphonic Dances. It's hard not to hear this piece as a reflection of a world he could never return to, since it no longer existed. The last song, Powder and Paint, is possibly the catchiest piece he ever wrote--profoundly Russian in spirit and extremely memorable.
   
   As for the more popular works, the Symphonic Dances comes off best, with a lot of drive and momentum (without forsaking its lyricism). The Bells is also excellent, though for some reason it is sung in English, unlike the other choral selections. This isn't terrible (Poe wrote in English, after all!), but it's not ideal, either. Isle of the Dead is atmospheric and exciting, though the big climax could be more despairing. The Rock, however, is beautifully done, and is possibly the best recording I own--it makes a forceful argument for this often ignored work.
   
   In short, this is an essential investment, and well worth the money. I also strongly suggest Slatkin's survey of the symphonies, which is inspired and well-recorded. Best of all, in our age of cd-burning, you can rearrange all the pieces on this disc, and couple them with the symphonies, which are unfortunately broken up over 2 discs in Slatkin's collection.



3. These symphonic poems are beautifully played with sound that is perfectly clear and natural. Even though this is a budget set, I actually prefer the dances on this set over my Bernstein/New York version! Extrodinary!



4. Symphony of the Bells, a choral symphony not numbered in Rachy's canon is a magnificient work, and here is given a worthy performance by all involved, even Slatkin letting his hair down a bit. The Symphonic Dances are also impressive, although not my first choice. What is remarkable on this disc (in addition to the opportunity to hear less-popular Rachmaninoff) is the Isle of the Dead. Overwhelming climaxes, and wonderful atmosphere. The only complaint is when the first violins enter for the first time in the stratosphere; it's hardly out of tune, but it could've been more ethereal, an affect rarely achieved on record anyway. The playing is superb, the engineering is above average, but doesn't match the performances.

5 comments about The Dawn of Doo-Wop.

1. This collection really ought to be called "The Roots of Doo Wop," as it reaches back quite a bit farther than any point that could reasonably called the dawn of doo wop. For example, the song most commonly cited as doo wop's first, Sonny Til and the Orioles' "It's Too Soon To Know," turns up only on the second disk. Even among the songs recorded several years after that one, most don't quite fit into the genre. All the essential elements are there (except for the nonsense backing vocals in most cases), but they haven't quite gelled into what we now know as doo wop.
   
   That said, doo wop fans are likely to enjoy what they do find here all the same. It's a nice sampler of early black group harmony, reaching back as far as 1940 and featuring giants of the pre-rock era such as the Mills Brothers, the Ink Spots and the Ravens, along with plenty of lovely performances from more obscure groups. Interestingly, even among groups represented here that did make some doo wop records (notably the Five Keys and the Robins), most of the selections included here are better described as group harmony than doo wop. The one clear exception is the Clovers' "Fool, Fool, Fool." Its presence at least shows how the various elements heard in the other songs finally came together. One other distinction is the adult nature of many of the songs, particularly the Larks' selections such as "When I Leave These Prison Walls" (yes, a true story).
   
   Overall, this set lacks the innocence and exuberance of most doo wop collections, but it shows where those essential elements came from. It will probably appeal to most doo wop fans the in same way those rare early recordings on your favorite band's box set can be appealing.



2. The Dawn of Doo-Wop doesn't really have too many true Doo Wop songs on it but instead focuses on the R&B and pop vocal group harmonies that laid the groundwork for the 50's Doo Wop explosion.
   The songs on this set date from 1940 to the early 1950s and feature many seminal groups such as the Inkspots, the Mills Brothers, the Orioles, the Ravens and many others.
   There are many obscure songs here and the sound quality is very good.
   Also included in a nice booklet of liner notes jam-packed with information.
   This is another Proper box set that excels in quality and value.



3. This is a good collection of often obscure songs and artists. Unfortunately, the sound quality is terrible. Every pop and hiss is included and really detracts from the listening experience. It seems to me that if Proper thought enough of this material to package it they would have put in at least a little effort to clean the sound up. I won't order any of their other collections as I have my doubts that the quality would be any better.



4. This is a spectacular, if mis-named collection of early group harmony gems. Out of 100 sides, there isn't a real Doo-Wop in the bunch. But it's certainly a bonanza for fans of the "roots" of R'nB harmony groups. Almost all of the "Grandfather" groups, & several of the "Fathers" are represented, with a few omitted, such as the Hollywood Flames, Cats & the Fiddle, Clovers & Brown Dots. I have over 5,000 records in my personal collection, but only 6 or 7 of these sides, all on 78's......I loved it, & the price is definitely right......D-J



5. This is an intelligently constructed overview of pre- and early
   doo wop from the 1940's and early 1950's with a first class 52 page booklet and 100 songs on four cd's with excellent sound quality. You get the superstars of classic group harmony--the incomparable Five Keys on Aladdin, still the heavyweight champions of the genre;the excellent Swallows on King, Larks on Apollo, early Orioles, Ravens, Robins plus many rare and obscure items never before on CD like the Lewis Bronzeville Five and many more gems for fans and collectors. This is the finest box set in the genre so far, and at an incredible price--about one-third the cost of the Rhino boxes with a similar number of cuts. Check out other Proper boxes of similar bargains for blues, R & B, Jazz and Country. My highest recommendation.

5 comments about Beethoven: Complete Symphonies.

1. I received this set in the 1988 CDS 7 49487 2 issue as a gift. It includes the notorious editing gaffe in the first movement of the "Eroica" (maybe corrected in this incarnation). Muti is a so-so interpreter of these warhorses. He lives me cold except for a rhythmically taut and exciting performance of the Seventh and a good performance of the Fifth.
   
   This is big orchestra Beethoven. When the set was released twenty years ago, the publicity material indicated the recordings were made in three different Philadelphia venues. The fact that the whole set sounds the same is evidence of much post session meddling and artifical reverberation. The result is smooth and synthetic.
   
   There are Beethoven Symphony cycles for every conceivable taste. This one is well played, but with the exception of Nos. 5 and 7, I don't find much on the interpretive front that appeals to me. The waning years of the 20th century saw many duplicative cycles of the symphonies that didn't contribute much to the various conductors' and orchestras' recorded legacies. This, in my humble opinion, is one of those expendable sets. EMI has also released the performances in budget priced individual discs. If you can find Nos. 5 and 7, they are worth investigating. Of more recent efforts, Charles Mackerras (Royal Liverpool Philharmonic/EMI) and David Zinman (Zurich Tonhalle/Pro Arte) have some very interesting things to say. Those interested in period instruments should investigate Gardiner on DG. The current cycles conducted by Jarvi(RCA) and Vanska (BIS) are on a very high level interpretively and recorded in state of the art sound.



2. Since I am not an insider when it comes to classical music, I am unable to appreciate the esoteric qualities of the music or of the performers.
   I simlpy enjoy it very much.
   I can say however, that the discs were in perfect shape and everything sounded perfect to me. I also appreciate the swift handling of the order.



3. The nine symphonies of Beethoven are not only a high watermark in the classical music genre, but indeed a high watermark for all of music and humanity in general. They are remarkable also for the sheer fact that Beethoven was often in poor health when he composed them, and struggling with deafness as well. From the first two symphonies, both in the Haydn/Mozart sphere, to the ground-breaking "Eroica" and moving up to the immense universes of the Ninth, Beethoven helped set the stage not only for the music of the 19th century, but also even the 20th as well.
   
   Not surprisingly, there have been dozens upon dozens of box sets devoted to Beethoven's symphonies over the decades. But this one by the Philadelphia Orchestra under Riccardo Muti stands tall with other Beethoven sets for the way this great orchestra navigates its way through these works under the direction of a great conductor who had the unenviable task of carving out a niche for himself in Philadelphia, where the reputations of Leopold Stokowski and Eugene Ormandy still loom large.
   
   The box set consists of:
   
   CD-1: SYMPHONIES NOS. 5 & 1
   
   CD-2: SYMPHONIES NOS. 2 & 4
   
   CD-3: SYMPHONY NO. 3 (EROICA); OVERTURE TO "FIDELIO"; CONSECREATION OF THE HOUSE OVERTURE
   
   CD-4: SYMPHONY NO. 6 (PASTORAL); LEONORA OVERTURE NO. 3
   
   CD-5: SYMPHONIES NOS. 7 & 8
   
   CD-6: SYMPHONY NO. 9 (CHORAL); CHERYL STUDER (soprano); DELORES ZIEGLER (mezzo-soprano); PETER SEIFFERT (tenor); JAMES MORRIS (bass); WESTMINSTER CHOIR (Joseph Flummerfelt, chorus director)
   
   Recorded between 1985 and 1988, this box set may not enjoy the same amount of praise richly and deservedly placed on those by Solti, Karajan, Bernstein, or Szell, but the performances contained in them are very true to the composer's intentions without sacrificing spirit or orchestral texture. The 1st, 2nd, 4th, and 8th symphonies are very Classical in their performances, while nos. 3, 5, 6, & 7 are sterling examples of balancing classical structure with Romanticism. The addition of three overtures, two of them from the composer's one and only opera "Fidelio", is also welcome. And then there's the Ninth Symphony, with its immense power and the triumphal "Ode To Joy" finale, superbly pulled off by Muti and the orchestra with a distinguished quartet of vocal soloists and the Westminster Choir.
   
   Every self-respecting music aficionado should have a Beethoven symphonic box set in their collection, and this one is a fine addition to the many great such box sets out there.



4. It's true what most reviewers are saying about the more subtle interpretation, but I kind of like it that way. I have this box (which does have a 6 CD jewelbox-by the way) and the Solti version. While Sir Georg is my usual default, I find this one making it's way to the player more often.



5. I wanted to get a great recording of the Beethoven Symphonies and scoured the Internet looking for quality recordings. It came down to this set and Karajan's set, and this won due to price.
   
   I'm aware of Karajan's set, and I'm not going to say anything bad about it. It's loud and boisterous, but just ask yourself this--would Beethoven have liked it? Of course.
   
   Muti's interpretation is more subtle and less bombastic. If it were a flavor, it would be vanilla. But what's wrong with vanilla? Sure, the Philadelphia Orchestra is not as prestigious as Berlin or Vienna. And yes, they are playing on modern instruments, not period instruments.
   
   But here's what you get, and here's why I think this is the best value set out there. You get all nine symphonies, plus three overtures: Fidelio, Leonore No. 3, and the Consecration of the House. The Ninth features opera star James Morris as one of the soloists and the Westminster College Choir. It's a digital recording (1986). Oh yes, and it's thirty dollars cheaper.
   
   I actually prefer the more "classical" approach to the symphonies that Muti provides (don't worry, the Ninth is still purely Romantic). I'm sure one can find better recordings piecemeal (or perhaps collectively), but the fact remains that these recordings are very good and cannot be dismissed.
   
   FYI-- The CDs are not in a jewel case but a cardboard box with stiff paper sleeves for each of the 6 CDs. Liner notes are good but not great.

5 comments about The John Denver Collection [Laserlight].

1. I thought I'd scooped up just about every song the great JD had ever committed to vinyl, and maybe I had, but this collection is chock full of numbers I'd never even heard *of*, let alone heard, before--40 out of the 53 tracks on the five discs. For that alone it's worth the price, setting aside the fact that in most cases $27 will get you at best two and a half CD's.
   
   The "undiscovered" pieces include some of Denver's most beautiful and powerful work, such as "Eagles and Horses," "Ponies," "Whispering Jesse," "Never a Doubt," "I Watch You Sleeping," "For You," "Potter's Wheel," "Two Different Directions," "Chained to the Wheel," "A Country Girl in Paris," "All This Joy," "Thanks to You," "The Gift You Are," "Chosen Ones," "Higher Ground," "Raven's Child," "Amazon," "Falling Leaves," "Islands," "Postcard from Paris," "In a Far Away Land" (sung, if I'm not mistaken, in Chinese!), "Alaska and Me," and "Stonehaven Sunset," plus the delightful novelty "Homegrown Tomatoes," the folky "Foxfire Suite," and the swingingly rhythmic "Sing Australia" (with didgeridoo accompaniment). There are also new and gorgeous mixes of JD's signature songs, "Take Me Home Country Roads" and "Calypso." All are delivered in his unmistakable flexible golden tenor, with great arrangements. These may not be the "original" recordings, but they'll certainly be new to many listeners, and for that reason alone, if you love JD's work and grieved as I did at his death, you need this bargain in your collection.



2. Collection features some less known and harder to find tunes, and is great for this, but the recording is poor quality, songs are a bit ragged, not at all the perfection generally captured by John Denver.



3. All your favorate songs, just not the version you remember. CD titles are old album titles but track listings seem to have little to do with what was on those original albums. If you are looking for classic JD this is not your best choice.



4. I am disappointed with this CD collection. The music is too fast a tempo, and the instruments are too loud and numerous. John Denver's voice is drowned out by the instruments. I dislike that many of the songs are a bit different from their original version. I would recommend this collection only to John Denver fanatics who have heard all his music before and want something different.



5. This box set is a wonderful collection of the music we think of when remembering John Denver and his newer music. It is interesting to hear him sing familiar songs such as "Take Me Home, Country Roads", "Annie's Song" and "Rocky Mountain High" in his mature voice. His newer music is catchy and pleasing to the ear and has the same charm of his early music. I particularly enjoyed "I Watch You Sleeping", which perhaps was written for his young daughter. His songs portray "a man who cares deeply for the environment..." and are a wonderful break from some of today's music about violence and crime. I would recommend this collection to avid John Denver fans as well as anyone who is looking for a set of wonderful music at a great price. Where can you beat 5 CD's for $25.00? Overall, a very enjoyable piece of art.