Peace in Our Time

Editorial Reviews
Album Description
Recorded live in concert in the reverberant acoustic of St. James Cathedral in Seattle, Peace in Our Time is comprised of sacred music by English composers, focusing on the theme of peace. The idea and program for this live concert recording were conceived and planned just a few months prior to the tragic events of September 11, 2001—it is a gross understatement to say that by the time of the May 18, 2002 performance we found ourselves in a changed world.

Ralph Vaughan Williams’ Dona Nobis Pacem for choir, soloists and orchestra is the featured work on the CD. Regarded as one of Vaughan Williams’ greatest and most visionary choral works, Dona Nobis Pacem was written between WWI and WWII when Europe was teetering on the brink of war. One of the most important anti-war compositions of the 20th century, Dona Nobis Pacem incorporates Biblical texts with the emotionally-charged poetry of Walt Whitman. The other two works on the CD are Herbert Howells’ sublime Requiem for double choir a capella and Benjamin Britten’s Missa Brevis for treble choir and organ, with Joseph Adam, organist.

Tracks:

Jesus Christ Superstar: Overture - Andrew Lloyd Webber
Jesus Christ Superstar: Everything's Alright - Yvonne Elliman/Murray Head/Ian Gilllan
Jesus Christ Superstar: I Don't Know How To Love Him - Yvonne Elliman
Jesus Christ Superstar: Gethsemane (I Only Want To Say) - Steve Balsamo
Jesus Christ Superstar: Superstar - Murray Head
Evita: Oh What A Circus/Sing You Fools - Antonio Banderas
Evita: I'd Be Surprisingly Good For You - Elaine Paige/Joss Ackland
Evita: Another Suitcase In Another Hall - Barbara Dickson
Evita: Don't Cry For Me Argentina - Julie Covington
Evita: High Flying, Adored - Mandy Patinkin/Patti LuPone
Cats: The Jellicle Ball - Andrew Lloyd Weber
Cats: Memory - Elaine Paige
Cats: Gus: The Theatre Cat - Susan Jane Tanner/John Mills
Cats: Mr Mistoffelees - Paul Nicholas
Song And Dance: Take That Look Off Your Face - Marti Webb
Song And Dance: Tell Me On A Sunday - Marti Webb
Song And Dance: Unexpected Song - Sarah Brightman
Song And Dance: Nothing Like You've Ever Known - Sarah Brightman
Song And Dance: Introduction - Andrew Lloyd Webber
Song And Dance: Variations 1 -4 - Andrew Lloyd Webber

Tracks:

Starlight Express: Starlight Express - El Debarge
Starlight Express: Crazy - Greg Ellis/Reva Rice/Caron Cardelle/Samantha Lane/Voyd
Starlight Express: Next Time You Fall In Love - Reva Rice/Greg Ellis
Starlight Express: I Am The Starlight - Lon Satton/Ray Shell
Starlight Express: Light At The End Of The Tunnel - The Company
Requiem: Hosanna - Placido Domingo
Requiem: Pie jesu - Sarah Brightman/Paul Miles-Kingston
The Phantom Of The Opera: The Phantom Of The Opera - Michael Crawford/Sarah Brightman
The Phantom Of The Opera: The Music Of The Night - Michael Crawford
The Phantom Of The Opera: All I Ask Of You - Sarah Brightman/Steve Barton
The Phantom Of The Opera: Entr'acte - Andrew Lloyd Webber
The Phantom Of The Opera: Masquerade - The Company
The Phantom Of The Opera: Wishing You Were Somehow Here Again - Sarah Brightman
Aspects Of Love: Aspects Of Aspects - Orchester Der Vereinigten Buehnen Wien
Aspects Of Love: Love Changes Everything - Michael Ball
Aspects Of Love: Seeing Is Believing - Michael Ball/Ann Crumb
Aspects Of Love: The First Man You Remember - Kevin Colson/Diana Morrison
Aspects Of Love: Anything But Lonely - Sarah Brightman
Aspects Of Love: Chanson D'Enfance - Sarah Brightman

Tracks:

Joseph And The Amazing Technicolor Dreamcoat: Any Dream Will Do - Jason Donovan
Joseph And The Amazing Technicolor Dreamcoat: Joseph's Coat - Maria Friedman/Richard Attenborough/Donny Osmond
Joseph And The Amazing Technicolor Dreamcoat: Close Every Door - Donny Osmond
By Jeeves: Travel Hopefully - John Scherer/Martin Jarvis/Don Stephenson
By Jeeves: When Love Arrives - Steven Pacey/Diana Morrison
By Jeeves: Half A Moment - Sarah Brightman
Sunset Boulevard: With One Look - Glenn Close
Sunset Boulevard: New Ways To Dream - Glenn Close/Alan Campbell
Sunset Boulevard: The Perfect Year - Glenn Close/Alan Campbell
Sunset Boulevard: Sunser Boulevard - Alan Campbell
Sunset Boulevard: As If We Never Said Goodbye - Glenn Close
Whistle Down The Wind: Whistle Down The Wind - James Graeme/Lottie Mayor
Whistle Down The Wind: Cold - Everly Brothers
Whistle Down The Wind: No Matter What - Children/Adult Chorus
Whistle Down The Wind: The Nature Of The Beast - Marcus Lovett/Lottie Mayor
The Beautiful Game: Overture - Andrew Lloyd Webber
The Beautiful Game: The Beautiful Game - The Company
The Beautiful Game: Our Kind Of Love - Hannah Waddingham
The Beautiful Game: Dont Like You - Josie Walker/David Shannon
The Beautiful Game: Let Us Love In Peace - Josie Walker/Omagh Youth Community Choir

Tracks:

Oh What A Circus - David Essex
Memory - Betty Buckley
The Phantom Of The Opera - Sarah Brightman/Steve Harley
All I Ask Of You - Sarah Brightman/Cliff Richard
Love Changes Everything - Michael Ball
Any Dream Will Do - Donny Osmond
Amigos Para Siempre (Friends For Life) - Sarah Brightman/Jose Carreras
As If We Never Said Goodbye - Barbra Streisand
The Perfect Year - Dina Carroll
With One Look - Petula Clark
You Must Love Me - Madonna
The Heart Is Slow To Learn - Kiri Te Kanawa
A Kiss Is A Terrible Thing To Waste - The Metal Philharmonic Orchestra
Whistle Down The Wind - Tina Arena
No Matter What - Boyzone
The Vaults Of Heaven - Tom Jones
Try Not To Be Afraid - Boy George
Pie Jesu - Charlotte Church

Tracks:

Make Believe Love - Wes Sands
Down Thru' Summer - Ross Hannaman
I'll Give All My Love To Southend - Ross Hannaman
Believe Me I Will - Sacha Distel
Joseph And The Amazing Technicolor Dreamcoat (1969 Radio Luxembourg Commercial) - Joseph Consortium/Pete Murray
Try It And See - Rita Pavone
Come Back Richard Your Country Needs You - Time Rice And The Webber Group
Goodbye Seattle - Paul Raven
John 19:41 - The Andrew Lloyd Webber Orchestra
What A Line To Go Out On - Yvonne Elliman
Disillusion Me - Gary Band
The Ballad Of Robert And Peter - Tim Rice
Christmas Dream - Maynard Williams
It's Only Your Lover Returning/All Through My Crazy And Wild Days/Don't Cry For Me Argentina - Julie Covington
It's Easy For You (1977 Jungle Room Session Version) - Elvis Presley
Magdalena - Tony Christie
Buenos Aires - The Roja Rockers
Pollicle Dogs And Jellicle Cats - Andrew Lloyd Webber
Mungojerrie And Rumpleteazer (Live At The Sydmonton Festival 1980) - Gemma Craven
I Could Have Given You More - Petula Clark
I've Been In Love Too Long - Marti Webb
Benedicite - The Stephen Hill Singers

Album Description

Disc 1: Selections from Jesus Christ Superstar, Evita, Cats, and Song and Dance

Disc 2: Selections from Starlight Express, Requiem, Phantom of the Opera, and Aspects of Love

Disc 3: Selections from Joseph nad the Amaziong Technicolor Dreamcoat, By Jeeves, Sunset Boulevard, Whistle Down the Wind, and The Beautiful Game

CD 4: 1. "Oh What a Circus" --David Essex 2. "Memory" - Betty Buckleey 3. "The Phantom of the Opera" -Sarah Brightman, Steve Harley 4. "All I Ask of You" --Sarah Brightman, Cliff Richard 5. "Love Changes Everything"--Michael Ball 6. "Any Dream Will Do"--Donny Osmond 7. "Amigos Para Siempre (Friends for Life)"--Sarah Brightman, Jose Caerras 8. "As if We Never Said Goodbye"--Barbra Streisand 9. "The Perfect Year"--Dina Carroll 10. "With One Look" --Petula Clark 11. "You Must Love Me" 12. "The Heart Is Slow To Learn" --Kiri Te Kanawa 13. "Whistle Down the Wind"--Tina Arena 14. "A Kiss Is a Terrible Thing To Waste"--The Metal Philharmonic 15. "No Matter What"--Boyzone 16. "The Vaults of Heaven"--Tom Jones and Sounds of Blackness 17. "Try Not To Be Afraid"--Boy George 18. "Pie Jesu"--Charlotte Church

Disc 5: (All tracks available for the first time) 1. "Make Believe Love"--Wes Sands 2. "Down Thru' Summer"--Ross Hannaman 3. "I'll Give All My Love to Southend"--Ross Hannaman 4. "Believe Me I Will"--Sacha Distel 5. "Joseph and the Amazing Technicolor Dreamcoat: 1969 Luxembourg Radio Commercial--The Jospeh Consortium, Pete Murray 6. "Try It and See"--Rita Pavone 7. "Come Back Richard Your Country Needs You"--Tim Rice and the Webber Group 8. "Goodbye Seattle"-- Paul Raven 9. "John 19:41"--The Andrew Lloyd Webber Orchestra 10. "What a Line To Go Out On"--Yvonne Elliman 11. "Disillusion Me" --Gary Bond 12. "The Ballad of Robert and Peter"--Tim Rice 13. "Christmas Dream" --Maynard Williams 14. "It's Only Your Lover Returning/All through My Wild and Crazy Days/Don't Cry for Me Argentina--Julie Covington 15. "It's Easy for You" (1977 Jungle Room Session version)--Elvis Presley 16. "Magdalena"--Tony Christie 17. "Buenos Aires"--The Rioja Rockers 18. "Pollicle Dogs and Jellicle Cats"--Andrew Lloyd Webber original demo 19. "Mungojerrie and Rumpleteazer" (Live at Sydmonton Festival 1980)-Gemma Craven 20. "I Could Have Given You More"--Petula Clark 21. "I've Been in Love Too Long"--Marti Webb 22. "Benedicte"-- Stephen Hill Singers

Customer Reviews:

I waited for this for five years.......2006-06-30

Between Amazone, Ebay and Napster, I don't usually buy CDs anymore, and I usually wait till I can buy them cheaper "new and used". When this set came out, I was excited, mainly by Disc 5, but wasn't going to spend $70 on it. I waited till it was cheap enough, and got it for Father's day this year.
It was worth the wait.

The concept is great. The packaging is great. The recording is great. Disc five is really cool for an ALW aficionado. There are a few real gems on it; my favorites are Petula Clark's "I Could Have Given You More" and "Benedicite."
I've always thought "Gus the Theatre Cat" made a great medley on the piano with "Unexpected Song" and "I DOn't Know How to Love Him," but wished there was an alternate lyric to match the other two songs. Now that I know there *is*, and it's a good lyric, it's a dream come true.
The melody of "Benedicite" is one of my favorites from _Sunset_ (the book mis-identifies it as "SUrrender"; it's actually "The Lady's Paying" and "Eternal Youth is Worth a Little Suffering"). The lyrics are the canticle from Daniel 3, which comes up every odd Sunday in the Divine Office, so it's nice to have cool music to sing it with.

I haven't bought _By Jeeves_ or _THe Beautiful Game_ yet, to it was great to sample them.

There are other parts of the CD taht aren't found in my collection. I like CD 4 "The Hits."

But the selections on CDs 1-3 don't make sense.

First, any self-respecting ALW fan has the Original London Cast of _Phantom_, so six tracks are totally useless. Why not draw from the Canadian cast with Colm Wilkinson? Or pull out some obscure recordings never published.

Why two different tracks with Michael Ball singing "Love Changes Everything", yet they're hardly any different?

On Disc 5 is "It's Only Your Lover Returning," sung by Julie Covington. It's an early draft of the song (Lloyd Webber and Rice went through several suggested titles) and quite nice. The very thing one expects on a Boxed Set.
So why have the Julie Covington "Don't Cry for Me" on disc 1?? The only difference is a few words, but it's otherwise identical. Why not Elaine Paige or Patti Lupone or Madonna?

The _Evita_ section is otherwise the best, choosing a sample from each major recording, though I'd have chosen slightly differently (as above).

There is a great selection of "Mungojerrie and Rumpleteazer" from the Sydmonton festival, using the original music that was changed when _Cats_ went to Broadway_. It would have been nice if they'd included more recordings from Sydmonton, like the original lyric of "All I Ask of You" shown on the second DVD to the _Phantom_ movie.

With so many great actress-singers who've played Norma Desmond, why does the collection beat us over the head with Glenn Close?

Paul Miles Kingston must be set for life in royalties, for the number of albums the original recording of "Pie Jesu" has appeared on. "Amigos Para Siempre" is nice, but it reminds me of Shari Lewis's "The Song that Doesn't End," especially when it's been used on so many compilations.

In short, this is a great collection for the obscure material, if you can get it cheap. But for a boxed set, it's a poor sampling, drawn mostly from the most familiar recordings.

Excellent collection but BIG PUBLISHING MISTAKE! .......2006-01-10

Please beware they made a mistake on this. It's actually the shortened Ray Shell version of STARLIGHT EXPRESS from the original 1984 London cast - NOT the El Debarge single from 1987 like it says on the box. I don't know how they let that goof pass. Sorry to Ray Shell. Having said that, this is an outstanding compilation of Lloyd Webber's greatest hits.

ONE OF LLOYD WEBBER'S BEST COMPILATIONS, DESPITE A FEW FLAWS.......2005-03-21

Regardless of the fact that some of his latest efforts (most notably, The Woman in White) are disappointing, there can be little doubt that Andrew Lloyd Webber is one of the greatest composers ever to work in the musical theatre. Ever since his "Jesus Christ Superstar" hit the stage in the early 70-is, it was clear that the conception and perception of musicals are never going to be the same again. Many of his songs became standards not only in the theatre history, but also as tops on the charts. Even though he's British, his influence on the shape of the modern musical theatre expanded over the West End boundaries long ago and has thus made an enormous impact on Broadway. Two of his shows ("Cats" and "The phantom of the opera") hold the record as two the longest running shows in the history of Broadway. He has also been the only composer to have three of his shows running at Broadway concurrently. Some of his awards include three Grammies, a Golden Globe, an Oscar and a bunch of Tony awards. But perhaps most of all, Lloyd Webber is responsible for bringing the musicals and the theatre appealing to the wide audiences, who in different circumstances would not consider seeing a musical. The secret of his success is probably the mixture of beautiful and catchy melodies, interesting subject matter (though some, like Starlight Express, are too thin) and grandiose staging.

Over the years many compilations of his work have emerged. In the late 80-is and early 90-is it was the "Encore" series and lately the one-disc collection called "Gold". The one in question here can be considered one of the best currently on the market. First, it includes a 3-disc selections from all of his shows, minus the latest one, i.e., "The Woman in White", which, considering the triviality of the score, is no great lost. The fourth disc covers some of his most known songs sung by the famous artists. Then, there is the fifth disc with previously unreleased material, most of which are the songs ALW wrote with Tim Rice for various artists during the 70-is. The disks are all neatly packed in a hardcover book that features 67 pages of pictures and text with information about each of ALW's shows. One of the other assets here is the perfect sound quality, since all of the tracks have been digitally remastered.

Here are my basic impressions and comments regarding the material on the discs:

* Disc #1 has the selections from "Jesus Christ Superstar", "Evita", "Cats" and "Song & Dance". The Superstar material mostly comes from the Concept Recording. Although the songs sound beautiful as always, their orchestration is a bit dated now. Only Steve Balsamo's "Gethsemane" from the 1996 revival cast has a modern rock sound. "Evita" comes with the material from all of the major recordings: London, Broadway and the movie productions, as well as the Concept album. No objections here; since this is one of ALW's most satisfying works, every song is just perfect, although Patti LuPone, the Broadway and overall the best Evita, is left with only a couple of lines. With the selections from "Cats", however, I have some doubts. A plus to the choice of the "Jellicle ball" impressive orchestral sequence from the 1998 movie version and "Mister Mistoffelees" from the 1981 London cast. One of the best known ALW's songs, "Memory", also comes from that album. It's a pretty version and Elaine Paige's rendition cannot be matched, but why include this when the definite version, featuring an 80-piece orchestra and Elaine Paige with much better interpretation, can be found in the same movie version. Thusly, one has to buy Elaine Paige's latest 2-disc compilation "Centre Stage: The very best of Elaine Paige" to get that one. And "Gus the theatre cat" is more a recital than a song, so there was not much point in including that. Marti Webb brings her vocal charm to the "Song & Dance" sequence, Sarah Brightman sings "Unexpected song" with her famous soprano, but as much as I like her version, Bernadette Peters, who was in this show on Broadway is strangely left out here.

* Disc # 2 starts with "Starlight Express". This was never one of my favorite ALW's shows; the plot is even lighter than in "Cats" and the 1984 original cast recording is terribly dated. Yet, here we have one terrific duet, "I am starlight" from the original together with three songs from the later revivals and it seems that fresh orchestrations were just the thing Starlight needed. My favorite remains a touchy ballad, "Next time you fall in love". "Requiem" is the most solemn of all ALW's compositions, written in 1985 to commemorate the death of his father. Placido Domingo's tenor rides together with the chorus all the way through the strong "Hosanna", only to be joined by Sarah Brightman in the final moments of this song. She then gives an echoing deliverance of "Pie Jesu". What can be said of ALW's next show, "The Phantom of the Opera"? A phenomenon in its own right, it's easy to see from the six numbers included here why this is one of the best and most beloved musicals of all time. The cast, the music, the story - everything is perfect. Although "Aspects of love" was never a popular hit, it does have some of the most beautiful love melodies ALW has ever written. "Love changes everything" sung by Michael Ball is probably one of the best tunes ever about love. The rest of the selected material here has a dreamy love flavor and the melodies find their way into your brain in the best Lloyd Webber way.

* ALW's first musical, "Joseph and the amazing Technicolor dreamcoat" was more successful in its revival form than the original from the 70-is. The three songs included here are sung by the show stars, Jason Donovan and Donny Osmond. Maria Friedman was not a lucky choice to play the narrator, as the track from the 1998 movie version shows. "By Jeeves" was ALW's only big flop when it came to the stage in the 70-is. The 1995 revival sounds much better though, full of funny numbers in the best manner of the musical comedy. "Travel hopefully" remains one of the show's highlights on this compilation. "Sunset Boulevard" comes next. "Sunset" remains for me one of Webber's best scores; lush and beautiful. I listen to the original cast recording with Patti LuPone all the time. However, here most of the songs are performed by Glenn Close. A big mistake. If you've ever listened the American premiere recording with her, you'll know what I am talking about. She may have a strong stage presence, but her vocal abilities are too limited, and her aggressive approach to the role lacks any subtlety. Therefore, the two big numbers from this show, "With one look" and "As if we never said goodbye" are ruined by the fact she can't sing. The same goes for the American Joe Gillis, who was played by Alan Campbell. Luckily, Patti LuPone and Kevin Anderson, the original Norma and Joe from the London production, make their brief entrance here with the "Perfect year"; enough to show how better they are. The funny thing is, on the jacket and inside of it, Glenn Close and Alan Campbell are credited as performers in this song as well. If this was a mistake on ALW's part, it was a good one. The next ALW's show, "Whistle down the wind" was never a critic's dear and yet the audiences rushed in to see it in London. The score brings back ALW to his rock and roll roots of the seventies and the story is quite interesting. But the selections here are not the happiest, since the cast recording boasts with much better songs. And finally, "The Beautiful Game". Again, we have one of those ALW's shows that is worth in its individual parts rather than as a whole. "Our kind of love" and "Let us love in peace" are two catchy ballads. The latter is a nice amalgam version not available elsewhere. The two other tracks here I could live without.

* Disc # 4 has the songs from all the above shows performed by different artists. The assembled tracks have their pros and cons. For example, we have some previously unreleased stuff, like Dame Kiri Te Kanawa's operettic rendition of "The heart is slow to learn", or a stunning and epic "A kiss is a terrible thing to waste" from "Whistle down the wind", performed by The Metal Philharmonic Orchestra. Then again, what was the point in including almost identical tracks as the ones on the previous disks? So we have Michael Ball again singing "Love changes everything" with only a bit different orchestration; Sarah Brightman comes out again with the same Phantom duets, but only with the different male singers. It would be much more appropriate to include tracks from the Toronto Cast of the Phantom, with Colm Wilkinson. Other pop deliverances (Tina Arena's "Whistle down the wind", Barbra Streisand's "As if we never said goodbye", Boyzone's "No matter what" and many more) were wisely chosen. Patti LuPone is again nowhere to be found and Petula Clark's "With one look" sounds too worn-out.

* The last disc is probably the one that will be of most interest to Lloyd Webber aficionados. It consists of entirely previously unreleased material ALW for the most part wrote for various artists during his early years, with Tim Rice. Some of these tunes, not successful as a singles, were later used in his shows. Thus "Down thru' summer" became "Buenos Aires"in Evita, "Try it and see", an unsuccessful attempt for the Eurovision was used for "King Herod's song" in "Superstar" and so on. Some of these songs are nicely made pop songs: "Make believe love", ALW's first recorded composition, for which he provided the lyrics; "Goodbye Seattle", sung by Paul Raven, who later became Gary Glitter; "Come back Richard, your country needs you", from a never made musical, sung here by Tim Rice, or Latin flavored "Magdalena", with Tony Christie singing. My all time favorite here is a song called "It's easy for you", sung by none other than Elvis Presley himself. Lloyd Webber and Rice sent him a demo recording that he accepted and recorded this live version a couple of weeks before he died. It's amazing to hear how his voice remained in the perfect shape. Also, there is a track of Andrew Lloyd Webber singing "Policle dogs and Jellicle cats" while plying the piano. His voice doesn't sound bad at all.

Taken as a whole, this compilation makes a perfect birthday or Christmas present to any fan of Andrew Lloyd Webber shows, or just anybody interested in some of the best tunes from the modern era of the musical theatre; despite the flaws I mentioned above. To the former, it may just be the final addition for the Andrew Lloyd Webber collection.

SUCH MAGICAL MUSIC OF THE NIGHT!.......2003-01-19

"Evita." "Sunset Blvd." "Starlight Express." "Jesus Christ Superstar." "Joseph and the Amazing Technicolor Dreamcoat." "Requiem." "Aspects of Love." The man who is the most recognized composer in the history of the musical theatre, the man who has won more Tonys than any other composer, the man who boasts the best-selling show of all time ("The Phantom of the
Opera") and the longest-running show of all time ("Cats"), the man whose homes are filled with three Grammys, five Oliviers, a Golden Globe, and Oscar and too many other honors and hosannas to mention, the man knighted in 1992 certainly doesn't need an introduction. Now Decca Broadway pays tribute to Sir Andrew Lloyd Webber with "Now and Forever," a spectacular 5-CD set compiled and produced by Sir Andy himself. It's cheaper than a
ticket to "The Producers" ... and more much exciting. This treasure trove contains highlights from all of Webber's shows, and a bonus disc of tunes sung by Betty Buckley, Barbara
Streisand, Jose Carreras, Boy George, Charlotte Church, Madonna, Tom Jones, Petula Clark, even Elvis! A must for lovers of theatre---and good music.

A Must Have for Sir Andrew fans.......2002-05-21

This five-CD collection of Andrew Lloyd Webber's career is fantastic. It leaves virtually no stone unturned. I have no doubt that diehard Webber fans will love this, especially for the 5th disc entitled "From the Vaults." This disc alone is worth the price as it contains tunes never before heard by the typical fan. Who knew Elvis did a Lloyd Webber tune?!? I didn't! Also the tune "Benedictine" which the composer wrote for his most recent marriage is not only pretty, but it has the same medley as "The Lady's Paying" from "Sunset Blvd." which I found highly enjoyable. Another great track is the composer himself singing a cut song from "Cats" entitled "Pollicle Dogs and Jellicle Cats" which has the same tune as "Jellicle Songs for Jellicle Cats," but to hear Sir Andrew sing is a blast...he sounds a lot like Al "Year of the Cat" Stewart.
The cuts from the musicals are great but are likely owned by ALW fans as they are on the original cast albums. And I'm glad that there were tunes included from the composers most recent efforts which have yet to make it beyond London (Whistle Down the Wind, Beautiful Game).
My only complaint is the inclusion of way too many tracks by Sarah Brightman. She must've received a great divorce settlement that included having tunes on any ALW collection until the end of time!! Her interpretations of some of the tunes were limp and uninspired. I would've much rather heard casts from around the world rather than yet another song by this disdainful soprano! How about Colm Wilkinson's version of "Music of the Night" from the original Canadian cast of "Phantom"? Or Michael Crawford's version of "Unexpected Song"? What? No Betty Buckley from "Sunset Blvd."? And of course there are songs you KNOW are going to be on the collection before you even listen to it as they have been on EVERY ALW collection for the past decade or so.
A great collection but too much Sarah Brightman!

Average customer rating:

Two Discs -- No Risks

Peace in Our Time/No Place Like Home
Big Country
Manufacturer: Track (Navarre)
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

New Wave | New Wave & Post-Punk | Alternative Rock | Styles | Music

General | Country | Styles | Music

General | Pop | Styles | Music

Pop Rock | Pop | Styles | Music

Adult Alternative | Pop | Styles | Music

General | Rock | Styles | Music
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Seer
The Buffalo Skinners
Steeltown
John Wayne's Dream
Driving To Damascus

ASIN: B00009KT79
Release Date: 2003-07-01

Tracks:

We're Not in Kansas
Republican Party Reptile
Dynamite Lady
Keep on Dreaming
Beautiful People
Hostage Speaks
Beat the Devil
Leap of Faith
You Me and the Truth
Comes a Time
Ships
Into the Fire
Heart of the World
Kiss the Girl Goodbye
Freedom Song
CD ROM Footage of Republican Party Reptile Promo Clip ... [New Edit]

Tracks:

King of Emotion
Broken Heart (Thirteen Valleys)
Thousand Yard Stare
From Here to Eternity
Everything I Need
Peace in Our Time
Time for Leaving
River of Hope
In This Place
I Could Be Happy Here
Travellers
When the Drum Beats
Starred and Crossed
Longest Day
CD ROM Footage of Soviet Embassy Live Performance 1988 [Multimedia Trac

Album Description

UK twofer combines 'Peace In Our Time' (1988) & 'No Place Like Home' (1991), both are unavailable domestically. In addition to audio, this CD also contains video of Soviet Embassy Live Performance 1988 that can be played on either PC or MAC. Track Records. 2003.

Customer Reviews:

Two Discs -- No Risks.......2005-04-25

I just finished listening to this set and was reminded that, even though No Place Like Home (NPLH) was recorded during a strange period in Big Country's history, Stuart Adamson's songs reflect a growing maturity in terms of lyrics (subject matter), music (varying styles), and, as far as the way the band handles Adamson's songs, arrangements (not so electric guitar heavy).

"We're Not in Kansas," which is also featured on The Buffalo Skinners CD, released shortly after NPLH, is an indictment (a rough one using extremely effective Wizard of Oz imagery) of the shallowness and greed of the American way of life. The sing-songy "Beautiful People," on the other hand, is a very upbeat celebration of diversity. When I first heard it, I thought it was satirical. Adamson's songs, at least his earlier songs, were several shades of deep dark, but this song suggests a slightly different attitude towards those with whom he comes into contact.

My favorite song on the CD, "Leap of Faith," makes me think of a cool Motown song, but one that's been mixed up with a Springsteenesque redemption theme. It's such a good song that alone, it's truly worth the price of the CD. The fact that the triumphant "Leap of Faith" is surrounded by the sad "Dynamite Lady," the scathing "Republican Party Reptile," the mournful "Ships" (a full band version of "Ships" can be heard on The Buffalo Skinners CD, which I mentioned earlier), the pleading "Heart of the World," and so many winners makes it a bona fide classic, albeit one that, unfortunately, most probably will never hear.

Peace in Our Time (PIOT) is not a favorite Big Country CD of mine. However, having said that, there are some songs that, in my opinion, rank amongst their finest. The lead-off track, "King of Emotion," is one of those infectious anthems, but the anthemic quality is not one that tries to provoke people to get out in the streets. It's one that tries to provoke whomever's listening to seek love within him/herself. It's rare that an anthem can do that (separate the personal from the collective), but "King of Emotion" somehow does it and succeeds. The title track is also an anthem, but one in the more traditional sense. It exhorts whomever's in power to hand peace over -- "Give us peace in our time/While I have a life to live/Then I have no life to give." Why give one's life over in a war and be a dead hero? While it may be absolutely necessary to risk one's life, depending on the situation, the guy singing this song doesn't want to die on a battlefield along with somebody he himself might've killed that he didn't even know. This guy wants to live, grow, develop, and affect people. Why not let him? Give him peace in his time!

Lastly, my favorite song on PIOT is the wonderful, rejuvenating "River of Hope." Even though it's somewhat bleak in the sense that whilst the river of hope will be found, somebody's inevitably going to screw it up for everyone, it still uniquivocally states that the river exists, and that's the important thing. There's always hope, and Mark Brzezicki's (drums) and Tony Butler's (bass guitar) bull's eye rhythm pulsates and percolates like such a river would. The melody and the imagery are perfect together, and every time I hear it, I want to dance -- preferably near the river so I can jump in at some point.

Stuart Adamson's and Bruce Watson's guitar interplay is something of which all guitarists should take note. Butler and Brzezicki give new meaning to the word "bottom" (musically speaking, it's a good meaning -- the best). As a band, these guys were unstoppable. Their music came from a collective heart and mind that never lost faith in the human potential for greatness, whatever the circumstance. I'm angry with Adamson for dying, but I will also be eternally grateful that he wrote the songs he did. They will not die. As one contemporary of Adamson aptly put it, "There will always be a place in our hearts for Big Country."

Average customer rating:

Finally a Messiah with fervor!
Great recording!
Good and Bad
This is a great recording!

Handel: Messiah

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Christmas at Trinity

ASIN: B00002R16A
Release Date: 1999-11-30

Tracks:

Messiah: No. 1 Overture
Messiah: No. 2 Arioso For Tenor
Messiah: No. 3 Air For Tenor
Messiah: No. 4 Chorus
Messiah: No. 5 Recitative For Bass
Messiah: No. 6 Air For Bass
Messiah: No. 7 Chorus
Messiah: No. 8 Recitative For Alto
Messiah: No. 9 Air For Alto And Chorus
Messiah: No. 10 Arioso For Bass
Messiah: No. 11 Air For Bass
Messiah: No. 12 Chorus
Messiah: No. 13 Pifa (Pastoral Symphony)
Messiah: No. 14a Recitative And No. 14b Arioso For Soprano
Messiah: No. 15 Recitative For Soprano
Messiah: No. 16 Arioso For Soprano
Messiah: No. 17 Chorus
Messiah: No. 18 Air For Soprano
Messiah: No. 19 Recitative For Alto
Messiah: No. 20 Air For Alto And Soprano
Messiah: No. 21 Chorus
Messiah: No. 22 Chorus
Messiah: No. 23 Air For Alto
Messiah: No. 24 Chorus
Messiah: No. 25 Chorus
Messiah: No. 26 Chorus

Tracks:

Messiah: No. 27 Arioso For Tenor
Messiah: No. 28 Chorus
Messiah: No. 29 Recitative For Tenor
Messiah: No. 30 Air For Tenor
Messiah: No. 31 Recitative For Tenor
Messiah: No. 32 Air For Tenor
Messiah: No. 33 Chorus
Messiah: No. 34 Recitative For Tenor
Messiah: No. 35 Chorus
Messiah: No. 36 Air For Alto
Messiah: No. 37 Chorus
Messiah: No. 38 Aria For Soprano
Messiah: No. 39 Chorus
Messiah: No. 40 Air For Bass
Messiah: No. 41 Chorus
Messiah: No. 42 Recitative For Tenor
Messiah: No. 43 Air For Tenor
Messiah: No. 44 Chorus
Messiah: No. 45 Air For Soprano
Messiah: No. 46 Chorus
Messiah: No. 47 Recitative For Bass
Messiah: No. 48 Air For Bass
Messiah: No. 49 Recitative For Alto
Messiah: No. 50 Duet For Alto And Tenor
Messiah: No. 51 Chorus
Messiah: No. 52 Air For Soprano
Messiah: No. 53 Chorus
Messiah: Amen

Customer Reviews:

Finally a Messiah with fervor!.......2005-10-20

I've hunted a thrilling performance of The Messiah through 240 versions so far. This is the best I've found. Some are self-conscious, dutifully singing as instructed. Some are almost childish in their lilt. Some are overblown with so much bombast that you can barely hear the heart of the music. Some are concentrated on faithfulness to the original instruments. If you want a performance that will make you shiver with the power and joy of the music, this is the one. The singers are singing about GLORY. They sound as if they are ecstatic. The musicians are at one with the music and they create a virtual cathedral wherever this CD is played, just close your eyes. Or, let your own imagery, be it celestial, or of great oceans...carry you away.

Great recording!.......2003-09-22

There are so many performances of the Messiah out there that it is very difficult to point to a difinative one, but I'd put this in the catagory of the "very good" ones. As other reviewers have said, every performance is different and has its own character. Each has stronger and weaker points. Here the conductor and musicians have made good, solid musical choices. There is an amazing attention to detail which is not so obvious the first listen through but which makes the piece shine. The tempos seem to be right on, and there is no frivolous over-embellishment by the soloists. There is no attempt to be showey. The dramatic dynamics in the first section of the overture are interesting, but seem to work after you hear it a few times. This performance also includes sections which are often omitted (Second half of "He shall feed his flock," "Thou art gone up on high," "Great was the company of the preachers," and "Death where is thy sting"). I prefer the more intimate quality of a small ensemble of musicians to the mega-performances by the London Philharmonic, Vienna State Opera Orchestra, etc.. As with this performance, the smaller group lends a clarity to the music, where the larger ensembles can get a little "muddy" at times. Just my personal preference. Overall, this is a very good performance, and certainly the low price (being on the Naxos lable) makes this a clear choice.

Good and Bad.......2000-04-09

I was more interested in "The Messiah" for the religious content than as a music critic, but this was too much. The strings are tinny. The orchestra is plodding. The soloists and choir are thankfully very good and seem to understand the meaning of the words. It is a shame the sound mix is uneven. The male parts come across loud and clear, but the poor women. For instance, No. 9 Oh thou that tellest..., the soloist sounded like she was singing in an echo chamber far from the mike. This is one of the most disappointing versions of "The Messiah" I have heard in a long time.

This is a great recording!.......2000-02-11

I was really surprised with the new that the Messiah's New World premiere was held at Trinity Church in October 1770, twenty-eight years after it was written. This fact only will make one proud in having this CD among his collection.

Anyhow, this is nothing more than a historic detail and would not count if this recording had not an outstanding first-rate ensemble of singers. Without doubt there is no definitive version of Messiah. Each one has its own distinctive touch and feeling and exploring it is always a pleasant journey through imagination.

As stated by the conductor: "we must concede that performing Messiah with twenty singers and an appropriately balanced instrumental ensemble represents, at best, an imperfect comprimise", it will be easy to understand that this recording does not stand among the greatest and will probably carry some imperfections. I will mention two that kind of disppointed me a little bit. The Overture and the Chorus Worthy is the Lamb, for some reason misses the habitual vigor and strenght. Everything else is great and this is definitely a worth buying.

Peace in Our Time
Average customer rating:

Overproduced, but a solid effort

A more 'conventional' sounding Big Country

Big Country's last great album indeed

Last great album from Big Country

The album that killed Big Country

Peace in Our Time
Big Country
Manufacturer: Warner Bros / Wea
ProductGroup: Music
Binding: Audio CD

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Steeltown

ASIN: B000008DFS
Release Date: 1990-10-25

Tracks:

King of Emotion
Broken Heart (Thirteen Valleys)
Thousand Yard Stare
From Here to Eternity
Everything I Need
Peace in Our Time
Time for Leaving
River of Hope
In This Place
I Could Be Happy Here
Travellers
When the Drum Beats
Starred and Crossed
Longest Day

Customer Reviews:

Overproduced, but a solid effort.......2005-08-18

I have been a Big Country fan for many, many years. Like most, I was turned on to them with their hit single "In A Big Country". That trademark bagpipe guitar sound was just too cool. "The Crossing" remains, in my mind, their best album. They continued with this same sound over two more records and had a decent amount of success, mainly in Europe. "Peace In Our Time" offered a new producer (Peter Wolf) and a new, slick sound. This record was pretty much panned by most critics and fans, but I really like it. Yeah, maybe it is over-produced and Peter Wolf tries to make them sound like some major pop band. But, the quality of the songs....the songwriting is fantastic. Big anthems ("King Of Emotion", "Peace In Our Time"), great ballads ("Everything I Need") and catchy chorus' ("From Here To Eternity", "River Of Hope"). Newer pressings have also added the excellent instrumental "The Travellers".

Yeah, the signature sound is gone. Maybe Stuart Adamson, lead singer and main songwriter, listened to his critics too much and changed more than most fans would have liked. But, like any great band, you have to evolve. And, I think this was a stepping stone for the band, as was their next record, "No Place Like Home". Listen to U2's "Joshua Tree" and then go listen to "Achtung Baby". Their sound has totally changed. While Big Country's evolution wasn't that dramatic, they were able to hit their stride by the time they released "The Buffalo Skinners". They continued to release great records until their swan song "Driving To Damascus". If you want to hear a great Big Country record, pick up "The Crossing" or "Driving To Damascus". If you want to hear some music by a great rock band, pick up "Peace In Our Time".

A more 'conventional' sounding Big Country.......2005-02-23

This album sounds a good deal less 'exotic' than The Crossing, Steeltown, and The Seer. They have indeed taken on a much more 'conventional' pop-rock sound. But this album is definitely not bad. In fact, it's pretty good. Big Country is probably one of the few bands that could make such a change without going down the toilet.

Big Country's last great album indeed.......2004-02-21

Pay no mind to what the critical reviewer said below. I rather agree with the guy from the Philippines: This was Big Country's last GOOD album. The nineties were a disappointment with BC sounding way different than their Celtic roots. I remember how deflated I felt when I bought the LP No Place Like Home. There was nothing reminiscent of The Crossing or The Seer on that album, save the mournful ballad Ships.
There are a bunch of great songs on Peace in our Time: the title track and the first three songs on side one, all of which were released as singles in South Africa. King of Emotion and Broken Heart received the most airplay. Man, I can still remember the goosebumps I got hearing the chorus of Broken Heart for the first time, Brzezicki's crashing drums and the interplay of guitars. Yeah, this was Big Country!
Thousand Yard Stare is a haunting song with an eerie but very effective hook, the lyrics being a story of a young man returning from the war with that distant, vacant look in his eyes. It also has a catchy chorus. Peace in Our Time is a anthem of hope for a broken world. I also enjoyed River of Hope on side two, but it seems not to reach the heights it hints at. I was looking for a song like The Sailor from the Seer album or The Storm from the Crossing.
BC may have changed producers here, but it probably made their music more refined. These were subtle changes. Unfortunately, they weren't satisfied and for their next album went on in a whole other direction, trying to be more blues-rock than their signature Celtic rock sound. They lost their desire or their ability to write good melodies.

Last great album from Big Country.......2003-07-23

I probably have worn out the vinyl grooves to this fourth Big Country album I bought way back in 1989 I think.

Some people might not like this album simply because it deviates from the bagpipe-heavy sound of other great BC albums like The Crossing, Steeltown and The Seer.

But groups do mature and try something new for a change. This album is it! Except for the first track, all songs are great like "Broken Heart (13 Valleys)", "From Here To Eternity", I Could Be happy Here", "In This Place" and most specially "Eveything I Need". Hearing this song sends chills down my spine with its haunting melody.

Listening to these songs gives me visions of landscapes from different places around the world. Be it the Scottish highlands or visons of peacefully lying on the beach and staring at the sea.

No anthemic rock choruses for this album, which is a refreshing change. This album do have some of the bagpipe sound but only sparingly and that is a welcome change from the previous albums.
Stuart's lyrics and message is as optimistic and positive as the previous albums. Maybe he should have ended Big Country with this one than fade away in the 90's. This should be BC's swan song.

I don't care much about the 4 extra tracks on this CD re-issue. They are not in league with the mood and theme of the album. Just listen to the original album.

Here are my favorite BC albums and my ratings from 1 to 5:
1. The Seer - 5
2. Peace In Our Time - 5
3. Steeltown - 4
4. The Crossing - 4.

Buy this album before Linkin Park, Korn and Limp Bizkit take control of the major labels and delete this item in press! :-)

Don't just take my word for it. If in doubt, try to listen to this album before buying at your local CD shop. Enjoy!

The album that killed Big Country.......2003-04-20

Big Country was my favorite group for years after first hearing them in '83. They were a group I called my own, while all my friends seemed to dwell on U2, Duran Duran, or The Cure, Big Country was my fave, and pretty much stayed number one for me, until this album came out. Talk about a disappointment!!!

While Big Country did take a small drop off getting a little too poppy sounding with their album "The Seer" in late '86, they also made some improvements with "The Seer" by bring back some more traditional Big Country Celtic style which kind of left them a little when they did "Steeltown." However, nothing could prepare me for this flop. Simply put, Big Country picked the wrong producer. Peter Wolf had no business producing this album, nor any of Big Country's for that matter. Even Big Counry admitted later that Peter Wolf was probably not the right guy for this project (understatement of their careers!). Nowhere is this more obvious then when you hear the songs BC produced on their own for some of their B-side songs to this album. In fact the songs on this CD - "When A Drum Beats," "The Longest Day," "Travaler," and "Stared And Crossed" were not on the origenal "Peace in Our Time" album, and were all produced by BC and recorded around the same time as the Peter Wolf produced songs. There were other songs too that were produced by BC around the same time the album "Peace In Our Time" was recorded like "Promised Land" and "Over The Border" which though different sounding, still sound much more like BC then tracks PW produced. This tells you something - that these songs that PW produced could have been good had Big Country stuck with a good producer like Steve Lillywhite. While the tracks BC produced where on the raw side, they sounded like you would generally expect BC to sound on there album following "The Seer"...different, but good, not different, and BAD! Keeping much of their signature sound, though transitionary.

Big Country's great talents are totally suppressed, and the songs squandered on this album. The only song I like all the way through is "13 Valley's" and while the song "Peace in Our Time" shows flashes of greatness, it falls far short of its potential. Obviously complements of Peter Wolf!

Unfortunately, this marked the down fall of Big Country, as they never fully recovered from this flop of an album, and while coming out with some good music here and there, it was always very inconsistant going into the 90's and beyond. I must blame much of this on Big Country for buying into the criticism of being a gimic band from the beginning, as many UK bands from the early 80's were acused of being, mainly by US critics (wow, what a surprise, jealous bastards!) If BC would have just became proud of there early signature sound that so many people loved them for, me included, instead of feeling guilty about it and moving away from it, they would have been a much longer lasting success, but instead they succeded in convincing themselves that they must sound like everyone else to be genuine. Unfortunately, most of the good UK groups bought into this notion, more or less, but all you have to do is look at U2 to see that you can keep your signature sound and still evolve. Why do so many groups like Big Country thing in order to evolve, and mature, you must lose your signature sound? I will never undersand this!

If you are new to BC, go with "The Crossing" or "Steeltown," their two first full albums, and their best! Stay clear of "Peace In Our Time, and if you are a major BC fan, my advice for you is to REALLY stay away from this one, as it is not Big Country, but "just a shadow of the album it should be!"

I Am Filled With Heavenly Treasures
Average customer rating:

Religious music from the 19th century

A wonderful listening treat

I Am Filled With Heavenly Treasures

Manufacturer: New World Records
ProductGroup: Music
Binding: Audio CD

General | Folk | Styles | Music
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Classical | Indie Music | Stores | Music
ASIN: B0002NY90W
Release Date: 2004-08-31

Tracks:

Today, today is my own time
The Coming Day
Rose of Sharon
In this pleasant place I will go
The Earth Is Renewed
I've a spiritual garden to weed
Lord give me of Thy living bread
Redeeming Love
Good Brethren will you receive my love
Round Dance
Compassion
Toil On, Pray On
As Stars and Diamonds
Receive a Father's love
Pearl of Great Price
In love and peace we will increase
Simple Gift
With the lamb on Mt. Zion
The Charms of My Mother
"Great I" Medley: Dismission of Great I
Love Is Little
Harmony of Angels
I Am Filled With Heavenly Treasures
Mother's Chair
Let us grow up strength in Zion
My Mother's way's the way for me
Let us sow to the spirit of love
May I see as I am seen
Wake Up
I love to sing and worship God
Move on with the gift
How pretty 'tis to see
Good Elder, dear Brethren and Sisters, I love you
Grateful Remembrance
Learned of Angel
God Is Infinitely Able
God's Blessing
Farewell, farewell our dear gospel friends
Prayer for the Nations

Album Description

Shaker music is a unique body of American sacred folk music, created by eighteen American Shaker communities over a period of one hundred and forty years (1780-1920). This rich tradition of song continues to serve the Shaker community in the twenty-first century because it embodies their history, records the testimony of Shakers "who have gone before," articulates the religious principles on which Shakerism is founded, and reflects the faith of the contemporary community. Shaker music was created and nurtured in communities that prized isolation from worldly ways. Shaker melodies, although related to the larger tradition of Anglo-American folk songs, are not bound by their form, tonality, melodic or rhythmic structure.

The Enfield Shaker singers are a vocal ensemble of adults and children devoted to the study and performance of Shaker music. The group is open to all without audition, and is made up of both trained musicians and amateur singers. We draw heavily on the repertoire received or composed in the two societies that were the New Hampshire Bishopric—Canterbury and Enfield. Since the New Hampshire societies enriched their repertoire with songs from all the other Shaker communities, they also sing songs of the New York, Maine, Massachusetts, Ohio and Kentucky Shakers.

The Enfield Shaker Singers are drawn to Shaker spirituals that illuminate Shaker communal values and broaden our definitions of the sacred. The songs included on this recording illustrate some of the many ways music served Shaker communities. Most Shaker song texts are theologically direct, emotionally honest, and expressive of our shared humanity.

On this recording we offer thirty-nine songs we have come to love. Some have special meaning for individuals. We associate others with a particular singer in the group, or an occasion when it was sung. Each song offers us slightly different insights into Shaker aspiration, and Shaker faith. We hope that, through this recording, others will also come to love and sing them too. —Mary Ann Haagen, from the liner notes

Customer Reviews:

Religious music from the 19th century.......2007-07-07

If one likes the songs of the Shakers written in the late 18th and early 19 century that were without musical instruments, then you may like this CD. I found 8 songs out of the 30 or more on the CD that I liked, the others I did not care for much. This is no fault of the creators of the Cd, it is simply the style of the Shakers of the past.

A wonderful listening treat.......2005-01-11

This CD is a delight! The simple melodies, surprising harmonies, and clarity of the voices makes you want to sing along. Listening makes one smile, regardless of one's religious persuasion. Thank you for giving us these songs and preserving the tradition of this music.

Average customer rating:

No Peace in Our Time
Toxic Reasons
Manufacturer: Bitzcore Records
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

Punk | Hardcore & Punk | Alternative Rock | Styles | Music

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ASIN: B000024IPA
Release Date: 2006-03-22

Tracks:

Data Track for Man and Win
Mark 13
Armageddon Night
Up Ahead and Around the Corner
Friends
Third World America
No Peace in Our Time
Whipping Boy
Plant a Seed
Die Kristallnacht
Mousetrap
Wah Taku Way a Son
White Noise

Average customer rating:

Portsmouth Remembers

Manufacturer: Guild
ProductGroup: Music
Binding: Audio CD

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

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

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

Te Deum | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B0001PIZI8
Release Date: 2005-01-17

Average customer rating:

The Glory of St. George's
Johannes Brahms , Benjamin Britten , Sidney Campbell , Sir Henry Walford Davies , William H. Harris , Christopher Robinson , Charles Villiers Stanford , Michael Tippett , Louis Vierne , John Porter , and Choir of St. George's Chapel Windsor
Manufacturer: Guild
ProductGroup: Music
Binding: Audio CD

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Cathedral Music by Thomas Tomkins

ASIN: B000025YOA
Release Date: 2005-01-17

Average customer rating:

Very Disappointing
A beautiful game, a beautiful show. It is missed in USA.
I found it...the worst musical written

The Beautiful Game
Original London Cast
Manufacturer: Telstar TV
ProductGroup: Music
Binding: Audio CD

General | Musicals | Broadway & Vocalists | Styles | Music

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General | Vocal Pop | Pop | Styles | Music
ASIN: B000056BZY
Release Date: 2001-02-20

Tracks:

Overture
Act One: The Beautiful Game
Act One: Clean The Kit
Act One: Don't Like You
Act One: God's Own Country
Act One: God's Own Country (Protestant March)
Act One: Let Us Love In Peace
Act One: The Final (A Game Of Two Halves)
Act One: Off To The Party
Act One: The Craic
Act One: Don't Like You (Reprise)
Act One: Our Kind Of Love
Act One: Let Us Love In Peace (Reprise)
Act Two: The Happiest Day
Act Two: To Have And To Hold
Act Two: The First Time
Act Two: I'd Rather Die On My Feet Than Live On My Knees
Act Two: God's Own Country
Act Two: The Selection
Act Two: Dead Zone
Act Two: If This Is What We're Fighting For
Act Two: All The Love I Have
Act Two: Finale

Customer Reviews:

Very Disappointing.......2004-03-11

The only thing I regret, is that I didn't read the review by Jakgt before I bought this CD. I have an adjective to describe this musical. It rhymes with 'rap' and starts with 'c'

A beautiful game, a beautiful show. It is missed in USA........2002-10-02

The was one of the last shows I saw in England in the summer of 2001 - pre 9/11. I suggest the previous reviewer go back and listen to the words of wisdom when love triumphs over hate (and vice versa).

I believe this to be the most simplistic of Webber & Co.'s musicals and to me, it really works. Twenty people, a bare stage and boundless energy in the singing and dancing give this musical its edge before you start thinking about its politics. It reminded me of how youth is wasted on silly stuff, much in the way WEST SIDE STORY did a two generations ago.

We are not a soccer country. Many Americans know no more about Ireland than what happens on St. Patrick's Day (Green beer?). But we do understand sport, love, sex, loyalty, betrayal and internicine strife. Just image white and black instead of English and Irish, and you might get the picture.

Did I mention that the music is wonderful? Lyrical? Did I mention that the music was "singable" (people left the theatre singing)? Sometimes, we need a little sparkle without the glitz. If I could get away directing this musical with Palestinians and Israelis -- and still make it work (because it would), I would choose this one to direct in any university in America. The London production was that good. The music is that good. The book is that good.

Take back the fangs and listen to the music. Be innocent again, and listen to a simple musical with straightforward motives. I hear that it will never come to the US. Unfortunate. It is surely needed.

If you like musical theatre, buy the CD. If you are inspired when soccer players defy gravity, then imagine such deftness of foot in a musical and buy the CD. If you are curious about England and Ireland, buy the CD. If you want to be conscientious about world events aesthetically recreated, but still want to enjoy something soooo beautiful in its intent and execution, buy the CD. It is worth every cent.

I found it...the worst musical written.......2002-09-21

I truly believe that this is the worst musical ever put on CD. Though I am certain that there are worse shows, this one is hereby nominated as the most truly ugly, vulgar and truly unlikeable on record. RUN FOR THE HILLS!!!