Sean Paul

This is one of the greatest examples of Musical Theater. The songs in this Film couldn't haven't been done any better than besides the greats; Fred Ebb and John Kander. Its sad that it took about thirty years after the Broadway Production for it to be made into a movie. But I guess it was worth it to get such great stars as Catherine Zeta-Jones, and newly introduced to Musical Theater, Queen Latifah.

I sadly would have to say that from what I have heard of Liza Minnelli's performances of songs in Chicago, are not as great as Zellweger's were in this film. Although Liza does a great "All That Jazz", Renee shows Liza how to get the number "Roxie" done.

One thing I really like about this soundtrack is that is olden type of music, and its not remastered old songs, but it old songs performed by Modern artists, and presented in Modern, "High Definition" audio quality. Its like Michael Buble, he does the old standards, but manages to share them with the old standards to us with great, new, modern, quality. And thats exactly what this film does, It still presents the great old classics; But does it in a great modern, and perfect audio quality way.

One part I think that could have been done better by someone else is the part John C. Reiley. From what I Heard he is a singer, but from what I have seen in this movie, he isn't the greatest one. "Mr. Cellophane" is one of my favorite songs from this film, and I think John C. Reilly makes the song look like a joke. It's supposed to be a very touching song, and I don't think his vocals met those requirements. And also, I think the whole vagabond outfit for his character was completely dumb. I think the whole lonely stage setup was great, but the whole, homeless, vagabond thing, just made the song look like a joke. When it really is a very touching song.

Besides that, the film and soundtrack where great. And I loved the two extra tracks on the soundtrack by Queen Latifah, and Anastasia are great.This album completely deserved the Grammy Nomination it got, and I would recommend this album to any Musical Theater fan.

The soundtrack arrived within about a week. (I never opt for faster delivery.) It was exactly what I wanted and, as far as I can tell, plays flawlessly.

This music is so faithfully performed by the very talented ensemble that it brings back the 1920's vividly. Each song reflects a specific style of the music popular at the time. After listening to this CD I had to see the movie (which was also terrific) and then I had to buy the sheet music. Usually I simply enjoy a CD and move on. This one reached me.

The cd is very good. There are only songs, no speaking parts really, even ones that precede certain songs. There are a couple of songs that are not in the movie or that were inspired by the movie. The first time you listen to it if you haven't read the fine print it kind of throws you for a loop. I highly recommend it for all who love the movie!

I truly loved the music with the movie is excellent. I was very impressed of the singing of the movie stars.

I'm enjoying this cd! It has a lot of great songs on it! There's really nothing I wanted to know before hand. What I really appreciated was how fast it arrived and the wonderful service! It's in great condition and is working well!

I like Sean Paul's style and music, but I found this album disappointing. Besides the big hits that were played on the radio ("Gimme the Light", "Get Busy", "Like Glue", "Baby Boy") and "Punkie" and "Can You do the Work", I found that most of this album was uninspired and repetitive and didn't make me want to sing along or dance. If you listen to the album twice in a row, you actually feel to skip most of the tracks the second time around... I would suggest you buy his Trinity album instead, a much more interesting one. If you like his big radio successes, just download them on your iPod instead of buying the entire Dutty Rock album.

Admittedly, I don't have the faintest idea as to what Sean Paul is singing/talking/toasting/rapping about but this is a fun, shake your groove thang, head bobber. I don't know how anyone can sit down when they put this on. The beats and grooves are just hot. Aside from the hits and songs that got some radio play, Shout, International Affair, Concrete, and Punkie are stand-outs. Sean Paul did his thing on this one and he's a cutie too!

Hip Hop's Sean Paul brought the island flavor into the Top 40. His first single "Get Busy" sounds great and sets the stage for Dutty Rock, his official debut album. Though his English is a little iffy and it's hard to tell what he's jabbering about on record, the beats are great in any language. Highlights are the aforementioned smash "Get Busy," "Gimme the Light," "Like Glue," "Baby Boy" (with Beyonce) and "Top of the Game." It's not a perfect listen but it's pretty good.

3.5 stars. Admittedly I'm not a reggae or rastafarian fan. But I'd heard enough single cuts to make me believe that this would be a good CD. It was and it wasn't. I agree the flow of the stongs seemed a bit chopping and majority sounded alike. It's a very long CD which aides in you getting your money's worth, but overall-it's just okay.

The Trinity is Sean Paul's best album. It's much better than Dutty Rock. You can listen to the entire album over and over without getting bored and without wanting to skip some tracks. He's also more melodic and more original than on his previous recordings. If you like Sean Paul's voice and singing style, you must get this CD!

From beginning to end, this album is great! His 2000 debut was solid and had some good songs throughout. Dutty Rock was OK but not spectacular although it did wonders for his career and brought him out to the mainstream audience. I found songs from that CD like "Like Glue" and "I'm Still In Love With You" and even "Gimme The Light" after hearing it a thousand times to be weak and very annoying and got on my last nerve hearing them so much.

However, "The Trinity," has no bad songs at all and is perfect from start to finish. Unlike Dutty Rock, I've repeated listening to this CD many times now and I'm still not sick of it which shows how good it is and how great it is to see Sean Paul go back to his Jamaican roots and stop trying to please the mainstream with cameos galore like he did on Dutty Rock. I also like the fact that all the lyrics are included, I wish all artists did that, but with Dancehall is even better to have the words, cause sometimes you just don't know what they are saying. This album is great all around.

I was already a Sean Paul fan but this CD delivers. I love it.

This is dance music perfection. Not a single beat missed. Bravo.

This album was pretty good and will put you on your feet, but Dutty Rock is the better of the two. Sean Paul fans won't be disappointed but its not a commericalized as Dutty Rock.

I really like Broadway music so this is the BEST!!!!!!
I let someone else borrow this to listen at her house--She liked it also

Rich harmonies. Lush orchestrations (although they intrude on the vocals at times). Variety. Three beautiful Celtic voices.
The Celtic Tenors are a worthy addition to the triumvirate approach initiated by Carreras, Domingo, and Pavarotti.
Best tracks? The Irish tunes, and any time they sing a capella.

Celtic Tenors are marvelous. The only "tenor group" offering harmony. The material is beautiful and beautifully performed.

If one looks at the jacket of the disk THE CELTIIC TENORS, the first impression is that the disk could also be called "The Three Irish Tenors goes boy band." The three Celtic tenors: Matthew Gilsenan, Niall Morris, and James Nelson, look rather young and hip, almost in a stereotypical way, and it is clear that the disk's first priority is to be a money maker. The obvious attempt at making a dollar (or in Ireland a punt or Euro) does not make the disk a waste. There are some very enjoyable musical moments on the disk, though nothing all that original or deep. The music ranges from popular tunes, traditional Irish music, and some light classical and operetta pieces. The musical highlight of the disk is an A Capella version of Barber's Adagio. This arrangement retains the piece's beauty as well as its haunting qualities. Though the song "Mull of Kintyre" is somewhat cheesy, it works on this disk and is one of the better tracks. The disk begins with a song titled "Nella Fantasia" a tune written by Emilio Morricone, and it's from a theme from his score of THE MISSION. According to the liner notes, the composer reluctantly allowed words for the piece. He should have held out a bit longer. The tune was first performed by Charlotte Church. It does not work for her, and it does not work for the Celtic Tenors either. Since the tune is so beautiful in the film, it's too bad it was not simply left alone.

Currently So Strong is my most favorite album. Unlike other Irish tenor albums I own, So Strong resonates unique total excellence achieved rarely by the blending of voices. It is a successful marriage of traditional and contemporary Irish vocal styling. Every cut is a true treasure. Listening to "Mull of Kintyre" I defy anyone not to hum this Paul McCartney melody. "The Green Fields of France" is a beautiful anti war anthem while "Ag Criost An Siol" is as spiritual as any gospel. Tears swell with "The Town I Loved So Well". "Something Inside" has an addictive beat and "The Contender" and "A Love so Beautiful" are haunting without being melancholy. I garantee that you'll have the CD player on high volume and repeat for the folk dance tune "The Star of the County Down" and inspiring "Anthem". I do.

I was watching public television and saw "The Celtic Tenors". The next day I found their CD, "So Stong". Finding voices of such obvious quality producing harmony so perfectly is rare. The first song brought me to tears and I wanted to stand and cheer. In fact, I did. In my opinion, "The Celtic Tenors" have absolutely clear voices and sing with "Heart" whether it's concerning the town they love or the love they let slip away. I have already suggested the CD to many friends who have immediately purchased one for themselves. What a treat, what a treat.

Since I am a self proclaimed movie fanatic and avid movie score purchaser, I have many of the albums and songs in their original format. I looked at Reel Chill as being a good way to bring them all together on one album. These are the original compositions - but NOT the original music as heard and performed for the movies.

I was looking for that emotion you feel when listening to the music from a significant film, and it just wasn't there when it's a 'remake' from another orchestra.

I won't knock the music - it's beautifully performed, but if you're looking for that 'exact' sound as heard in the movie (A.I., Chariots of Fire, etc) - this is NOT the album.

What a crowning achievement to bring "Reel Chill:Cinematic Chillout Album", released by Silva America and featuring The City of Prague Philharmonic Orchestra and the Crouch End Festival Chorus ~ conductors are Mark Ayres, Paul Bateman, Rick Clark, James Fitzpatrick, Nic Raine and David Temple director of the chorus ~ one can only expect the highest quality of performances and quench the thirst of all "film-score-buffs".

Sit back and unleash the first disc with composers ~ Albinoni, Craig Armstrong, John Barry, Vladimir Cosma, Enya & Nicky Ryan, Handel, Francis Lai, Ennio Morricone, Sean O'Riorda, Nino Rota, Ryvichi Sakamoto and Vangelis ~ taking each film score cue "BILITIS", "CHARIOTS OF FIRE", "CINEMA PARADISO", "DIVA", "GALLIPOLI", "THE LORD OF THE RINGS:THE FELLOWSHIP OF THE RING", "BARRY LYNDON", "MERRY CHRISTMAS MR. LAWRENCE", "MIDNIGHT COWBOY", "THE MISSION", "ONCE UPON A TIME IN AMERICA", "ONCE UPON A TIME IN THE WEST", "ROMEO & JULIET" and "ROMEO + JULIET", with arrangements that soar and then simmer into pure meditation of grandeur ~ classic film music prevails, as orchestration comes to the surface with pure originality ~ one masterpiece after another is long last presented as it should have been, is cause for celebration ~ each cue is a distinctive gift for striking modernism, touching on the transition of the period in this planets history.

Second disc is waiting in the wings are composers ~ Samuel Barber, John Barry, Patrick Cassidy, James Horner, Mahler, Mascagni, Stanley Myers, Thomas Newman, Michael Nyman, Howard Shore, John Williams and Hans Zimmer/Lisa Gerrard ~ take a musical ride with "AMERICAN BEAUTY", "A.I. ARTIFICAL INTELLIGENCE", "DEATH IN VENICE", "DEER HUNTER", "GLADIATOR", "HANNIBAL", "THE LORD OF THE RINGS:RETURN OF THE KING", "ON HER MAJESTY'S SECRET SERVICE", "OUT OF AFRICA", "PATRIOT GAMES", "THE PIANO", "PLATOON", "RAGING BULL", "SOMEWHERE IN TIME" and "YOU ONLY LIVE TWICE" ~ our composers with passion and skill for exploring human emotions, coupled with a unique gift for striking exotic orchestral colors, make this with all it's splendor unforgettable ~ themes that ring with familiarity as each film comes to mind through music.

Silva America gives the collector a treasure of thirty film cues that any "film-score-buff" would die for ~ in the past James Fitzpatrick (producer), Reynold da Silva (executive producer), mastered by Rick Clark and David Stoner (release co-ordinator) have given us compilation with such expertise and this one is no exception ~ keep up the outstanding limited editions and deluxe package releases, with your signature tidbits for all film music fans that's in all of us...gotta love it!

Total Time: 2-CD-Set ~ Silva America 1161 ~ (8/10/2004)

The movie was sensational, it seems almost impossible to capture all of it in a soundtrack, but they did a wonderful job of it. Every sngle song captured the spirit of the movie, it was almost like going to a broadway musical because of the quality of this music. Catherine Zeta- Jones did a amaizing job of singing the songs "All That Jazz", "Cell Block Tango", "I cant Do it Alone",and so many more. This music is almost magical, I would recammend this soundtrack for anyone!

If you loved the movie Chicago I'll garenty that you'll fall in love with the soundtrack. You can never get to bored of "all that jazz" with Catherine Zelta Jones singing it, you can tell that she's the real star of the soundtrack. Don't be surprised if you run across "The cell block tango remix" and all that junk, it just didn't blend in with all the other songs, I always avoid it.

the movie had great songs and great music and this soundtrack captures all of it.

I'm surprised by the enormous volume of glowing, 5-star reviews here. This soundtrack isn't THAT great. Maybe I'm biased. I was fortunate enough to see "Chicago" on Broadway in early 1997 (the matinee right before the cast walked over to Radio City for the Tonys, of which it won 3 or 4). That was a few months after it opened, with the original revival cast: Bebe Neuwirth as Velma, Ann Reinking as Roxie, James Naughton as Billy, Joel Grey as Amos, Marcia Lewis as Mama Morton, and D. Sabella as Mary Sunshine. Right afterwards I bought the CD and have listened to it many times since. So I can't help but be stuck on it. (I even have the 1975 Broadway recording, which I like though not as much as 1997.)

This soundtrack simply does not feature the vocal chops to be found on the Broadway recordings. The music itself is comparable, but certainly not an improvement. And the rap version of "Cell Block Tango" is a too-obvious attempt to take modern pop "stylings" (if you can call it that) into consideration when they are NOT at all relevant here. (Okay, more bias, since I despise rap.) Plus that last track with Anastacia, or whatever her name is, is awful. She tries so hard to sound like a modern R&B singer, but she can't do it. (And, again, I hate modern R&B, so yet another pre-disposed strike for me).

I liked the movie, but it (and the soundtrack) don't hold a candle to the Broadway "original revival" cast. I highly suggest getting that recording instead. You'll hear Bebe Neuwirth wail even better than Chita Rivera did, and James Naughton blows away Jerry Orbach (and certainly Richard Gere, by FAR).

And the DVD version isn't worth it. It really only has a 10-minute featurette that I'm willing to bet is on the DVD that's about to come out. And I can see that some people here have taken Richard Gere too seriously when he mentioned that Renee Z has a Billie Holiday quality to her voice. I laughed when I heard it then, and I laughed again when I see people repeat it here (as if it's their own words--yet they spell her name Billy). Not that Renee is bad (nor is Catherine ZJ), but by no means is she anywhere near the ballpark Billie Holiday is still in 45 years after her death. (And before anyone else takes Richard Gere too seriously: no, Catherine Zeta-Jones isn't really like Dusty Springfield, either).

Wonderful sound track! Anyone, who enjoyed the movie, will certainly relive the experience listening to the CD. I cannot wait for the DVD to be released in August.

The movie was very entertaining. The music was great - especially the rock and roll by such greats as Dr. John and Grand Funk Railroad. BUT, NONE of that great rock and roll is included in this cd. That's what I wanted - I guess I didn't read the fine print closely enough.

Raving reviews about the music drove me to purchase this soundtrack - my first Clint Mansell score. When "Ironclad" began, I felt transported into a period of adventure much like the effect of James Newton Howard's score to WATERWORLD.

I immediately fell in love with Mansell's action-packed score written for orchestra with inclusion of electronic elements. Some of the tracks contain fun, rhythmic, ethnic elements giving the score a somewhat "epic" feel.

Favorite tracks:
-Ironclad (Awesome brass theme build up with percussion choir!)
-Hold Tight! (Fast paced action scoring!)
-Hold Tighter! (Most fast paced action scoring!)
-Bomb Alley/Ironclad Revealed/Victory (Longest track on album)

This is definitely a surprise among many overlooked scores of 2005. Don't miss this one!

To put it simply, I love this soundtrack.

Clint Mansell, who scored the catchy but sinister Requiem for a Dream theme, manages here to fuse desert tunes with fast-paced, block-buster style sounds. I know, it sounds a little wild, but that's exactly what this soundtrack is--wild.

My personal favorites include the opening theme, "Ironclad," and it's remix "Rock On!" "Hold Tight" and "Hold Tighter" are two songs that always manage to get me riled up, and "Truck Escape" has a beat that'll stay stuck in your head for hours to come. I know other reviewers have recommended these songs, but I liked them so much I had to suggest them too.

I think the last few soundtracks Clint Mansell has scored have been excellent, and I believe it's only a matter of time before he matches ranks with the likes of Hans Zimmer and James Horner, two other composers that I respect very much. I can't wait to hear what he comes up with next.

This soundtrack has a lot of great music!
Clint Mansell has done a great job making the music.

It has soft and tender music, like ""Calliope at Night" and "Bonding", but also great action-adventure music like the adventures theme that is heard at "All Aboard!" But you can also find great action-adventure music in tracks like "Hold tight!" and "Hold Tighter!"
But the soundtrack also includes african music, with people singing. Tracks like "Here we Go!" and "Celebration" Which are a joy to listen to.
If you are more a fan of suspencefull music, you can listen to "Into the unknown" Which begins with beautiful music, and goes slowly further into suspencefull music. The title of the track says it all.
Also "Kazim's theme" is slow and ritmic but yet fritening.
On this soundtrack you can also hear a lot of music that gives the feeling of hot desert lands, and arabic influence. Tracks like "Solar plant" and especially "Mosque", but also "Truck escape (Which is very fun adventure music)"

With other words, all kinds of instrumental music style can be found on this soundfull soundtrack!

The great thing about this soundtrack is that it gives the feeling of the movie back while listening to it. That is always a good thing.

The music is powerfull, fun, ritmic, refreshing, beautiful, but most of all, it gives the sound of adventure.
I hope you will enjoy this soundtrack as much as I do!

Great to hear the sounds that went with the movie and not just the album that was inspired by the movie. I loved to get sound tracks because eveytime you listen it brings the action back.

"Einstein on the Beach" is an epic work: long, challenging, and important. Thanks to Amazon.com and Phillip Glass' own Web site, one can hear sonic excerpts from the composition. In this case, however, the excerpts are somewhat misleading because each track is less about the sound itself and more about the accumulating weight of that sound as it is multiplied by the time that elapses as each movement unfolds and as the complete work is experienced.

Even so, I doubt this is the sort of work many will sit still for and fully attend to in some sort of marathon audition. Rather, it is a sonic "stream of consciousness" that will likely pass in and out of one's awareness as it progresses...something felt as much as heard.

What does it feel like? The answer to this question requires the price of admission, which is not trivial. But once admitted, one would do well to go all the way inside with high quality headphones. In the context of complete silence, the stark poignancy of the music can entwine itself with one's thoughts...coloring them with a haunting sense of the eternal that is simultaneously wonderful and wistful, hopeful and sad. If one is a knowledge worker and uses headphones to facilitate concentration in an office environment, the sonic landscape of "Einstein on the Beach" and the emotions it engenders can have a profound and positive impact on the work one is undertaking. This is awesome and potentially transformational stuff. This said, beware the format.

As an unabashed audiophile, I normally purchase music in CD or SACD format. While the MP3 version of "Einstein on the Beach" was shipped instantly, it was RIPed at a fixed rate of 256 KBPS. I would have preferred either variable bit rate or a fixed rate of 320 KBPS. As it is, the high end is a bit strident and the mix lacks "space" in comparison to even a low-end CD. The five stars are for the composition, not the format.

In this opera Philip Glass pushes the two heritages he is using and referring to to an extreme that leads his music beyond classification, hence projects it into pure creativity. He uses the Ravel's Bolero genre or form so far and so amplified that we reach a totally hypnotic state. With very few notes, with extremely reduced musical phrases, with very few syllables and very short texts he builds many pieces that are rotating and spinning around repetitive nodal points in such an intricate manner that we just dive into them and enjoy the flow and flux, the ebb and reflux of the music. The second heritage is that of amplified music, is that of black rhythmic multiplicity. But instead of two rhythmic lines like in jazz or vodun, he plays on a lot more that are superimposed, intertwined or even crisscrossed or merged into an ever changing continuity, the many-faceted and eddied running water of a mountain brook or a major river when it is at its highest level. There too we have to keep still and quiet and silent in our nutshell of a boat and let it go down the current without any resistance or attempt at diverting it. We are at the mercy of these rhythmic lines that are emphasized and multiplied and amplified by the harmony of the notes behind into some rhythmic harmony. An absolute miracle. An absolute wonder. An absolute transfiguration. The joining of these two traditions and their development produces a music that reflects our modern world which is made of a constant and accelerating flow of sounds, information, communication, noise, messages. It is the world of absolute post-modernism where nothing is stable except in its very instability, nothing is permanent except in its very impermanence. There is no more perspective and depth. Movement is our very perambulating nature proceeding through a world of sounds that wraps us up in a blanket of warm wool that is homogeneous in texture and ever varied ever varying in its many threads and woven yarns. And that is the meaning of the title. Einstein opened the door to this world with his theory of relativity that ushered us into both the cosmos and modern physics. The beach is that vast expanse of infinite small grains of sand, each one being different from all the others and yet all of them being just of one essence. Glass reaches the relativity of the cosmos and the uniformity of the essence of sand, or if your prefer the relativity of sand grains on a beach and the uniformity of cosmic emptiness.

Dr Jacques COULARDEAU, University Paris Dauphine, University Paris 1 Pantheon Sorbonne & University Versailles Saint Quentin en Yvelines

This is a bizarre and relentless opera-as the surreal title implies, more dream than drama. Where the earlier recording had an abrasive edge, this new one is more refined, melding the different elements, electronic alongside acoustic, more subtly and persuasively than before. Even so, the first train episode, over 20 minutes long, remains mind-blowing in its relentlessness. The impact is heightened by the vividness of the recording, with spoken voices in particular given such presence that they startled me as if someone had burst into my room. The vision remains an odd one, but with a formidable group of vocalists and instrumentalists brilliantly directed, often from the keyboard, by Michael Riesman, the new recording certainly justifies itself.

This is a budget-priced reissue of the original CBS Records Masterworks release, which contains the original booklet with libretto and copious liner notes. The only differences are the cover artwork and price. Definitely a complete and utter steal! If you're at all curious about Einstein on the Beach, this is a must purchase.

4-CD set packaged in jewel case with slip cover.

Not the original artists. Very weak versions of beloved songs by marginal to downright bad vocalists.

Lots of great and clear vocals. I was looking for a musical mix and this has a nice sampling of many major songs but also some more recent stuff. I haven't purchased an import before but I would do it again if the opportunity presented itself. It is somewhat annoying to have three cds when I think it could have fit onto two. Still, more than I have complaints, I have compliments about it.