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Arleen Augér (soprano), Cecilia Bartoli (mezzo-soprano), René Pape (bass), Vienna Philharmonic Orchestra, Vinson Cole (tenor), Vienna State Opera Concert Chorus (choir, chorus), Georg Solti (conductor)
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Gwyneth Jones (soprano), Hanna Schwarz (contralto), Kurt Moll (bass), René Kollo (tenor), Vienna State Opera Concert Chorus (choir, chorus), Vienna Philharmonic Orchestra, Leonard Bernstein (conductor)
Beyond representing the best in '60s California pop, the Association blazed trails in album production and the folk-psychedelia genre. With the guidance of L.A. producers Bones Howe, Curt Boettcher, and Jerry Yester, the band deftly mixed airy harmonies, unobtrusive rhythm tracks, and subtle "Age of Aquarius" accents from harpsichords, Farfisa ...
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Christa Ludwig (vocals), Luciano Pavarotti (tenor), Michel Sénéchal (vocals), Mirella Freni (vocals), Robert Kerns (vocals), Vienna Philharmonic Orchestra, Vienna State Opera Concert Chorus (choir, chorus), Herbert von Karajan (conductor)
The Association's third album is not in a league with its debut, but Insight Out is an enjoyable folk-rock album with a few digressions into garage punk, novelty tunes, and psychedelia, all displaying much of what the group did best. The harmonies and choruses are among the most beautifully textured singing in a rock outfit this side of the Beach ...
Birthday is a strong record. Vocally, the intricate harmonies shine, and there is a lyrical depth on some songs that challenge the Association's reputation as a mere pop group. Granted, there are some light moments, such as the opening cut, "Come On In" (though the vocals do stand out on this cut). And "Toymaker" and "Hear in Here" show the vocal ...
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Gwyneth Jones (vocals), Jess Thomas (tenor), Karl Ridderbusch (bass), Tatiana Troyanos (contralto), Vienna State Opera Concert Chorus (choir, chorus), Vienna Philharmonic Orchestra, Karl Böhm (conductor)
The group's debut album may be better listening today than it was in 1966, because it can be appreciated more -- and it definitely deserves a better reputation than it has among folk-rock, psychedelic pop, and pop/rock enthusiasts. The album is usually neglected because of the Association's reputation as a soft rock outfit and the prominence of ...
Renaissance was a difficult album for the Association to record. Coming in the wake of a serious hit album (And Then...Along Comes the Association) and two huge hit singles ("Along Comes Mary," "Cherish") and at a time when the group was experiencing more bookings than its members had ever dreamed possible, Renaissance was rushed out under ...
The Association had quite a few singles and album tracks other than the four or five big hits that everyone remembers from constant radio play. This thoroughly annotated two-CD, 51-song compilation, though, has way too much stuff to pore through unless you're an unforgiving sucker for their light harmonies and clever arrangements. Those are ...
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Anna Netrebko (vocals), Diane Pilcher (vocals), Helene Schneiderman (vocals), Herman Wallén (vocals), Luigi Roni (vocals), Paul Gay (vocals), Rolando Villazón (vocals), Salvatore Cordella (vocals), Thomas Hampson (vocals)
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Christa Ludwig (vocals), Elke Schary (vocals), Evamaria Hurdes (vocals), Giorgio Stendoro (vocals), Hans Helm (vocals), Luciano Pavarotti (vocals), Marius Rintzler (vocals), Martha Heigl (vocals), Michel Sénéchal (vocals), Mirella Freni (vocals)
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Anna Netrebko (vocals), Diane Pilcher (vocals), Dritan Luca (vocals), Friedrich Springer (vocals), Helene Schneiderman (vocals), Herman Wallén (vocals), Luigi Roni (vocals), Paul Gay (vocals), Rolando Villazón (vocals), Salvatore Cordella (vocals)
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Brigitte Fassbaender (vocals), Jessye Norman (soprano), Plácido Domingo (tenor), Walter Berry (vocals), Vienna State Opera Concert Chorus (choir, chorus), Vienna Philharmonic Orchestra, Karl Böhm (conductor)
Priority's Chart Toppers series is an excellent budget-line collection, offering a strong selection of 15 original hits, grouped by a specific theme and decade, on each disc. Chart Toppers: Romantic Hits of the 60s combines rock & roll, girl groups, soul, pop and easy listening hits -- an eclectic bunch, to say the least, but the variety helps ...
The One and Only Love Album is a double-disc collection of pop/rock songs, most of them adult contemporary ballads from the '70s and '80s. There are a number of great songs here -- "I'm Not in Love," "How Can You Mend a Broken Heart," "I Want to Make It with You," "More Than Words," "Wonderful Tonight," "Up Where We Belong," "All Out of Love," ...
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Agnes Baltsa (contralto), Dietrich Fischer-Dieskau (baritone), Gerti Zeumer (soprano), Hermann Prey (baritone), James King (tenor), José van Dam (bass), Judith Blegen (soprano), Kenneth Riegel (tenor), Margaret Price (soprano), Rudolf Scholz (organ)
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Adrianne Pieczonka (vocals), Andreas Schmidt (vocals), Annette Küttenbaum (vocals), Clemens Bieber (vocals), Hans Franzen (bass), Hans Joachim Porcher (vocals), Heinz Zednik (tenor), Jard van Nes (vocals), Kurt Moll (bass), Lotte Leitner (vocals)
This 16-song collection is more a survey of sunshine pop than actual psychedelia, and is mostly valuable for gathering together a lot of singles by acts who otherwise either weren't too well represented on CD in 1992, or aren't the type of acts from whom most listeners would want more than a song or two in their collections -- for every top-flight ...
One of the better Billboard Top Pop Hits collections, 1967 is nearly as scattered as some of the other volumes of the series but features so many classic songs that it still holds together as an album. Ranging from the mellow hippie pop of Scott McKenzie's "San Francisco (Be Sure to Wear Flowers in Your Hair)" and the Mamas & the Papas' "Dedicated ...
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