Pete Rock & C.L. Smooth - Mecca and the Soul Brother

The masterwork of this duo, 1992's 'Mecca and the Soul Brother' shows both DJ Pete Rock and MC C.L. Smooth in peak form. C.L.'s delivery is incredibly fluid, reminiscent of a time when New York rap wasn't dominated by Rakim's style. The beats, however, are the real centrepiece here: Pete Rock's command of samples and turntablism is as incredible to witness as it is smooth, natural and effortless. There is a sense of fun and good times on this album; more serious than Jungle Brothers perhaps but not overwhelmed by themes of crime and social disarray as hip-hop albums would increasingly be towards the middle of the decade. The album is peppered with snippets and freestyle sessions that have real energy and fun flowing through them.

1. Return Of The Mecca
2. For Pete's Sake
3. Ghettos Of The Mind
4. Lots Of Lovin
5. Act Like You Know
6. Straighten It Out
7. Soul Brother #1
8. Wig Out
9. Anger In The Nation
10. They Reminisce Over You (T.R.O.Y.)
11. On And On
12. It's Like That
13. Can't Front On Me
14. The Basement
15. If It Ain't Rough, It Ain't Right
16. Skinz

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Jeru the Damaja - The Sun Rises in the East

1994 could easily be considered a high water mark in the development of hip-hop. The right configuration of talent and competition, the viability of sample-based music, the ever-growing popularity of the style combined with crime problems that meant a sense of gritty reality didn't have to be reached for meant that several classic albums were released that year. This album could easily take pride of place next to New York classics like Nas's 'Illmatic' or The Notorious B.I.G.'s 'Ready to Die'. Jeru's delivery is razor sharp and has real punch; combined with DJ Premier's insanely gritty and tight production it doesn't seem like he can fail. Premier's unrivaled talent for DJing, sampling and boom bap drums are on full display here, and he shows a sense of minimalism that's uniquely satisfying. There's no doubt Jeru is the star here, but this is definitely a collaboration between the two artists.

1. Intro (Life)
2. D. Original
3. Brooklyn Took It
4. Perverted Monks In Tha House (Skit)
5. Mental Stamina
6. Da Bichez
7. You Can't Stop The Prophet
8. Perverted Monks In Tha House (Theme)
9. Ain't The Devil Happy
10. My Mind Spray
11. Come Clean
12. Jungle Music
13. Statik

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Richard Wagner - Lohengrin

"Act I. A plain on the banks of the River Scheldt, near Antwerp. King Henry ('the Fowler') of Saxony has come to Antwerp to persuade the Brabantines to join him in defending Germany against an imminent attack by the Hungarians. Realising that there is tension among the Brabantines, the King calls on Telramund, a noble, to explain its cause. He says that the previous Duke of Brabant, on his deathbed, entrusted his two children to Telramund's care. The son, Gottfried, disappeared one day when he and his sister Elsa were alone. Telramund has accused Elsa of having killed her brother so that she can claim the dukedom; he has therefore renounced Elsa's hand and married Ortrud, through whose noble descent he claims to be ruler. The King orders a trial and Elsa is summoned. 

"Elsa cannot answer the King's questions but she describes a dream in which a knight in shining armour came to her aid. The King rules that the case will be resolved by combat between Telramund and whoever will be Elsa's champion. The King's herald twice sounds a summons, but no one steps forward. A swan appears, drawing a boat in which stands a knight; he steps ashore, bids farewell to the swan and offers to fight on Elsa's behalf. If he wins, they will many, but on condition that she promises never to ask him his name or origin. The knight overpowers Telramund but spares his life. Everyone except Telramund and Ortrud applaud his success. 

"Act II. In the fortress of Antwerp. Telramund blames Ortrud and her evil sorcery for his loss of honour and banishment from Brabant. Ortrud tells him that the knight's power can be overcome only if Elsa can be induced to ask him the forbidden questions or if he is wounded. The couple swear vengeance. 

"Elsa appears on a balcony. Ortrud sends Telramund away and appeals to Elsa's friendship. While Elsa is coming down to talk to her, Ortrud calls on profane gods for help. Gradually she sows seeds of distrust in Elsa's mind, undermining Elsa's faith in the knight.

"A herald announces that Telramund is banished and that the knight will many Elsa, become the Protector of Brabant and lead his men to battle in Germany. Four disaffected nobles (friends of Telramund), angry at the prospect, conceal Telramund.

"The wedding processions assemble. As Elsa is about to enter the minster, Ortrud comes forward and angrily claims that Elsa is taking Ortrud's rightful place. She taunts Elsa for not knowing the knight's name and lineage and accuses him of having defeated Telramund by supernatural means. The knight arrives with the King and tries to comfort Elsa. Telramund rushes forward, repeats Ortrud's accusation and demands to know the knight's name. The knight refuses to answer and sees that Elsa is disturbed. Ortrud and Telramund exult in her anguish; Elsa expresses her desire to know the knight's secrets; the knight prays to heaven for Elsa's protection. He drives Telramund and Ortrud away. The people hail Elsa, and the bridal couple proceed to the minster. As she enters, Elsa sees Ortrud making a threatening gesture.

"Act III. The bridal chamber. The knight and Elsa are led in by ladies and nobles. Alone, they express their love; but when the knight calls Elsa by her name she is saddened by not knowing his. Her torment increases. Hearing that her husband has forsaken happiness in his previous life, she fears he will want to return to it. In spite of his pleas, she demands to know his name. 

"At that moment, Telramund and his four followers break in and the knight kills Telramund with a single blow. He tells Elsa that their happiness is now lost, orders that Telramund's body be taken to the king and instructs that Elsa should be led to him too; there he will reveal his secret.

"A plain on the banks of the River Scheldt. The King and nobles are assembling to march to battle. Telramund's four accomplices bear his body in; Elsa arrives, followed by the knight. He tells the King that he cannot lead the army to war and that Elsa has broken her vow. He reveals that he is a knight of the Holy Grail, from Monsalvat; its guardian knights have supernatural powers provided their identity remains unknown. His father was Parsifal and his own name is Lohengrin. He reproaches Elsa, who begs him to stay, and predicts victory for the German armies. Her pleas are echoed by the King and the people. 

"The swan approaches, drawing the boat. Lohengrin bids Elsa farewell and hands her his sword, horn and ring, to give to Gottfried should he return. Suddenly Ortrud appears. She tells Elsa it was she who transformed Gottfried into a swan, the one now drawing Lohengrin's boat; had Lohengrin been able to stay he could have returned Gottfried to human form. Lohengrin falls to his knees in prayer. Suddenly a white dove descends over the boat. The swan submerges and reappears as Gottfried, whom Lohengrin proclaims the Duke of Brabant. The dove tows Lohengrin's boat away. As Elsa watches him disappear, she sinks lifeless to the ground in her brothers arms." (Alison Latham. From the liner notes.)

Performers: Orchester und Chor der Bayreuther Festspiele, Andris Nelsons, George Zeppenfeld, Klaus Florian Vogt, Annette Dasch, Jukka Rasilainen, Petra Lang, Samuel Youn

1.1. Vorspiel
1.2. Aufzug I, Szene I: 'Hört, Grafen, Edle, Freie Von Brabant!'
1.3. Aufzug I, Szene I: 'Dank, König, Dir, Dass Du Zu Richten Kamst!'
1.4. Aufzug I, Szene I: 'Welch' Fürchterliche Klage Sprichst Du Aus!'
1.5. Aufzug I, Szene II: 'Seht Bin! Sie Naht, Die Hart Beklagte!'
1.6. Aufzug I, Szene II: 'Einsam In Trüben Tagen'
1.7. Aufzug I, Szene II: 'Friedrich, Du Ehrenwerter Mann'
1.8. Aufzug I, Szene II: 'Des Bitters Will Ich Wahren'
1.9. Aufzug I, Szene II: 'Wer Hier Im Gotteskampf Zu Streiten Kam'/Szene III: 'Gegrüßt, Du Gottgesandter Held'
1.10. Aufzug I, Szene III: 'Nun Sei Bedankt, Mein Heber Schwan!'
1.11. Aufzug I, Szene III: 'Heil, König Heinrich!'
1.12. Aufzug I, Szene III: 'Wenn Ich Im Kampfe Für Dich Siege'
1.13. Aufzug I, Szene III: 'Nun Hört Euch, Volk Und Edlen, Mach' Ich Kund'
1.14. Aufzug I, Szene III: 'Nun Höret Mich, And Achtet Wohl'
1.15. Aufzug I, Szene III: 'Mein Herr Und Gott, Nun Ruf' Ich Dich'
1.16. Aufzug I, Szene III: 'Durch Gottes Sieg Ist Jetzt Dein Leben Mein'
1.17. Aufzug I, Szene III: Applaus
1.18. Aufzug II: Einleitung
1.19. Aufzug II, Szene I: 'Erhebe Dich, Genossin Meiner Schmach'
1.20. Aufzug II, Szene I: 'Was Macht Dich In So Wilder Klage Doch Vergeh'n?'

2.1. Aufzug II, Szene I: 'Entsetzlich! Wie Tönt Aus Deinem Munde Furchtbar Der Name'
2.2. Aufzug II, Szene I: 'Du Wilde Seherin! Wie Willst Du Doch'
2.3. Aufzug II, Szene I: 'Der Rache Werk Sei Nun Beschworen'
2.4. Aufzug II, Szene II: 'Euch Lüften, Die Mein Klagen'
2.5. Aufzug II, Szene II: 'Elsa!'/'Wer Ruft? Wie Schauerlich Und Klagend Ertönt Mein Name Durch Die Nacht?'
2.6. Aufzug II, Szene II: 'Entweihte Götter! Helft Jetzt Meiner Rache!'
2.7. Aufzug II, Szene II: 'Ortrud, Wo Bist Du?'
2.8. Aufzug II, Szene II: 'Du Ärmste Kannst Wohl Nie Ermessen'
2.9. Aufzug II, Szene II: 'So Zieht Das Unheil In Dies Haus!'
2.10. Aufzug II, Szene III: Morgenlied/'Im Früh’n Versammelt Uns Der Ruf'
2.11. Aufzug II, Szene III: 'Des Königs Wort Und Will’ Tu’ Ich Euch Kund'
2.12. Aufzug II, Szene III: 'Nun Hört! Dem Lande Will Er Uns Entführen?'
2.13. Aufzug II, Szene IV: Prozession/'Gesegnet Soll Sie Schreiten'
2.14. Aufzug II, Szene IV: 'Zurück, Elsa! Nicht Länger Will Ich Dulden'
2.15. Aufzug II, Szene V: 'Heil! Heil Dem König!'
2.16. Aufzug II, Szene V: 'O König! Trugbetörte Fürsten! Haltet Ein!'
2.17. Aufzug II, Szene V: 'Welch’ Ein Geheimnis Muß Der Held Bewahren?'
2.18. Aufzug II, Szene V: 'Mein Held Entgeg’ne Kühn Dem Ungetreuen!'
2.19. Aufzug II, Szene V: 'In Deiner Hand, In Deiner Treu’ Liegt Alles Glückes Pfand!'

3.1. Aufzug III: Vorspiel
3.2. Aufzug III, Szene I: 'Treulich Geführt, Ziehet Dahin'
3.3. Aufzug III, Szene II: 'Das Süße Lied Verhallt, Wir Sind Allein'
3.4. Aufzug III, Szene II: 'Wie Hehr Erkenn’ Ich Unsrer Liebe Wesen!'
3.5. Aufzug III, Szene II: 'Atmest Du Nicht Mit Mir Die Süssen Düfte?'
3.6. Aufzug III, Szene II: 'Ach, Könnt Ich Deiner Wert Erscheinen!'
3.7. Aufzug III, Szene II: 'Höchstes Vertrau’n Hast Du Mir Schon Zu Danken'
3.8. Aufzug III, Szene II: 'Hilf Gott, Was Muss Ich Hören!'
3.9. Aufzug III, Szene II: 'Hörtest Du Nichts? Vernahmest Du Kein Kommen?'
3.10. Aufzug III, Szene II: 'Tragt Den Erschlagnen Vor Des Königs Gericht!'
3.11. Aufzug III, Szene III: Sonnenaufgang/'Heil, König Heinrich!'
3.12. Aufzug III, Szene III: 'Was Bringen Die? Was Tun Sie Kund?'
3.13. Aufzug III, Szene III: 'Mein Herr Und König, Laß Dir Melden'
3.14. Aufzug III, Szene III: 'In Fernem Land, Unnahbar Eu’ren Schritten'
3.15. Aufzug III, Szene III: 'Mir Schwankt Der Boden! Welche Nacht!'
3.16. Aufzug III, Szene III: 'Mein Lieber Schwan!'
3.17. Aufzug III, Szene III: 'Weh! Weh! Du Edler, Holder Mann!'

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Richard Strauss - Vier Letzte Lieder

"Richard Strauss was a boy of six when he wrote his first song, and an old man of 84 when he completed his last. In the intervening years he made a hugely successful career as a composer of symphonies, songs and operas, a master orchestrator and conductor. But it was the marriage of music and poetry – especially with the sound of the soprano voice in mind – to which he always returned, and his gloriously serene and transcendent Four Last Songs, written a year before his death, was to be his epitaph. 

"In 1948, Strauss felt himself slowing down. There was a new world order, he was old, and he felt tainted by the tribulations of the Second World War and the unfortunate appropriation of his music by the Third Reich. His individual, lushly Romantic style of composition was increasingly seen as old-fashioned in a post-war musical world that had rejected tonality. He’d even gone as far as making the self-deprecating remark: 'I may not be a first-rate composer, but I am a first-class second-rate composer!'

"However, he was not yet ready to put down his pen – his imagination had been caught by a piece by the lyric poet Josef von Eichendorff, 'Im Abendrot' ('In the Evening Glow'), and he set to work turning it into an orchestral song. It was to be the final song in the set that became known as the 'Four Last Songs', and within five months it was followed by 'Spring', 'September' and 'Going To Sleep'. 

"Into them Strauss poured the most fundamental aspects of his musical personality – a rainbow of orchestral colour, radiant lyricism and his life-long love affair with the soprano voice. And it was as if his life had come full circle: during 'Im Abendrot', he quotes from his tone-poem 'Tod Und Verklärung' ('Death And Transfiguration'), written in his 20s. A year later, as he lay fatally ill from a series of heart attacks, he calmly claimed, 'Dying is just like I composed it in 'Tod und Verklärung'.' 

"Strauss’s last wish was that his swansong should be premiered by the Wagnerian soprano, Kirsten Flagstad. Sadly, he died eight months before his wish came true. The 'Four Last Songs' was first heard in London in May 1950, performed by Flagstad, the Philharmonia and Wilhelm Furtwängler. It is the apotheosis of Strauss’s life and work: a man who, having lived to the full, contemplates eternity with perfect equanimity." (From the Classic FM website. Link here.)

Performers: Berliner Philharmoniker, Herbert von Karajan, Anna Tomowa-Sintow

1. Vier Letzte Lieder: Frühling
2. Vier Letzte Lieder: September
3. Vier Letzte Lieder: Beim Schlafengehen
4. Vier Letzte Lieder: Im Abendrot
5. Die Heiligen Drei Konige Aus Morgenland, Op. 56 No. 6
6. Cappricio, Op. 85: Mondschein-Musik
7. Cappricio, Op. 85: Monolog Der Gräfin

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Richard Wagner - Tannhäuser

"The minstrel Heinrich von Ofterdingen, known as Tannhäuser, has been living as a willing captive and lover of Venus. Following the bacchanalian orgy, in which his desires are finally satiated, Tannhäuser wakes from his dream; he longs for freedom and the simple joys of earthly life. Reproaching him for his ingratitude, the love goddess urges him to sing his hymn to Venus, but at the end of both stanzas Tannhauser pleads to be allowed to leave. Venus tries to charm him into staying, but he only pleads harder and she eventually reluctantly yields, prophesying that he will one day return to her in desperation. Tannhauser declares that his salvation lies only in the Virgin Mary; Venus and her domains vanish. 

"Tannhäuser finds himself in the vicinity of the Wartburg, the residence of the Landgrave. A young shepherd's simple greeting to the spring is followed by the chant of an advancing procession of pilgrims; the shepherd greets them, and Tannhauser, inspired, praises the wonders of God. As the procession passes, Tannhäuser begins to feel the weight of his own sin. The Landgrave and his companions arrive. Upon recognising Tannhäuser, they are unsure how to greet him — does he return as friend or foe? Wolfram quickly dismisses their uncertainty, however, and the group joyfully welcomes their long-lost comrade. Tannhauser wishes to continue on his journey, but the others plead him to stay, with Wolfram's cry of 'Bleib bei Elisabeth!' stopping Tannhäuser in his tracks. Explaining that Tannhauser's song has won the heart of Elisabeth, the Landgrave's beautiful niece, who has suffered greatly during his absence, Wolfram and the others successfully persuade Tannhäuser to return to The Hall of Song, the Wartburg Elisabeth rejoices over Tannhäuser's imminent return, joyfully greeting the hall, which she has not entered since his departure. Wolfram enters with Tannhäuser; Elisabeth recalls Tannhäuser's earlier minstrelsy, describing the conflicting emotions that his song aroused in her and reliving the pain of his departure. Tannhäuser, enraptured, hails the power of love, and the two ecstatically sing God's praises. 

"Tannhäuser and Wolfram depart. The Landgrave arrives, welcoming his niece back to the Hall but finding her unwilling to reveal her feelings to him. Guests assemble for the song contest and the minstrels enter. The Landgrave announces that the challenge of the contest is to fathom the true essence of love - the worthiest contender will receive his prize from Elisabeth herself. Wolfram is the first to try, delivering an idealized tribute to Elisabeth and comparing the purity of love to a fountain which should never be sullied, but Tannhäuser, whose soul is still possessed by Venus, retorts that the highest love in fact resides in the pleasure of the senses. Walther then tries his luck, then Biterolf, then Wolfram again, but Tannhäuser scorns each of their attempts with heightened passion answering Wolfram's second invocation with his hymn to Venus. The guests are incensed, but Elisabeth intervenes dramatically with 'Haltet ein!', imploring mercy and atonement for Tannhäuser. Tannhäuser is overcome with remorse, and Elisabeth's intervention is likened to that of an angel. The Landgrave tells Tannhäuser that his only hope of salvation is to join the band of pilgrims preparing to journey to Rome. 

"Elisabeth prays for Tannhäuser's salvation, with Wolfram observing her unnoticed. Both are alerted by the pilgrims' return from Rome — Elisabeth searches among them for Tannhäuser, but he is not there. Broken, she prays to the Virgin to receive her soul in heaven so that she might intercede for her beloved. Wolfram asks if he might not bear her company, but she silently communicates that she must fulfil her duty alone. She returns to the Wartburg, and Wolfram, seized by a presentiment of her death, asks the evening star to guide her on her way.

"Tannhäuser staggers in, ragged and exhausted. Wolfram, who at first mistakes him for a wandering pilgrim, questions why he returns unpardoned to the Wartburg, and Tannhäuser narrates his pilgrimage to Rome: that, in spite of his abject penitence, the Pope refused to grant him absolution, explaining that Tannhäuser's time in the Venusberg means he can no more be forgiven than the Pope's staff can sprout leaves. Tannhäuser now intends to retum to the Venusberg, and Venus herself appears, tempting him back to her realm. Wolfram is horrified, and a struggle for Tannhäuser's soul ensues, with Wolfram's cry of 'Elisabeth!' breaking the enchantment. At that moment a procession enters bearing Elisabeth's body; Venus disappears and Tannhäuser falls to the ground. As he lies dying, calling on the saint to intercede for him, a chorus of pilgrims enter and recount a miracle: the Pope's staff has blossomed. Tannhäuser's soul is saved." (Synopsis by WLP, Ltd. From the liner notes.)

Performers: Orchester und Chor der Bayreuther Festspiele, Axel Kober, Torsten Kerl, Camilla Nylund, Michelle Breedt, Markus Eiche, Kwangchul Youn

1.1. Ouvertüre
1.2. Aufzug I, Szene I: 'Naht Euch Dem Strande!'
1.3. Aufzug I, Szene II: 'Geliebter, Sag’, Wo Weilt Dein Sinn?'
1.4. Aufzug I, Szene II: 'Dir Töne Lob! Die Wunder Sei’n Gepriesen'
1.5. Aufzug I, Szene II: 'Dank Deiner Huld! Gepriesen Sei Dein Lieben!'
1.6. Aufzug I, Szene II: 'Geliebter, Komm! Sieh Dort Die Grotte'
1.7. Aufzug I, Szene II: 'Stets Soll Nur Dir, Nur Dir Mein Lied Ertönen!'
1.8. Aufzug I, Szene II: 'Zieh Hin, Wahnsinniger, Zieh Hin!'
1.9. Aufzug I, Szene II: 'Ach, Schöne Göttin, Lebe Wohl!'
1.10. Aufzug I, Szene III: 'Frau Holda Kam Aus Dem Berg Hervor'
1.11. Aufzug I, Szene III: 'Zu Dir Wall’ Ich, Mein Jesus Christ'
1.12. Aufzug I, Szene IV: 'Wer Ist Dort In Brünstigem Gebete?'
1.13. Aufzug I, Szene IV: 'Als Du In Kühnem Sange Uns Bestrittest'

2.1. Aufzug II: Orchestereinleitung/Szene I: 'Dich, Teure Halle, Grüß’ Ich Wieder'
2.2. Aufzug II, Szene II: 'Dort Ist Sie; Nahe Dich Ihr Ungestört!'/'Der Sänger Klugen Weisen Lauscht’ Ich Sonst Gern Und Viel'
2.3. Aufzug II, Szene II: 'Den Gott Der Liebe Sollst Du Preisen'
2.4. Aufzug II, Szene III: 'Dich Treff ’ich Hier In Dieser Halle, Die So Lange Du Gemieden?'
2.5. Aufzug II, Szene IV: Einzug Der Gäste
2.6. Aufzug II, Szene IV: 'Freudig Begrüßen Wir Die Edle Halle'
2.7. Aufzug II, Szene IV: 'Gar Viel Und Schön Ward Hier In Dieser Halle Von Euch, Ihr Lieben Sänger, Schon Gesungen'
2.8. Aufzug II, Szene IV: 'Blick’ Ich Umher In Diesem Edlen Kreise'
2.9. Aufzug II, Szene IV: 'Auch Ich Darf Mich So Glücklich Nennen Zu Schaun, Was, Wolfram, Du Geschaut!'
2.10. Aufzug II, Szene IV: 'Den Bronnen, Den Uns Wolfram Nannte, Ihn Schaut Auch Meines Geistes Licht'
2.11. Aufzug II, Szene IV: 'O Walther, Der Du Also Sangest, Du Hast Die Liebe Arg Entstellt!'
2.12. Aufzug II, Szene IV: 'Heraus Zum Kampfe Mit Uns Allen!'
2.13. Aufzug II, Szene IV: 'O Himmel, Lass Dich Jetzt Erflehen, Gib Meinem Lied Der Weihe Preis!'
2.14. Aufzug II, Szene IV: 'Ha, Der Verruchte! Fliehet Ihn!'
2.15. Aufzug II, Szene IV: 'Der Unglücksel’ge, Den Gefangen'
2.16. Aufzug II, Szene IV: 'Weh! Weh Mir Unglücksel’gem!'
2.17. Aufzug II, Szene IV: 'Ein Furchtbares Verbrechen Ward Begangen'
2.18. Aufzug II, Szene IV: 'Versammelt Sind Aus Meinen Landen Bußfert’ge Pilger'

3.1. Aufzug III: Orchestereinleitung ('Tannhäusers Pilgerfahrt')
3.2. Aufzug III, Szene I: 'Wohl Wußt’ Ich Hier Sie Im Gebet Zu Finden (Wolfram, Ältere Pilger, Elisabeth)
3.3. Aufzug III, Szene I: 'Beglückt Darf Nun Dich, O Heimat, Ich Schauen'
3.4. Aufzug III, Szene I: 'Allmächt’ge Jungfrau, Hör Mein Flehen!'
3.5. Aufzug III, Szene II: 'Wie Todesahnung Dämmrung Deckt Die Lande'
3.6. Aufzug III, Szene II: 'O Du, Mein Holder Abendstern'
3.7. Aufzug III, Szene III: 'Ich Hörte Harfenschlag, Wie Klanger Traurig!'
3.8. Aufzug III, Szene III: 'Inbrunst Im Herzen, Wie Kein Büßer Noch Sie Je Gefühlt'
3.9. Aufzug III, Szene III: 'Dahin Zog’s Mich, Wo Ich Der Wonn’und Lust So Viel Genoss An Ihrer Warmen Brust!'
3.10. Aufzug III, Szene III: 'Willkommen, Ungetreuer Mann!'/'Der Seele Heil, Die Nun Entflohn'
3.11. Aufzug III, Szene III: 'Heil! Heil! Der Gnade Wunder Heil!'

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