The Very Best of Judy Collins
by: Judy Collins
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Music : The Very Best of Judy Collins |
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Rating:  - * So Lovely ... Judy Collins has such a pure, clear tone to her voice and I think her songs are timeless. My favorite is My Father. Rating:  - * Perhaps not all her \"very best,\" but certainly good enough ... "Greatest hits" collections, especially of an artist as prolific as Judy Collins, are risky things. This is particularly true in her case since her style has varied so much with the years. Still, this compilation includes most of what I regard as the high points among her many albums, and several iconic tracks: I would certainly place her versions of Pete Seeger's "Turn, Turn, Turn," Leonard Cohen's "Suzanne," and Ian Tyson's "Someday Soon" in this category. "Both Sides Now," one of her biggest radio hits, sounds a bit dated now with its late 60s mix of rock drumming and symphony strings; still, Collins' voice is at its smoothest here and her sincerity is hard to resist, as is also the case with her elaborately produced versions of the traditional "Amazing Grace" and "Farewell to Tarwathie." There are some missed opportunities in terms of giving the fullest portrait of Collins the artist. "So Early, Early in the Spring" I guess will do as the other representative of her early, folk period, bolstered by the superb guitar playing; I personally would have preferred the inclusion of one of her harder-edged protest songs from "#3" or the "Judy Collins Concert." Finally, a couple of misfires: the weird, chamber-music version of Dylan's "Just Like Tom Thumb's Blues" and the over-orchestrated, misguided mix of Joni Mitchell's "Chelsea Morning," that has unfortunately supplanted the charming live recording even on the CD reissue of "Living," its original home. Still, overall, this album is a vivid portrait of the evolution of a uniquely gifted American singer. Rating: - * Takes us back in time, to the peak of Judy Collins' career ... Judy Collins was not the most profound of the female folk singers of the 1960s and 1970s. She may not have had the greatest voice. But she had a wonderful folk sensibility and could make songs her own. And her voice at its height was a thing of beauty. This CD provides her greatest hits, most appearing in a rather short time horizon. A few illustrative cuts. This work starts with Pete Seeger's "Turn, Turn, Turn," based on "Ecclesiastes." Her smooth, lovely voice is enchanting to listen to. There is simple accompaniment, with Collins on acoustic guitar, Jim McGuinn on 12 string acoustic guitar, and Bill Takas on upright bass. This is a wonderfully musical version of Seeger's song. Then, one of Leonard Cohen's more evocative songs, "Suzanne." One key line: "I know she's half crazy And that's why you want to be there." Collins' voice works well with this song. Cohen's lyrics are provocative. "Just Like Tom Thumb's Blues." I think that this is one of Bob Dylan's less appreciated classics. What a series of images and emotions spill forth from the lyrics and music! Judy Collins' voice is almost too pretty and sweet for this song, but that itself makes this an interesting and intriguing interpretation. An early line setting a tone to this piece: "When you're lost in the rain in Juarez And it's Easter time, too. And your gravity fails And negativity don't pull you through." Listen to Dylan sing this--and then Collins. Almost like two different songs! I have always wondered at the line when Sweet Melinda "leaves you howling at the moon." Collins' version is an alternative and interesting take on this classic Dylan work. Then, Joni Mitchell's "Both Sides Now." Mitchell's version has a deeper sense to it, but Collins' is, perhaps, more musical. Some wonderful lines: "Flows and flows of angel hair, And ice cream castles in the air. And feathered canyons everywhere, I've looked at clouds that way." Another classic line: "It's love's illusions I recall, I really don't know love at all." This is a fine version of Mitchell's classic. I'd probably pick Mitchell's version, but Judy Collins does make this her own, and there's something to be said for that. "Farewell to Tarwathie." What can you say about a song when humpback whales are part of the musical backing! Quite appropriate for a song about whaling. Well sung--haunting and poignant. Then, her a capella version of "Amazing Grace." A fine listen! One of Collins' signature songs. Judy Collins was not the greatest of folk singers of her time. But she did cut out a very nice niche for herself, and this CD shows us why. On the merits, this might be 4 stars, but this captures a special time for me, so my background leads me to give this 5 stars, for the memories of the time that this conjures up. Rating:  - * The very bad of Judy Collins ... The CD was so disappointing that I gave it away after listening to it only once. I bought it because I love the song "Both sides now". Ironically, it was introduced to me by a friend who had it on a cassette tape years ago. I ordered this CD on line. It's full of noise! It sounds like it was duplicated from the old tape and no digital re-mastering was done! What a waste of money! Rating: - * The Best One Disc Compilation ... This is the best ONE disc compilation ... a fine set. The 2 CD compilation "Forever" at 35 songs is obviously more comprehensive (and contains 12 of these 16 tracks), but this is a more worthy 1 CD purchase (more songs on it) than "Colors Of The Day" or "Recollections" (btw, the 1 CD set called "The Essential Judy Collins ISN'T). Also, this compilation contains one rarity: the *only* CD release of the original 1969 single version of "Chelsea Morning" ("Forever" has a 1997 re-recording and "Living" has a live version). I could only wish that this CD had "In My Life." |
All three principals sing eloquently and with a fine sense of the opera's structure and context. Anna Tomowa-Sintow is in even better voice than Domingo, and Giorgio Zancanaro heads an expert supporting cast. The Covent Garden Chorus, directed with distinction by Michael Hampe, gives a memorable impression of the revolutionary mob. Julius Rudel's conducting is totally idiomatic. --Joe McLellan
Lotfi Mansouri spared no effort or expense in making this production special. He personally directed the staging, and handpicked an outstanding cast (right down to the very young and then-unknown Ben Heppner in the small role of Hervey). The visual elements--sets, costumes, and camera work--are also handled with great care, and Sutherland's positive response to this dedication can be sensed in her performance as the unfortunate wife of King Henry VIII. James Morris is best-known as a Wagnerian singer--perhaps the leading Wotan of our time--but he is equally at home in many of the villainous roles that are the fate of bass- baritones (Iago, Scarpia, Don Giovanni). In this sinister tale of an innocent woman ruthlessly destroyed, he shows a surprising knack for the bel canto style. Judith Forst is also excellent in the role of Jane Seymour. --Joe McLellan
