Here I Stand

Here I Stand

Album Description

2008 album from the R&B superstar. Here I Stand is Ushers follow-up to his history-making, nine-times platinum-selling Confessions. The album tells the story of growth: triumphant, reflective, somewhat defiant and it marks a new period in Ushers life and creative expression. Here I Stand finds Usher working with some of the best producers and writers around including Polow Da Don, Jermaine Dupre, Dre & Vidal and Dream & Tricky Stewart. Features the first single Love In The Club. Laface.
Rate Points :3.5
Binding :Audio CD
Label :Jive
Manufacturer :Jive
MPN :723388
ProductGroup :Music
Studio :Jive
Publisher :Jive
UPC :886972338828
EAN :0886972338828
Price :$18.98USD
Lowest Price :$5.11USD
Customer Reviewswhat a weak comeback!!
Rating Point :3 Helpful Point :1
This CD wasnt what I expected. Everyone has become aware that Usher once he takes a long break he comes back with an amazing album. However, this time around that wasnt the case. The album is not the usher I fell in love with. The songs are soo boring and dreadfull. I dowloaded the whole album into my ipod an the same week I remove all the songs. I just dont like the new Usher.

Not What I Expected
Rating Point :2 Helpful Point :1
This album didnt meet up to my expectations. When I heard "Love In This Club", I loved it and I just knew I had to have this CD. When I got the CD in the mail and listened to it, I was very disappointed. There were too many ballads and nothing catchy. I have listened to the CD twice and thats all I intend on listening to it. Ive given it a chance but its just not working for me. The only songs I liked on it were Love In This Club, Love In This Club pt. 2, and Trading Places. When hearing his lyrics, I understand that hes grown as an artist but I feel that he should show his progress and his growth in more catchier songs, but thats just my opinion. Hopefully the next one will be better...

The title track was the best song
Rating Point :2 Helpful Point :0
Well, the entire cd was not that great, but the title track #17 "Here I Stand" is the most beautiful song I have heard Usher sing. When I heard it on the radio, I was nearly brought to tears. My sweetheart could have written every word. He is in the military and has to travel quite a bit so he has spoken those same words to me. To hear it in a song actually touched us both. So I am satified to have the song to listen to over and over. However, the whole cd was lacking. Confessions was a much better complete effort. This one seemed thrown together.

R&B
Rating Point :3 Helpful Point :0
If you want to hear some great R&B check out:

Artist: Frankie
Album: My Heart Belongs to you

Artist: Dangelo
Album: Voodoo

Jon B.
Album: Cool Relax
Album: Pleasures u like
Album: Stronger Everyday
Album: Helpless Romantic

Eryka Badu
Album: Baduizm
Album: Mamas Gun

H-Town
Album: Beggin After Dark

Donell Jones
Album: My Heart

Mary J. Blige
Album: My Life

Lyfe Jennings
Album: 268-192

Monica
Album: Miss Thang

Ginuwine
Album: 100% Ginuwine

Playa
Album: Cheers 2 U

Jagged Edge
Album: Hard

Excellent!!!!!!!
Rating Point :5 Helpful Point :0
The product was in excellent condition and I received it in a timely manner. I will order from this person again..........

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Tha Carter II

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Amazon.com

Who would have thought back in the Hot Boys early days that itd be Lil Wayne who not simply survived his older peers like Juvenile, but ended up thriving by the time he reached Tha Carter, vol. 2, Weezys fourth album. He sounds more confident as an MC--but more importantly, he wields a genuinely impressive array of different styles (as opposed to countless one-note rappers), from the chattering, thuggish "Fireman" and the languid style of "Oh No" to the emotional, introspective "Feel Me." In some ways, he actually bears a resemblance to raps other major "Carter" (Jay-Z), not just in his increasingly effortless flow but in his assertiveness as a leader. In other words, hes matured in all the right ways as an artist. His album is still longer than it needs to be--22 tracks, 77 minutes--but even the filler is listenable while the best songs, like "Receipt," "Shooter," and "Hustler Musik" help establish this as one of 2005s last great albums. --Oliver Wang
Rate Points :4.0
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Rating Point :5 Helpful Point :0
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Rating Point :5 Helpful Point :1
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Grade:
A-

My personal fav.
Rating Point :5 Helpful Point :0
This is not only my fav. lil wayne Cd its one of my fav. Cds of all time. I recomend this Lil Wayne is a rapping beast!

Lil Wayne-The Carter II
Rating Point :4 Helpful Point :0
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the carter 2
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this is lil waynes beat album!to responce to all critcal revews
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his songs are off the dome or free style raping is minde blowing thefore i fell this album is his best even better than the most antispated carter 3

are favrite track from this labum is go DJ cause it is not to long not to
short it ryms and the it is just perfect this album prooved to me that
lil wayne is the best raper alive.

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Gilbert & Sullivan - The Mikado / Eric Idle, Lesley Garrett, Richard Van Allan, Felicity Palmer, Richard Angas, Bonaventura Bottone, Susan Bullock, English National Opera

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Jonathan Miller set his well-known production of The Mikado, staged for the English National Opera, in a British seaside resort of the 1920s. The result, complete with a chorus of gentlemen of Japan as cartoon-like British peers, emphatically underscores the Englishness of the satire. The occasional non sequiturs, like a bunch of gentry dressed for Ascot and singing in Japanese, are loonily fun, and no more absurd than the fantasyland Japan that Gilbert and Sullivan invented. The time frame, though, seems little more than an excuse for a smart black-and-white production design.

The shows main calling card is Eric Idle as Ko-Ko, the Lord High Executioner. Unfortunately, his star turn of a performance, like the production as a whole, is not as funny as it should be. There are loads of comic ideas, some of them effective (bellboys parading through the hotel lobby with "No flirting" signs), some dubious (Ko-Ko delivering a 1980s-updated "little list" song at a press conference), some worked beyond their shelf life (insanely posh accents). This video recording of a 1987 performance could have been better made the chorus, badly miked, sounds as if it is far off-stage. The actors heavy makeup and heavy mugging are reminders that the production wasnt originally created for the camera. Such staginess may take some getting used to, but it fits in nicely with the aggressive fakery characteristic of G&S. This revisionist Mikado is probably best after youve experienced more straightforward approaches. --David Olivenbaum

Description

The irrepressible Eric Idle (Monty Pythons Flying Circus) teams up with the English National Opera in this hilarious performance of Gilbert and Sullivans beloved comic opera, THE MIKADO. This rollicking version of Gilbert and Sullivans most popular tale relocates the action from ancient Japan to a 1920s English seaside resort. Here the rule of the Mikado is absolute--and often prone to whimsy. Ko-Ko (Eric Idle) is sentenced to death for the crime of flirting, but in a strange turn of events is instead named "Lord High Executioner." A delightful farce ensues as Ko-Ko cant behead anyone without first cutting off his own head. But by the second act, the Mikado demands an execution and Ko-Ko must delicately sing and dance his way around a messy situation involving the Mikados son and his secret love Yum Yum. One of the best loved gems in all of opera, this charming production of THE MIKADO adds a unique twist to the timeless music--especially with the madcap talent of Eric Idle in his opera debut! DVD Features: A Source of Innocent Merriment: The Making of The Mikado Downloadable Libretto Cast Biographies Interactive Menus Scene Selection
Rate Points :4.0
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Customer ReviewsGilbert & Sullivan - The Mikado / Eric Idle, Lesley Garrett, Richard Van Allan, Felicity Palmer, Richard Angas, Bonaventura Bott
Rating Point :5 Helpful Point :0
An absolutely brilliant "modern" version of the Mikardo - sung very well and an enjoyable way to spend a couple of hours.

Virtue is Triumphant Only In...Theatrical Performances!
Rating Point :4 Helpful Point :1
"The Mikado" is arguably the most-performed of all the G&S operas. The current stage director of the Gilbert & Sullivan Society of Austin and renowned G&S scholar Ralph MacPhail said that not a day goes without the Mikado being performed somewhere in the world. I dont know if thats true, but "Mikado" is without question a very popular and frequently-performed comic opera. In addition, there are many different takes on it. Theres Red Mikado, Hot Mikado, Swing Mikado, and recently the Mikado Project.

This version, with Monty Pythons Eric Idle as Ko-Ko, is set in a seaside resort in the 1920s. (For those of you not familiar with the plot of Mikado, see my comment for a link to the G&S archives, as they summarize it far better than I could.) The setting, a 20s resort instead of ancient Japan, works surprisingly well. The costumes are enjoyable to watch, though I thought they went a bit heavy on the makeup for a filmed version. The highlight of the show is clearly Eric as Ko-Ko. His presence injects life into the show. Nanki-Poo and Yum-Yum do an adequate job, though I didnt think they particularly had a lot of presence. Katisha and the Mikado are both excellent.

I think producing it as a movie, rather than filming one of the stage performances, works against it somewhat. For it to work as a movie, the screenplay would have to have been considerably revised, which it wasnt, and so it never escapes its stage roots. As the Mikado says, "virtue is triumphant only in theatrical performances." Beyond that, my only major complaint was that in the Act I finale, the tap-dancing of the chorus drowns out the principals. Overall, however, this is an enjoyable production of one of the greatest comic operas ever written, and belongs on the shelf of every G&S fan.

"Maiming G & S"
Rating Point :3 Helpful Point :5
Director Jonathan Miller is normally an intelligent and resourceful stage director, as some of his witty comments even here on the making of this largely blighted production suggest. In the present case, sadly, he has fallen victim to a widespread delusion among contemporary opera and theater directors about the nature of how to please their audiences. He remarks that since weve by now ALL seen various productions of "The Mikado" set in the original Japan, the times cry out for a version thats radically different. Neglected in this view is the fact that in the audience of any production of even so familiar a work there will be a significant number of people whove never seen it before. For their sake, if its still stageworthy, it deserves to be presented without being maimed by a "bright" idea. Miller, though, has presumably thought it wiser to cater instead to those sated members of the potential audience whod be bored by straightforward Gilbert and Sullivan. If, however, such is his judgment, why do a new production of "The Mikado" at all? If this masterpiece of comic opera can no longer hold the stage as written, why not let it slip quietly into oblivion? Having chosen to set the work in the England of the 20s and 30s of the last century, Miller ignores so many consequent absurdities that he unwittingly invites viewers to question whether hes done more than just maim G&S. Signs saying "No Flirting," which might make sense in the repressive Victorian England which lies just beneath the surface of the original "Japan," seem pointless in a roaring 20s hotel. More seriously, "Japanese" concerns with beheadings and the presence of a Mikado have no pertinence at an English seaside resort. And just how the work has been made meaningful much less been improved by early 30s cinematic references and dance routines remains problematic at best. Miller, in sad allegiance to our current conformist tradition of arbitrary "innovation," emerges here as a director who could himself benefit from having a director with the foresight to nix such "bright" ideas in future.

The three stars here are for the singers from the English National Opera, all of whom manage through fine voices to transcend the dull and ugly irrationality which has replaced the fun and high spirits of the original
work.

Give it a watch...........
Rating Point :5 Helpful Point :0
Im always leery of "new and improved" productions of the works of Gilbert & Sullivan. The originals are hard to beat. To my amazement, this version of The Mikado is actually very watchable and enjoyable! The producers stayed true, for the most part, to both the original story line and libretti (other than the fact they "moved" the story from Japan to England, and made a few very minor changes to the dialog). The performance of the musical score is outstanding - Sullivan would be proud.

Poor Gilbert :-(
Rating Point :1 Helpful Point :0
Poor Gilbert! He must have turned over in his grave every day since this monstrosity was created.

Removing the opera from Japan and dressing the characters in British 1920s formal attire takes Mikado out of context, and renders it humorless and senseless.

Gilbert was a genius. The creator of this perversion is not!

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