alice in wonderland album download Download Artisti Vari - Alice In Wonderland (Original Soundtrack) (1997) Album. 1. Main Title (Alice In Wonderland) 2. Mary Ann! / A Lizard With a Ladder / We'll Smoke the Blighter Out 3. The Garden / All In the Golden Afternoon 4. What Genus Are You? 5. A-E-I-O-U (The Caterpillar Song) / Who R U / How Doth the Little Crocodile / Keep Your Temper 6. A Serpent! 7. Alone Again / 'Twas Brillig / Lose Something 8. The Mad Tea Party / The Unbirthday Song / Twinkle Twinkle / Clean Cup Move Down / Mad Watch 9. The Tulgey Wood 10. Very Good Advice 11. Whom Did You Expect 12. Pay Attention / In a World of My Own 13. Painting the Roses Red / March of the Cards 14. The Queen of Hearts / Who's Been Painting My Roses Red? 15. A Little Girl / Let the Game Begin / I Warn You Child 16. The Trial / The Unbirthday Song (Reprise) / Rule 42 / Off With Her Head / the Caucus Race [Reprise] / Please Wake Up Alice / Time for Tea / Finale 17. I'm Late 18. Curiosity Leads to Trouble / Simply Impassable 19. The Sailor's Hornpipe / The Caucus Race 20. We're Not Waxworks 21. How D'Ye Do and Shake Hands / Curious? 22. The Walrus and the Carpenter 23. Old Father William. Alice In Wonderland. Alice In Wonderland is a Malayalam album released on Jan 1995. This album is composed by Vidyasagar. Alice In Wonderland Album has 5 songs sung by K J Yesudas, Vidhu Prathap, Sujatha Mohan. Listen to all songs in high quality & download Alice In Wonderland songs on Gaana.com. Related Tags - Alice In Wonderland, Alice In Wonderland Songs, Alice In Wonderland Songs Download, Download Alice In Wonderland Songs, Listen Alice In Wonderland Songs, Alice In Wonderland MP3 Songs, K J Yesudas Songs. ALICE IN WONDERLAND. NEUSCHWANSTEIN Alice In Wonderland ratings distribution. NEUSCHWANSTEIN Alice In Wonderland reviews. Collaborators/Experts Reviews. A stunning story-telling prog rock release,''Alice in wonderland'' contains dreamy Symphonic Rock,interrupted in a few moments by spoken parts,which try to get the listener into the tale-atmosphere of the album.The sad thing, for those unfamiliar with the German language, is that all lyrics are written and sung in NEUSCHWANSTEIN's native language. but musically you will be rewarded to the maximum by the album's pure beauty and symphonic splendour.From the dominant moog solos and driving organ (NOVALIS similarities are evident) to the classical piano ans light harpsichord,all musical soundscapes are created by the heavy ans inspiring use of keyboards by the Klaus Mayer/Thomas Neuroth duo.The guitar echoes are trully melodic and inspiring yet carefully presented and mid-70's ELOY and even better ANYONE'S DAUGHTER are good reference points.However it's the flute work of Neuroth in here which will leave totally speechless!From the melodic interplays with the keyboards to the strong driving parts,Neuroth ''catches'' the best periods of CAMEL ,GENESIS and FOCUS (at least in the flute parts) and throws them into the mix to make the sound even richer and more symphonic. ''Alice in wonderland'' is oversaturrated in melody, interplays and calmness and it is marked by my side as one of the most important releases from a German Symphonic Rock band.Absolutely essential,followed by 4 shining stars! Much like Happy the Man's Death's Crown or Soft Machine's Spaced, then, this is an archival release of material originally intended to accompany a visual performance on stage - and as with those releases, it's a little flawed as a result. Listeners will likely find the recording quality very frustrating; there's clearly some very nice Genesis-esque pastoral prog being played here, but with that appalling background hiss in the way it simply doesn't sound as good as it might have had it been recorded to a professional studio standard. And the occasional narration breaking up the instrumentals is a bit obtrusive and hurts the flow of things. Uiltimately, listening to a piece like this you are only getting half the picture; like the albums I've mentioned (or, for that matter, Pink Floyd's The Wall), this was created with a particular visual experience in mind, and without those visuals the material is somewhat hampered. On top of that, the recording quality just cuts the album's legs out from under it. It's a testament to Neuschwanstein's talents that it still sounds pretty good despite all that, but this is very much a shiny curiosity rather than a long-lost classic. Neuschwanstein was a progressive rock band from Germany and was formed in 1971 in the city of Volklingen in the district of Saarbrucken. The name of the group is derived from Neuschwanstein Castle which is a Romanesque revival palace built by Ludwig II of Bavaria in Bavarian Alps as a retreat and as a homage to Richard Wagner. It became a huge name of the symphonic progressive rock scene in Germany. Today, it has been regarded as a legendary band by all prog rock fans, like other bands of the 70's. The founders of the band were Thomas Neuroth and Klaus Mayer, who had an interest on the music of Rick Wakeman. The band did covers of the keyboardist, in the beginning, and King Crimson. Neuschwanstein drew attention for the first time in 1974 when they won a musical competition with an adaptation of "Alice In Wonderland". Between 1974 and 1978 Neuschwanstein earned certain fame in their native homeland, the Sarre, because they were the opening act for several prog rock German bands, such as, Novalis and Lucifer's Friend. In 1978 they released "Battlement". It was released independently and sold all the 6.000 copies. Besides the good reception at the time, the album became stronger with time and today is considered a mythical album. The music produced by the band is melodic with magnificent arrangements with detailed and an interesting orchestration. In 2009, was released a CD with the original recordings made in 1976 of the musical adaptation by Neuschwanstein of "Alice In Wonderland". The album was released with the same name. Personally, I'm very glad this album finally was released. So, "Alice In Wonderland" is the debut studio album of Neuschwanstein and was recorded in 1976 and released in 2008. As I said before, this is a conceptual album about "Alice's Adventures In Wonderland", commonly shortened to "Alice In Wonderland", a novel written by the English writer Lewis Carroll, in 1865. It tells a story of a girl named Alice who falls down a rabbit hole into a fantasy world populated by peculiar creatures. The tale plays with logic, giving the story lasting popularity with adults and children too. It's considered one of the best examples of the literary nonsense genre. The line up on the album is Klaus Mayer (flute and synthesizer), Roger Weiler (narration and 6 & 12 string electric guitars), Thomas Neuroth (piano, organ and synthesizer), Rainer Zimmer (bass) and Hans-Peter Schwarz (drums and percussion). As a conceptual album, the music flows naturally. Despite "Alice In Wonderland" be practically an instrumental album, there are vocals, namely a narrative voice where Weiller tells the story of "Alice In Wonderland", in all due shortly in German, and in between, there is instrumental music heard. And this is especially marked by Mayer's flute and keyboards that recall at this stage of the band's history, especially to Wakeman. This isn't strange because the idea of "Alice In Wonderland" was inspired by the project to create a work that could compete with Wakeman's "Journey To The Centre Of The Earth". In addition, the guitarist Weiler was a big fan of Genesis, especially of "Supper's Ready". The Genesis' influence was also reflected in the non musical stage show. The band used bizarre costumes and background projections for the stage, like Genesis. Musically, the album contains dreamy symphonic progressive rock, interrupted in a few moments by spoken parts, which try to get the listener into the tale's atmosphere of the album.The sad thing, for those who aren't familiar with the German language, like me, is that all lyrics are written and sung in their native language. But, musically you will be rewarded to the maximum by the album's pure beauty and symphonic splendour. From the dominant moog solos and driving organ, the similarities with Novalis are evident, to the classical piano and light harpsichord, all musical soundscapes are created by the heavy and inspiring use of keyboards by Mayer and Neuroth duo. The guitar echoes are truly melodic and inspiring yet carefully presented and Eloy and Anyone's Daughter are good reference points. However, it's the flute work of Neuroth that makes the difference here. From the melodic interplays with the keyboards to the strong driving parts, Neuroth "catches" the best periods of Camel, Genesis and Focus, at least in the flute parts, and throws them into the mix to make the sound even richer and more symphonic. Conclusion: "Alice In Wonderland" is a great album and an historical document. Fans of early times of Novalis, Eloy, Holderlin and of course Anyone's Daughter, will love it. All these bands helped to create the German contribute to the progressive rock music. "Alice In Wonderland" has forty minutes of very interesting music with strong melodic lines, joyful interpretation of batch delicate guitars, great warp painted by synthesizer sounds, with its dynamic flute solos. If we can judge this album on its own merits, we can conclude that Neuschwanstein has made a beautiful and a very warm sounding album in the genuine symphonic rock musical tradition with a classical undertone and very pleasant vintage keyboards. The fans of the 70's of Genesis, Camel and Focus will be pleased with it too. Listen to it and enjoy it. Prog is my Ferrari. Jem Godfrey (Frost*) Latest members reviews. Musea mentioned that the CD release (1992) of Neuschwanstein's Battlement was one of their best selling items. In the booklet of Battlement you can already read about the epic composition Alice In Wonderland (based on Lewis Caroll's famous book) that has been put on this CD: in 1974 it was premi . (read more) Well, I simply love it In fact, is currently within my Top Three albums, which are Kayaks bard of the unseen and Genesis Foxtrot. Maybe I am totally cought and "spoiled" by the somewhat naive charme and originality of this album. I also very much like their more adult next (and untli . (read more) Slightly frustrating. This German band has recreated the story of Alice In Wonderland with German spoken words inbetween the music. The main leading instruments is flute and keyboards. Guitars adds texture when needed. The music is mostly a symphonic floating sort of new age. It is beautif . (read more) Post a review of NEUSCHWANSTEIN "Alice In Wonderland" You must be a forum member to post a review, please register here if you are not. MEMBERS LOGIN ZONE. As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums. You are not logged, please complete authentication before continuing (use forum credentials). Alice's Adventures in Wonderland Summary. A young girl named Alice sits beside her sister on a bank when all of a sudden a White Rabbit rushes past her, talking to himself about how late he is. Alice instinctively follows him down a rabbit hole. She falls and falls. Time and gravity seem to stop, so that she can explore the shelves and objects on the walls of the tunnel. At the end of the tunnel, she finds herself in a long hall, surrounded by locked doors of all sizes. She finds a key, which opens the tiniest door of all, but she is too big to fit through into the idyllic garden inside. Alice finds a bottle labeled “DRINK ME” which she faithfully drinks and feels herself shrinking , but though she is soon the right size for the door, she can no longer reach the key for it. A cake appears labeled “EAT ME” so she eats it and grows , but she grows too much and soon fills the giant hall and starts to cry. As she cries, her big tears form a pool on the floor of the hall. She shrinks again and slips and is swept up by the pool. The pool is occupied by some other swimmers, including a Mouse , who Alice tries to befriend. But she can’t help talking about her cat, Dinah , whom she is very homesick for, and terrifies the Mouse. The animals eventually gather on the shore of the pool and debate how to get dry. The Dodo suggests a Caucus-race, which is a chaotic, rule-less race that everybody wins. Alice gives prizes but when she mentions her cat again, the animals all scurry away and she is left alone. The White Rabbit returns, having lost his gloves, and, mistaking Alice for his maid, asks her fetch them. So Alice runs off to his house. She goes in and finds another cake, so she eats it hoping to grow back to her original size, but again she grows to gargantuan proportions and the White Rabbit returns to find arms and legs through his windows and chimney. He gets his gardener and some other animal servants to remove her – they try all sorts of methods, eventually throwing pebbles at her. These pebbles turn into cakes as they reach her, and she eats them up and shrinks again and escapes out of the Rabbit’s house and into a nearby forest. Here, Alice meets even stranger company. First, she encounters a giant puppy , then a Caterpillar sitting on top of a mushroom who interrogates Alice about her identity. Alice isn’t at all sure who she is anymore and, when she tries to recite a nursery rhyme that she used to know by heart, it comes out all jumbled up. The Caterpillar tells her to eat the mushroom. She tries one side of the mushroom and finds it makes her smaller so quickly eats the other side, which makes her grow taller, but mostly in the neck. She swoops around above the forest, frightening a pigeon, who accuses her of being a serpent. She eats some of the shrinking side of the mushroom and sees a little house, with a Frog Footman outside, who has received an invitation for the Duchess to attend the Queen of Hearts’ croquet tournament. Inside this house, the Duchess is nursing a pig-baby and a cook is having a temper tantrum. Everyone is sneezing because of the pepper the cook is sprinkling everywhere. The Duchess is in a terrible mood and rudely addresses Alice before flinging the baby at her. Alice decides to take the baby outside to save it from the cook’s flying pots and pans, and meets the Cheshire Cat , the Duchess’s curious vanishing grinning cat. The Cat helps Alice find her way. He says that in one direction lives the Hatter and in the other, the March Hare . They are both mad, as is everyone in Wonderland, including Alice, he claims. The baby, meanwhile, has transformed into a little pig. Alice goes off in the direction of the Hare but when she finds him, he is having tea in the garden with the Hatter and a Dormouse . The Hatter fires riddles at Alice, and is very keen to discuss the properties of Time with her. He tells her about when he “murdered Time” while singing a song for the Queen in March (when the Hare went mad). Alice gets fed up of not being listened to and leaves the party. She soon comes upon a tree, with a tiny door, and uses the shrinking mushroom to get to the right size to go in. She finally finds herself in the beautiful garden she has been aiming for. She goes in and meets some gardeners , who are flat and cardboard like playing cards, tending anxiously to the Queen of Hearts’ rose bushes. The Queen’s procession arrive, a whole set of playing cards, carrying clubs, diamonds and hearts. The Queen manically rules over everybody and regularly orders for playing cards who disappoint or annoy her in any way to be executed – she has already sentenced the Duchess to a beheading. The Queen takes Alice to join in the croquet game. It isn’t the kind of croquet that Alice is used to – instead of mallets and balls, the Queen’s version uses flamingoes and hedgehogs, who become quite unruly when Alice tries to use them. Also, nobody takes turns, so the pitch is suddenly a mess with animals and playing cards. The Queen gets very irate, calling for mass executions. Meanwhile, the Cheshire Cat has returned and is causing trouble with the King, but when the Queen’s officers try to catch him, he vanishes. So the game is abandoned and the Queen turns her attention to Alice. The Queen thinks Alice ought to meet the Mock-Turtle and hear his history, so Alice is taken to see him by his old friend, the Gryphon . The Mock-Turtle slowly and sadly tells his story and soon is carried away with remembering the Lobster Quadrille and its accompanying songs, which he and the Gryphon sing for Alice. Alice then starts to tell her story and again finds that she has forgotten certain rhymes and songs, so she gives up telling her adventures and the Mock-Turtle starts a song about soup. He is interrupted by the sound of the Queen loudly commencing the Knave ’s trial. The court room is filled with the creatures Alice has met in Wonderland. The King of Hearts is acting as the judge and the jurors are a collection of dim-witted animals. The White Rabbit tells the story of the Knave’s crime. He is accused of stealing some tarts that the Queen made. The first witness is the Mad Hatter. He begins to describe the day in question, but keeps getting cut off by the Hare and the King threatens him with execution and calls the next witness. The Duchess’s cook comes to the stand, but an argument about the ingredients of the tarts halts progress. To Alice’s astonishment, she is called as final witness. By this time, she has grown again to giantess size, and knocks the jurors flying as she gets up to take the stand. Another piece of evidence is revealed, a letter supposedly from the Knave, though it has no signature. Alice tries to defend the Knave, but the Queen of Hearts is not interested in hearing anything further, she just wants to skip to the sentencing. But by now, Alice has grown not just in stature but in confidence. She will not allow herself to be afraid of a pack of cards. At this, Alice wakes up on the bank beside her sister. She recounts her adventures, and then bounds off, leaving her sister to contemplate Wonderland herself, and imagine what Alice will be like as a grown woman. Alice in Wonderland. Besides Steven Spielberg and John Williams, few director/composers have yielded as many memorable moments as have Tim Burton and Danny Elfman. With styles that dutifully complement each other’s noted eccentricities, the pair rarely (when patrolling the magical fault line where music and visuals meet) disappoint. Such is the case with 2010’s Alice in Wonderland, a world in which the two were seemingly destined to one day inhabit. Pieces like “Proposal/Down the Hole,” “Only a Dream,“ “Blood of the Jabberwocky,” and “Alice Returns” calmly evoke the pastoral English countryside, but the majority of Elfman’s work here treats the fable as a Wagnerian epic. It’s hard not to imagine the wicked smile that Charles Lutwidge Dodgson (Lewis Carroll) would beam forth upon hearing Elfman’s glorious “Alice’s Theme,” a melodically charged love letter to the girl who became an unwilling euphemism for lost souls, madness, and drug culture. Here, the composer treats poor Alice as an anti-hero, regaling her from afar with a children’s choir and pleading “It’s such a long, long way to fall Alice, Alice, oh Alice.” It’s one of his most memorable themes since Edward Scissorhands, and a fine return to the dark, gothic, orchestral pop of Nightmare Before Christmas.