Afterdark: San Francisco [Enhanced]

Afterdark: San Francisco [Enhanced]

ASIN: B0002PUH1U

Track Listings
Disc: 1

1. Miguel Migs "City People (Migs Petalpusher Dub)"

2. Mister O "I've Been Thinking (Migs Dubpusher Remix)"

3. Johamn "YOGI" Willenberg "You Got Me (Vincent Kwok Midnight Vibes Mix)"

4. DJ MFR "All I Need (Vincent Kwok Remix)"

5. Julius Papp "Drum De Voodoo"

6. Jay-J & Chris Lum "Funky Stuff"

7. Nathan G & Rufy presents Tuff & Mello "Stranger (Live Room Mix)"

8. Arnold Jarvis "What Goes Around (Migs Transporters Dub)"

9. Nathan G & Rudy "Teach You How To Fly (DJ MFR's Late Night Dub)"

10. Miguel Migs & Rasoul "The Rising Sun"

See all 12 tracks on this disc

Disc: 2

1. Rithma “Caffeine Sunshine”

2. Soulstice "Fall Into You (Fred Everythinhg Mix)"

3. Andy Caldwell “Carnival”

4. Rithma “Human Inertia”

5. Ming & FS “Freak (Dizzy Mix)”

6. King Kooba "Fooling Myself (Gabriel Rene Mix)

7. Kaskade “It's You, It's Me”

8. West Magnetic “Can't Stop”

9. Naked Music NYC “It's Love (Joshua's Mo Luv Vocal)"

10. Kaskade “What I Say (Gravel Sax Dub)”

See all 12 tracks on this disc

Editorial Reviews
Product Description
Approximately 2,600 miles away from New York City, in a place famous for its steeply inclined streets and trolley cars, the sweet sounds of house music keep the city of San Francisco dancing. As one of the three most influential USA cities in house music, alongside Chicago and New York, San Francisco possesses a vibe that is distinctly different from its sister cities. With its down-to-earth mentality and relaxed lifestyle, S.F. has helped cultivate the sexy, warm style of house that we now call the West Coast Sound. This city by the sea is also home to some of the world's finest DJs that have perpetuated the S.F. sound and helped it progress in front of a worldwide audience. Names like Mark Farina, Wicked Crew, Hardkiss, Dubtribe, Miguel Migs, MFR, Kaskade, Jay-J, Chris Lum, Julius Papp and countless others continue to keep the San Francisco sound fresh and decidedly funky. With warm soulful basslines, silky vocals and a spoonful of dub thrown in for good measure, San Francisco house music lets its hair down and is not afraid to take chances! With legendary clubs like The End Up and 1015 Folsom along with one of the first underground house scenes heavily influenced by the British rave scene, S.F. became a melting pot of influences propelling the music scene to what it is today. Once again for Afterdark, we have found two of the best labels that we feel are indicative of the classic West Coast / San Francisco Sound. This installment takes us into the vaults of OM Records and Transport Recordings to dig up some classics and some new gems that are currently rocking dance floors across the globe.

Afterdark: San Francisco,Various Artists,Kinkysweet,Club/Dance,Dance Music,Electronic Collections,House,Pop,Progressive House,V/a Compilations

Average customer rating:

Memories

I don't know about "the San Fran sound", but I know IT'S A BEAUTIFUL SOUND...

It's A Beautiful Day - self-titled (San Francisco Sound)

It's a Beautiful Day by It's a Beautiful Day

Beautiful

It's a Beautiful Day
It's a Beautiful Day
Manufacturer: San Francisco Sound
ProductGroup: Music
Binding: Audio CD

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Quicksilver Messenger Service

ASIN: B000000DPF
Release Date: 2001-11-13

Tracks:

White Bird
Hot Summer Day
Wasted Union Blues
Girl With No Eyes
Bombay Calling
Bulgaria
Time Is

Amazon.com

Yes, the original version of that FM oldie "White Bird" is included on this CD. Formed in 1967 by former symphony violinist David LaFlamme, this popular group plowed through all of the San Francisco Sound's clichés at once: organ, fiddle and drum solos; epigrammatic sayings about love, time, and dreams that are so cheesy they would make a Hallmark hack blush; the soft-part-that-heads-steadily-toward-the-crescendo part; incongruously pieced-together prog-rock songs that plod on for way too long; off-kilter male and female singing; and a near-total lack of soul. This 1969 recording, then, is a clear blueprint of what not to do in psychedelic rock--with the exception of "White Bird," which retains a sheen of innocence and melodic oomph despite its daft, repeated utterance that "she must fly!" This reissue has a bright, clear sound and excellent separation; it will more than please fans of the original LP. However, those looking for an equal to the best works of Moby Grape, Quicksilver, and the Dead are encouraged to seek elsewhere. --Mike McGonigal

Album Details

The Classic Band of the Sixites Embraced by San Francisco and the Love Generation, the Legendary First Album featuring White Bird. One of the Original Ten San Francisco Groups Produced by Matthew Katz who Produced Jefferson Airplane.

Customer Reviews:

Memories.......2007-03-19

I had one of the songs off this CD stuck in my head for weeks. I finally got my song fix and it was great!

I don't know about "the San Fran sound", but I know IT'S A BEAUTIFUL SOUND..........2007-02-23

This album was recorded well before I was born so this review will not be based on subjective and biased memories...though I wish I could have experienced this band back in that era because a lot of great music was created back then. I am not familiar with the so-called "San Franscisco sound" but I do know of other bands in this era such as Jefferson Airplane, the Doors, King Crimson, and Procol Harum (these are bands I mention because I think elements of their sound can be heard in It's a Beautiful Day).

BEAUTIFUL!!! That word really does describe this album better than anything else in the english vocabulary. The cover of the album reminds me of the movie 'The Sound of Music' and the music is pure genius. Take a typical 4 peice 60's band (bass, guitar, drums, vocals) then add keyboards with psychedelic sound effects, a very talented violinist, a female vocalist, and a variety of other instruments...combine all this with gorgeous melodies, poetic lyrics, and progressive song compositions = BEAUTIFUL!!!

I won't take the time to dissect every song but I will make mention that "White Bird" really is as wonderful as all the other reviewers have made it out to be. Other highlights for me were the psychedelic and very catchy melodies of "Girl With No Eyes", the distorted guitars and upbeat tempo of "Wasted Union Blues", the guitar licks and harmonies of the instrumental song "Bombay Calling", and the diverse and crazy "Time Is" (almost 10 minutes in length and includes a great percussion solo). There is really no filler on this album and David Lafamme's voice is just as moving as his violin. As the lyrics of "Bulgaria" suggest: "Open up your mind!"

BEAUTIFUL!!!

RECOMMENDATION: As mentioned earlier in my review - fans of the Doors, King Crimson, Jefferson Airplane, or Procol Harum should dig this music. If you are already familar with It's A Beautiful Day then those aforementioned bands should be part of your music collection as well. Also highly recommended is the band Camel's 1975 instrumental masterpiece entitled 'The Snow Goose'. See my profile for more suggestions.

It's A Beautiful Day - self-titled (San Francisco Sound).......2007-01-13

Review no. 115. For a semi-obscure act,I was amazed at seeing over a hundred reviews for this 'cult classic', sort to speak. Originally released in 1969, this was It's A Beautiful Day's debut record. I remember my baby sitter playing this lp several times, as I always thought it was, like sort of cool-but at the same time a bit strange. Now, light years later, I like getting to check out the CD reissue. Tunes I was most impressed with were "White Bird", "Summer Day"(most older fans should recall this cut), "Bombay Calling" and the somewhat eerie "Bulgaria". Good old school San Francisco psychedelic / folk rock.Line-up: David LaFlamme-flute, violin&vocals, wife Linda-organ&piano, Hal Wagenet-guitar,Mitchell Holman-bass and Pattie Santos-percussion&vocals. Unless your memory is a mite rusty, this band might appeal to fans of Jefferson Airplane, Traffic, Spirit, the Strawbs and possibly Soft Machine.

It's a Beautiful Day by It's a Beautiful Day.......2007-01-10

It was a great pleasure to hear this music again!

Beautiful.......2007-01-04

This album (back in the days of vinyl) is the first record I ever bought. White Bird is probably one of the best pieces ever written and David LaFlamme's violin work is wonderful. Hot Summer Day is a nice bluesy piece. Girl With No Eyes is haunting (though I have to admit I never have fully understood what they're talking about). Bombay Calling is a great instrumental piece showing off LaFlamme's talents on the violin. Bulgaria is deep and somber. The final piece, Time Is, is maybe typical of the Hippie SF days in its lyrics but it is a great piece of music and, played loudly, does a great job of getting into your head. Get this album and enjoy one of the more interesting bands from the late 60's. And, if they come to town (yup, still playing and touring a bit), go see them. They are better live.

Average customer rating:

It's Not Columbia Records fault
Buy Listen my Friends instead
Great Debut Album
Did not like them then......................
Someone has to explain why this is so expensive...

Moby Grape
Moby Grape
Manufacturer: San Francisco Sound
ProductGroup: Music
Binding: Audio CD

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I-Feel-Like-I'm-Fixin'-to-Die

ASIN: B000000DP9
Release Date: 1994-03-16

Tracks:

Hey Grandma
Mr. Blues
Fall On You
8:05
Come In The Morning
Omaha
Naked, If I Want To
Someday
Ain't No Use
Sitting By The Window
Changes
Lazy Me
Indifference

Amazon.com

Even one of the most misguided marketing campaigns in history couldn't obscure the sheer brilliance of this San Francisco-based quintet's self-titled 1967 debut. Guitarist Skip Spence was the original Jefferson Airplane's drummer, and lead guitarists Peter Lewis and Jerry Miller, bassist Bob Mosley, and drummer Don Stevenson were seasoned garage-band veterans. Everybody sang, everybody wrote songs, and their musical influences were equally diverse. They favored tight compositions and performances in an era when most groups didn't, so naturally they were the subject of a huge bidding war. To celebrate its triumph, the record label released five singles--and the album--simultaneously. People cried "hype" and not one of 'em hit. The album, however, was a solid seller and remains the rock upon which the group's reputation still rests. The slashing guitars and soaring harmonies of "Omaha" and "Hey Grandma" still snap, crackle, and pop! The sock-it-to-ya soul of "Changes" and the dueling guitars and vocals of "Indifference" still rock. The gentle folk ballad "Fall on You," the delicate "Sitting by the Window," and the country-flavored "8:05" are all strong songs, distinguished by their balance of four-part harmonies and three-guitar power. --Don Waller

Album Details

David Fricke of Rolling Stone Magazine Gives it Five Stars! Calling it the Perfect Album in his Rs Library Review from the February 4, 1999 Issue

Customer Reviews:

It's Not Columbia Records fault.......2007-06-10

Nor does the blame fall on Matthew Katz. After all, he managed Jefferson Airplane also and they did quite well despite his "bad" management. Columbia Records is hardly at fault. One of the greatest labels of all time, Columbia broke Dylan, the Byrds and Big Brother. The "label" certainly didn't stand in their way.

Moby Grape didn't make it big because they really weren't very good. Let's face it. Plenty of groups had flop singles (see The Kinks). It didn't stop them from having an extremely successful musical career. Renaissance or Fairport Convention NEVER had a hit single--nor did they have hit albums. That didn't stop them from making great music for decades.

Airplane had SIX singles released in their first YEAR! Four were flops. Two were hits. Why? Because the hits ("Somebody to Love" and "White Rabbit") were actually GOOD.

So stop blaming everyone else for the Grape's failure. The Grape failed because they weren't that good. Bad management and label problems didn't stop Buffalo Springfield from acheiving legendary statuure. Nor did it deep-six the lengthy careers of its individual members.

It might actually be possible to listen and appreciate this group if the undeserved hype would die down! It's so overblown. And flat out untrue.

The Beatles sound like incompetent amateurs compared to the "Grape". Sheesh! Enough already.

Buy Listen my Friends instead.......2007-06-07

Loved Moby Grape, but this is just way to over priced for a non re-engineered i.e. not digitally done cover of the LP. Go with the Listem my Friends greatest hit cd, it's cheaper with most of the songs on it. Or if you are hard core get the 2003 Europe double CD, Its pricey, but so is this and you get mostly everything plus some extras.

Great Debut Album.......2007-05-08

I like this album so much that it don't matter if the manager was crummy to begin with. And from what I heard, the band got their music back anyways. The album is so pure that it can easily be mistakened by any of the other SF bands of this genre and probally because they jammed or played with them. All the songs here represent a simpler time, well maybe not so with Skip Spence, but hey he was good too. I like all the songs on this album, so I didn't have a problem paying the extra dough for it, at least I can say I have it. Here's my 1 out of 5 on the tracks:

1 Hey Grandma 4/5 reminds me of The Monkees
2 Mr. Blues 5/5 like most SF bands
3 Fall On You 5/5
4 8:05 4/5
5 Come In The Morning 5/5
6 Omaha 5/5
7 Naked, If I Want To 5/5 I think they could have made it longer
8 Somday 5/5
9 Ain't No Use 4/5
10 Sitting By The Window 5/5 reminds me of The Byrds or David Crosby
11 Changes 5/5 sounds like Steve Winwood with Eric Clapton's guitar
12 Lazy Me 5/5
13 Indifference 5/5 love it true SF sound, almost Grateful Dead like

Superb, I wish I have heard this stuff sooner, being only a fan of this album for 3 years now when I first heard it on a pirate-like station. It might be more money than your usual run in the mill album, but I think it's worth the extra cash. Enjoy.

Did not like them then.............................2007-03-21

Still don't think much of them now. Many other groups of the 60's just blew these guys away. Dead/Airplane,etc., the Grape just were a big bore. They can remix and do whatever they want and it would still be a non starter for me. The price is not the issue, if you like it so what.. pay the extra 10 bucks.. not me however.

Someone has to explain why this is so expensive..........2007-02-15

Just makes no sense to me. Yea, the songs on this one great Grape recording are fun to listen to once in a while, but the price is just silly. Me, I burned a disc from my old vinyl. Great sound--I bet you could find a clean vinyl copy for $2-$3. The songs never sounded better, and after a few listens I was able to retire it to my shelf. In two years, I'll dig it out, listen to it once or twice, and put it away again. Great music is great, but being fleeced by music management has nothing going for it.

Average customer rating:

WoW
The masters unite
Not a fan
Subtly sweet,blazingly fast, and refreshing overall.
Guitar heaven

Friday Night in San Francisco
Mclaughlin , Di Meola , and Delucia
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B000002AHM
Release Date: 1997-09-23

Tracks:

Mediterranean Sundance/Rio Ancho
Short Tales Of The Black Forest
Frevo Rasgado
Fantasia Suite
Guardian Angel

Amazon.com

This live recording from 1980 matched fusion guitar heavyweights Al DiMeola and John McLaughlin with Spanish guitar whiz Paco DeLucia. The result, a dazzling technical display, also earned jeers as the international summit of world-class finger-wigglers by critics who felt it was long on chops and short on heart. John McLaughlin's importance to the development of the jazz fusion scene can't be overestimated: as the guitarist on Miles Davis's seminal Bitches Brew and A Tribute to Jack Johnson, he was the first significant guitarist of the electric jazz era; on his own, he brought power rock, spiritualism, and lush orchestration to the scene via his Mahavishnu Orchestra. DiMeola, the most commercially successful next-generation fusion guitarist, achieved stardom with Chick Corea's group Return to Forever and on his own records. DeLucia, virtually unknown in the U.S., is a fine flamenco guitarist, and it is that orientation more than anything that colors Friday Night: even when playing straightforward non-flamenco compositions, the phrasing and sensibility lurks behind every note. Still, the passion of the music is frequently marred by the participants' inability to play at anything but the most breakneck pace. --Fred Goodman

Customer Reviews:

WoW.......2007-04-25

Everytime I listen to this CD I come away with something new. I've been listening to this since the 80's and every time I get goosebumps. Three geniuses come together on a magical night and create this something that happens once in a lifetime. I've always thought it would be a great if the three could collaborate and write a book on their inspirations for doing this, how much did they *really* practice and such. It would an incredible read. Today my kids (8 and 10) were listening to this on my iPOD and were blown away!!!

The masters unite.......2007-03-11

The musicianship here is very professional and enjoyable - this is the only documented audio of these three guitar giants working together in concert. The performance was recorded live in December 1980, at the Warfield Theatre in San Francisco. Track #5 is a studio recording, though, but nonetheless coherent and of spectacular quality in both sound and performance.
Throughout the album, all three guitar players (incidentally only playing in pairs on the three first tracks) perform on acoustic guitars, and for an early 80's live recording, the sound quality is surprisingly good (rich acoustics, no feedback, no distortion.) What ruins a lot of the listening experience, however, are the audience members who yell and scream and whistle and clap over some of the music as if they were high on all that currently is illegal to get high on. The wildness of the audience participation on track #2 is especially bothersome; as soon as the guitar players play a fast lick, an unusual effect, anything technically advanced or anything in unison, these people go crazy, and when recognizing an obvious installment of the theme from Pink Panther you can hear them wearing their anuses on their sleeves as they burst from rapture.
But the audience aside, this is an important recording for a lot of obvious reasons - a recording that you definitely should own or at least listen to if you have ever enjoyed any music performed or written by any of these three guitarists. Incidentally, Hal Leonard has produced a book of transcriptions of all titles from this recording.

Not a fan.......2007-02-06

This is a consert I just stumbled over an liked at once. Superb work of art. It has always been a joy to hear talented people get together and bring happines to the audience. Had this as LP but somebody or in moving things it became unplayable so getting a new copy was a must.

Subtly sweet,blazingly fast, and refreshing overall........2007-01-11

This album is what it is:a showcase of amazing musicianship and heartfelt playing between comrades.There are many beautiful and soft moments,and even more lightning-quick picking that cascades,ebbs, and flows.To say that the music on this album is simply a few guys trying to "one-up" each other is ludacris.This album is a joy to those whom delve into the emotions in musical art.

Guitar heaven.......2007-01-03

When you get a bunch of guitar virtuosos together, that usually adds up to a real snoozefest of lots of technical proficieny and zero tunefullness. So an all acoustic session would be even worse right? Wrong!

People can go on about the technical proficiency demonstrated by messrs. McLaughlin, Di Meola, and Delucia. But technical proficiency alone is not music. This, my friends, is music. Nominally, this is labeled as a jazz album but it really defies any genre. If you have even the slightest affinity for great guitar playing, plunk down your ten bucks and listen.

Average customer rating:

Chris Isaak-Yes Yes
The candyking of earsmoothies
Fresh Sound :)
Gets better with each listen....
San Francisco Days. . .San Francisco Nights. . .

San Francisco Days
Chris Isaak
Manufacturer: Reprise / Wea
ProductGroup: Music
Binding: Audio CD

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Baja Sessions

ASIN: B000002MH7
Release Date: 1993-04-13

Tracks:

San Francisco Days
Beautiful Homes
Round 'N' Round
Two Hearts
Can't Do A Thing (To Stop Me)
Except The New Girl
Waiting
Move Along
I Want Your Love
5:15
Lonely With A Broken Heart
Solitary Man

Amazon.com

Chris Isaak's first album in four years, "San Francisco Days," marks no great departures from his previous three. Recorded once again with his same Silvertone band and producer Erik Jacobsen, this is another Isaak collection of brooding songs about unslaked lust and half-completed break-ups; his restrained but lush voice is still out in front of the heavily echoed popabilly guitars. Nonetheless there are subtle differences in this project that make it more varied, more open, more aggressive and better overall than its predecessors. For example, "Lonely with a Broken Heart" sounds like the ultimate Isaak title, but the song is delivered at a brisk swing tempo, pushed by the soulful B-3 organ of the Robert Cray Band's Jimmy Pugh, and Isaak's carefree vocal makes it clear that the song is meant as a sarcastic taunt to a lover who expects him to come crawling back. A similar twist informs "Except the New Girl," which is lit up by lovely steel guitar lines from Tom Brumley (ex-Buck Owens); Isaak confesses to a woman that "there's never been anyone else...," but then adds the kicker, "except the new girl." "Round & Round" features some dirty guitar and a chugging beat, while the album closes with the best song Neil Diamond ever wrote, "Solitary Man," which sounds more lonely and desperate in this minimalist arrangement than it ever did before. Isaak's trump card, as always, is his singing. Like his heroes Roy Orbison and Don Everly, Isaak sings as if it were always 3 a.m., when every other gambit has failed and there are no options left but complete honesty. He pulls so tightly on the reins to his voice that he usually sings in a husky whisper, which is no less lush for being held back. And when he loosens the reins and allows his handsome tenor to rise in power, as it does on the incandescent falsetto chorus to the first single, "Can't Do a Thing (To Stop Me)," the effect is thrilling. --Jeffrey Himes

Customer Reviews:

Chris Isaak-Yes Yes.......2007-05-13

This CD is Totally Great! and I could listen to it over and over-- and I do. You will not be disappointed by anything he has done. Please check him out.

The candyking of earsmoothies.......2006-08-24

Chris Isaak. This CD moves you With a big moooooove. So groovy that it hurts your`e soul. The opening track San Francisco Days, it`s an uptempo smooth soul rocker, with plenty of passion. The voice of Chris Isaak is like a "cool off" when you feel too much chills and trills in your body. Just pure magic. Track 2 Beautiful Homes, is also an uptempo rock and roller. This is more ordinary in the musical departement, but his voice brings the power to the whole adventure. Track 3 Round "N" Round
has a touch of "woodoo hoodoo" feel over it`s, but it` spinns into not too clever directions as a whole,but certainly moody enough. Track 4 Two hearts is a heartful song With enough passion to bring you down,down on youre knee begging for more. The etnic latino touch helps a lot. Track 5 Can`t do a thing( To stop me) is more average at Isaak standard, but the feel, the grove, oh yees. Everything is solid craftmanship. Track 6 Except The new girl is more like an uptempo "country rocker" that shines
on every "blue note". Track 7 Waiting is a minor let down. More slow and sometimes gives you a more insignificant feel over the whole musical experience. Track 8 Move along brings you deep,deep down, and yeees you can feeel it. Eargaasm !. Track 9 I wan`t your love is an uptempo rock&roller that knows it roots,. It has the right touch of "rockabilly feel" and greatness certainly shines on this one. Track 105:15 is way deep down with a "blue Cold "atmosphere sparkles all over. Track 11 Lonley with a broken heart, is a rock and roller with the right creative touches on the right places. Track 11 Solitary man is a simple and ok song,. Quite god. Anyway Chris Isaak is the Candyking for earsmoothies so full of passion, so full of soul.

Fresh Sound :).......2006-04-02

Great fresh sound. Wonderful choice of tunes...Isaak has crafted such a unique sound. BRAVO!!

Title track and several other very good and catchy songs. Good melodies.

Gets better with each listen...........2005-06-22

I bought all of his Cds in one fell swoop last year. Listened to most of them once and got so hooked on Baja Sessions that I didn't spend much time on any of the others.

Well, I went back and relistened to the rest and am very glad I did.
This album rocks, and it's definetly one of my favorites.

San Franciso Days, Beautiful Homes, Two Hearts,
Except The New Girl, Waiting, and I Want Your Love are all classics.
This one is in heavy rotation here in my home office, and it truly does get better with each listen. Kudos to the musicians that back Chris up - I'm getting closer and closer to taking up guitar thanks to wanting to play along while I listen!

San Francisco Days. . .San Francisco Nights. . ........2005-05-10

What an amazing voice and fantastic song writer. And he has a rockin' band to back it all up. San Francisco Days has become my favorite CD of his. Great piece of work. I think I'll put it on right now actually...

Singin' in the Rain (1952 Film Soundtrack) (Deluxe Edition)

Average customer rating:

the perfect movie
I LOVE MY FAVORITE SONG, AND THANKS TO THIS CD I CAN LISTEN TO IT ALL DAY LONG!!
Wonderful Soundtrack to a Wonderful Movie
Great CD
musical memories

Singin' in the Rain (1952 Film Soundtrack) (Deluxe Edition)
Nacio Herb Brown , Gene Kelly , and Arthur Freed
Manufacturer: Rhino / Wea
ProductGroup: Music
Binding: Audio CD

Movie Soundtracks | Soundtracks | Styles | Music

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ASIN: B00006JOF3
Release Date: 2002-10-01

Tracks:

Main Title/Singin' In The Rain - Gene Kelly
Fit As A Fiddle (And Ready For Love) - Gene Kelly
Tango (Temptation) - MGM Studio Orchestra
All I Do Is Dream Of You - Debbie Reynolds
All I Do Is Dream Of You (Outtake) - Gene Kelly
Make 'Em Laugh - Donald O'Connor
Beautiful Girl Montage - MGM Studio Orchestra & Chorus
Beautiful Girl - Jimmie Thompson
You Were Meant For Me - Gene Kelly
You Are My Lucky Star (Outtake) - Debbie Reynolds
Moses - Gene Kelly
Good Morning - Gene Kelly
Singin' In The Rain - Gene Kelly
Would You? - Betty Noyes
Broadway Melody Ballet - MGM Studio Orchestra & Chorus
Would You? End Title - Gene Kelly
Singin' In The Rain (In A-Flat) - Debbie Reynolds
Finale - Gene Kelly
Main Title (Alternate Version) - MGM Studio Orchestra
Beautiful Girl (Alternate Version/Tempo Track) - Gene Kelly
Would You? (Unused Version) - Debbie Reynolds
Would You (Duet) (Unused Version) - Gene Kelly
Beautiful Girl (Unused Original Version) - Jimmie Thompson
Singin' In The Rain (Alternate Vocal) - Gene Kelly
Should I (Unused Instrumental) - MGM Studio Orchestra

Tracks:

The Broadway Melody - Charles King
You Were Meant For Me - Charles King
The Wedding Of The Painted Doll - James Burroughs
Singin' In The Rain - Cliff Edwards
Should I - Charles Kaley
Beautiful Girl - Sam Ash
All I Do Is Dream Of You - Gene Raymond
Broadway Rhythm - Frances Langford
I've Got A Feelin' Your Foolin' - Robert Taylor
You Are My Lucky Star - Marjorie Lane
Would You - Jeanette MacDonald
Good Morning - Judy Garland
Singin' In The Rain - Judy Garland
All I Do Is Dream Of You - Judy Garland
Dignity - MGM Studio Orchestra
Stunt Montage (Extended Version) - MGM Studio Orchestra
First Silent Picture (Extended Version) - MGM Studio Orchestra
Have Lunch With Me - MGM Studio Orchestra
Dancing On A Rainbow - Arthur Freed
Singin' In The Rain (Radio Broadcast) - Arthur Freed
Broadway Melody Ballet (Original Version) - Gene Kelly

Amazon.com

A vibrant tribute to MGM's legendary confluence of brains, talent, hard work, ambition--and dare we say it?--massive egos, Singin' in the Rain long ago took its rightful place among the first rank of the studio's dizzying catalog of film musicals. This double-disc, 46-track 50th-anniversary edition features all of the film's familiar songs, as well as numerous outtakes and extended versions, many culled directly from the film's original recording masters. Its second disc also chronicles the film's clever--if studio imposed--self-referential musical gambit of recycling a slate of Arthur Freed/Nacio Herb Brown songs from Metro's first decade by including 14 of the originals, including performances by Jeanette McDonald, Judy Garland, Mickey Rooney, and Freed himself. Featuring a dozen previously unreleased recordings and an illustrated booklet containing the insightful reminiscences of the film's original writers, Betty Comden and Adolph Green, it's the ultimate musical companion to one of cinema's magical, enduring masterpieces. --Jerry McCulley

Album Description

The complete 50th Anniversary Edition and a bonus disc featuring the original recordings that inspired the 1952 MGM classic! Includes 12 previously unreleased tracks 'Would You?' (duet) (unused version), 'Beautiful Girl' (unused original version), 'Singin' In The Rain' (alternative vocal), 'Should I' (unused instrumental), 'You Were Meant For Me', 'All I Do Is Dream Of You', 'Broadway Rhythm', 'You Are My Lucky Star', 'Would You?', 'Dancing On A Rainbow' plus 'Broadway Melody Ballet' (original version). Rhino. 2002.

Customer Reviews:

the perfect movie.......2007-03-10

My old Gene did it: the perfect movie, the perfect american history, the perfect music. Some people think musicals are "B" movies. I say them: look about the dream, the performance, the music.
Who can say what is beatiful? Look at faces of Gene and Stan during the shooting on the set: whole concentration and attention for everything.
This is a unique moment in their story, and in the story of cinema.
Unforgettable.

I LOVE MY FAVORITE SONG, AND THANKS TO THIS CD I CAN LISTEN TO IT ALL DAY LONG!!.......2007-01-28

I love Singin' in the Rain. It was the movie that made me like musicals, not those simple, mellow movies like South Pacific and the Sound of Music, but REAL musicals, with people like Fred Astaire or Eleanor Powell tapping their hearts out, or great singers like Frances Langford or Dick Powell putting over a song like they mean it.The Singin' in the Rain 2disc special edition introduced me to my favorite movie, the Broadway Melody of 1936, the MOST AMAZING MOVIE EVER! So I was so glad when my parents got me the soundtrack to Singin' in the Rain, and besides the music of the 1951 versions of the Nacio Herb Brown/Arthur Freed, there are also the original versions of the songs in their original movies. I am so glad that Rhino put the duet of Robert Taylor and June Knight singing I've Got a Feelin' You're Foolin' on this CD set! It's my favorite song, and now I can listen to it! Hooray!! It's the best song EVER!! There's also vocals of Charles King singing the Broadway Melody, which is great! And many more, like Bing Crosby, Frances Langford, Jeanette MacDonald, and other great singers I can't think of right now. This CD set is great, the sound is nice and un-staticy (mostly), there are 30-plus songs, and the price is phenomenal. I love my favorite song, and now I can listen to it all day long!! Yay! :)

Wonderful Soundtrack to a Wonderful Movie.......2006-06-16

Yes, this is it--the first real musical I ever saw. Okay, I saw "Wizard of Oz" and "The Sound of Music", and I love both of those musicals dearly. I had even seen "My Fair Lady." I thought musicals were all like those. Until this one. I had never seen such dancing. And this CD causes me to relive the joy of the musical each time I listen to it. Complete with the tap sounds. I love that they included even the deleted songs. Now we just need a DVD that has all the deleted scenes in context. But the studio probably threw all those away. Oh well, our imaginations can take care of what is missing.

Great CD.......2006-03-20

This is a great CD of music for your family to listen to. Our family enjoys it very much.

musical memories.......2006-03-14

I enjoyed this CD very much, as I remember seeing the movie years ago. I grew up watching MGM musicals and this was one of the best. I loved all of the wonderful songs that came from this movie. Great sound on this CD.

Friday Night in San Francisco (Stereo SACD)

Average customer rating:

Gorgeous Recording with Playful Musicians
Stereo SACD, not Multichannel!
"Too Many Notes..."
Amazing, amazing, amazing
SACD SUPERIOR to redbook CD

Friday Night in San Francisco (Stereo SACD)
Paco de Lucia
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Concord Records SACD Sampler 1 (Multichannel Hybrid SACD)
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ASIN: B00004KD6V
Release Date: 1999-09-07

Tracks:

Mediterranean Sundance/Rio Ancho
Short Tales of the Black Forest - Paco de Luc Al di Meola, Al di Meola, John McLaughlin
Frevo Rasgado - Paco de Luc Paco de Luc , Al di Meola, John McLaughlin
Fantasia Suite for Two Guitars: Viva la Danzarina/Guitars of the ...
Guardian Angel [Studio Recording]

Album Description

Featuring John McLaughlin, Al DiMeola and Paco DeLucia on acoustic guitar. The Great Guitar Trio's Classic Original Recording! Great photos of the trio in performance! 20 BIT digitally remastered. Superb new sound!

Customer Reviews:

Gorgeous Recording with Playful Musicians.......2006-08-16

Undoubtedly one of my favorite recordings in SACD format, I only wish there was video as well, because it would be great. These gentlemen truly understand the music and their improvisational skills are fantastic, as they're able to play along with each other and the audience, the latter which seems to be thouroughly ecstatic. Unfortunately this is not a hybrid recording, which means if you want to transfer it to a portable device or play it in your car, it requires tremendous effort.

Stereo SACD, not Multichannel!.......2003-10-13

This is a great performance. My review is mostly based on the fact that this is a stereo SACD, not multichannel. I am learning more about SACD every day, but was very disappointed that it is only presented in stereo.

"Too Many Notes...".......2002-11-29

That was Emperor Joseph's simple-minded estimation of any music he didn't understand in the Academy-Award winning movie "Amadeus." I never thought I would ever find music that would actually fit that description... until now.

If you think this is some sort of super-charged California Guitar Trio or a Narciso Yepes-type forray into flameco-guitar, forget it. That is not to say most every review you see here is wrong. In fact, they are all correct about these guys being virtuoso guitarists.

However, songs that consist almost entirely of 32nd and 64th notes are at first impressive, but very quickly become tiresome. And this isn't an album full of "songs" so much as it is a forty-some-odd-minute-long jam session featuring testosterone-fueled duels and improvs with a Flamecan flare.

So if you're a guitarist who thrills to the repeated use of the same techniques over and over for close to an hour, this is a great album for you. If you're a normal guy just trying to find some high-fi SACD pyrotechnics, maybe this is still for you. But if you're just someone looking to be entertained, this may disappoint.

Amazing, amazing, amazing.......2002-09-03

"Friday Night in San Francisco" is one of those rare CDs you'll listen to and just laugh out loud from sheer amazement at the virtuoso guitar work of Al DiMeola, John McLaughlin, and Paco de Lucia. Here are three friends, all guitarists, who are clearly having the time of their lives showing off their astonishing instrumental skills and jamming together on, well, a Friday night in San Francisco back in the 1980s.

I was lucky enough to be introduced to this album by a cousin many years ago, and after having treated myself to it, I played it on at least a weekly basis for months. Far from getting sick of it eventually, I found myself noticing new things almost every time I played it. Of course it's wonderful to listen to yourself, but there is also a profound pleasure to be had in introducing a novice to the album. Watch their eyes widen and their jaw drop as they turn to you and say, "Who IS this? I gotta have this!"

All three men share composition credits on the album. "Mediterranean Sundance/Rio Ancho," the song that opens the album, is a Spanish-influenced piece that sends notes scattering like raindrops on a sunny day--the aural effect is one of sparkling light. Chick Corea's song "Short Tales of the Black Forest" gets a work-out here, and McLaughlin and DiMeola do it proud as they build the musical tension to an almost unbearable point before exploding into the heart of the song a minute or two into the piece. "Frevo Rasgado," an Egberto Gismonti piece, is a complex song which swings effortlessly back and forth between major and minor keys, and McLaughlin and DeLucia go along for the ride with a kind of manic joy in their playing.

The three men don't all play together until the final two songs. On "Fantasia Suite," a DiMeola composition, they follow the notes but go further into that realm where they are in their own little universe, egging each other on and on until the music reaches an almost sublime climax. On "Guardian Angel," much the same thing happens and it's a privilege to hear this kind of creative collaboration in action. If you haven't already, make room on your CD shelf for this outstandingly great album!

SACD SUPERIOR to redbook CD.......2002-04-29

I own both, SACD and CD. The sound of the SACD is so much more clear, articulate, three dimensional. Before I got the SACD I hardly ever listened to the redbook as acoustically there wasn't much to distinguish it from the other pressings (even when played back on a Sony SCD-C555ES). Playback of the SACD offers such listening pleasure. I close my eyes and just listen to the great LIVE music. The playback experience will depend on the quality of your audiogear.

Average customer rating:

Lecuona Plays Lecuona
Lecuona the Cuban pianist is Great!
The Cuban Chopin
Lecuona, the musical genious . . . . .
LECUONA IS NO LIGHTWEIGHT

Ultimate Collection

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B000003G71
Release Date: 1997-02-11

Tracks:

Malaguena
Andalucia
Ante el Escorial
San Francisco el grande
Siempre en mi corazon
Maria la O
Siboney
Noche azul
La comparsa
Danza negra
Danza lucumi
A la antigua
Canto del guajiro
Canto del guajiro
La habanera
Damisela encantadora
Crisantemo
Romantico
Rosa la china
Como arrullo de palmas
Palomitas blancas
Poetico
Estudiantina
Cordoba
Music Box
Mazurka en glisado
Polichinela
Gitanerias
Aragon
Valencia mora

Tracks:

La brisa y yo
Devuelveme el corazon
Preludio en la noche
Yo te quiero siempre
Pavo real
Vals de las sombras
Bell Flower
Zambra gitana
Por eso te quiero
Vals azul
Vals en si mayor
Muneca de cristal
Mi amor fue una flor
Vals en re bemol
Apasionado
Amorosa
Ahi viene el chino
Al fin te vi
Por que te vas?
Mientras yo comia maullaba un gato
Por que te vas?
Amorosa
Los minstrels
No hables mas
Dame tu amor
Vals en re bemol
La 32
Mis tristezas
En tres por cuatro
Munequita
Burlesca
La paloma
Music Box

Amazon.com

This collection includes Ernesto Lecuona's complete 1954 recordings plus a series of 78s made in 1927-28. Ten of the recordings were previously unreleased. This is a lot of lightweight Cuban piano music to deal with at once, but it's definitely worth doing. Lecuona's music, which is having a major revival, may not be important. But it's consistently charming and entertaining. The 78s, which sound surprisingly good, reveal even more of a virtuoso than do the later recordings, but throughout we hear playing that expresses the spirit of the music extremely well. And yes, the famous Malagueña is here, sounding very sexy. --Leslie Gerber

Customer Reviews:

Lecuona Plays Lecuona.......2007-05-12

Oh Boy! What can I tell you about this magnificent collection of musical jewels from our Maestro Lecuona. I bought the original Long Playing Record back in the 50's in my country.
I purchased it again shortly after my arrival to the US, and I was lucky enough to buy it on DVD from Amazon, once I found out they had it.

Joseph L. Alcover
Miami, FL

Lecuona the Cuban pianist is Great!.......2005-08-17

In my opinion this is one of the best CD's from Lacuona, Most of his piano compositions are recorded here (original ones), What, Ms. Leslie Gerber forgot to mention is that Mr.Lecuona was a band leader,"Lecuona and the Cuban Boys", remembers him? Or maybe she does not have sufficient information about him. The music from Lecuona still is very well alive today. I came across his recordings on my own, no one ever told me about this great pianist. I happened to hear the Malague?a by another great Cuban composer and band leader Perez Prado (The Real Mambo King) in one of his albums and Lecuona was the author. That got me interested in him. I'm pretty sure that Ms.Leslie Gerber does not mean any harm trying to put this composer down. It's just that maybe all she knows is Gerber baby food stuff!

The Cuban Chopin.......2004-06-18

What a great album and great value. There is music here that will make you smile, break your heart, inspire you, and Lecuona's skill is breathtaking. If you enjoy classical piano music (with a Cuban/Spanish influence), you'll love this. No, it doesn't display the virtuosity, complexity or seriousness of Lizst, Chopin or Beethoven, but it's fun, beautiful, dramatic yet accessible. You'll love it.

Lecuona, the musical genious . . . . ........2002-10-16

I feel compelled to identify myself first. I am Cuban born who arrived in the US in 1960 at the age of 16 years old. I am a US citizen since 1965 and a US Army Veteran of Viet Nam. I will die defending the right Ms. Leslie Garber has of expresing her opinions. But what I will not condone is her ignorance. To say that Lecuona writes "lightweight Cuban piano music" and that "Lecuona's music may not be important" is to show ignorance. A musician that composes GREAT music in several genres of the music world, a musician that in all genres has highly succesful pieces, and, a musician that after many years, (70-80 years) is still heard and admired can not be called other than MUSICAL GENIOUS and a CLASSICAL MUSICIAN. His music is so beautiful that it will live forever. From his Afro-Cuban compositions, to his romantic popular boleros, to his valses, to his Zarzuelas, Lecuona demonstrates once and again, time after time his immense musical talent. His Afro-Cuban "Cafetal", his romantic boleros "Noche Azul" and "Amapola", His vibrant and colorful "Comparsa" and "Andalucia", his classical Valses, just to mention a few things, makes Lecuona to stand together with the great musicians of the world. The fact that Hollywood made a film around "Estas en mi corazon" and that great singers, like Placido Domingo, want to sing Lecuona's music speaks immensely well of Lecuona/s greatness. The fact the popular instrumental orchestras like Faith, Conniff, Mantovani, Cugat have arranged and interpreted a lot of Lecuona's music also says a lot about Lecuona's versatility in his work. Lecuona is probably important to many millions of people and his music is certainly not lightweight. And if the only thing Ms. Garber can say about "Malaguena" is that "it sounds very sexy" is to demonstrate that she does not know a thing about music. It definitely does not give her the priviledge of commenting about Lecuona's music.

LECUONA IS NO LIGHTWEIGHT.......2002-02-27

Lecuona is one of the most important composers of Latin-America. He is by no means the "unimportant" and "lightweight" Leslie Gerber (whomever that may be) claims, having been hailed for performances of his earlier (and "less mature") works by the likes of Maurice Ravel.

In my opinion the highlight of the set is the devilish "La 32". It's also interesting to compare his interpretations of the same works at different times in his career, like the two recordings of "Por que te vas?" and "Amorosa", especially keeping in mind that Lecuona seldom notated and improvised quite frequently, leaving the transcription work to his students.

Yerba Buena Bounce
Average customer rating:

Review by Ken Dryden, All Music Guide

Sure-fire album by the Hot Club of San Francisco

Gong Oh has arrived, and so has the Hot Club of San Francisco

Yerba Buena Bounce
Hot Club of San Francisco , and David Grisman
Manufacturer: Reference Recordings
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music
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ASIN: B000N60H5O
Release Date: 2007-03-13

Tracks:

Mystery Pacific
Hot Lips
I'm Happy Just To Dance With You
Sway
Number Two
Souvenir De Villingen
Tickle Toe
Black And White
Lullaby
Rhythme Futur
Yerba Buena Bounce
Stardust
Borneo
Georgia Cabin
Improvisation #2
Gong Oh
Jam: Some Of These Days

Album Description

The Hot Club of San Francisco is a quintet of acoustic string virtuosos and one of the premier exponents of "gypsy jazz" inspired by Django Reinhardt's Hot Club of Paris. Special guest David Grisman, the world's best-known mandolin player, has a huge following.

Customer Reviews:

Review by Ken Dryden, All Music Guide.......2007-05-11

Review by Ken Dryden, All Music Guide
The Hot Club of San Francisco is more than a tribute band re-creating the recordings of Django Reinhardt, Stéphane Grappelli and the Quintette du Hot Club de France; the group covers pieces from many different eras never performed by the group which inspired them. On their tenth CD, Yerba Buena Bounce, the Hot Club of San Francisco, which has identical instrumentation to the French group (lead guitar, violin, two rhythm guitars and a bass), leader Paul Mehling, violinist Evan Price and the rhythm section swing like mad in their updated treatment of the QHCF's speeding locomotive represented by "Mystery Pacific" and the brisk, chugging "Black and White." But they also successfully convert modern pop songs into gypsy swing material, such as the Beatles' ballad "I'm Happy Just to Dance with You" (adding Seth Asarnow on bandoneon) and Norman Gimbel's "Sway" (which adds mandolin master David Grisman). Mehling proves himself as a composer as well, contributing the upbeat "Number Two" and the tender "Lullaby" (the latter adding both Asarnow and Grisman). If that's not enough, Mehling adds campy vocals to "Gong Oh" and "Some of These Days." Fans of Django Reinhardt and Stéphane Grappelli owe it to themselves to investigate these swinging, beautifully recorded sessions by the Hot Club of San Francisco; gypsy swing is very much alive in their hands!

Sure-fire album by the Hot Club of San Francisco.......2007-04-13

"Yerba Buena Bounce," the newest album by Paul Mehling's Hot Club of San Francisco, really stunned me, though I have long been aware of this fine band. This album is a must for any fan of Gypsy jazz, or of "old jazz" in general. It has the right spirit, great execution, and vibrant recording methods.

First, the acoustics generated at legendary Fantasy Studios are as good as it gets. One feels throughout that he's seated right before a live bank of hot guitars playing in perfect unison, as in the old Parisian haunts of Django Reinhardt and Stephane Grappelli. You've got to hear the sound of the guitar wall on "Tickle Toe" and the brightness of the horns played by friends who sat in for "Some of These Days."

Paul Mehling has always had a classic "Django band," with his lead guitar, two accompanying guitars, a solo violin, and bass. Though he has tweaked the band a bit in the past twenty years or so, this classic format has usually prevailed and it reaches its zenith in this recording. Paul's own playing is superb as he romps over some of the brisker and more difficult Django tunes, like "Mystery Pacific," "Rythme futur," and "Black and White."

Evan Price's viloin lead on Pres' "Tickle Toe" is superb, and just when you think it can't get get any better than that, he launches into a swinging chorus or two of "Black and White." Evan has been a stalwart in Paul's band for a long time, bowing with a boppish flair that just ain't that easy on violin. And for fans of the double bass, Ari Monkres is a never-fail chord-keeper who gets an overdue break on "Stardust," where he takes the lead.

There are two tunes on the CD that seem to me inherently infelicitous,
Dean Martin's saw "Sway (With Me)" and Henry Busse's "Hot Lips," yet the Hot Club makes good sense out of them. I would have said that "Hot Lips"--much like Clyde McCoy's "Sugar Blues"--was a one-man, one-band, one-time song. Yet played by this solid band, "Hot Lips" bobs along, sort of an upside-down "J'Attendrai," which HCSF has in fact recorded elsewhere. With the addition of Dave Grisman's mandolin, the minor chord sequences on "Sway" sound as if they they emanate from a Gypsy camp.

Leader Mehling is a fine composer. On this CD, his "Number Two" and "Lullabye" are really noteworthy. "Number Two" is a typical Paul, where the tempo is brisk and there are lots of surprises, as in stops and starts and changes from minor to major. "Lullabye" represent's Paul's other side: a lovely, wistful ballad on a par with his earlier "Giselle."
Paul sings on "Some of these Days," and is in fine, humorous form on Paolo Conte's "Gong Oh."

Speed and instrumental tours de force seem to be the sine qua non of most Gypsy bands. And that is here. But what always impresses me with Paul's band is that everyone plays with good tone quality and intonation. This album ain't no dog. In fact it is four paws up--and a tail and a muzzle. And a swooping canine bow to the grooving rhythm guitarists!

Gong Oh has arrived, and so has the Hot Club of San Francisco.......2007-04-08

The reverence gypsy jazz musicians all feel for Django Reinhardt, the inventor and perfecter of the idiom, makes them step cautiously into innovation, and that has served the culture well...and the Hot Club of San Francisco has always had the tightest grip on what the authentic guts of the sound require. As the pre-eminent American gypsy jazz ensemble, HCSF triumphs with Yerba Buena Bounce, preserving that 1930's sound while propelling gypsy jazz well into the 21st century.

On their 2005 release, Postcards from Gypsyland, the HCSF set new, high standards for themselves or anyone wishing to enter the game: in recording quality, professionalism, and fidelity to the gypsy jazz idiom, most curious because the geologic pace of its evolution that never seems to detract from its endless energy. If Postcards set out to impress, Yerba Buena Bounce finds the group even more comfortable in their musical skins; it's more a session where they found great material and arrangements and decided to just have some fun, play great. The result is music that impresses even more.

Paul "Pazzo" Mehling, the founder and leader, sticks to what has always worked well before, and concentrated on doing it better than he ever has: four Django tunes, and classics from Bechet, Carmichael, Lester Young, Lennon/McCartney, and as always, some sparkling originals. Reinhardt's Mystery Pacific, the opener, draws you into the fun and magical space of gypsy jazz freedom, impeccably recorded, authentically reproduced. On the Beatle's I'm Happy Just To Dance With You (yes, the only Lennon/McCartney tune sung by George!), the melody is re-phrased to fit the Hot Club's mien, but HCSF enhances and deepens the original sentiment, treating it not just as a melody, but capturing the whole romance of the early Beatles, and breathing new life into an old tune that makes this more than a reminiscence. Sway is one of two tunes that feature David Grisman on mandolin, and Pazzo's solo has an exceptional quote from Suicide is Painless, that is simultaneously hilarious and sublime. Grisman returns, along with Seth Asarno on bandoneon for Pazzo's 'Lullabye,' to which they both bring a delicate, tender touch.

Of course, the whole band swings from head to toe, but shout outs must go to Evan `Zeppo' Price, whose violin playing consistently takes tuneful flight, yet is always locked in to the the ensemble rhythm...this is great jazz playing. On Tickle Toe, his playing and the SOUND evoke the great Duke Ellington Jazz Violin Session with Ray Nance, Svend Asmussen, and Stephane Grappelli . Reinhardt/Grappelli's 'Black and White' features the quintessential Pazzo solo, where one of Reinhardt's arpeggio techniques, usually used for a three or four bar flourish, is taken to delightful extremes for what seems like an entire chorus.

And the recording: the combination of Reference Recordings persnickety microphone technique and the underground chambers of the Fantasy recording studios in Berkeley worked like a charm. While audiophile recordings will often obsess on brilliance and clarity to the point of sterility, the recording on this album is transcendently natural. The instruments sound, not crystalline and clean, but like MUSIC, with all the warmth left in and nothing in between. The naturalness of the sound occupies that sublime and elusive middle ground between the technical advantages of a studio and the warmth of a live recording.

There's plenty more to enjoy here, from the heebie jeebies of 'Rhythme Futur,' the jamming of 'Borneo,' Pazzo's gorgeous reading of Django's 'Improvisation #2' that closes the set, and an absolutely amazing bonus cut, Paulo Conte's 'Gong Oh,' that will have you reaching for your absinthe and cigar, bumping up with the great gypsy culture that has blessed us with a unique jazz form that only grows more enduring and more exciting, due in no small part to the raucous, sweet-tight sounds of the Hot Club of San Francisco.

Live at the Matrix, San Francisco, March 10, 1967

Average customer rating:

A sizzling scoop.......
Uh One CD!
Nice

Live at the Matrix, San Francisco, March 10, 1967
The Doors
ProductGroup: Music
Binding: Audio CD

General | Rock | Styles | Music

Psychedelic Rock | Classic Rock | Styles | Music

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Live in Philadelphia
Live at the Aquarius Theatre: The First Performance
Backstage and Dangerous: The Private Rehearsal
Live in Detroit (Cobo Hall, 05/08/1970)
Live at the Aquarius Theatre: The Second Performance

ASIN: B000051NT1
Release Date: 2007-03-27

Album Description

The legendary Doors captured live at the Matrix in their hometown of Los Angeles in March of 1967. Features eight tracks from their first two albums (The Doors and Strange Days, both released that same year) including 'Light My Fire', 'People Are Strange', 'Break On Through' and more. 2007.

Customer Reviews:

A sizzling scoop..............2007-04-20

Well, if you CAN'T find the 6-CD complete Matrix set described elsewhere, this is a fine taste indeed. Great sound quality and great ambiance, and a focused, confident Doors with effortlessly "on" vocals from Jim. Nice "Summertime" interlude in the middle of a "Light My Fire" jam. Classic stand, only a scoop's worth, but the coins are still gold.

Uh One CD!.......2007-03-27

What a waste, I have 6 CD's of these performances on a collector CD box set which blows this away. Even the editorial beginning says it was recorded in L.A(SF idiots, LOL). Anyway, if you can find the 6 CD version, far better collection. Search "Judemac forever" on msn.

Nice.......2006-11-08

It's a great find for collectors, solid recording job, also the only live performance of Strange Days I have come across.

Average customer rating:

Passionate, Among The Swiftest Mahler 7th Symphony Recordings I've Heard
Not enough drama for highest rating
gets better as it goes, but earlier LSO one was better overall
Mixed bag but mainly on target
Reproducing Mahler

Mahler: Symphony No. 7 [Hybrid SACD]

Manufacturer: San Francisco Sym
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Classical | Imports | Stores | Music
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ASIN: B000B66OQM
Release Date: 2005-10-11

Tracks:

Langsam
Nachtmusik l
Scherzo
Nachtmusik ll
Rondo-Finale

Amazon.com

Michael Tilson Thomas's Mahler cycle continues with this well-played Seventh. Once rarely heard, the work is becoming a regular recording and concert hall visitor. The San Francisco Symphony is in terrific form here, especially in the last movement, where the brass really bring down the house and the whole band keeps up with the conductor's tempo shifts and contrasts. The second Nachtmusik movement is a winner, with its odd combination of harp, guitar and mandolin and its characterful mood. The opening movement is a bit problematic, well-played but a bit too fast for comfort, but the Scherzo rocks. This version differs from MTT's excellent London Symphony recording made in 1999 earlier for RCA, which was free of some of the more idiosyncratic touches found here. But if you don't mind a first movement that never really adheres, you'll love this new one. For collectors of the series and SACD fans, it's a must-have, and all Mahlerites will want to hear MTT's latest thoughts on the work. --Dan Davis

Customer Reviews:

Passionate, Among The Swiftest Mahler 7th Symphony Recordings I've Heard.......2007-05-01

I haven't heard Michael Tilson Thomas's critically acclaimed earlier recording of this symphony with the London Symphony Orchestra, mainly because I have tended to underrate him as a conductor. However, here he demonstrates that he is a very good Mahler interpreter, offering a live performance recording of one of Mahler's least known symphonies, which thankfully, seems to be enjoying a bit of a renaissance in concert performances lately (I am referring for example to an electrifying interpretation from Riccardo Chailly and the New York Philharmonic Orchestra here in New York City which has been justly celebrated by local music critics.). Without a doubt, Thomas's interpretation is an exciting, quite passionate account, with ample fine playing from the San Francisco Symphony Orchestra, with the notable exception of the horns. It is an interpretation which should please audiophiles seeking the finest sound quality, and those who want a more expressionist interpretation of Mahler's score. However, my personal tastes are more neutral, opting for recordings from the likes of Haitink and Abbado, and especially Pierre Boulez's with The Cleveland Orchestra, which I still regard as the best recording of this symphony. So I can't recommend this recording as a primary, definitive interpretation of this work, but still think that it's a worthwhile acquisition for Mahler fans, and of course those interested in fine recordings made by conductor Michael Tilson Thomas and the San Francisco Symphony Orchestra.

Not enough drama for highest rating.......2007-03-24

Mahler's 7th was the first Mahler symphony I ever heard, more than 40 years ago. I fell in love with the music and it remains one of my all time favorites. I heard MTT conduct the 7th here in Miami about 10 years ago with the New World Symphony, a orchestra made up of recent conservatory graduates. That was a great performance. The reading here is a very good one but has many weaknesses. First of all, the tenor horn solos are not really that well played. Compared to the Haitink DVD with the Berlin Philharmonic, this player's tone is very weak. Then in many key moments in the first movement, the intensity of the music is simply not there. The 2nd and 3rd movements are much better but the lovely fourth movement lacks poetry. The finale is played extremely fast and again the drama is lacking, although it is very exciting. If you have SACD and really good equipment, you might want this recording for its outstanding sound but I would purchase the Haitink DVD and get the picture and a truly great performance at the same time. If you want a single CD version, Abbado/Chicago Symphony is excellent in every single movement.

gets better as it goes, but earlier LSO one was better overall.......2006-12-27

I live in S.F. bay area, and I've become quite disappointed in this series. The 7th is one of MTT's stronger ones, along with the 9th. Here, the finale is quite good, although no better than on the recent Barenboim/Berlin Staatskapelle (Warner) M7. For me, the two Nachtmusik movements really lack atmosphere. The first one, in particular, is really prosaic - capturing little if any of the mystery implied. The second Nachtmusik is better, but the guitar and mandolin are slightly too distant (far closer sounding on the more "serenade"-like Barenboim). Equally bothersome for me, is that the allegro (fast) passages of the first movement are just absurdly fast - almost to the breaking point. Wouldn't it have been better to save some of that breathless rushing for the finale? It's difficult to fully digest the first movement at such a lickity-split tempo, as both the harmony and counterpoint are fairly advanced and "rich"-sounding in this movement. I feel that Pierre Boulez's 23 minutes works far better for the first movement (MTT is closer to 20). Worse yet, there's little atmosphere to the centrally placed, "moonlit" episode that provides much needed relief from all that busy rushing about. Fortunately, things do get better from the scherzo on. However, I just feel that MTT's earlier LSO effort was more consistant from begining to end. I also think that it was somewhat better recorded. But among recent releases of the Mahler 7th, it's hard to top the Barenboim - one of the best ones ever.

Mixed bag but mainly on target.......2006-09-01

This is Michael Tilson Thomas's second recording of the Mahler Symphony No. 7, sometimes called "Symphony of the Night" for its two sections marked night music (nachtmusik). MTT's first recording, with the London Symphony Orchestra, was received very well and holds a place of high honor in both the current Penguin Guide and American Record Guide's most recent (2001) Mahler overview. This production won MTT a Grammy as best clasical recording of 2006.

At 81 minutes, MTT's older recording put it about in the middle of the universe of well-considerd Mahler 7s, which range from about 77-84 minutes. This time, MTT skittered through the score in about 77 minutes, making this account speedy by contrast.

While musical pundits have considered this a song for the night because of its two sections of nachtmusik, Michael Steinberg's notes to this issue suggest it is more likely four sections of night music followed by the sunshine of day, announced by the drum roll that kicks off the final movement. "Few here will fail to be reminded of Die Meistersinger," Steinberg wrote about the opening notes of the finale.

I've not heard MTT's earlier recording so I don't know where he skips time or space to cut four minutes. This recording, made in concert in San Francsisco's Davies Hall and recorded in somewhat spotlighted SACD sound, may have gained time by way of the energy created in a live performance. The annotation says this was recorded during March 9-12, 2005 but fails to disclose the number of performances given during that span.

MTT's opening is wonderful, in my opinion. It is echt-Mahlerian -- martial, booming with oomph and heart, all the qualities that make up this philosophically confused and emotional strained composer. During the first Nachtmusik section, conductor and band seem to lighten the reins a bit and perhaps slacken. The third movement begins to sound like spotlighted sound. How does a tuba stick out like that in the orchestral morass of a Mahler symphony, anyway?

The fourth movement -- the second Nachtmusik section -- is makred Andante amoroso and Tilson Thomas plays this for every inch of its amorous nature. A spirit of quiet warmth and good humor permeate the section, which is a marked contrast to everything that came before it. In the episodic finale, where a conductor is most challenged to keep it all together, MTT reminds me of tactics he used in his recording of the Mahler Symphony No. 6, especially his tendency to speed up and slow down the motion of the orchestra in interceding sections of the score. It closes is flames of glory, carrying off MTT's overall message of humanity and ecstasy.

I wouldn't call this my favorite version of the Mahler 7 but it's certianly a good one. The hybrid SACD recording is very good -- marked by clarity, depth and projection of a very good on pitch orchestra -- but it would also fall victim to claims that the engineers spotlighted certain sections for added effect. While a fabulous sounding CD, it is not always a very natural sounding performance.

I'm not one to dawdle when listening to Mahler and I don't like conductors that drag out the music beyond its capacity to breathe and live. At 77 minutes, this version is on pace with my favorite recording of the score, the one by Vaclav Neumann and the Gewandhaus Orchestra recorded for Berlin Classics in 1970. I enjoy Neumann's overall conception more than MTT's, which is more literal and less atmospheric. Many Mahlerites believe the Symphony No. 7 is nothing but atmosphere; I do not hold membership in that sect.

And, for all the wonder of the San Francisco Symphony Orchestra on display in this magnificent sounding CD, I believe the German orchestra did them one better three and one-half decades earlier, especially the fruitier sounding horns. I also appreciate the more natural sound of the older CD.

These preferences aside, this new MTT version should be a contender for everyone except those that must wring every ounce of angst out of the score, and it should become the preferred version for audiophiles willing to pay $27 for a single CD performance of this music.

Reproducing Mahler.......2006-04-20

As several reviewers implied, this performance of #7 does not get into the composer's head. No performance can do that! However, it does capture a less angst-ridden 7th. than is usually the case. This gives the music a chance to breath and lets us hear the musical infrastructure of the symphony. It may not be the "echt" performance of the 7th., but musically it is acurate and therefore, a valid interpretation-by the way, this is not MTT's first recorded Mahler, there is a version recorded in his years with the LSO that is as angst-ridden as anyone would like.
I would add that no conductor gets into Mahler's head, not even Walter and Klemperer. We interpret what we hear/read in the score and try to approximate it-this is why it is called music-making.

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