5 comments about The Classic Early Recordings in Chronological Order.

1. This is a great overview of Django and Grapelli's output. If you're going to own only one moderate-sized box set, this is an excellent choice. Diehard completists should move on up to Fremaux's Intégrale series.



2. Let's be honest - how many times have you read rave reviews of some supposed pre-war (or for that matter, post-war) virtuoso, bought a CD, only to be horribly disappointed to find the guitar-playing positively feeble after years of exposure to Hendrix, Satriani, etc? One can still respect those players of earlier generations for the contributions they made when guitar-playing was in its infancy, but all sentiments aside, judged objectively, for me and many others only one player of yesterday competes with later or present day virtuosos - Django Reinhardt. I say that just to reassure anyone who hasn't heard his playing that he really is up there with the greatest of all times, including modern-day players. He was truly a phenomenon. I've heard people raving over the primitive licks of some or other old bluesman, obviously enraptured by the historic value of the recordings more than the objective quality, the popping and scatching of those old 78s preventing any objective judgement. No danger of that here. If there's just one 'older' guitarist you listen to, it's got be Django, preferably the first 5 years or so of his career. And no guitarist can consider himself complete who hasn't had a close listen to his best work. His style is so idiosyncratic that it's unlikely you'll pick up much as far as technique goes, but for improvisational ideas, this whole set is a guitar treasure.



3. A mixture of various recordings, not all of them good. Still there are a few gems amongst them.



4. Django Reinhardt's music is a study in Jazz influence, improvisation and sheer exuberance. These recordings take you through his early years and maturity as an astonishing guitarist. If you understand guitar and what it took for him to play as he did, your appreciation for the technical virtuosity cannot but respond to his work.
   
   The digital re-masterings themselves faithfully reproduce the original sounds, complete with all of the surface noise that attended those early 78's. For the purist this is no problem because the desire is to not have any of the music also filtered. For those who are into casual listening or background music while you drive, especially if you listen at high volume, you might find it a bit distracting.
   
   One of the most delightful aspects of Reinhardt's group is Stephan Grappely's Jazz violin. We don't think of the violin as a jazz instrument very often, but these folks made it work wonderfully in group. Reinhardt shared the lead often with his band and it gives the music a diversity which enables sustained listening without boredom.
   
   Good group, good selections, good music.



5. Like the Supreme Court Justice opined about obscenity [I'm informed],
   he said if he saw it he would know what it was. I have sonically seen
   Django and I know what JAZZ GENIUS IS!! He and his consorts swing from
   the beginning to the end every time they do a tune. Being an un-recon-
   structed Stan Kenton fan of some 60 + years, I recognize that except
   for some Shorty Rogers charts and particularly "Stompin' At The Savoy"
   by Bill Holman, Django could have made even the Kenton band swing! How
   he could swing so hard with a wounded wing is an education. If you dig
   jazz or think you might, this is the ONE to buy.

5 comments about The Hot Fives & Sevens.

1. The stateside legality of this box set may be a bit dubious- this music is public domain in England, where copyright laws are a bit less stingy- but I don't think that you need to worry about federal agents kicking down your door. Like most import compilations of American pre-war music, these four discs live in a legal grey area here in the states, and it's a fairly light grey, at that. And there's hardly anything immoral about it: The people who created this music don't have much use for royalty payments, what with their being dead and all. In any case, purchasing this box set instead of the inferior and overpriced Sony package sends a good message to the big companies while providing monetary support to one of the greatest reissue labels in the history of mankind. Anyway, the fact that it's 2008 and you still pay for your music already makes you something akin to a saint.
   
   But then again, maybe you should buy whichever set you're comfortable with. I'm not here to extol the virtues of JSP or denounce Sony. The purpose of this review is to praise Louis Armstrong's recordings with the Hot Five and the Hot Seven, and that's exactly what I intend to do. This is some of the most joyous music in the history of mankind, a freewheeling evocation of a lost world bursting at the seams with thrill and rebellion and sweat and booze and love and melody, with horns swirling and speaking and singing over and around each other while pianos twinkle drunkenly beneath. Without ever sounding dated, these recordings effortlessly evoke a magical world of fun-filled speakeasies, irreverent flapper girls. And boundless investment opportunities in Florida land. You need to get this.



2. Frankly, I don't know. I still have two hot five and hot seven audio tapes bought in the late 1980s (edition CBS masterpieces) and they also sound pretty good (and I didn't drink no gin... sorry for the lame "Monday Date" joke).
   Basically, all I can say is, these cds sound great on my quite average cd player, confirming everything I have known about Armstrong before (and about Jimmy Dodds, Zutty Singleton, Baby Dodds, Kid Ory , Lonnie Johnson and others,
   while I must admit I'm only starting to get (and enjoy) Earl Hines.
   
   Aditional, non hot five and non hot seven tracks certainly augment my understanding of Satchmo and his golden era, with adittional thrill of Jack Teagarden, Eddie Lang or Hoagy Carmichael on some tracks.
   Admittedly, discs 3 and 4 contain some (commercial) duds, but the amount of brilliant music in this box is amazing...
   Just listen to the first, best or at least seminal versions of songs such as "Struttin' with some barbicue", "West End Blues", "Potato Head Blues", "S.O.L. Blues", "Fireworks", "Ain't Misbehavin", "Knockin' the Jug"; "St. James Infirmary"....
   
   BTW, it is important to know that many songs that have the word "blues" in their title don't really belong to that category... Just as the term jazz in the 20s didn't mean the same thing it means today.
   
   p.s.
   In very informative liner notes we read about banjoist Mancy Carr, while the song listing gives his name as Cara; if I remember my CBS Jazz masterpieces liner notes correctly, "Cara" was an early misprint that snowballed into the future decades.
   
   p.p.s.
   The only real fault of this cd box- names of authors of the songs are sometimes listed in the liner notes, there's no complete list... Ofcourse, some songs are by Ory, some by Lil Hardin/Armstorng, some by King Oliver, some by Fats Waller, but it would be nice to have the data next to the song title. But, the performers (and date) listing is complete.



3. ...though the 3rd was so-so and the 4th was barely listenable...the tunes degenerated from classic New Orleans jazz/blues/swing on the first two disks to big band pomposity and Lawrence-Welkish corniness by the 4th disk. Your mileage may vary of course if you actually enjoy the big-band style of Armstrong's later work.
   
   The audio quality is fine, it's obviously not ideal but really for this type of music there was absolutely nothing wrong with it, you hear the occasional scratches, crackles and pops in between tracks but the good tunes still sound plenty good as far as I'm concerned.
   
   Would much rather have an ok recording of brilliant music than a brilliant recording of crappy music!



4. If it was just the music I'm rating, it would of course get a million stars. However, the music is on a remastered CD. "Remastered" generally means getting your oldie jazz sounding as if it's being strangled in a can.
   Granted the sound here is "clear" and the bass is a bit boosted. The acoustics, reverb, are however to an extent thrown out with the hiss.
   Again, I've heard a lot worse than this. But generally, French jazz re-issues are better (though they can be a mixed bag). Why? Because they leave more hiss!! The catch? The French CD's are either expensive or they contain fewer songs for your money than these cheapo boxed sets.
   
   Addition a few months later: have now had the chance to compare this remastering to that of other CDs (not the Hot 5s, other bands), and I confess this set is better done than many others. So if you're going for CD, I'd still recommend this one. (My own background is growing up listening to my dad's vinyl jazz LP's)
   Listen to the sound clips of different CDs, let your ears be the judge.



5. I'm not going to labor on the fact that this music is fantastic, cornerstone of jazz, indispensible, blah, blah, blah. We all already know that. I want to talk about the sonic quality of these recordings.
   
   I read so much about this John RT Davies guy, who mastered this box set. I heard so many positive things about his skills, particularly in this boxed set, and how the sound is allegedly far superior to the Columbia version. I had to get BOTH to compare. I bought this JSP box set, and the newly revised 2006 edition of the Hot sessions released by Columbia/Legacy/Sony/BMG (the official edition).
   
   The late John RT Davies, who mastered this JSP set is considered so good, that people on Amazon claimed that he mastered this collection from old 78s better than the engineers at Columbia, using the original masters (owned EXCLUSIVELY by Columbia.) Heck, RCA & Columbia thought he was good, as i've seen his name adorning very LEGAL pressings of all sorts of old jazz under the RCA & Columbia labels, right here in the U.S.A. So, he certainly had some clout, and some talent.
   
   Unlike almost every reviewer on here, i do not consider the JSP box set to sound better than the official Columbia release (2006 version). However, i still think it sounds pretty good. There is something important to consider. While Davies is considered a true master at...well, remastering, his work at JSP comes up flawed, because he did not have access to the original masters, which are safely secured in Sony/Columbia/Legacy's vaults. He had to use old 78's (the kind you bought in the store) to make these new masters. So, while he may have picked 78's that were better preserved, and had seen less action, he was still using the next generation of recordings.
   
   When you master from the originals over and over and over again, you tend to add all kinds of artificial pops, clicks, hisses, and such into the original disc (Bing Crosby had to re-record White Christmas in 1947, because the original 1942 recording was pressed so many times, it sounded horrible). Therefore, if you use a pretty clean 78, you can avoid much of that, and come out with a cleaner master to make into a CD. When you add some digital noise removal systems (essentially computer programs), you make them even cleaner, and if done right, still not sacrifice the integrity of the music.
   
   Sounds pretty cut and dry right? The 78's should sound better then, right? Why wouldn't Columbia re-master their collection from old 78's as well? A very important reason, actually. When you copy old 78's, instead of the original pressings, you move at least one generation away from the original performance. Everytime you make a copy of a copy, the sound gets muddier, with less distinction and more distortion. Certainly, with skill and technology, it can be minimalized, but the fact remains.
   
   Soooooooo.......my analysis? The JSP set sounds a tad smoother, with less pops. The bass is a little deeper too, however a bit muddier (slightly distorted). The Columbia set from 2006 DOES have a bit more scratchiness, and the bass is not quite as deep. However, the sound is CLEANER, and...my favorite descriptive word in this whole review...more TRANSPARENT. That's right. Every instrument in the Columbia set is more distinct from all the other instruments. The sound feels light, airy, and alive. The JSP set, while more smooth doesn't have that clarity of the original recordings. They sound more like...well, records.
   
   So, which is better? There's no really correct answer. It's a matter of taste. For ME, the Columbia set wins, hands down. I'm 31 years old. For most of my musical life, i grew up listening to CDs. However, many people have fond memories of what their old collection of vintage records sound like. What you hear on records that you don't hear on CD's is distortion. It's slight, but it's certainly there. Technically, CDs are cleaner, and more accurate representations of the actual music than records ever were. But people have aural memories, and THAT'S the sound they want to hear. It's a very natural, and totally unconscious reaction. We like what we know. Everytime i buy better speakers, amps, etc., i always miss the sound of my old, inferior equipment...for a little while. Then as i use it, my ears adjust to the new sound, and i ADORE it. Anytime i've tried going back to the OLD set-up after that, i had a much stronger negative reaction than i did when going UP in quality. My ears became adjusted to what's better.
   
   So, here's my recommendation:
   
   If you don't have those fond memories of old vinyl or shellac discs, and grew up on CDs, then the Columbia set is 150% better. The sound is cleaner, tighter, more distinct instrumentally, and contains less distortion. You get music that's closer to reality. The drawback of course, is you will hear a bit more crackle, and a tad less bass.
   
   If you DO have those fond memories of the big black discs, and you remember the warm, rounded sound that made you feel like cuddling up in a blanket with a cup of cocoa & a wish on a star, then you really need to get this set. If you also happen to listen to rap in your Escalade, and you like to hear the bass completely distorting, but you think you wanna try some early Satchmo, then you NEED this set. Don't even think about buying the Columbia version. Just remember, while it is smoother, it is also further away from the original performance, so the sound is muddier and less distinct.
   
   I've compared nearly every track on both sets. They both sound pretty good in their own ways. By all means, this IS a set worth owning...for some people. You just have to decide what kind of person you are.

5 comments about The Closing of Winterland.

1. I was at this concert, but I NEVER knew it was on CD and it was
   a fabulous show !
   
   With Quicksilver Messenger Service to boot.
   Forget The Blues Brothers. Their performance is a throwaway and
   even tho the entire Dead had the flu, it was still something
   to see and experience after having gone to Winterland, pretty much
   once week if not more than that for about 8 years.
   
   I hope you're sittin down, because the regular price at Winterland for this period was $4.50-$5.00
   
   Special shows like The Who were a whopping $20, as was The Last Waltz,
   I think $35, maybe less.
   
   I saw everyone who was anyone from 1970 to the closing, including "The Last Waltz", Peter Frampton, when "Frampton Comes Alive" was recorded, as well as The Who when they recorded their live album, Tommy Bolin, Jo Jo Gunne, Dave Mason, (a half million times) Johnny Winter (35 times), Traffic, Stevie Winwood, Eric Clapton, Santana (a half million times), Montrose with Sammy Hagar, 1st album, Journey, Lynard Skynard for the 1st LP, with 3 guitarists and the entire southern rock thing
   
   I saw The Dead 45 times at Winterland, including the show they recorded with their "Wall of Sound" speaker/amplifier setup for the "Steal Your Face" movie, which was actually the very 1st time I PAID to see the Dead. I had seen them for free in Golden Gate Park 8 times previous.
   I hope you take this review and post it !
   
   GET THIS CD SET !
   
   David Singer



2. DO NOT HESITATE-I've acquired many dead shows through various means and this is the one I keep coming back to. It has everything, including some sit-ins that really compliment the sound (beginning on "I Need a Miracle" you hear the harmonica infused) along with John Cippolina from Quicksilver on the 20 minute marathon "Not Fade Away". This show has it all, please do not wait, I say this for your own good, it is worth twice what you can get it for. 4 cds for 20 bucks, that's 5 bucks a disc. You deserve it!



3. A classic album; one of my favorites. For any Dead fan or anyone wanting to give live Dead shows a shot, a fantastic choice. HIGHly recommended.



4. I used to sit and listen to these guys jamming in the gym at College of Marin on lazy afternoons back in 1964. I saw them at the Filmore in SF in 1966. After that, only once in the early 80s at an outdoor concert in Oregon. They have never been bad as far as I'm concerned, but they have definitely improved with time, despite the occasional slumps. However, whether thee got better or not is beside the point; the music itself got phenomenally better. I listened to this particular concert live on the radio from a funky cabin in Monte Rio, California, with friends, a jug of wine, and something else, so maybe it just brings back pleasant memories. Nonetheless, back when the Dead came out with "Terrapin Station" in 1977, I was blown away, and their music (the songs) just kept getting better until the mid-1980s with "In the Dark" and "Go to Heaven." All this to say that, of all the concerts and live CDs I've heard by the Dead over the years, this one stands out to me as representing their best years. Incidentally, this was also a stand-out period for The Jerry Garcia Band, whose "Cats under the Stars" features the voices of Donna Godchaux and Maria Muldaur, as well as a number of songs that became standard tunes for later Dead shows. In addition to "The Arista Years," I recommend this as one of the best introductions to the best period of Grateful Dead music.



5. The Dead were not at their best in 1978. Inner problems and drug abuse were really affecting the band skills. Anyway, they were such an impressive live ensemble that they could sound really good even on bad nights. Not that this was a bad night, but neither an outstanding one. Anyway, there are really nice moments, and most of them have to do with the (at least for me) undoubtfully most talented member of the band, Mr.Garcia. His solos are always sprinkled with beauty. He always plays nice, and he always knows what NOT to play. Furthermore, his compositions are usually the real gems of the band repertoire. Even though drugs were affecting his life more than before and his voice was a kind of ragged, Jerry was still that leader that didn't want to lead but led anyway.
   More of historical interest, this release is not recommended for newcomers. Anyway, it offers really beautiful moments such as "Terrapin Station", "Playing In The Band", "Ramble On Rose" and "Stagger Lee". This Winterland "Dark Star" is not very inspired, nor inspiring, but it is nice to hear the audience freaking out after more than 1500 days without the Dead's live tour-de-force.
   Summing up: they were not the best at what they did, they were the only ones, as Graham rightly said. They are really better live releases, but this one will surely provide Dead followers with some really pleasant music.

5 comments about Zaireeka.

1. Ok so it was late one night me and three friends are sitting around my house eating the things that make mario so "super", and we decided to pop in this album. I owned it for over a year before i felt the time was right to listin to it. We were not disappointed at all. Out of the four of us i am the only one who is a huge lips fan the others are either into goth-trance-hop, hard core ghetto rap, and the other is into a lot of alt. (but for some reason never got into the lips). Despite are varried musical tastes we all we simply astounded by what was happening to us. The best part of the album is it allows you to play around with the timing of the sounds and music. We got track one to sync perfectly and just let it play like that for the duration of the album. By the time we reached the last track things were so off from where they should have been (time wise) my one friend who was lying down next to disc one said "yo this dude is ranting about some kinda stuffed animal" and we were like "what the hell are you talking about?" next thing we knew disc 3 kicked in and just yelled "stuffed animal baby" at us and we just lost it. In the end one of us swore he was invisable, one of us was laughing so hard he was crying with mucus dripping from every facial orface, and the remainder of us were just lying there in the dark trying to figure out what just happened to our minds and how soon could we take that trip again. Seriously this album is a MUST BUY for any dirty hippes out there and i feel EVERYONE has something to gain by listing to this very special peice of music.



2. Te idea of playing a set of 4 disc, each one with different music arrangements on each track, sounded great; when i actually get the 4 cd's to play altoghether it did sound magnificent. Excellent result this musical experiment, the Flaming Lips are always trying to get the best sound quality on each record and I think this record sound evolve into the later 5.1 surround sound mixes for the Soft Buletin, yoshimi and at war. A masterpiece.



3. With the advent of consumer-friendly mixing/recording software, this album is more accessible than ever. Buy it and experiment with mixing/adding effects/etc; it's a great way to release the inner music producer in all of us.



4. It is great to finally own a copy of this 4-disc album by The Flaming Lips. As I'm sure you know, those avant-cooks intend for us to listen to all 4 discs simultaneously... that is, all together on four separate stereo systems, old boom boxes, car stereos... whatever you can find to make it work... synchronized by simply pressing all four play buttons at the same time (you may need to invite some friends over). What you get is, for lack of a better word, an experience. It's fun. You listen intently to what is happening spatially, quirks and clicks become things of wonder. Context becomes the proverbial elephant in the room. It makes you happy.
   
   That being said this is probably (pre-warner bros. aside) the band's least accessible album "musically," often seeming as though they assembled the album from what they swept up off the floor of their last recording session. But that's part of the beauty of the Flaming Lips; that knack about them, I guess... to take something crappy, out of tune, scratched, warped, and otherwise ordinary in their own rights and assemble them with such sincerity and understanding as to create a whole "something" greater than the sum of its parts. Somehow majestic in its banality... Well worth the investment... There is also an entertaining, unpretentious, and comprehensive documentary out on these guys that is definitely worth a watch titled, "Fearless Freaks." Have fun...



5. Luckily modern technology has come into play in order to listen to the CD the artist wanted you to...

5 comments about The Fabulous 50's [3-CD Set].

1. One star minus one star=zero stars!
   Buyer beware. Madacy sells the bottom of the barrel product. Bad remakes (90% of the tracks) and poorly mastered originals (the remainder). Waste of money unless you want new versions of classic records. Just note: even then, they aren't very good.
   The worst part of this company and their marketing is they lead you to think you are buying original recordings.
   Don't waste your money...



2. There is not even one original song by the original artist on this CD. Maybe that's the reason it's so inexpensive. It consists of updated versions, admittedly by the original artists, or at least parts of their groups. Frankly, I'm surprised that an organization as reputable as amazon.ca would offer them for sale without a warning to unsuspecting customers. As a person who knows rock'n'rock history, particularly the '50's and '60s, modesty side, I would place more value on the jewel box in which this CD, and others like it, are packaged than the CD's themselves. The only reason I rated it "1" is that the option of "0" isn't available.



3. These CD's rock. There is not a reason out there, for you not to own these. If Superman enjoys this music, you will also.



4. I was not expecting this set to be of non-original recordings and was disappointed that it wasn't mentioned in any part of the ad. Some of the tracks are pretty good, but I was expecting originals.



5. Don't buy anything on this label. Ever. Only 2 minor flaws - they are either not the original recording (alternate tracks or rerecordings)or the correct track was mastered from a record fulminating in your Aunt Gertrude's closet for the past 30 years.

5 comments about Mozart:The Complete Piano Sonatas and Variations.

1. I love classical music. I've learned to listen without being hyper-critical; just lsitening with my heart. Barenboim is a gifted muscian, and this performance is yet another example of Daniel's control of the keyboard. Endless hours of great musical listening.



2. i had to wait a while for this CD set, but it arrived in good condition & the seller kept in contact frequently



3. As an amateur pianist and Mozart lover, I own the complete piano sonatas by three different artists: Uchida, Maria Joao Pires, and Barenboim. I have listened to each set hundreds of times, and after buying Barenboim, side by side. For me, this interpretation is so far above the others (though much more so compared to Uchida than to Joao Pires), that I have only listened to Barenboim for the past year. One reviewer below points out that the 3 CDs of piano variations are not necessary, and I agree. However, the price is very reasonable, and I simply omitted the last 3 CDs when I loaded this into my iPOD.
   You will treasure this performance each time you listen.



4. It is something near to a cleansing experience to listen through the Mozart piano repertoire as performed by Daniel Barenboim.
   
   For starters, Mozart achieves his sparest, cleanest, most limpid lines when writing for solo piano. Then comes Daniel Barenboim, whose reading of Mozart is crisply and unemotionally classical. Not for him the drawn-out keyboard soliloquy. On the contrary, Barenboim gives us Mozart, only Mozart, and nothing but Mozart, clean and shimmering as sparkling mineral water.
   
   This is not to say that Barenboim as pianist is unfeeling. On the contrary, the Fantasia in C Minor - to choose just one example with almost random lack of care - is quite moving. But not with a flourish. Rather, with almost sinewy restraint. The presentation represents a fine grasp of the master composer, nurtured with discipline across the length and breadth of the voluminous sonatas.
   
   Indeed, the sheer volume of the Mozart piano sonatas is intimidating. It is astonishing to imagine one man having mastered it as Barenboim has. EMI Classics has done us the favor of collecting these two gentlemen's asynchronic collaboration in one set, affordable at that.
   
   If Mozart is a musician for the ages and Barenboim a performer who left a formidable imprint on the twentieth century, their collaboration as represented in these recordings is a watershed that will need to be referenced by students of classical piano for at least another hundred years, or until people can only remember as far back as the Dixie Chicks.
   
   Buy Barenboim on Mozart before that happens, and so stick your thumb in the dike against the evil day.



5. Daniel Barenboim played this whole set with an interesting approach to WAM . The notations about classical , beethovenian style are always hazardous.
   When you are a musician you must avoid in the cliche , and you should feel the music as a whole and the playing must be the consequence of a overlong process that begins in your soul , then your inner mood , your intellect and finally your fingers. I remark the aspect when you are in front of Mozart, Beethoven Wagner, Bruckner, Bach , Schubert and Bartok , because these composers are in a highest level than the others and the music itself is merely a device for expressing deeper issues.
   That's why this set is superb. Barenboim plays a Mozart rich in expresiveness , he gives to Mozart presence .
   Barenboim plays music as Vegh or Furtwangler did it , always seeking the landscape far beyond the score . That's why they are so original in their performances . The rapture is not a device for exhibite his skills , it''s the final product of a long process.
   Acquire this set. It's an unvaluable treasure.

5 comments about Mahler: The Complete Symphonies.

1. This is an excellent set of Mahler's symphonies, the Kindertotenlieder, three Ruckertlieder, and the adagio of the tenth. But these are not the only Mahler symphonies conducted by Bernstein, and Bernstein is not the best. but if you want to get all of them at once, this is the way to do it. I think Bruno Walter or Herbert von Karajan might be better, and there is a new set that David Zinman is working on right now.
   
   I have other recordings of the first, second, fifth, sixth, and eighth. So of these I can give more educated criticisms.
   
   The first is impressive, and I like it more than Zinman's. I can hear more in Bernstein's than in Zinman's.
   
   In the second, the singing starts off sounding like a rubber band. I know this is an odd comparison, but I can't think of anything else. I remember being more impressed by Zubin Mehta's and Bruno Walter's recordings than this one; although Walter's chorus isn't great either, it is due more to the recording than the chorus.
   
   The fourth movement of the sixth is more effective than the fourth of Karajan's, but I like Karajan's first three movements better than Bernstein's.
   
   I prefer Solti's eighth much more than Bernstein's, the chorus is much louder and more awake sounding in Solti's.
   
   The ninth is probably Mahler's greatest symphony, but by no means my favorite. The first movement is beautiful, the second is lively, the third demonic, and the fourth peaceful. I think this is just the effect it is supposed to have.
   
   If you already have individual symphonies, I would not recommend getting this set, but if you have little or nothing by Mahler, then this is a good investment. One irritating thing is that most of the symphonies are seperated into many different tracks (28 for the ninth). This is alright if you are listening straight through or if you know when a movement starts or stops, but if you are new, it might be annoying.



2. In general, I don't find "complete symphonies" of anybody with the same conductor satisfying overviews (exceptions that break the rule, Beethoven: Karajan's from the 1960s, Harnoncourt's, and Furtwangler's compilations which include the wartime Eroica from Berlin and the Pastorale from his return to the BPO concert). Conductors as a rule are better at some than at others. Specifically with Mahler, I need to admit that I don't like all the symphonies equally, nor do I find any one conductor doing them equally as well, so overall, I suggest don't get this box but look for individual items. Let's take one symphony at a time:
   
   First: not one of my favourites, I think it's very loud. Bernstein brings out the klezmer aspects which are cute, but perhaps more subdued highlighting would be enough. It's the "Titan," not the "Jewish" symphony. The performance I enjoy, given that I'm not a fan of the work, is Ormandy with the Philadelphia Orch which includes the Blumine movement (excised by Mahler after the premiere), and shows the later Philadelphia sound at its best.
   
   Second: The earlier movements of the symphony are insufferable, as well as parts of the last.... just when you hope Mahler is through with gaucheries, along comes another embarrasing little march. Notwithstanding shortcomings, by the time the chorus comes in, it becomes sublime. No one can top Klemperer/Wilhelm Pitz, serious music making at its best. Abbado from Lucerne a close second. Rattle from Birmingham a refreshing third.
   
   Third: Have not heard fabled Horenstein, so regrettably, not part of this survey. Otherwise, Abbado from Vienna (Jessie Norman), slower, Abbado from Berlin (Larsson),a bit sprightlier, Essa Pekka Salonen from LA (Larsson), great clarity and passion. This is one of my favourite Mahler symphonies.
   
   Fourth: Reiner with the CSO and Lisa della Casa, to my knowledge his only Mahler symphony, and a great one it is, lyrical and powerful. This symphony has lovely moments, even if the end is a bit saccharine/silly, nonetheless, it is quite fine. Bernstein on DG is fine, but having a boy soprano (Alan Bergius, whom he also used in live concert with the VPO in New York) just doesn't work and is distracting.
   
   Fifth: Another of my favourites and hors de concours go to Karajan. He totally commands the structure of the entire piece and brings it all to bear in the climactic conclusion. ..... a stunning, moving job. Barbarolli is more leisurely but persuasive in a somewhat muted way. Bernstein brings his sense of drama to this sprawling work, very effective in individual parts but does not convey a feeling that one has travelled a musical journey from the first note to the last. The later recording is preferable to the NY Philhamonic.
   
   Sixth: For a budget price incredible buy, there's George Szell with the Cleveland in a live performance who keeps you at the edge of your seat. It's Tragic going on Hysterical, but a thrill to hear. Karajan excels as do Bernstein and Boulez.
   
   Seventh: I've yet to fully make this symphony work for me. Nonetheless, Abbado with the BPO does as much for it as I have been able to grasp, closely followed by Boulez. Bernstein makes much drama out of the music which to my ears, just makes it sound even more hollow, to paraphrase WS much sound and fury, signifying nothing. To summarize my feelings about this symphony, it sounds like a second rate, ingenious composer trying to write a symphony that will sound as if by Mahler. I've changed my mind about specific pieces of music in the course of my life, but every time I've heard this symphony, even with renowned conductors and orchestras, it reinforces what I have felt in the past.
   
   Eighth: Solti and the CSO recorded in Vienna. No one comes close. The Veni Creator movement noisy and musically messy as always and as with everybody. Once we get to Goethe it is sublime.
   
   Ninth: Karajan's live performance with the BPO is powerful verging on sublime. An entirely different approach, with double underlining whenever he can, Bernstein's ONE performance with the BPO is the best ninth he ever recorded. Extraordinarily moving overall, except some accents to which one reacts: Lenny no, it's just a bit too much, nonetheless a great performance. His with the Concertgebouw is also fine. The Walter/VPO is a must for historical reasons and it is a good performance, even if orchestral discipline is spotty.
   
   Tenth: Rattle seems to have staked a claim on this reconstructed work and does quite efficient work with it. However, I am very fond of the Ormandy version (the first ever made of the Cooke fleshing out). He conducts it as a feast for Phildelphia Sound..... and succeeds splendidly. It's a joy to hear and endures repeated hearings.
   
   Das Lied von der Erde: With a deep historical bow to Kirsten Thorborg, Kathleen Ferrier, Patzak, Walter and the VPO, in more modern sound we have three superlative recordings, each with Christa Ludwig, who probably understands this music better than any other solo around, and for the longest time had the richness, intelligence, heft, evennes, and tessitura to do it full justice: Klemperer with Wunderlich, Karajan with Kollo, and, on DVD with Bernstein with Kollo and the Israel Ph. from the Vienna Kontzerthaus. The DVD is particularly moving. Nan Merriman with Eugen Jochum, and Maureen Forrester with Reiner are also fine options.
   
   Thus, don't settle on one conductor....... there was Mahler before, during and after Bernstein. My reluctance to endorse Bernstein wholeheartedly, though I find much to appreciate there, is that the hyper-emotionalism more often than not is episodic, thereby taking from the musical structure of the pieces as a whole and, ironically, thereby diminishing their emotional impact. I guess it all becomes too much about Lenny and not about the piece.



3. Recorded 1960-67, this is the first complete cycle of Mahler's numbered symphonies (1-9 + no. 10 Adagio), and, as such, an essential purchase. Add Bernstein's 1966 classic recording of Das Lied von der Erde (Decca), and you get a piece of recording history: the development of the Mahler boom in the sixties.
   
   How do these recordings stand today? The interpretations of the third, fourth, and seventh are very fine, even exceptional, and, despite their age, the recordings are sonically impressive as well. NYPO plays marvellously. The seventh, in particular, is a reference disc.
   
   The remaining recordings are not really for the desert island, however. The fifth, for instance, is very unsuccessful and badly recorded too. Bernstein's later account on DG is clearly an improvement. The same holds for the second symphony, which you also find on DG in a later, much improved and moving interpretation. But here we have also a crowded field of classic performances, such as Klemperer's second (EMI) and Walter's fifth (SONY). Both are preferable to Bernstein's recordings, old or new.
   
   The first, sixth, eight and ninth are quite good but not exceptional. No one beats Kubelik's first (DG). Mitropoulos (BMG Great Conductors) and Barbirolli (EMI) own the sixth. The eight - well, here we have Horenstein (BBC) and Mitropoulos (Orfeo) as classic, first choices. And for the ninth, Ancerl (Supraphon), Barbirolli (EMI), Klemperer (EMI) and Walter (SONY) sound far more attractive and fresh than Bernstein's mannered account.
   
   If you're a collector this box is of course essential - regardless all critical considerations. But if you just look for an excellent and consistent Mahler box, go for Gary Bertini's cycle on EMI, which you get for a super-bargain price. It's a contemporary and future classic.
   
   Thus I recommend a pick of individual Bernstein SONY CDs: the third, the fourth and the seventh. Add his fifth and second from his DG recordings, and his 1966 Das Lied von der Erde (Decca). These recordings are what I take to be the "essentials" of the Bernstein Mahler legacy.



4. I think is very important for a Mahler Fan to hear carefully all his work. This compilation allows you to enjoy that experience. A better sound quality for some symphonies could be a great plus, but you have to consider that this is a remasterized old record.
   
   Leonard Bernstein just express the true passion that Mahler put on his work. It's incredible that (using the 8ve Symphony as an example) with fewer instruments than in the Abbado version, the feeling is even better. Simply outstanding.
   
   Great price, great compilation. Lot of Mahler.



5. Most buyers aren't in the market for a complete Mahler cycle by a single conductor, but if they were, the two from Bernstein contain many great performances. I've reviewed the contents of this Sixties cycle on Sony and the later one from the Eighties (contianing many live performances) on DG, taking them one symphony at a time. But it's worthwhile to give a sense of the strongest and weakest parts of each set.
   
   Cycle #1:
   
   By general consensus the performance of Sym. #3 is one of the glories of this cycle and perhaps the most inspired Mahler condcuting Bernstein did on disc. It has all the freshness of discovery--LB was new to Mahler in 1961. Sony's 20-bit remastering makes the original analog sound quite good. In fact, there's no need to fear the sound quality of these NY Phil. recordings, none of which are bad. Expect the deep sound stage and wide stereo separation that Columbia Records favored at the time.
   
   Bernstein also put his stamp on Sym. #7 in such a way that no one would ever hear it the same again. Previously, 'The Song of the Night,' as this work was dubbed, had almost no life either on disc or the concert stage (a Mahler champion as prominent as Bruno Walter never performed it). Not only did LB prove that this was coherent music, he made an unforgettable drama out of the Seventh. This is his signature recording of the work.
   
   Two other great performances stand out: Sym. #2 and #4, each rendered with amazing imagination and a huge range of emotions. The accusation that LB went over the top in the Second is unjustified--he is often tender and delicate--but there's no doubt that he takes an apocalyptic view of the finale. Whatever you think about his approach, he single-handedly revolutionized the way that the Resurrection Sym. was played. In Sym. #4 the classic recording was by Bruno Walter, but LB added more depth, imaginaiton, and excitement. Lyric soprano Reri Grist has come in for a good deal of criticism in the vocal finale, but I think she fits beautifully into LB's overall conception.
   
   In the middle of the pack, as it were, we get LB's readings of Sym. #1 and #9. He went on to conduct greater readings of both works, especially the Ninth. In person LB's First was a real showpiece, but somehow Sony's sonics are not up to the conductor's vision. In the cse of the Ninth, the NY version would qualify as an outstanding performance if there weren't so many truly great ones from Karajan, Bruno Walter, James Levine, and Barbirolli, among others. Bernstein himself would add two of the greatest, both on DG.
   
   I find a few problems wiht Sym. #5, #6, and #8 in the first cycle. For many critics all three are great recordings. For some reason, I have never warmed up to either of LB's versions of Sym. #5, where for once he does manipulate and exaggerate to the point that the spirit of the work seems lost in histrionics. Sym. #6 is too brisk in the first movement to let the music expand to its visionary potential, and in the other movements Bernstein seems less expressive than he could be. The Eighth is unmathced in the excitement and joyousness of Part 1, and for some listeners the whole symphony remains on that exalted level. I find that LB is too studied in Part 2, and my attention wasn't held. He does elicit very beautiful singing and playing, however. It should be noted that this performance is with the London Sym. and a host of fine English singers.
   
   To the end of his life Bernstein resisted Deryck Cooke's completion of the Tenth Sym., agreeing to conduct only the shattering Adagio. which Mahler had essentially finished in full score. Bernstein's reading with the NY Phil. is one of the most searing accounts this magnificent fragment has ever received, equaled by his later live reading with the incomparable Vienna Phil.
   
   Cycle #2:
   
   It should be said right off that DG's digital sonics are in a different league from what LB got in New York. Even though several venues were involved (Vienna, Amsterdam, New York), and many recordings were under live concert conditions, the DG engineers triumphed. They favor closer mike posiitons, solo highlighting, and a vivid sound stage compared to their predecessors in New York. As to the interprettions, with a few exceptions--the most prominent being Sym. #6--Bernstein did not drastically change his views from the first cycle, and in some cases the readings feel almost identical (Sym. #2 and #7, for example).
   
   The most interest centers on the works where LB clearly outdoes his younger self. At the top of the list I would put Sym. #6 and #9. In the former he achieved one of the classic Mahler reacordings of the modern era. His Sixth has slowed down by 2 min. in the first movement, giving the music room to expand properly. The Andante is heartbreaking and heartwarming at the same time. The finale is an explosion of genius on Mahler's part that LB resonates with perfectly. Almost the same can be said of the Ninth, where the conducting reaches deeply moving areas of expression. The finale is drastically slow (as is Levine's, to similar devastating effect), which some critics find excessive. But it's a truism that no tempo is right or wrong; everything depends upon being drawn into the world of the music. LB achieved a great Ninth but would surpass himself with a live performance from Berlin in 1979, also on DG.
   
   Almost as great is Sym. #1, which on DG receives a flawless performance packed with excitement. I'm not sure that LB's reading actually changed, but the superlative sonics and the spine-tingling playing of the Concertgebiuw weren't matched in New York.
   
   The next thing to ask is where Bernstein fell short of his earlier versions. The Sym. #2, #3, and #4 from New York were one of a kind, representing LB's early and most exciting explorations of Mahler's world. Their counterparts on DG are also strong, but I don't think they rise to the heights he achieved earlier. The only sharp criticism I have is with the use of a boy soprano in the finale of the Fourth; musical as he is, a boy is too undeveloped to capture what Mahler intended. It should be said, however, that if the earlier NY versions didn't exist, these would be outstanding performances.
   
   I feel much the same about Sym. #7, where LB's first recording set a standard that only two or three rivals have come close to, but his DG remake, which was a return to the NY Phil. in oncert from Lincoln Center(as are Sym. #2 and #3), feels fractionally less overwhelming. It's in better sound, however. The one symphony I can't compare is the Fifth, which doesn't satisfy me in either cycle. The DG version with the Vienna Phil. convinces many listeners, and some critics call in unsurpassable, but I am not on its wavelength.
   
   That leaves Sym. #8, which Bernstein didn't live to record for commercial release. DG reached into its vaults for a live 1975 radio tape from Vienna, and although it has flaws in execution, including some rough singing in Part 2, LB's conducting is superlative, more ocmpelling than his version from London. Paired with this symphony is a 1974 reading of the Adagio from Sym. #10, also with the Vienna Phil. As you'd expect, it's an inspired, searing reading, just like the NY version.
   
   How ot sum up? If money were no object, I'd own both cycles for the pleasure of Bernstein's unqiue inspiration. If I had to pick and choose, I'd take Sym. #2, #3, and #4 from New York, Sym. #8 from London, and the rest form the DG cycle.

5 comments about Haydn: Complete Piano Trios.

1. "Delightful" is a single word to describe this recording of Haydn's Piano Trios. I was fortunate to find one of the apparently few remaining copies of the Beaux Arts Trio's performance of the complete Landon edition trios on Philips (Polygram 454 098-2). (This was before the apparent re-release.) This ten and a half hour treasure was originally very well-recorded in the 1970s on analog tape in Switzerland and the Netherlands, then first released on CD in 1991, then again in 1996.
   
   The Beaux Arts plays wonderfully; not much more could be asked from these performances, other perhaps for a slightly more distant microphone perspective. It's amazing that F.J. Haydn had been considered largely irrelevant by his succeeding romantic generations. His compositions are, for lack of a better description, classically classical and far less "cute" than the precocious and better-known works of upstart Mozart. The Beaux Arts is able to infuse the joyful compositional beauty of Papa Haydn's trios with skillful elegance and charm.
   
   There are some definite surprises, particularly in the later works. As others have noted, Haydn presaged the Romantic period in some of his later trios. The variety of compositions presented here are at times beautifully proportioned and balanced, elegant and refined, humorous and witty, joyous and rollicking. In short they aptly display much of the skill, talent and personality of one of my favorite composers.



2. I have arrived at the view that Haydn is for the musically more mature; this is after some fifty five years of avoiding him - I have come to regret the wasting of so much time!
   
   Like many people, I have considered Haydn principally in terms of his "thousands" of symphonies and felt the title "Papa" probably apposite. However, having spent an increasing amount of time during the last five years in getting to know his chamber works, I have altered my opinions dramatically and have long since thought Schumann's judgment facile and ungrateful.
   
   Haydn shared a few years of the middle of the 18th. century with Bach and given his following so closely upon the heels of the Barok, his music is astonishingly innovative and I think he receives far too little credit for the pioneering work he did. His string quartets truly are of the first order and given that he "invented" the genre, extraordinarily forward and musically developed. Mozart did nothing to advance the form which Haydn left as a wonderful foundation upon which Beethoven and Schubert could build.
   
   Whilst many of the quartets have a certain cerebral aspect to them, the piano trios do not. Not because of any lack of inventiveness on the part of the composer but due to their being intended for a larger and different audience to whom Haydn's publishers might sell a lot of sheet music; it should be remembered that Haydn was widely known and popular from Italy to Sweden. There is no hint of "commercialism" in these works however.
   
   This complete set of piano trios has a strong homogeneity; they all fit together well and balance nicely. A quirky exception here is the very individual E major Allegretto (Hob.XV:28) heralding a chorale prelude and later suggesting that we are in for a three part fugue. No chorale, no fugue. Another of Haydn's witticisms perhaps?
   
   The Beaux Arts' readings are "safe" and I have no quibble with this. Another reviewer has found them "bland" but with this I do not agree. Frankly, I think it difficult to make a proper judgment because, as has been pointed out elsewhere, the strings are not at all well recorded and for much of the time the pieces sound like a piano sonata with occasional string accompaniment.
   
   This situation is less annoying than it otherwise might be as the piano really has a stand-alone part and the overall nature of the works is surprisingly undiminished in the apparent absence of the strings. In any event, the violin and more particularly the 'cello whose principal function was to bolster the rather fragile bass of the early Viennese fortepiano, don't have much to say that is of great musical consequence. To a degree, this "imbalance" is characteristic of the trio form as it was employed by Mozart, Beethoven and others; it was well into the nineteenth century before Mendelssohn distributed the musical parts more evenly but a contrived imbalance of musical composition is one thing - that of shortcomings of recording quality is quite another. The "solo" nature of the piano in this instance merely serves to demonstrate what an unusually fine pianist Menahem Pressler is. In other respects the recording is very good.
   
   These trios are immensely satisfying, partly due to their delightful nature and partly because they don't demand much in the way of intellectual involvement from the listener. I should like to have awarded five stars; generally, the set deserves them but I feel some penalty has to be imposed in respect of the poor microphone balance. Musically, this collection is a superbly performed joy and others surely will share my delight in it.



3. The Beaux Arts Trio, as always, performs well enough to win an award with these trios. The works are so tuneful that I frequently found myself walking around the house humming the tunes after hearing a quartet for the first time.
   
   This music is also wonderful to listen to while doing desk work or reading. You'll not be disappointed.



4. No doubt that Haydn is one of the greatest composers of all times both in terms of quality and quantity of his diverse compositions.I have always found his piano sonatas very witty and enjoyable having listened to Jando and Richter.I was completely floored by one of the Haydn's Piano trios featured in the Stern,Rose and Istomin recording of the Schubert Piano Trios-Perky,springy,Bouncy playing keeping the listener constantly guessing.It is with great expectation that I bought this complete set of Haydn Piano Trios by the REPUTED Beaux Arts Trio.Listening to the First 2 CDs of this set was a bit of a let down.I find their playing totally bland and Lifeless-Yes,they are pretty but lacking in perky,quirky humour that Haydn is justly known for.They sound like Rameau's compositions!I find that the individuality and personality of Haydn is totally absent.
   I know that the Beaux Arts Trio has a Big Reputation but I need to say this.I found their Beethoven Trios a Trifle Bland as well.The Stern Rose Istomin Excel in that recording as well!Ditto for their Schubert Piano Trios.Just what is the Difference?I find the Stern Rose Istomin Trio play with Fresh Abandon whereas the Beaux Arts Trio seem to be too Studious,a little too serious!This robs a little bit of spontaneity and LIVING IN THE MOMENT vitality.(More so for Franz Joseph Haydn!)
   Yes,This may be the only complete recording of the wonderful Haydn Piano Trios,but I would strongly advise that you collect the individual performances by different groups after due listening.



5. Bad recording - all one can hear is the piano part...too loud and is sounded liked the piano was set right next to the microphone... Wish I could return this set of CD's. Very disappointed.

5 comments about The Best Of 1990-2000 & B-Sides.

1. In 1991, U2 returned to the music industry with the phenomenal album Achtung Baby. While this release brought them back to their original status as amazing musicians, U2 would soon enter its low point with the releases of their hugely disappointing albums Zooropa and Pop. Fortunately, after the failure of these two strange albums they came back to their senses and recorded the more "normal" album, All That You Can't Leave Behind. Before I criticize them, I would first like to say that I am very proud of U2 for still managing to create a memorable cd with only four albums, only half of which were successful.
   
   Now on to the criticism. First, the thing that angers me most about this cd is, like with The Best of 1980-1990's release of "The Sweetest Thing," they cheated with the songs. "Electrical Storm" and "The Hands That Built America" were both released in 2002, which means that they shouldn't be here. It's not that the songs are bad it's just that I wish they had saved them for a possible Best of 2000-2010. Next, while the song selection here is far superior to the Best of 1980-1990, there are still several flaws, which I will address later. Also, many of the remixed songs on the A-side should have appeared in their original versions. Last, to put it lightly, the B-sides SUCK!!!!!! Here's what they should have done to make this "deluxe edition" a little more desirable. For the singles, they should have made more room by transferring "Electrical Storm," "Miss Sarajevo," "The Hands That Built America," and "Hold Me, Thrill Me, Kiss Me, Kill Me" to the B-sides. Since all of these songs were released on either movie soundtracks or their own singles and not one of the four albums, I don't believe they should belong on the A-side. This not only would massively improve the B-sides, but also allow them to put in four missing songs. The songs I would insert would be "Walk On," "Please," "If God Will Send His Angels," and "Lemon," since many U2 fans unfortunately like this song. Also, the A-side lasts for about 72 minutes, so they could have added one more, which I would have choosen to be "Who's Gonna Ride Your Wild Horses." Next, "Gone," "Discotheque," and "Staring at the Sun" should have appeared in their original versions; however, the remix of "Numb" is more than welcomed here. That takes care of the A-side and now for the B-side. As I mentioned above, move the four "non-album" songs over here and add the songs "Always," "The Ground Beneath Her Feet," "Paint it Black," "Two Shots of Happy, One Shot of Sad," one of the remixes of "The Fly," and "Where Did it All Go Wrong" to the cd. Next, in order to fit all these on here some of the remixes need to go. I would suggest removing the remixes of "Dirty Day," "Numb," "If God Will Send His Angels," "Lemon," and "Discotheque." It also wouldn't kill them to remove the studio version of "Electrical Storm" since the William Orbit Mix is much better and still captures the essence of the song. The remixes of "Even Better Than the Real Thing" and "Mysterious Ways" are actually quite good and deserve to stay on here along with "Happiness is a Warm Gun," "Salome," and "Lady With the Spinning Head."
   
   Like with their previous Best of cd, U2 created an album for "unexperienced" fans only. The big differences between the two Best of cds are the first decade had much better music and the B-sides from the first decade are actually worth the extra mula. I would recommend this cd only to people who just want the basic essientials of U2's later years. However, if anyone wants to truly experience The Best of 1990-2000, I recommend just buying the four albums, or at least Achtung Baby.
   
   
   Here's how I'd list the tracks.
   
   The A-side
   
   1. Even Better Than The Real Thing
   2. Mysterious Ways
   3. Beautiful Day
   4. If God Will Send His Angels
   5. One
   6. Lemon
   7. Stay (Faraway, So Close!)
   8. Stuck In A Moment You Can't Get Out Of
   9. Gone (Original Version)
   10. Until The End Of The World
   11. Please
   12. Discotheque (Original Version)
   13. Who's Gonna Ride Your Wild Horses
   14. Staring At The Sun (Original Version)
   15. Numb (New Mix)
   16. The First Time
   17. Walk On
   
   The B-side
   
   1. Lady With The Spinning Head (Extended Dance Mix)
   2. Two Shots Of Happy, One Shot Of Sad
   3. Summer Rain
   4. Electrical Storm (William Orbit Mix)
   5. North and South Of The River
   6. Your Blue Room
   7. Miss Sarajevo
   8. Happiness Is A Warm Gun (The Gun Mix)
   9. Salome (Zooromancer Remix)
   10. Hold Me, Thrill Me, Kiss Me, Kill Me
   11. Even Better Than The Real Thing (Perfecto Mix)
   12. The Fly (Any Remix)
   13. Mysterious Ways (Solar Plexus Club Mix)
   14. Paint It Black
   15. Where Did It All Go Wrong
   16. The Hands That Built America
   17. The Ground Beneath Her Feet
   18. Always



2. What a mixed bag this is! U2's journey through the 90's was a twisting, turning ride that saw the band careening from one style to the next, trying to force themselves away from inertia and only being intermittently successful. While "Achtung Baby" is widely heralded as a masterpiece and "All That You Can't Leave Behind" was universally acclaimed for the band reclaiming their strongest attributes, I doubt many regard either "Zooropa" or "Pop" as monuments to the band's greatness.
   
   Which makes this best of set a true case for song. Fortunately for us, U2's songwriting was very rarely anything less than great, even if the costuming was oddball. So while the band was off exploring their musical wild hairs, they were still writing incredible material like "If God Will Send His Angels" or one-off knock-out's like "Hold Me, Thrill Me, Kiss Me, Kill Me" from "Batman Returns." The wild hairs aren't completely gone, though. It means they had to tweak "Numb" and "Discotheque" unnecessarily.
   
   And it also means omissions abound. Conspicuous in their absence are "The Fly," "Elevation," "Walk On," and "Lemon." You do get a couple of bonuses, in particular the contribution to Martin Scorcese's "Gangs Of New York" Oscar nominated "The Hands That Built America." This collection is also worth having for what could possibly be one of the greatest songs of the 20'th Century, "One." That song alone makes this a four star rating and saves the set from dropping to a three via all the missing material.
   
   As for the bonus "B-Sides" disc: frankly, not much here is really "bonus." "Lemon" and "If God Will Send His Angels" make their appearance here, but remixed (ugh). "Electrical Storm," one of the new songs, shows up again in a different version. And the free DVD is a waste; essentially a commercial for an upcoming DVD release. You're likely just as well served by the single disc version.



3. the album is pretty good, even though the remixing of some well known songs in my opinion doesn't improve anything unless you ar a dj or want to play the music in a club. Also, the first cd is good though the second is more like remixes and soundtrack material and is weaker than the firs cd. Unless you are a deep U2 fan and are willing to get some ok(not the best) content, I would rather go for the 1CD version of the album, but don't get me wrong, there are good songs in the album. Good buys!



4. I love U2. It is on my top 5 list of the best bands EVER. But I only own one U2 album. This one. My brother Pablo gave me this one, as well as many others. I am very thankfull. This one is perfect, one of the best albums I have and it even includes some new songs and mixes which makes this album even more perfect. I love this one with all my heart. Buy this one immediatley. Why? If you've been lookin' for that answer then check this review:
   
   
   Disc One: The Best Of 1990-2000.- O.K. This whole album has 2 discs and 1 DVD. I mean, this is possibly the most complete and best U2 album with their greatest hits.
   
   1.- "Even Better Than The Real Thing".- O.K. Great start for such an album. One of my favorite U2 songs there is.- 5/5.
   
   2.- "Mysterious Ways".- I love this one too. Very...U2. For me..a classic.- 5/5.
   
   3.- "Beautiful Day".- One of the best songs EVER.- 5/5.
   
   4.- "Electrical Storm (William Orbit Mix)".- This is an example of a new song they out on this album and I think this one is better than the original version (which is in the other disc on this 2-disc set. Another one of my all-time favorite's.- 5/5.
   
   5.- "One".- Another classic song from this great, great band. Another one of my all time favorite's,- 5/5.
   
   6.- "Miss Saravejo".- Not too crazy about this one. Nothin' compared to "Beautiful Day" or "One".- 3/5.
   
   7.- "Stay (faraway, so close)".- Yet another classic for me.- 5/5.
   
   8.- "Stuck In A Moment You Can't Get Out Of".- WOW. Another one of my all-time favorite's. This album is really something! .-5/5.
   
   9.- "Gone (New Mix)".- I like this version more than the original. I like this one as much as "Even Better Than The Real Thing".- 5/5.
   
   10- "Until The End Of The World".- Very grissly intro to this song. Then...it becomes one of my favorite's.
   
   11.- "The Hands That Built America (Theme From "Gangs Of New York")".- Another new song. Probably some of you watched the movie "Gangs Of New York" with Leo DiCaprio and Daniel Day Lewis, I did and if you didn't, then I recomend you don't, the truth is I didn't like it, I like the song much more. But a mind-blowing performance by Daniel Day Lewis. Anyway, this one is another one of my all-time favorite's.- 5/5.
   
   12.- "Discothèque (new mix)".- I like the original version, but I find almost no difference.- 5/5.
   
   13.- "Hold Me, Thrill Me, Kiss Me, Kill Me".- The banda sonora from "Batman Returns", the best Batman there is, anyway, I think it is one of my favorite's.- 5/5.
   
   14.- "Staring At The Sun (new mix)".- I like the original version better. This version is too "whiny".- 4/5.
   
   15.- "Numb (new mix)".- I think this song is the strangest I've ever heard. This one is the new mix.- 3/5.
   
   16.- "The First Time".- Great. I like this one.- 4/5.
   
   
   
   Disc Two: The "B" sides.- O.K. The second disc of this album. Most of the songs on this disc are mixes and this part of the album goes down:
   
   
   1.- "Lady With The Spinning Head (Extended Dance Mix)".- I never heard the original version of this song, but I kinda like this version pretty much.- 4/5.
   
   2.- "Dirty Day (Junk Day Mix)".- I never heard the original version of this song either, but I didn't like it, sorry.- 1/5.
   
   3.- "Summer Day".- I love this song. Kinda reminded me of their other song "Desire", have you listened to it? If no, then listen to it now.- 5/5.
   
   4.- "Electrical Storm".- Another new song. To be honest, I don't like this version too much, as I stated that above on disc one.- 4/5.
   
   5.- "North And South Of The River".- Another strange song from U2.- 3/5.
   
   6.- "Your Blue Room".- O.K. I like this one. Very much.- 5/5.
   
   7.- "Happines Is A Warm Gun (The Gun Remix)".- O.K. I don't like this one that much either.- 3/5.
   
   8.- "Salomé (Zooromancer remix)".- This One is more of a disco song.- 4/5.
   
   9.- "Even Better Than The Real Thing (The Perfecto Mix)".- I like the original version better. "Perfecto" is spanish for "perfect", I should know that since I'm Bolivian. But you must have noticed that by taking out the remaining "o".- 4/5.
   
   10.- "Numb (Gimme More Dignity Mix)".- I think this version of "Numb" is way better than the original version.- 5/5.
   
   11.- "Mystrious Ways (Solar Plexus Club Mix)".- I like the original version better.- 4/5.
   
   12.- "If God Would Send His Angels (Big Yam Mix)".- I never heard the original verion of this song, but this one is just fatal!! .- 0/5.
   
   13.- "Lemon (Jeep Mix)".- O.K. This one is way way way better than the previous one.- 4/5.
   
   14.- "Discothèque (Hexidecimal Mix)".- I hate this version of the song.- 2/5.
   
   
   
   O.K. I think this is the best "greatest hits" U2 album. It starts off really smooth, but then, it goes dooowwwwwn big time. But either way I recomend this for you.
   
   
   
   U2 RULES!!!!!!!!!!!!



5. Hey everyone...bought this the day it came out, but after FINALLY being able to listen to 'Vertigo' I had to write something up! VERTIGO ROCKS!!! Anyone else agree? Is there ANY band out there even remotely close to these guys? KEEP IT UP!!
   
   Also, while I'm here...SORELY missing is: Elevation, Ground Beneath Her Feet, Walk On, plus a few others. But then, one would assume that the diehard U2 fan already has these from other sources. GREAT album, and thanks once again U2 (the band) for making so many great memories...can't wait for the 'Bomb' to drop in November!!

5 comments about Doughboys, Playboys and Cowboys: The Golden Years of Western Swing.

1. IF SOMEBODY PUT TOGETHER THIS COMPILATION OF SONGS FOR A MASTER'S THESIS ON THE HISTORY OF WESTERN SWING MUSIC, THEY COULDN'T HAVE DONE A BETTER JOB THAN THIS. THIS IS A FOUR CD BOX SET WITH INFORMATIVE BOOKLETS IN EACH CD WITH LOTS OF PICTURES AND BIOGRAPHICAL INFO. ADMITTEDEDLY, THE EARLIEST STUFF DOESN'T QUITE "SWING" AS MUCH AS THE LATER RECORDINGS, BUT THE MUSIC IS STILL GREAT AND IT IS INTERESTING TO HEAR HOW THE MUSIC EVOLVES OVER TIME. A BARGAIN PRICE, I HAVE A FEW BOX SETS IN THIS SERIES (THE PROPPER LABEL) AND THEY ARE ALL FANTASTIC PRODUCTIONS AND VALUES. WHAT OFTEN GETS OVERLOOKED AS THAT WESTERN SWING IN MANY WAYS WAS A PRECURSOR TO ROCK AND ROLL, ALONG WITH R&B "JUMP BLUES" (AT LEAST TO MY EARS, ANYWAY).



2. Western swing fans will be dancing in the streets over this brilliant box set. It features 99 cuts dating from 1932 through the late 40's. They run chronologically and features all the great architects of western swing: Milton Brown & his musical Brownies, Bob Wills & his Texas Playboys, Light Crust Doughboys etc. Even if you're not a fan of country music, you may enjoy this one. It is genuine feel-good, stomping music with honkytonk pianos, fiddles, drums, guitars and even saxes. This is without a doubt the best buy for any fan of this genre. It is timeless fun! Crank it all the way up, pop open a cold one and all of sudden it's 1938 and you're in a Dallas honky tonk. By the way, the liner notes in the booklet are outstanding with dates, pixs, stories. Most interesting was that the Crystal Springs Ramblers from Ft. Worth were a favorite of Bonnie and Clyde's at a popular dance hall down there. Great job by Proper Records!



3. I read some of the other reviews and I can apperciate a lot what other folks are saying. I really agree with the one who said that todays Country Music makes them sick. What in the name of God does a naked Faith Hill rolling around a bed under the sheets singing some half baked so called Modern Country have to do with the music that I was raised on and grown to love. As the Great Bill Monroe stated "That junk ain't part of nothing",(I saw that on a FH video that was being played on cabel TV). What a moral let down, instead of appearing as one of our Country Stars she looks a lot more like a B-girl- that's where we are today. I said all that to say this: If you love WesternSwing like I do then you will love this set - it really has a lot of good stuff and takes you back to the days of Bob, Milton,Tommy,Leon, Spade and many other outstanding Western Swing artists. This set was a real welcome to my Swing Collection.
   Keep in mind that this music ain't for everybody.If you like spending time listening to the likes of a feuding Toby with the Dixie Chicks then this real Roots Music ain't for you. But if you would be willing to sell your top coon hound to get the money to get tickets to see "Asleep at the Wheel" then you might be a fan that can apperciate what was started by Bob & Milton way down in Texas back in the early 30's.
   While I type this review I'm listening to Bob Wills and the Texas Playboys perform "Faded Love" on my computer so I'll cut it short. Buy this set - at this price you can't afford not too. While you are at it do what I did and get the "Proper Records - Bob Wills/Take Me Back To Tulsa" also - you will be Blessed !
   "ENJOY" Joe Kopeck / Parkville,MD.



4. This 4 volume box set by Proper is a fantastic overview of that great American musical art form Western Swing.
   It's not country, it's not cowboy, it's not swing, it's just great toe-tapping fun music!
   The songs in this album are presented in chronological order thus allowing the listener to experience the growth and progression of this great music.
   The songs are remastered originals and the sound quality is first rate.
   There's also a booklet containing liner notes about all the artists and a discography.
   I own several box sets by Proper and every single one is a bargain, well worth far more than the asking price.



5. My first exposure to Western swing was the first Asleep At The Wheel Bob Wills tribute CD, and I have been hooked ever since. However, up until I bought this collection, I have only heard Bob Wills. I was pleased to buy this in a local branch of Half Price Books. In addition to Bob Wills and the Texas Playboys, it also has selections from Milton Brown, Patsy Montana, the Light Crust Doughboys, Spade Cooley - just to name a few. This vibrant blend of cowboy/fiddle music and black blues/swing has yet to wander far from my CD player!