Let It Loose

Amazon.com
After several albums as the featured singer in the Miami Sound Machine, Gloria Estefan finally stepped up to top billing on Let It Loose, and her coming-out party became a major success. The album features no fewer than four Top 10 singles, including the hot Latino club grooves of "Rhythm Is Gonna Get You" and "1-2-3," and the sweet, affecting ballads "Anything for You" and "Can't Stay Away from You." By the time of the album's release in 1987, Estefan had not yet grown into the assured and charismatic singer she would become. And some of the songs here bear the cheesy production techniques of their time. Overall, however, Let It Loose shows an artist beginning to assert herself with considerable charm and élan. --Daniel Durchholz

Let It Loose,Gloria Estefan,Miami Sound Machine,Sony,Pop,Pop Vocals,Popular Music,Rock/Pop

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Let It Loose

Average customer rating: Let's not forget Dated and cheap Let It Loose (1987) Gloria Estefan & Miami Sound Machine One of the top albums of 1987 and 1988 LET IT LOOSE! IN A FREESTYLE WAY!

Let It Loose Gloria Estefan & Miami Sound Machine Manufacturer: Sony ProductGroup: Music Binding: Audio CD General | Latin Music | Styles | Music Latin Pop | Latin Music | Styles | Music General | Pop | Styles | Music Pop Rock | Pop | Styles | Music General | Adult Contemporary | Pop | Styles | Music General | Vocal Pop | Pop | Styles | Music General | Rock | Styles | Music General | Dance Pop | Dance & DJ | Styles | Music General | Broadway & Vocalists | Styles | Music CDs $7 - $10 | Dance General | Dance & DJ | Today's Deals in Music | Formats | Music All Bargain Titles | Dance General | Dance & DJ | Today's Deals in Music | Formats | Music CDs $7 - $10 | Latin Pop | Latin Music | Today's Deals in Music | Formats | Music All Bargain Titles | Latin Pop | Latin Music | Today's Deals in Music | Formats | Music CDs $7 - $10 | Adult Contemporary | Pop | Today's Deals in Music | Formats | Music All Bargain Titles | Adult Contemporary | Pop | Today's Deals in Music | Formats | Music CDs $7 - $10 | Pop Rock | Pop | Today's Deals in Music | Formats | Music All Bargain Titles | Pop Rock | Pop | Today's Deals in Music | Formats | Music Musicals | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Primitive Love Cuts Both Ways Hold Me Thrill Me Kiss Me Into the Light Gloria Estefan - Greatest Hits ASIN: B0000026B4 Release Date: 1987-06-01

Tracks:

1. Betcha Say That
2. Let It Loose
3. Can't Stay Away From You
4. Give It Up
5. Surrender
6. Rhythm Is Gonna Get You
7. Love Toy
8. I Want You So Bad - Gloria Estefan And Miami Sound Machin
9. 1-2-3
10. Anything For You

Product Description

Excellent condition, includes the original CD, case, and paperwork, First Class shipped, ask me for my CD List! :D

Amazon.com

After several albums as the featured singer in the Miami Sound Machine, Gloria Estefan finally stepped up to top billing on Let It Loose, and her coming-out party became a major success. The album features no fewer than four Top 10 singles, including the hot Latino club grooves of "Rhythm Is Gonna Get You" and "1-2-3," and the sweet, affecting ballads "Anything for You" and "Can't Stay Away from You." By the time of the album's release in 1987, Estefan had not yet grown into the assured and charismatic singer she would become. And some of the songs here bear the cheesy production techniques of their time. Overall, however, Let It Loose shows an artist beginning to assert herself with considerable charm and élan. --Daniel Durchholz

Customer Reviews:

Let's not forget.......2007-07-10

Love and props to Gloria and the Miami Sound Machine. Was a huge fan back in the day. However, let's not forget the ORIGINAL and Break through artists of the 80s for the "miami sound"--Expose! Their album "Exposure" came out well before Gloria's and they set the tone for the Miami Sound/Freestyle/Dance of the 80s. Love ya Gloria...Love ya Expose!

Dated and cheap .......2005-10-27

Some of the rhythms are not bad on this album, but the production techniques and the quality (or rather, lack of quality) of the songs themselves are embarrasingly bad. "1-2-3" is a prime example. It sounds like it was written in about 2 minutes, if that. No amount of production tricks, cheap or not, can compensate for a tune that is just plain BAD. And others follow suit. This is not well-crafted, durable music for all time. It is dated '80s junk that has not aged well. "Let It Loose"? More like "Let It Alone".

Let It Loose (1987) Gloria Estefan & Miami Sound Machine.......2004-07-16

In 1986, a year after the release of Primitive Love, Miami Sound Machine decided to do a name-change. They changed the name to Gloria Estefan & Miami Sound Machine, since Gloria was the main focus of the band. By 1987, the band seemed to be even more famous than they thought, and only after releasing two albums: Eyes Of Innocence (1984) and Primitive Love (1985).

In 1987, Gloria Estefan & Miami Sound Machine released their third album, Let It Loose. Although, it did well on the charts, I don't favor the album too much, but there are some songs from this album that I love.

BETCHA SAY THAT
This one of the songs that I favor from this album. It's lyrics are amazing and the sounds it really catchy.

LET IT LOOSE
A pretty good dance song.

CAN'T STAY AWAY FROM YOU
The first single from the band. Another one of my favorites. She can't stay away from her ex-boyfriend, while I can't get enough of this song.

GIVE IT UP
Not a favorite.

SURRENDER
Okay.

RHYTHM IS GONNA GET YOU
The second single from the album. Another incredible classic. The beat is amazing and the song will remain an undestroyable classic.

LOVE TOY
Okay.

I WANT YOU SO BAD
Not bad.

1-2-3
The third single from the album. Another undestroyable classic.

ANYTHING FOR YOU
The fourth and final single from the album. Not as great.

This is a pretty good album, but I don't favor it too much as I hoped I would, but it's still worth the money you're willing to pay.

One of the top albums of 1987 and 1988.......2004-06-18

Gloris Estefan rose to superstardom with LET IT LOOSE. I remember seeing the video for BETCHA SAY THAT. Big hits from the album are CAN'T STAY AWAY FROM YOU,RHYTHM IS GONNA GET YOU,ANYTHING FOR YOU and 1-2-3. I WANT YOU SO BAD is not to be confused with the same title on Heart's BAD ANIMALS album,released in 1987 just like this album. This is the next to last album bearing the artist Gloria Estefan & Miami Sound Machine. This album was produced by Gloria's husband Emilio Estefan & The Jerks(obviously some buddies of his). Gloria's Epic Records labelmate Michael Jackson had a hit album in '87 also,BAD.

LET IT LOOSE! IN A FREESTYLE WAY!.......2003-11-21

After the introduction of "Eyes Of Innocence" & the success of "Primitive Love", Gloria Estefan and Gang had a very difficult challenged to overcome, prove that "Conga" wasn't a stroke of luck!, and they're weren't just flavor of the month, "Let It Loose" prove many critics wrong, their third delivery outsold the first two LP, had 4 top ten singles + one top 40, and sold over 4 million copies. If that's not enough, "Anything" became their first #1 single in the Billboard 100. To listen to this album nowadays is difficult because, you have to understand, that the Miami Sound Machine tried to fit into the scene of pop music of the late 80's, with that brought to the attention, many songs, specially the ones that didn't became singles like "Give It Up, Surrender, Love Toy" sound extremely dated, with synth's and calypso beats, and really simple lyrics, that tried to alienated her latin spirit away. Surprisely the song that sound less dated than anyone in the Record is the most latin flavored one "Rhythm Is Gonna Get You" and the message was clear, this song made to the top 5, and was the first single, and the strongest in the whole album. "Betcha You Say That" became the sad 2nd single, a song that failed the top 10, because it was simply boring, without innovation and pretty away from the style of Estefan, it was no mistake this was her most poppy AC attemp, but it failed, the third single "Can't Stay Away From You" her first ballad of this album to be release, is a nice easy goin track, but as many songs in this record sound dated and without strong feelings, the 4th single "Anything" their first #1, is a timeless Estefan classic, and it will sound in radio waves from years to come, because, it's reunites everything a song should have, a great hook, great lyrics, timeless music, and amazing memorable vocals, great message, great song. The last single "1-2-3" made it into the charts with a slightly different remix, this song is the most easy goin' and radio friendly of all, no wonder it was a hit, party stomper by those days, a none release song "I Want You So Bad" made recall Donna Summer's sexy songs, but it's no lie, that Gloria is more friendly, than sexy vixen, so with all that in mind, "Let It Loose" made it big with the four singles that became top 10. but the half of the album sound dated, this is a most have for any fan of Gloria or the late 80's, but if you're casual listener buy the Greatest Hits.

Average customer rating: Excellent Disc of Real Boogie Woogie and Blues Piano

Let It Loose Kenny "Blues Boss" Wayne Manufacturer: Electro-Fi Records ProductGroup: Music Binding: Audio CD General | Blues | Styles | Music Electric Blues Guitar | Blues | Styles | Music Modern Blues | Blues | Styles | Music Blues Rock | Rock | Styles | Music Boogie-Woogie | Traditional Jazz & Ragtime | Jazz | Styles | Music Similar Items: 88th & Jump Street Can't Keep a Good Woman Down! Sadie Mae The Billy Gibson Band Master of the Game ASIN: B0009FGX4S Release Date: 2005-05-24

Tracks:

1. Blackberry Wine
2. Joogie To The Boogie
3. Wishing Well
4. I Never Will Forgive You
5. Blue And Lonesome
6. Let Me Go Home Whiskey
7. Let It Loose
8. Mean Streak
9. Bewildered
10. Be A Man
11. Lies
12. Don't Rush To Judge Me
13. Blues Carry Me Home

Amazon.com

Kenny Wayne is something of an anomaly among modern blues pianists. He favors neither deep, dark left-hand bass rumbles nor frantic right-hand skittering in the upper registers. Rather, he likes to take things at a medium-tempo, even-handed gait, even when he's working in the full-speed-ahead style of boogie-woogie bluesmen like Amos Milburn (Kenny's original "Joogie to the Boogie" and remakes of three Milburn classics). He's also partial to the curling New Orleans licks of Professor Longhair ("Blackberry Wine") and the laid-back "cocktail blues" sophistication of Charles Brown ("Bewildered"). Add in Wayne's wispy, insinuating voice and you've got yourself an undeniably pleasant late-night blues set. It won't set the house on fire, but it's not supposed to, and in an age of blues excess you've got to appreciate that approach. --John Morthland

Album Description

Kenny "Blues Boss" Wayne is at the forefront of modern day blues and boogie woogie piano practitioners, working hard to keep this glorious music alive and kicking. Well versed in the New Orleans Blues and Jazz tradition by his Louisiana born parents, Kenny has along the way picked up a taste for Kansas City Swing and West Coast Jump which has made his dynamic live show much in demand at clubs and festivals in both North America and Europe. Here on "Let It Loose" his latest release on Electro-Fi we are gifted with the full spectrum of Kenny's prodigious songwriting ability as well as a three song tribute to past master Amos Milburn. In a blues world populated, some would say overpopulated with wailing guitars and harmonicas, it's reassuring that when Kenny "Blues Boss" Wayne sits down at the piano bench and dances his ten digits over 88 keys, great things happen!

Customer Reviews:

Excellent Disc of Real Boogie Woogie and Blues Piano.......2007-07-22

A few years ago I was sent a cd by a West Coast pianist, Kenny "Blues Boss" Wayne which was a superb disc of hot R&B and jump blues in the vein of such legends as Amos Milburn, Floyd Dixon and Little Willie Littlefield. Subsequently he has started to tour at top festivals and clubs and the Canadian Electro-Fi label has issued Let It Loose, his second disc for the label and I believe fourth overall. The cd opens with a hard rocking Blackberry Wine, yet another tune of many derived musically from Amos Milburn's Chicken Shack Boogie. Milburn is clearly the main influence on Wayne who plays strong jump boogie piano that would have served Milburn proud. Joogie to the Boogie is a nice easy rocking number with some strong tenor from Pat Carey. A trio of songs, Bewildered, Let Me Go Home Whiskey, Memphis Slim's Blue and Lonesome, are a mini-tribute to Milburn who was one of the top selling R&B acts between 1948 and 1953. A more modern tone and a funk groove mark the slow reflective Wishing Well, while the title track is a high-stepping number that should prove irresistible for the swing dancers with its quick but not frenzied tempo. A more contemporary feel also characterizes the closing, Blues Carry Me Home, which is perhaps not as striking as some of the other numbers. Russell Jackson on bass anchors a solid rhythm section that never rushes the tempo and Brandon Isaak plays solid idiomatic guitar to complement Wayne. Wayne also contributed most of the songs here, and his songwriting is like his piano and vocals, first-rate. With all the albums that are supposedly extending the blues, its nice to find a disc whose playing and vocals is rooted in some undeservedly forgotten giants of the music that makes for a generally terrific recording.

This disc won the 2006 Juno Award (Canadian Grammy) for Blues. I have rated it conservatively (giving it 4 not 5 stars) as it is a wonderful recording by a gentleman who I have had the pleasure of seeing several times but not one that I consider a definitive, essential recording.

Average customer rating: A Rose By Any Other Name... "Thus I salute the stronghold, safe from dread and dismay! Free at last! I Love This Recording The Goodall Ring - 1975 - Restored and Remastered

Wagner: The Rhinegold English National Opera Manufacturer: Chandos ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Similar Items: Siegfried (Goodall Ring Cycle/Chandos Opera in English) The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English) Wagner: The Valkyrie ASIN: B00005B550 Release Date: 2001-05-22

Customer Reviews:

A Rose By Any Other Name..........2007-07-02

The figure of speach may not be completely correct in this instance, but, well, I hope you get the point. In any case, for a Dutch speaking person, like I, to hear 'The Ring' in a language other than the original German feels - almost shockingly(?) - natural. Certainly, this modern English translation, to me, is as least immediate, and probably even more immediate, than the original (archaic) German text. And in music drama, immediacy is essential. Maybe it is also the wonderfully natural translation, I don't know, but it works for me, the Ring in English.
But most of the credit has to go to the music, the singers, and the recording as such. I believe that this (originally analogue) remastered recording has one of the best recorded sounds and acoustics of any Ring, studio or 'live'. It is wonderfully clear but warm, kind of velvety (very unlike Solti), with beautifully natural balaces between voices and orchestra. Audience noises can be heard (including a delightful little ripple of laughter) but never really obtrusively so, thankfully. And I love the thunderclap-sound effect when Donner strikes his hammer against the rocks - very tastefully done, and lending extra power to the scene.
All the time one reads in reviews everywhere of the very slow speads at which the music is conducted by Sir Reginald Goodall. Well, that may be so, but I, for one, am certainly endeared to Sir Reginald Goodalls 'caressing' of the music, as a result of which wich the Leitmotifs come out more clearly than ever. The slow - but nonetheless very concentrated, and always involved - playing has, to me, an almost mesmerizing effect. Certainly, compared to many other recordings, the music may sound stretched almost beyond breaking point. But in the end, I think it is really just that: a matter of speed, no more. The concentration never falters and the dramatic arc never saggs. There is live 'music magic' going on here, I feel, even if the English National Opera Orchestra may not be (as precise or as diciplined as) a Wiener Philharmoniker or a Bayreuther Festspielorchester. Certainly, Sir Reginald Goodall must have loved this music and these opera's: one feels a slowly beating but constant loving pulse that energizes the drama and the music.
But we also have the singers. And what a great singers! While the best may be yet to come (with Alberto Remedios as Siegmund and Siegfried, and Rita Hunter as Brunnhilde), we here, in The Rhinegold, already have one of the most commanding of Wotans (Norman Bailey, with wonderful burnished timbre). Also, Emile Belcourt stands out as a wonderfully sleek but full-voiced Loge. Derek Hammond-Stroud's Alberich may not be as black as Gunther von Kannen's (for Barenboim), for example, but there is enough anguish, frustration and anger to lend his character a convincing reality and depth. And the giants too, are a winning pair. Especially Fafner (Clifford Grant) is as imposing and powerful as one may ever wish.
With all the rave reviews, here and elsewhere I can't wait to hear The Valkyrie, (especially) Siegfried and Twilight of the Gods. This certainly is a winning 'Ring', to be kept alongside any other 'great' recorded 'Ring' out there, IMHO. To me, it can hold its own alongside any other favorite recordings.
Please, sample this Ring (try for example the Chandos website for fragments of all of the music) and decide for yourself. Highly recommended.

"Thus I salute the stronghold, safe from dread and dismay!.......2007-06-12

Okay, so we have the Solti, Bohm, Karajan, Goodall, Boulez, Janowski, Levine, Haitink, and Sawallisch Rings on the market (I haven't listened to the other Ring recordings yet, sorry to say). And all of these leave me to one conclusion: the many differences lead me to believe that all of these ring sets have their own authenticities and setbacks. And here they are:

TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 minutes
Sawallisch's Ring: 14 hours, 0 minutes

CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.

Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.

Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.

Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.

Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works only if you hear AND see it (the DVD's work best).

Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".

Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.

Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).

Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.

ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.

Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.

Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.

Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act Two Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.

Boulez's Bayreuth Festival: While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Mime's motifs) fares better than Berlin's and English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness. Beauty makes up for the irritatingly quick "Wotan's Farewell".

Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Boulez's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are heard clear in this Ring. The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.

Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.

Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, only this sounds much more poignant. The strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.

Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.

SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).

Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.

Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".

Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.

Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.

Levine and Haitink: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's and Haitink's Ring.

Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.

-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.

Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).

Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."

Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).

Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.

Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).

Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".

-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Three exceptions, though: Goldberg and Schunk don't sound heroic enough, and Norman for Levine doesn't sound young and innocent enough.

-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.

Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.

Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.

Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. Again, the DVD's are your safest bet.

Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.

Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.

Haitink: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm. Bravo!

-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").

Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.

Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.

Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.

Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.

Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.

Haitink: No offense, but Theo Adam as Alberich? Come on . . .

-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.

Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.

Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.

Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. He is equal to Zednik when it comes to humaneness and lyricism. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.

Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).

Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.

-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on during the Trilogy.

Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Again, another Loge that's marred by lack of cunning.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.

Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.

Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief!

Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt and Zednik depend only on vengeance and deviousness, Stolze only imagination and deviousness, Windgassen and Svanholm only peril. His odd conversations with Alberich and the gods/goddesses are classic.

Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.

Sawallisch: Robert Tear is on par with Stolze and Zednik. Sometimes he takes things too low, but all is forgiven with his management of character development.

-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.

CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation, Neuhold's Badische version, and the essential mono recordings (Furtwangler, Krauss, etc.), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.

The Box Set: Wagner: The Ring Cycle (Box Set)
-The Valkyrie (Part 2): Wagner: The Valkyrie
-Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Free at last!.......2004-09-18

I've enjoyed listening to the Ring cycles by Solti, Bohm, and Furtwangler, but my pleasure has always been dampened by the necessity to follow the dramas with a German/English libretto. This performance freed me from that burden and allowed me to listen to the Ring with my ears alone for the first time. And what a delightful experience it was! I found I could understand about half the words the first time through. but that was enough for me to understand what the characters were saying and concentrate on Wagner's great music. Some of the characters (Loge and Alberich, for example) are almost perfectly comprehensible, while others (Fricka in particular) might as well be singing in German. The sound itself is superb, with perfect balances between orchestra and voices. Goodall's conducting is famously slow (about half an hour longer than usual), but he is never slack and he reveals a wealth of detail in the orchestration. The singers are a mixed lot, with Loge, Alberich, and Mime particularly effective. Bailey is hardly the grandest of Wotans, but he is solid and convincing. In any event, for us non-German listeners, this recording is a real treat. I would not recommend it as a first Ring (Bohm is a good choice, though some of his tempi are rather hectic), but as a supplement to a recoding in the original language, it is hard to beat. Give it a try! As for me, I'm ready to go on to "Die Walkure" (pardon me, "The Valkyrie").

I Love This Recording.......2002-04-05

I was a little suspicious when approaching this English-language version of Das Rhinegold. I was considering assembling this as my third RING set (behind Solti and Levine) and had listened to THE VALKYRIE (Die Walkure) with a little initial disappointment. Although the live sound quality was very interesting, the tempo was much slower than I was used to and thus a little disconcerting, and the English words were harder to understand than I had hoped. Nevertheless, I persevered and listended to THE RHINEGOLD (probably my favorite of the four RING operas, although I know this puts me in a minority) and was amazed. Best of all, after listening to this album I revisited the Goodall VALKYRIE and discovered a new appreciation! Now the Goodall set ranks as one of the best I've heard. It just needed to get under my skin a bit.

What's so good about it? Three things stand out for me: First, the slow tempi that were a litle rough at first actually allow, upon repeated listenings, a new discovery and understanding of Wagner's unfathomable genius. Every nuance is slowed down just enough to be fully accessible. Second, the modern English translation really does make this a different experience...my initial mistake was thinking that English lyrics could allow me to listen to this as background music, and that's not the case. However, if one devotes the same attention to this as a German recording, the time wil be richly rewarded. Finally, the smaller orchestra creates an almost chamber music-esque setting, which compliments the music in an undefinable way. Despite being in English, this is almost more Germanic than original-language recordings.

I still probably wouldn't get this as the first foray into Wagner's RING (I still think Solti or Levine are the choices for that). But for someone who already has some familiarity with the work, this will provide a lifetime's enjoyment. Cudos to Chandos for resurrecting these recordings!

The Goodall Ring - 1975 - Restored and Remastered.......2001-06-08

I have been curious about this for years. When I saw the packaging, I wondered whether this was the same Ring that has been kicking around for a couple of decades from the Sadler's Wells performances of the mid-70s. News flash: It's the same. However, the box says that it's been re-mastered with something called 24-bit digital mastering. Since I never heard the old records, I have no idea if this is better. Judged on its own, the sound is terrific. This live recording really places the listener in the theater with clarity and authentic spaciousness. So often, a live recording will capture the audience up close, then the orchestra, then the singers, cataloguing every throat being cleared and every bow being tapped. Somewhere in the distance, the singers voices follow their heavy tread over the stage. Not here. There is an intimacy to the sound here that approximates sitting in about the tenth row back in a large hall. It doesn't sound like the opera's being played in your room; it sounds as though your room has been transformed into a medium sized theater. I found it uncanny.

As to the experience of the drama in English, that too is remarkable, at least for someone like me whose home-tongue is English. The drama takes on an immediacy that I have never experienced before. This factor alone is why you should explore this Ring. I can't overemphasize the impact on me that this recording had on me because it was in English and because it was well-acted. Surely this is what Wagner meant, at least dramaturgically (obviously allowing that you can't actually see the action).

Overall, the singing is competent, and in some places, it's excellent. None of the cast really stands out musically. Norman Bailey's wobbly Wotan could have certainly benefitted from a deeper, richer tone. Still, and perhaps more importantly, he creates a god who is clearly unsure of where the moral highground is, even when he's standing on "an open space on a mountain summit." Everyone, for that matter, is dramatically convincing, especially Emile Belcourt (Loge) and Derek Hammond-Stroud (Alberich) and Robert Lloyd (Fasolt), all of whom, by the way, have excellent diction. And speaking of diction, I almost could have done without the libretto when the men were singing. Not so with the women, whose diction was uniformly wanting.

Goodall's pace is notoriously glacial. Still, it's interesting to hear it parsed in this way, and I never had the feeling that I was going to fall off the world. Which is to say that the tempos were deliberate, not affected. This was definitely a labor of love for RG and the English National Opera. The orchestra is a little thin sounding, and perhaps, not entirely up to the score. Occasionally a horn mis-blew and a cello creaked. This is unavoidable in live performances, I suppose. Still, there is a surprising sense of smallness to the ensemble, even though there's never a moment when the balance between singers and players is lost. As a result, the overall effect is a balance of clarity and urgency that is clearly the upside of Goodall's idiosyncratic "vision" of the score. Not a huge or "erotic" sound, but always committed, intelligent, and sometimes impassioned.

For all of its flaws, this is an astonishing and, for me, an indispensible recording because it made me listen to this opera with new ears. While it's not the most lyrically pleasing recording (Karajan) or musically authoritative (that would be Solti, IMHO), dramatically, this Rhinegold excells any recording I know of. I will definitely buy the rest of the set.

Average customer rating: one of the best of 2006

Let It Roll Willard Grant Conspiracy Manufacturer: Loose ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music Alt-Country & Americana | Country | Styles | Music General | Rock | Styles | Music Pop Rock | Pop | Styles | Music Adult Alternative | Pop | Styles | Music Similar Items: There But for the Grace of God Flying Low Everything's Fine Mojave Regard the End ASIN: B000ECXCQI Release Date: 2006-06-20

Tracks:

1. Distant Shore
2. Let It Roll
3. Dance with Me
4. Skeleton
5. Flying Low
6. Breach
7. Crush
8. Mary of the Angels
9. Ballad of a Thin Man
10. Lady of the Snowline

Amazon.com

Bandleader Robert Fisher doesn't just write about the corners of the soul where death, revenge, transcendence, and spiritual crisis confuse human will. On the Willard Grant Conspiracy's brilliant sixth album, Fisher conjures them in grand sonic chiaroscuro: bright and brooding textural arrangements that pit swirling guitar feedback against wistful violins and layers of keyboards, percussion, and voices. The grandest instrument of all is Fisher's Jim Morrison-like baritone, which perfectly expresses his dark poetry--especially in the nine-minute title number, a tale of blasphemy and retribution as arresting and expansive as the Doors' "The End." Well-tailored production and experimentalism take this disc a few steps away from the roots/Americana foundation of the California-based group's earlier recordings. Nonetheless, a cover of Dylan's "Ballad of a Thin Man" fits right in, thanks to the fractured backbone provided by guitarist Jason Victor. Steve Wynn cowrote the lyrics to the survivor's song "Flying Low," and John Dragonetti, Blake Hazard, and other indie-rock darlings make cameos. But Let It Roll is obviously the product of Fisher's own strong, singular vision, and could win the Willard Grant Conspiracy a following of the same heroic proportions they already enjoy in Europe. --Ted Drozdowski

Album Description

European pressing features a total of 10 tracks including 'Crush', 'Dance With Me', 'Lady Of The Snowline', 'Skeleton', the title track and more. Vinyl Junkie.

Customer Reviews:

one of the best of 2006.......2007-02-24

From the gorgeous opening , Distant Shore, a soldier's elagaic lament, to the title track, an epic tale of madness and mayhem, to the beautiful yet haunting Flying Low, the sixth album by the enigmatically named Willard Grant Conspiracy is by far their most accomplished album, and one of the two or three best albums of 2006. It's that good. Though leader Robert Fischer's influences seem hard to pinpoint, and rather obscure; his visions of a gothic americana almost Faulknerian in its sweep, the music is as accesible as any of the best Americana, or Alt-Country , though those labels don't do justice to the originality of it's conception. I can't recommend Let it Roll any more enthusiastically. Criminally unreleased in their own country, it is worth seeking out.

Average customer rating: Let's not forget Dated and cheap Let It Loose (1987) Gloria Estefan & Miami Sound Machine One of the top albums of 1987 and 1988 LET IT LOOSE! IN A FREESTYLE WAY!

Let It Loose Gloria Estefan & Miami Sound Machine Manufacturer: Sony ProductGroup: Music Binding: Audio CD General | Latin Music | Styles | Music Latin Pop | Latin Music | Styles | Music General | Pop | Styles | Music Pop Rock | Pop | Styles | Music Contemporary | Vocal Pop | Pop | Styles | Music General | Adult Contemporary | Pop | Styles | Music General | Dance Pop | Dance & DJ | Styles | Music Similar Items: Primitive Love Cuts Both Ways Hold Me Thrill Me Kiss Me Into the Light Gloria Estefan - Greatest Hits ASIN: B000002AAP Release Date: 1995-08-08

Tracks:

1. Betcha Say That
2. Let It Loose
3. Can't Stay Away From You
4. Give It Up
5. Surrender
6. Rhythm Is Gonna Get You
7. Love Toy
8. I Want You So Bad
9. 1-2-3
10. Anything For You

Amazon.com

After several albums as the featured singer in the Miami Sound Machine, Gloria Estefan finally stepped up to top billing on Let It Loose, and her coming-out party became a major success. The album features no fewer than four Top 10 singles, including the hot Latino club grooves of "Rhythm Is Gonna Get You" and "1-2-3," and the sweet, affecting ballads "Anything for You" and "Can't Stay Away from You." By the time of the album's release in 1987, Estefan had not yet grown into the assured and charismatic singer she would become. And some of the songs here bear the cheesy production techniques of their time. Overall, however, Let It Loose shows an artist beginning to assert herself with considerable charm and élan. --Daniel Durchholz

Customer Reviews:

Let's not forget.......2007-07-10

Love and props to Gloria and the Miami Sound Machine. Was a huge fan back in the day. However, let's not forget the ORIGINAL and Break through artists of the 80s for the "miami sound"--Expose! Their album "Exposure" came out well before Gloria's and they set the tone for the Miami Sound/Freestyle/Dance of the 80s. Love ya Gloria...Love ya Expose!

Dated and cheap .......2005-10-27

Some of the rhythms are not bad on this album, but the production techniques and the quality (or rather, lack of quality) of the songs themselves are embarrasingly bad. "1-2-3" is a prime example. It sounds like it was written in about 2 minutes, if that. No amount of production tricks, cheap or not, can compensate for a tune that is just plain BAD. And others follow suit. This is not well-crafted, durable music for all time. It is dated '80s junk that has not aged well. "Let It Loose"? More like "Let It Alone".

Let It Loose (1987) Gloria Estefan & Miami Sound Machine.......2004-07-16

In 1986, a year after the release of Primitive Love, Miami Sound Machine decided to do a name-change. They changed the name to Gloria Estefan & Miami Sound Machine, since Gloria was the main focus of the band. By 1987, the band seemed to be even more famous than they thought, and only after releasing two albums: Eyes Of Innocence (1984) and Primitive Love (1985).

In 1987, Gloria Estefan & Miami Sound Machine released their third album, Let It Loose. Although, it did well on the charts, I don't favor the album too much, but there are some songs from this album that I love.

BETCHA SAY THAT
This one of the songs that I favor from this album. It's lyrics are amazing and the sounds it really catchy.

LET IT LOOSE
A pretty good dance song.

CAN'T STAY AWAY FROM YOU
The first single from the band. Another one of my favorites. She can't stay away from her ex-boyfriend, while I can't get enough of this song.

GIVE IT UP
Not a favorite.

SURRENDER
Okay.

RHYTHM IS GONNA GET YOU
The second single from the album. Another incredible classic. The beat is amazing and the song will remain an undestroyable classic.

LOVE TOY
Okay.

I WANT YOU SO BAD
Not bad.

1-2-3
The third single from the album. Another undestroyable classic.

ANYTHING FOR YOU
The fourth and final single from the album. Not as great.

This is a pretty good album, but I don't favor it too much as I hoped I would, but it's still worth the money you're willing to pay.

One of the top albums of 1987 and 1988.......2004-06-18

Gloris Estefan rose to superstardom with LET IT LOOSE. I remember seeing the video for BETCHA SAY THAT. Big hits from the album are CAN'T STAY AWAY FROM YOU,RHYTHM IS GONNA GET YOU,ANYTHING FOR YOU and 1-2-3. I WANT YOU SO BAD is not to be confused with the same title on Heart's BAD ANIMALS album,released in 1987 just like this album. This is the next to last album bearing the artist Gloria Estefan & Miami Sound Machine. This album was produced by Gloria's husband Emilio Estefan & The Jerks(obviously some buddies of his). Gloria's Epic Records labelmate Michael Jackson had a hit album in '87 also,BAD.

LET IT LOOSE! IN A FREESTYLE WAY!.......2003-11-21

After the introduction of "Eyes Of Innocence" & the success of "Primitive Love", Gloria Estefan and Gang had a very difficult challenged to overcome, prove that "Conga" wasn't a stroke of luck!, and they're weren't just flavor of the month, "Let It Loose" prove many critics wrong, their third delivery outsold the first two LP, had 4 top ten singles + one top 40, and sold over 4 million copies. If that's not enough, "Anything" became their first #1 single in the Billboard 100. To listen to this album nowadays is difficult because, you have to understand, that the Miami Sound Machine tried to fit into the scene of pop music of the late 80's, with that brought to the attention, many songs, specially the ones that didn't became singles like "Give It Up, Surrender, Love Toy" sound extremely dated, with synth's and calypso beats, and really simple lyrics, that tried to alienated her latin spirit away. Surprisely the song that sound less dated than anyone in the Record is the most latin flavored one "Rhythm Is Gonna Get You" and the message was clear, this song made to the top 5, and was the first single, and the strongest in the whole album. "Betcha You Say That" became the sad 2nd single, a song that failed the top 10, because it was simply boring, without innovation and pretty away from the style of Estefan, it was no mistake this was her most poppy AC attemp, but it failed, the third single "Can't Stay Away From You" her first ballad of this album to be release, is a nice easy goin track, but as many songs in this record sound dated and without strong feelings, the 4th single "Anything" their first #1, is a timeless Estefan classic, and it will sound in radio waves from years to come, because, it's reunites everything a song should have, a great hook, great lyrics, timeless music, and amazing memorable vocals, great message, great song. The last single "1-2-3" made it into the charts with a slightly different remix, this song is the most easy goin' and radio friendly of all, no wonder it was a hit, party stomper by those days, a none release song "I Want You So Bad" made recall Donna Summer's sexy songs, but it's no lie, that Gloria is more friendly, than sexy vixen, so with all that in mind, "Let It Loose" made it big with the four singles that became top 10. but the half of the album sound dated, this is a most have for any fan of Gloria or the late 80's, but if you're casual listener buy the Greatest Hits.

Average customer rating:

Let It Loose Manufacturer: Electro-Fi ProductGroup: Music Binding: Audio CD General | Blues | Styles | Music ASIN: B000A2GUEI Release Date: 2005-05-17

Average customer rating:

Let It Loose Gloria Estefan Manufacturer: Epic ProductGroup: Music Binding: Audio CD Pop Rock | Pop | Styles | Music ASIN: B000LYKBWW

Average customer rating:

Make It with You Let Loose ProductGroup: Music Binding: Audio CD ASIN: B000KITXNM

Product Description

Two CD-EP set. 1996 collectors' edition. Track Listing: DISC 1 - Make It With You (3:52) | Seventeen (Remix) (3:32) | Crazy For You (4:20) | Jessie Saunders (4:59) DISC 2 - Make It With You (3:52) | One Night Stand (Chaps Mix) (4:06) | Best In Me (3:34) | All 'Cause I Love You (4:59)

Average customer rating: Miami Sound Machine & Gkirua Estefan

Let It Loose/Cuts Both Ways/Into The Light Gloria Estefan & the Miami Sound Machine Manufacturer: Sony ProductGroup: Music Binding: Audio CD General | Dance & DJ | Styles | Music General | Dance Pop | Dance & DJ | Styles | Music General | International | Styles | Music General | Latin Music | Styles | Music Latin Pop | Latin Music | Styles | Music General | Pop | Styles | Music Pop Rock | Pop | Styles | Music General | Adult Contemporary | Pop | Styles | Music General | Vocal Pop | Pop | Styles | Music General | Rock | Styles | Music General | Broadway & Vocalists | Styles | Music General | Dance & DJ | Box Sets | Stores | Music General | Pop | Box Sets | Stores | Music Pop Rock | Pop | Box Sets | Stores | Music General | Rock | Box Sets | Stores | Music Musicals | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music ASIN: B000007T2M Release Date: 1998-06-30

Tracks:

1. Betcha Say That - Gloria Estefan & Miami Sound Machine
2. Let It Loose - Gloria Estefan & Miami Sound Machine
3. Can't Stay Away From You - Gloria Estefan & Miami Sound Machine
4. Give It Up - Gloria Estefan & Miami Sound Machine
5. Surrender - Gloria Estefan & Miami Sound Machine
6. Rhythm Is Gonna Get You - Gloria Estefan & Miami Sound Machine
7. Love Toy - Gloria Estefan & Miami Sound Machine
8. I Want You So Bad - Gloria Estefan & Miami Sound Machine
9. 1-2-3 - Gloria Estefan & Miami Sound Machine
10. Anything For You - Gloria Estefan & Miami Sound Machine

Tracks:

1. Ay, Ay, I - Gloria Estefan & Miami Sound Machine
2. Here We Are - Gloria Estefan & Miami Sound Machine
3. Say - Gloria Estefan & Miami Sound Machine
4. Think About You Now - Gloria Estefan & Miami Sound Machine
5. Nothin' New - Gloria Estefan & Miami Sound Machine
6. Oye Mi Canto (Hear My Voice) (English Version) - Gloria Estefan & Miami Sound Machine
7. Don't Wanna Lose You - Gloria Estefan & Miami Sound Machine
8. Get On Your Feet - Gloria Estefan & Miami Sound Machine
9. Your Love Is Bad For Me - Gloria Estefan & Miami Sound Machine
10. Cuts Both Ways - Gloria Estefan & Miami Sound Machine
11. Oye Mi Canto (Spanish Version) - Gloria Estefan & Miami Sound Machine
12. Si Voy A Perderte - Gloria Estefan & Miami Sound Machine

Tracks:

1. Coming Out Of The Dark - Gloria Estefan
2. Seal Our Fate - Gloria Estefan
3. What Goes Around - Gloria Estefan
4. Nayib's Song (I Am Here For You) - Gloria Estefan
5. Remember Me With Love - Gloria Estefan
6. Heart With Your Name On It - Gloria Estefan
7. Sex In The 90's - Gloria Estefan
8. Close My Eyes - Gloria Estefan
9. Light Of Love - Gloria Estefan
10. Can't Forget You - Gloria Estefan
11. Live For Loving You - Gloria Estefan
12. Mama Yo Can't Go - Gloria Estefan
13. Desde La Oscuridad (Coming Out Of The Dark-Spanish Version) - Gloria Estefan

Customer Reviews:

Miami Sound Machine & Gkirua Estefan.......2007-07-19

Terrific music, wish I could get the translation from Spanish to English of the CD of " Con los anos que nos quedan". I have tried to find out the name of the English version but I do not know what the English name is for it. If you know it get it for me. You have my E-mail address.

Average customer rating: Very interesting $5 for these wonderful Traviata highlights is a steal.

Verdi - La Traviata / Cotrubas, Gedda, MacNeil, Krips [highlights] Kurt Equiluz , Ernst Gutstein , Emmy Loose , and Cornell MacNeil Manufacturer: Gala ProductGroup: Music Binding: Audio CD All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music 4-for-3 Classical | 4-for-3 Music | Stores | Music 4-for-3 Pop | 4-for-3 Music | Stores | Music 4-for-3 All Music | 4-for-3 Music | Stores | Music ASIN: B000001XMR Release Date: 2000-06-06

Tracks:

1. Act One, Toast: 'Let's Drink From The Joyous Chalice' - Nicolai Gedda/Ileana Cotrubas/Cornell MacNeil/Edita Gruberova/Kurt Equiluz/Ernst Gutstein...
2. Act One, Toast: 'One Happy Day' - Nicolai Gedda/Ileana Cotrubas
3. Act One, Scene And Aria (Violetta)-Finale: 'How Strange It Is!...Was This The Man' - Ileana Cotrubas
4. Act One, Scene And Aria (Violetta)-Finale: 'It's Madness! It's Empty Delirium!...Free And Aimless' - Ileana Cotrubas/Nicolai Gedda
5. Act Two, Scene And Aria (Alfredo): 'There's No Pleasure... My Passionate Spirit' - Nicolai Gedda
6. Act Two, Scene And Aria (Alfredo): 'Oh, My Remorse' - Nicolai Gedda/Emmy Loose
7. Act Two, Scene And Aria (Alfredo): 'Mademoiselle Valery?' - Cornell MacNeil/Ileana Cotrubas
8. Act Two, Scene And Aria (Alfredo): 'As Pure As An Angel' - Cornell MacNeil/Ileana Cotrubas
9. Act Two, Scene And Aria (Alfredo): 'You Cannot Know The Kind Of Passion' - Ileana Cotrubas/Cornell MacNeil
10. Act Two, Scene And Aria (Alfredo): 'One Day, When Time' - Cornell MacNeil/Ileana Cotrubas
11. Act Two, Scene And Aria (Alfredo): 'Say To Your Daughter' - Ileana Cotrubas/Cornell MacNeil
12. Act Two, Scene And Aria (Alfredo): 'Tell Me What I Must Do...Say You Don't Love Him' - Ileana Cotrubas/Cornell MacNeil
13. Act Two, Scene (Violetta): 'Heaven, Give Me Strength!' - Ileana Cotrubas/Emmy Loose
14. Act Two, Scene (Violetta): 'What Are You Doing?...Nothing' - Nicolai Gedda/Ileana Cotrubas
15. Act Two, Scene (Violetta): 'What Has Vanished From Your Heart' - Cornell MacNeil
16. Act Two, Scene (Violetta): 'I've Asked Him To Follow Me' - Ileana Cotrubas/Nicolai Gedda/Cornell MacNeil/Edita Gruberova/Kurt Equiluz/Ernst Gutstein...
17. Act Two, Scene (Violetta): 'For Me This Woman Lost All She Possessed' - Nicolai Gedda/Ileana Cotrubas/Cornell MacNeil/Edita Gruberova/Kurt Equiluz/Ernst Gutstein...
18. Act Two, Scene (Violetta): 'A Man Who Offends A Woman' - Cornell MacNeil/Nicolai Gedda/Edita Gruberova/Kurt Equiluz/Herbert Lackner/Harald Proglhof...
19. Act Two, Scene (Violetta): 'Alfredo, How Should You Understand' - Ileana Cotrubas
20. Act Three: 'You Kept Your Promise...I Wait, But They Never Come...Farewell Happy Dreams' - Ileana Cotrubas
21. Act Three, Scene And Duet (Violetta Ed/And Alfredo): 'We'll Leave Paris, My Dearest' - Emmy Loose/Ileana Cotrubas/Nicolai Gedda
22. Act Three, Last Final: 'Ah, Violetta!...You, Monsieur? - Cornell MacNeil/Ileana Cotrubas/Nicolai Gedda
23. Act Three, Last Final: 'Take This Picture Of Me' - Ileana Cotrubas/Nicolai Gedda/Cornell MacNeil/Emmy Loose/Herbert Lackner

Customer Reviews:

Very interesting.......2005-02-15

Josef Krips is my favorite conductor of all time, especially of Mozart. I had never heard him conduct Verdi, and even though he would have been of an advanced age in 1971 (the year of this recording), I bought it anyway.

This is good collection of highlights: it is over 70 minutes long and includes pretty much every major aria and ensemble in the opera. The conducting of Krips is, as I expected, logical and elegant in his Viennese fashion. As another reviewer has noted, there are a few beats where the singers and orchestra aren't in the same groove - but it's a live performance, and the performers are on their toes and are back together in no time. These mistakes are merely ripples and no energy is lost.

Nicolai Gedda annd Ileana Cotrubas (who is to me the most splendid of all Violettas), are no-brainers. They sparkle together in as Alfredo and Violetta should, and sink together properly later on as well.

The recording quality is merely decent; but for a budget label, such is hardly unexpected. Get this if you like Krips, or great conducting in general, and certainly if you enjoyed Cotrubas in the Kleiber set.

$5 for these wonderful Traviata highlights is a steal........2000-12-07

Both Ileana Cotrubas and Nicolai Gedda are in fine voice for this 1971 live performance from the Vienna Staatsoper. Cotrubas, in particular, was in the early spring of her career and had just signed a three year contract with the house. All the promise of a magnificent career can be heard in her already maturing artistry and dramatic emphasis, and that, combined with the youthful bloom and beauty of her lovely, evenly placed soprano, makes this a thrilling operatic introduction. We get a generous hour and a quarter of music and the particular joy of hearing Cornell Macneil's authentic Verdian baritone in it's prime. Josef Krips conducts with rather too much enthusiasm at times, and leaves his tenor, soprano and chorus behind for a moment or two in Act 1. It's interesting to hear them musically bumping into each other and the overall musical and dramatic effect is not badly spoiled. The recording quality is surprisingly, very good. This is a must buy, especially at the excellent price.

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7. On the Outside [Import]
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