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Michael Green
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PostSubject: Re: Michael's System   Michael's System - Page 19 Icon_minitimeWed Jul 09, 2014 8:53 pm

Next on my list was Tom Petty, but I can't find my copy of Damn the Torpedoes, so I grabbed my Greatest hits and hit the repeat button.

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First song "america girl" was weak and I finally thought I found a recording that I could identify with the "phile" guys on. Then as I was ready to get up and come in to write "everythings cool guys my system can sound bad too", "breakdown" starts and I realize this was not going to happen. Greatest Hits dumbing, as I slap myself in the forhead. I left the room for a couple of passes and then played "america girl". "mg you goofy kid, don't buy into this audiophile crapped"  Laughing  America girl is just fine and so are all the others. I'm now doing some serious rocking to this CD.

Visit me on loudness wars here cause I think I'm getting warmer to some truth.

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PostSubject: Re: Michael's System   Michael's System - Page 19 Icon_minitimeWed Jul 09, 2014 11:11 pm

Here's my latest setup.

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I'm getting use to my ports and have found an interesting placement for a Floorstander to the left of my seat, which works with the door to the right of me. As you can tell it's all about supporting the pressure zones in here and when I look at it, it's almost like I'm ignoring the speakers, but this is what the room is saying so I'm going with it for now.

As soon as I get caught up with a few things I'm looking forward to diving in a little deeper. The wood coming in and out kinda cuts into my space but I'm working around it and am starting on my other systems.

The new RTD2's are already starting to move and so I'm looking forward to seeing the things people are going to be doing.

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PostSubject: Re: Michael's System   Michael's System - Page 19 Icon_minitimeThu Jul 10, 2014 3:29 pm

System Two

It's time to be working on system 2.

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I've had music playing in here but it's getting to that time where I take a look at what this room can bring us.

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PostSubject: Re: Michael's System   Michael's System - Page 19 Icon_minitimeMon Jul 14, 2014 1:37 am

If Christopher would have Arthur's Theme on this recording it would be a perfect CD. That said it's still one of my all time favorites in this type of pop.

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this review says it for me

"Christopher Cross' self titled debut album "Christopher Cross" marked a return to simplicity as the decade would change from the 1970s to the 1980s. The 1970s had introduced the hard rock sound as well as the disco sound. Christopher Cross' album would be filled with what would today be classified as adult contemporary songs. In some ways, this album was also a sign of things to come for the 1980s - an album that is infused with a keyboards and synthesizers. This album would go on to be the big hit of the 1980 Grammy Awards. Some may be critical of the efforts (my Grandfather attended the 1980 Grammys and was not happy that Cross would win all the awards), but most applaud the efforts (including myself - despite my Grandfathers opinion).

Cross and producer Michael Omartian did a lot of right things when putting together this colleciton. No doubt Omartian knew he had a gem of a songwriter and a gem of a voice in Christopher Cross. This was something that could lead to big things, but what Omartian did is take out an insurance policy - he surrounded Cross with some outstanding talent to contribute background vocals to the songs on the album. The names are Michael McDonald ("I Really Don't Know Anymore" and "Ride With the Wind"), Don Henley ("The Light is On") and the late Nicolette Larson ("Say You'll Be Mine"). There also is a lesser known vocalist named Valerie Carter who does an outstanding job on contibuting vocals to "Spinning". There also is a solid studio band - Tommy Taylor and Andy Salmon play drums and bass respectively on all of the tracks. Rob Meurer contributes keyboards, piano, etc on 8 of the 9 tracks.

Michael McDonald does a tremendous job on his two tracks. His soulful voice is perfect as he echoes Cross on the chorus of "I Really Don't Know Anymore". Meurer's synthesizers will also give this song a very catchy beat. McDonald is much better known for his background vocals "Ride Like the Wind". "Ride Like the Wind" is an awesome song. McDonald is used in a similar role as "I Really Don't Know Anymore" provided the "echo" to Cross. In 1982, I remember watching "The Great American Bike Race" (a transcontiential bicycle race) on ABC Sports. The person who won that race was kind of a "loner" character named Lon Haldeman. They used this song to describe him and I remember how perfect this music was. Even today I have visions of the "loner" cyclist when this song is played.

On "The Light is On", this isn't a song I would expect to hear Don Henley on. Henley contributes vocals and not any percussion or drums. Henley's vocals are combined with Cross himself and someone named J.D. Souther. You won't hear Henley stand out on this song, but I'm sure having someone like him in the studio contributed to great quality this song delivers. As for Nicolette Larson (the late singer who passed away in 1997 - famous for her hit "Lotta Love"), she is the perfect vocalist on "Say You'll Be Mine". On this track, Larson basically performs a duet with Cross. She blends beautifully in this song. Larson doesn't come on to the song til about 1:35 into the song - and she "folds" into the song beautifully as her role gets more prevalent as the song goes on. On "Spinning", Valerie Carter also plays a duet role - but her role starts much earlier in the song. "Spinning" is a hidden gem on this album - it is a very soulful and romantic song featuring some terrific flugelhorn by someone named Chuck Findley.

There are two other songs that are hidden gems on this album. Both of these songs feature terrific lyrics and terrific music. The first is "Poor Shirley" is a song that deals with someone named 'Shirley' that Cross describes as someone who has went through the heartbreak of a breakup. "Minstrel Gigolo" is the six minute finale to the album and is the perfect wrap-up song. In this song Cross takes us the journey of being a star in the music industry. Since this was a debut album, Cross probably wasn't writing from experience but rather taking a peek into the future. "Minstrel Gigolo" is probably the second best track on the collection.

Besides "Ride Like the Wind", there are two other popular songs on this album. "Sailing" won a Grammy for song of the year and is one of those songs in which the songwriter is able to create a "visual" from the music. No doubt, Cross paints the perfect picture of a relaxing day at sea. I think Cross knew he was painting a picture as he references "the canvas can do miracles". The other well known song is "Never Be the Same" - this song has a catchy pop beat to it."
________________________________

I did find the notes about Grandpa, the biker and "who is JD" a little funny but that's what makes reviews personal.

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PostSubject: Re: Michael's System   Michael's System - Page 19 Icon_minitimeMon Jul 14, 2014 10:24 pm

The music industry is fascinating. How did they ever get McDonald and Henley to participate as backup? These guys were headliners. Wasn't McDonald still with the Doobie Brothers in 1980?

I still remember those days when Sailing was basically on repeat on FM radio. Good tunes and good times (first year in college Wink )
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PostSubject: Re: Michael's System   Michael's System - Page 19 Icon_minitimeTue Jul 15, 2014 9:36 pm

I'm doing my listening while waiting for the freezer to hand me another version of Tom Petty. This will be the second freeze for the CD and I'm looking forward to seeing how much more it will change but also kinda interested to see after that if it returns to a state of normal.

Boy did the Stereophile gang ever get up in arms, but I thought I was being kind to the treatment by saying it's another choice. Reality though is that this freezing thing will probably not even come close to what settling does, and what Hiend did with "hell freezes over" is how I like to listen. And loosing part of the music is for me for sure going the wrong way, but maybe I didn't give it a fair chance at that is something I would like to do.

back to settling

I do like going through CD's some times but when something has played a while like Greatest Hits is right now there is this "I am in the room waiting for you" feeling no matter where I am in the house. I feel like a little kid running in to catch a quick listen then on about my business. Tom Petty is at the place where the drums are really full and big, very nice and I'm super glad now I picked this recording to be the one tested cause I'm not bored with any of the songs. I catch myself in the writing room singing as the songs play through, a very good sign for me.

While listening to this I started thinking, you know after doing this test I'm going to throw on some "Cars".

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PostSubject: Re: Michael's System   Michael's System - Page 19 Icon_minitimeSat Jul 19, 2014 1:55 am

Why was mg quite today?

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 Laughing  I wonder  Laughing

The whole Buddha Bar series is something I like to put my ears around at least once a year.

And if you get a chance while in the same mood, mellow more with,

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PostSubject: Re: Michael's System   Michael's System - Page 19 Icon_minitimeSat Jul 19, 2014 10:22 am


After Sonic stopped toeing in the Magnaplanar MG1.5QRs which I described yesterday, some settling has been done -- and Sonic been listening too to a whole variety of musick that Tunees might not associate with Sonic.

But these are some good pickings Sonic found in the stores: Marianne Faithfull, Loggins & Messina (Full Sail), Buffalo Springfield (the rare double album retrospective), Burt Bacharach...all great LPs.

Now listening to Palestrina's Missa Papae Marcelli -- Oxford Camerata (Naxos CD).

I got a curtain of sound across my room.....Sakuma-san once said "I lost my being".


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PostSubject: Re: Michael's System   Michael's System - Page 19 Icon_minitimeSat Jul 19, 2014 6:33 pm

Look at you go  Cool 



good for you, keep it comin  Very Happy 

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PostSubject: Re: Michael's System   Michael's System - Page 19 Icon_minitimeSun Jul 20, 2014 7:43 pm

What's on the menu today?

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I would say that "night & day" and "body & soul" are my favs of Joe's music.

When I put this CD on I was like "oh no greatest hits sound". But I haven't visited Joe in a little while so I let it go as background (lots of songs). After a couple of hours of enjoying the music from a far I went in to change out my background music and sat for a second....ah....whole CD. My Lord did this CD ever warm up and become serious after a little settling. Totally different ballgame now. Joe, your doing your magic, thank you  Smile I mean  Cool 

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PostSubject: Re: Michael's System   Michael's System - Page 19 Icon_minitimeMon Jul 21, 2014 2:50 am

Now I'm not saying you have to trust me, but trust me  Laughing if you get this recording right in your room your in for a trip.

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PostSubject: Re: Michael's System   Michael's System - Page 19 Icon_minitimeThu Jul 24, 2014 3:19 am

Why do I torture components  No . Learning needs it's boundries  Laughing 

My poor FUNAI had enough and gave up the ghost. Sand in the gears is probably not a good thing, oh well. Off to Walmart and purchased 2 more. In taking apart though I was greeted with a scare. This is not my Maggie, well part of it is.

Ya know, these designers making mass produced products are either very smart, or very good economist. Is someone listening to these while making them, or is this dumb luck and their really just trying to use as few parts as possible? I suspect (hope) both.

The old unit has a L-shaped board that runs beside the transport and in back. The new 100 has only the part that runs beside the transport. The secondary (green) board that sits on top is bigger with the new one and this board is upside down and holds the RCAs which are also upside down  Laughing "yes first time I plugged mine in backward". I have one burning in on the main system and the other is under the knife. The screws are out of the one I'm playing with but I'm going to wait till tomorrow to cut away at the back panel. I believe the extra parts that are on the old one will be found on the board once it is flipped.

How does it sound michael?

Well I got to wait on that one cause 3 days new is not a good time to make judgements, but let me say this. The fuse by the power cord has been taken out of this model and there is one less ribbon cable running signal.

Hmmm will I be trying to find old ones or will this be my new baby? That is up in the air. Trying to compare a new baby against an old very nicely burnt in unit is next to impossible, but I do believe I hear something interesting here. I'm not sure how this is possible but I'm hearing more detail. Of course it's not sitting on the blocks the same, but still I could swear my right and left are bigger, meaning the crickets to my left are fading way further out to the left, and I might be getting more overall resolution. But I might be speaking too soon and should shutup and go listen  Smile

I do want to say one thing that concerns me though. I like the sound of the tan circuit boards better than the green, always have, and if I flip this over and find those parts on on the green board that in the long run could mean a tilt up. So, what I have is some good things that have been done and a possible nagative but I have a plan if that is the case. I always have a plan  Basketball

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PostSubject: Re: Michael's System   Michael's System - Page 19 Icon_minitimeThu Jul 24, 2014 10:21 pm

Nah, keep pushing the boundaries.

Sorry to hear about the unit ... Sand ... What crazy mod were you up to.. Maybe what happens in Vegas stays in Vegas. Cool 

Your misfortune is my gift of good mods for the FUNAI Twisted Evil 

Would love to see some pics of your eventual setup especially the cut outs.

You said you took out the screws...does that mean the green daughter card?
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PostSubject: Re: Michael's System   Michael's System - Page 19 Icon_minitimeThu Jul 24, 2014 11:44 pm

Hi Toledo

I'm probably going to get a couple more of them and do some different configurations. If the ribbon from the Green board to transport was a little longer I was going to flip it back right side up and mount it on it's own standoffs.

this is one serious CD player

Today I worked on making a mini platform for the one after removing it from it's case. There's a few steps I want to take so I don't get lost. First one being let the regular one with stripped power cable and top off play till it reaches more of a breakin point. At the same time though I'm getting this other one ready to put in that is without it's casing.

here's what I noticed so far

This unit has all the qualities of the old one except for top end warmth and halos which will either come from burnin or I will have to figure out some wood toys to make it so.

The detail and attack with this unit is stunning. It's like the old one only even more clarity. I have to tell you it's been hard to get myself out of the room cause I'm in shock by the amount of info stability, and if I'm not mistaken more info. That's got to be a result of the fuse being gone. If this baby drops just a hair in tonal pitch and warms I think it's going to out do the old model. It already is cleaner, which is really surprising cause I didn't know the old model was not clean, but this one is extremely revealing (revealing in a good way). It reminds me alot of the sound of the Sherwood. The two work together like no ones biz, and if I can curve two little areas this will be my new reference. It might even be as easy as making an adjustment somewhere else in the setup. I'm only weeks away from listening to the Vifa D27 tweeter so I don't want to go too crazy before I get there because I will have all kinds of smooth then.

See where the Green board is mounted? That's where I think the slight tilt is happening. I'm thinking of putting a tiny sliver between the board and the standoff. Just a little bit, like a match box cover thin wood washer, cause I don't think it will take much. Then again I'm breaking my own 7 day rule and that could get me a D- on my next tuning test. If this unit does warm up as much as the old model, holy batman and catwoman I will be in heaven.

So here's to breaking in a little and seeing how many of these I can blowup during my experiments.

Oh one more thing. If I was skilled I would increase the leads on the resistors and raise them a little off the board like some of them are. This adds to body, and there are about 10 of them babies I would like to raise.

well back in for more listening

 Smile

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PostSubject: Re: Michael's System   Michael's System - Page 19 Icon_minitimeFri Jul 25, 2014 12:48 am

Wondering where my ENO collection is I did find one, and was happy to hear the CD Player pass the Eno test this early on.

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PostSubject: Re: Michael's System   Michael's System - Page 19 Icon_minitimeFri Jul 25, 2014 1:53 am

It's nice to have a system that can play greatest hits well cause I have a fair amount of them.

This player is doing a fine job now and I believe I'm hearing the top end settling, or I've been very lucky with choosing the right music one or the other. I'm puting on recording after recording and it's doing the job nicely.

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this is a great selection of their work


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PostSubject: Re: Michael's System   Michael's System - Page 19 Icon_minitimeFri Jul 25, 2014 3:37 am

a little more listening

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PostSubject: Re: Michael's System   Michael's System - Page 19 Icon_minitimeFri Jul 25, 2014 4:20 am

and to wind things down

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PostSubject: Re: Michael's System   Michael's System - Page 19 Icon_minitimeFri Jul 25, 2014 10:16 pm

I'm twitling my thumbs for this player to burn in more so I can begin my tuning of it. I don't dare make a wrong step here because I don't want to loose any of the gains this player has. I feel like a nosey mother in law wanting to jump in instead of letting things take their natural course. When are these companies going to hire me to do some of their R & D for them?  Laughing  Fat chance right  Idea 


 pirat 

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PostSubject: Re: Michael's System   Michael's System - Page 19 Icon_minitimeSat Jul 26, 2014 3:40 am

Time to get moody so out comes Bill  Cool 

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PostSubject: Re: Michael's System   Michael's System - Page 19 Icon_minitimeSat Jul 26, 2014 5:42 am

next room music

You know how us audiophile types sit in our rooms and pick up on all the detail and the stage. While we're listening our minds sometimes kick into neutral and other times we're thinking "I need to do that to the system". It's strickly an in the room thing. For me I listen so much that sometimes I like to relax and do the "next room music" thing. That's when I start to dig out some of the jewels that I might not want to sit there for the whole thing yet still I want to take it in when I'm on the computer or tinkering or whatever. This music has just as much of a place in my heart but I'm not in the room studying or judging, I'm just letting it fill the air. My systems must be able to do sound good from other rooms or it's out the door. What good is a system if you have to stay glued to your seat.

You guys have heard me talk about the sweet spots I've built in my writing rooms. It's true, I do a lot of my judging from in here, and other parts of my house that I get use to and listen for certain things in these areas that tell me what's going on in the listening room. I listen to recordings the whole way through in there but a lot of times I'll be in there for a bit then in my writing room or the other music spots. I'll work my way back to my writing room then something will grab me and I'm back in the listening room exploring. It's a system and setup that works good for me.

Some music I play I know it's going to be an adventure, a space mountain experience and other music I may listen for the sake of studying, but it's more the type of music I might be in the mood for in general and not for needing to unlock it. Like for example if I'm in there with

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after the first couple of songs it's not exactly a thrill ride for me but I love the music, and she fills the house with vibe. I'll poke my ears in the room but mostly unless there's a part I want to view she's background. Now if she is on a Stan Getz recording, that's a different story.

Another one I listened to tonight is

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I love these songs, but I'd rather listen from a distance instead of getting a lesson on early stereo. I'm sure when these were made people we're in WoW over their stereo all in one consoles

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or speakers sitting in the room as furniture or huge headphones.

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The engineers did all kinds of fun stereo splitting to keep the living rooms hopping, but only a few of these songs were meant for serious stereo placement. They were a part of the beginning and each artist, engineer and producer had their thing and you can hear it when listening to these and compare to others that came out during the same time. Stereo went all the way from splitting sounds and having fun, to the very serious music painters who understood that someday people were going to be sitting there looking at the story unfold.

From the days of early stereo till now, this is magic, and we get to live inside of this fantasy.

But then, I go in and listen to the first 3 songs of Herb, and say "what was I babbling about, see you guys in an hour".  Laughing 

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PostSubject: Re: Michael's System   Michael's System - Page 19 Icon_minitimeSat Jul 26, 2014 10:59 pm

The burning in of the new player continues and I'm playing a fairly wide range of music to get an idea for it's flavor.

right now

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is on  Cool 

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PostSubject: Re: Michael's System   Michael's System - Page 19 Icon_minitimeMon Jul 28, 2014 12:09 am

WOW Exclamation  Question  Exclamation 

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Before I say anything I must give this reference to WiKi

The Capeman is a musical play written by Paul Simon and Derek Walcott based on the life of convicted murderer Salvador Agrón. The play opened at the Marquis Theatre in 1998 to poor reviews and had an initial run of 68 performances. A blend of doo-wop, gospel, and Latin music, it received Tony award nominations for Best Original Score, Best Orchestrations and Best Scenic Design. Renoly Santiago received a Drama Desk nomination for Outstanding Featured Performer in a Musical. Ednita Nazario won the Theater World Award for her performance.

In 2008, Simon and the Spanish Harlem Orchestra performed The Capeman at the Brooklyn Academy of Music with some of the original cast and other well-known artists. Simon also devoted a section of his two-night performances at the Beacon Theatre to The Capeman. The NY Public Theater presented a concert production of the musical in the Summer of 2010 at Central Park's Delacorte Theater, directed by Diane Paulus.

Production

Paul Simon began working on The Capeman in 1988. The early development was aided by Simon's friend Carlos Ortiz, who helped Simon locate and translate source material. Simon and Ortiz met with people who had known Agron in prison, and visited Esmeralda Agron in Puerto Rico. In the first minutes of their meeting Esmeralda described a dream of her son entering heaven which would become the song "Esmeralda's Dream." Ortiz also introduced Simon to several Latin musicians, and before long Simon had written "Born in Puerto Rico," one of the show's centerpiece songs.

Simon enlisted the help of Derek Walcott, a Nobel Prize-winning author and poet from the West Indies. Their working relationship was awkward at first: Simon had become unused to this type of creative collaboration, and Walcott initially disliked the show's main character. Simon insisted that the music be written first, with the lyrics set to the songs. Eventually the two completed the play, with music composed by Simon and lyrics "about 50-50 Simon-Walcott."

Simon assembled a band and spent almost five years and $1 million recording the songs. This was an unorthodox approach to constructing a Broadway show. Typically a show's writer would deliver a script and score to a director, who would assemble and create the final production. Simon wanted to retain full artistic control over the show through its entire production. Simon soon encountered resistance for refusing to play by the usual rules of the Broadway industry.

Simon was often cited as being disdainful of Broadway, and said in interviews that he hoped to reinvigorate what he saw as a stale musical form. Broadway music, he said, had "ended up in a weird cul de sac – probably because it was never energized by rock and roll." The theatre producer Rocco Landesman later responded to Simon's statements: "The idea that you can at a strike rewrite an art form is a little presumptuous. I can't say the people in the theater community were rooting for Paul Simon after all the things he said about Broadway."

Years later in 2011, Simon admitted that his inexperience had been a problem, saying


"It's not that easy to write for the theater for the first time...You really need a guide. For people coming out of popular music, writing songs that further the plot is different from writing whatever is on your mind. It's a different discipline."

Simon assembled a team of producers and financiers, including James L. Nederlander and Brad Grey. The team raised and contributed several million dollars, but none had experience producing a Broadway show.

Eventually, the production cost an estimated $11 million, at the time a very high budget for a Broadway show. Some of the high budget was due to Simon's insistence that his musicians participate in all rehearsals with the actors, not a typical practice in Broadway productions.

In another unorthodox move, Simon hired the director as the last member of the creative team. Simon first offered the job to Mark Morris, who agreed to be the show's choreographer instead. Simon hired set designer Bob Crowley (who would be nominated for Tony Award for his sets in The Capeman), and cast Ruben Blades and Marc Anthony in the title roles. Only after these decisions did he hire Susana Tubert as the director.

During the last 18 months before its opening, three different directors worked on the musical: Tubert, Eric Simonson, and Mark Morris, the choreographer, who was the final credited director. The show's eventual release date was delayed by last-minute editing and restructuring. Derek Walcott, the show's book writer, effectively walked out of the production after resisting rewrites. Rubén Blades, in particular, had very strong opinions about Walcott's book:


"I admire him deeply, he is a Nobel Laureate, but there are cultural nuances that are lost in the translation that Walcott was simply unable to catch. I also had my struggles with Simon, telling him that a particular line or two would have never come out of a Latino's mouth if the play is to be believable."

Significant work was done by director Jerry Zaks, hired in an "unofficial capacity" to help Morris. Zaks said, "I've done about as much as I can with what's there."

The production gave preview performances in New York while the rewriting was taking place. This put the cast in the difficult position of performing the original version of the show each night, while in the afternoons they learned and rehearsed rewritten versions.

The show opened at the Marquis Theatre on January 29, 1998, and suffered from very poor reviews from the mainstream press. Within a week, the show's producers discussed their strategy for saving the production, and vowed to keep the show open at least until the Tony Award nominations in May.

The show closed after only 68 performances on March 28. After the show's closing was announced, Paul Simon issued a statement: "What I enjoyed the most, apart from the creative process, was the intensity with which the audience, in particular the Latino audience, responded to the play."

Selected personnel for the Broadway Production
Paul Simon: Music, book and lyrics
Derek Walcott: Book and lyrics
Mark Morris: Director and choreographer
Bob Crowley: Sets and costumes
Oscar Hernandez: Musical director

Original cast
Marc Anthony - Young Salvador Agron
Ruben Blades - Adult Salvador Agron
Renoly Santiago - Tony Hernandez
Ednita Nazario - Esmeralda Agron
Élan Luz Rivera - Cookie
Lugo - Babu Charlie Cruz
Sara Ramirez - Wahzinak

Reception

Initial mainstream press reviews of The Capeman were overwhelmingly negative, though most had some praise for Simon's music.

Ben Brantley, reviewer for the New York Times, gave a very negative review, calling the show a "sad, benumbed spectacle" which was "unparalleled in its wholesale squandering of illustrious talents". He praised Simon's Songs From The Capeman album, but said that the translation to stage was lacking: "Everything in the music melts together; practically nothing that's said, done and shown on the stage seems to connect with anything else." Brantley admired Anthony and Blades' talents, but criticized the writing of their character, saying that Anthony "has been given no proper role to play". He wrote that the historical footage of Agron stole the show, especially young Sal's media statements that his mother could watch him burn. "Nothing that Mr. Anthony or Mr. Blades does in The Capeman begins to approach the disturbing complexity of that image." However, The Capeman was included in the New York Times year-end Top Ten list for music in theater.

There was a minority that appreciated the play, but these were generally outside the mainstream. An article in The Progressive suggests cultural factors that led to the bad reviews, citing mainstream backlash against Simon's disparagement of the Broadway system, and discomfort with racial and ethnic themes in the Broadway core audience. The article points out that reviews were generally positive among two groups: out-of-town critics and non-white New York critics.
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If I wouldn't had done this I'm not sure I could recommend this as more than something I listened to, but now that I feel ok about the content warning, this is one heck of a recording. This has some outragous doo-wop and soft story telling.

One thing that bugs me is that this style was right at the time of still mono and not many recordings of that great Doo-Wop sound ever made it to stereo. This will send you back to that time and make you wish stereo would have been use maybe a few years earlier. Paul kills on the Latin twist too and blends in a few other music styles. I personally like story telling recordings like this and "Pros and Cons of Hitchhiking", "Amused to Death", "Ziggy Stardust" and "The Final Cut". I even love "The Point".

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PostSubject: Re: Michael's System   Michael's System - Page 19 Icon_minitimeMon Jul 28, 2014 3:40 am

Now that Paul put me in the soft song mood, I'm going to go change the subject matter a little.

I'm not crazy about the pop version of Genesis after the split. It's OK but Peter and Phil doing the Peter is great stuff, but Phil doing the new Genesis doesn't do me, but that's ok cause Phil's solo stuff is some of the best music on the planet. Phil Collins knows how to record a soundstage and his softer side is among the very best of the best.

When I hear "Tearing and Breaking" fill my stage I know I'm in for a ride.

Michael's System - Page 19 M409

This is a must have if you are in the mood for Phil's love songs. Who would have thought, the second lead from Phil "More Fool Me" during the Gabriel years would be the beginning of this incredible writter/singer. Every time I listen to his softer side I go back to "73" in my mind. Peter and Phil in the same band, is like Paul & John or David & Roger. Combos that were just as good alone as they were together. And because they went their own ways gave us so much to listen to.

A truly great collection  Exclamation 

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PostSubject: Re: Michael's System   Michael's System - Page 19 Icon_minitimeWed Jul 30, 2014 11:36 pm

Got home from a fun time at the lumberyard. Popped on #3 of my Keith Jarrett collection.
Michael's System - Page 19 M414
I've always liked the way ECM does Keith. Great drums and cymbals and upright. It's that right blend that is fresh and snappy.

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