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| 1. Overture Medley: Always True to You in My Fashion/Why Can't You Behav | |||
| 2. So in Love/Wunderbar [Main Title from Kiss Me, Kate] | |||
| 3. So in Love | |||
| 4. Too Darn Hot | |||
| 5. Why Can't You Behave? | |||
| 6. Electric Sign (Another Openin', Another Show) | |||
| 7. Lilli's Cork | |||
| 8. Wunderbar | |||
| 9. So in Love (Reprise) | |||
| 10. We Open in Venice [Extended Mix] | |||
| 11. Tom, Dick or Harry | |||
| 12. I've Come to Wive It Wealthily in Padua | |||
| 13. I Hate Men | |||
| 14. Were Thine That Special Face | |||
| 15. And So to Wed (We Open in Venice/I Hate Men) | |||
| 16. I've Come to Wive It Wealthily in Padua (Reprise) | |||
| 17. Where Is the Life That Late I Led? | |||
| 18. Bianca | |||
| 19. Why Can't You Behave? | |||
| 20. Were Thine That Special Face | |||
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Most Helpful Customer Reviews
25 of 25 people found the following review helpful:
5.0 out of 5 stars
Fabulous STEREO recording of classic Cole Porter score,
By
Amazon Verified Purchase(What's this?)
This review is from: Kiss Me Kate (1953 Film Soundtrack) (Audio CD)
The MGM film version of Cole Porter's KISS ME KATE was released in 1953. It was filmed in 3D but was not widely released in that format as it required special projection equipment and required the audience to wear eye-straining glasses. It was successful both in the 3D version, as well as the conventional "flat" version that was more widely released. It was also one of the very first films released in stereo. The cast included some of the greatest musical talents in Hollywood at the time: Howard Keel, Kathryn Grayson, and Ann Miller. All are in top vocal form. This soundtrack unquestionably surpasses any other recordings of the score, although the two original cast recordings come close. All tracks are taken directly from the original recording session masters and have been remixed for stereo (the original soundtrack album of 1953 contained only a handful of songs - compared to this - and was heard only in monaural). Not only are all cuts from the original vinyl release included here (you wouldn't expect the CD to not include them, would you?), but a HUGE amount of instrumental underscoring and additional material is here as well. The sound quality (in glorious STEREO) is fabulous. The BEST recording of the score, hands down. I also recommend, though, the 1959 stereo recording with the original cast. Fabulous. HIGHLY RECOMMENDED
15 of 15 people found the following review helpful:
5.0 out of 5 stars
Superb recording of Porter's best score.,
By
This review is from: Kiss Me Kate (1953 Film Soundtrack) (Audio CD)
MGM's film of KISS ME KATE was an exception for them. They only deleted two numbers, but used one of those in background scoring. To make up for it, they interpolated a number from another Porter show, FROM THIS MOMENT ON. MGM's usual method was to select no more than ten songs from a musical and fit it into a 110 minute running time. The performances here are all exceptional, the orchestrations are bright and vivacious - a vast improvement over the originals, and the sound is excellent. The CD has filled out the time allotted by using outtakes and scene underscorings. An impressive piece of film musical history and the best recording of the score.
11 of 11 people found the following review helpful:
5.0 out of 5 stars
One of the best,
By Bluebird (USA) - See all my reviews
This review is from: Kiss Me Kate (1953 Film Soundtrack) (Audio CD)
MGM's KISS ME KATE is a fabulous film and for a change is very faithful to the original Broadway show. It was not only MGM's first film to be released in stereo, it was originally released in 3-D! You'll see things being thrown at the audience throughout the film. Oh, to experience it that way! The soundtrack is stupendous and is one of my absolute favorites. Cole Porter's score is his overall best and the entire cast performs it to perfection. Kathryn Grayson's voice usually grates on my nerves, but here she is absolutely perfect. The soundtrack restoration is flawless and includes never before released underscoring and addition verses to "We Open in Venice." Ann Miller is at the height of her career and Howard Keel is absolutely stunning in is interpretaion of "Where is the Life That Late I Led." The orchestration of "From This Moment On" leaves me breathless. I could listen to this one every day.
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