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The Heart Of Saturday Night
 
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The Heart Of Saturday Night

16 July 2008 | Format: MP3

4.99 (VAT included if applicable)
Buy the CD album for 6.04 and get the MP3 version for FREE. Does not apply to gift orders.
Provided by Amazon EU Srl. See Terms and Conditions for important information about costs that may apply for the MP3 version in case of returns and cancellations. Complete your purchase of the CD album to save the MP3 version to your Amazon music library.
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Product details

  • Original Release Date: 16 July 2008
  • Release Date: 16 July 2008
  • Label: Rhino/Elektra
  • Copyright: 1974 Asylum Records
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 41:28
  • Genres:
  • ASIN: B001F4WD0U
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (33 customer reviews)
  • Amazon Bestsellers Rank: 15,734 in MP3 Albums (See Top 100 in MP3 Albums)

Customer Reviews

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Most Helpful Customer Reviews

35 of 36 people found the following review helpful By Cuban Heel VINE VOICE on 1 Sep 2007
Format: Audio CD
This album is a real find. Absolutely fantastic. It's pretty much in a class and genre of its own - probably not revisited until Nick Cave's 'Boatman's Call' in the 90s. Lyrically it's kind of somewhere between Bob Dylan and Springsteen, filtered through the literary influences of Jack Kerouac and Charles Bukowski. Probably the best way to describe it is with some kind of scenario. Imagine you're out in New York late at night, drunk as you've ever been, and you stumble into an underground jazz cafe at 2am. Through the haze of cigarette smoke you can just about see this dishevelled guy sitting at a piano who is playing surprisingly intricate and moving music while singing in a rasping blues voice about love and loss in the back alleys of America. That pretty much sums it up.

'New Coat of Paint' sounds like Dylan covering a Nina Simone track. 'Looking for the Heart of Saturday Night' is a bit more mainstream - maybe Jackson Browne if he was ever feeling a bit suicidal. 'Please Call me Baby' is just beautiful. And my favourite, surprisingly, is 'Diamonds on my Windshield' which is more performance poetry than a song, but is so original it's difficult not to love it. "There's fifteen feet of snow in the East and it's colder than a well-digger's ass". When was the last time you heard a line THAT good on a cd?

Without being too pretentious, let's be honest about life for a minute. Most of us aren't supermodels, most of us don't feel happy and fantastic all the time, most of us can't sing like angels. And yet we all find happiness and beauty in the world on a pretty regular basis.
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28 of 30 people found the following review helpful By "sweetleftfoot" on 25 July 2003
Format: Audio CD
This album is sublime. The whole. The sum of it's parts. Every single note, line and chord. From the optimism of the drunken romantic 'New Coat of Paint', to the beautiful 'San Diego Serenade' with it's 'I never knew I loved you, til I cursed you in vain' - genius.
If you are looking for that elusive, ahem, 'hip' romantic album this is the one. The first time I heard this album will stay with me for ever. But it manages to feel as good on the two hundredth listen.
Buy it now, and let a little Waitsian poetry into your life. After all, 'fishing for a good time starts with throwing in your line'.
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32 of 35 people found the following review helpful By JA Polonsky on 14 Feb 2003
Format: Audio CD
Late night, mid February 2003.
While peering through the pages of Amazon, I have come across an old review of mine, written in a drunken haze, 3 years ago. I just thought I'd add a couple of thoughts, this time, somewhat more soberly.
Since '99, when, i have to admit, I feared, though did not admit, that the old master may be losing his touch, things have changed. I listened to the excellent Mule Variations, but with the idea that it was the death knoll of a great artist- a parthian shot from the dark, before a timely disappearance to obscurity.
And then came 2002.
Blood Money and Alice are as wonderful as any of his creations, taking his depictions of the carnival to fresh depths of 'beatitude'(in Kerouac's sense of the word), painting, vividly evoking, in red and black, the seedy underbelly of a 'gone world'. They are tremendous albums, and have been rightly placed on many 'best of 2002' lists. If anyone gets the chance- go and see his collaboration with Robert Wilson- Woyzeck. It is a wonderful visual drug, an assault on the senses. And it gives Blood Money real vitality and resonance.
Why have i written this on a review of one of his earliest albums? To demonstrate that, even after 3 years of regular listening, which is usually enough to kill someones love for an artist, he remains a true companion, who has indirectly introduced me to a fantastic world of beat- Bukowski, Algren, Kerouac, Fante, Bryars, Jarmusch, Jack Black, etc
ps. It's a great album
pps. Dont buy Cath Carolls book on him- it's the second worst read in the world, after The Celestine Prophecy
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2 of 2 people found the following review helpful By Biffer Spice on 3 Oct 2011
Format: Audio CD
some real heart to this, and with defter touches than his debut "closing time", this is where tom really stretches out the role of late night drunk hanging around town when everyone else is going to bed. the music is still fairly straight forward, and the voice is still the same weedy bloke as in the first album, but there's a clearer sense of purpose and of character in this, and the tunes are belters. "new coat of paint" is a rollicking ride, capturing that drunken "tonight's all that matters, to hell with all our worries and the rest of reality" kind of vibe with lyrics like "you wear a dress, baby, i'll wear a tie, we'll laugh at that old bloodshot moon in that burgundy sky", delivered with panache. his lyrics were really beginning to come to the fore on here, and it's a lovely album to get fairly sozzled to. this was my introduction to waits, and i guess i'm biased because of it, but this is one i'll keep going back to
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2 of 2 people found the following review helpful By Sebastian Palmer TOP 500 REVIEWERVINE VOICE on 25 May 2011
Format: Audio CD Verified Purchase
Having found the perfect foil for this point in his career, in jazz drummer-turned-producer 'Bones' Howe, Waits builds solidly on the promise of his debut, Closing Time, still drawing on the pool of songs he had in his bag before he secured a deal, but also adding to his repertoire.

Amongst the best tracks is the title number, in which Waits voice and guitar are ably complemented by the sinuous serpentine bass of Jim Hughart, traffic and other incidental noises adding to the evocative effect. I believe the fabulous bass part may have evolved when Waits was working with bassist Bill Plummer, and Tom's guitar part, in drop-D tuning, is the essence of Waits as self-accompanist: it seems, indeed it is in some ways, very simple, but it's also absolutely perfect. And that's not so easy! Over the span of his career Waits turns in some truly sublime turns on piano, guitar and vocals, not to mention songwriting, and it's all done with understated panache. He's not a virtuoso, technically speaking, in any of these departments, and yet he gets more emotion and meaning across than many a technician could possibly achieve. That's the 'art' part of the deal, it's about feel, and is almost magical.

Amongst the stellar sidemen Howe brought Waits together with, not only are the notable rhythm team of bassist Jim Hughart and drummers Bill Goodwin or Shelly Manne, worthy of special mention, so to is arranger Bob Alcivar, whose lush cinematic arrangements work perfectly with Waits' sophisticatedly sleazy material. Trumpeter Jack Sheldon and sax players Pete Christlieb and Frank Vicari, also help bring the jazz dimension of Waits at this time into sparkling 3-D.
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