Track Listing

1. Lost in Madrid, Part 1
2. Siesta/Kitt's Kiss/Lost in Madrid, Pt. 2
3. Theme for Augustine/Wind/Seduction/Kiss
4. Submission
5. Lost in Madrid, Part 3
6. Conchita/Lament
7. Lost in Madrid, Part 4/Rat Dance/The Call
8. Claire/Lost in Madrid, Part 5
9. Afterglow
10. Feliz

Product Details

• Amazon Sales Rank: #32402 in Music
• Released on: 1990-10-25
• Number of discs: 1
• Formats: Soundtrack, Import
• Original language: English
• Dimensions: .21 pounds

Album Description
Japanese only SHM Pressing. The SHM-CD [Super High Material CD] format features enhanced audio quality through the use of a special polycarbonate plastic. Using a process developed by JVC and Universal Music Japan discovered through the joint companies' research into LCD display manufacturing SHM-CDs feature improved transparency on the data side of the disc allowing for more accurate reading of CD data by the CD player laser head. SHM-CD format CDs are fully compatible with standard CD players. Warner. 2009.

Customer Reviews

Haunting, unforgettable soundtrack to a strange film
This has long been among my favourite soundtracks, although I've never really tried to analyze why it is. In order to truly appreciate this soundtrack, it is not necessary (and perhaps inadvisable) to first see the strange 1987 Mary Lambert film "Siesta." Watching the odd, discordant film will neither cement nor displace any emotional and intellectual associations created by the work of Marcus Miller and Miles Davis for this bold, deep, fascinating score. The opening track is the first of the five-part "Lost in Madrid" theme, and is haunting and sad, punctuated by Miles Davis' unforgettable trumpet work. The next collection of tracks ("Siesta," "Kitt's Kiss," and the second part of "Lost in Madrid") add to the otherworldly atmosphere of the work. Amidst the touches of Spain (especially in the percussive "Siesta") are intimations of a more abstract plane of existence, in keeping with the theme of the film. The third collection of tracks (or "Track 3" on the liner notes) begins with the languid, sultry "Theme for Augustine," very evocative of some of Vangelis' film-score pieces. Next, in quick succession, are the very brief "Wind," the metallic, stirring "Seduction," and finally the gentle "Kiss." The fourth track is "Submission," the tranquility of the piece broken by electronic chimes sounds and Davis' urgent trumpet peals. Next is the third part of "Lost in Madrid," this time sounding more eerie and chilling. The sixth track begins with the steamy, syncopated "Conchita," a contrast to the coolness of the previous track. "Conchita" drifts and meanders, adding odd elements like gongs, splashing water effects, and moaning voices. It also sounds more authentically Spanish than many of the tracks. Squeezed into the final minute of the sixth track is the elegent, elegaic "Lament." The seventh track begins with "Lost in Madrid Part IV," launches into the vaguely oriental "Rat Dance" (which recalls some of the work of electronic wizard Garry Hughes), then closes with the quiet "The Call." This is followed by "Claire," in which Earl Klugh supplies beautiful guitar accompaniment to Miles Davis' trumpet. The classical guitar and trumpet seem to be engaged in a dialogue. This soft, gentle piece is followed by the fifth and final part of "Lost in Madrid," a sort of deconstructed version of the earlier theme. Here, Davis' trumpet notes seem to hover over the piece like the shimmer of heat on a lonely highway on a hot summer day. Davis' mastery of his instrument is unquestionable, as this work bears testament. The ninth track is "Afterglow," which has a sense of the provocative and the dangerous. The work closes with the touching, haunting "Los Feliz." Davis' trumpet finds yet another worthy accompaniment in James Walker's lilting flute work. Miller and Davis have saved the best for last, and it ends the soundtrack off on a beautiful, restrained, and sensitive note. If only the movie were as elegant and tasteful, as powerful and profound, as the soundtrack!

Davis'/Miller's Moodiness
This is an incredible 33 minutes plus of some of the moodiest soundtrack music I have ever heard! Descriptions from haunting to melancholy would be understatements. Seeing the actual film beforehand will enhance first time listener's experience as to why the album is such a menagerie of dreamy, ethereal, yet menacing atmospheric feats. This soundtrack will transport the listener to Spain (or even Mexico) in the middle of a steamy summer vacation ! Though I have not listened to Davis' Sketches of Spain from the late 60's, I cannot compare or contrast Siesta to that previous body of work. I can only say that this is Davis never heard like this before !...One footnote: The music may seem playful at times while maintaining it's somber mood; Yet, it is not a soundtrack to be mistaken for "uplifting" pop music.There are no vocals (except for a faint background chorus on a few of the songs).The familiar classical guitar, castanets and Flamenco sound are intertwined with Miles' instrumentation on a few of the tracks...

Brilliant, sexy, and moody
Marcus Miller and Miles Davis have created a masterpiece! "Conchita" is the best track. Mysterious and beautiful. Really spellbinding and seductive. Its hard to describe. But its worth the money trust me! A real piece of work