No comments about The Billie Holiday Story.

No comments about Ses Plus Belles Chansons.

No comments about The Ultimate Big Band Collection.

No comments about Broadway: Golden Age of Musica 1919-1946.

No comments about Des Souvenirs Devant/Entre Deux.

No comments about Marlene Dietrich.

2 comments about Ma Pomme.

1. It's unlikely that anyone who remembers Maurice Chevalier is able-bodied enough to surf the internet and glide into this review. Younger surfers may like to know that he was possibly the best-known French entertainer of his day, making recordings, films and live appearances during a very long career on both sides of the Atlantic, a career beginning in the Folies-Bergère and extending to films of the 50s and 60s such as "Gigi". Naxos have launched a welcome Nostalgia series, introducing amongst others Maurice Chevalier (1888-1972) to C21 audiences. To sample the special naughty, chuckling, bonhomie in his voice, listen to some of the early tracks. Avoid the first track, "My Potato", which seems to be transferred from a badly worn source, but enjoy especially the French saxophone-enriched backing provided by Paris studio orchestras of the 1930s.



2. The recent Naxos line of "Nostalgia" CDs has been increased by one: <"Ma Pomme": Chansons 1935-1946> (8.120508) with the irrepressible Maurice Chevalier. As is the case with Gracie Fields and Frank Crumit, who also are represented in this series, Chevalier is an example of style over vocal ability. Personally I would rather hear him than see him--.... But there is no denying the charm of his voice, especially when he is not overly insinuating some amorous aspect of the lyrics with that twist of his voice that became his trademark.

   Here we have a generous 18 tracks of songs, most of which are not very familiar to American audiences: "Donnez-moi la main," "Notre espoir," "Place Pigalle," among others. The one you will recognize is a French version of Carmen Miranda's "Mama eu quiero," so often parodied by comedians both human (Jerry Lewis) and cartoon (Bugs Bunny). There are some background notes, including dates, composers and label numbers for each recording. A welcome addition to any collection of European popular music.

No comments about Where Are You?.

1 comments about Yes Virginia.

1. Only a brave band would have a gleeful song about a sex change as the FIRST song of their sophomore album. Well, that says something about the Dresden Dolls.
   
   This wild, Tim-Burtonesque band created a stir with their debut album a few years back, and now the cabaret-rockers are back with "Yes Virginia." It's catchy. It's kitschy. It's dark and cutting, even as the Dresden Dolls refine their signature sound into ever more potent music.
   
   It opens with a rippling piano line, but it slowly grows darker and more twisted... until the drums kick in. Amanda Palmer begins gleefully singing the ode of an apprehensive sex-change patient: "Dear Mr. and/or Mrs. Sender/We're pleased to inform you that your applications been accepted/Starting from the time you get this letter/Your life will be one never-ending 'hope you're feeling better'...."
   
   From there on, the band launches from piano-punk to raucous pop, even trying out the sunny sound, which is belied by the underlying dark lyrics. Fortunately after that they return to the more bombastic, twisted sound that they do best. The best of all would have to be "Dirty Business," with its barbed lyrics ("She's the kind of girl who only asks you over when its raining/Just to make you lie there catching water dripping from the ceiling.")
   
   But the Dolls also explore different kinds of music in this album. Right in the middle they try out some quieter songs, such the sprawling, lazy sound of "My Alcoholic Friends". Not to mention the the lonely prettiness of masturbation ballad "First Orgasm" (not recommended for small children, if the title didn't tip you off).
   
   With face paint and drums'n'piano music, the Dresden Dolls really do come across as a gimmick band. At first. That's before you actually listen to their music.
   
   And instead of running out on themselves the Dolls are getting better all the time, with their signature drums and piano going faster and stronger and wilder than they ever have before. They have a teeny rough edge to keep the music from sounding too polished. A touch of mellotron, organ and bass, and their jagged cabaret punk is complete.
   
   Amanda Palmer's throaty voice is wonderfully flexible. She can be sly, sneering, sweet, and lonely, as the song demands. And she can really rip out those songs, especially when the lyrics are witty: "Lift your hats/Off to the checkout girls with tattooed backs/They'd make an angels skin crawl!" Ouch.
   
   The Dresden Dolls sound a little different -- but hardly dramatically -- in their second album of piano-punk. Wild, weird and twisted. Absolute delight.

No comments about Live in Brussels.