5 comments about Elaine Stritch - At Liberty (2002 Original Broadway Production).

1. This double CD is stuffed full of great songs and amazing stories. My favorite stories are of Elaine's date with Marlon Brando, what she thought some lyric are/meant, and her time in Compant. The total honesty that she brings it all together is touching and inspiring.
   
   Very few people have the length or variety of a career that Elaine Stritch has had. I am sure that she has enough stories to do ten more shows.
   
   If you love Broadway then you must buy this CD.



2. The only disappointment is that I missed the show live. This is a terrific honest performance by an actor who has a deep well of experience from which to draw. From her early childhood memories, through acting school, her loves, her struggles and more, Ms Stritch weaves a fascinating and completely enthralling story. Ultimately, she lives the songs, rather than just performs and this is what really marks her out.
   I am so glad, she's still here!



3. I've never been able to understand what is so great about Elaine Stritch's singing. It's simple: she can't sing. I've tried and tried to like her, and I do, as an actress, but NOT as a singer. Listening to these CDs, all I hear is a grouchy old lady voice with no vibrato, no range, and no ability to hold notes. If she were to try out for American Idol she would get cringes! I love her humor and honesty, and that's why I bought this, but the voice...ugh.



4. I thoroughly enjoy this collection of stories from her experiences from a teenage girl in Michigan through her career, very funny, some sad and great entertainment.



5. Completely entertaining---a bit maudilin in places, but a must have for any Elaine Stritch fan.
   
   Certainly worth the money!

5 comments about Only One Life: The Songs of Jimmy Webb.

1. Feinstein gets the most out of Webb's already beautiful music, giving heartfelt, emotional deliveries without being excessively sentimental. I'd rate Feinstein's versions of "All I Know" and "Skywriter" above Art Garfunkel's, and his version of "The Moon's A Harsh Mistress" over Glen Campbell's. Except for Webb himself, I'd rank Feinstein as the best singer of Webb's songs that I know of.



2. I have always loved Jimmy Webb and Michael Feinstein separately. To get them together on one album is a wonderful treat! Michael's voice is perfect for interpreting the bittersweet lyrics so carefully crafted by Jimmy Webb. Each song is a delight.



3. Mr. Feinstein's voice sounds great; it's a very expressive instrument, and he has gotten better as the years go by.
   
   The arrangements are rapturously beautiful.
   
   The songs, of course, are just magnificent.
   
   But there are some major problems with this project. The biggest violations are the tempi -- some of these songs are just too damned slow. I'm all for being leisurely at times, but some of this stuff sounds like everyone in the studio had Novocaine injected into their brains. When they enter the chorus of "Adios", I suddenly got a mental picture of all the musicians being saddled with a cumbersome page turn, necessitating everyone slowing down until they got the page turned and could read the next notes: "Ah........deeeeeeeeeeeeeeeeeee...............os." Yikes!
   
   And though Mr. Feinstein has a beautiful voice, his long history in theatre and cabaret repertoire is proving a slight hindrance in singing material like Mr. Webb's. Yes, these lyrics have a dramatic thrust of sorts, but being too oh-so-sensitive threatens to make them sound silly and pretentious. Mr. Webb's stuff is still, for lack of a better term, "pop" music, and as such needs to be sung less affectedly than theatre music; in other words, subtlety is called for in order to just let the song speak for itself, rather than trying to put it across to the listener (e.g. overly emphasize certain lyrics to make the point, whereas the writing is strong enough to be clearly communicated on its own -- much the same way as Stephen Sondheim's works).
   
   All in all, this one's a keeper only for those orchestrations -- beautiful artistry there. If only my CD player could adjust tempos.



4. Grammy-nominated performer Michael Feinstein, who has spent much of his life recording the Great American Songbook, now turns his attention to another legend of popular American songwriting, his friend Jimmy Webb.
   
   This is a superb CD, warm and reflective, complemented by a sympathetic acoustic, and a well-balanced recording. Furthermore, it's produced by Jimmy Webb himself, so artiste and composer share a single vision.
   
   The disc opens with a beautifully orchestrated version of the coda from "MacArthur Park," gracefully segueing into the CD's title track, "Only One Life." The tempo is relaxed, and the tone is romantic, setting the mood for the rest of the album. Feinstein is in fine voice, and his warm, sonorous tenor is a perfect complement to the celebration of life and love that is this CD.
   
   Of the 15 songs on this album, every one is a gem. Some are old favorites like "MacArthur Park," "The Moon's a Harsh Mistress, and "Adios," while others like "Belmont Avenue," "Time Flies," and "Only One Life" are given their debut here. Among the highlights are a swinging, doo-wop arrangement of "Belmont Avenue," a lithe and lively "Skywriter," and a moving rendition of "All I Know." Additionally, the popular "Up, Up and Away" is given a refreshing makeover compliments of a lilting Latin rhythm that's an irresistible invitation to dance.
   
   The versatility of Feinstein's tenor is remarkable. One moment it's light and lissome, soaring like a bird in "Skywriter," and the next it's dark and brooding, mining all the pathos of Webb's plaintive composition as it ponders "Is There Love After You."
   
   This is a delightful disc, suitable for any occasion, but probably best enjoyed late at night over candle light and a fine Bordeaux with someone you love.
   
   Among the numerous interpreters of Jimmy Webb's music, two artistes stand apart, Glen Campbell and Art Garfunkel. To this distinguished duo we can now add a third, Michael Feinstein. With this collection of classics, Feinstein has proven himself an able advocate of Webb's oeuvre, and I warmly recommend this CD as a worthwhile addition to the library of any Webb connoisseur.



5. I am appalled at the reviews that came in for Michael Feinstein! This man is a genius., and no matter what he sings, he is PERFECTION. The title track brings tears to my eyes and the words touch me to my very soul! If you don't feel anything in your heart after hearing this song sung by Michael, you must have ice in your veins! His collaboration with Jimmy Webb is a sign of more good things to come. His rendition of "Up Up and Away", is fresh and exciting and makes you feel like slow dancing with a special person. "She Moves, Eyes Follow", such a beautiful song with deep feeling and expression. "Adios" shows Michael's voice and range..."These Are All Mine", "Piano" and "Is There Love After You"....all spectacular! We know Michael adores Gerswhin but to hear him sing these songs, shows how talented and exciting his music continues to be! I think Michael can sing ANYTHING and be sheer perfection. No other entertainer has the feeling Michael sings with and quite honestly I have worn this CD out from playing it so much.
   
   Michael Feinstein is here to stay, now, today and forever...he truly has what no other artist has...that is the love of music from his fingertips to his beautiful voice. He shows a side of himself when singing, he just pulls you in and you feel these words to your very soul, along with Michael. His caring interpretation of music is a "once in a lifetime" to witness, and still he makes every song his own.
   
   I hope all of you who gave such a sad review, will play this CD again and really listen to him sing and feel the words...HE IS A GENIUS....Truly the BEST...everyone else is just second...Michael's talent takes 1st prize all the time! A Perfect 10....

3 comments about The Very Best of Peter Allen: The Boy from Down Under.

1. Peter Allen was a somewhat underrated singer-songwriter and entertainer. His songs ranged in different styles. This album (entitled "The Boy From Down Under" to avoid confusion with THE BOY FROM OZ musical) He was a great performer, the first male dancer to perform with the Rockettes and won the Oscar to "Arthur's Theme (Best That You Can Do)". The album does include his own cover of the Christopher Cross classic from hisCaptured Live at Carnegie Hall album which has been badly edited on CD... Hopefully one day some of his earlier work such as 1972's TENTERFIELD SADDLER and 1976's TAUGHT BY EXPERT released on CD.
   Triva note: The only line from "Arthur's Theme" Peter Allen actually contributed was "When you get caught between the moon and New York City".



2. To the other reviewer ... yes he does deserve some respect ... because he WROTE all of the songs (apart from the couple of classic covers) ... including Still Call Australia Home



3. It was OK, middle of the road kind of stuff. Not the best version of "I Still Call Australia Home" I've heard but he's another Aussie legend so he's due some respect. For an all round collection of Aussie folk songs try the Bush Songs from the Australian Outback by the Aussie Bush Band

5 comments about Nature Boy: The Standards Album.

1. I just love Aaron Neville, so any CD of his I will like. This CD is a great standards music in Aaron's music style. Nice smooth music.



2. I don't know who in the world would not give this a 5 star rating! This is a CD that you can play from start to finish without skipping past any track. "The Shadow Of Your Smile" is smooth and superb. Each song a jewel. Sleep enducing? I think not! Dream inspiring perhaps. Worth every red cent I paid for it. As for the reviewer's 10 year old daughter who commented "I love this music": Right on sister!



3. This is a great album! It shows Aaron Neville at his best with his ultra unique sound. He makes the jazz standards that he sings magical. He is a great artist. I highly recommend this album. 4 stars.



4. First off, Aaron Neville has a beautiful voice, so he gets points for having such a unique voice.

   However, I found nearly all of this album "Nature Boy" to be way too slow. This is almost sleep-inducing music.

   I've heard a lot of these standards before and they are not usually done this slow. So I would be listening to a familiar song, waiting for it to pick up anytime now, but it never did.

   +'s Neville's voice, the selection of familiar songs, Roy Hargrove sounds great as a guest on trumpet/flugelhorn

   -'s The whole pace of the album. Just generally too s-l-o-w.

   Overall, I'll have to disagree with the majority and say this one's not worth the money.




5. Over the years, I have been a great fan of Aaron Neville, but I cannot recommend this CD. Sure there are some highlights (Summertime and The Shadow Of Your Smile), but most of the Cd seems to lack emotion.
   This Cd is not in the same league as Grand Tour or Tattoed Heart.

3 comments about Marlene Dietrich: Lili Marlene.

1. I had always remembered "Falling in Love Again" on an old, old Marlene Dietrich recording I had in my college days. For Christmas this year my husband tracked down a recording with this song and I must admit that I was extremely disappointed with the scratchy sound track. I had hoped that in some electronic way it had been digitally improved, but not so!



2. Marlene Dietrich undoubtedly has a spectacular and lovely voice. This CD can appeal to so many. I am fourteen, and even I can appreciate the time of Marlene Dietrich. Her beauty survives. She has a voice that surely can enchant eveyone. This CD has a perfectly reasonable price and a short biography of Marlene Dietrich inside the cover in which it tells some of her accomplishments. It is not a brilliant bio or anything, but it was helpful for me because I knew practically nothing about the woman. I also have to note, though, that the quality of the songs is not great, but this CD is worth it. "Lili Marlene," "Black Market," "Falling in Love Again," and "Near You" are surely the best songs. Dietich's voice is beatiful, though a little deep and masculine. It is a pleasing gift.



3. The sultry, siren-esque sounds of Marlene's lyrics are unparalelled in the whole sphere of music. From the delicacy of falling in love again to the raunch of Jonny, each provides a seamingly aphrodisiac quality. Although no recording can do her justice, this one makes a vallant attempt. Bravo Marlene!

5 comments about Infiniment: The Best of Jacques Brel.

1. Jacques Brel is one of the greatest singer/songwriters in recorded history. You will make a BIG mistake if you judge him soley by listening to the short recorded "previews" on Amazon. This guy may not have the greatest voice, but he has "Soul" in abundance! It is his "soul" or "spirit" that makes his songs and singing so thrilling! BUT DO NOT BUY THIS EDITION OF "INFINIMENT". This is the 2003 Imported edition. Yes, it is alittle cheaper than the 2004 domestic edition of "Infiniment"....but this edition (2003) HAS NO TRANSLATIONS. That is acceptable if you speak French, but we English speaking people NEED THE TRANSLATIONS to understand what the songs are about. Instead of this edition, buy the 2004 "Infiniment" also sold on Amazon at a different web address. And, with the brilliant songs and dramatic presentation by M. Brel, you just might become intrigued enough to, someday, purchase the 3 disc DVD Set so that you will be able to SEE as well as HEAR this brilliant performer. Bon appetite! Enjoy! Email:boland7214@aol.



2. 
   For those of us using Brel's songs to help us learn or improve our French, it's important to understand the difference between this 2-disc set, released in 2003 on the Universal Music label (ASIN: B0000AA8V2), and the other version of Infiniment released in 2004 on the DRG Records label (ASIN: B0002PUHGU).
   
   The songs themselves are the same, all sung in French (except for Marieke and Le Plat Pays, which are in Flemish and French). However, the DRG Records version includes official but abridged English translations of all 40 songs in the liner notes, along with English/French song titles. The original French lyrics are not included. The translations on DRG Records' version were done by the highly talented Amazon.com reviewer Thelma Blitz.
   
   The Universal Music version includes song titles in French only, and printed French lyrics for tracks 2 through 6 of Disc 1 only. There are no printed lyrics at all for the remaining 35 songs, and no English translations of lyrics for any of the 40 songs.
   
   To get the printed lyrics of all 40 songs in both French and English, one must purchase the DRG Records version of the Infiniment CD and a separate book of Brel's original French lyrics, such as "Jacques Brel, Oeuvre Integrale" (ISBN 2-221-01068-X or -8) or "Tout Brel" (ISBN: 2264033711), and a terrific French-English dictionary to use in studying Brel's chansons is the "Collins-Robert French Dictionary Complete & Unabridged" (ISBN: 000718381X).
   
   The Songs on Disc 1:
   
   "La Quete" (The Quest, Track 1, Disc 1) is better known as "The Impossible Dream". This is Brel's version of the song also crooned by Elvis Presley, Andy Williams and The Supremes, and originally created by Mitch Leigh and Joe Darion. I don't believe Brel's version is as satisfying as the original in English, however, at least for native English speakers.
   
   Tracks 2 through 6 (Disc 1) are songs created in 1977, a year before Brel's death, but released for the first time by Brel's family through the International Jacques Brel Foundation in Brussels (check it out online). Brel recorded these after part of one lung had already been removed due to lung cancer.
   
   Their release was somewhat controversial, at least with some of the musicians who worked with Brel over the years, because Brel had not finalized these recordings prior to his death. They felt that Brel's artistic vision would have been better served and better respected by keeping these recordings unpublished. On the other side, there was considerable demand for his last unpublished recordings and a lot of heartfelt gratitude towards the Brel family on the part of Brel fans around the world, who were ecstatic at this release of his previously unheard recordings.
   
   Tracks 7 through 10 (Disc 1) had been previously released in 1977 on the Barclay label. Track 11 (Disc 1) is J'Arrive (I Arrive), which was previously released in 1968 on Barclay.
   
   Tracks 12 through 15 and 18 through 20 (Disc 1) are in my view 7 of Brel's greatest songs of all, due to the elegant literary quality of his lyrics, the raw passion expressed in his voice, and the beautiful and haunting melodies and/or accompanying orchestrations.
   
   "Quand On N'a Que L'amour" (When We Have Only Love, Track 12, Disc 1) is Brel's quintessential theme song (circa 1960) for idealistic young lovers who believe that love conquers all, in stark contrast to Brel's later more jaded songs, ranging from "Le Prochain Amour" (The Next Lover, Track 18, Disc 1) in 1961 to "La Chanson des Vieux Amants" (Song of the Old Lovers, Track 19, Disc 1) in 1967. "Quand On N'a Que L'amour" strikes a similar tone of optimism as another Brel song, "Au Printemps", which is not included in the Infiniment collection.
   
   "Le Plat Pays" (The Flat Country, Track 13, Disc 1) is Brel's nostalgic homage to his home country of Belgium, sung with great affection in French and Flemish. Although he grew up in Belgium, he spent nearly his entire musical career in Paris, France.
   
   "Mon Enfance" (My Childhood, Track 14, Disc 1), one of Brel's most passionate songs, takes a candid look back at what Brel describes as a quite unhappy childhood, accompanied by ravishingly beautiful accompaniment by piano, cello, singing saw and orchestra that manage to convey a strong sense of nostalgia despite the misery Brel describes. The English translation is very abridged due to space limitations in the liner notes.
   
   "Les Vieux" (The Old People, Track 15, Disc 1), evokes a ticking clock as a metaphor for the passage of time. It paints a grim portrait of life in the twilight years, set to the beat of a grandfather clock, a triangle and a small orchestra.
   
   "Le Prochain Amour" (The Next Lover, Track 18, Disc 1) is Brel's world-wisened and world-weary evaluation of love: "...it's good to be in love... I know just the same that the next love will be my next defeat..."
   
   "La Chanson des Vieux Amants" (Song of the Old Lovers, Track 19, Disc 1) is a wonderful nostalgic look back at a romance of 20 years: all the storms the couple has endured, and "the sweet tender marvelous love" that continues today even as their "tender war" persists. To me, Brel's passionate singing and the wonderful piano and orchestral accompaniment evoke all the romance and nostalgia of a World War II era Casablanca, making this one of Brel's greatest classic songs.
   
   "Ne Me Quitte Pas" (Don't Leave Me, Track 20, Disc 1) is Brel's most famous torch song, in which he uses exquisite imagery to press his suit with a girl who has already left him, descending in the end into abject desperation as he struggles to maintain a link, any link at all, with the object of his love. Frank Sinatra was moved to sing an English version of this song called "If You Go Away", which unfortunately doesn't do justice to the stunning poetry of the French original. The version on this CD uses a gorgeous piano accompaniment and a soto voce orchestra in the background. The last verse adds a flute to the piano accompaniment. This is my favorite song of the entire Jacques Brel repertoire because of the power and the haunting beauty of the lyrics, Brel's impassioned voice and the evocative music!
   
   Some Great Songs on Disc 2:
   
   "Amsterdam" (Track 1, Disc 2) is one of Brel's most famous songs. It's about the sailors who disembark in this Dutch port and how they deal with the vicissitudes of their lonely lives and the dreams that haunt them once they reach the shore.
   
   "L'enfance" (Childhood, Track 6, Disc 2) is a song from the 1973 French comedy film "Far West" directed, co-scored and co-written by Jacques Brel, who also acted in the film. This song evokes a much more positive view of childhood than "Mon Enfance", and suggests how maintaining some of the elements of childhood can enhance life even in old age.
   
   "Marieke" (Track 13, Disc 2) is a nostalgic song about a first love that played out on the beaches of Belgium one summer in his teen years. It alternates charmingly between Flemish and French, the two national languages of Belgium.
   
   If you don't mind the lack of English translations, you might also enjoy the largest affordable collection of Brel songs I've found, Quand on N'a Que L'amour (ASIN: B00000IYC9) of 49 songs on 3 CD's, which includes a 31-page section containing an essay in French on Brel's life and music, punctuated with beautiful black & white and color photos of Brel in performance.
   
   What's even more fabulous than the CDs, however, is the 3 volume DVD set released in 2003: Jacques Brel: Comme quand on etait beau. (ASIN: B0000AQJPR). The set includes 7.5 hours of live and staged performances as well as interviews and home video footage. Everything that the heart of a Jacques Brel fan desires to capture the essence of this very theatrical artist in a way that an audio only recording can not.



3. You don't need to know French to know what that means and you don't need to know French to know how good this music really is as it is as powerful as you can get. Worth having in your collection. Bon ecoutant mes amis ( good listening my friends )



4. "'Infiniment' était un mot qui lui ressemblait"
   "Tu leur Diras" Maddly Bamy
   Come on, all you French majors, you students of French from beginner to advanced, put down your boring grammar books, your homework, your dusty old Ronsard and actually enjoy yourself. Treat yourself to one of the most thrilling singer/songwriters that ever walked the planet and his latest CD compilation, 25 years after he dropped the body.
   The five unpublished songs, outtakes of his last album, are here at last. The whimsical "La Cathedrale" where the anti-clerical Brel finally finds a use for a Cathedral--he dreams it into a sailing ship, sees the world and finds it beautiful. " Mai 40", where to the swinging sound of 40's Big Band music, he recalls the war's destruction and the awakening of his Belgitude. "L'Amour est Mort" which the French press satirized as a song so depressing it might incite suicide, actually reminds the lovers for whom the wine has gone sour that they once loved and enjoyed each other. "Sans Exigences" is another song of love gone bad, somber in tone with an organ behind it. The narrator in the first person is treated with contempt and indifference by his partner, is not bold enough to complain, and is finally deserted. Brel wanted this piece on his last album but somehow it didn't get there. "Avec Elegance" has a wryly satirical ring to it like "Les Paumés de Petit Matin. " These 50-ish people are despairing, but always with elegance, as if despair is some kind of fashionable pose.
   .The other songs are a "best of" available on many other albums with the exception of the gorgeous ballad L'Enfance written for the last film he directed, Le Far West. It's great to have all these songs together in one place sounding so clear and true in the new High Definition CD. Chilling to hear Brel draw breath into his remaining usable lung as he sings of the heartbreak of the parting lovers in "Orly" Exhilarating to hear the majestic brass that builds the intensity of this masterpiece. You hear things you never noticed before. "Orly" is still "Orly" only more so.
   In sum, this is a great set. You won't regret owning it whether you already have a lot of Brel or not.



5. On Brel's last record there were 12 songs, five more were completed but not released. I knew they exist somewhere because the lyrics are in my 'Tout Brel' -book. And 26 years later, finally, they are here! 'L'amour est mort' is already a new favourite song for me : )All the songs are remastered and the sound is clear and crisp like winter's day, which is already a good reason to release a new collection from Brel's recordings. So my thanks to Brel family for giving these!

   Note: The list of songs given above isn't right: 'Fanette', 'Grand Jacques', 'Les remparts de Varsovie', 'L'ivrogne' and 'Une ile' don't exist on my record - which is a shame, since 'Fanette' is one of his most beautiful songs, 'Une ile' absolutely euphoric and 'L'ivrogne', a very theatrical, wonderful song.

   Instead there are 'La ville s'endormait' (and that's good, it really is a wonderful song and Brel's voice sounds really beautiful), 'La biére', 'Le diable' (also a good choice from the early years), 'Il nous faut regarder' from the same time as 'Le diable', and 'Je suis un soir d'été'.

   The most important thing is, that there are the good ones: 'Amsterdam' as the live recording, 'Ne me quitte pas' really beautifully remastered, 'Madeleine', 'Vesoul', 'La chanson des vieux amants', 'Le dernier repas', 'Les bourgeois' and so on and so on. I suppose two early recordings have been included to give a fuller picture of Brel's production. And they sound good, much cleaner than on another record I have. But if one can hope... From the late 50's I would have wanted 'Sur la place' or 'S'il te faut' - and of course 'Seul' and 'La tendresse'. And I do have a weakness for Brel's tangos, such as 'Rosa' and 'Knokke-le-Zoute'. Well, I'm a Finn, after all... But if this record starts a passion - and it very well might do it! - you can find collections of these early recordings ('Grand Jacques' and 'La valse a mille temps') and be pleasently surprised as I was today, when I got this record.

   This is absolutely nine stars ***** ****! If I could have changed just a couple of songs, it would be ten, but as it is it's still above the usual five stars given for good records and movies. This is immortal!

5 comments about Ultra-Lounge: On the Rocks, Pt. 2.

1. Ultra-Lounge: On the Rocks, Pt. 2 is an excellent CD of hits from way back when that can still make the airwaves sizzle today! These tunes are great for mood music and some of them are good for dancing, too. The quality of the sound is excellent and the artwork is very, very nicely done. Great!
   
   The Johnny Mann Singers begin the track set with their hit entitled "Heart Full Of Soul." "Heart Full Of Soul" has that rockin' `60s lounge flavor to it--all wrapped up in one package! They sing and play this to perfection and I'm sure that you will enjoy this opening number very much especially if you like lounge music with vocals. David McCallum's "(I Can't Get No) Satisfaction" has a great beat that mirrors the hit by The Rolling Stones; and the brass is used very well in the musical arrangement. In addition, "Games People Play" from Mel Torme really works so well on many levels all at once. Mel Torme sings this so well there's no doubt as to why he was revered by fans and his peers alike.
   
   Buddy Morrow does great on his version of "Summer In The City" by The Lovin' Spoonful; the horn work is superb and the overall arrangement is really cool! I really like "Summer In The City;" it's easily a major highlight of this album. Guy Lombardo and His Orchestra do a very solid rendition of "Mrs. Robinson" from the movie called The Graduate with Dustin Hoffman; and listen for a great medley of "Wear Your Love Like Heaven/Workin' On A Groovy Thing" by David Rose and His Orchestra. David Rose was a very talented man and just one listen to this tune proves it amply! Julie London plays along as she delivers "Yummy, Yummy, Yummy" with panache--she was capable of singing ballads that were so much more substantial but I admire the way she plays the good sport and sings this one out proud anyway!
   
   There's a fine medley of "Baby Love/Respect;" "Baby Love/Respect" is performed with lots of feeling by Zacharias. Zacharias really knows their stuff and their talents work well to make the medley of "Baby Love/Respect" another highlight of this album. Mel Torme returns to perform a rousing rendition of "Happy Together;" "Happy Together" features Mel swinging brightly to make this number shine! Mel Torme really could sing just about anything and make it sound grand.
   
   The Hollyridge Strings do their medley of two Beatles tunes, "Can't Buy Me Love/Sgt. Pepper's Lonely Hearts Club Band;" this medley uses the brass and strings with the piano to make a terrific melody that is catchy as well. The CD closes nicely with Kurt Russell performing "Sugar Sugar;" this cover of the song by The Archies is excellent and I'm sure The Archies would be proud!
   
   Overall, Ultra-Lounge: On the Rocks, Pt. 2 is a great CD for lounge and mood music fans who like tunes that are either instrumental or with lyrics. I highly recommend this album for these people and newcomers to lounge and mood music will find this CD to be a great introduction.



2. Love this kind of music - can't get enough - have most all of the CDs. Excellent New Jersey-based company with excellent foresight and retro-understanding for the best party and jazz combos. Excellent choice for any kind of day or evening, party or relaxation time.



3. These recordings date from 1964 to 1972. During this time period, there were two kinds of "pop" music. There was the kind for teenagers, which featured the likes of the Beatles, the Beach Boys and the Ohio Express. And then there was pop music for the parents of teenagers, featuring the likes of Mel Torme, Peggy Lee and the Hollyridge Strings. This CD features teenage pop songs as performed by pop artists for the older folks. Boy, talk about a style clash! Can you imagine Peggy Lee singing "Everyday People", or Julie London singing "Yummy, Yummy, Yummy"? Well, you don't have to imagine it, you can get this CD and hear it for yourself. There are some strange renditions of songs that will be familiar to anyone who ever turned on an oldies radio station. Most of the songs are instumentals, although I wouldn't call it "elevator music", for the most part. Special mention to the Little Big Horns, who include sounds of an Indian attack in their version of "I Heard It Through the Grapevine" (Little Big Horn = Custer's Last Stand, get it?). Fans of "kitsch" should dig this CD.



4. I think they used up all the 'good' songs on the first On The Rocks compilation - this one seems to be scraping the bottom of the barrel a bit. Part 1 is highly recommended for lovers of things tacky, but Part 2 is a bit thin.



5. Just think of it: Kurt Russell as the Hillary Duff/Lindsay Lohan (take your pick in that contemporary turf war) of his generation. When Russell found himself in a series of successful movies for Disney he was quickly signed to a record deal where he covered bubblegum classics like Tommy Roe's "Dizzy" and The Archies' "Sugar Sugar," which is the final track on "Ultra-Lounge: On the Rocks, Part 2." Make no doubt about it, this is a collection of what would be considered "classic" kitsch 'n' roll (or rock 'n' kitsch if you like). You probably will never be able to get a CD version of Kurt Russell's self-titled debut album, or any of the other bizarre albums that attempted to make rock 'n' roll more palatable for the masses or were simply produced by people heavily into drugs (e.g., "Sebastian Cabot, Actor, Bob Dylan, Poet," "Jayne Mansfield: Shakespeare, Tchaikovsky & Me," Jack Webb's "Just the facts of life, ma'am," or Tony Perkins' "On a Rainy Afternoon"), but you can get this collection of misses and misses (and, to be fair, you can get Robert Mitchums' "Calypso is Like So...," Tony Perkins' self-titled album, and, of course, the mother-lode itself, William Shatner's "Transformed Man").
   
   Overall there are two types of songs included in these 23 tracks. First there are essentially instrumental distortions, er, versions of classic rock songs, such as "Carry That Weight" by Francis Lai. But be prepared for anything because this is an album where "I Can't Get No Satisfacation" begins with the opening notes played on a dulcimer. There is a touch of psuedo class here, with the Hollyridge Strings (NOT the "Hollywood" Strings mind you) doing a Beach Boys medley of "I Get Around/California Girls." Peter Duchin shows up to do "Superfly," which was a bit of a shock. Other instrumentals include "Summer in the City" by Buddy Morrow, "Mrs. Robinson" by Guy Lombardo, and my favorite of the bunch, Deep Purple's "Hush" by the Royale Blue. If you like sitar music you get a double dose, with Lord Sitar joining Sandler & Young for a Beatles medley of "Blue Jay Way/Blackbird" and then returning solo to do the Who's "I Can See for Miles." But expect lots of strings (e.g., the Hollyridge Strings with "Can't Buy Me Love/Sgt. Pepper's Lonely Hearts Club Band" and John Andrew Tartaglia's "Light My Fire") and horns (e.g., Little Big Horns' "I Heard It Through the Grapevine" and Henry Jerome's "Oh Pretty Woman").
   
   Then there are the songs were singers actually do some singing. These range from "chorale" type versions of songs, such as "Heart Full of Soul" by the Johnny Mann Singers, which opens up the album, to covers of familiar songs by familiar artists, like Mel Torme doing "The Games People Play" and "Happy Together," while Peggy Lee does Sly Stone's "Everyday People." Julie London does a really slow version of "Yummy Yummy Yummy," but that is really it for recognizable names. Then we jump to the other extreme and have the likes of Mrs. Miller doing Nancy Sinatra's "These Boots Are Made for Walkin'", the fun-loving senior who I would have given the final spot in the collection to, because after mangles that song (including her breathless "Yeah" at the end of the first chorus) there is no place to go and you might not actually being aware the Russell is doing "Sugar Sugar" until the silence afterwards pierces your consciousness. I have a definite preference for the songs with singers in terms of the kitsch quotient here because the instrumental tracks at least can be categorized as elevator muzak, which takes a star away from the rating because if a song on this album goes not make part of your groan in delight, it is just not doing its job.

5 comments about Lady Sings the Blues.

1. Lady Sings The Blues is a marvelous two CD set that has so much to offer! This really gives people a large amount of timeless ballads from some of the best divas of the entire twentieth century. The sound quality is excellent and the artwork is very thoughtful.
   
   Sarah Vaughan kicks off the set with her wonderful interpretation of "Key Largo." Sarah sounds just lovely and her ability to play with tempo changes impresses me greatly. The musical arrangement is rather jazzy as well. There's also "Embraceable You" sung by Dianne Reeves; Dianne sings this with all her heart and soul. The tempo is slowed down somewhat from the tempo I'm used to but this ballad as sung here by Dianne Reeves still holds its own very well. Della Reese also sounds great on "Call Me." "Call Me" has a particularly lush arrangement and Della's voice is rich, warm and rather vibrant. Della sure could belt out a tune!
   
   Dinah Washington turns in a fine performance on "Call Me Irresponsible;" this tune gets the royal treatment from Dinah and she was born to sing songs like these! Dinah's energy makes this a major highlight of this two CD set and I'm sure you'll like it as much as I do. Moreover, Nancy Wilson's "The Very Thought Of You" is absolutely perfect--Nancy delivers this with panache, heart and soul! The strings are used to great advantage and the piano arrangement is very elegant as well. Kay Starr sings a stunning version of "It Had To Be You;" if this is your type of music then I dare you not to like this!
   
   The second CD continues the hits. Sarah Vaughan returns to sing a passionate rendition of "Stormy Weather." Sarah bats this one straight out of the ballpark and she never sings a superfluous note, either! Sarah Vaughan always remains one of my favorite songbirds of all time; and just one listen will tell you why. Cassandra Wilson also sings "Someday My Price Will Come" with a slow, romantic delivery that just amazes me whenever I hear it; and listen also for "You've Changed" by the great Nancy Wilson. "You've Changed" is a classic bluesy ballad that Nancy infuses with so much emotion that it truly shines here on this set.
   
   Julie London sings "Cry Me A River;" many people said that this song in actuality belonged to Julie London--and I think those people are right! Julie sings this with a degree of sensitivity that only she could muster. Keely Smith also does a smash-up job on "I Wish You Love;" Keely's voice is very rich and warm. "I Wish You Love" stuns me with its natural beauty. The CD set also ends well with Lena Horne performing "We'll Be Together Again." "We'll Be Together Again" is the perfect ending to this two CD set.
   
   Overall, blues music aficionados cannot afford to go without this two CD set. These timeless ballads shine so well; don't be surprised if you find yourself listening to this practically every day of the year!



2. Lady Sings The Blues is a spectacularly rich Capitol Records compilation of women jazz/blues singers in a 2-CD collection that has the listener begging for more.
   
   Combining legendary chanteuses such as Dinah Washington, Sarah Vaughn, and Ella Fitzgerald with the modern ones (Dianne Reeves, Diana Krall, Norah Jones), this release rolls out older and newer songs that these ladies interpret with gusto and panache.
   
   No weak cuts on these records, but here are a few standouts,"Embraceable You" by Reeves, "Solitude" by Fitzgerald, "Key Largo" by Vaughn, "Don't Go To Strangers" by the great Etta James ("At Last"), "Call Me" by everyone's favorite overseeing angel Della Reese, and many others, the classic "Something Cool" by June Christy.
   
   This is a wonderful collection that shows that in today's hip-hop influenced music culture that there is still room for the old standards.



3. Altho the disk spans 50 years of torch singing, it amazed me how all these ladies sound the same. Only Etta James stands out with some life in her voice, everyone else is so so smooth I lose track of who is singing.



4. This is a very nice cd. The contributions by Norah Jones and Patricia Barber alone are well worth the price. Where is Tierney Sutton?!



5. Wow these womens voice can sound as deep as the ocean to as high as the everlasting sky. Each song & singer is fantastic!

No comments about Split.

5 comments about Illusions.

1. Who am I to complain about anything Ute does. She's perfect. Really. I do wish though that this had been produced with a bit less lavishness. This music sounds best with a small ensemble, and I'm afraid Ute will never revisit these songs for c.d. and perform them as she does some of them live.



2. I was most impressed, and moved, by Ute Lemper's rendition of Weill pieces, and her 'Berlin Cabaret Songs' album. This collection of songs, many made famous by Marlene Dietrich and Edith Piaf, is a big disappointment. The energy, and gut quality of their original interpreters, are missing here. Every song is played at a tortoise's pace, with strange, musical accompaniements, the songs hardly recognizable if you are familiar with the originals. A case, perhaps, of Lemper trying too hard to 'modernize' what should be left alone. The end product is embarrassingly self-conscious and shallow.



3. I've seen the live performance film that followed this album; it was released on Laser Disc. It's pretty stunning if you're a Lemper fan. Let's hope that the owners see fit to issue it on DVD



4. `Illusions' and `City of Strangers', albums primarily of vocals by Ute Lemper, were released in 1992 and 1995 respectively, interspersed with her releasing the last of her major albums of Kurt Weill material in 1993. `Illusions' and `City of Strangers' are both a mix of songs in German, French, and English. Of the two, `Illusions' is the more coherent, but that difference is small. Very much like The Doors first two albums, these two are both cut from a single cloth and with some material are precursors of Ms. Lemper's really excellent `Berlin Cararet Songs' done in both full English and German versions in 1997. For example, several songs on these two albums were written by Friedrich Hollaender who is featured on the `Berlin...' albums.
   
   For those readers who are not familiar with Ute Lemper's repertoire, these two albums, along with the first `Ute Lemper Sings Kurt Weill' may be the best introduction to her style of performance. I have yet to hear one of her albums which I did not like; however, I suggest you stay away from her `Best of' album and her `Life is a Cabaret' album. The latter is a takeoff on Lisa Minelli's style and material and while I can listen to it with pleasure, it does not represent Ms. Lemper's best interpretations. If your taste in female vocalists includes Edith Piaf, Marlene Dietrich, and Barbra Streisand, especially for her dramatic and unusual interpretations of some songs, I suspect you will really like these recordings. If you are more fond of jazz vocalists along the lines of Blossom Deary and Billy Holliday, or like traditional Broadway performances as done by Betty Buckley, these may be just a bit too heavily laden with European `Weltshmertz'. Also, if you have no strong tastes in popular female vocalists, I strongly suggest you give these recordings a try. I also suggest that Ms. Lemper even does a better job with these tunes than you may find from a classically trained singer such as Anne Sophie von Otter, who is just a bit too sweet for this peppery material.
   
   For readers who are were attracted to Ms. Lemper by the album, `Punishing Kiss', I strongly recommend these albums even over her Weill material.
   
   Overall, if there is a better vocalist doing European ballads and musical stage numbers, I am not familiar with them. As a long time fan of Barbra Streisand who has found her material a bit flat lately, I am immensely happy to have Ms. Lemper to listen to, and always look forward to her latest material. I just with she would perform more on our shores.
   
   Very highly recommended.



5. Ute Lemper has mastered the thematic/concept albums. All the songs on this album are linked thematically and the album is much more than simply a tribute album to Dietrich and Piaf. The songs harken back to a time, a place that is no longer and Ms. Lemper dramatically transforms these songs, indeed, relics, themselves, from the past to the modern ear. And the magestic voice of Ute Lemper captures the listener and propels the listener to her own world of drama, the story. One of the most beautiful songs you may ever hear is