5 comments about Make Believe.

1. I love jazz and am a big fan of John Pizzarelli, who produced this recording of his wife. I also thought I would be a big fan of Jessica Molaskey, having heard some great tracks of hers on the radio. This made my disappointment in this recording all the greater. This is simply over-over-produced. Jessica has a great voice, but if improvisation and spontaneity are the heart of jazz, this is not jazz. Dear John: can the strings and all the rest of the carefully orchestrated arrangements. Let her just sing from the heart with guitar (yours), piano, and bass as accompaniment.



2. as good a cd that can be made of these songs. bar none. thanks jessica.



3. Recently I had the pleasure of listening to this marvelous CD at work. Ms. Molaskey is a recent discovery of mine (though I have been well acquainted with the music of her equally talented spouse, Mr. Pizzarelli) and the song selection, arrangements, etc. are first-rate. A sweet treat to these ears!



4. One can tell this is an experienced theatre singer. Her pizazz shows through on every song. Very cool CD. Jessica is as smooth as silk, a performer you just have to hear!



5. I was not aware of Jessica, and only found her as result of other Amazon reviews, and what a terrific surprise. Wonderful sound and wonderful standards. I have since purchased 4 more of her CDs.

2 comments about Berlin.

1. 'Berlin' by Marlene Dietrich
   
   This is one of Dietrich's most sublime recordings. All of the best old songs from her early years in Berlin are here - and one can sense her own nostalgia for the country which she had to leave. It is pretty unique as far as Dietrich's recordings go. I don't think she ever did another Berlin album, although I know she made a great propaganda album during the 2nd world war, of very famous American songs sung in German.
   Anyone who loves Marlene's recordings would do themselves a favor by getting this. You won't regret it.



2. A great collection of songs not of die Dietrich's usual standards, rather a collection that speaks, or sings, to another aspect of that highly complex phenomenon, Marlene. In fact, some commentators have claimed that this was Dietrich's own favorite album. And one can hear real joy and delight in Dietrich's voice in these songs of her hometown. That joy is apparent for example in "Nach Meine Beene Ist Ganz Berlin Verrückt," a song that could be a real candidate for a Dietrich theme song. After all, not just Berlin, but the entire world was quite crazy about her legs -- and rightly so. And she, the Urberlinerin, sings all this in her distinctive Berlin Dialekt -- "ick" for "ich"; "janz" for "ganz"; and, of course, "Beene" for "Beinen," etc. -- adding another layer of references to the song. It is interesting that Dietrich's friend, Claire Waldoff with whom the song was associated, complete with Dialekt, was not originally from Berlin (and whose legs were not so commented upon as Dietrich's).
   
   There are other songs on this CD that sound as though Dietrich is singing about her own childhood complete with a palpable sense of fondness. She sings such classics as "Untern Linden" with such fine rapid phrasing and energy that is sounds almost like Gilbert & Sullivan "Model of a Modern Major General" like or for a more contemporary and also urban reference, early rap, or Madonnas rap-like sections of "Vogue", but happier, livelier and better.
   
   The recording is clear and clean. The only things missing are lyrics and more photographs of the woman to whom Hemingway wrote: "What do you really want to do for a life work? Break everybody's heart for a dime?" "You could always break mine for a nickel and I'd bring the nickel."

4 comments about John Coltrane and Johnny Hartman.

1. Recognized for years as a Jazz Classic, an essential recording . . . one of those desert island recordings; there is very little that can be added that has not already been written about this recording. The qualities of these great artists came together on this very special recording. It is simply that good. The technology through the years has improved and fortunately the remastering of this classic has been done well enough to give honor to the original vinyl rendering.
   
   Hartman sounds as if he were in your room while Coltrane simplifies his music to support the vocal (his only recording to do so). It takes genius and great self esteem to keep it within the boundaries of the entire ensemble. Coltrane did this on this recording to his credit / genius.
   
   This recording is a "must have" for any serious music fan. A wonderful start (or finish) to any evening.



2. John Coltrane and Johnny Hartman
   
   THIS IS A GREAT REPRODUCTION OF THE ORIGINAL LP. I'VE BEEN BOTH A JOHN COLTRANE AND JOHNNY HARTMAN FAN FOR A LONG TIME. HOWEVER, I NEVER GOT AROUND TO PURCHASING THE ORIGINAL LP ALBUM. I'M ALMOST GLAD I WAITED. THE CD IS GREAT AND SOUNDS ABSOLUTELY WONDERFUL ON MY NEW SYSTEM. GOOD CHOICE.



3. A wholesale improvement in sound quality when played back in SACD mode over the impulse release. Other than some tape hiss, terrific presence and very much a "you are there" quality to the sound. Hartman was a fabulous singer and Coltrane is at his best doing ballads. If you like romantic jazz with up front vocals and sax, this is a must have disc. I own about 2000 CDs. This is in my top 10 favorites.



4. As a saxophonist, I have been a Coltrane lover for twenty years, and have avoided any vocal contamination of his and other jazz greats' works. All of that changed when I listened to this album! The polished intensity of Coltrane's tenor sax blended with the baritone crooning of Johnny Hartman make this one of the most romantic albums in jazz (and that is saying something).
   
   Johnny Hartman, while a star in his own right, has never has inspired me as much. And while, "A Love Supreme," released a year and a half later in 1965, is arguably Coltrane's greatest work, "John Coltrane & Johnny Hartman," is more intimate and at the same time, accessible for the listener. The struggle to describe the radiance of divinity and reverence is replaced by the more tangible themes of a human's trials and triumphs in love. If you only get one album to share with your sweetheart, this is the one to get!

5 comments about Nice Work If You Can Get It: Songs by the Gershwins.

1. 
   Oh, yes!
   
   So, if you're in the mood for a pulls-out-all-the-stops, "Grand Production" number, you'll find none on any of his DVDs that's moreso than Mikey's rendition of the "Fascinating Rhythm" medley.
   
   But you can't stop there, oh, no. If what you want (and I so do) is his "fun-est" number ever (except, maybe, something from "Pure Imagination"....and that's just for kids--Ha, Ha), then grab a listen to his "Anything for You." If it doesn't stoke your fires for the next month, I don't know what will. (Oh, yeah, the title track's a kick, too).
   
   Enjoy!
   
   ****



2. Shortly before this CD was published, I had the pleasure to see Mr. Feinstein perform on a snowy April evening at RAINBOW AND STARS in New York City. The night was magic, his performance flawless, his charm contagious, and the memory is fixed into my "hard-drive" for the rest of my life. This CD is the closest I have been able to replicate that evening's performance. It captures the beauty of the night, and more importantly, the scope and magnificence of the Gershwin songbook. IF YOU ONLY OWN ONE FEINSTEIN CD, this should be the one.



3. The brilliance of George Gershwin in composing music, the ingenuity of Ira Gershwin in writing the lyrics and the artistry of Michael Feinstein in interpreting these timeless classics make this album one of the best recordings of all-time. It's a common knowledge among Gershwin fans that Mr. Feinstein has worked for Ira Gershwin for years until the songwriter's death in 1983. He's one lucky guy to have worked with one of the greatest songwriters of all-time.
   
   He interprets thirteen selections of which six I consider the very highlights of this recording. My topmost favorite is an unpublished song until 1983, "Ask Me Again," one of the less famous songs of the Gershwins but its words and music are simply splendid and I love it! The flawless arrangement complements his outstanding vocal artisty. Thank you Mr. Feinstein, for being one of the key figures in keeping the music of Gershwin brothers alive forevermore.
   
   The rest of the highlights are "Nice Work If You Can Get It," a medley of "A Foggy Day" (In London Town)/"Things Are Looking Up," a song arranged by the singer himself with Harvey Cohen, "Who Cares?" from the musical comedy "Of Thee I Sing" (who would think this song is 73 years old?) and "Someone To Watch Over Me," a song Ira Gershwin wrote about himself around the time he married his wife Leonore ("he may not be the man some girls think of as handsome..."). This charming version was arranged and conducted by a fine arranger, Don Sebesky. And my all-time favorite - Oscar-nominated "They Can't Take That Away From Me," from the 1937 film "Shall We Dance?" To me, this is the most ear-catching interpretation I've ever heard and has become my favorite for its hauntingly beautiful orchestral arrangement, which was based on the original arrangement by Conrad Salinger in 1948 recording. This charming arrangement was reconstructed by Christopher Palmer and Jeff Atmajian, and conducted by Larry Blank.
   
   "But I'll always, always keep the memory of ...
   The way you wear your hat
   The way you sip your tea ...
   The way your smile just beams
   The way you sing off-key
   The way you haunt my dreams
   No, no they can't take that away from me."
   
   Don't miss out on this CD. This is one of Michael Feinstein's nicest compilations of songs by the Gershwins. A must-have for all Gershwin and Feinstein fans. I enjoyed listening to it and I'm sure you will, too.



4. If you get only one Feinstein CD, make it this one. Each lovingly presented track stands on its own. Most of the songs are accompanied with lush and imaginative orchestrations, some with Michael at the piano. Those are the ones whose sweet simplicity will stay with you the longest. My two favorites are "For You, For Me, Forevermore", and the very obscure "Will You Remember Me?" both of which are hauntingly beautiful. Michael has the rare gift of making you feel that he is singing only to you. If you ever have the opportunity to see him perform live, grab it. He is funny, charming, and loves his audiences.



5. Michael Feinstein worked with Ira Gershwin during the last six years of the elder Gershwin's life and this helped form a bond between him and the musical legends.

   His first Gershwin album was a pianist's tribute, and quite good. This album being vocal is a welcome addition indeed. We hear the familiar songs such as "Someone To Watch Over Me", "Fascinating Rhythm", "They Can't Take That Away From Me," but more importantly, he introduces a number of previously unpublished songs. "Ask Me Again", "For You, For Me", "Luckiest Man In The World", all are noteworthy.

   Feinstein has a large range, and ability to encompass several styles. On "A Foggy Day", one may well recall Fred Astaire. Basically, though, his interpretaion is his own.

   This CD is especially recommended for those with a Gershwin collection as well as those who are seeking to develop such a collection.

5 comments about Perfect Stranger: The Island Anthology.

1. I was going to get a CD of just "Broken English" but decided to get the 2-CD Island anthology instead because of all the great stuff on it. Marianne Faithfull is such an evocative singer - I have to say don't listen to this if you're depressed. There's so much hard-living and lessons learned in her voice.
   
   Overall, this is a great set of music, although I wasn't too crazy about the electronica stuff - simpler is definitely better for her voice.



2. Watch Video Here: http://www.amazon.com/review/R2XS4JR9UE765B My name is Jeremy Gloff. I am a musician (check me out on Amazon!) and retro music enthusiast. If you enjoyed this review make sure to check out my Amazon user profile to check out my other reviews. I am always up for making new friends and discussing the music I love!!!



3. A while back I got a collection of hers that was good, but only 11 tracks and obviously too short. Well no problem here, as this is three times the collection in every way. I've liked Marianne Faithfull since I first heard her, and similar to Leonard Cohen, there's no mistaking who you're listening to. This 2-disc set actually has more than I need, but no complaints. Disc one starts with the majority of her huge "Broken English" album, rightly so. Then we get gems like "Intrigue", "For Beauty's Sake", "Truth Bitter Truth", and her take on "Sister Morphine". I'll admit more of my favorites are on the first disc, but disc two is solid also. "Strange Weather", "As Tears Go By", "Isolation", and many more make disc two a must, though things get more mellow toward the end. This of course is just songs from her Island years, but what great years. Essential no matter if you know her music well, or if you're a "perfect stranger" to it. Nice booklet too.



4. This is a perfect introduction to Marianne Faithfull if you've been too timid to invest in all of her CDs. For me, it's the portable Faithfull. I always take it with me. Marianne makes rainy day music - sometimes bleak, sometimes furious, sometimes bitter, sometimes wistful. Always haunting. I never really liked her early crystal soprano, but when she can roaring back with "Broken English" (one of the most perfect collection of songs on record) I was hooked for the duration. Standouts here are many, but I love "Trouble In Mind," "Times Square," "Ghost Dance" the most. A worthy investment.



5. i was first introduce too marianne faithfull by the dvd of the rollin' stones rock and roll circus i fell in love with her model beauty and unique voice that sent me into a coma or maybe i just fancied her..well anyway i watched her performance
   now after a year i've finally decided to venture into the world
   of the fuelled rock beauty queen of marianne faithfull that's to say i'm not a huge femal vocalist in the rock music[i'm not sexost] i just think most women's voice come off weak when they're back by guitars bass and drums pelting away
   but here's it's different
   she's has all the accomdations to fit perfectly up with
   mercury marriott and other rock men gods
   another female vocalist i love is joni mitchell the beautiful
   angelic voice..that's on the same level with faithfull for beauty
   on this album i've noticed a few john lennon covers
   "workin' class hero" on par with the orginal
   and a previously un-released on cd "isolation"
   a different slant to the lennon classics EXCELLENT
   on this double disc anthology
   you get most of the tracks from "broken english" which i was gonna buy but decided to but this instead as it had more tracks and was only a few pounds dearer
   the songs from "broken english" are superb espically "guilt"
   what a powerful voice
   
   marianne faithfull perfect stranger the island anthology

5 comments about The Wall: Live in Berlin, 1990.

1. I agree with those who find some of the guest stars to be a bit dated (Bryan Adams, The Hooters) but can you argue with their performances?
   
   To me, not having heard some of these songs since the heady days of high school, this is a revelation. Kudos especially to Garth Hudson, of The Band, who delivers a great sax and accordian solo. Joni sounds amazing, Van The Man rocks it, and while I can do without Jerry Hall, in context it really doesn't sound too bad.
   
   But the songwriting, and arrangements, sound as great as ever.
   
   If you like the original, you really should pick this up for a second look at these timeless classics.



2. I agree with many reviewers, this was one of the greatest album of all time, but if you want to hear it "Live", get "Is there anybody out there?" and hear the real live version of "The Wall". Many guests artist are making a real bad job on this cd, it all begin with Ute Lepter making a bad job on "The thin ice", we really miss David Gilmour voice here. Sinead O'Connor is bad also (Roger was there, so why asking somebody else to sing his part ?) and "The Band" ruins one of the best chorus of this double cd. Horrible ! Joni Mitchel is a real joke on "Goodbye blue sky", again, we're missing David Gilmour here, I don't know what Mrs Mitchell was on, but it doesn't seems to give a good effect ! Bryan Adams is doin' really great in my mind, his voice is the perfect choice for "Young Lust"
   Jerry Hall is also a real joke in the opening of "One of my turns"
   Paul Carrack is just OK on "Hey you". We have a great version of "Nobody Home", even better that the original, with a drum beat and a good guitar solo, good addition in my mind.
   Here we get to the really bad moment of the album, which should have been the highlight, I am talking about "Confortably Numb" Van Morrisson and "The Band" should be sewed for such a disaster. Roger should have asked Paul Carrack to sing David Gilmour's part, it would have been better. This is a total disaster....it is really bad. The Australian Pink Floyd show is doin' a lot better that this ! The closing song has been replaced by "The Tide is turning", I am not sure it was a good idea, again, some guest are doin' great (Bryan Adams) but some are miserable, like Van Morrisson, yes him again ! Overall, the album is a deception for me, and I am a huge fan. Try "Is there anybody out there ?! instead.



3. I was never a huge Pink Floyd fan--which is not to say I didn't like their music or respect their talent. But, I dunno, maybe it was just ALL those annoying sound effects and voiceovers. Even good music can seem a little gimmicky when tarted up with too much extraneous noise. Yeah, I admit I liked the ringing cash registers drawer in "Money," but so much of the other stuff was, well, just a drag.
   
   Literally, all that clutter dragged the music down. How often do I really need to hear that little kid prattle "Look mommy, there's an airplane in the sky" anyway?
   
   But the real reason I never became a such a huge Floydfan was simply their ubiquity. Back in the late 60s and early 70s, it seemed like everybody I knew had every single one of their albums. And they had already become FM rock staples by then. You could escape the Pinks if you wanted to. Resultantly, I think maybe the last actual album of theirs that I even bothered to buy was UMMAGUMMA--or maybe ATOM HEART MOTHER. Can't recall which.
   
   So when THE WALL came out, well, I heard it and as I recall my first reaction was something like, "Oh, are they still doing 'concept albums'?" OK, OK, I'm kidding--I did like it well enough, but it wasn't a life changing experience exactly either. The lyrics were intelligent enough, and as a "song cycle," it hung together very well. But it was actually hard to discern any real overarching themes and even the metaphoric "wall" itself seemed, if not "mixed," then perhaps a bit overextended. Was "the wall" a psychological construct, i.e. the protective "walls" we all build up around ourselves to protect ourselves from the vicissitudes of life ("All in all, it was all just bricks in the wall." OR was it a social one, i.e. the pernicious socialization of a rigid educational and, by extension, political system that crushed individuality and turned individual human beings into "bricks" in society's wall.
   
   Well, the answer was obviously BOTH. And that extended metaphor never seemed to bother the fans overly much. There are, as it turns out, all kinds of walls. And so it was that in 1990, THE WALL's main composer--former Floydster Roger Waters--extended the metaphor even further, this time into the political realm. By staging an all-star concert revival of his 70s magnum opus in "post-Wall" Berlin. A brilliant ploy, to be sure, but certainly the "wall" being evoked was not a purely pychological or sociological phenomenon. The "wall" German fans (and they were legion as I recall from my own days in Deutschland) related to was a painful historical reality and legacy.
   
   So the concert added on another layer of meaning to an already ambiguous (but really not overly subtle) work of art. Including local talent like Scorpions and Ute Lemper was then virtually de riguer--or should I say, "notwendig." And of course, Berlin was an international city for so long that adding other British, American AND even Russian acts to the roster was certainly appropriate. (Wait a minute, where are the French?) It's an "open city," and it's now torn down wall is open to new interpretation.
   
   It's not surprising that die-hard Floyd fans see the guest vocalists' interpretations here as something akin to sacrilege. Imagine having a popster like Cyndi Lauper sing "The Wall, Pt. 2." Who'd a thunk it? Well, it's not a song that provides much room for Lauper's patented multi-octave wailing, but hey, the former Blue Angel has deeper rock roots than classic rock fanatics would ever acknowledge. And who better to sing the lines "We don't need no education" than one of popular musics most famous high school drop-outs? Of course, the repressiveness of the British school system is of a somewhat different order than that of the Catholic and public school system of Queens. But the business of churning out more bricks in and for the wall. And that's true whether you pronounce it "classroom" a la Lauper or "clahsroom," as does the chorus.
   
   And there is a certain delicious irony in having a mother-complexed female artist like Sinead O'Connor take on Floyd's "Mother" and give it a delicate, thoughtful reading--while still expressing fears about them breaking, in this case, HER (metaphorical?) balls. And as conflicted as I often am about Joni Mitchell's work, her interpretion of "Goodbye, Blue Sky" is elegant. Her voice was getting a bit smoky by the early 90s, and it was just right for this somber reflection on war in the (post)modern world.
   
   And that's just the women--and only disc one. But it was downright smart of Waters (whom, I gather, has sometimes been accused of misogyny) to fill up the first half of the program with heavyweight women artists (and to throw in a comic turn by Jerry Hall to boot: yes, the album is rife with former flames of Mick Jagger, since Marianne Faithfull shows up on Disc 2,as who else, "Mother").
   
   As for the men, Van Morrison and Paul Carrack offer subtle, distinctive shadings on "Comfortably Numb" and "Hey You" respectively. Roger Waters voice seems, for the most part, shot, but actually that can be a just the right coloration for some of the grimmer, more desperate tracks. Again the hardcore contingent will mourn David Gilmour's absence. The rest of us will find the newer interpretations at the very least interesting, if not quite revelatory.
   
   There are all kinds of ways of becoming "comfortably numb." Refusing to accept any alternate takes on your own personal classic rock canon is likely one of them. Take it from a non-fan, this project is at least worth the attention of you die-hards. Open your ears--and tear down the walls.



4. I rented this concert on VHS one day. I love it.
   
   The goods
   ) Bryan Adams singing Young Lust
   Bryan Adams did this song good. He is one of my favorite singers today.
   ) Sinad o' conner singing mother
   I loved this version of the song
   
   Bads
   ) Cyndi Lauper singing Another Brick in the wall Pt. 2
   It wasn't that good
   ) Hey you
   I miss David Gilmore and Roger singing this song
   
   All and All this was an ok cd.



5. Although many people gave this live concert a low rating due to Roger Waters' choice of substitute singers/musicians for some of the songs from the original Wall recording, after seeing it on video for the first time, it became easier to listen to the recording alone afterward.
   
   What really blew me away at that time was Roger having a "communist" orchestra accompany the music of a rock and roll album!! This was the highlight of the entire event, and their performance was excellent!!!

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 Remember: Michael Feinstein Sings Irving Berlin.

1. The CD came in no time and in perfect shape. Thank you.



2. This tribute to Irving Berlin is wonderful. This CD is one of Mr. Feinstein's earlier works, and the youthful enthusiasm of his vocals are as vibrant as the work of Berlin himself. Berlin would have loved Feinstein's interpretations and performance.



3. I would rather hear Michael Feinstein sing Irving Berlin's songs than anyone else. My only complaint is the choice of some of the songs. That's my problem, however, and not the fault of the CD. I would have loved to hear him sing "I Love A Piano" as he did on Irving Berlin's 100th birthday celebration. He really gave it a rousing rendition and I wish it had been included on this CD. I do like this CD enough to have bought extra copies for friends, however.



4. This cd tried to offer us a lot of songs via medleys, but really missed it's make in the end.

   I really like Michaels' voice. It is a one of a kind voice. This cd could had been great had Michael just concentrated on singing about 10 or 12 really good songs. I think the arranging was ok for this cd and Michaels' delivery seemed to sound good.

   This was one of his first cds and I agree he was just learing. I think in future cds Michael will be much better. It's just a shame we had to be his ginny pigs.




5. Every tune terrifically sung, arranged and played. Check out the medley "Puttin' on the Ritz"/Slumming on Park Avenue" -- bouncy, joyous and undisputedly musical.

5 comments about Comic Strip.

1. Here is a nice mix of Serge at his loosest and wackiest moments. This is a good mix. I very much enjoy it. What am I saying, these songs are fantastic. The piano, the crazy back up vocals and Shu Ba Du's. The horns, bizarre pre-rap off style duets, crazy strings. Songs about cars, songs about jerks, songs about bank robbers, songs about suicide, and, of course, songs about love. basically everything that's needed to give you a good time in music listening. If you are one of those people who fell in love with Melody Nelson but lack exposure to anything else of old S.G., and are willing to try a more fun loving out of your mind side, then here take this put it in your music listening device and have a good time. Go ahead, all the kids are doing it.



2. You know how you supposedly shouldn't do that? Well, take a good look at the cover of this record - it sounds EXACTLY like that. If that's a good thing or no, depends on what you're into.



3. For those who are unfamiliar, Serge Gainsbourg is (was) a French songwriter and performer who sang almost exclusively in his native language. Comic Strip focuses on pop material that he recorded between 1966 and 1969. If the age of the material or language puts you off, then I appreciate this opportunity to convince you otherwise. First of all, the French lyrics only add to the strange mystery of the music, while these songs sound remarkably contemporary. Imagine a pop song that consists of percussion loops and rhythm samples, recorded in 1967! The leadoff track "Requiem pour un Con" (translated as "Requiem for a Jerk") is just that, with a rhythm that sounds as if it were constructed by the most contemporary urban producer. Since he sings entirely in French, dweebs like me can't understand a thing except for the occasional American phrase that pops up - "Bonnie and Clyde", "Ford Mustang", etc.
   Comic Strip can best be described as droll camp. Gainsbourg sings as though he were mocking the musical forms that he is embracing, giving each track a coy sexiness that permeates the entire project. In its time, "Je T'aime...Moi Non Plus" (translated as "I Love You...Neither Do I") was considered so sexy that it was banned in numerous countries, while Brigitte Bardot (!) provides guest vocals on "Bonnie and Clyde". Imagine Ray Davies as an ugly, sensuous Frenchman with a taste for the theatricality of lounge music super-hero Esquivel, and you'll get a pretty good idea of what this collections sounds like. Throughout, Gainsbourg's songs sound like a product of the ambitious sixties (which they are), even though he ignores what everybody else was doing. Simply put, he was an iconoclast who hammered out a niche that is his alone. Pardon my French, but Comic Strip has a certain `gene se qoi'. A- Tom Ryan



4. When Gainsbourg was 'on' he could be very good; he could also produce the kind of terrible recorded pap that makes struggling new bands wonder how he kept employed. This CD spares much of the agonizing misses and gives us a generous hand of surprising hits that mythologized a true pop-icon.
   
   Anyway, if Serge is forever a talented hack, a visionary who can't sing and coasted along on playboy faux-cool, well it is his ultimate triumph that he pulled it off. Chutzpah, the mother.
   
   I like the strange little guy. He was a perv and a freak but he represented a certain breezy raison d'etre, and nailed various hot ladies eventually to co-produce Charlotte, a daughter as lovely and charming as... such a man could hope for.
   
   COMIC STRIP is the one Gainsbourg you'll ever need - fun and silly and so very French. Good to confound houseguests who won't know it that well but will asume it must be hip.



5. 
   Pop music in France in the mid-60's was in the pits, but it was exploding over in England, so Gainsbourg decided to do this album in London with English studio musicians. I'd say that about half the songs are good. It was the beginning of the "Shocking Serge" phase of his career; he started out as a Left Bank singer-songwriter who developed a nicely ironic approach--e.g. the "Javanese" album. Then he started going for high-publicity stunts, like "Je t'aime". If you can find a version with Brigitte Barbot instead of Jane Birkin, it's better: Brigitte really knew how to moan and breathe heavy. Anyway, while always denying he was out for publicity, Gainsbourg kept manufacturing one scandal after another into the '70's, like the reggae version of "La Marseillaise", or the song "Lemon Incest" which he sang as a duet with his daughter Charlotte, or into the '80's with his songs about S&M, until he became a self-parody. He even created a persona for this self-parody, i.e. a character named "Gainsbarre".
   
   Anyway, back to "Comic Strip". Gainsbourg was always experimenting with new styles and when he picked a style, he always got legitimate musicians of that style to accompany him. When he dabbled in Brazilian music, he got Brazilian musicians; when he did reggae, he got musicians from Kingston; when he did Mod Pop, like on this album, he got English Mods to do it. A lot of it sounds dated and the lyrics sometimes aren't all that clever, but I guess that's part of the reason there is Gainsbourg mania in the U.S.; good lounge music has to be at least somewhat stylistically passe.

5 comments about The Rare Piaf 1950-1962.

1. While this Cd does lack some of Edith's trademark French zeal, it is still a joy to listen to. This is the perfect CD for those who love Edith Piaf but may not be french music connoisseurs. It is full of passion and the voice that can only come from Edith Piaf.



2. "The Rare Piaf" is chiefly a collection of English versions of some of her tunes. The real prize on this CD, however, is the pair of c. 1962 studio sessions. The first is some 22 minutes long. You hear the orchestra alone practicing, then Piaf attempting the song multiple times and you can also hear her lauhging with or barking at the musicians or directors. The English tracks on this disc can be obtained on other compilations, but this one is worth getting because of the bonus tracks.



3. I have a Columbia Records album titled "La Vie en Rose" from the 50s with a picture of two lovers on a bench kissing on a Paris street. This album features Piaf singing completely in English. A few of the songs on Rare Piaf sound alike, but are obviously different takes?!?! The album I have has far superior versions of these songs with better vocals and instrumentation. So I'm patiently waiting for Columbia to dig into their vaults and come up with the wonderful takes I'm used to from my fast wearing vinyl.



4. Do you remember the scene in Bull Durham where Nuke shouts through the door, "I know your in there, I can hear that crazy Mexican singer"?

   Annie should have played him this recording instead of reading Walt Whitman. Buy this CD and you'll understand and better love the original. Oh, and buy Bull Durham, too.




5. These recordings were made by Edith Piaf in 1949/1950 as she was trying to help American audiences understand her music more closely. She toured America several times but it took some doing to get a following. These songs are many of her French hits, especially "La Vie En Rose", and are a good way to get to know this exceptional chanteuse. Several other of the CDs offered by Amazon are well worth a visit as well as her early songs were and still are very powerful.

   My first copy these songs is a scratchy old 10" LP I found in an antique shop. I treasure it but this new transcription makes them sound recorded just yesterday.

   For you movie buffs who saw "Saving Private Ryan" many Piaf songs were heard on the soundtrack some of which are on this album. This album is a "must have" for Piaf fans.