3 comments about Most Fabulous Christmas Album Ever.

1. This is the third nostalgia type Christmas collection I've reviewed this year, the others being "The Spirit Of Christmas Past" and "Have A Nostalgic Merry Christmas", both from Living Era. This one centers solely on the big bands and vocalists of the '40's and as such, is highly enjoyable. Another reviewer pointed out that there are better versions of some of the songs here, and I agree. The true classics in this collection include: Kate Smith singing Meredith Wilson's "It's Beginning To Look Like Christmas"; Claude Thornhill's "Snowfall"; Spike Jones' "All I Want For Christmas Is My Two Front Teeth"; Larry Clinton's "Parade Of The Wooden Soldiers"; Jose Feliciano's "Feliz Navidad"; and, of course, Guy Lombardo's "Auld Lang Syne". However, it's great to hear the big bands like Glenn Miller, Freddie Martin, Tommy Dorsey, Sammy Kaye, Benny Goodmon, and Charles Spivak with their versions of mostly familiar Christmas songs. Likewise with the vocalists such as Vaugn Monroe, The Fontane Sisters, Perry Como, Ann-Margaret, Carmen McRae, and Dinah Shore. And I quite enjoyed Hilton Ruiz' piano on a jazzy, boogie woogie type rendition of "Rudolph, the Red-Nosed Reindeer", even if Gene Autry (who actually saved Rudolph from extinction after all the pop singers including Bing turned the song down) sang the definitive version.

   Well, the upshot is if you enjoy big band music and '40's era vocalists, you'll like this.




2. I love Christmas music and own several albums, cassettes and, yes, even CD's. This is my favorite compilation to date. It's upbeat, fun and happy. It really puts me in the spirit of the holidays and I love singing along in the car (okay, I rock out a little, too, but don't tell the other drivers). I highly recommend this CD!



3. I'm glad this album came out, I've worn out the tape I had with 2 hard to find songs that are on this collection-Sleigh Ride by Merv Griffin backed by the Freddy Martin Orchestra, and Silver Bells by the Fontane Sisters. The album is enjoyable, with the exceptions of Baby, It's Cold Outside by Ann Margret & Al Hirt-too light & fluffy for my taste, the version done by Johnny Mercer & Margaret Whiting is the best(in my opinion anyway), The Christmas Song by Carmen McRae-Nat King Cole's version is the greatest, and Rudolph The Red-Nosed Reindeer by Hilton Ruiz-the original version by Gene Autry is the most popular. Otherwise, a fun holiday collection to get you in the mood for shopping, gift wrapping, decorating, etc. etc.

5 comments about The Broadway Album.

1. The Broadway Album by Barbra Streisand is clearly one of her very best. Barbra really opens up on this album and belts out some of the greatest Broadway show tunes ever written. The sound quality is great and the artwork is very well done.
   
   "Putting It Together" starts the CD with Barbra singing her heart out on this number; she handles difficult tempo and key changes like the great chanteuse she always was and still remains! "If I Loved You" from Carousel features Barbra front and center--and that's OK by me! The melody is very pretty and it makes great use of the strings. Barbra's voice is in excellent form--her voice is rich, warm and rather vibrant. Terrific! Similarly, there's another coup for Streisand when she sings "Something's Coming." This magnificent ballad from West Side Story really shines like new when this lady sings it! Barbra again handles the lyrics effortlessly; the key and tempo changes never seem to faze her in the slightest. I'm very impressed!
   
   "Not While I'm Around" comes from Sweeney Todd; and Barbra gives this the royal treatment as she sings this to perfection--and beyond! The piano arrangement is especially elegant and it all holds its own very well.
   
   There's a very grand medley of hits from The King And I; listen for Barbra to do great justice to this stage play with her medley of "I Have Dreamed/We Kiss In A Shadow/Something Wonderful." This medley is a fine tribute to a classic Broadway play that truly remains one of the very best of all time! Barbra does this to perfection--and beyond! I love it.
   
   "Adelaide's Lament" comes from Guys And Dolls; this tune always makes me laugh a bit because it's just that type of song. Although Adelaide is somewhat sad it's just a playful tune in its own way. Barbra sings this with panache and her accent is flawless. Barbra makes "Adelaide's Lament" a huge highlight of this album. In addition, "Send In The Clowns" from A Little Night Music gets one of its best treatments ever when the great Barbra Streisand delivers this without a superfluous note.
   
   "Can't Help Lovin' That Man" again showcases Barbra's vocals squarely front and center--I really like "can't Help Lovin' That Man" a whole lot. This musical arrangement is very well done, too. "I Loves You Porgy/Porgy, I's Your Woman Now (Bess, You Is My Woman Now)" comes from Porgy And Bess; and yet again Barbra Streisand delivers this with panache! Great! The album ends with Barbra singing "Somewhere" from West Side Story; this truly is as grand as all the other reviewers say it is; you'll love every second of it!
   
   The Broadway Album really showcases Barbra Streisand's singular vocal qualities. Her fans will definitely want this one for their collections; and people who like show tunes will want this album as well.



2. This is an album that Barbra Streisand famously had trouble making in the 1980s, with her last album, Emotions, performing poorly and the more pop-oriented music getting all the sales. But like only Barbra can, she stuck to her guns and got her album produced and released, only for it to be not only one of her most successful albums, but possibly the best of her discography.
   
   Every song on this album belong here, and not only does Streisand make it her own, but she makes you forget these are songs meant for the theatre. She sounds amazing, but does not project her voice in a way that labels the music as purely for Broadway. Admittedly, some of this is due to the fact that she has had the lyrics rewritten for her on some occasions, but that is only a minor thing.
   
   She sings all sorts of great songs on here, from the funny ("Adelaide's Lament"), personal ("Putting it Together"), somber ("Send in the Clowns"), sentimental ("Not While I'm Around"), and of course the big finish ("Somewhere"). What makes her recording of these so great is that she makes them pop music, and also makes them more accessible to those who either don't follow theatre well, or just don't care for it.
   
   Since this album, she has not been able to top her accomplishment. Even some of her best albums sound mediocre compared to this. This is a must have album for everybody, fans and non-fans alike.



3. C. Kenneth Burkholder, who via an understanding was at the time of the original release of this was Barbra's prospectve father-in-law and whose death has occurred, said of this "If I Loved You", "That's nice." The tragicomic rendition of part of Adelaide fascinatingly points out some dangers of stripping for pay.
   Just past the beginning of creating "What Times Are," a musical by (a) pacifist(s) as well as an adaptation of my play "What Time Is It, Neil Armstrong?," which is a sequel to my novel "How Did That Sun Get Out," I am inspired by the yearning apparent in "The Broadway Album"--a yearning not for perfection but for worthwhile ways for people all over the earth and in space to spend time.



4. I bought the CD to replace my worn-out cassette tape, and I was pleased to find it has one more track -- Adelaide's Lament -- which I enjoyed. Nice to have another comic song to balance out the love songs. She brings out the beauty of these lovely tunes.



5. Barbra is the number one female ballad singer of all time. No one has her range of feeling, the sheer lyric power of her voice, her sometimes exaggerated but often poignant power to dramatically express feeling. She can create the chill down the spine with a small trill or with a wild unexpected crescendo. 'Broadway' is her first home, and acting a song as she sings it comes natural to her.
   This is one of her finest albums.

5 comments about Hello Again (1994 Original Broadway Cast).

1. This is arguably Michael John LaChiusa's finest musical, and the recording more than does the show justice. Characters come vividly to life in each song, and as the lyrics sharply point out what they think they want, the music subtley evokes their hidden desires. The opening sweet-yet-weary siren song of a prostitute grows into a hot and bothered jazz seduction by a jaded soldier, which in turn becomes the stacatto domination of a young college boy... And so on, until the circle is complete, and everyone says "Hello, again."

   There is not a weak link in the wonderful ensemble cast, and the album has the unexpected bonus of featuring many stars before they were well-known. It would be almost impossible to get Donna Murphy, Carolee Carmello, Malcolm Gets, John Cameron Mitchell, Michele Pawk, John Dossett and Judy Blazer to do a show like this today, so it is doubly delightful to hear them together on this recording.

   Even in 1994, Michael John LaChiusa was proving himself to be a rising star among theatrical composers. His music for this show aptly displays why he has amassed such a devoted following among theatre enthusiasts.




2. Being the fan of "new musicals" that I am, I picked this CD up on a whim, and now I can't stop playing it. For those who love rousing opening numbers, humable songs, or lots of tap dancing in their musicals, this is not the one for you. This is a "chamber piece" that examines sexual encounters through the decades. The score is nothing short of brilliant, and I can't understand why no one ever does this show. It's a great recording, a great score, and a great little puzzle (read the stage directions in the libretto). This is one "new musical" you want to own.



3. It's not your typical broadway musical. There's no kicklines. There's no helicopters, barricades or giant chandeliers (thank God!) But there is honest human emotion. There are believable characters. There are hummable songs, and intriguing lyrics. Hello Again is based on "La Ronde" and while you may not think that that would be a great source for a musical... You'd be surprised!!! The musical takes you on a journey from the first notes to the last "Hello, Again" and it's wonderful.

   The performances on the cd are very entertaining as well. Carolee Carmello, Michelle Pawk, Donna Murphy are all three women who are now major players in Broadway musical. (Donna Murphy won a tony, Carolee was nominated, and Michelle is a Drama Desk Nominee.) It also features Malcolm Gets from "Caroline in the City Fame" and John Cameron Mitchell (Hedwig and the Angry Inch creator). It's a must-have and I reccomend it to everyone.




4. Michael John LaChiusa is my personal favorite of the "new generation" of theatre composers; he blends a modern and experimental approach with traditional theatricality in a very exciting way. This 1994 effort lacks a bit of the edge of the recent "Marie Christine" and "The Wild Party" -- in its place is a strange kind of warmth and optimism. Even as the characters of "Hello Again" try and fail to find emotional fulfillment through ... liaisons, there's never a doubt that most of them have the capacity to find it in some other way.

   And as is typical for LaChiusa, the score is highly melodic and accessible, if not something that can be easily broken down into individual songs. Insofar as it can, "Tom" is the principal standout. The lyrics are clever and appealing, and the performances first-rate without exception.




5. In much the same way as Stephen Sondheim's Follies, Hello Againscores through its inventive use of a variety of musical styles fromacross the 20th Century. Whereas in Follies the music is used to reflect upon the characters' past, the music in Hello Again positions each character in their own present, a present which shifts from scene to scene. Each song is well-crafted, and with a quick glance through the booklet, it is not too difficult to appreciate the action. My favourite song in the piece has to be Tom, which is so beautifully orchestrated as to be almost unbelievable. Other songs show the humour, fraud, sadness and frustration that can be had within sexual relationships. Although the music manages to remain upbeat and melodic, little joy is visible in these characters' lives. A look at the female cast list should whet the appetite of anyone familiar with musical theatre in the 1990s. Donna Murphy, Carolee Carmello, Judy Blazer and Michele Pawk remain right up at the top of the list of leading ladies, and this recording gives ample explanation of why. I am less familiar with most of the men in the production, but they compare well with the ladies. Together with The Wild Party, this recording shows that Michael John LaChiusa is one of America's leading theatre composers for the new century. This is an entertaining and accessible show, and long may LaChiusa write for the theatre.

2 comments about The Best of Robert Goulet.

1. I particularly like this one, but I wonder why it is called the Best of Robert Goulet, since 1, 2, 3 and 9 are not on any other CD of his I have. The music and voice are the best and the picture of him is great. It is one of my favorites.



2. There isn't much of the recordings that Mr. Goulet made in the 70's on disc. This album was released orginally in 1976 as "After All Is Said And Done", and is really a compilation of songs arranged by 3 conductors. The best, and no surprize is "Green Years" arranged and produced by the one and only Don Costa. It sounds great and it's the best recording Mr.G made in the 70's. It holds up well on the cuts arranged by Al Capps, with a C&W flair, which Mr. G pulls off very well. The 3 cuts arranged by Jack Elliott are out of sync with the rest of the album. However, I would recommend purchasing this cd, especially at this reasonable price.

No comments about Guy Lombardo - All-Time Favorites.

1 comments about No. 1 Mozart Album.

1. This is excellent for
   a) people whom haven't really heard much Mozart and
   b) those whom are "easing back into" his music.
   I fit into the latter category. I recently watched Amadeus for the first time and was STAGGERED by the movie...as fictional as it may well be.
   I just HAD to have more than my modest collection of his piano works, and this 2-disc set is PERFECT!
   Also, I was never too much into Opera, and THIS collection helped cure me of that as well! Just enough highlights to intrigue...

5 comments about The Sounds of '66.

1. Fantastic! Sounds of '66 is the essence of Sammy Davis Jr. I have many of his records, but this one captures him better than any other I have heard. Sammy's having a blast, and Buddy Rich's band is absolutely kicking. It shows Davis as the great, dynamic front man that he was and substantiates all claims that he was way up there among the best and brightest America has produced. He makes every song here swing, his favorite thing. The controversial Ding Dong the Witch Is Dead cover just amplifies the swing theme- Sammy and the band make that song SWING with capital letters. The recording would not be complete without it. Overall, I'd take this CD to the deserted island, or put it into the cultural time capsule for other civilizations to dig. Both. Play it loud and often.



2. Great album;
   I actually own the version with "Birth of the Blues" and Sammy's introduction and short farewell before the final blast in "Please don't talk about me when I'm gone", but the rest of the music is the same, so I feel free to recomend this CD to all the Sammy Davis fans as well as to the swing fans.
   I even like the slightly bizarre "Ding dong the wich is dead" (it is more swinging than some other tunes on this CD), but it is the chemistry between the singer and the drum-propelled big band that commands most attention.
   I'm not really familiar with Rich's big band opus, but this is a true gem; pity that the time is short (without "Birth of the Blues" it clocks around 30 minutes) and that the booklet in the edition I own does not list the fine musicians of Rich's band. The drummer is obviously the star, but still...
   As I write this comment, I'm actually listening to a CD of a nice batch of Croatian post-bop musician (Dubravko Vorih Quintet with Sasa Nestorovic on tenor sax) and tonight I'm attending the Wayne Shorter quartet concert at a jazz festival in my town. So, although my heart is indubitably with classical and mainstream jazz (from New Orleans to Verve style jam sessions), you might pay attention to me even if you're not of same inclinations: I really think all sorts of jazz fans should check out albums such as this one.
   
   Finally, in order to compare this CD with similar products (which is the best way to evaluate anything), I must say that Davis' album with Basie "Our Shining Hour" pales in comparisson with Davis' and Rich's "The Sounds of 66"



3. THIS CD IS FROM A COUPLE OF LIVE RECORDINGS AT THE SANDS HOTEL BACK IN THE 60'S, RECORDED AT ABOUT FOUR IN THE MORNING. SAMMY IS FANTASTIC AND BUDDY RICH PROVIDES SOME HARD DRIVING RHYTHM WITH HIS BAND. THE ONLY SONG I DIDN'T LIKE IS DING DONG THE WITCH IS DEAD, I AM STILL TRYING TO FIGURE OUT WHY THEY WOULD DO THIS SONG!



4. Despite being one of the greatest multi-skilled entertainers ever, Davis is vastly underrated as a singer. A major part of it, in my eyes, is that his attention span was short, he did so many things so well that he could not concentrate solely on his singing and his music for any length of time. Another is that his studio records were awful and his live recordings often contain so much shtick (see his Coconut Grove CD) that they become sickening.
   
   That said, this CD is incredible. From Come Back To Me on the first track to Please Don't Talk About Me on the last, it is 100% swinging all the way. Don't expect quiet or variety or ballads on this CD, for that, listen to his duet CD with Laurindo Almeida, if you can find it.
   
   But if you want shrieking horns and 9 straight killer-dillers (as Benny Goodman called them), buy this CD and listen to it often.
   
   Buddy Rich's band is fantastic, nobody powered a big band like Buddy Rich.



5. The Sounds of '66 is a recording that all Sammy Davis Jr. fans simply must have in their collections. Sammy is in perfect form, backed by world-famous drummer Buddy Rich and his orchestra live in Las Vegas. This was Sammy's natural environment, and he put on what is perhaps the show of his life that night. World-class entertainers from all over the Vegas strip packed themselves into the Sands lounge in the middle of the night, after all of the main shows were over, and reveled in a jam session the likes of which may never be seen again. Sammy bores right into Come Back to Me at fever pitch and never slows down until the show is over. This live version of Come Back to Me is the best I've ever heard. I've lost count of how many versions of What Kind of Fool Am I? are available, as Sammy never seemed to sing this song the same way twice, but this live recording features one of the better ones.
   
   All of that being said, one of the many great things about The Sounds of `66 is the fact that a number of these tracks aren't readily available on other albums, at least not that I know of. I can't remember which female artist made I Know a Place famous, but Sammy truly brings the song to life in a wholly new form. What Did I Have That I Don't Have? is perhaps my favorite song on this CD; it starts a little slowly, but Sammy fills it with enough passion and emotion that it is all but flammable by the time he gets through with it. Once in Love With Amy and If It's the Last Thing I Do are great songs I have not heard elsewhere. I never cared for What the World Needs Now Is Love until I heard Sammy sing it; he wails, producing a much more animated song than Burt Bacharach could even conceive of. One of my all-time favorite songs is What Now My Love?, and Sammy provides a rather unique version of it here. The song starts slowly, sounding almost like uninspired lounge music, but Sammy quickly picks up the tempo and energy, eventually drawing the most vocal audience response of the night. One selection that is admittedly rather strange is Ding Dong! The Witch Is Dead from The Wizard of Oz. This ain't your Munchkins' version because Sammy belts this thing out and makes it a truly hip experience. Please Don't Talk About Me When I'm Gone (which really showcases the talent of Buddy Rich on drums) closes out the set on the kind of high only Sammy could aspire to.
   
   I actually own the album featuring bonus tracks, and you really should try and find that more complete recording. It's not clear to me if this CD includes Sammy's introduction and closing, but it obviously (if the track listing is accurate) does not include Sammy's incredible performance of Birth of the Blues - that's a Sammy staple, for goodness' sake, and he was on fire when he performed that song on this very special night. Another point I would make is that there are gaps in between most of the tracks, so I'm not sure whether or not the songs are presented in the order Sammy performed them, nor can I keep myself from wondering what other musical magic was made that night that was not released for posterity.

5 comments about Evita: An Opera Based On The Life Story Of Eva Peron 1919-1952 (1976 Studio Cast).

1. Evita is my favorite musical (although due to my age and location I have never seen it live) and I must say that this and the Original Broadway Cast are my two favorite recordings of Evita available. If you are going to purchase a recording, get either of these. DO NOT GET THE MOTION PICTURE SOUNDTRACK! I can barely stand to watch the movie because Madonna and Banderas are not good- the score is lowered so much due to Madonna's limited range (although I do like Madonna dong her own music) that its unlistenable.
   
   Julie Covington gave life to songs that Madonna later killed. For example, In "Eva, Beware of the City," Julie's "Screw the middle classes. I will never accept them... and trample their rotten values into the ground" is one of the high moments of the recording, as is her "There you are- I told you so..." part in "Rainbow Tour." Her "Don't Cry For Me Argentina" is stunning, and her vocals in "Waltz For Eva and Che" are unmatched.
   
   Barbara Dickson is superb on "Another Suitcase In Another Hall," and Julie's "Hello and Goodbye" part at the beginning of the song is stunning.
   
   That said, this recording is certainly not perfect. First of all, the lines throughout the recording about Che's insecticide destroys the main storyline and I'm glad they were later cut. In addition, Colm Wilkinson is far from the best Che. That title goes to Mandy Patinkin. Also, its a little annoying that Julie mispronounces Descomisados as if its a French word.
   
   As for the Broadway cast, Mandy Patinkin and Patti LuPone are very good. Mandy's sweet voice is perfect on songs like "Oh What A Circus," "High Flying, Adored," and "And The Money Kept Rolling In." And, Patti LuPone rivals Julie Covington as the best Eva. Her belts in "A New Argentina" and "Rainbow High" are unrivaled. The upsetting thing about this recording is that some of my favorite lines were cut. For example, I miss the line "and trample their rotten values into the ground" from the "Screw the middle classes" part because I think it helped to show Eva's hatred for all that the middle class stood for. I also miss the "You're obviously going through some adolescent phase. Maybe you got something more than just a pretty face. MAYBE NOT!" lines from "Another Suitcase In Another Hall."
   
   I would recommend that you get both casts and make a compilation CD of the best versions from each, as I did, although your tastes may be different:
   
   Requiem For Evita/Oh What A Circus- Mandy, Patti
   On This Night Of A Thousand Stars/Eva And Magaldi/Eva Beware Of The City- Julie, Colm
   Buenos Aire- Julie
   Goodnight And Thank You- Mandy, Patti
   The Lady's Got Potential- Antonio Banderas
   Charity Concert/I'd Be Surprisingly Good For You- Mandy, Patti
   Another Suitcase In Another Hall- Julie, Barbara
   A New Argentina- Mandy, Patti
   Don't Cry For Me Argentina-Julie, although I'd also recommend Sarah Brightman's and Elaine Paige's versions.
   High Flying, Adored- Mandy, Patti
   Rainbow High- Patti, although Elaine Paige is also good on this number
   Rainbow Tour- Julie, Colm
   The Actess Hasn't Learned The Lines (You'd Like To Hear)- Patti
   And The Money Kept Rolling In (And Out)- Mandy, although Matt Rawle from 2006 London Cast is also good on this track)
   Waltz For Evita And Che- Julie, Colm, although Matt Rawle and Elena Roger are also good on this one
   You Must Love Me- Madonna
   Eva's Final Broadcast- Mandy, Patti



2. My mother took me to see "Evita" at the Schubert in Century City, CA, back in 1981 when I was 11 years old and afterward she bought this version of the musical soundtrack. It was played more weekends than I can count as I was growing up. To me, this is THE "Evita". All others pale in comparison. It's the complete version of the play that you won't hear on any other recording - and it's so beautifully done.
   
   Yes, there are lyrics you won't hear on the other soundtracks. Yes, there are elements included that you also won't find elsewhere - but that's the beauty of this particular version. It's the entire play in it's original form before it took twists and turns along the way.
   
   I'd not heard this recording for nearly 20 years and when it was given to me as a gift and I'd played it for the first time, the power and brilliance of Webber and Rice shone through - as well as the outstanding cast of voices. Truly powerful, wonderful and sublime.
   
   I know there are fans of Patti and Mandy, Madonna and Antonio, et al. and to them, they are the epitome of Eva and Che but I have to admit I've been influenced too much by this recording and these voices. Although wonderful in their own right - later versions and stars simply don't do this work justice as Julie Covington and Colm Wilkinson on this recording do.
   
   Plus, I've never been able to get over the little tweaks later versions have contained to supposedly make the musical on the whole better. I don't feel they do although I respect some may argue with me on this count.
   
   Bottom line, I think it's all a matter of personal taste and what you may have grown up hearing. Some who are accustomed to the soundtracks of the later versions may not appreciate this one for what it is. But to me, it's still the best version out there and the only one I truly care to listen to just for the simple sake of enjoying the music. It's sheer brilliance!



3. This is a story told in song and music.Some tracks shine out,some are dull by comparison - but these are needed to provide context.
   The whole thing carries a sad,simple unique charm - and is well worth listening to.The best track of all - the lament at the end - is sadly missing in the Madonna version.



4. If you want to hear several versions of the oft-recorded "Evita", this is where you start. The thing with Andrew's musicals , is that you can envision everything in your mind.Having owned this on LP for at least 20 years before seeing a live performance of "Evita" , I already had conjured up vivid images of what it would be like on stage..having seen it 5 times live , and the movie version now, I still like "my mind's eye" version the best, and this was the recording that started it.



5. This is it...... the very first Evita recording. Basically it's Evita warts and all. The most notable difference is the music, because it is gritty rock and roll. I feel that because of this it makes the piece more appealing to a younger audience. I was 14 when i first listened to it, and the rock element it was drew me to it. As far as the story goes there are some differences. For example, the inclusion of an insectiside plot for the Narrator, Che, adda a wonderful humor aspect to an otherwise serious story. It's a shame they cut it from the stage productions.
   
   As far as the cast goe, here is a breakdown of each singer.
   
   Julie Covingron as Evita- Well, with Julie it's a two sided coin. Acting wise she is, in my opinion exellent. Her emotion to me is off the charts. She can be absolutly cold and calculating in some spots, but sweet in others. However her singing voice is horrid. I mean, if you listen to the album she is struggling the whole way though. Some of the notes she hits are inexcusable. just Listen to Rainbow High and you'll know what i mean. The emotion is there, The voice is not.
   
   Colm Wilkinson as Che- Here is Colm before his Les Miz days. All I can say is if you like your rough and gritty, Colm if for you. In my opinion Colm steals the show right from the word go. Every time he sings he just commands your full attention. He plays Che with the right amount of anger, biting sarcasm, humor and charm. His stand out number for me is The Lady's Got Potential. Awesome Job.
   
   Paul Jones as Juan Peron- The ultimate downer on a great album. Mr. Jones is just so drab and emotionless it's sad There's really no more to be said. He does show a hint..just a hint of emotion on She is a Diamond, but all in all, just horrible.
   
   Tony Christie as Magaldi- BEST MAGALDI EVER!!!!!!!! Just perfect. His On This Night of a Thousand Stars leaves me breathless Ever time. Why he never performed this role on stage is beyond me.
   
   Barbara Dickinson as The Misstress- Good, just good. A wee bit more emotion on her only song Another Suitcase in Another Hall and she would have been great.
   
   Botton line, This a great album, but not the best place to start if you're new to Evita. That would be the broadway cast with Patti LuPone. it is however great to hear where Evita started and the changes it went through before it's stage debut. I still highly recomment it.

5 comments about Sinatra At the Movies.

1. All of these songs are wonderful, but ... when will Capitol finally reissue Frank's great soundtrack albums from the '50s, namely "High Society," "Pal Joey," and "Can-Can"? We get bits and pieces of them in collections like this, but they deserve to appear in complete form, with 24-bit remastering. "Pal Joey" is especially great. Yet the only CD containing all five FS songs from that album -- the ones recorded with Nelson Riddle in the Capitol studios, not the inferior Columbia sound stage versions heard in the movie -- is the out-of-print "Sinatra Sings the Select Rogers and Hart." C'mon, Capitol. Why keep recycling the same stuff when you've still got some prime cuts sitting in the vaults?



2. Sinatra At The Movies has some great movie songs performed by Frank Sinatra. Sure, they may not be the exact songs sung in the movies--but since when has Frank let us down? The quality of the sound is excellent and the artwork is beautifully done as well.
   
   "(Love Is) The Tender Trap" starts the CD as Frank sings this so very well; his voice is strong, confident and very vibrant. Frank never sounded better and that's fantastic! The musical arrangement uses the brass very well and that's great. "From Here To Eternity" features Frank Sinatra front and center--and how wonderful it is! Frank massages the lyrics to this tune and it makes for a sublime performance--awesome! In addition, Frank Sinatra does a brilliant job on "I Love Paris." "I Love Paris" is a number I have always loved and I truly believe that Frank Sinatra's delivery of this ballad is THE definitive rendition of "I Love Paris."
   
   "How Deep Is The Ocean" is a classic love song that so many artists have sung; but when Frank Sinatra sings this he really makes it shine so brightly! Frank handles the complicated tempo and key changes like the pro he was and still remains; and the music gets a very sensitive arrangement. "All The Way" has another wonderful treatment from The Chairman Of The Board as he delivers this with panache; and this impresses me greatly. I'm sure you'll like Frank singing "All The Way" if you haven't heard this before.
   
   "Young At Heart" is a beautiful tune with a catchy melody and the strings sound beautiful on this number. Frank Sinatra's delivery is totally flawless--and how many artists could sing "Young At Heart" as well as Frank?
   
   "High Hopes" is a cute number that Frank sings with a darling children's chorus; Frank sings this without a superfluous note and the children's choir was chosen with care so that they could harmonize to perfection--and beyond! In addition, "The Lady Is A Tramp" amazes me as Frank Sinatra sings this like a champ; "The Lady Is A Tramp" is clearly another timeless tune and this is also a major highlight of this album. "Chicago" gets a wonderful upbeat arrangement that fits in so well with Frank's vocals; and listen for "Three Coins In The Fountain;" this song from the movie of the same name really sparkles when Frank performs this with feeling, heart and soul. Great!
   
   "C'est Magnifique" again puts Frank in the spotlight and this love song is truly another highlight of this album. "Just One Of Those Things" features Frank swinging brightly to make this number a wonderful treat with a big band style arrangement; and the CD ends so well with Frank Sinatra singing "To Love And Be Loved." "To Love And Be Loved" is a very pretty ballad which makes this a fitting end for this exceptional album.
   
   Frank Sinatra could sing just about any song; and this album proves it. This is a must-have for Sinatra fans and people who enjoy songs from Hollywood movies will want this album, too.



3. "Throughout my career, if I have done anything, I have paid attention to every note and every word I sing - if I respect the song. If I cannot project this to a listener, I fail." ~ Frank Sinatra ~
   
   Today marks the 10th death anniversary of a legendary musical icon, Francis Albert Sinatra. This review is my very own way of paying respect to his greatness as an artist, not merely a singer but an exceptional artist at that!
   
   Sinatra's unparalleled greatness as an artist had earned him accolades that he truly deserved, to mention a few - awards from Golden Globe, Academy, Oscar, Emmy, Grammy, Hall of Fame, Lifetime Achievement Award, and several other honorary and humanitarian awards. Likewise, he had earned his eternal star at the Hollywood Walk of Fame. And not to mention the most current honor given to him by the US Post Office - a US commemorative postage stamp that was launched just yesterday.
   
   Released only a month ago, "Sinatra At The Movies" is another great collection of 20 theme songs from various unforgettable motion pictures recorded under Capitol Records. I'm the type of a collector who doesn't shy away from compilation CDs especially if the material is impressive and outstanding. And this CD is not an exception for it represents some of the best songs ever recorded and my all-time favorite Sinatra staples.
   
   This collection starts off with "Love Is The Tender Trap" from the movie of the same title, and ends with "To Love And Be Loved" (Some Came Running). Although I have enjoyed listening to all the tracks here from the various CDs each song was taken from, I still find this CD a worthy addition to my Sinatra collection. A special treat and one of the rarities from Sinatra's body of work is an all-time favorite of mine, "C'est Magnifique" (Can Can). For more breathtaking tracks, listen closely to "All The Way" (The Joker Is Wild), "How Deep Is The Ocean" and "All of Me" (Meet Danny Wilson), "I Could Write A Book" (Pal Joey), "From Here To Eternity" (same movie title) and "I Love Paris" (Can Can).
   
   This is a worthy addition to your Sinatra collection. With my heartfelt recommendation for your listening pleasure forever.
   
   "May you live to be 100 and may the last voice you hear be mine." ~ Frank Sinatra ~



4. Alright now!...The first two Amazon reviewers have pretty much panned this collection, as tired old filler that's been covered numerous times before. You've got the mega box-set, Sinatra In Hollywood and the single disc collection Academy Award Winners. So why bother with or revisit yet another collection of movie hits by Ole' Blue Eyes?... Why? Because Sinatra is undoubtably the heavey weight champion of Hollywood songs, bar none. Yes not even Elvis nor Judy Garland can boast the sheer output of top notch material Sinatra produced over his four decade run in Tinsle-Town.
   
   Who else but The Chairman of The Board can lay claim to the likes of (Love Is) The Tender Trap, Young At Heart, All The Way, The Lady Is A Tramp or Just One Of Those Things. Of Course other great singers have recorded these gems. Ella Fitzgerald more than did justice to Rogers and Heart's The Lady Is A Tramp. But if you've ever watched Sinatra sing it to Rita Heyworth in Pal Joey, you know no one else could own it the way Frank does. And the same goes for Jimmy Durante's oh so sentimental reading of Young At Heart....Nice but no cupie-doll. Once you've heard Frank pour his heart out to Doris Day in the movie Young At Heart, you know you've heard the difinitive version. Just One Of Those Things by the inimitable Cole Porter has been covered by everyone from Tony Bennett to Rosemary Clooney. But no one gives it that zing, that special uuummph the way Frank does. And not even Maurice Chevalier can add the charm and the humor Frank brings to C'est Magnifique from the wonderful screen version of Can Can.
   
   We all know how record companies tend to recycle material by artists until they're beat to death. Look at all the posthumously released material in the Jimi Hendrix discography. With only five offical record releases at the time of his death, his catalog looks like his recorded output spanned thirty years or more. Why there must be close to a thousand records in Elvis's discography. Enough to fill at least six of his "fat" jump-suits.
   
   My only point here is this. Sure many will feel this new release represents the greedy marketing brain trust of Capitol Records. Some will not be motivated to own it, since they probably already have most of the material in various other collections. But I think Capitol Records deserves kudos for selecting twenty great movie songs gathered under one umbrella. Not only am I loving this CD in my car and at home, I'm also revisiting some of Sinatra's classic screen gems like Pal Joey, The Joker's Wild, Can-Can, Meet Danny Wilson, Hole In The Head, Some Came Running and Young At Heart. They say you can never be too rich or too thin....I say you can never have too much Sinatra.



5. Is it me or do we seem to be purchasing the same songs/albums with different covers over and over and over? This is nuts! This title along with "Nothing But The Best" continues the constant reissuing of songs found on dozens of other compilations. All we seem to be doing is buy different artwork. Enough already!

5 comments about The Apple Tree (1966 Original Broadway Cast).

1. I was in this show over 20 years ago and had at that time only heard the LP!!! The quality of the recording coupled with my memories of the show made the purchase totally worth my while. It was everything I remembered.



2. I came across this looking for Alan Alda stuff for my mom, and thought I'd give it a go, being a broadway buff. No, it's not Les Miz, it's songs are much less orgasmically dramatic than that. But then again, who wants to listen to one Miz copycat after another? These songs are all about the harmonies of the voices. Barbara Harris and Alan Alda have surprising range. The songs are those that make it seem possible for spontaneous singing to exist in the real world. There's also a knowing humor, especially in Larry Blyden's performances; the actors are all obviously having a good time. Anyway, give it a shot. I'm glad I did.



3. I was very into theatre in high school and college and thought I was up on most musicals, but had never heard of this show until recently. It's comprised of three short stories which were adapted into the musical format. The first two stories are tied together very well, although the last seems tacked on. But the songs are catchy and it's fairly easy to figure out what's happening simply by listening to the songs. There are two songs which are tied for my favoritism: "It's a Fish" from Adam and Eve and "You Are Not Real" from Passionella. Check it out.



4. IT WAS EXACTLY WHAT I WAS LOOKING FOR. I WENT TO THE REVIVAL OF THE APPLE TREE ON BROADWAY IN NEW YORK CITY AND LOVED THE SCORE BUT THERE WASN'T A SOUNDTRACK AVAILABLE SO I PURCHASED THE ORIGINAL VERSION AND I ABSOLUTELY LOVE IT!



5. I saw this show on the stage when it first ran, and have never forgotten it. The key to a good Broadway show is this question: Are you humming the songs when you leave the theatre? In the case of The Apple Tree, the answer is a resounding "Yes." I have been waiting 40 years for this show to be revived, and I have tickets for the revival opening in December at the Roundabout. I hope not to be disappointed, for the trio of Barbara Harris, a very young Alan Alda, and the late Larry Blyden were terrific. The three-part concept can be jarring because just when you're getting into the story, it ends -- but just enjoy the kind of songs they just don't write anymore.