5 comments about The Will Rogers Follies: A Life In Revue (1991 Original Broadway Cast).

1. On my birthday in 1992, I enjoyed this show at the Palace Theatre in New York with Keith Carradine. I fell in love with the music, the rope tricks and the set. A month later I purchased the cassette. Fast forward to 2007. I now have the CD and enjoying reliving every minute of watching this show! It certainly brought back memories of one of the finest musicals in the 1990s. It's a C.D. that I know you are going to like. Who knows...it might be revived in the future! Stay tuned!!



2. A grand return to the golden heydey of Broadway musical comedies, THE WILL ROGERS FOLLIES features a suitably-nostalgic score from Cy Coleman, with attractive and comedic lyrics from Betty Comden and Adolph Green (one of their last major efforts for the stage).
   
   The show revives the one and only Will Rogers (played by Keith Carradine) a talented, homespun entertainer from the midwest who found great success on Broadway, hosting and headlining the annual "Ziegfeld Follies" revues (and later became a mainstay character-actor in movies). Playing his wife Betty Blake, is the charming Dee Hoty; with game, scene-stealing support from Cady Huffman, as Ziegfeld's Favourite. Appearing as the voice of legendary Ziegfeld himself is Gregory Peck.
   
   The score is littered profusely with charming material, but highlights include Betty's introductory ballad "My Unknown Someone", Will's "Give a Man Enough Rope", Betty's "My Big Mistake", and Will's "Look Around". Cady Huffman dazzles with the more earnest numbers like "Willamania" and "Wild West Show". THE WILL ROGERS FOLLIES was embraced by critics and audiences, and enjoyed a very solid Broadway run as well as an extensive tour.
   
   A delightful musical.
   
   [COLUMBIA CK 48606]



3. I HAPPENED TO BUY "THE WILL ROGERS FOLLIES" BY CHANCE, AND NOW IT IS ONE OF MY ALL-TIME FAVORITE BROADWAY CAST RECORDINGS
   (AND I HAVE A LOT OF THEM, AS ANY MUSICAL-FAN WOULD HAVE)!
   THE PERFORMANCES ARE GREAT, WITH GREAT ORCHESTRATIONS
   AND SOUND. FOR ME THIS IS A CLASSIC! HIGHLY RECOMMENDABLE!



4. Will Rogers was simply a great American. He had his finger on the pulse and understood the zietgeist long before that word had come into popular usage.
   
   Admittedly, doing stage biographies is tough (witness the Peter Allen show from a few seasons back and imagine it without the tour-de-force called Hugh Jackman) and this proved no exception. But, one cannot take these shows literally...that's the magic of the theatre...and if you just hunker down in your seat and take the spirit and the essence of what they're trying to get across, then you'll be both entertained and touched by the show and the man who Will Rogers was.
   
   Several of the on-line reviewers are critical of the material...yet if you give this CD a listen to more than once, it completely grows on you. Coleman, Comden & Green have captured well the times that Will Rogers lived in and brought it into a Revue format that completely works as a vehicle to present the story.
   
   The comic numbers are great, the bluesy numbers given to Dee Hoty (as Betty Blake Rogers) are classic Broadway showstoppers and Keith Carradine gives a tremendous performance as Will Rogers -- conveying the simple truths and down home honesty and observations that were Rogers' trademark.
   
   I've seen many, many shows over the years and have a huge collection of Broadway cast albums. I love the art form. And, perhaps I'm charmed by the oft mentioned "Ah shucks" personality that Mr. Rogers embodied in an age so much less cynical than today, but this show got into my craw and has stayed there since I first saw it. It's a winner. Will Rogers shines again here and when compared to what we have now that are presented as role models and heroes, we could use another one of him any day.



5. This CD was very enjoyable. The songs were fun. I recomend it to anyone who enjoys broadway musicals.

5 comments about Carousel: Selections from the Theatre Guild Musical Play: A Decca Broadway Original Cast Album (Original 1945 Broadway Cast).

1. In response to Anthony Barkdoll's criticism of the original
   orchestrations to Carousel's 1945 Broadway Cast:
   According to Rodger's autobiography, "Musical Stages," Robert
   Russell Bennett did, in fact, orchestrate the original "Mister
   Snow" for the 1945 Broadway Cast album, until other projects
   caused him to be sidelined.



2. Although i like the movie soundtrack a lot,i was glad to get the original cast album that includes one track:THE HIGHEST JUDGE OF ALL that was not in the movie.CAROUSEL will always remain a great show that had it all to become a classic.If you consider the age of this record 1945,it's still a treat to hear JOHN RAITT,JAN CLAYTON and company do their numbers.Probably because i am a fan of this show,i think it holds up very well.Anyway,if you are a RODGERS and HAMMERSTEIN enthousiast,you simply must include the original CAROUSEL cast album in your collection.



3. This CD from the MCA Broadway-Gold range features the peerless original 1945 cast of Rodgers and Hammerstein's CAROUSEL, regarded by the duo as their favorite of all their collaborations.

   The 1945 cast featured John Raitt, in his Broadway debut, as the carnival barker Billy Bigelow with the lovely Jan Clayton as Julie Jordan. The role of Carrie is played by Jean Darling with the cast rounded out by Christine Johnson as Nettie, Eric Mattson as Enoch Snow, Murvyn Vye as Jigger and Connie Baxter.

   Raitt's amazing voice perfectly inhabits songs like "The Highest Judge of All" and the breathtaking "Soliloquy". Jan Clayton is a perfect fit for Julie. Miss Clayton would go on to further distinction a few years later, playing both Magnolia and Kim in a landmark revival of SHOW BOAT. Jean Darling perfectly captures the breathless romantic longing of Carrie with the delightful "Mister Snow".

   Sound quality is quite good for the age of the material. This cast album is naturally a must-own for all fans of musical theatre




4. Yikes. I bought this based on the reviews (and because I prefer the original cast recordings as well). But quite frankly, this album is no fun to listen to. If you like Sound of Music, Cinderella, and that style, you will not like this. It is very dense, and somewhat tortured sounding, as is the story. Robert Russell Bennett is not involved in the orchestration, so that may account for the music. And the wry humor and satirical, yet loving insights that I expect from Hammerstein are missing as well. Unlike most of their other albums, this one sounds old and dated, and ready for the grave.



5. "Carousel" is the great American musical. Try as they might, no composer (including Rodgers and Hammerstein) has surpassed it.

   Having said that, I would recommend the 1993 recording of the Original London Cast of the Nicholas Hytner revival of "Carousel" over this one. While I am a bigger fan of the voices here (especially John Raitt and Jan Clayton), the truncated numbers and out-and-out cuts make listening to this album a tragic experience.

   I am usually a believer that the original cast recording is the one to buy as it represents what the composer had in mind while putting the show together, but I do not believe that here. The 1993 recording is far better than this. While this 1945 recording does hold an important place in history, the 1993 recording should be considered definitive.

5 comments about Show Boat (1962 Studio Cast Recording).

1. There are several recordings of this landmark musical, and in my view, this is the best overall.
   
   I've heard the soundtrack from the 1951 movie, which is pretty good. That recording, however, whitewashes some of the lyrics and is not as good in quality as this 1962 recording (which still edits some lyrics). There is also a 1988 recording which seems to be well liked, but I don't like the tempos, and the quality of the performers seems to be lower, especially with respect to "Ol' Man River." It is a thorough recording, though (3 CDs, w/ more dialogue)
   
   My favorite recording of "Ol' Man River" happens to be on the Lincoln Center cast, but the rest of that recording is a hack-job. There is also the 1993 Toronto cast version with Michel Bell and Robert Morse, but I haven't heard it yet.
   
   Which brings me back to this version. The recording quality is great, William Warfield does a good job, and the performances are very strong overall for all the hits-"Make Believe," "Bill," "Can't Help Lovin' Dat Man," and "Ol' Man River." I'm glad I bought it.



2. Columbia's stereo album of SHOW BOAT recorded in December 1961 has been a steady best-seller ever since it was first released.
   
   It's a fine recording of the key highlights of the score. Barabra Cook, John Raitt and William Warfield are well cast and the stereo spread is effectively used in the staging. This is a santaized version of the original text: the openng chorus here is sung "HERE we all word on the Mississippi..." and other Hammerstein lyrics have been censored. Also the recording eliminates key numbers: "Till Good Luck Come's My Way", "I Might Fall Back on you", "Queenie's Ballyhoo" among others. Why was Joe (William Warfield) left out of the quartet segment of "Can't help Lovin' Dat man?" And, Why does Anita Darian pull the tempos around so much in Julie's songs?
   
   EMI's 3 CD set using the original 1927 text and orchestrations is as definitive as we'll likely ever get, and the (now out-of-print) Toronto cast offers a good highlights version documenting the Tony winning 1994 Broadway revival. Still, this 1961 version is preferable to the 1966 Lincoln center version also starring Barbara Cook.
   
   BONUS MATERIAL: In addition to the 4 listed Bonus tracks, those familiar with the original LP release will be pleased to discover a longer take of the Overture included here.



3. This lovely studio cast of SHOW BOAT, originally minted in 1962, is one of the best recordings of the immortal score by Jerome Kern and Oscar Hammerstein.

   The cast is headed by Broadway stars John Raitt and Barbara Cook, as Gaylord and Magnolia, along with a superb supporting cast including Anita Darian and Fay DeWitt.

   John Raitt's full-throated voice is perfectly suited to the score, particularly "Where's the Mate For Me?" and his duets with Barbara Cook in "Make Believe", "You Are Love" and "Why Do I Love You?".

   Barbara Cook, as always, is a delight. Her sprightly reading of "After the Ball" is almost worth the price of admission alone, but she is winning in all her numbers. Her clarion-like soprano never fails to amaze me.

   Anita Darian is a suitably-tragic Julie LaVerne, and sings the plaintive eleven o'clocker "Bill" with emotion dripping in every note. Fay DeWitt's performance as Ellie is pure perfection, and her "Life Upon the Wicked Stage" is the comical highlight of the score.

   This recording makes great use of the stereo speaker-seperation system, where the voices shift from speaker to speaker as though they are actually performing on the theatre stage.

   This CD includes some bonus tracks that are very fascinating, including the original Julie, Helen Morgan, singing her own emotional "Bill"; the original Queenie, Tess Gardella, singing "Can't Help Lovin' Dat Man"; and Jan Clayton, performing "Nobody Else But Me" from the 1946 Broadway revival of SHOW BOAT. Clayton played both Magnolia as well as Magnolia's daughter Kim in the revival.

   This was (and still remains) a very popular recording, and 2 years later Barbara Cook and Anita Darian were recruited again by Columbia to appear on their celebrated studio album of THE KING AND I (which I also recommend that you purchase).

   A must-own recording.




4. The mere presence of the greatest of all singer / actresses of all times makes this a must have recording for any lover of good music. Barbara Cook is the supreme performer of Jerome Kern's music.
   The rest of the cast is very good too!



5. This 1962 Columbia cast album of Show Boat is pretty good all around. With a handpicked cast of some of the biggest musical stars of the time, Goddard Lieberson couldn't go wrong. John Raitt as Ravenal, Barbara Cook as Magnolia, and William Warfield (from the 1951 MGM film) as Joe. All the rest of the cast are great as well. This was the most complete cast recording of Show Boat when first released in 1962 and was up until McGlinn's set was released. The only reason this album gets only 4 stars is that the bright and brassy orchestrations are such that all the songs begin to sound alike after awhile. Other than that, not many gripes. Highly recommended.

3 comments about Animaniacs: Yakko's World - Sing About The World According To Yakko, Wakko And Dot.

1. This album is the best of all four! The songs aren't just for kids but they're really really good quality! I love the talent of the actors! Randy Rogel songs are the best! Too bad it so short! I just love to have more song in it!



2. This second collection from the Bros Warner (and the Warner Sister) is another generally fun collection, but clocking in at under 25 minutes, it's painfully short. In addition, three of the tracks appeared on the previous collection ("Yakko's World", "Yakko's Universe" and "Wakko's America"). That's not to say that there aren't gems to be found here - the fun "U N Me", the borderline-surreal "Panama Canal", and the album's highlight, "The Ballad of Magellan". But Kid Rhino could have done us all a favor and simply held onto the ten new tracks, then pasted them onto the Variety Pack CD. A good collection, but I'm not sure it's worth fifty cents a minute.



3. My kids learned the states and capitals, the planets and some of their basic characteristics, and used the Magellan song as a teaching aide in 3rd grade. And it's all funny stuff that adults like, too.

5 comments about The Mikado (1959 Television Cast Recording).

1. As a kid, I checked the album out of the Janesville, Wisconsin Public Library probably a dozen times in the early 1960s and played it on my dad's old phonograph. What a nice surprise to see it released on CD again (and sounding so much better) after all these years. Now, how about a DVD of the performance as it appeared on TV?



2. If I could give this CD one thousand stars, I would. I never got to see the original, but that hardly matters. Any fan of Groucho Marks can fill in all the blanks. Of course, Stanley Holloway tries very hard to steal the show, but instead becomes a perfect complement for Groucho.
   
   I have been jealously guarding my vinyl version, convinced that this would never appear on commercial CD, but "Behold! [We have] the Lord High Executioner" now available for endless hours of fun!



3. I must admit that I had doubts about Groucho Marx performing the role of The Lord High Executioner in Gilbert & Sullivan's most popular work, but after several listenings, I find his brand of hi-jinx (". . . equal parts Rufus J. Firefly, Quincy Adams Wagstaff, Otis B. Driftwood, and Captain Geoffrey T. Spaulding"), quite appropriate for this "simple tale of love and intrigue." Perhaps he drags the tempo a bit in "I've Got a Little List," but everywhere else, he's a delight, especially playing opposite Helen Traubel's Katisha (Margaret Dumont, anyone?). Just give a listen to their "There Is Beauty (in the Bellow of the Blast)."
   
   Martyn Green, one of the better Ko-Ko's of modern times, not only was one of the producers of this 1960 Bell Telephone Hour Production (NBC-TV), but he also took on the formidable task of adapting a two-hour stage production into a 50-minute television special. And he's done quite a fine job of it. Most of the familiar song have been retained, albeit somewhat truncated at times, and he has supplied some rather witty dialogue to keep the plot moving at a lively pace. Donald Voorhees even adapted the instrumentation of his Bell Telephone Orchestra to fit Sir Arthur Sullivan's original orchestrations.
   
   Even though Groucho got top billing, the rest of the cast is as good, and in some cases, even better in their respective roles. Leading off is Robert Rounseville ("Candide," anyone?) as Nanki-Poo, Barbara Meister as Yum-Yum, Stanley Holloway as Pooh-Bah (Lord High Everything Else), Dennis King as The Mikado, the aforementioned Helen Traubel, Melinda Marx (Groucho's daughter) and Sharon Randall as the Peep-Bo Sisters, and the incredible Norman Luboff choir as the Citizens of Japan. "Taped expressly for Columbia Records and produced by their president, Goddard Lieberson," (with pre-digital demonstration-quality sonics, I might add) this is an album to savor, to listen to repeatedly. Every word is intelligible; the style is "right on."
   
   Kudos to DRG for bringing THE MIKADO and other "never before on CD" recordings back from the dead. Highly Recommended.
   
   (Quoted passages from the liner notes by Martyn Green and Will Friedwald)



4. This version of "The Mikado" is one of the best ever recorded, with popular stars in most major roles, including Groucho Marx as Ko-Ko. It is also one of the most popularly accessible, with its length reduced to less than 60 minutes and virtually (if not actually) all of the dialogue from the adaptation included. Expertly truncated by Gilbert & Sullivan icon Martyn Green, this studio recording of the 1960 Bell Telephone Hour special includes everything necessary to be well-introduced to the full operetta, though I would have preferred to see Katisha's solo omitted to allow complete versions of the numbers included; there are some jarring edits within some of the songs. However, the libretto had to not only be reduced to a single hour but also to three fairly equal parts, so that may have been one of Green's motivations in cutting it as he did. (The oddest shortening is of the Act 1 Finale, which omits Katisha altogether. This may be the reason for including Katisha's solo later in the play, but it also may have been a favorite of Green's and a necessary spotlight for the formidable Helen Traubel.)
   
   The sound is exceptional, as this is not a transcription from the live performance but a studio recording that preserves all the spontaneity of the TV show while offering first-rate engineering. The only quibble I've had with the recording is the heavy mic-ing of Groucho's daughter Melinda on "Three Little Maids," which emphasizes her untrained voice at the expense of the other two singers.
   
   Aside from Groucho's highly enjoyable Ko-Ko (with a surprisingly moving "Titwillow"), Dennis King's Mikado is of particular note, and very original in its depiction of the emperor as a happy technocrat rather than the haughty and foreboding presence typical of most productions.
   
   This release itself is marred only by the notes, which contain some of Will Friedwald's not-unusual sloppy research, such as claiming Green stopped performing after his elevator accident--in fact, he carried on bravely with a prosthetic leg--and implying that this was Barbara Meister's only significant credit; among other accomplishments, she was brought by Richard Rodgers to be one of the original Maria Von Trapps on Broadway and in the national touring company of "The Sound of Music."



5. I saw a kinescope of this some years ago, so I know that a video production of this exists. Real G&S fans will buy this for Groucho Marx, not to have an authoritative version. So only hearing Groucho without SEEING him is really half an experience. I confess to seeing the album and one-click ordering it figuring it was a DVD only to find out I was getting just a CD. How disappointing. But I'll keep looking for that kinescope to surface.

5 comments about De-Lovely.

1. We gave out thirty copies as a thank you gift at a recent birthday party with Cole Porter music as the theme. We have gotten many enthusiatic thank yous for the gift.



2. It's been said many times already in other reviews, but the "new" versions of Porter's songs are absolutely horrible. These are NOT Cole Porter's arrangements, folks. If this was to be a soundtrack for a movie about HIM, then it should have stuck with those versions of the songs. Otherwise, they should have billed the album as what it is - Cole Porter's songs done with new arrangements and "modern" singers. However, given that the movie was also awful, the soundtrack should not be too surprising. Neither the movie nor the soundtrack had much to do with the music of Cole Porter. This was all about showcasing Mr. Porter's "other" life, and subsequently, emphasizing the more cynical, tragic, and depraved side of his life. Very sad and depressing. Thankfully I checked this out from the local library before buying it. Some other poor slob shelled out the money, found the CD to be a major disappointment, as many others have, and donated it to the library as an act of desperation so as not to admit it was garbage and relegate it to said garbage.



3. I love Cole Porter. I hated the movie DeLovely but loved the songs. Some of the songs are direct imports from the movie, other songs are done in a studio I guess specifically for the CD. Very disappointing CD but if you don't mind skipping through half the songs buy it.



4. I love the music of Cole Porter. This CD reminded me so much of the movie and I like the way the music was sung in a pop-rock style.



5. I watched most of this movie once and then threw it out on the next rubish collection date. I thought that the truncated musical numbers were only so so and I did not care to know so much about his with-male-partner(s) sex life.

2 comments about Irving Berlin Always.

1. A great collection of songs. Irving Berlin wrote some of the millenium's greatest love songs. And, some of our greatest crooners have recorded his music. They are all here. Some even collaborate with each other for beautiful duets. Highly recommended for any audiophiles.



2. When I sat down to this, I was expecting good. I wasn't expecting this to blow me away! One great Berlin song following another -- It was almost more than I hoped for, but knowing the performers and the writer of these songs, you get what you pay for. This is the best musical experience of Berlin's on cd I have ever heard. I recommend this to the most discriminating buyer who has maybe heard only a song or two. I promise, you wont be disappointed. You'll be thrilled... Always...

4 comments about The Best of Johnny Mathis (1975-1980).

1. Johnny Mathis is an exceptional popular singer, one of our country's finest. He delivers a quality performance every time, and often enhances a song with his singular style. Johnny Mathis is a safe bet when it comes to buying his recordings.
   
   This is a fine, but uneven collection of Johnny's "best." It never errs in performance, but in the quality of the songs themselves. There are mostly outstanding songs here: "Too Much, Too Little, Too Late," "What I Did For Love," "You Light Up My Life," "99 Miles From L.A.," "When a Child Is Born," and "With You I'm Born Again." "Just the Way You Are" is also an outstanding song, but I would have preferred it to be a solo Mathis performance instead of a duet with Deniece Williams.
   
   The remaining songs did not make much of an impression on me, even his duet with Jane Oliver ("The Last Time I Felt Like This"). It's too bad that Columbia/Sony didn't include Johnny's disco version of "Begin the Beguine," which was incredible!



2. Johnny Mathis remains a great star who can lead his audiences wherever he wants them to go using his beautiful voice to reach out to his audience. I am always impressed by Johnny's ability to vocalize flawlessly; his voice is rich, strong and full of warmth at all once.
   
   The album offers a number of highlights. "Too Much, Too Little, Too Late" is a duet Johnny performs with Deniece Williams; and they never sounded better! Deniece's singing perfectly complements Johnny's vocals. "What I Did For Love" comes from the Broadway musical entitled A Chorus Line. I really like the way Johnny sings this with a lot of sensitivity.
   
   "You Light Up My Life" is another big hit from the 1970s; and Johnny's rendition is a passionate one. Johnny's excellent diction makes his singing even better. "99 Miles From L.A." gives Johnny a chance to cover a song by Art Garfunkel; and Johnny Mathis never misses a beat. The strings work well on "99 Miles From L.A.," too.
   
   "Just The Way You Are" is another excellent duet with Johnny and Deniece Williams; their cover of this classic Billy Joel hit is very easy on the ears! Good use of the piano, too, on "Just The Way You Are."
   
   "With You I'm Born Again" proves Johnny's can deliver a ballad with true warmth and deep sensitivity; and "The Last Time I Felt Like This" really gives us the perfect ending for this album.
   
   Johnny Mathis remains a huge star and he deserves all the recognition he still receives. There are very few who can deliver a ballad the way Johnny can; and it's a pleasure to listen to the songs on this album.



3. His VOice is still strong after all of these years.these SOngs Reflect his Ability in doing many styles.This is A Great Disc that Captures Johnny Mathis in the mid-70's to the start of the 80's.He adds his own touch to these songs.



4. The ageless wonder gives you the best of several types of music in this compilation from Columbia records. If you like duets, his #1 hit "Too Much, Too Little, Too Late," is here along with the theme song from "Same Time Next Year," (Last Time I Felt Like This) that he recorded with Jayne Oliver. Johnny includes his love of Broadway by offering music from "Chorus Line," and many have hailed his version of the top 40 hit "99 Miles From L.A." better than Art Garfunkel's. One of the best songs on the album is "The Best Days Of My Life," the title song from a previously released effort. Arranger Jack Gold put the orchestration to most of these songs. He blends just the right amount of instrumentation with the enduring voice of an American gem---Johnny Mathis. There is not a clinker in this bunch! By the way, Mathis fans can look for Johnny's 2000 tour with dates already booked in Galveston, Memphis and Madison, Wisconsin.

5 comments about Wonderful Town (2003 Broadway Revival Cast).

1. Jennifer Westfeldt hits all the notes required for the role of Eileen, yet her voice isn't my favorite. Donna Murphy's voice is not great either. The real talent there is Gregg Edelman, but I honestly prefer him along Brooke Shields and Jennifer Hope Wills.



2. Frankly, I got this album for one song..."A Hundred Ways to Lose a Man", which I heard on the Braodway station of our digital cable network. I was extremely entertained by the song and loved the style portrayed in this album's particular rendition of it. I got it in order to perform the song myself for a benefit performance. I am very pleased to have it in my collection. As far as the rest of the album is concerned...one has to be "in the mood". It can be a bit annoying at times. Not my favorite Leonard Bernstein...doesn't compare to West Side Story...rather fluffy in comparison and silly, but that's what was intended.



3. This show is nice, very broadway. The music is nice, lyrics fun, and whole show a nice piece. It isn't something I would listen to over and over which is why it's only getting three stars, but it isn't something that I won't play from time to time. Of the two recordings I have (this one and the 2004 revival) there are MINISCULE differences, but I would say this is the better of the two. I like Donna Murphy's character over Brooke Shields. Good CD for collectors and new broadway listners alike. Fav Song: "Conga"



4. This is an excellent piece of work. Delightful. Charming. Splendid. Funny. Enjoyable. There are so many songs that stand out on this soundtrack, paticularly "one hundred easy ways." Evey time I hear I just can't help but break out in laughter. Excellent soundtrack; a must purchase!!



5. This may be the prime example of how a live performance transcends any recorded experience. I have read all the rave reviews of Donna Murphy's performance and trust people's judgment: she must have been wonderful in person. In this recording, however, she struggles through four or five different accents, settling somewhere between a voice from Missippi by way of New York.It seems less a performance than a gimmick.
   
   As a kid I heard my parents play the Rosalind Russell version of this show a hundred times and I guess she is imprinted in my mind as Ruth Sherwood.
   
   The orchestrations here sound magnificent and there are a few tracks added which round out the experience.

4 comments about Pal Joey (1952 Broadway Revival Cast).

1. I couldn't agree more with the customer from Evanston, Illinois.
   The Broadway Angel reissue is the BEST recording of the BEST musical ever (well maybe SHOW BOAT, nearly an opera, is #1)... PAL JOEY. I am amazed at all the Vivienne Segal "worship"; while she created the role of "Vera", her voice isn't all that great. I prefer even the mostly-dubbed Rita Hayworth, in the movie version, to Viv. Jane Froman, on the other hand, brought a smoky sensuality to her recording. "Bewitched..." and "What Is a Man?" (unfortunately cut from the '57 film) are just gorgeous! My hope is that Rob Marshall will do a film remake based on the original score. Thanx



2. Froman and Stritch perform marvelously but the rest of the
   show is rather a disappointment, suffering from performances,
   orchestrations and tempi that do not better the 1950 studio
   cast recording from Columbia. Here you have a slapdash short
   overture and two songs not on that recording (the forgettable
   CHICAGO and the melodic THE FLOWER GARDEN OF MY HEART). If you
   want the extra material, go with the excellent recent studio
   recording with Peter Gallagher and Patti Lupone. This has

   the supporting cast of the stage revival but not the leads-
   they appear in the 1950 studio recording. For Jane Froman
   and Elaine Stritch fans only.




3. So it is out of stock,but if you are patient,they will bring it back,even if many fans prefer the 1950 version.I discovered the show with that record and i still love it to this day.My only complaint is that the ballet JOEY LOOKS INTO THE FUTURE was not included here(the 1950 record and the 1995 revival have it).HELEN GALLAGHER is a knockout as GLADYS;DICK BEAVERS had a hard time fitting HAROLD LANG's shoes but he tries his best.What makes this show so great is the balance of uptempo numbers with the slower ones ,which brings you to the edge of your seat.It has everything a show needs:sass,humour,good looking girls and most important great songs.It also inspired BROADWAY at the time 1940 to go ahead with more adult oriented shows.Few lyric writers could really write such different shows like THE BOYS FROM SYRACUSE and PAL JOEY,but HART was a master in his field.If PAL JOEY bores you,there must me a problem with you;you should consult a shrink.



4. Rodgers and Hart's best score is given its due in this astounding CD. Unavailable for over 40 years, Broadway Angel wisely reissued it on CD. Even with substitutes Jane Froman and Dick Beavers, this remains the one to have. Helen Gallagher, Elaine Stritch and the brassy orches- trations allow the listener to hear the score the way it was meant to be performed. END