3 comments about Young Tony.

1. My mother used to play this song for me when I was a chubby little girl. I have been a Tony Bennett fan ever since. Long after my mother died I remembered this song and searched for it. Who knew it wasn't spelled Sugar? I purchased this collection for that one song. This collection is wonderful because they are the original recordings and are packaged in duplicates of the original vinyl covers. I highly recommend this collection to anyone who wants to hear his sweet pure young voice that is as excellent yet different from his voice now.



2. With eighty tracks, seventy of them recorded between 1950 and 1956, this collection contains all the essential tracks (unless you count as essential two minor British hits that aren't here, Close your eyes and Come next Spring) and many obscurities from the first seven calendar years of Tony Bennett's recording career. Many singers peak at the beginning of their career but not so Tony, who was only really just warming up for what followed despite the quality and success of his early music. Fifty years after the last of these recordings were made, Tony was still performing and recording new material and at the time of writing this review, he was still going strong albeit past his peak by then. The final ten tracks in this box date from 1958.
   
   During those early years, Tony was expected to record singles that would climb high in the American pop charts. Mitch Miller, his boss, wasn't necessarily interested in albums, which didn't sell in anything like the quantities that singles did in those days. Albums started to gain popularity with adult customers but it was only in the seventies that they replaced singles as the main unit of music. Nevertheless, Tony was allowed to record the occasional album even in these early years. Plenty of tracks from those albums are included here, together with all of Tony's American hits from the period.
   
   Although Tony's most famous hit (I left my heart in San Francisco) was actually written in 1954, Tony didn't record it until much later, eventually having a huge international hit with it in the sixties. So you won't find it here but Tony's early hits were of an incredibly high quality. He scored three number one hits among over twenty American hits in total up to 1956. He had several failed singles and was nearly dropped from the label before he had his first hit (Because of you), which made number one and stayed there for over two months, selling over two million copies in the process and thereby securing Tony's future. (As a personal aside, I note that it first made number one on the very day that I was born.) Tony's next single (Cold cold heart, a pop cover of a Hank Williams country classic) became another chart-topper and million-seller.
   
   Many smaller hits followed as well as two more million-sellers, one of which (Rags to riches) became Tony's third Ameroican number one hit. The other (Stranger in Paradise) peaked at number two in America, but if Tony felt any disappointment at this near-miss, he was eventually compensated by seeing it go to number one in Britain, where it became his debut hit more than a year after its run in the American charts. Tony's smaller American hits from this period included Blue velvet, a song that became a much bigger and more famous hit when Bobby Vinton recorded it in the sixties. Following his early success with one Hank Williams song (Cold cold heart), Tony scored a further American top ten hit with another of Hank's songs (There'll be no teardrops tonight). Another notable hit (Here in my heart) had to compete with versions by Al
   Martino and Vic Damone, who were both more successful than Tony with this song. (British chart historians know that Al Martino's version was the inaugural number one in the first official British record sales chart and remained number one for several weeks.)
   
   Tony's albums during this period included some compilations that rounded up his singles. Leaving those aside, Tony recorded his cfirst album, Cloud 7, in 1954 although it was actually released in 1955. Whereas Tony's singles were of the easy listening pop variety with jazz influences, this album was more obviously jazz music, both in arrangement and song selection. Tony recorded his second album (Tony) in 1956 and it, too, was jazz, supporting a jazz concert that he was doing at the time. Tony recorded two albums in the late fifties with Count Basie, one for Tony's record label and one for Count Basie's record label. The tracks from the Roulette album (Strike up the band) form the final ten tracks on the last CD here. By including these tracks, Proper breaks with its tradition of only releasing material that is at least fifty years old, thereby making British performance copyright payable for a little while anyway.
   
   Perhaps these early years aren't absolutely the best of Tony's long and distinguished career, but there's a lot of great music here for his fans to enjoy.



3. This beautifully annotated 4 CD set includes Tony's complete 1950-1954 Columbia recordings, all in one place. This includes the complete CLOUD 7 album.
   Then, 10 of the 12 songs from the TONY album (1957) are included. That album has never been on CD. The rather common Roulette album with Count Basie (1959) is included to finish off disc 4. There's also an interesting live version of "In The Middle Of An Island" from the Nat King Cole show, in which Tony sings some special lyrics as a tribute to Nat.
   
   The downside is that through 3 discs, it's a nice complete chronological history, but then it skips numerous singles from 1955/56 that have never been on CD, using up the space with the Roulette album, which has been licensed and released often on budget CD's and doesn't belong here.
   
   A 43-page booklet with complete history, recording data, and numerous vintage pictures is included.
   
   Tony Bennett completists and fans will love it.
   
   Now if only Sony/Columbia would release the 16 or so Tony albums from the 50's and 60's that have never been on CD !

5 comments about Victor/Victoria: Original Soundtrack Recording (1982 Film).

1. "VICTOR/VICTORIA" is one of my all-time favorite films. I can't believe this Soundtrack Reissue from Rhino Movie Music and Turner Classic Movies has been available since 2002. I only discovered this a few days ago on Amazon. You bet I bought it immediately!
   I've purchased the two previous versions of the Soundtrack (1982 MGM LP Record and 1994 Cresendo Expanded CD reissue) and this is the best version-- and not only because it is the complete Academy-Award winning score with 31 song/instrumental tracks. The "Echo Chamber" sound that is so evident on the previous editions is now completely gone.
   Kudos to George Feltenstein and the technical wizards at
   Rhino Movie Music/TCM for producing a soundtrack that is so crisp and clear I'd swear this is a live album/CD.
   It was as if I was hearing these songs and Mancini music for the very first time! Feltenstein and Company have worked similar remastering magic on the CD Soundtracks for "THE WIZARD OF OZ", "THE PIRATE", "IN THE GOOD OLD SUMMERTIME/SUMMER STOCK", etc. etc. etc.
   Leslie Bricusse and Henry Mancini's score perfectly captures the wit and warmth of the film. You'll hear Robert Preston sing "Gay Paree," the campy delight "The Shady Dame From Seville," and two versions of the charming Robert Preston-Julie Andrews duet "You And Me." The most delightful instrumental Tracks are "The Big Lift" and
   "Drag Blues," both of which have not appeared on CD before. Lesley Ann Warren rips through a boisterous rendition of "Chicago, Illinois."
   There is also the divine Julie Andrews, of course! This CD includes her complete version of "Cherry Ripe,"
   an old British song that a starving Victoria sings as an audition early in the film. As she finishes the song, she says, "As you can tell, Mosieur Labiesse, I have a legitimate voice." The unimpressed club owner responds, "Yes, well. I'm looking for something a little more illegitimate." Robert Preston's Toddy quickly comes up with the idea that she will be a smash in gay clubs. Julie's big showstopper is "Le Jazz Hot", (Oh god! That final high note!) but her voice has never sounded more intimate than on the unforgettably poignant ballad "Crazy World."
   This CD is the perfect way to savor the outstanding, incomparable talents of Julie Andrews, Robert Preston, and Henry Mancini. The CD booklet photographs and detailed production history liner notes are superb as well.



2. This is one of my favorite movies, and I'm not sure why it took me so long to think to look for the soundtrack! I've had it for about a month now, and I love it.
   
   Julie Andrews and Robert Preston are flawless (as usual), and it's just a lot of fun~particularly the rehearsal of Preston doing "The Shady Dame From Seville". I'm also a big fan of their duet "You and Me". All of the songs are wonderful showcases for Andrews' voice, showing her range and also various styles~from Cherry Ripe to Le Jazz Hot. What an amazing singer!
   
   This would be a wonderful addition to to your CD collection for the musical prowess of Julie Andrews alone, but the soundtrack is a must for any fan of the movie.



3. This musical presents some of the best songs by Henry Mancini, sung by
   the fabulous Julie Andrews. The song "Crazy World" is featured two times,
   one vocal, and the other, excellent, by the orchestra. A great purchase.



4. Henry Mancini gave us so much of our consciousness of the 1960s and 1970s, and yet was "out" almost as soon as he was "in."
   
   His work became synonymous with much-despised "elevator music" in the later 1960s. This stereotype (or monotype, for his earliest works) can mislead.
   
   For example, "Lujon" [not in this collection] was used in a movie just last year to exemplify mystery and an exotic atmosphere.
   
   Mancini died way too young. While some would argue that he'd become a self-parody, his innate gifts compromised by relentless commercialization, you cannot take away his lasting gift to our culture. He was an original, and he captured an essence of our collective experience.
   
   By 1982, Mancini was in very late career and doing a lot more TV material. In this soundtrack, you can discern his contribution most strongly in "Chicago."
   
   He;s still 'got it,' for sure, but his time is running out by 1982...



5. I really only got this for one song but I love this whole thing. So for once I was pleasantly surprised. Everyone should have it.

4 comments about Better Together: The Duet Album.

1. Better Together: The Duet Album is a rather strong Johnny Mathis album; and I am baffled as to why this fine album is out of print. The quality of the sound is simple excellent and the artwork is great. Johnny sings with some mighty talented ladies on this duet album; it's a must for Johnny's fans as well.
   
   "Better Together" starts the album; and this tune features Johnny Mathis singing a wonderful, lushly arranged duet with Regina Belle. Together Johnny Mathis and Regina Belle make this a very memorable number and I love it! "Better Together" makes a strong beginning to this album. "You Brought Me Love" is simply beautiful; Johnny sings this passionately alongside Patti Austin. Patti Austin always sang so wonderfully and together with Johnny this make "You Brought Me Love" a truly awesome ballad. The musical arrangement to accompany Johnny and Patti lacks nothing--it's all THAT good.
   
   "Too Much, Too Little, Too Late" is one of my very favorite duets on this CD; Johnny and Deniece Williams sing this perfectly and their voices enhance the natural beauty of this number. "Too Much, Too Little, Too Late is a sad song but yet the melody is so pretty you can't help but feel great anyway whenever you hear it. "It's All In The Game" has Johnny singing his heart out with Take 6; together these artists do this one up right and "It's All In The Game" is easily a major highlight of this album.
   
   "Love Won't Let Me Wait" is a beautiful cover done by Johnny with Deniece Williams; they sing this flawlessly and the lush musical arrangement is very well done and thoughtful at once. "The Last Time I Felt Like This" comes from a movie with Alan Alda entitled Same Time, Next Year; and Johnny sings this with Jane Oliver; together they sing passionately with all their hearts and souls. Excellent!
   
   "In The Still Of The Night" has Johnny teaming up again with Take 6; sometimes it seems like Take 6 is singing off key; this is certainly intentional but it makes this number my least favorite on this CD. Johnny, however, does his usual spectacular job.
   
   "You're All I Need To Get By" has Johnny yet again with Deniece Williams; together they make this sound fresh and new; what a great cover of this song!
   
   Overall, with the one exception of "In The Still Of The Night," this is certainly a very strong duets CD. Johnny Mathis fans should get this and enjoy; people who enjoy duets and classic pop vocals will also love this album.



2. With the recent release of Tony Bennett's duets album, I was reminded of an album in my collection that I had not reviewed: "Better Together: The Duet Album" from 1991. At the time of the album's release, Johnny Mathis had been a musical legend for almost four decades.
   
   During the late fifties and early sixties, Mathis had been one of the most dominant singers in popular music. He is still a major draw on the concert stage domestically, especially in Vegas and Atlantic City, as well as international venues.
   
   "The Duet Album" finds Mathis paired with female singers, for the most part, that perfectly compliment his unique voice, most notably Dionne Warwick and Deniece Williams, both featured on two songs, respectively. Mathis and Williams scored a number one hit with "Too Much, Too Little, Too Late," featured on this album.
   
   However, it's the pairing of Mathis and a cappella MALE virtuosos, Take 6, ("It's All in the Game" and "In the Still of the Night") that is the album's best. Mathis may have had an earlier success with an album entitled "Heavenly" but it is his soothing vocals, backed by the all-encompassing sound of the sextet, that is truly sent from above.
   
   Observation: Mathis celebrated his seventy-first birthday on September 30th.



3. Duets with such noteworthy pop and soul divas as Dionne Warwick, Deneice Williams, Jane Olivor, Regina Belle, Angela Bofill and Patti Austin make this CD a very pleasant treat. Although most tracks are very good, I particularly enjoy the duets with Jane Olivor and Angela Bofill.



4. Johnny Mathis has blended his splendid voice with some of the finest voices in show business. Along with Deniece Williams, with whom he had his only #1 hit, the pathetic "Too Much, Too Little, Too Late", he's sung with Nana Moskouri, Natalie Cole, Dionne Warwick, Gladys Knight, even Lena Horne and Lorrie Morgan, among others. Unfortunately, few of these duets made it to this CD. Three new duets were included, ones with Regina Belle, Patti Austin, and a beauty with Ms. Warwick produced by Sergio Mendes. The rest had been previously released.

   Better Together could have been a whole lot better. It's not that it's an unpleasant listening experience; to the contrary. The songs that were chosen are good ones. The thing is, there are even more good ones out there that could have been included, counting the ones from before 1991 alone. A sad omission: the Mathis/Warwick duet "I Got You Where I Want You" from the 1982 Friends In Love album, a delightful song. (Interestingly, both Mathis and Warwick both have an album with this same name, released the same year, and featuring this song and the title cut, which is included on Better Together.) Two Strong Hearts, another Mathis/Warwick gem from Mathis' Once in a While album, also deserves to be here. Another overlooked beauty, the slightly risqué "Different Kinda Different" featuring Mathis and the mysterious "Paulette" from the album of the same name. I could list several more, but won't. There are more than enough good duets and there was room for all of them. It's as if whoever is in charge of the ultimate content of recordings such as this one didn't trust the strength and beauty of the songs or the singers for this one, and that's unfortunate. Maybe Better Together part II will fill in the blanks. END

4 comments about Mike Mulligan and His Steam Shovel.

1. This is the kind of quality, well-produced, enriching recording a parent dreams of, and reaches for again and again. I am a psychologist by profession, an avid reader since age 4, and my alternate career choice was to be a classical musician. This recording speaks to all three of those passions, and allows me to feel good about offering it to my son. The mother who recommended it to me was so excited that kids could have something wonderful to help them slow down and focus, while having the experience of actively engaging their imaginations. In most children's lives, there is scant opportunity to "learn to listen," or to be actively engaged in listening to more than "sound bites" and frenetic popular music. The capacity to actively listen is a vital skill in so many facets of life: school, relationships, career, understanding the world...
   
   My three year old asks to listen to this CD when he wants something entertaining which will hold his attention, but not leave him feeling overstimulated or wired. We were fortunate enough to have this wonderful CD on hand when my son had to make his first trip to the emergency room (for an IV while sick). He listened to it again and again while we were there, and it allowed him to have an engrossing story, fascinating music, and the engagement of his imagination. (By the way, the staff in the ER took note, and the doctor said she'll ask the administration to keep some players, headphones, and this CD on hand to help other kids!)
   
   We look forward to more of these wonderful CDs.



2. I have never written a review before but feel that I have to let others know of this outstanding CD.....was familiar with the story but the music adds so much.....my 3 years old grandson is listening to it endlessly, my daughter is using it in her teaching and as a "young senior", I am humming the "Mike Mulligan" song constantly. The extras and explanations on the tape are superb as is the booklet that comes with the CD......hope that we hear lots more from the Simons.



3. This is the most creative, musically valuable, beautifully done children's CD & booklet I have seen. I am a grandmother and have taught instrumental music to children for 30 years and am delighted with the amount and quality of information imparted via entertaining "gentle education", with the familiar and trustworthy yet most informative tone of the speakers and of course with the outstanding musical composition and presentation which has turned Stephen Simon's musical version of Mike Mulligan into an immediate, worthy "classic". Every child should be given the opportunity to grow up with this CD and their parents, grandparents and teachers will enjoy it equally. I hope to see more CDs with "musical stories" coming out from Maestro Simon.This one is at the top of my Christmas gift list for this year.



4. Hurray, hurray for Magic Maestro Music and Stories in Music.
   
   Maestro Stephen Simon and producer Bonnie Ward Simon have given young concert-goers and their parents what is sure to be a "Grammy-winning" release.
   
   Virginia Lee Burton's classic and beloved story of Mike Mulligan and His Steam Shovel is now heard with symphony orchestra in Stephen Simon's tuneful rendition that follows the Burton book word for word. The music is played by the London Philharmonic Orchestra with a piper soloist... when did you last hear Irish pipes with symphony orchestra, and conductor/composer Stephen Simon has the friendly voice of Yadu narrating the story.
   
   This CD is much more than just a recording; the disc is boxed with a fun, entertaining and educational program book that includes music, games and background on the author, composer and soloists.
   
   Once you hear the Mike Mulligan tune you will be singing it all day, and waiting for more releases to follow in the Stories in Music series.
   
   Stop, look and listen... this release is not to be missed!
   Amy R. Sperling
   New York, NY

5 comments about Lullaby Of Broadway: The Best Of Busby Berkeley At Warner Bros.: Motion Picture Soundtrack Anthology.

1. Lullaby Of Broadway: The Best Of Busby Berkeley At Warner Bros.: Motion Picture Soundtrack Anthology really is an excellent two CD set of the best songs from Busby Berkeley's films in the golden age of Hollywood. Berkeley devised some of the best musical numbers ever; and this two CD set is a fine tribute to his work. The songs are great to enjoy even if you're not a Busby Berkeley fan! The sound quality is great and I like that artwork, too.
   
   "Young And Healthy" is performed by Dick Powell, Toby Wing and Chorus; this track is taken directly from the movie soundtrack and that's great! The recording does show its age but make no mistake about it--the singers are very easy to hear and you won't miss a word! The music for "Young And Healthy" is very good, too. Ruby Keeler does a great job on "Shuffle Off To Buffalo;" the other actors fit in well to make "Shuffle Off To Buffalo" a strong and nostalgic number. Ginger Rogers also makes good with her rendition of "We're In The Money (The Gold Diggers Song)." "We're In The Money (The Gold Diggers Song)" from Gold Diggers of 1933 shines when Ginger sings it; and the chorus enhances the beauty of this number.
   
   "By A Waterfall" from Footlight Parade is one of the most beautiful love songs I've ever heard; and this track comes from the movie soundtrack. Dick Powell sings this so well that I never tire of hearing him perform this ballad.
   
   The second CD continues the hits. "The Girl At The Ironing Board" features Joan Blondell front and center--of course, she wasn't exactly an operatic performer but Joan Blondell does a very good job on "The Girl At The Ironing Board" anyway. I like that chorus, too. "I Only Have Eyes For You" from the movie entitled Dames showcases Dick Powell and Ruby Keeler; and this heavenly number shines bright all these years later! What an ode to Ruby Keeler this was!
   
   "Dames" comes from the movie of the same name; Dick Powell sings this flawlessly and the chorus that backs Powell up sounds great. There are a few lines from the film mixed in with the song as well. Great effect! In addition, the "Lullaby Of Broadway" gets the royal treatment from Winifred Shaw, Dick Powell and Chorus. Winifred had an excellent voice; and as usual Dick Powell never disappoints. His tenor voice really impresses me a lot.
   
   "All's Fair In Love And War" features Dick Powell, Joan Blondell and Lee Dixon; this bouncy and energetic tune has a catchy melody and the brass sounds great as the singers perform! The CD set also ends strong with "Hooray For Hollywood" featuring Dick Powell and Frances Langford--could you ask for anything more?
   
   This is some two CD set to pay tribute to the musical numbers of Busby Berkeley's films. He could choreograph a million elephants at once and he still is well remembered in Hollywood today. I highly recommend this two CD set for fans of the classic movie musicals of this era.



2. I swear, as soon as I saw this on Amazon, I was like screaming with joy, because i had been searching for such a set of music for such a long time, and if you are a Busby Berkeley fan, this is for you! All of those wonderful tunes to the early Warner musicals we love so much, as well as some rarer tracks, but all the big hits are here, 42nd Street, Shanghai Lil, Dames, Shadow Waltz...but suprisingly no Sittin' on a Backyard Fence, Pettin' the Park, I'm Going Shopping With You, and Ah, the Moon is here, which I would've liked to be on it. But this CD set is great. Lots of the people I meet think i'm strange for loving old musicals and 1920s and 30s stuff (even my hair cut is exactly like Louise Brooks's) because i'm a teenager, but I LOVE this kind of music and thanks to the clear sound and excellent vocals and all, everybody can just relax and dream of old Hollywood while listening to this set.



3. Dick Powell sings in Dames, 'Who writes the words and music for all the girlie shows? No one cares, and no one knows.' Fortunately with this wonderful soundtrack set we'll always know. For me these Warner Bros movies exist for the Busby Berkeley sequences and the gorgeous melodies.
   
   The twenty tracks, from ten movies, have something for everyone, my favorites are, By a Waterfall from 'Footlight Parade' (1933) Spin a Little Web of Dreams from 'Fashions of 1934' and Dames from the 1934 movie of the same name. The lovely melodies by Harry Warren and Sammy Fain just stay with you. These two had to solve some interesting problems with the dance sequences as they lasted for some minutes but the arrangements were quite short, solved by repeating the theme over and over but with subtly changing orchestration. The melody of By a Waterfall is repeated twelve times during the water sequence but you don't notice while watching it.
   
   An interesting track is We're in the money from 'Gold Diggers of 1933' where Ginger Rogers sings the song and then sings it again in Pig Latin, this was a novelty language of the Thirties. For the curious, this involves taking the first letter of a word and placing it at the end and then adding the letters AY. Confused? Yes, so am I but you can find out more by putting the term into any search engine.
   
   As this is soundtrack material, recorded in the Thirties, I found the quality surprisingly good and the forty-four page booklet with the CDs is full of information. If you want to know more try and find a copy of 'The Busby Berkeley Book' by Tony Thomas and Jim Terry, published in 1973, the complete story in words and (lots of) pictures.
   
   *2006 UPDATE* Fans of Busby can get an excellent Warners DVD box set of five movies, each with loads of extras and a stunning bonus disc of 163 minutes featuring twenty-one musical numbers from nine movies. Unfortunately I don't think the bonus DVD is sold seperately though it might be available from some Market Place Sellers.



4. If you haven't seen the musicals these recordings come from, the songs may seem a bit thin, or overlong. But if you have an appreciation of the lavish nuttiness of Berkeley's best work, then these tunes may conjure delightful images of Dick Powell and all them leggy dames, and the crazy kaleidoscopic dance routines that made these films so fab. This 2-CD set includes material from "42nd Street," "Gold Diggers of 1933," "Footlight Parade," "Wonder Bar," "Fashions of 1934," "Dames," "Gold Diggers of 1935," "In Caliente," "Gold Diggers of 1937," and "Hollywood Hotel." Harry Warren's scores are often frivolous and dingbatty, which is part of what made them so much fun in conjunction with the spectacles on screen. They also work fine on their own, at least to a certain degree. For fans, this collection is a must.



5. There has never been anything quite like the delicious musicals that Warner Bros. served up during the 1930s. To begin with, they served to take folks' minds off the Great Depression, and in themselves they are wonderful works of art. They are still loads of fun, and this two-disc set serves as a fitting reminder of the heights that the American movie musical once achieved.

   The focal point of the pieces on here is that most of them originally received elaborate stagings by that master of dance direction, Busby Berkeley. Within the context of the films, most of them were intended as stage pieces, although there was no stage on earth capable of presenting these pieces. And the stagings are more than just emptyheaded presentations on which the melodies can hang: we are confronted with the suffering of war veterans in "Remember My Forgotten Man," violence in "42nd Street" and sudden death in "Lullaby of Broadway."

   Without the visuals, however, the one who really emerges as the star of these selections is Harry Warren, who wrote all but 4 of the 20 songs here. Warren consistently wrote songs as appealing as those of George Gershwin but, unlike Gershwin, his name is pretty much forgotten nowadays. Thanks to the attractiveness of the tunes themselves and the inventiveness of the orchestrations, the brief melodies are as fresh on their twentieth repetition as they are on their first.

   Among the many vocalists, the most constant is baby-faced Dick Powell who achieved stardom through these vehicles. But there are many other enjoyable singers on these discs as well. James Cagney is effective as only he could be in "Shanghai Lil," and Clarence Nordstrum brings a pleasant baritone and a quick vibrato to "Shuffle Off to Buffalo." On the other hand, Ruby Keeler's charms lie more in what she attempts than what she actually achieves (one of the other characters in 42nd Street tells Warner Baxter straight out that she is not a very good singer). Likewise, Joan Blondell is not a very accomplished vocalist although she is very effective, for example, in the spoken section of "Remember My Forgotten Man." But this is not to denigrate the participation of these wonderful performers; in large part, they make the films in which they appear. And the distaff side is well represented by the enjoyable singing of Ginger Rogers, Wini Shaw and Etta Moten.

   The presentation of these discs is near impeccable. I still find myself wishing, as I do with Fantasia, that they could update the sound, but the ear adjusts quickly and the discs are still much more than listenable.

   We have here for the first time anywhere Ginger Rogers' outtake of "I've Got to Sing a Torch Song" from Gold Diggers of 1933 (the song is alluded to in the opening moments of that film). We also get to hear Benny Goodman sing in a part of "Hooray for Hollywood" from Hollywood Hotel that was left on the cutting room floor. On the minus side, the producers chose to omit a bit of "Remember My Forgotten Man" because of the distortion in that section caused by the action onscreen. The cut is well disguised but still noticeable to those familiar with the piece, plus it detracts from the musical sense of the piece. I would have preferred to see the section left in, distortion or no. Finally, I wish they could have found a way to include "Pettin' in the Park" from Gold Diggers of 1933, my top favorite of all these production numbers.

   The accompanying booklet could not be better. There are tributes to Busby Berkeley and Harry Warren, notes on each of the films and special comments on the musical numbers included, with lots of interesting minutiae, such as how Al Jolson made fun of his wife Ruby Keeler behind her back (the comments on the tastelessness of his "Goin' to Heaven on a Mule" pale before this revelation) and how Busby Berkeley carefully photographed "The Girl at the Ironing Board" from Dames to hide Joan Blondell's pregnancy. Plus there is a complete listing of Busby Berkeley's films. Finally, the booklet and the CD case itself are liberally laced with stills from these films.

   Still, what brings me back to these discs time and time again are the delightfulness of the musical numbers and the enthusiastic performances they receive from everyone involved. Not all the films represented here have been available on video, so in the case of those that are not, I at least have these tantalizing moments to give me something to live for until they are. Highly recommended as a souvenir for those who have seen the films and as an introduction to a great era in American film history for those who have not.

5 comments about Footloose.

1. The product arrived very very quickly and was "new" as promised. Thanks for the wonderful shopping experience.



2. In the song "Somebody's Eyes", by Karla Bonoff, does anybody notice a difference in the opening of the song? Now I didn't buy the CD. I downloaded off of amazon.com and noticed that one of the instruments has been edited out of the song. I don't understand why downloading it compared to buying the CD would make any difference, but if you play the original master of "Somebody's Eyes" and then compare it to the remastered version you'll notice a difference. I just wondered if anybody else had noticed this. At any rate, it's a nice song!
   
   I could brag all day about the soundtrack. It's a classic! From the chart toppers "Footloose", by Kenny Loggins and "Let's Hear It For The Boy", by Denise Willams, to Mike Reno and Ann Wilson doing "Almost Paradise", Bonnie Tyler's "Holding Out For A Hero", Shalamar's "Dancing In The Sheets" and Kenny Loggins "I'm Free (Heaven Helps The Man)" and on down the line of songs to the catchy "Never", by Moving Pictures. Also the additions of John Cougar's Hurt So Good" (Classic), and Foreigner's "I've Been Waiting For A Girl Like You", along with Quite Riot's "Bang Your Head (Metal Health)" to compliment Sammy Hagar's "The Girl Gets Around", additions that should have been placed here when the soundtrack was first realeased. The extended mix of "Dancing In The Sheets" isn't all that special, too much of an echo, but the whole album is simply a classic. Enough said!



3. This was a great buy. It was a really good price and even had 4 bonus tracks on it, that I did not know about. The bonus tracks were all great hits when this movie came out like, Quiet Riot-"Bang your Head" It took me back to the movie and back to my high shool days in the 1980's!!!!



4. Excellent service, quick delivery, products exactly as ordered and in good shape. Would definitely buy from them again.



5. If you like listening to songs played in the background of movies, go for this one. I am more of the score type of soundtrack buyer. The CD in a whole was enjoyable for a car ride, but not much more than that. I am still satisfied with my purchase though.

3 comments about Walt Disney's Lady And The Tramp: Classic Soundtrack Series.

1. Make no mistake about it Miss Peggy Lee is one of the finest singer-songwriters this country has ever known! Without Peggy Lee there would be no "Lady and the Tramp". Not only is this a shining example of her abilities as a lyricist it is also a tribute to her talents as a vocal actress ... no one else in the history of animated films supplied so many voices to one feature. She is both Si and Am ("We Are Siamese"), Peg ("He's A Tramp") and Darling ("La La Lu"). Listen very carefully to the opening song "Silent Night" underneath the familiar song is a counter-melody written by Sonny Burke with lyrics by Peggy ("Silent as a snowflake in the night ..."), it is sheer musical genius!

   Sincere-Lee,

   Robert Strom THE PEGGY LEE FAN CLUB 744 COLLIER DRIVE SAN LEANDRO, CA 94577




2. Lady and the Tramp has always been one of my favorite Disney movies. The musical score for this animated great is simply wonderful. I was excited to see Disney re-release the soundtrack, and snapped up a copy as soon as I could. The sound was as wonderful as I remembered, except for one thing...the CD has only the clipped parts of the songs that were in the movie, not the whole songs as originally recorded. I had a record as a child that had the full songs (and how I wish I'd kept it!), and that was what I was expecting to find on the CD. I'm still so disappointed to not hear the full effects of the almost heart-breaking "What Is a Baby?" and the beautiful, haunting "La La Lu". I have a baby of my own now, and the songs I sing to him as I rock him to sleep are these two, as best as I can remember them from my own childhood, not as the abbreviated versions on this CD.



3. You will be child again with this wonderful, romantic, and charming soundtrack of one of Disney's masterpieces. I simply adore this score. The songs are just perfect! "Bella Notte" captures the magic of Christmas time, but, anyway, it is a song to be heard all year long. And it is even better when sung and played by the chorus as a background for the two dogs in love. Miss Peggy Lee is a gift from heaven, delivering all her talent throughout the disc. Also, the talents of Oliver Wallace and Sony Burke make this score a truly jewel in the Disney crown. And don't you ever think of missing "Home Sweet Home"!

5 comments about Song & Dance: The Songs - Original Broadway Cast Recording.

1. First the bad news.
   - Peter's English accent isn't the best. A point that would normally drive me crazy, were she not so good in every other way, since I'm a stickler for authenticity. But she IS good. VERY good.
   
   - "English Girls." Added expressly for the American palette. There are some valid observations about the endearing quality of foreign colloquialisms. But I think the song is obvious and uninteresting.
   
   - They did *not* take out "You Made Me Think You Were In Love," This number always felt like clutter. It may be I just don't like the song.
   
   - "The Last Man In My Life" was replaced with "Unexpected Song." God knows why. It's not a bad song mind you, but I find it less moving, with fewer surprises musically and lyrically.
   
   Now the good news.
   No one can deliver "Unexpected Song" like Peters. Seriously, it's worth it for the last soul-quaking note alone.
   
   - Mercifully they cut "I'm Very You, You're Very Me" from the score. I found it mind-numbingly insipid.
   
   - While some of the rewrites may be too "trying-oh-so-hard-to-be-British" for it's own good, others, as someone pointed out, are for the better. Here Emma is better grounded. She comes to the US, not only for her dead beat (no pun intended) drummer boyfriend, but also to pursue a career as a hat designer. I don't think that's in the Webb version. Since creatives of every stripe come to NY in droves, to break into their respective arts, it rings true. And we do get some humorous mileage from it.
   
   - "Tell Me On a Sunday" is slowed down considerably. The fact that she lands it fully, is only testament to Bernadette Peter's powerful gift as an actress and a singer. It takes both to do the song this way. Were she off by a hair, you'd hear it. But she isn't. It's absolutely sustained.
   
   - "Nothing Like You've Ever Known." To me this is the most interesting change. Instead of the original sentiment...
   
   "I wanted to spend more time than twelve till two, loving you," which is admittedly affecting...
   
   we get...
   
   "When you go, I'll cry no tears.. for a love without tomorrows suits me fine now."
   
   It depicts a different truth. The sickening, post breakup feeling that ones blood has turned to ice. And to risk feeling anything, is to risk freefalling into agony. This is not an attempt to replace a old shattered love with a new one. That would allow for hope. It's a naked attempt to feel nothing. And it draws on a more complex constellation of emotions. It also makes Emma more rounded and human. And it sets up her subsequent fall from grace. Which makes it that much sweeter, when she recaptures her innocence at the end.
   
   Like "Sunday' Peters delivers. She makes even the state of numbness raw and powerful.
   
   I think the Marti Webb production is equally fine. They're both emotionally truthful, so it may come down to taste. Some may prefer Webb's more understated delivery, and she'll bring you to your knees with "The Last Man In My Life." I like both interpretations and I think they're both valid. Buy them both if you can. You might want to steer clear of the Brightman version however. She's more of a singer who *acts,* and for my money, does neither as well or expressively as the other two.



2. A recording of an amazing performance with Bernadette Peters. Although many artist have done the performance of Song & Dance (Marti Webb, Sarah Brightman etc), Ms Peters excelled herself in this part and really conveyed the role of the woman's experience, the ups & downs, of a new gal in NYC!
   Highly recomended.



3. I've read many reviews complaining of the sound quality of this recording. Am I missing something? I think the recording is excellent. You can hear every word that comes out of Bernadette's mouth. Now, onto the show itself. It's brilliant. It's an acting and singing tour 'de force. One can either choose to listen to the entire recording from beginning to end, and get a great story set to exceptional music. This is where one can enrapture one's self in her Tony winning performance. If you aren't interested in the story, you can enjoy this for the many showtune standards sung with extreme passion by Miss. Peters, including "Take that Look Off Your Face," "Tell Me On A Sunday," and "Unexpected Song." If you've read this review, don't hesitate to get this ultimate recording of the show, before it's out-of-print.



4. I bought this album after I had seen Bernadette Peters singing "Second Letter Home/Unexpected Song" on Hey Mr. Producer concert. She really blows me away at the concert so I thought I need to get the cast recording.
   
   Well, I can say that I'm a bit disappointed with the album. The sound quality is not so well-balanced. And frankly, listening to Bernadette Peters's voice alone for almost an hour can be a bit annoying sometimes. I do love the music from the show though. I think the problem is that all the energy from the show didn't transfer well on to the CD. I think this is a show that need to be seen to be enjoyed and that's why Miss Peters won her Tony Award for it. Maybe, just maybe, if the show was recorded live like the London Cast recording with Marti Webb, it might sound a bit better... Who knows?
   
   Not to be discouraged, this album still has some great songs like "Unexpected Song" "Come Back with the Same Look in Your Eyes" "Take That Look off Your Face" and "Tell Me on a Sunday". There's this one song called "English Girls" that has the same melody as Whistle Down the Wind's "Tire Tracks and Broken Hearts"
   
   Overall, I don't actually hate the album and I like the lyrics in this one better. But I still find myself listening to the Original London Cast more often. So my recommendation is that get the 2-CD London Cast with Marti Webb first. The live recording makes it more energetic and it comes with the whole second act instrumental music which is good as well.



5. Bernadette Peters with an English accent? Its great, and deservedly won the singer a Tony. The best part of this album (just the songs) is the way the girl's journey is clear with no visual assistance. That said, if you dont like Miss Peter's way of playing with a vocal line to improve dramatics, you wont be happy.
   
   But she is an undeniable Broadway star.

5 comments about The Cradle Will Rock: Original 1985 Cast Recording.

1. My parents had a recording of this on 8" reel tape when I was a kid. We listened to it a lot, along with the Fantastiks and a few other stage pieces. At eight I loved "the nickle under my foot." Now at forty-nine I am remembering so many parts that flew over my young head in earlier days! And love listening to of all people Patti Lupone as Moll... I once heard her in London doing Evita, and the range between those two parts...holy schnikes but she's good. As are the rest of this cast!



2. I absolutely recommend this beautifully recorded, and championed piece of music. This said I heartily sway anyone who is contemplating Blitzstein to also consider Bertholt Brecht, composer, songwriter, and storyteller behind THE THREE PENNY OPERA. It is important to state that Brecht's piece is easily considered one of the first pieces of Populous inspired music, and this rise of a proletariat form of entertainment inspired Blitzstein.
   
   This said, if you are into catch numbers, cutsie stories, and any rubbish that is considered "popular" musical theatre, then I strongly recommend you run away quickly, and take "dramadude's" advise and watch the painfully sexist and racially motivate THOROUGHLY MODERN MILLIE, or say, any of a dozen Hollywood film recently converted into Broadway. I believe I even saw a billboard in Boston recently that advertised FOOTLOOSE ON ICE at the Schubert, so that might be of interest.
   
   However, if you like RENT, URINETOWN, LES MISERABLES, Sondheim or any number of names dropped in RENT's own anthem LA VIE BOHEME, then you will enjoy THE CRADLE WILL ROCK.
   
   So here's the liner note: Imagine, say, if every news pundit, or media junky who supported the president were all thrown into the slammer, and forced to see the people the assail, or in our case ignore, face to face. In the case of THE CRADLE WILL ROCK that is the situation. A handful of corporate lackeys (ie. artists, ministers, journalists, doctors, strikejumpers) are force into jail. They trust their boss, Mister Mister, will release them. He never comes.
   
   They judge the other inmates. One is a whore, so they treat her and her cellmates as whores. By the end, however, you will discover, as do the characters, that because of their association with Mister Mister they are the whores.
   
   In the end at a time of post Wilson WWI surveilance, the birth of the FBI, and the early attempts by Conservatives to overturn the changes of the Progressive era, Blitzstein, sounding an awful lot like HENRY DAVID THOREAU, teaches that if our leaders are wrong then we have a right to CIVIL DISOBEDIENCE. This musical, the first of its kind in American History, in its day was cause to take to the streets. It makes one question... what do motivations do we have to do the same?
   
   So buy this, and while your at it... buy Brecht, then ask as you listen to them these questions: 1) why were they both banned at one point. 2) Why is CRADLE still impossible to buy a script for under $200.00 3) Why are American versions of both subsequently abridged.
   
   (On a sidenote, Sondheim refers to CRADLE WILL ROCK as his impetus.)



3. "The Cradle Will Rock" has actually, as noted below, been rediscovered many, many times. Anti-union tactics may have become more sophisticated than just blowing someone up, but the theme is if anything more jermaine today than it was in the late 30s (or as much so). If Blitzstein wrote it today, he would reference out-sourcing and computer vote theft. This was the real precusor of "Rent" and "Urinetown". I've heard the full orchestra score, which is very good given Blitzstein was a fully trained classical composer (unusual for a Broadway composer, Sondheim for instance doesn't orchestrate his own scores) but the piano score used here is perhaps slightly preferable given the story, a plainess suits it (the full orchestra score should be recorded, of course). Even with Brecht's invaluable advice inspiring the creation of the show, the book is lumpy - librettos were Blitzstein's Achilles heel, over and over. But Lupone is a wonderful Moll, the rest of the cast are very effective actors singing and it's very simply and tautly directed. It's fun to hear the original Welles recordings with Blitzstein but for the best recording this is it. That first CD with Houseman's memories is nice, but they might have added Blitzstein's recording of his version of the opening night, given the available space.
   
   In opposition to the reviewer suggesting this should be left out of any Broadway collection, it is a seminal work that is less dated than "Oklahoma" if deliberately less melodic. It belongs in every collection, and if it were it wouldn't have to be rediscovered every five to ten years.



4. I'm really not a hard guy to please when it comes to show music. Of the dozens of musical theatre CDs I own, there are maybe one or two that I regret buying. Unfortunately, "The Cradle Will Rock" is one of them.

   Where to begin with the problems of this show? First off, the score is maddeningly unmelodic. Not one of the songs manages to stay with you, a must for any good theatre score. They simply aren't hummable or memorable, and on top of that they are vocally bland. The majority of songs don't even span an octave, and there is absolutely no chance for some of the very talented singers to strut their stuff. When a performer like Patti LuPone can't manage to make her songs anything more than vaguely pleasant, you know there's a problem.

   Furthermore, the show itself is a creaky reminder of what happens when musical theatre tries to be too political. Now, I'm all for musicals that say something, that examine society or humanity and point out flaws or trends. But above all, character should be paramount, for that is the element which takes a show written for a specific moment in history and makes it speak to all time. This is where "Cradle" falls flat. As the generic names of leads like Larry Foreman and Mr. Mister indicate, the characters are all two-dimensional representations of some aspect of 1930s society. They have none of the emotional depth or complexity which would keep them relevant to today's audiences, and the whole message of unionization is woefully outdated in today's times.

   In short, this musical just isn't in any way, shape, or form remotely appealing. Bland music, boring characters, and a preachy, outdated message about unionization put this musical among the ranks of shows best left in the past.




5. There have been many successful revivals of this work than many think. Bernstein did it with piano in the late forties, then conducted the first production with Blitzstein's full pit later. Another recorded production (1964: MGM Records) most may have forgotten because it is out of print was one directed by Howard DaSilva (the original Larry Foreman) done with piano with none other than Jerry Orbach as Larry: who better to play Larry Foreman than Lenny Brisco. The great Micki Grant, Joe Bova, and Laurie Peters are also in it. Alas, hard to find but this is NOT a newly re-discovered work by any stretch.

5 comments about Forever Plaid.

1. I saw Forever Plaid at the Gold Coast in Las Vegas in August. The performance is superior, so I had to have the CD. It is just wonderful. The harmony is great and the piano player is magnificent. I listen to it every day. Even bought a copy for my car. I'm going to Las Vegas over Christmas to see it again. I hope they do the Christmas version....I'll buy that CD also.



2. I saw the stage production three times. I loved it each time.
   There were no empty seats in the theater and no one left untill the last note was sung. I bought the "forever plaid" cd and played it so many times that I finally got it stuck in my player. That is why I've just ordered another cd.
   Is the group performing any place now or in the future?
   I have freinds that would like to see their show and I will be happy to go with them for a fourth viewing.



3. This is the more recent of the two cast recordings, and, in my personal opinion, having done and seen the show numerous times, it is superior. The 4 guys in this show are phenomenal and can be seen in Vegas at the Gold Coast. This CD is only slightly superior to the other in that it has tracks the first does not, and is more faithful to the actual musical score. I own both, but if you can only get one soundtrack to the greatest musical ever, make it this one.



4. I have seen this show more times than I can count and now have both the original cast recording and this one featuring the Vegas cast. I like this one much more! The quality of the recording is much greater and the voices are spectacular. If you're only purchasing one of the two versions out there, make it this one.



5. FOREVER PLAID IS THE ONLY MUSICAL I HAVE EVER SEEN7 TIMES NOW AND COUNTING. THE LAS VEGAS CAST ISTERRIFIC, AND I'm SURE I WILL NOT BE DISAPPOINTED IN THE CD. I MEAN, I CAN'T BE DISAPPOINTED---IT ISFOREVER PLAID----HERE IN LAS VEGAS!