5 comments about Collection.

1. Beside having a beautiful voice Michael is a master at knowing which songs to sing to enhance that voice. He can do so much with his voice from the lowest of lows to the highest of high notes. He sings with such emotion and makes you live that song along with him. I really enjoy this C.D.
   
   Katha Berry



2. The only reason I gave this one only 4 stars is because of the song selection. Most of the album is 80's pop/love songs that don't seem to fit him, despite the fact that he did perform in most of the musicals. The selection seemed a heck of a lot different from his latest album, Centre Stage. His voice is still fantastic, it's only the song selection that wasn't at its best. Not a bad CD over all, but don't get this if you haven't heard Michael Ball before.



3. This CD is full of wonderous songs.......however,
   altho Michael's delivery and voice is tauting
   i am afraid its trying to hard to outcome the strings!
   Too much strings and its constant and they overwhelm
   his fantasitic delivery!!Why this more than talented
   and charming individual doen't leave the strings to
   a limit is worth considering! The songs are fantastic
   but lose so much in his trying to overcoming instead
   of the strings overpowering his enormous voice. I can
   only think that the music is karaoke and he came to
   the studio and sang afterwards. I admire his choices
   of material on every CD but too much orchestration does
   not benefit on this remarkable voice..I await when he
   reduces of strings on any recording..That why I can only
   rate this as 3 1/2 because he does not show his
   deliverence so as to honor his voice...sometimes I think
   i am listening to Living Strings or Mantovanti..I love ya,
   Michael but will not invest in you.....yet!!



4. Some singers are relying on songs to bring out his/her vocal glamour, while others can flesh out the songs and put personal stamps on any songs he/she sings. Michael Ball is one of the best among the latter.
   "The Collection" is a collection of the songs from Michael's debut album "Michael Ball" and the second album "Always", a good mixture of songs of power and passion seasoned with gloominess of Jazz. His is a rarely rich and solid voice, full of core and fervor, when he delivers "Love Changes Everything", "You Don't Have To Say You Love Me", "A House Is Not a Home", and "You Made Me Love You"...with his trademark vocal heft. It's astonishing that he can simply pour out the sound with such ease. His is also a voice that brings unique elegance to jazz. Just for hearing Michael crooning in Jazz tunes is worth buying this album, especially considering that "Always", the only album in which Michael gives his soulful readings of Jazz, is hard to find in these days. "Cry Me a River" and "Stormy Weather", just these two numbers are enough to make the tunes stay in your ear. One more reason to buy this album is "The First Man You Remember", a duet sung by Michael and Diana Morrison, which is amazingly soothing and refreshing.
   Buy it!



5. "The Collection" is made up of songs from Michael's first two albums. It is also the only Michael Ball cd that includes the song "The First Man You Remember" from "Aspects of Love." Some of the most beautiful songs that he has ever recorded are on this compilation. "Stormy Weather" is one of my all-time favorites and he gives a certain something to the song that cannot be found anywhere else. Actually, he gives a certain something to every song. This album is very easy on the ears and will only leave you wanting more!

5 comments about Hello, Dolly! (1994 Broadway Revival Cast).

1. I have'nt heard the Original Original (from 1964). I can only assume this is a case of The Emperors New clothes and no one had the courage to kill this recording at birth. Whoever had the idea that asking Carol Channing to revisit the part of Dolly Levi was worthwhile deserves to be drummed out of the Entertainment Industry. In case there is any confusion this recording is dire. It sounds like Walter Mattau after a very heavy night on the tiles (I have no reason to assume Walter M ever had a heavy night on the tiles). The only reason to buy this is to give confidence to anyone who fancies trying musical theatre and thinks their voice is not up to scratch. If this can reach Broadway there is hope for anyone. I am only familiar with a few recordings of Dolly but would suggest that so far Barbra Striesand in the movie is the best bet if its music you enjoy.



2. The 1994 Farewell Tour revival album of Dolly is smart, snappy & of interest to fans, tho I doubt it replaces the original cast album for warmth & charm. Channing is amazing but not in good voice (if you doubt she ever had a good voice listen to her on the legendary Jazz Baby CD). The revival version of Ribbons Down My Back by Florence Lacey sets a new standard for that number. At times the chorus energy seems a bit forced rather than hitting the right tone for this tuneful highly agreeable musical adaptation of The Matchmaker. This version should not replace the original, but make a good addition to anyone's collection of major Broadway musicals.



3. FIRST THE GOOD NEWS-THIS IS THE FIRST NEARLY COMPLETE RECORDING OF THE "DOLLY" SCORE INCLUDING "THE WAITERS GALLOP" THE FRANTIC AND ENERGETIC DANCE THAT PRECEDES THE TITLE NUMBER. NOW FOR THE BAD NEWS-WHETHER YOU LIKE HER OR NOT THE CHARM ABOUT CAROL CHANNING IS HER VOICE WHICH SOUNDS LIKE A STRANGULATED DUCK-ON THIS RECORDING AND WELL INTO HER SEVENTIES SHE SOUNDS MORE LIKE A COMATOSE DUCK. SO MY SUGGESTION IS BUY THE ORIGINAL CAST ALBUM WHEN HER UNUSUAL VOICE HAD ITS VIBRANCY AND BUY THIS FOR ITS COMPLETENESS WITH NOSTALGIA FOR WHAT USED TO BE.



4. HELLO DOLLY! is still one of musical theatre's crowning-glories. The original 1964 production catapulted Carol Channing into the annals of Broadway folklore and the role became her signature performance.

   In 1994, Carol Channing and DOLLY! came back to Broadway for a limited-run revival. Channing has lost few steps since originating the role and turns in a fabulous performance. Like a fine wine, her performance and portrayal of Dolly grew richer and more honed.

   Channing was surrounded by a strong cast including Florence Lacey as Irene Molloy, Jay Garner as Horace Vandergelder, Michael DeVries as Cornelius Hackl, Cory English as Barnaby Tucker and Lori Ann Mahl as Minnie Fay.

   Florence Lacey sings a deeply-affecting "Ribbons Down My Back", DeVries and English are wonderful with "Dancing" and Jay Garner is the perfect stuffy foil to Channing's manic and free-wheeling matchmaker.

   There are many differences to the original 1964 cast album, including the addition of a new, longer Overture, and the extended sequence to "Dancing". Sound quality is also very impressive, though the original cast album's sound quality is still as fresh as paint.

   Get this superb CD today (or buy both albums if you have yet to discover the joys of this landmark Broadway show).




5. Jerry Herman's score for "Hello, Dolly!" has its lesser points: a few underwhelming songs like "It Takes a Woman," "It Only Takes a Moment" and "Motherhood" and an undeniably hokey title song. However, it also has several genuine showstoppers, including "Put On Your Sunday Clothes" and "Before the Parade Passes By," the beautiful "Ribbons Down My Back" and a couple of irresistable charm songs, "Elegance" and "So Long Dearie." And even that title song, hokey as it is, is also undeniably one of the greatest numbers Broadway has ever produced in terms of sheer galvanizing energy - audiences have been giving it standing ovations for just about 40 years.

   This recording must surely be one of the best, if not possibly *the* best, recording of the score out there, because the entire cast gives such a spirited (and, in my opinion, thoroughly professional) performance that the weak songs sound great and the great ones sound greater still. Carol Channing's voice takes an awful lot of getting used to, but her take on Dolly is so undeniably original and, after a while, so thoroughly enjoyable that you wonder how anyone can *not* say she *is* Dolly Levi. And having seen her in the movie "Thoroughly Modern Millie," I know in person she has great capacity to entertain an audience, which must be made even greater in a live theatre. Although, as I said, the entire cast is professional and spirited, the only other standout is Florence Lacey, who may be out of the traditional age range for ingenue Irene Molloy, but has such a lovely voice, used to particularly wonderful effect in "Ribbons Down My Back," that it hardly matters.

   Though I have yet to hear the original Broadway cast recording, or others featuring Pearl Bailey and Mary Martin, I have heard the film soundtrack and seen the film it came from, and despite Barbra Streisand's incredible singing, that recording just doesn't make you revel in the wonders of this score from the first listen like this one does.

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

5 comments about Saturday Night (2000 Off-Broadway Revival Cast).

1. Mr. Sondheim created this show, which failed to find backers, before he got the job of writing lyrics for Leonard Bernstein's "West Side Story." It reflects the '50's musical sensibilities, although the setting is Brooklyn at the time of the stock market crash. This staging, from the year 2000, has a nice crew of voices. Compare the innocence of "Saturday Night" to the darkness of "Sweeney Todd" and you learn a lot about the history of American Musical Theater during the last half of the 20th century. If you are a big fan of Stephen's work, you will want this show in your collection. Even though most of us will never see this on a stage, it is easy to follow the story and listening to the album while on a summer drive is fun.



2. Good cast, enjoyable score and rare chance to consider what might have happend if SATURDAY NIGHT had managed to open on Broadway in 1954. My guess is that it would not have been a huge hit but would have spun off one of those excellent Columbia Records original cast albums that musical comedy buffs cherish. "So Many People" would have become a hit record for Rosemary Clooney; and the cast would have performed "One Wonderful Day" on The Ed Sullivan Show. And it would have taken a lot longer for Stephen Sondheim to develop his own musical voice.

   This is the version of SATURDAY NIGHT to get. The London cast recording is to be avoided.




3. This early Sondheim effort is a real surprise, in more ways than one. First of all, it's not the bland, nondescript show that he and other musical officianados have maintained it was all these years. It really is a simple pleasure. The second surprise is HOW much of a pleasure this musical is. I simply didn't expect to be listening to this score again and again. I certainly haven't listened to the last few Sondheim scores again and again. Once and then into the dustbin is more like it ("Passion" -- ugh!). This little musical is actually QUITE musical, with one memorable song after another spinning out of the speakers at you. Of course, it must be stated that the actors play a huge part in how entertaining this CD is. The enthusiasm and panache these young performers display really makes you feel for the characters, even distinguishing one from the other in several of the patter-type songs Sondheim is noted for. "Saturday Night" brings to mind simpler, easier times, when being young and exuberant was everything, and the world was waiting like one big adventure. Sondheim's own youthful exuberance comes across in this musical as in no other he's ever written. The sardonic cynicism perveying most of his later work is nowhere to be found here, which makes this show unique in his canon. One wonders what happened along the way to make him lose the ability for the kind of joy found in the songs here. Sad. But don't let that deter you. This is not just a cast recording for Sondheim completists. Anyone who enjoys traditional, muscular "show" tunes, should give "Saturday Night" a try. You'll enjoy it the rest of the week.



4. This show is clearly not Sondheim at his brilliant best, and yet it is a measure of the composer that even so, this musical is highly enjoyable. First pitched in the 1950's, it was finally premired in Britain at the Bridewell theatre (for which there is also a cast recording available). Two years later, this production was mounted off-Broadway to critical and public acclaim.

   This is perhaps one of Sondheim's most 'accessible' scores in that it requires no particular concentration on the the part of the listener, and the compositional and lyrical tricks for which he is renowned do not play such a large part here. Instead, this is jazzily conventional 1950's Broadway musical with a story that Cole Porter wouldn't have turned down. There is not a single weak song in the entire show; from ballads such as 'So Many People' to the jumpy title number, all of the songs are beautifully written and performed excellently by a more than competant cast. The orchestrations perfectly evoke the 1920's setting and make the whole recording a delight to listen to.




5. Sondheim's first professional musical is not as good as some of his latest efforts, but all around a fairly decent score. The lovely "So Many People" is worth the price of the CD alone. While this is very early Sondheim, we hear snippets of the greatness to come (especially in the rhyming of "Cushman" with "Francis X. Bushman!"). While the score and the book are a little clunky at times, this is a must have for any serious theatre person.

3 comments about The Phantom of the Opera.

1. I have loved this movie from forever and the soundtrack now lulls me to sleep.



2. I bought the SACD thinking I would see an improvement over Blu-Ray sound quality from PS3. However, I am a bit disappointed because the quality only improved a little bit when played on a proper SACD player.
   
   I now have the convenience of playing and selecting any song quickly but not the satisfaction I was hoping for from a true high fidelity music recording.



3. If you are expecting a movie thriller like the old version of "Phantom of the Opera" starring Lon Chaney, you may be disappointed, but if you like classical music and opera, you will find this an excellent DVD. The staging and performers are very professional, and there are some interesting twists, and it is an opera. Consider, though, that it was written by Andrew Lloyd Weber, and that in itself should tell you it will be a great performance.

3 comments about Ballads for Night People.

1. 'Ballads for Night People', recorded in 1959, was the second album that June Christy cut with her husband, saxophonist/arranger Bob Cooper. It features a mix of upbeat and slow numbers, all showcasing Christy's voice perfectly. Of all the albums June Christy recorded during her glory days with Capitol, this has to be a favourite of mine.
   
   While June Christy never enjoyed the kind of super-stardom that marked the careers of jazz greats Ella Fitzgerald and Anita O'Day, she did have a niche following that seems to have grown and grown over the years. The reason is simple; for sheer vocal ability and finesse, there is still nobody to touch Christy.
   
   Here on 'Ballads for Night People', Christy delivers exactly what the title promises, and gets to perform a delicious selection of torch songs and romantic ditties. Highlights would most certainly include "I'm in Love" (with it's frenetic jazz chase mid-section); "Don't Get Around Much Anymore" is also beautifully-achieved. Kurt Weill's "My Ship" has a classically-based arrangement, with French horn and harp prominently scored. Christy was also one of a few jazz greats to lay down "Kissing Bug". "Shadow Woman" (previously covered by Julie London on her 1957 album About the Blues) is also fabulous.
   
   This disc also includes five pieces from her 1961 album, 'Do Re Mi', a less-successful attempt to do a set of Broadway musical numbers.
   
   Digitally-remastered in 24-bit stereo for the very first time, 'Ballads for Night People' preserves the magnificence of June Christy for another generation of fans.
   
   [Blue Note Records 7243 5 6044 2 7]



2. The June Christy album Ballads For Night People was issued in, I think, 1998 by EMI England as a 2on1 with The Intimate Miss Christy. I understand Do Re Me is to be issued in England later this year paired with The Cool School as another 2on1. Anyone reading Ben Glenn's review in which he gives the opinion that Do Re Me is probably not viable for reissue, or anyone purchasing the latest Christy release June's Got Rhythm, which has four tracks from The Cool School added, might like to know all this. It is a great pity the comparable record companies in both counries don't consolidate their reissues. When is one of them going to reissue the rare Christy album This Time Of Year? Having said that, we have been well served with CD versions of the classic June Christy LPs in recent years.



3. Thanks to jazz historian and reissue producer extraordinaire Michael Cuscuna, we now have one of June Christy's finest albums, BALLADS FOR NIGHT PEOPLE, once again in print.
   
   By 1959, Christy was comfortably ensconced at Capitol Records, with a string of superb, ambitious and solid-selling albums, most recorded with collaborator Pete Rugolo, under her belt. With success assured, perhaps by this time, then, she felt free to depart from the Christy-Rugolo mold, because 1959's BALLADS FOR NIGHT PEOPLE finds the singer in the hands of husband Bob Cooper, himself a virtuoso musician and former Kenton player.
   
   Clearly, the intimacy that Christy and Cooper shared in their personal lives carried over into this project: the song selection as well as Cooper's delicate arrangements are particularly lovely, even fragile at times, incorporating such elements as flute and harp, and all recorded over a tangible studio silence that is tranquil and deeply romantic. Cooper's arrangements such as those on "My Ship" and "Bewitched, Bothered and Bewildered" are a far cry from Rugolo's bold and often blaring charts which at times tip perilously close toward controlled cacophony.
   
   Production of this reissue is first-rate, with its 24-bit remastering and faithful reproduction of the original album artwork. Notable, too, is Cuscuna's inclusion of 5 Christy tracks from the album DO RE MI which likely would not be a commercially viable reissue on its own (the unfortunate truth).
   
   So pick up a copy of BALLADS FOR NIGHT PEOPLE. Then go home, dim the lights, pour yourself a drink and explore the sounds of nighttime with June Christy.

4 comments about Lifetime Intimate Portraits: Christmas Belles.

1. I had heard this wonderful, romantic tune "That's What I Want For Christmas" a while back and could only find it on this collection. The piece is so well crafted, and Nancy Wilson sings it with such heartfelt longing, it's just beautiful. This song speaks to what we all truly want in our lives, not just for Christmas (a hint: it's not sugar plums).
   I bought the disc solely for this one song, but I have to admit that the rest of the selections are great, too. Highlights for me are "Sleigh Ride", made fresh again for me by this distinctively 'Ella' rendition, Judy Garland's deliciously rich "Have Yourself A Merry Little Christmas" and the cute, campy "Jingle Bells Cha Cha Cha" by Pearl Bailey.
   Yes, this disc is definitely worth buying- a great find!



2. Wow, catch this one. Ella. Sarah. Eartha. Julie. Dinah. Pearl. Rosemary. Peggy. Nancy. Lena. June. Brenda. Judy. See? They're such famous female pop/jazz vocalists,you don't even need their last names to know you they are. Most of the Holiday tunes are perennial hits. But others are obscure treasures. For example, Julie London's "Warm December" and Sassy's "Snowbound" and Peggy Lee's "Christmas Carousel."

   By the way, I was really annoyed by the revue written by one Raymond Hughes, of New Castle upon Tyne, Great Britain-- a self-proclaimed professional music critic. Raymond didn't like Rosemary Clooney's rendition of "Christmas Time is Here," the sensitive Vince Guaraldi jazz composition from The Charlie Brown Xmas special.
   He said that Rosemary was over the hill when she made the recording, and that it was an embarrassment. Tsk, tsk, Raymond. Did the fact that Rosemary was singing in a lower register bother you? Her sensitivity to the lyrics was beautiful. Yet you didn't like the cut? I'll bet you were also perturbed when Frank Sinatra's voice matured and his voice dropped down to make him a great "saloon singer." Was he then over the hill too?

   As a matter of fact, I was in a gift store and heard Rosemary singing the tune. I bought the CD because of her rendition!
   Dear readers,"Christmas Belles", is a lovely Holiday CD.




3. This album oozes class. The voices of these consumate singers in their prime puts most modern renditions to shame. The highlights for me are the oft neglected 'That's what I want for Christmas', sung by Nancy Wilson, and the sultry Eartha Kitt's 'Santa Baby'. Eartha's earthy rendition make's Madonna sound 'like a virgin'. I have only one gripe...the embarassing 'Christmas time is here', sung by Rosemary Clooney. It was recorded in 1994 when Rosemary was way past her prime. But there are 13 pearls on this album and only one piece of grit.



4. Despite the somewhat cheesy "Lifetime Intimate Portraits" branding, this collection of Christmas songs sung by various female vocalists is outstanding. The pacing is wonderful, moving smoothly from more upbest to slower and back again, and some of the choices (e.g., Papa Noel, sung by Brenda Lee) are refreshingly unusual without causing "What the heck is THAT?" shock. My only gripe would be the choice of the ubiquitous "Santa Baby" done by Eartha Kitt - it seems to go on forever, and haven't we heard it enough yet? The liner notes are great, also. I keep this one in my desktop computer at work, and never grow tired of listening to it. Merry Christmas!

5 comments about Jesus Christ Superstar: A Resurrection (1994 Studio Cast).

1. As you can tell form the reviews already here, this is a spotty recording. There are parts that flat-out work brilliantly-Amy Ray's performance as Jesus is excellent. I love how she handles "Hosanna." Emily Saliers does a great job as Mary Magdalene, especially on "Everything's Alright."
   
   Other tracks will leave you scratching your head. Dave Clair's drunken take on "King Herod's Song" just sounds sloppy. If I have an overall complaint, it's the mix-very muddy, with the vocals sometimes lost in the mix completely.
   
   If you're looking for Broadway show-stopper stuff: run screaming in the other direction. If you like folk/acoustic rock, have an open mind, and welcome new interpretations, go for it. There are gems on these discs. Just like in real life though, ya gotta dig for 'em.
   
   Scott



2. There is no question that this rendition of JSC is for people who love folk/rock, and if you are expecting to get something different, you will be disappointed. This is a heartfelt and off-beat interpretation of the iconic Webber/Rice musical, and like any great indie album, it ranges from a little strange to pure genius. Overhwhelmingly beautiful are Kelly Hogan's turn as Simon Zealots, and the inspired funk revamp of the title song by Social Insanity. This album does not play like a rock opera or like a musical, it plays as a great underground album-- subtle, sincere, rough around the edges, and deeply inspired.



3. It's somewhat worth it if only for the interesting new arrangments, adding a fresh twist on how the music is played, I especially liked the pounding drums on many of the tracks and the retooling of the overture, but the performances really sink it. I doubt most Indigo Fans would really enjoy this. While an okay singer, Amy ray makes an unconvincing even laughable Jesus, and the rest of the cast is just as blah. Hard Core Indigo Fans might dig this. As for the JCS fanatics, well, let's just be glad those poundig drums I mentioned drown out most of the vocals.



4. Well, I am realltyglad I got to hear these samples. I am an Andrew Lloyd Webber fan since my early teens. I am just grateful that this was not the first version I heard of Jesus Christ Superstar. The musicians sound like kids who just got their first guitar for Christmas. The singers could use a few voice lessons... Why do we all think that older musicals need renewal? Yes, there is room for improvement on some of the songs but when here we have singers who think they can make it better when actually they give it a worse treatment, they are wasting our time. Listen to the latest verion on DVD or VHS and you can see and hear what real music should sound like. Once again, I am glad that I did not buy this recording. I am a collector of all of Webber's music and have never heard anything so poor. Even his first low-budget recordings were of better quality and integrety than this joke.



5. This truly sounds like a bunch of buds who love Jesus Christ Superstar got together and recorded their own version, with some 90's updates (including a rap of the title song, which is the worst part). The Indigo girls sound great, professional, as polished as they ever pull off, but the rest of the cast is pretty amateurish. I appreciate the enthusiasm, and it does make a nice change, but can't beat one of the cast recordings.

5 comments about Golden Boy (1964 Original Broadway Cast).

1. Not only was the CD in pristine condition, it was like a time machine back to 1964, when Broadway had a certain sound to it that was exactly what Sammy Davis Jr. could deliver. The ideas presented about race and how it hurts and hinders you are as topical today (alas!) as they were then. And, if you can get through the Broadway production, the numbers are beautifully written, really saying something! A treat!



2. This is a terrific musical. One of Charles Stouse's best scores, if not THE best ( far more interesting than "Annie", for which he is more famous). Sammy Davis Jr. sounds better than I ever heard him. I guess I'd forgotten how good he was. A "must" for any fan of American musical theatre.



3. I SAW THIS PLAY ON BROADWAY AND HAD THE LP FOR YEARS... I WAS GLAD TO SEE THAT IT WAS IN CD FORM. NOW I CAN ENJOY THE MUSIC AGAIN ALONG WITH THE WONDERFUL VOICE OF SAMMY DAVIS JR.



4. NOTE: The following review, with a couple of small edits, was posted on July 12, 2004, before DRG reissued this recording.
   
   Having noticed that GOLDEN BOY had been discontinued and that a hole existed in my collection between GOLDEN APPLE and GOLDEN RAINBOW, I ordered a used copy to fill the gap. Based on prior reviews, I was prepared for a so-so Strouse & Adams score, so I was pleasantly surprised when I finally heard it. Frankly, I think that GOLDEN BOY is one of the strongest scores by the prolific team responsible for BYE, BYE BIRDIE; ALL AMERICAN; IT'S A BIRD. . . IT'S A PLANE. . . IT'S SUPERMAN!; APPLAUSE; ANNIE.
   
   Originally released on a Capitol LP, this 1999 remaster on Razor & Tie (a division of EMI) definitely deserves to remain in the catalogue. Documenting the talents of Sammy Davis, Jr. and the great Billy Daniels, the score is considerably better that those for APPLAUSE and IT'S A BIRD. . . IT'S A PLANE. . . IT'S SUPERMAN!, both still in circulation. The subtle references to poverty and race in "Night Song" and not-too-subtle ones in "Colorful" and "Don't Forget 127th St." are lyricist Lee Adams in his prime. Charles Strouse's melodies are also fine.
   
   Although 1962's NO STRINGS featured inter-racial leads, GOLDEN BOY was the first Broadway musical to make a real issue of race differences. And as liberal-minded as many of us claim to be, I'd venture there were many theatre goers shocked to see a black man (Davis) romance a white woman (Paula Wayne) on stage. With the proper cast and a little updating, GOLDEN BOY could probably do well on Broadway today. The themes and issues are still relevant, although the male lead probably would have to become a basketball player or hip-hop artist.
   
   GOLDEN BOY is not a great show, but it has a lot to recommend it. Let's hope that DRG or Fynsworth Alley decides to resurrect it. I'd advise anyone interested in the history of Broadway musicals to snap up the remaining copies ASAP. (see note)
   
   P.S. A minor correction to Amazon's editorial review: Bill Holdship states that Sammy Davis, Jr. made his Broadway debut in GOLDEN BOY. Not so. It was MR. WONDERFUL in 1957.
   
   NOTE (1/12/06) ---- DRG's reissue is due on February 7. Get it!



5. The score for Golden Boy written by Charles Strouse and Lee Adams is neglected. It's quite sad that it is because the entire piece is so brilliant. Strouse's music is filled with urban jazz flavored pieces that are wonderful. Adams' lyrics are sharp, sardonic and sometimes even touching.
   Sammy Davis Jr. gives a performance that deserved to be be legendary. The rest of the cast is top notch as well. Billy Daniels shines in my favorite song, "While the City Sleeps."
   It was the year of Fiddler on the Roof, everyone was thrilled and exited with Fiddler. Although Fiddler on the Roof is excellent and a classic, Golden Boy is my kind of show and in my opinion...better.

No comments about The Anthology 1968-1974: Man of Words.