5 comments about The Ethel Merman Collection.

1. This is a very nice CD until you put it into a CD player and hear what's on it.



2. Our family is not hardcore into vocal or Broadway artists, but after seeing Ethel Mermam (EM) on an old Muppets episode really sparked our interest. So we purchased this collection as a starting point, and we are glad we did. My two year old daughter loves this collection and will not listen to anything else for about two months now. The version of "I Got Rhythm" is well worth the price of addmission. Buy and enjoy!



3. On 13 October 1930 a former stenographer walked onto the stage, sang "I Got Rythm," and in the process held a single note for an incredible thirty-two bars. Her personality was larger than life; her voice was powerful enough to blow open a barn door at sixty paces; and in the era before sound systems you could hear every single word in the balcony back row. A star was born, and her name was Ethel Merman. She would hold Broadway in thrall for two decades.
   
   In those two decades Merman would appear in a host of celebrated musicals, a handful of films, and introduce more great standards than you can count. There is no way a "best of" compilation can do her justice--but THE ETHEL MERMAN COLLECTION comes as close as any single disk collection can. Most of the great ones are here, along with several of her lesser-known but no less greatly performed titles.
   
   Many of the songs are obvious. It would be impossible to have an Ethel Merman collection without including "You're the Top," "I Get A Kick Out of You," "Doin' What Comes Naturally," "Hostess With the Mostes" and "Everything's Coming Up Roses"--to name but a few, all of them great standards of the Broadway stage and all of them sung to perfection. Fortunately, the collection also includes a few you may not have previously encountered, such as "Eadie Was A Lady," "Make It Another Old Fashioned, Please," and two brassy duets with Ray Bolger, "Dearie" and "If I Knew You Were Coming I'd've Bake A Cake." But whether the song is a roundhouse punch or a simple throw away, Merman never gave less than one hundred percent--and she's very much there in every single note.
   
   A few of the songs here could stand a remaster, and I was unhappy with the version of "There's No Business Like Show Business" that is offered here. But short of a box set or a wholesale purchase of all the available Broadway soundtracks, this is probably as good as it gets--and when you're talking about the legendary Ethel Merman, that is very, very good indeed.
   
   GFT, Amazon Reviewer
   With special thanks to Michael Wilk, who loaned me his CD



4. If there is one Ethel Merman CD you want to have I can't imagine you finding a better one. This has to be the ultimate. The songs you identify with Ethel Merman will be found here. The CD may appear to have a high price tag, but it is worth every penny. If you enjoy her voice she is the one you want to have sing these timeless songs. You will not be going out on a limb in buying this, nor will you be disappointed.



5. Ethel possessed an extremely powerful voice, well suited to up-tempo songs for which she is best remembered, yet also capable of singing tender ballads.

   Ethel introduced many songs to the public that have since become standards, including the song that became her trademark - There's no business like show business. Among the other standards on this collection are I got rhythm, Life is just a bowl of cherries, I get a kick out of you, Its de-lovely, Doing what comes naturally, I got the sun in the morning and Anything you can do.

   I particularly like If I knew you were coming I'd have baked a cake, a song I hadn't heard before I bought this collection. Eileen Barton topped the American chart in 1950, while Ethel's duet with Ray Bolger (the version here) peaked at a more modest 15.

   This is a fine collection of Ethel's music, but my guess is that some of you may find this powerful soprano voice just too shrill. Ethel has the kind of voice you love or hate. I love it.

No comments about Tony Bennett with Count Basie.

No comments about Snowfall: The Tony Bennett Christmas Album.

5 comments about Porgy & Bess (Highlights).

1. When I got the product the third disk titles were all in an asian looking language. I couldn't read a thing it said. Vendor took the item back, and gave me a refund, I was well satisfied with that...but wished he had had the one with all english, it looked like a good album.



2. I purchased this in preparation for seeing the opera in Los Angeles in 2007. This version of Porgy & Bess lived up to its billing. It is a beautiful rendering of the opera. What I most appreciated about this version was the well told history of the opera, as well as the inclusion of the libretto.



3. I agree with the positive comments made here about this production and this recording. This is the best recording of the full score that I know. Haven't heard the Simon Rattle recording but did not need to, since I already had this one which is practically perfect in every way.
   
   I have owned at least four recordings of this work, starting with the movie soundtrack, then the 1951 revival because I wanted the hear the `complete' score, and then when it was finally recorded complete in stereo for the first time, I bought the Maazel recording (which contrary to a comment made here was done in the 70's not 1969--I think it was 1976). Maazel's tempos are heavy and ponderous and lacking all humor. Elsewhere it's said, he was not the greatest Gershwin conductor. Too true.
   
   Was lucky enough to have seen this production in NYC with the top cast recorded here (the leads alternated as it was too tough to sing either Porgy or Bess 8 nights a week). It was beautifully done, musically and theatrically. DeMain gets nearly all the tempos just right and that is an important thing for Gershwin. The cast act convincingly and sing beautifully.
   
   I understand that Porgy and Bess is one of record producer Thos. Z. Shepherd's favorite operas and the care he put into this recording shows it. It is a live with appropriate sound effects that reproduce the action of the stage version.
   
   Overall lovely recorded sound, with a wide dynamic range (pre-digital, you can hear a very few tape dropouts that I wish they fixed, but who cares). And it works on record theatrically, because it worked on the stage! According to a musician friend of mine, who did the percussion here, RCA took a while to decide on committing to this recording, despite the rave reviews the production got, but who can blame them since Maazel's recording had just come out a year or so earlier. Lucky they did. So far this production has never been duplicated for getting all the elements, most especially the Gershwin sound, which more often than not is the antithesis of lingering sentimentality, just right.



4. After several years of frustration, my search is over. This is overall the most satisfying complete recording of this opera.
   The first complete set I heard was Maazel's, and while it has much to recommend it, it never truly ignites the way every good opera should. I then purchased the Rattle set, and found it very beautiful, but even less dramatically coherent than Maazel's. It even caused me to wonder, Lawd forgive me, if Gershwin's sense of dramatic timing wasn't inherently flawed.
   How wrong I was. In this set, conductor John DeMain vindicates the work's claim to be a great opera, but never loses sight of the incontrovertible fact that it it is an opera conceived in Tin Pan Alley, and raised on Broadway. Best of all is his expert pacing. DeMain unfailingly seizes the dramatic point of a scene, giving the work a sure structure. Poor Rattle on the other hand seems to be so in love with the music - and who can blame him? - lingering over a phrase here, wallowing in an orchestral and choral wash there, that the music slowly succumbs to Wagnerian torpor.
   Rattle may have a higher quotient of gorgeous voices and a more polished orchestra, but DeMain's performance makes me feel I'm in the theatre watching what must have been a thrilling performance. Bravo!



5. Composer Stephen Sondheim has frequently cited PORGY AND BESS as his favourite calling it "a gift from above." And indeed it is.
   
   And you could not ask for a better recording than this lavish set from the 1976 Houston Grand Opera, lovingly translated to discs by Thomas Sheppard with the same care and dedication he brings to his original Broadway cast recordings.
   
   This album puts you centre stage with extensive use of sound effects and creative use of the stereo spread. The cast is perfection, honed by having performed the show live several times before going into the RCA studios. It's packed with a full libretto and synopsis.
   
   The other "complete" recordings don't measure up. London's is correct but uninspired. EMI's set is well sung but lacks theatricality. All of the elements are in perfect balance on this set.
   
   The old Columbia 1951 album was complete in its day but musicologists have since restored much of the material cut before the Broadway premiere.
   
   Among the highlights discs are the Decca set featuring some of the cast members from both the 1935 and 1942 Broadway productions. A 1950s CD featuring Leontyne Price and William Warfield offers the key arias in a well sung collection. Readers Digest offers excerpts in their Gershwin CD set featuring a woefully bad Porgy, Valentine Pringle.
   
   There are also a variety of Jazz interpretations. A strange 1956 Bethlehem Jazz album with Mel Torme and Frances Faye on Rhino, a highly prized album with Lena Horne and Harry Belafonte, and albums by Sammy Davis Jr and Caremen MacRae, Ella Fitzgerald, and Miles Davis.
   
   Sammy Davis also appeared in the 1959 Samual Goldwyn film version with Sidney Poitier and Dorthy Dandridge. The film was withdrawn from circulation by the Gershwin estate in 1974 and has rarely been seen since. The Columbia Records "soundtrack" album was briefly available from SONY on CD but it too has been withdrawn. (Strangely, contract problems prevented Sammy Davis Jr from appearing on that album and his songs were redone for the record by Cab Calloway!) It is still the preferred version of "highlights" from the score for many listeners who enjoy the well-sung program and lush orchestrations.

2 comments about the rat pack -10 cd-set.

1. If you own other stuff,by the Boys,this is a History lesson,and will complete your collection nicely.Sammy's set start's slow,but really swings,and you see early the great performer he is.
   Frank and Dino's,well its The Rat Pack Baby..I am enjoying it.



2. Yeah, sure pallie, this 10 CD import box set has about 175 songs on it. And, yeah, it's the Rat Pack, or at least it's The Leader, Drunky and Smokey Baby (that's Mr. Frank Sinatra, Mr. Dean Martin and Mr. Sammy Davis Jr. to you) singing.
   
   Sounds great, right? Well, it's not quite jake---
   
   For one thing, The Boys are each singing solo on nine out of the ten CDs. Only one disc has duets and triplets and is actually labelled "The Rat Pack." Even that one has mixed solos on it.
   
   For another thing, these discs are career compilations containing everything and anything from Frank's Bobby Soxer days to Sammy's throwaway studio tracks of vocal impressions, to Dean's rough cuts and first takes of various and sundry. The glory days of The Summit it is not.
   
   Still, it's not so bad, except that the recordings aren't remastered, leaving the volume variable from track to track and the sound often muddy or muffled. Basically, this is a dusty-attic collection of every Frank Sinatra, Dino and Sammy song you never heard in your life. None of the classic classics are here, and there's none of that priceless Rat Pack schmooze that makes LIVE AT THE SANDS or LIVE AND SWINGIN' so irreplaceable. Give them a listen for the "live" experience.
   
   It's low budget (at $17.99 it works out to a buck twelve bits and some per disc), and if you're a Rat Pack fan it's well worth having just for the odds and ends (at that price you can't go wrong if you're adding to your music library), but if you're just getting into the Rat Pack, don't be a Clyde. There are much better Rat Pack albums out there to spend your dough on---Try EEE-OH-ELEVEN or BOYS' NIGHT OUT for the "in-studio experience".

5 comments about Jesus Christ Superstar: The 20th Anniversary London Cast Recording.

1. didn't realize that the movie soundtrack differed from the Live production version. This isn't bad, but I prefer the singers in the movie version.



2. I heard this version before I ever saw any of the actual shows. I have since seen the musical twice, both times not as good as this version, though there is something to say for seeing the singers in the flesh. In particular the casting of Judas seems to be quite difficult. It is an extremely challenging part, and in the two shows I have seen, Judas tends to scream and croak throughout the high parts. However this Judas is more than capable of hitting all the notes. The bottom line is every time you see this show it will be different, but I personally find this cast to give phenomenal performances on every song.



3. It really goes to show how performances can make or break a recording. If you're going to have someone carry a musical please make sure he can sing. This Jesus cannot sing. As a whole I actually prefer rock singers to musical theatre singers (especially for this particular show) and even as a rock singer his technique is crap. This is really just my opinion, others may think he's great. But his performance alone made this CD a turn off for me. The Judas is just kind of so-so and the orchestrations are pretty basic.



4. As you all already know, there's been many copies of this Rice and Webbers' muscial, but there hasn't been a cd that contains a more modern stlye of JSC like this one!!
   It has everything one wants in a JSC cd, singers that can really sing,musicians that can really play! When I first bought it,I was excited and happy because I finally bought a good and up to date JSC cd.
   If you want a more up to style JSC cd, BUY THIS ONE!!!!
   
   (Warning: the only thing that made me give this cd 4 stars other than 5 was the sometimes good vocals of Paul Nicholas. I felt that Webber should have recast Paul, he ruined a few good lines in the rock-opera)
   Other than that, BUY IT!!!
   Its like listening to a LIVE production of JSC performed right at your home!



5. WORST JESUS CHRIST SUPERSTAR CD EVER! THIS IS WORST THAN THE CONCEPT RECORDING! THERE IS NOTHING GOOD ABOUT THIS CD! NOTHING! JESUS CHRIST SUPERSTAR FANS, DON'T BE FOOLED BY THE REALLY COOL TITLE OF THIS CD! IT IS AWFUL! OK, IT HAS ALL THE SONGS, BUT, COME ON!

5 comments about The Maury Yeston Songbook.

1. I've been listening to this CD for six months now. The songs, orchestrations, and singers are all wonderful. I love this CD.



2. Like others, I bought this CD primarily for Sutton Foster's rendition of "I Want to Go to Hollywood." And while that's wonderful, the real surprises here are the songs from Yeston's song cycle "December Songs." Christine Ebersole and Christine Andreas give absolutely lovely, technically proficient, completely heartfelt renditions of "My Grandmother's Love Letters" and "By the River", respectively. I'd heard Andrea Marcovicci's recording of "December Songs" and was seriously underwhelmed. These two tracks just prove that Yeston might have over-estimated Marcovicci's range and technical ability. "By the River" is a revelation in the right hands, and Ms. Andreas's rendition is just four minutes of wonderful. I also want to mention Howard McGillin's "No Moon". This little song from "Titanic" is just so moving. Pulled out of context, it becomes a little jewel of metaphor.
   
   The CD as a whole is beautifully recorded, with an intimacy and clarity that makes you feel like you're in the first row of a very small theatre. If you come across this and you're on the fence, take a chance. I bet that you'll be as pleasantly surprised and deeply moved as I've been.



3. How could one put together a Maury Yeston Songbook cd without a track from Andrea Marcovicci? He wrote a song cycle for her. Granted there are some great singers here but a grave oversight to not include Ms Marcovicci.



4. Maury Yeston may be musical theatre's unsung genius to the public at large, but I've heard his praises sung many times. A friend convinced me to buy the original Broadway cast of "Nine", and while there were some fantastic songs and an undeniable melodic gift throughout, it left me lukewarm. The same with "Grand Hotel". And I couldn't stand "Titanic" - too big, too self-important, too reliant on booming low brass and bombastic orchestral swells.
   
   "Phantom" was the only one of his scores that touched something other than distanced admiration in me. It was everything Sir Lloyd Webber's popera travesty could never quite aspire to - epic yet human, beautiful and touching, with songs that showed actual details and emotions. So it was with that in mind that I purchased this, figuring that maybe Maury could prove me wrong, shorn from the restrictions of a book musical format.
   
   And by God, did he prove me right and then some.
   
   Maybe it's the singers. Maybe it's the perfect orchestrations. Maybe it's just the absence of a plot to follow. More than likely, it's all three, but this is one of the most gorgeous, enjoyable, heartbreaking albums I've ever purchased. Yeston has assembled an impressive cast to give voice to his music - such heavy Broadway hitters as Alice Ripley, Brent Barrett, Betty Buckley, Christine Ebersole and Howard McGillin mix with up-and-comers like Eden Espinosa, Sutton Foster, and Brian d'Arcy James. But the most impressive turns are given by people I'd never heard of before - Johnny Rodgers (who?) has a voice spun from gold, and he's absolutely perfect in "Danglin'", a simple and powerful song despite some odd lyric choices by Yeston. Likewise Philip Chaffin in "My True Love" and "I Am Longing", and Michael Holland displays a warm and untrained performance of "Another Day in the Modern World". These three men, who I'd never heard of before, absolutely stole the show. It doesn't hurt that they're given some of the best songs from the album.
   
   Of course, the rest of the ensemble uniformly turns in worthwhile performances. The professionalism of Broadway is gloriously evident here, each singer making their song uniquely theirs. Brent Barrett made me hear "Only With You" as if for the first time. Betty Buckley is surprisingly vulnerable in "I Had A Dream About You". Alice Ripley is her usual bundle of raw emotion in "Please Let's Not Even Say Hello", and turns in a rare comic performance in "Call From The Vatican" to great effect (listen to that surprise high note near the end! Wow, Alice!). Christine Ebersole is heartbroken, elated, vulnerable, and tough all in the course of "Grandmother's Love Letters"' 4 minutes.
   
   There are some weak spots - Eden Espinosa is mostly one-note during her song, and while it's certainly a high note, it's nothing you haven't heard her do better elsewhere. Laura Benanti's "Now and Then" goes by without much notice, which is a shame for this talented actress. And Betty Buckley goes back to her usual high-volume stridence in "Be On Your Own", which despite its chilling music deserves a more nuanced performance than Buckley gives here. But these songs would be standouts on any other album, and it's only the company they keep that prevent them from being excellent.
   
   Oh, and "Unusual Way", possibly Yeston's best-known song, is so beautifully performed here by Brian d'Arcy James and a three-piece band that I nearly cried hearing it. And that's quite a feat for a song that I swore never to listen to again after the seventeenth girl in a day auditioned with it (badly). But the gender swap works perfectly, and d'Arcy James' golden Irish tenor swings through the music effortlessly.
   
   As for the band - there are no missteps here. Each song is given exactly what it needs, from the Romantic-with-a-capital-R string section on "Home", to the jazzy saxophone on "Letter From the Vatican", to "Be On Your Own", which is given a Herrmann-esque string section. Some particular touches stand out - that lovely acoustic guitar on "Danglin'", the simple piano line on "Modern World", and the sublime cello/piano outro in "Unusual Way" really stuck with me after the album stopped playing. And the recording is without fault - crisp, encompassing, personable and expansive as the mood requires. The whole album sounds fantastic.
   
   There is such a wide range of style and substance here that each song would deserve purchasing individually. As a collection? It's bliss. If you're a fan of theater music, appreciate great vocals, or just need something to keep you company on long nights, this is required purchase.



5. I think Yeston must be the most underrated talent in music theatre. And not just music theatre ... for as far as I know, "Danglin'" is not from a show - a jewel of a song ... and a disarmingly honest rendition from Johnny Rogers (what a beautiful voice! Why hasn't he made more CD's?) Some other favourites are "New Words" (not enough parent-child love songs out there ... and I can't imagine it could be sung any better than this), "You're there too" (with a charming and unexpected twist), "Simple" (Callaway is superb), "Only With You" (loveable rogue!) ... to name but a few. Inspired music theatre writing. A must for any musical buff, composer or singer seeking repertoire that will help them stand out from the crowd.

4 comments about Merry Andrew.

1. I've been looking for this movie on VHS or DVD for years, and it's not available, but having the cd makes it possible to hear the songs again, at least. It was a very good movie.



2. It took a lot of research to find out what film "Everything is Tickettyboo" came from -- "Merry Andrew" -- and I defy anyone not to be cheered by this song. It never fails to make me smile! I looked for it for years, and bought the CD on the strength of that song alone; however, the rest of the songs on the CD are pretty good too, as you might expect from Danny Kaye. I would really like to see the film. Any hope of a DVD?



3. Love this CD and film. Also, if you like the music from the Larry Harmon BOZO cartoons...the Capital BOZO music is here!



4. THE CD IS JUST GREAT!! I WISH THE MOVIE WAS OUT. BUT BUYING CD WILL ADD GREAT
   MOVIE SOUNDS. JOSEPH NAJARIAN

2 comments about Judy Garland - All-Time Greatest Hits.

1. At $7.98 this is a real steal.I received a note with the cd that it is not up to amazon standards,so, I investigated and played it,the only thing I could see was wrong was that the plastic case it came in was cracked, it had no effect on the cd or the music.Surprising, I thought,that this was a Curb release, I was suspicious at first because I've had trouble with Curb releases before. There are only 12 songs on this cd,but all are enjoyable and completely playworthy.



2. This is a memorable album, each track will warm your heart and soul and fill them with warm memories of one of the greatest voices of all time.

4 comments about Duets.

1. Judy Garland will remain one of the world's greatest entertainers--ever. Judy had an intuitive and impeccable sense of timing; and she could sing, dance and act unlike any other performer. Judy could also use her talent to reach out to her adoring audiences and lead them wherever she wanted them to go. This great CD gives us a fantastic collection of duets recorded from Judy Garland's critically acclaimed weekly television show on CBS during the 1963-1964 season.
   
   The CD starts with Judy doing a flawless duet of "Yes, Indeed" with Tony Bennett and Dick Shawn. The backup chorus harmonizes to perfection and the musical arrangement works wonders for this number. Judy and Lena Horne also perform wonderfully with great chemistry as they banter and sing through a medley of songs including "Honeysuckle Rose;" "Meet Me In Saint Louis;" "Zing! Went The Strings Of My Heart" and "The Trolley Song." WOW! The musical arrangement relies on the horns and the percussion to bolster the melody; and this works well, too. I think you will agree that the duet between Judy and Lena is a highlight of this album.
   
   Judy and Vic also perform a very special medley of songs from the famous "Porgy And Bess;" both Vic and Judy are in excellent form and their excellent diction enhances the beauty of this medley. In addition, Judy and her daughter Liza Minnelli do a sublime medley of "Let Me Entertain You" and "Two Lost Souls" and the musical interlude seems to indicate that mother and daughter were also acting their very best on stage.
   
   The next duet comes from Judy's Christmas episode; she sings "Consider Yourself" with her three children Liza Minnelli, Lorna Luft and Joe Luft. The result charms me with their natural chemistry which weaves pure magic for this relentlessly happy number. There's one contrived moment when Liza pretends not to realize that they're on television; but this works well anyway and "Consider Yourself" shines like gold!
   
   Judy also does a fine duet with her old pal Mickey Rooney on this CD; together they sing "You're So Right For Me." Again, their natural chemistry enables them to shine brighter than ever before for this duet. As I listen to "You're So Right For Me" I can literally see them smiling at each other with delight as they deliver this duet flawlessly.
   
   Unfortunately, all good things must come to an end; and the last track on this CD gives us a highly memorable duet Judy performed with Barbra Streisand. This duet ranks very high on the list of attractions because the two ladies rarely worked together. Both Judy and Barbra sing without a superfluous note! The audience loves it, too. SMILE
   
   The liner notes give you an essay about Judy; and there are wonderful black and white photos of Judy. You also get the song credits and recording dates. The cover artwork gives us a beautiful picture of Judy sitting on a chair during one of the episodes of her weekly television series. Awesome!
   
   Nobody could ever touch Judy Garland when she was at the top of her game--as she is consistently throughout this CD. Judy possessed a talent that still shines brightly today; sales of her CDs and DVDs remain quite strong as I write this. Judy Garland will never be forgotten; and I doubt we'll ever see another one quite like her.
   
   I highly recommend this CD for Judy's fans and people who enjoy classic pop vocals.
   
   Enjoy!



2. Here's proof that what sounds like a great idea on paper can flop when transferred to compact disc. The tunes on these recordings have been culled from Liza's mom's '60s small-screen variety series, but the less-than-stellar sound quality hurts, making them more grating than gracious. The rambling bits of dialogue feel hollow and disconnected when heard out of context; those wanting to hear Judy sing these songs should watch her as well. Geneon Entertainment will take die-hard devotees over the rainbow --- they have released Judy's entire ill-fated series on DVD, proving you can go home again. And again. And again.



3. All these duets are from Judy Garland's CBS television show of the 1963 - 1964 season. While I like some of the duets better than others, Judy is consistently excellent throughout. She's especially electrifying in her duet with a very young Barbra Streisand and when signing with Mel Torme accompanied by Count Basie's orchestra. Her rendition of Irving Berlin's "I've Got My Love to Keep Me Warm" shakes the rafters as does the show stopping "April in Paris" at the end of that set. For humor, her duet of 1940 hits with an outrageous Martha Raye still sparkles with wit.



4. From her television show during 1963-64 on the CBS-TV network...here you will witness and enjoy the command Garland had over her audience with new and old material, all with that fresh interpretation...let's look at the genres Judy covers from Hollywood, Broadway, Patriotic and Folk tunes no holds barred and she takes on each one with her familiar gusto.
   An historic release from Savoy Jazz "JUDY GARLAND AND FRIENDS:DUETS ", featuring 9 tracks from the legendary Judy Garland with duets and medleys from the great singers of that time.
   
   This previously unreleased album with songs and all the guests and dates inclusive:
   
   1. "YES INDEED" (Tony Bennett & Dick Shawn) (12/15/63)
   2. "JUDY SINGS LENA SINGS JUDY" (Lena Horne) (10/13/63)
   Medley:
   HONEYSUCKLE ROSE
   MEET ME IN ST. LOUIS
   DEED I DO
   ZING! WENT THE STRINGS OF MY HEART
   IT'S ALRIGHT WITH ME
   THE TROLLEY SONG
   LOVE
   3. "PORGY & BESS" (Vic Damone) (11/03/63)
   Medley:
   WHERE'S MY BESS?
   SUMMERTIME
   IT AIN'T NECESSARILY SO
   I GOT PLENTY O' NUTTIN'
   THERE'S A BOAT DAT'S LEAVIN' SOON FOR NEW YORK
   BESS, YOU IS MY WOMAN NOW
   4. "LET ME ENTERTAIN YOU" & "TWO LOST SOULS" (Liza Minnelli) (11/17/63)
   5. "CONSIDER YOURSELF" (Lorna Luft, Joe Luft & Liza Minnelli) (12/22/63)
   6. "YOU'RE SO RIGHT FOR ME" (Mickey Rooney) (12/08/63)
   7. "GLENN MILLER: (Martha Raye) (1/26/64)
   Medley:
   I'VE HEARD THAT SONG BEFORE
   MOONLIGHT COCKTAIL
   PENNSYLVANIA 6-5000
   ELMER'S TUNE
   AT LAST
   ST. LOUIS BLUES
   8. "I'VE GOT MY LOVE TO KEEP ME WARM" & "DON'T DREAM OF ANYBODY BUT ME" & "APRIL IN PARIS" (Mel Torme & Count Basie Orchestra) (11/10/63)
   9. "HOORAY FOR LOVE" (Barbra Streisand) (10/06/63)
   Medley:
   HOORAY FOR LOVE
   AFTER YOU'VE GONE
   BY MYSELF
   'S WONDERFUL
   HOW ABOUT YOU?
   LOVER, COME BACK TO ME
   YOU AND THE NIGHT AND THE MUSIC
   IT ALL DEPENDS ON YOU
   
   Each track is accompanied by gifted session musicians with rhythm sections, choruses, instrumental solos and full orchestra featuring her favorite arranger, orchestrator and conductor Mort Lindsey the best in the business...as Mr. John Fricke states in the liner notes "Garland walked out of CBS bigger than when she came in...she mastered the uneasy relationship between star and camera...knew when to play to it and when to play to the studio audience...tackled new kinds of songs with moods and emotions difficult to sustain and brought them off sucessfully"...also several never-before-published photographs in the album booklet.
   
   Hats off to John Fricke (compiled & annotated by), Joshua Sherman (executive producer), Dan Marx (production coordinator), Paul Reid III (reissue engineering & compact disc mastering), Steve Sanders & Fricke (photos) and of course Savoy Jazz for this memorial tribute release for Judy who would have been celebrating her 83rd Birthday Anniversary...born: Frances Ethel Gumm from Grand Rapids, Minnesota on June 10,1922...and through recordings like this we never really lost Judy on June 22,1969...she remains in our hearts through her songs...just the way it should be!
   
   Total Time: 44:00 on 9 Tracks ~ Savoy Jazz 17575 ~ (8/09/2005)