No comments about Very Best of Judy Garland: The Capitol Recordings 1955-1965.

2 comments about Sammy's Back on Broadway.

1. I had a similar experience, having first heard "A Wonderful Day Like Today" on my car radio on WNEW soon after its release in 1965. I was in my late teens at the time, and that song, along with similar themed contributions from Peggy, Lena, Frank, Tony, Dino, and others began what for me would be a long love affair with both WNEW and the music of Sammy Davis, Jr.. Pity that today Sammy is remembered primarily for "The Candy Man" and his association with the Rat Pack -- there was so much more to him than that. Sammy could not only sing with the best of them, he was also a consummate dancer and a truly talented impressionist, right up there with Gorshin and Little. He could have made a successful career of any one of those endeavors. When I first heard that this album had been reissued on CD, I couldn't wait to get my hands on it. Since then, I have given several copies to my friends. For me, Sammy Davis, Jr. was the most talented entertainer who ever lived.



2. Years ago, I was driving down Seventh Ave in Lower Manhattan heading toward the Holland Tunnel for the trip back to Jersey. WNEW played "Look at that Face" from this set, and I immediately detoured to a used record store (the album was out of print then) to pick up a copy of this recording. I was that impressed! I recognized the work of arranger Claus Ogerman ('Sinatra & Jobim' etc) and Sam's in excellent form as you would expect. In the original liner notes, it stated that when composer Richard Rodgers heard the arrangements of two of his tunes from his 1965 Musical "Do I Hear a Waltz" - 'Take the Moment' and the title tune - he sent a wire to Sammy and expressed his utter joy with these recordings. How true, and that's quite a compliment coming from the not-so-easy-to-please Rodgers. On that note, for an equally excellent comparison and a definitive example of musical cadence, I suggest you also check out Tony Bennett's 'Take the Moment' recorded only a few months earlier in 1965 on his "Songs For The Jet Set" album. Dick Rodgers owed them both a thank you note for their marvelous interpretations of this tune.

5 comments about I Dreamed a Dream.

1. This CD features many songs from the Andrew Lloyd Webber's plays and
   Michael Ball does a good job singing them, in addition to other less
   popular songs.



2. This import has become a favorite of mine. Michael's redition of "Anthem" with the men's chorus supporting him is absolutely spectacular. Michael has taken several songs that were written for a female in the original musical and made them his. He demonstrates great power in his upper register and brings it back down to a piano falsetto, all the while sounding effortless. If you like Michael Ball's voice quality (he does use a lot of color), this CD is a MUST HAVE!



3. After being introduced to Michael Ball on the 10 Anniversary of Les Miz, I found that he was a very popluar singer in the UK. I think that Michael Crawford sings some of the songs better than Michael Ball, but you have room for both and Ron Raines, too.This is a great CD by a wonderful singer, especially if you like Broadway. It is an interesting collection in which he sings songs from shows that he was in and songs from shows that he was not in. He even sings some songs that are usually sung by a woman. The only thing I would like better if he sang more songs and the CD notes told a little more about each song. I find listening to music like this very soothing even though it is exciting. I hope you like it, too.



4. This is THE C.D. to own if you are any kind of musical theatre, Les Miz, or Michael Ball fan. Made after Michael's huge sucess in "Les Miserables" it started Michael on the path to Broadway and West End superstardom.
   
   With some of Michael's favorite Broadway songs this C.D. is worth owning in your music collection and a good listen in the car after a long work day.
   
   The songs are sung uplifting and powerful. After hearing Michael's version of some of these songs I can't help but, be able to relate them back to my own life... "You'll Never Walk Alone" and "Dreamed A Dream" stand out.
   
   If you don't know who Michael is- shame on you... possibly one of the best singers ever to come to Broadway or the West End. Michael has been enchanting auidiences and selling to sold out crowds across the world. With a massive following-it is easy to see why he is such a beloved singer. His voice is pure talent- with a mixture of Frank Sinatra meets Josh Groban... making it mingle somewhere in between.
   
   This is beautiful, powerful, and Michael Ball at his true best on this C.D. and songs you'll actually want to listen too if your a Michael Ball fan, or a Broadway fan. Don't delay hit that Buy Now Button- this C.D. will not disappoint.



5. Michael Ball definately has one of the creamiest tenor voices in Musical Theater today, and this culmination from a couple of his CDs is definately a bargain. Besides a "live" version of his "Love Changes Everything", this is a great cross-section of showtunes past & present. What's wonderful about Michael is that he's fearless as a singer, and NOT afraid to sing songs usually credited to females: "I Dreamed A Dream", "Don't Rain On My Parade", "Tell Me On A Sunday", and my personal favorite from this CD- the haunting ballad "Tell Me It's Not True" from Willy Russell's BLOOD BROTHERS. With 18 fabulous shows represented here, any lover of Musicals should welcome this collection.

2 comments about Jerome Kern Treasury.

1. Of the four greatest American songwriters--Gershwin, Kern, Porter, and Rodgers--Jerome Kern is my personal favorite. This is a fine selection of Kern songs, ranging from very well-known hits to songs I had not previously known. John McGlinn is the best living impresario for this kind of music. This is his best album, which is high praise indeed. The arrangements are impeccable and the performances outstanding.
   
   I have an extensive collection of classical music and the Great American Songbook. Applying the proverbial desert island test, this CD is unquestionably one of the five I'd like to have with me.



2. Before his first complete "solo" score for 1912's THE RED PETTICOAT, Jerome Kern co-wrote the music for or contributed songs to at least 26 different Broadway musicals and/or reviews, starting with AN ENGLISH DAISY in 1904. In his liner notes to "Jerome Kern Treasury," Miles Kruger writes: "During the ensuing twenty-seven years, Kern, more than any other composer, was to alter the entire nature of the American Musical Theatre." And, "Jerome Kern has the distinction of having composed for every major lyricist of his time, with the solitary exception of Lorenz Hart. His career inspired George Gershwin, Richard Rodgers, and an entire generation of composers who came later."
   
   There probably is no one who was more active in the restoration and recording of American stage works than John McGlinn, whose superb series of "authentic," complete recordings for EMI/Angel - ANNIE, GET YOUR GUN/ANYTHING GOES/BRIGADOON/KISS ME, KATE/SHOW BOAT/SITTING PRETTY - speak for themselves. In addition, he has produced recordings of overtures by Gershwin, Cole Porter, and Jerome Kern, as well as recordings of songs by Porter, Kern, Rodgers & Hart, and Kurt Weill, sung by the likes of Kiri Te Kanawa, Thomas Hampson, and Frederica von Stade. And let us not fail to mention the delightful "Busby Berkeley Album." For this album, he has arranged Kern's work " . . . in virtual chronological order, with selections from his very first complete Broadway score of 1912 to his last in 1939." - Miles Kruger
   
   Singing these wonderful Kern songs with great panache are George Dvorsky, Thomas Hampson, Jeanne Lehman, Robecca Luker, Lydia Mila, Hugh Panaro and the London Simphonietta Chorus. Backing them up is the London Sinfonietta, thoroughly savoring the tasty original orchestrations by Robert Russell Bennett and " . . . of the legendary Frank Saddler, Bennett's predecessor and mentor. Saddler was the first great Broadway orchestrator, and scored the early works of Kern, Porter, Gershwin (and practically everybody else)." ( - John McGlinn) And how wonderful it is to hear "real" orchestrations, instead of the watered-down synthesized stuff so pervasive on today's Great White Way.
   
   With its comprehensive liner notes and complete lyrics, ". . . this album is not only a musical biography of the composer, but also a chronicle of the development of the Broadway musical itself." ( - Kruger) Standards like "The Last Time I Saw Paris," "Smoke Gets in Your Eyes," " The Folks Who Live on the Hill," "She Didn't Say Yes," "The Song Is You," and "Till the Clouds Roll By" share the bill with less-familiar fare like "In Egern on the Tegern See," "The Bullfrog Patrol," and "Whip-Poor-Will." And just wait until you hear the London Sinfionietta swing the "Harlem Boogie-Woogie."
   
   Surprisingly, aside from SHOW BOAT and SITTING PRETTY, only three other of Kern's Broadway scores are available in acceptable recordings: the 1952 studio recording of ROBERTA reissued by DRG, the 1958 off-Broadway revival of LEAVE IT TO JANE on Aei, and the 1975 revival cast recording of VERY GOOD EDDIE, also on DRG. Miles Kruger writes: "THE CAT AND THE FIDDLE, with much of its bewitching dialogue underscoring included, deserves to be properly recorded more than any other unrecorded show." After listening to this recording, you'll probably - like me - wish that about for all of Kern's shows.
   
   Highly Recommended. And thanks to ArkivMusic, this long-deleted gem is once again available, complete with original cover art and those wonderful liner notes and lyrics. Order it today!

5 comments about In Trousers (1979 Original Off-Broadway Cast).

1. Brilliant!!. I saw the original off broadway "March.."and revival of
   "In Trousers" in the 80's. i liked them alot. but revisiting them now i'm really impressed with "In Trousers" . The lyrics are inventive and fun and the music is great! I'D SEE a show like this over "les miz saigon of the opera" any day.



2. there is no music like Wiliam finns music....
   these actors are wonderful as well..all of them...
   They performed this recording like a show, even more so..
   The songs are pretty much all brilliant, unique, and captivating. These are well made songs,....
   Finn was well deserving of the Hutinson Fellowship he received for musical composition.
   He will go alongside Sondheim as one of the all time greats...



3. How could you go wrong with 3 Tony Award Nominees????? Mary Testa, Chip Zien, and Alison Fraser! It's amazing! Plus the one cast member I was not familiar with, Joanna Green, is also superb. Just so you know.. the songs on the cd are not in the same order they are in my script. The closing number on the cd (not counting the bonus track) is actually the opening number. "Marvin's Giddy Little Siezures" which opens the cd is in the middle of the show. This is why it seems so helter-skelter. I don't why it was done like this... but it was. The show's performances sell it though. The performances are enfused with pathos, but they all have great comedic timing as well. William Finn's music is incredibly catchy, but also complex. Although poorly recorded, it's wonderfully performed, and a must have.



4. William Finn's best known work, "March of the Falsettos" and its companion piece (and sequel) "Falsettoland" found commercial success on Broadway in the early 1990's including a Tony Award for Finn's superlative score. In the Broadway outing, the raucous "March..." made up the first act while the more sobering "Falsettoland" comprised act two. As a pair of one act musicals, these two pieces tell a very complete and emotionally engaging story about a previously "straight" married man (Marvin) who leaves his wife and son for a male lover. His wife, Trina, rebounds by marrying Marvin's psychiastrist, and the entire dysfunctional family deals with love, hate, life and death. But that's not "In Trousers." "In Trousers" pre-dates these two musicals by at least another decade and tells in a much more disjointed fashion the story of Marvin's early years. Marvin appears here in various stages of his pre-Falsettos life, as spoiled fourteen year old, horny young student lusting after the exotic Miss Goldburg, and romantic young swain smitten with a touchingly innocent and vulnerable Trina. Here we get the nuts and bolts of Marvin and Trina's past: the rise and fall of their mistake of a marriage, and Marvin's first meeting with Whizzer Brown (who is only sung about here, and will not appear as a character until "March of the Falsettos"). As a piece of theater, "In Trousers" succeeds musically more than dramatically. The story telling here is more patchwork than anything else, and may be hard for audiences to grasp who are not familiar with the future storyline. There are some extraordinary tunes, though. "Pass the Sugar, Please" details the collapse of a ten year marriage over breakfast while "Love Me For What I Am" is full of hope and longing by people who believe there is life left in a failing relationship. The four member cast is wonderful, headed here by Chip Zien and Alison Frasier. Zien would later go on to play the role of Mendel the psychiatrist in the Falsetto musicals while Michael Rupert took over the role of Marvin. Still, Zien is every bit as powerful and moving as Marvin proving his true versatility as an actor (and if you want to SEE him prove his chops, pick up a VHS or DVD of "Into the Woods" where his performance as The Baker is a real masterpiece). "In Trousers" belongs in your library if you love William Finn's work, especially the moving Falsetto musicals.



5. Ok, maybe I'm in the minority, but I really think that 'In Trousers' is, musically and lyrically, every bit the equal, and in some cases, superior to the other two entries in The Marvin Trilogy! Internal consistency has never been Finn's strong suit, and it IS difficult to figure out exactly what is going on in this song cycle, but each of these songs is really a gem all by itself. All four of the performers are excellent, and Zien and Fraser are incomparable. Frasers' 'Love Me For What I Am' is truly heartbreaking. After wearing out TWO copies of the LP, I am thrilled to finally have the CD available.

5 comments about Forbidden Broadway: Unoriginal Cast Recording, Volume 2 (1991 Revue Compilation).

1. Lots of people are very quick to make fun of Broadway and musical theatre in general; but Gerard Alessandrini's FORBIDDEN BROADWAY revues point out that musical theatre can also lampoon itself, too. This disc features highlights from several of the early FORBIDDEN BROADWAY revues.
   
   Patti LuPone is mercilessly skewered by Toni DiBuono in "Anything Goes/I Get a Kick Out of You". In "Liza One-Note", Linda Strasser gives an hilarious rendition of Liza Minnelli who proudly exclaims "all of my fans snort cocaine!". In "The Ladies Who Screech", Roxie Lucas does a superb Elaine Stritch during her COMPANY days. Mary Martin, the Broadway darling who somehow always managed to escape the poison pen of critics, is showcased by Roxie Lucas in "Never Never Panned". And "Chita-Rita" plays out the fictional rivalry between Chita Rivera and Rita Moreno, who are still confused for each other because they both played Anita in WEST SIDE STORY.
   
   There are also hilarious roastings for "La Cage aux Folles", "Les Miserables", "Phantom of the Opera", "M. Butterfly", Stephen Sondheim, and Madonna. Highly-recommended for those who love a good laugh.



2. As much as I love a good Original Broadway Cast album, I am even more tickled by these send ups. Even shows I am not familiar with are enjoyable as skewed by this group of talented mimics.
   Totally worth your time and a very reasonable price.



3. 16 years after it was made, and after I dunno how many listenings, this CD still makes me laugh OUT LOUD at least 5 or 6 times every time I put it on. A deep and longstanding knowledge of musical theatre helps a lot, but some of it would be funny regardless. The piano playing is strong and versatile, the vocal performances are uniformly inspired, and Gerard Alessandrini -- well, let's just say the guy's way with a twisty lyric (complete with internal rhymes) would put him in the Sondheim category if he were working in a more 'serious' genre.
   
   Highlights -- the Elaine Stritch impression and lyrics of "Ladies Who Screech"; the spot-on harmonies and style (and hilarious faux british accents) of "Teeny Todd (the smaller version of Sweeny)", and ... oh yeah, that Les Miserables sequence. (For my money, the "Bring It Down" parody of "Bring Him Home" -- with its despairing, impossibly lovely tenor voice agonizing, "God, it's high ... pity me, change the key" -- is one of the single funniest pieces of music ever recorded.)
   
   Enough said. If you love Broadway, and you need more laughter in your life, get this CD now -- and keep it handy.



4. My overall impression: if you want to start with an excellent "FB" CD, I'd say this is the perfect place to begin. Laughs galore to be had (so don't listen to it late at night if you're trying to keep quiet).
   
   This is the CD/musical that put Toni DiBuono's career on the map. Having earned (and deservedly so) the Drama Desk and Outer Critics Circle awards for her work in the show, you can see why I think Broadway has ignored her talents far too long. It doesn't hurt that she vocally blends perfectly with her now-husband Michael McGrath (most recently known as Patsy in Broadway's "Monty Python's Spamalot"), who also puts in a stellar performance here.
   
   I can't even point out which songs are the best, because they are all perfect in their own right! Although I have to say "Annie II", "Patti LuPone/I Get a Kick Out of Me", "Madonna's Brain" the hilarious "Les Miserable Sequence", and "Chita/Rita" are the most memorable songs for me.
   
   I cannot descredit any of the other performers, of course; everyone is simply brilliant, and Gerard Alessandrini is a comic genius! It's no wonder the "FB" legacy has lasted so many years (20+) now. Here's to more "Forbidden" fruits in the future!



5. (sorry, I haven't heard Vol. 5 yet) This one has some HILARIOUS classics that are great tunes on their own right (never mind that they parody others): "Fugue for Scalpers," "Patti Lupone", the "les Mis" sequence. Funny, funny, funny stuff. A great addition to your music library. GO GET IT

1 comments about Go South Young Man/Dream a Little Dream.

1. firstly the Amazon listing as a 2disc cd is incorrect,
   this cd is a combined 2 lp RCA living stereo releases from
   1958 (go south young man) and a 1959 (dream a little dream),
   the opening 11 tracks are from 1958, all with the soft latin
   beat, really well sung, the following 12 tracks are from 1959
   which are a mixed bag of known and lesser known songs, scored
   in a conventional setting, on my initial listening of the cd,
   I found the latin tracks very enjoyable, beautifully sung by
   a Martin who was developing a deeper sounding richer
   tone to his voice, the latter tracks were I must admit a little
   disappointing, mainly due to the bland song selection, there
   are and were many better songs out there that would have been
   better for Martin to have sung, however as this is a rare release from RCA Victor thru their BMG budget label, of late
   fifties recordings, one should not really complain to much, the
   thing that really is frustrating, is that the lp release from
   the mid fifties "A NIGHT AT THE COPACOBANA" had never been
   released on cd, till english lable Flare released their version in 2008, and what a botched job thats turned out to be, it would make a great 2lp cd coupled with "AT THE DESERT INN" a 1960 recording which has never been
   released on cd, as Tony Martin is now in his nineties, we may
   have to wait till he departs this earth, before this happens
   summing up, 4 stars mainly for the latin half,

No comments about Parade (1960 Original Off-Broadway Cast).

5 comments about Songs From The Capeman (1997 Concept Cast Album).

1. I first heard this album (cassette recording) when I was 15 years old in 1998. I was amazed. Great music, lyrics, emotion...it was wonderful. I still don't know the entire history of this album and Broadway musical. I just can't believe there are only a handful of people that can see how magical this album is. The originality and broad range of music tells such a story; it's just like you're reading a book: your imagination sparks here and there with flashes of people, neighborhoods, and life from a West Side Story-esque era where life seemed easier, but was really much harder. I've played this music for my friends over the years and none have seemed to be as captured as I am. Yes, there are cuss words and other profanity issues -- but it's no different than anything else we find amusing; books, movies, television, other music, etc. I'm 24 now and still am blown away when I listen to this album! I highly recommend this album for those of you who find originality, brilliance, and entertainment a must in life!



2. There's no surprise that Capeman failed as a stage show. It was, after all, supposed to be a musical-- and there is nothing on SONGS FROM THE CAPEMAN that qualifies as melodic. Name ONE tune here that you can (or want to) whistle, for that is a litmus test of a successful Broadway show-- the audience leaves the theater contentedly humming or whistling parts of the score.
   
   This music is so very forgettable and tuneless-- it's the absolute worst Paul Simon has ever written. Clearly, his creative well went dry after GRACELAND, and that is a darn shame.
   
   Listen to the 30-second samples before you buy this one. It may not even be worth owning for completists.



3. a wonderful album. Marc Anthony is on here before he broke big. Satin summer nights is a do-wop magical song with these spanish ladies in the background that just melt me with their luscious voices.
   
   there are some swears in here, consistant with what you'd expect from street gangs.
   a touching, memoriable album you should enjoy it.



4. Patrick's review hit it right on the money. Yes This is a wonderful album. Take care, Kevin Chapman of Flemington, NJ Miss you Patrick



5. Being a man of few published words, I will let the album speak for itself. It is Paul Simon at the top of his game. Every Song is a Gem and you would have to be coated in plastic for this brillance not to move you. The first, middle and ending song are pop genius. For me, this album belongs up there with Brian Wilson's Pet Sounds and Simon's Hearts and Bones and Graceland.

3 comments about Dames at Sea (1989 London Revival Cast).

1. This London revival of DAMES AT SEA cannot even compare to the excellent original off-Broadway cast. Though Tina Doyle has an attractive singing voice in the ingenue role of Ruby, for me Bernadette Peters still defines that role. Her rendition of "The Sailor of My Dreams" doesn't carry the same charm as Peters' version. Doyle has no weight to her voice, and no real vibrato to speak of, either. Sandra Dickinson, Paul Robinson and especially Josephine Blake are all standouts on this record. DAMES AT SEA is a fantastic musical, but at the end of the day, I'll still go back to the Bernadette Peters version.



2. I know you Bernadette Peters fans are not going to want to hear this. She did a lovely job on the off Broadway production, but this recording is far superior. The vocal quality is wonderful. The songs have so much character in them. Joan sounds like a chorus girl. (In the other recording she sounds like a flake!) Mona is a little lower and more belty and the Diva personna shines through. Hands down this is a better CD. This is a very campy spoofy show and it just sounds too serious on the original CD. This is a fun show. You will enjoy this CD.



3. This version of Dames at Sea is a great disappointment. The score has always been recognized as derivitive and trite, but the delightful performances of the original New York cast, especially Bernadette Peters, made it something special. Sorry to say, that is not the cast with this version. The recorded performances are amateurish at best. These people simply cannot sing. The whole thing is a disaster and should never have been released. Get Bernadette's version instead.