5 comments about Songs from Andrew Lloyd Webber and Jim Steinman's 'Whistle Down the Wind'.

1. I bought several copies of this CD so I'd have it forever. I never get tired of the songs, blasting them from my music system at least once a week. Tom Jones is at his best with Vaults of Heaven. You'll be tapping your toes and singing along. Boyzone's best song, "No Matter What" is on here, as well as Donny Osmond's version of "If Children Ruled the World". Every track is sung with feeling. Then, of course, there is Michael Ball singing "Unsettled Scores." That in itself makes this CD worth buying.



2. "Whistle down the wind" was Andrew Lloyd Webber's first fresh work after "Sunset Blvd" premiered in 1993. With this musical he decided to get back to his rock and roll roots that made him famous with "Jesus Christ Superstar", after which he was mostly known for his big, soaring and lush scores of "The phantom of the opera" or "Sunset". The result is very satisfying. Jim Steinman, the lyricist of "Meat Loaf" is credited with the lyrics and the director is Gale Edwards, who directed a very successful run of "Superstar" in the West End in 1996.
   
   When it became known that ALW and Jim Steinman are working together on a new musical, an idea arose about a non-cast recording album of the material, featuring the artists ALW and Steinman have been separately collaborating for years. So what we have here is an album with the songs from a musical recorded in their own right, outside the context of the show, with totally different orchestrations more suitable for the occasion. This is actually something ALW has done in the past with most of his shows, when he would release the main songs with different orchestrations as the singles, usually sung by famous artists.
   
   This album thus boasts the artists from the ALW's world like Elaine Paige, Michael Ball and Donny Osmond, together with the ones brought in by Steinman: Bonnie Tyler, Meat Loaf, Tina Arena and Tom Jones. There are a few others and one of the main assets of this album is the fact that all of the singers here have very strong vocals and a unique way of interpretations. Be it Elaine Paige's mature soprano, Michael Ball's famous warm voice or the husky vocals of Tom Jones and Bonnie Tyler, each of the songs is a little pop masterpiece. Some of them, like Michael Ball's rendition of "Unsettled scores", are actually better here than on the subsequent cast album.
   
   Another benefit is the very good orchestrations, echoing the original sounds of the score, but in a more suitable pop and rock environment. Some of the songs, like Boyzone's "No matter what", topped the chart for a considerable time.
   
   Besides being a remarkable pop album, this set of songs is another proof of the fact just how masterful composer ALW really is, the one that has no problem moving between the genres of the modern musical theatre and the contemporary pop. One would like to think that the days when a musical could produce a hit tune are not altogether gone. And ALW has written plenty of them.
   
   This album, therefore, should have no trouble in finding its owners, be it the musical theatre devotees such as myself, the fans of a good pop piece or both.



3. Well it was much better than the London Cast Version. This is the one you really should get. The singers sound better with more emotion and it doesn't have to whole script being said in the middle of songs like the London version does. So this one is the better way to go.
   
   Tina Arena is really unbelievable! Her voice is great!



4. Don't be afraid of buying this one, it's wonderful. I got interested in the songs from ALW 50th show. No regrets here.
   Tom Jones is great, and Michael Ball never disappoints. I like
   the combination of different style vocals.



5. This is a compilation of music from Webber's WHISTLE DOWN THE WIND, done in pop style, released before the 2-cd cast album. I much prefer this version. Tom Jones presents an incredible opening gospel number, followed by my favorite, and to me one of Andrew's best songs WHISTLE DOWN THE WIND, performed by the very under-rated Tina Arena. This is one incredible balled. It builds, and she blets. What a match! Other incredible songs are TIRE TRACKS, done in the true Bonnie Tyler form, KISS IS A TERRIBLE THING TO WASTE, a perfect song for MEATLOAF, and to me one of his best ever. Boyzone's NO MATTER WHAT is tops, I think their best song. I wish Andrew Llood Webber would continue to write albums like this between his shows for pop music stars, because this is one of the best CD's of pop music I have bought in a long time. There is no way you can be sorry you bought this one! Other artists provide great performances including Michael Ball, Elaine Page, and many more. DON'T MISS OUT ON THIS ONE!

5 comments about Goldilocks (1958 Original Broadway Cast).

1. ... maybe it depends on what you were expecting in the first place -
   LEROY ANDERSON! ETC.! - I thought.
   Not bad,just disappointing,with good moments .. and the bridge of "I Never Know When to Say When" is what not to write for Elaine Stritch (it's a "Hurry Back" moment). Still,she has better luck elsewhere in the score.
   Also,there is nothing much of Margaret Hamilton here. Tsk.



2. Someone had a brilliant notion in getting Leroy Anderson to write a show. (It wasn't the first time; he was hired for "Wonderful Town" but was ditched in favor of Leonard Bernstein.) That it didn't quite work may owe to the fact that he was largely written out, the best of his imperishable vest-pocket tone poems long in the past. Still, this is an utterly captivating score, superbly interpreted. If you want a complete idea how it sounds you might want to get MCA's budget two-disc anthology of Anderson conducting his own music, including several of the show's dance numbers; they almost make you forget how great Arthur Fiedler was with this master of the pops.



3. This is another splendid original cast recording from Goddard Lieberson and Columbia records. Great score by Leroy Anderson by a fine cast headed by Elaine Stritch who is in great voice here. Don Ameche is her nemesis/love interest and Pat Stanley nearly steals the show with her first act number "The Pussy Foot."

   The record is short (45 minutes) and does not include the dance pice "The Town House Maxixe" which can be heard on MCA's Leroy Anderson collection. What is on the CD is quite delightful and Sony has done a first rate job coaxing excellent sound from the early stereo tapes. The booklet gives a good essay on the history of the trobled show and a detailed plot summary.




4. GOLDILOCKS is one of my all-time favorite 'lost musicals'. It struggled through three months and 161 performances on Broadway, only to close after scathing reviews and dwindling audiences.

   GOLDILOCKS was written by theater critic Walter Kerr as a love-letter to the silent movies that had captivated him as a child. The story concerns sardonic silent-actress Maggie Harris (Elaine Stritch) who has a stormy love-hate relationship with her cocky director (Don Ameche). Complications arise in the form of beautiful Lois Lee (Pat Stanley), who sets out to steal him for herself. Maggie decides to make one more picture under the assumed name of Goldilocks, and makes one last grab at romance...

   The reason why the show failed so miserably was the weakness of the book, which was magnified a thousand times over by the greatness of the score; which features "Lazy Moon", "Lady in Waiting", "The Pussy Foot", "Where is the Beast in You?", and my personal favorite "I Never Know When to Say When".

   Through its lovely cast album, the musical has a devout cult following and no wonder. Elaine Stritch in her first Broadway leading-role (after years of supporting work in revivals of PAL JOEY and ON YOUR TOES) and the sparkling score of Leroy Anderson is fantastic stuff. Highly recommended.

   Sony Music.




5. I first discovered Goldilocks through the double draw of Leroy Anderson and Elaine Stritch. Elaine Stritch I already knew as Joanne in Company singing "The Ladies Who Lunch", and Leroy Anderson was one of my favorite composers, known for such light programmatic and novelty orchestral pieces as The Syncopated Clock, Belle of the Ball, Bugler's Holiday, The Typewriter and Plink, Plank, Plunk. That combo of names caught my eye as I was flipping through the record bins one day, and as I scanned the album cover I saw the names Don Ameche, Nathaniel Frey and Margaret Hamilton which absolutely clinched the deal. I left the store with the record and went straight home to play it. From the moment I dropped the needle (yes, I've had it that long) I was captivated, and it has since become one of my perennial favorites.

   The score is top notch, particularly in the material for Stritch and the perfectly cast Don Ameche. It does sag a bit in the material for the secondary couple, but I think that's because it's the primary couple who are the comedians while the secondary couple gets stuck with the sappy side of romance. Yes, there are book problems. Walter Kerr later admitted that they kept beefing up the comedy at the expense of the love story, and reading through the book (which through an incredible stroke of good fortune I found at a local Half Price Books) that's a fair criticism. But this weakness doesn't overwhelm the show and make it unworkable. I have to agree with the assessment that with The Music Man already running featuring a slightly more lovable con artist and a sweet rather than brassy leading lady, Goldilocks wasn't able to measure up to the competition. Taken on its own terms though, Goldilocks works wonderfully.

   To mention particular favorites of mine in the score, I have to start with Stritch's Act 2 torch song, "I Never Know When To Say When". Why didn't this become a standard? It stacks up with the best Broadway has to offer. You can hear the pain in Stritch's voice as she laments the mess she's made of her relationhips. "Give the Little Lady" near the top of Act 1 doesn't really cover much in the realm of plot, but it's just so much fun, and "The Beast In You" never fails to get me laughing. All of these feature Stritch alone or with the chorus, but her duet with Ameche, "No One'll Ever Love You", is just as good, and Ameche's solo number, "I Can't Be In Love", in which he discovers to his astonishment that he is indeed in love, is priceless. Then on top of that is "Bad Companions" for Don Ameche's shady sidekicks Nathaniel Frey (an excellent comic character actor who appeared in many better known shows such as Damn Yankees and She Loves Me) and Margaret Hamilton (the Wicked Witch of the West sings!) which is a hoot from start to finish. These are the standouts in my book, but the whole score is eminently listenable, pleasant and tuneful. Of course with Leroy Anderson writing the music it couldn't be anything else.

   I sometimes wish I had been born 30-40 years earlier so I could have actually seen what I am only able to get the barest hint of from reading the libretto and listening to the cast album. I strongly recommend to anyone who has had enough interest to wind up here reading these reviews to make this show a permanent part of your collection. More people need to know this show!

No comments about Greatest Hits of the '60s.

4 comments about Celebrating 30 Years at the Cafe Carlyle.

1. This album was my first of Mr. Short's, and I eventually worked my way backwards. I was introduced to him about four or five years ago (I'm only twenty six) by someone I met while seeing Woody at The Carlyle. This album is the closest one can get to seeing Mr. Short, and what his modern shows are like. Great brass, intimate setting and wonderful songs performed by Mr. Short with his legendary phrasing and delievery, are soon to be no more after this year. For the past three years I have been around the world in the military, two or three times a year traveling back home to see him. But when I cannot, I put on this album, grab a drink, and listen to this wonderful recording. No one with any musical taste that I have played this album to did not enjoy it. Must buy.



2. If you don't smile seeing and hearing Bobby Short perform, check yourself for a pulse. Just hearing him on CDs like this one are enough to get me grinning for hours. After 30 years at the Cafe Carlyle, and at least 60 in the business, he still infuses each performance, each song, each phrase with an honest joy whose infectiousness is communicable by CD. Get yourself some.



3. I SAW BOBBY SHORT SING THESE VERY SAME SONGS AT THE CAFE CARLYLE LAST YEAR. IT IS HIS BEST WORK. HIS VOICE IS LIKE SINATRA'S IN THAT IT HAS MELLOWED OVER THE YEARS. AN AMERICAN ICON.



4. I have enjoyed Bobby Short for a couple of decades. I have seen and heard him at the Carlyle and have never been disappointed. I have always felt, and I still do, that Bobby short and Mabel Mercer were the two best interpreters of American popular songs ever. I recall hearing Mable Mercer at the Carlyle when she was quite old, and she had lost her voice. We lovers of her music refused to hear the notes she missed; we heard only the young Mabel. Unfortunately in short's celebration of 30 years at the Carlyle reflected every one of those three decades. When I bought this CD I had assumed that I was buying the old standards, made when he still had a voice. But not so. These were re-cut when his voice was all gone, and to make matters worse, instead of the simple accompaniment of bass and drums, he has a full 10 piece orchestra that only adds to the sadness of it all. I was unable to listen to the whole thing. Oh, how the mighty are fallen. I shall probably never listen to it again. Sad, sad.

3 comments about Carmen Jones (1943 Original Broadway Cast).

1. Adapting operas into the musical theater style is not uncommon, but what is uncommon is using almost the exact same music as the original opera which Carmen Jones does. If you know Bizet's Carmen, you will immediately recognize the music on this CD... even if you don't know the opera you have probably heard some of the music. However, this adaption changes the libretto significantly. I personally am not a fan. If I want to hear Carmen I will listen to Carmen. If I want to hear Carmen in English, I could find a English translated recording. This doesn't fit. It sounds too much like the opera, even the singers are quite operatic. The new setting isn't different enough to give the listener something fascinatingly different. Whats the point? I don't suggest this, really, to anyone other than collectors. I don't even have a favorite song. Two stars and the only reason is it still uses Bizet's beautiful music.



2. You may know that the smash grunge musical RENT is based on Puccini's opera LA BOHEME. And MISS SAIGON is MADAME BUTTERFLY, and trickiest of all AIDA is AIDA, but before all of those there was CARMEN JONES.

   What makes CARMEN JONES different, however, is that it uses Bizet's original music, though it changes the setting and the lyrics (they're in English, too, rather than the original French). And who would have done such a thing? Oscar Hammerstein II (as in Rodgers & Hammerstein, I know you've heard of them. If not, shame on you, go straight to OKLAHOMA, do not pass go, do not collect CD of CARMEN JONES). This is one of Hammerstein's earlier works, and it's a great show. (There's a very successful movie version available on video, if you want to see it.)

   CARMEN JONES updates the story of CARMEN. The original plot took place in Spain in 1820, Carmen was a gypsy. The first performance of CARMEN was in Paris in 1875. (Wow! Over 125 years, and it still plays regularly all over the world, talk about a great run!) What Hammerstein did was akin to what our current composers are doing with shows like RENT. He updated the show for his audience. Instead of Spaniards and gypsies, he used African-American factory workers, and set the story in 1943 during the war in a Southern town.

   The story makes this a darker musical than Hammerstein's later shows like OKLAHOMA, CAROUSEL, THE KING AND I and SOUTH PACIFIC, some of which had their heavier elements, but were focused more on the romance. The tone of CARMEN JONES is more akin to his first show (the first musical) SHOWBOAT. It is also unusual not just for it's time but in general that it had an entirely African-American cast. While recent shows like Disney's THE LION KING and ONCE ON THIS ISLAND have also had predominantly African/African-American casts, these shows are few and far between. Another comparable show in terms of music and style would perhaps be Gershwin's PORGY AND BESS, though it's considered an opera rather than a musical.




3. Words cannot begin to sum up my joy that Decca Broadway finally deemed CARMEN JONES fit for a proper remaster. Oscar Hammerstein's lyrics set to Georges Bizet's classic score can now be heard clearly without distortion and this CD includes a complete plot synopsis and pictures. Now we no longer have to settle for that monstroscity from Pearl CD, which was an unauthorized recording, and I hope didn't take away too many sales from Decca Broadway. For musical buffs this CD is a must-have!

5 comments about Grand Hotel: The Musical - Broadway Cast Recording.

1. I performed in the orchestra for a production of this musical recently. In my 30-odd years of playing shows, I've learned that if I'm doing a show I don't know, it takes a while for me to warm up to the music.
   
   Not so with Grand Hotel! The first time I listened to the CD, I was hooked. I thought, wait a minute, it can't be this good. But it is. The music, the orchestrations, the singing all add up to a fabulous CD. Kudos to the entire creative team, orchestra, and cast.



2. Just hearing the bonus track of David Carroll singing "Love Can't Happen" makes me wonder how BETTER the original cast recording could have been. Brent Barrett vocally sounds shrill and tense in his upper range, marring the official recordings of "Roses at the Station" and "Love Can't Happen". What a tragedy!!! And Carroll's other recording--the Broadway version of Chess--is no longer in print (according to Amazon). This is a double tragedy, because David played Anatoly in the show and gets to sing the powerful "Anthem" at the end of Act 1.
   
   Generally, the score sounds cobbled together with no memorable melodies (other than "Love Can't Happen", which burrows its way into your psyche at the first or second hearing). Perhaps Yeston should have written the whole score and find some legal way to discard the derivative songs provided by Forrest and Wright. Perhaps a revival (and major rewrite) is in order...
   
   This is not a good representation of this show, vocally and compositionally speaking. Unfortunately, there are currently no other representation. My two cents.



3. The original cast recording of Grand Hotel is grand indeed. Exellent orchestrations and as excellent cast. The emotion of the piece is conveye d thoroughly on this recording.



4. "Grand Hotel" is a fine musical with songs by George Forrest and Robert Wright and some additional material by Maury Yeston. What stole the show in this musical, however, was Mr. Tommy Tune's inventive staging. That doesn't mean audiences went out humming the staging, though. The songs are excellet as well. Some standouts include the opening number, "Grand Hotel" or "The Grand Parade" as it is officially titled written by Mr. Yeston is a wonderfully jaunty opening number. "At The Grand Hotel\Table With a View", performed by the incomparable Michael Jeter is a lovely selection. "Maybe My Baby Loves Me" is tuneful fun. "Love Can't Happen" is a very romantic ballad and "What You Need" is a wonderful Weill-esque number performed with conviciton by one my favorite performers, Karen Akers. "We'll Take a Glass Together" is also a great showstopper performed by Mr. Jeter and Brent Barret.
   The performances are excellent. Ms. Akers and Mr. Jeter steal the show. Thinking about the performances of their songs "What You Need" and "We'll Take a Glass Together" performed by Akers and Jeter respectively sends chills through my body. Brent Barret is fine as the Baron and Liliane Montevecchi as the retiring balerina is excellent, although her role in "Nine" was better suited for her. Jane Krawkowski is also great as a young wannabe movie star.
   The orchestrations by Peter Matz are excellent. The original cast album includes a bonus track of David Carroll performing "Love Can't Happen" at a cabaret. Mr. Carroll starred as the Baron durring the beginning of the run, but was diagnosed with HIV and was replaced by Brent Barrett. Because of legal issues, the cast album was recorded late in the run. The creative team thought that it'd be a good idea to have the still living, if very ill Mr. Carroll perform his songs. Alas, he died of AIDS in the studio before his tracks could be recorded. The bonus track is nice for people who enjoy the vocalizing of Mr. Carroll. I don't particulary like his voice and prefer Mr. Barrett's performance of the song. However, his passing was very unfortunate and he is missed.



5. Traveled from AZ. to NYC specifically to see Michael Jeter perform live in "Grand Hotel". A man of remarkable talent who went way too soon. He is the only reason I went and the only reason I have this cd. For him I give it 4 stars.

5 comments about Jesus Christ Superstar (1996 London Cast).

1. What I was looking for when I bought the CD was the remastered copy of the original album, the one that was played in coffeehouses all over the U.S. in the 70's. I still have the vinyl but it is too scratched to be a good candidate for ripping to the computer. This CD was not the same people, same notes, etc. I'm looking for a very specific recording and have thus far not been able to find it. I returned the CD after discovering that it was not at all what I wanted.



2. This would undoubtedly be a five-star product were it not for one tiny little detail - that most unrewarding of female supporting leads, Mary Magdalene. True, Joanna Ampil does have a very pretty voice.
   
   But could she possibly be more British?
   
   Seriously. Her diction is crisp and impeccable, at the cost of emotion and nuance. Her Mary Magdalene sounds more suited to exhorting the value of a spoonful of sugar before medicine. It throws off the balance between the male leads and the only female presence in the show, and ruins some of the best songs in the whole show ("I Don't Know How To Love Him" is almost laughable, a perky mess of a rendition).
   
   This imbalance is only exacerbated by the reason for the four-star rating - the two leads. Simply put, they're perfect. Steve Balsamo is possibly the best Jesus on record, his gorgeous, clear, unbelievably powerful tenor voice lending a whole new dimension to the character (generally he's played by a more "rock"-voiced actor, as is Judas). He absolutely blasts his songs out of the park, too - this "Gethsemane" has to be heard to be believed, and his reprimand of the sinners in "The Temple" is sung in FULL CHEST VOICE to insane effect. Zubin Varla is more than his equal as Judas, with just the right blend of pathos and power. And he doesn't have half-bad pipes, either - listen to his soaring high notes in "Heaven on their Minds" or "Superstar".
   
   Alice Cooper (Yes, that Alice Cooper) has way too much fun with Herod, David Burt is excellent and sympathetic as Pilate, and Glenn Carter, who would go on to play Jesus in the 2001 Broadway revival, is a suitably impassioned Simon Zealotes. The orchestra sounds a little muted, but play with vigor.
   
   So, if you're only into Jesus for Mary, don't bother. But if you feel like revisiting Sir Lloyd Webber's best score and enjoying the performances of the lead men, this set is definitely worth the money.



3. This is the newly re-released and Remastered Edition of the West End 1996 Production of JCS Starring Steve Balasmo, Joanna Ampil and Zubin Varla. First I have to comment on the new packaging. 2cd in a slim case with slip cover and new lyric book. The best thing about the new release is the colored photos from the production! I was actually under the impression that this was the production that inspired the new movie "RENT/PUNK" style version, but judging from the pictures it's anything but that! The pictures are set in the time of Christ's crucifixion. You get a glimpse of the amazing sets and costumes. Joanna Ampil's a beautiful Mary and Steve and Zubin look great as Jesus and Judas. If you're interested in the new release the must have the "Digitally Remastered at Abbey Roads Studios London Deluxe Edition" black sticker on it!
   
   I have the Original Concept CD, Broadway CD with , Australian 1994 CD and 25th Anniversary CD (which is pretty much a joke). This is my favorite version all together. The orchestrations have been slightly changed and updated, including a final ending to "Heaven on their Minds," "Everything's Alright" and "Gethsemene" which finally seems to get some closure instead of the annoying fade outs on the previous CDs. THERE AREN'T ANY FADE OUTS IN LIVE PERFORMANCES!
   
   Steve Balasmo tackels the title role of Jesus with fierce intensity. "Gethsemane" is literally the showstopper when he raises his key much higher when he gets to "See how I DIIIIIIIIIIIIIIIIIEEEEE!" He holds it for, including starting with "See how I die" for 24 seconds. Another reviewer said it was a G above High C. Simply and utterly amazing. But Steve's voice is an aquired taste in the role of Jesus. In comparing him to Ted Neeley, Steve has a soft beautiful Tenor quality while Ted's is hard and sharp at the edge's. Ted screams his way through "Gethsemene" and it's amazing, but Steve's rendition is done with more of a pop-rock sound that is easier on the throat than all the screaming Ted and the other Jesus's do. All versions are amazing, but I prefer this one over all. (For all you Steve Balasmo fans out there you can catch him on the cast recording of "Notre Dame De Paris." He plays Phoebus and sings the amazing "Torn Apart")
   
   Zubin Varla is a great Judas, much stronger than Jerome Pradon, but is no Carl Anderson or Ben Vereen. Although I like Jerome's acting all we have is Zubin's voice to go by and I prefer listening to Zubin. His "Heaven on their Minds" is near perfect with amazing Orchestral sounds and vocal riffs. His acting is superb too. Carl and Ben sing more souful and Zubin has more of the edgy rock sound. All are great.
   
   Joanna Ampil (of "Miss Saigon" fame, you can hear her as Kim on the "Complete Recording of Miss Saigon, 2CD) is a little weak, timid, and shy to portray the role of the prostitute Mary Magdeline. Original Yvonne Elliman seemed to capture every essence of the character. Claire Moore, original Ellen of Miss Saigon does a fine job of Mary on the 20th Annv CD, but Joanna's voice is beautiful and soothing, but sounds too technically clean. This is a Rock Opera so I need a little more umpf. I needed her to let loose some more in the repeating finale of "Everything's Alright". Although she's not bad at all, but seems to get lost among the belters.
   
   Glenn Carter is Simon on this CD, you might all know him as Jesus in the new DVD vesion of Jesus Christ Superstar that was released a few years back. HE does well as Simon, belting all those notes out. David Burt is a good follow up as Pilate since Barry Denon played the part 3 times in the 70s. "Could We Start Again Please" is hauntingly beatiful. The rest of the cast does the CD justice.
   Overall I would say this is the best recording. There are some performers here and there that are better on other recordings, but it's impossible to have the ultra perfect cast, for that you would have to create a mix tape.
   
   Also on Remastered Re-Release
   Joseph London Cast
   Aspects of Love (Brilliant Re-Release)
   Sunset Blvd (Glenn Close)
   Cats London
   Cats Broadway
   Song and Dance London
   Starlight Express



4. Too much opera, not enough rock. When I bought this recording, I expected to hear Jesus Christ Superstar, not Phantom of the Opera! Gone are Ian Gillan's dynamics, from sweet, soft, tender, vocals to intense, high-pitched, screaming vibratos. Replaced instead with someone who would be better served playing the role of "Cherubino" in the Marriage of Figaro. Murray Head, while perhaps not the worlds best vocalist, brought passion and a lot of emotion to the part of Judas. Zubin Varla brings a bunch of right notes, but little else. I've had this recording for over a year now and despite several attempts, (the most recent one bieng last night) I've only made it to the end once. I simply find this version unlistenable. If you've never heard the original or simply didn't like it, you may find this one to your liking. As for me... I grew up with the original version and sadly, have found all other renditions I have heard to be musical blasphemy!



5. You can read all 45 reviews of so here, or you can read mine, I've summarized them. I am a musical theatre student, opera tenor, and I own my own theatre company so I have a pretty good idea of what's hot and what's not. This is HOT. I own/have heard every version of JCS to date (March 2006) and this one is the most well rounded. Steve Balsamo with his amazing 4 and 1/2 octave range is an incredible singer; lacks a bit in bringing out the character of Jesus, if you're going for character over voice, Ted Neely from the 70's movie album is best. Judas is pretty good, problem is...he's a baritone singing a true tenor role, so he screams like a rocker to get the high notes, very convincing Judas though. Pilate is decent, Caiphus is also good. Mary Magdelene is the weak link, she's got great potential but she's only half baked as a singer. Some people here fell in love with the 70's version; hating the rock band of an orchestra on this album. HOWEVER, I will let everyone in on a secret. In this version, Andrew Llyod Webber selected all roles himself, including the orchestra. This is what he WOULD have produced in the 70's IF they had the technology. It's a simple matter of opinion; you prefer the older sounding 70's "orchestra" or the modern day "rock band." Alice Cooper as Herod, Geln Carter as Simon (He plays Jesus in the movie revival) make the scale tip when you weigh this against other versions. (Glen Carter is over-rated as Jesus in the movie however...) All in all, I like this version best. The title of the show is "Jesus Christ Superstar: A Rock Opera." And this CD puts the ROCK in Rock Opera.

5 comments about The King and I (1996 Broadway Revival Cast).

1. Being a Rodgers and Hammerstein fan, I had to have this CD. It is a good CD to buy if you are a die-hard fan of the King and I. However, it probably isn't the best one to buy if you want just one recording of it. Donna Murphy is the best thing about this CD. For some reason, I just can't get Yul Brynner's King out of my head, and for that reason, it is harder to accept Lou Diamond Phillips. He is good, don't get me wrong, but The King and I without Yul Brynner is somewhat strange. The orchestrations are fine, and retain that classic Rodgers sound. The whole recording though, and I'm not sure if anyone has mentioned this, has a weird kind of sound quality to it. It is heavily compressed and has an artificial sound to it. The equalization seems to emphasize the middle high frequencies too much. Overall, the 1977 Revival cast recording I feel is better, though I would prefer Donna Murphy over Constance Towers. But this is worth buying if you are curious to see what the King and I is up to these days.



2. The lavish 1996 revival of THE KING AND I is given the grand treatment in its beautiful cast-album. It preserves the Tony-winning performance of Donna Murphy as Mrs Anna along with a stellar cast.

   Donna Murphy is perhaps the biggest reason for buying this particular recording. Her replacements in the show, Barbara McCulloh, Faith Prince and Marie Osmond, failed to capture all the color and pathos she brought to the part of Mrs Anna. Her "Hello Young Lovers" is quite affecting, and her "Shall I Tell You What I Think of You?" is eccentric and funny.

   Lou Diamond Phillips crawls out from under the shadow of Yul Brynner to create a young, virile King with a wicked sense of humor. His "Is a Puzzlement" had me discovering new aspects that I had failed to realize in earlier recordings.

   The rest of the cast is sensational: Jose Llana (the latest FLOWER DRUM SONG) is a dashing Lun Tha; Joohee Choi is a heartbreaking Tuptim and Taewon Kim is a worldly and wise Lady Thiang. The recording moves along swiftly, due in no small part to the truncated Overture (which is more effective than the hackneyed original).

   Highly-recommended.




3. Do you listen to Donna Murphy and think you're hearing Julie Andrews? I do. Phillips sounds like no one else. They're both marvelous.



4. The highly praised and awarded 1996 revival of Rodgers and Hammerstein's "The King and I" is preserved very well on this recording. The orchestrations are "deeper" now, and owing more to Asian motifs, but they work. Also, all of the cast, except the Caucasian parts, ARE Asians, and for the most part, particularly the Tuptim and Lady Thaing, they are good. Lou Diamond Phillips is no Yul Brynner, but he's decent, if a bit over-eager and boyish. And anyway, who could be as good as Brynner was in the part of the King? And then there is Donna Murphy. Her Anna is wonderful, very well-textured and sung beautifully and "veddy" British. She won a well-deserved Tony for the role. The score is just as magnificent as ever, well-delivered by the entire cast. This is a good recording, but get one with Brynner, too. His great performance should never be forgotten.



5. This recording really helped me understand what a great musical this is. I never liked Gertrude Laurence, so the original cast album was a bit lost on me. Donna Murphy reveals depths in the character of Anna that I doubt Gertie even knew about. And the controversial casting of Lou Diamond Phillips clearly paid off: he is sensational. Some re-orchestration has been done, subtly but tellingly. The only negative note: it makes those of us unlucky enough not to have seen this revival feel very sad. This is the one recording of Rodgers' and Hammerstein's wonderful work that is truly not to be missed!

4 comments about It Started with a Dream.

1. Listening to this cd makes you feel that you're out on a wonderful night on the town on Broadway. Cy sings beautiful songs with passion and heart. Cy is a dynamic artist with a melodious touch on his grand piano.

   This is the perfect cd for your next roadtrip. You can sing along as you enjoy the scenery going by, where-ever you are!

   Every song is great. One flows into the next, inviting your ears and senses to just listen. You will find yourself singing along. This is evocative, easy listening music with positive undertones. It's mood lifting to hear his interpretations (because at one point in your life or another - you can relate to what he sings about.) The songs, The Colors of My Life, Bad is for Other People, It Started with a Dream, and all the others featured will have you believing that The Best is Yet to Come... I love this cd. I may need to buy another one, because I've played my disk so much!




2. If you love masterful songwriting, you'll love this CD. Lyrically and musically this is top drawer. I discovered Cy's music when listening to Barry Manilow's Showstopper album, and I'm so glad I did. "Some Kind Of Music" was worth the price of the CD alone.



3. I have always been a sucker for composers and lyricists singing their own songs, and Cy Coleman is perhaps the best at it, followed closely by Martin Charnin and Burton Lane.
   The orchestrations are superb, easily the best I've heard in the genre. There is wonderful passion in these songs, which are excellently crafted.
   Sometimes, Coleman's songs have seemed to me to be derivative of other songs. His "Hooray for our Favorite Son", from The Will Rogers Follies is really a dressed up version of his own "Pass Me By",from the movie "Father Goose". It was camouflaged by girls and tambourines.
   The first track, "Some Kind of Music" seems an awful lot like Sinatra's "Let's Take It Nice and Easy".
   The eighth track, "I Really Love You" is perilously close melodically to Frankie Valli's "My Eyes Adored You".
   Why,then,5 stars? Because the songs are still wonderful, and spectacularly performed. Plus, I enjoy playing Tune Detective.



4. Cy Coleman has written some great shows and showtunes. Here's his chance to sing them his way. Wait until you hear "Witchcraft"... an amazing version that you'll want to play over and over. Tony Bennett's on the CD and he's never sounded better. If you're a Broadway show fan, this is an album you will enjoy. Even if you're not, that version of "Witchcraft" is worth the price of the CD....

1 comments about You're the Top: The Love Songs of Cole Porter.

1. Bobby Short has to be the leading Cole Porter interpreter today. It's hard not to think of Short and not picture him singing Porter. As for Cole Porter he is simplely the GREATEST composer that ever lived. In my opinion. I never heard Short sing some of the songs on this album and was wondering when he would record them. For instance "What Is This Thing Called Love" which is a or should I say WAS a very popular song. There's something extra here in this album,Short now works with a orchestra. Also he has Howard Alden playing his great guitar. I happened to hear Alden in the movie "Sweet and Lowdown". Short once again makes a great album. If your a fan of Cole Porter's music or Bobby Short...YOU HAVE TO GET THIS!