5 comments about Moderation.

1. A very complete 2-DVD set, full of lovely songs. Martin is quite unknown in Spain and maybe in all Europe, but people who have had the opportunity to see a film where he sings won't forget him easily. A very charming voice, capable of differents rythms, equally nice when singing very popular songs than unknown ones.



2. I Just Discovered The Wonders Of Tony Martin, This 2 Cd Set Is Fantastic!! Great Songs & Arrangements And The Gorgeous Voice Of Tony Martin...So Full Of Warmth, Tenderness & Strength!!! I Will Be Looking Into Buying More Of His Music & Movies!! Truly A Great Talent, Thank You Jasmine Records!!!



3. This is one of the best albums I have of Tony Martin, one of the greatest singers of the 20th century. It is great collections of some of Tony martin's memorable songs with a superb clear quality sound recording. If you love Tony Martin, you will never get tired of listening to this 2 CD compilation.



4. Tonys song were good and he has a great voice but they were not the songs I had hoped for. He sang in the movie " casbah " only one song was on the album. I was hoping all the songs were on it from the movie.



5. if you are a tony martin fan, then buy this ASAP, this reissue even
   surpasses the vocalion release "make with the magic" in its reproduction
   quality, the digital restorations are amazing, there are a few numbers
   that have been released before by other companies, but this release contains many numbers including duets, I had not heard before, as is the case with Tony Martin, superb performances, the duets mainly with Dina Shore are a perfect example to up and coming singers, in the art of voice blending, no domination with power by martin, just unison singing of two great artists, this style of singing is long gone from popular music,
   these recordings enable us to again listen to one of the great singers in his prime,

No comments about Swingin Christmas.

4 comments about Sarafina! The Music Of Liberation: Broadway Cast Recording (1988 Original Broadway Cast).

1. SARAFINA is a reminder of the struggles of black South Africans under the reign of apartheid. This musical came to America in 1987, 5 years prior to the abolition of this tradition of legalized racial segregation. The music by Hugh Masekela and performed by real South African student actors is inspiring, fresh, and will change your perceptions of the power of musical theatre. Sung half in native Zulu/Xhosa and half in English, and accompanied by traditional South African rhythms akin to Ladysmith Black Mambazo (a musical force of their own, but most known to Americans by their performance on Paul Simon's GRACELAND album), this story of student protestors in a township school is humorous, chilling, and will set your feet to tapping. It's a true celebration of the human spirit, and the fact that it is inspired by so much suffering is even more astonishing.



2. After seeing the Broadway musical "Sarafina", I was deeply moved. It has to have been the best broadway show I have seen. I am still moved to tears when I listen to the cd and reminisce about the actual performance. I wish they could do a revival of this musical. The motion picture has nothing on the musical. I recommend this cd to anyone who loves international music and wants to understand the struggle that South Africans went through during their fight against Apartheid. The cd is not just music but it is the actual play on cd.



3. If you have watched the movie but once, you will understand why it is essential to have this CD as part of your collection. Be transported into the mere shadows of the shoes of those who suffered. Be one with our brothers and sisters through their musuc. It will move you beyond words and surely bring tears to your heart for their suffering and for their victories. There is no price to high for this collection.



4. The soundtrack Sarafina is absolutely worth all of the money in the world. It allows you to hear the hearts of many who suffered in Africa and it reaches to the heart. The music takes you to Africa and no words can describe the value of the music. This cd is guaranteed to be worth all of your money and them some!

5 comments about Allegro (1947 Original Broadway Cast).

1. even on this truncated recording, you can tell it was an ambitious and often beguiling work. People have complained about the sound on this recording and the fact that a very large part of the score was omitted. Both of these complaints are valid. I do, however, disagree with the reviewer who criticized the voices, especially John Battles' - he had a lovely light tenor which may have wobbled occasionally, but suited his part very well. His rendition of "You Are Never Away" is achingly tender. It really makes me wish we had a recording of him in On the Town. The other voices were mostly very legit Broadway, which sometimes clashed with the poor sound quality of the recording. This is especially true of the sopranos. Nonetheless, I suspect (and from what I can recall from reading the NY Time review) that what the audience heard in the theater were mostly pretty fine voices.
   
   The plot comes across as pitting country purity vs. city corruption, but again this is likely an oversimplification, or perhaps should be seen more as a vehicle for the (somewhat) deeper message about being true to oneself. The score is attractive, but generally ranked among the lesser Rodgers and Hammerstein. Given the limited portion that's available here, it's hard to say for certain just how good it was.
   
   As discussed in some of the other reviews, Allegro was an extremely ambitious and innovative show for its day. The score was one of the most ambitious and innovative elements, and some of that does come across on the recording. However, given the descriptions I've read, I'd have to say that the more unusual elements are either downplayed (the use of the Chorus as a Greek style commentator) or almost completely missing (the underscoring, interweaving, repetition and building of themes). Thankfully, the reviewer who says that a complete recording is in the works is right. Playbill.com had an article in July '08 describing the work in progress, giving the cast, and noting that the recording part was pretty much done. It said a release date and label will be announced shortly. I'm really looking forward to that release because I so want to hear this score in a way that approximates what was originally done on stage, and this original cast album just doesn't do it. That said, I would say it's worth having for what it does do and for the collector's value. It is one of the few mementos we have of a show that was probably underappreciated in its day.
   
   Finally, I have owned this on vinyl since it was rereleased in the late seventies, and I bought it on CD almost as soon as I saw it available. Despite any comments that sound to the contrary, I like Allegro, a lot. Frankly, I'm fonder of all the Rodgers and Hammerstein flops than I am of their more successful shows, as good as those can be. It seems to go with rooting for the underdogs and with preferring Rodgers' earlier work with Hart to what he did with Hammerstein. I'd say it's because the cynical and sophisticated and sad Rodgers and Hart works appeal more to my temperament than the more optimistic and folksy style that Rodgers found with Hammerstein. Maybe the more successful shows grate on me because they are so well known and as much as any Broadway show is nowadays, overexposed. They don't really need my attention or affection. Allegro, Me and Juliet and Pipe Dream, as worthy as they are, are much less known and remembered.



2. I saw Allegro when I was about 13, a Junior High School drama teacher took a bunch of students to see a production by Boston University. I liked it, but could not get the cast album because it was way out of print. It came back into print about 5 years later and I have had it ever since. The only release on LP was in phony stereo and rotten sound. The CD release improves on the sound quality quite a bit. Unfortunately all the problems discussed in all the other reviews are very much part of this release. RCA's first two broadway cast albums are both attrocious (this one and Brigadoon before it), they only recorded the main parts of the major numbers. Thank goodness Brigadoon is a wonderful show and has had at least two other recordings that do it justice. This is Rodgers and Hammerstein, folks, two of the Gods of 1940's--1960's musical comedy. Lesser R & H is still the work of masters, and this is not really lesser work. If heard in its entirety, the score carries the show along, fairly well. Its not Carousel or The King and I, but it is adventursome in its style and story telling. Tommy Krasker and Philip Chaffin, where are you???? I wouldn't be surprised if Ted Chapin of the R & H organization would be willing to help defray the costs of a new, decently done recording of the ENTIRE score. BTW, City Center Encores did Allegro in its very first season. There was an opportunity missed. Playing the Liza Kirk role was Christine Ebersole.
   Until something better comes along, and it will, get this before it is no longer available. You can still hear some of what this show is about and get a sense of the story telling sensibility. This show more than any of the other R & H vehicles was driven by Oscar Hammerstein. Not to be missed are One Foot Other Foot, A Fellow Needs a Girl (a ballad as only R & H can do one), The Gentleman is a Dope and the Title tune. 3 stars for the material, the deducted 2 stars are because RCA did a lousy job recording this show initially. Decca or Columbia would have done a much better job, but thats water under the bridge. Show music buffs, do get this one.



3. This original cast album is not bad, but, considering the innovative format of the show, it just isn't good enough. If ever a musical called for a complete recording, this show is it. Well, according to Rodgers and Hammerstein Library friends of mine, one is in the works at last. I will not say who is performing, but it will have some of the best singers on Broadway and opera today.
   
   The original just doesn't carry the pizzazz the show requires, and bear in mind that the original show is a very bold kind of show, with a Greek style chorus, consistently underscored dialogue, and a misunderstood
   "message" that rubs some people wrong. It isn't about big city life being bad, small towns being good. It's about allowing your life to spiral out of control. This recording preserves the voices, but sonically it shows it's age much more than the original South Pacific does. The new recording of Allegro will be out early in 2009, so let's save our money and wait.



4. Contrary to what has been written on this website, Rodgers and Hammersteins original cast recording of "AllEGRO" is NOT out of print. I had a few bucks and so I ordered three copies of this cd from my Barnes & Noble store.The speical oder came in three days later. I then called Sony/Bmg and talked to a executive who confirmed that this title is still very much available to buy. He did add that it could be deleted as cast albums have been on the decline. Why? people download music on their computers, which hurts IN STORE sales. He also said that cds COULD go the way of the LP in five to fifteen years ( scary!!). Get them before they're gone!!. mrmusicals



5. It is hard to judge ALLEGRO with this uncomplete cast album.The show was always dear to RICHARD RODGERS, who said in his autobiography that he always wanted a revival that never happened while he was alive.A new cast album should be made,even if the feeling of the period could not be recreated.The fact that both the father and brother of mister RODGERS were doctors tells a lot about his personnal feelings over this show.Since this recording is the only one we have,it is still a must for RODGERS AND HAMMERSTEIN fans.As experimental as it was in 1947 in it's structure,ALLEGRO is far from being a dud.You should buy it before it goes out of print forever.

1 comments about All the Way.

1. "All the Way" is a collection of singles and B-Sides from the last years Frank Sinatra spent at Capitol Records, which means that by definition it lacks the thematic unity of his best albums from this period. However, four of the dozen songs are by Sammy Cahn and Jimmy Van Heusen, including the title track and "High Hopes." Along with "Witchcraft" those are the three best songs on the album. You will also find an interesting take on another kiddie song, "Ol' MacDonald," which is done as a sort of jazzy farmer's daughter joke. If you have the Complete Capitol Singles Collection of Frank Sinatra, then you have no need for this CD version of the 1961 release because you already have all the songs. At the very least, you probably already have the three big hits in your music library.

5 comments about On The Town (1995 Studio Cast).

1. On the Town is one of the Great Theater Scores of all times. If you don't know it well then you probably think West Side Story came out of no where from Bernstein's imagination, when nothing could be further from the truth. On the Town is a younger man's musical, told in song and dance almost equally. This great score has been very well served on recordings. Leonard Bernstein went into the studio in 1960 (almost 20 years after the show closed and brought all the important parts of the original cast with him. Nancy Walker, Betty Comden, Adolphe Green, and Cris Alexander recreate their Broadway performances magnificently, and Bernstein conducts as only a composer could. Unfortunately although he recorded the entire score, when it was released, bits and pieces were snip snipped and some have never been found. None the less Bernstein's is a great recording for the ages. Along comes Bernstein protege Michael Tilson Thomas and records the score a little more completely including some music cut, that illuminates some of the dance music and helps us understand where certain dramatic themes came from. Very well cast with Frederica Von Stade and Tyne Daley (yes Tyne Daley) in the Nancy Walker role. The men are equally strong, led by Thomas Hampson. If you never heard Nancy Walker, you would love Tyne Daley. As a matter of fact, I still do love Tyne Daley. Then along comes John Yap and Jay Records to do to On the Town what they usually do, give us a note complete recording, every bar of every dance sequence, including the scene changes. As with most of the best of Jay's recordings, this one gives us the best idea of how the show plays on stage. Then, he gives us a superlative cast, Judy Kaye as Claire de Loone, Kim Criswell as Hildy Esterhazy and equally strong men. I am a huge Kim Criswell fan, and a huge Judy Kaye fan and they do not disappoint. The thing is that each of these On the Town Recordings are strongly cast. I like Kim Criswell best if she is the last one I heard, if not then I like the one I heard last, best. All three people in these roles are teriffic. For me, it really folds out to the conducting. Bernstein conducts like Bernstein conducts, full of wild manic energy but with all the players pulling together. I had the great good fortune to know him and work with him, and most importantly to perform under his baton, and there was no more exciting moment in my life than performing with him. Michael Tilson Thomas is just as driven, maybe even a little more so, it plays out a little more jazzy and a little less classically "Prokofiev". John Owens Edwards is the odd man out. He plays it just a little more romantically and a lot less frantically, but he still completely understands how this score should go. Buy any of these recordings and you will not be sorry. If you are like me and On the Town is one of your favorite theater scores (and how could it not be if you love the Broadway stage), buy 2 now and get the third in 6 months or so.



2. First off: There should be a special award for John Yap, Executive Producer of Jay Productions LTD for giving us "complete" recordings of classic Broadway musicals. Before the advent of the compact disc, musical scores had to be truncated to fit the time constraints of a double-sided LP record. (Record companies believed, and possibly correctly, that record buyers would reject a recording that stretched over four sides.) And prior to the LP, original cast recordings were often limited to 8 or 10 tracks.
   
   All this by way of saying how grateful I am to have all of Bernstein's wonderful score, including dance & incidental music, included on this recording, and, along with Sony's 1960 studio recording, consider it an essential recording.
   
   But it's the 1960 recording that I will keep returning to, even though I admire both Kim Criswell (a fine Reno Sweeney on EMI Classic's ANYTHING GOES) & the incredible Judy Kaye. Their performances just can't measure up to Nancy Walker's "Hildy" & Betty Comden's "Claire DeLoone." And Ethan Freeman pales next to John Reardon's gorgeous, classically-trained dramatic baritone. Having Leonard Bernstein, himself, conducting doesn't hurt either.
   
   Even though I consider this recording essential to your library (okay, at least to my library), I'm sorry that I can't rate it any higher because of the superior, vastly more exiting, Sony recording.
   
   (I'm just beginning to collect the Jay "complete" recordings, and I assure you that some of them are truly fine. Good work, Mr. Yap.)



3. this show is amazing......my advice is to buy the cd.....it is well worth the money!!!! u'll love it too!!



4. "On the Town" has one of the greatest scores of any American musical. Of the three currently available, this can stand on an equal level with the great 1960 recording conducted by Bernstein and featuring most of the original principals, and a bit ahead of the Michael Tilson Thomas recording. This recording does suffer a bit from the fact that most of the singers have never played their roles on stage, but they are all such good theatre singers that they make up for it. And although occasionally John Owen Edwards's tempi choices are just too slow, for the most part his slowish tempi pay off. The ballet music, in particular, has perhaps never been recorded so powerfully. This recording captures the sadness underlying the piece far more than the other recordings do. The Bernstein recording may be first choice in many ways, but in the end I have to say I like this one rather more. And it's nice to have every bit of music that was included in the original production, especially the beautiful entr'acte, although the Tilson Thomas recording contains more of the music that was cut from the original production than this recording does.



5. Most people know On the Town only from the extremely silly movie version, which eliminated virtually all of Leonard Bernstein's amazing work (Harold Clurman, of all people, said that Bernstein's score "IS music.") These people do not know what they are missing - there are few musicals in the annals of the theater with better scores than this one. And this is NOT the CD to buy if you want to hear it. Every song is in some way mishandled, with poor acting, far-too-slow tempos, and annoying vamps. If you really want to hear this score, get the one made with (most of) the original cast; Comden and Green, the fantastic Nancy Walker (a show all by herself), and the whole company are wonderful, as is the music - you actually feel the excitement intended! This recording was utterly pointless; such studio albums should only be done of shows with flawed or absent originals, and not mislead people into thinking that truly great recordings somehow weren't good enough.

5 comments about On Broadway.

1. This is a somewhat difficult to find title, but well worth the effort. Ms McArdle has had a marvelously strong voice since originally creating the role of Little Orphan Annie in the Broadway production of "Annie" (aside: I was lucky enough to catch her in London at the Victoria Palace Theatre, and I don't recall ever having as much fun at a musical production either before or since). In any case, the now grown up lady is all too underrepresented on CD, and if you like show tunes, this eclectic grouping will leave you wanting more from this terrific singer. Her rendition of Never Never Land is straightforward and breathtakingly lovely. Some of the other choices are curious and a matter of taste(too much Lloyd Webber for me), but her interpretations are difficult to fault.



2. This cd grew on me. At first, I dismissed it because of the pop-style arrangements that Andrea McArdle's husband, Edd Kalehoff, put forth which doesn't fit with a traditional Broadway style that Andrea does so well.
   
   However, because I am a big Andrea McArdle fan, I decided to continue to listen to this cd. She sings these songs really well, has tremendous diction, and shows tremendous range of character. The arrangements work better with 60s songs like "Easy To Be Hard" from Hair and "Pinball Wizard" from The Who's Tommy. I actually listened to the originial Pinball Wizard but I like Andrea's version more--which says a lot because I almost always prefer the original version of songs more. However, it's not really my type of song, so you can take that for what it's worth.
   
   Her daughter, Alexis Kalehoff, does her parents proud with a really sweet version of "Castle On A Cloud" from Les Miserables.
   
   Overall, many of the songs on this album could have been better arranged, but it still is worth buying if you are an Andrea McArdle fan since she hasn't recorded that much. I hope she gets the opportunity to record a lot more as she is one of the bright talents on Broadway, with a distinctive, likable voice and deserves more cds and chances to show her stuff.



3. This is a great Broadway CD sung by the quintessential Broadway voice of Andrea McArdle!!! Don't miss it! Her voice sparkles with a clear, true sound. Truly masterful!!!
   
   She opens with "Never Never Land" and sings it with the kind of warmth and wonder that only Andrea can give with such spirited generosity. It is simply the best interpretation of that song that I have ever heard recorded, live or otherwise. Similarly, many performers have recorded "Don't Cry for Me Argentina," but only Andrea actually sings the song with the depth of emotion and range it was meant to have and thereby evokes a truer response from the listener. As the song builds, she remains centered and delivers her strength from resources within, as opposed to allowing her vocal to go wide, as some performers have done in the past, to substitute for lack of technique or emotion. Likewise, her version of "Buenos Aires" is relentless as it should be. As she takes us into the bridge, she does so with a brightness that is fresh and natural to the meaning of the song and its position in the musical as a whole, while at the same time staying away from the typically pumped up false bravado that lesser talents have superficially imposed upon it. The beauty and intimacy of "Starlight Express" is painted as a soulful lullaby that awakens an enchanting dream world just beyond the imagination of the listener. Her personality is illuminated in her music as well as in her choices and she reveals a quality that is quite personal, lovely, and accessible.
   
   Perhaps it is Andrea's persona that we remember as the wide-eyed child singing about "Tomorrow" that makes "I Dreamed A Dream" so bittersweet. Yes it is meant to be bittersweet, but when Andrea sings it, it takes on a cache that is deep, beautiful, brilliant, and at the same time heartbreaking. Even though all is lost for her character Fantine, Andrea weaves a message bearing hope for future generations.
   
   Opening the album with "Neverland" and closing with "Tomorrow" is of course a stroke of genius. Andrea gives her signature song added resonance as an adult, reminding us of new possibilities contained in every fresh moment. She has given us the voice that hearing her sing for the first time as a child promised it would become. Andrea McArdle is not only a force to be reckoned with, but more importantly, a talent to be celebrated. I believe Andrea McArdle and "Tomorrow" is that rare blend of singer and song that happens only once in a very long while. Like Judy Garland and "Somewhere Over the Rainbow," and Barbra Streisand and "People," Andrea McArdle and "Tomorrow" will be remembered and treasured for all the tomorrow's to come.



4. All I can say is this album is a big disappointment!!! It was cheaply produced and it shows!! No big orchestra or big band to back up Andrea. Her selections of songs are badly chosen for her. What is Andrea singing Rock for? Pinball Wizard and Starlight Express ??? The arrangements for the song show no imagineation!!! As for Andrea's voice.. it still is powerful... this album just doesn't show it . Please Andrea if you ever get a chance to record another album... get somebody with taste and talent to produce for you. As I stated this album is a big disappointment... well maybe "Tomorrow" will big a better album for Andrea!!!



5. Nobody belts out a song like Andrea McArdle. Ever since she captured our hearts as "Annie" she has given every note of every song her full attention. Her voice has matured over the years and she still has that amazing range -- now with extreme polish. I could have done without "Pinball Wizard", but loved all the other selections. There is nothing like hearing Andrea sing "Tomorrow" -- whether she's 14 or 34. I can't wait for "On Broadway Part II" -- hopefully, it's in the works.

1 comments about Black And Blue: A Musical Revue (1989 Original Broadway Cast).

1. This musical soundtrack is my favorite! It has a diverse offering of artists who range in vocals from a very robust and alluring tenor to enchanting soprano. The types of songs go from fun & upbeat to "somebody-please-get-me-a-tissue" blues. These selections will make you envision whatever scene/theme that is being performed and will force you to crawl into the number and savor/enjoy the fun or the blues of it.

   I love it!! I believe you will, too.

5 comments about Oscar & Steve.

1. "Evita" introduced me to Mandy Patinkin. I enjoyed him in the first act of "Sunday in the Park with George" (I found the second act to be superfluous). I liked him in "Chicago Hope," although that was not a singing role.
   There is probably no other current singer with such a pleasing light voice, or the ability to move seamlessly into and out of the head voice. But when he goes full voice or drops into his lower register, it becomes harsh or strident. This is appropriate for "Beat out dat Rhythm on a Drum," but it is not right for "If I Loved You" or "Bali Hai." It also makes "You've Got to Be Carefully Taught" angry instead of pensive, as it is in the musical.
   Additionally, there are times when the orchestrations are controlling, instead of complementing, the singer. This is especially true in all the numbers from "South Pacific."
   In sum, this recording has both the good and the not so good. I cannot rave about it; nor can I completely pan it.



2. Some reviewers were truly dissapointed with Mandy Patinkin's voice. Obviously. When you buy a CD, know if you like the performer's style. Some people dont exactly love this man, and some do. This review is for those who do, or who at least know they are interested.
   
   Mandy Patinkin is one of the most talented performers of our age. There is no doubt about that. Is this is best album? Probably not. Is this Mandy Patinkin's beautiful voice in its purest form? Most certainly not. But when I got the amazing opportunity of meeting Mr. Patinkin, I could only have him sign two of my CDs, as to not look like a fool. The one I picked up immediately was the original cast recording of Evita, with Mandy as Che, and what I would recommend to anyone reading this. That has an incredible mix of Mandy's soaring highnotes (High Flying Adored), and his booming angry lows (Oh What a Circus) and so many amazing songs of his and Patti Lu Pone's. But this writeup is about Oscar and Steve. That was the second CD i grabbed, because it goes beyond the amazing.
   
   While too great a portion of the soundtrack is taken up by Mr. Patinkin's lilting soaring tenor, there are some true gems, generally the ones that take advantage of his beautiful lower range. Pleasant Little Kingdoms is frantic and Poems is perfectly pretty, both really good duets with nameless entities (maybe I'm just too lazy to look). BUT! The best songs of the album are the loud and angry ones like Bali' Hai, and the ending with the two best songs, Not a Day Goes and the Children Will Listen Mix. This is where Mandy Patinkin really takes off, and where we see the true feeling of his art.
   
   For anyone who likes deep songs, and for those who likes those songs to be materfully sung, I highly suggest Oscar and Steve (and get Evita while you are at it).



3. Afraid I have to echo the sentiments of the dissenters here. Praise first: the arrangements are rather nice, as they have been for the rest of MP's albums. But I can't help but agree that MP's vocal stylizations are getting pretty nauseating and he now sounds like a parody of himself. What was so wonderful on the "Evita" and "Sunday in the Park" cast albums is no longer to be found. This and the "Bernstein-New York" album had me running for the eject button. Too bad.



4. I recently saw Mandy Patinkin in concert, and absolutely loved him. I immediately bought his CD "Kidults" and it too was great, so I thought "Oscar & Steve" would be a good addition as my next Mandy acquisition, especially since it recieved such great reviews here.

   Oy, what a stinker!!! Are the people who gave "Oscar & Steve" five stars deaf? Mr. Patinkin was not in good vocal form when he recorded this. There's a gigantic chasm between his upper and lower registers. The keys that the songs are arranged in are bizarre. If the high notes were any higher, dogs would come running, and the low notes have a comical, bass-baritone, cartoon-villain sound. In between, the voice has a vibrato wide enough to drive a truck through it. Add to this the fact that every song is dreadfully over-acted. Was M.P.ill when he recorded this, or what? And what on earth did the producer think when he listened to the tracks?

   Buy at your own risk!




5. If you have never seen Mandy perform live, you have no idea what you're missing. This CD will give you an inkling of his talent. His "If I loved you" is an incredible rendition. "Beat out dat rhythm on a drum", "Bali ha'i" and "Honey bun" are just so much fun to listen to. "You've got to be carefully taught" is powerful. He was born to sing this music.

1 comments about Doctor Dolittle.

1. While the original movie "Doctor Dolittle" starring Rex Harrison was a flop, this cd of a 1998 London stage production shows off Leslie Bricusse's score to much better advantage. Instead of speaking all the songs, which Mr. Harrison relentlessly did, the cast sings the score all out and gives the listener a surprise-it's actually not a bad score!
   "Talk to the Animals" is presented almost religiously, but does not dominate the show's music as many of the other numbers finally stand on their own.