4 comments about Good & Rare.

1. I was somewhat disappointed at this bing offering because I felt they left out a ton of rare bing material !
   These were some just ho-hum performances. The bing rare 2 cd offering is a definite no buy folks
   I doubt I'll ever listen to that cd ever again



2. As the title suggests this is not your average compilation where they yet again take many of Bing's hits and put them together. This compilation came about from looking over some of Bing's lesser known songs that are very good but don't get the attention that some of his biggest hits get. This is a nice collection that combines not only songs in english but also songs in French and German. Some of these songs were no doubt sung on his radio programs. Speaking of his radio programs, here's a little history to show the huge impact Bing has had on the way things are done. When Bing started doing his radio program on CBS all radio programs were done live. As his popularity soared and he got busier with movies etc...he pushed for CBS to let him record his radio program and then play it back. CBS said absolutely not since they weren't sure how the public would react to the new technology (vinyl record player and taped laughs). Bing decided to look elsewhere and signed with NBC who was almost bankrupt at the time. He single handedly saved NBC as the popularity of his show didn't take a hit and other stars of the day approached NBC for contracts that would allow them to tape as well. Anyway, back to this cd. This is a great collection that deserves to be bought and enjoyed if for no other reason than to allow these songs to live on.



3. This is a great CD of Bing's.
   Makes a nice change to have different items on a CD than the usual 'Swinging on a Star' etc.
   Good stuff and really enjoyable, but then what isn't enjoyable by Bing.



4. A lovingly produced presentation of Crosby rarities from the 1950's in wonderful sound.

2 comments about 50 by Bobby Short.

1. Out of all the CD'S I have of Short; 50 by B.Short is one of his best! Very Tight! Perfect Timing! To me, he is at his best in this collection. You get a myriad of years to listen to. About 1954 to about 1980. You will delight! David Thomas



2. This is one of my all time favorite CDs. The craftsmanship of the selections is excelled only by their scope.

5 comments about Rent.

1. This album has a nice, rock groove with amazing vocalists. The live guitar and musicians make this one of the best karaoke albums I've ever heard. A great addition to your Broadway collection.



2. I'm madly in love with the music of Rent. Being a singer, I wanted the Karaoke immediately and purchased this CD. What a waste of money. Terrible musical renditions - Hokey is a great way of describing this CD. Save your money and get a different version if you can find it.



3. This product really isn't worth the money. If you want the RENT music without the lyrics, a cheaper and more efficient way would be to purchase the sheet music.



4. I was disapointed because their are no lyrics printed or on-screen lyrics. I love Rent and know all the words but I wanted to be able to bring this CD to the bar and sing. Without the words I'm afraid my nerves will make me forget them.



5. This CD is an utter dissapointment, and definitely not worth the money I paid for it. I played it once, and was horrified at the "cast" and unhappy with the orchestrations. What's more, leaving off 'Light My Candle', 'Tango Maureen' was truly a stupid idea.
   Do yourself a favour, keep looking and find the other Karaoke CD... it's hard to locate (indeed, I am still trying) but it is much better than this. It's even more expensive, but truly... worth it.

5 comments about Can-Can (1953 Original Broadway Cast).

1. "Can-Can", as most reviewers indicate, is second-rate Cole Porter in comparison to "Anything Goes" and "Kiss Me Kate"; but any score that includes standards such as "I Love Paris" and the stunningly beautiful ballad "It's All Right With Me" can't be dismissed lightly. This Capitol Original Broadway Cast album showcases the show's strengths (Porter's score & Abe Burrows bawdy book) and weaknesses (lackluster performances from most of the stars and indifferent orchestrations) but still is better than the 1960 film version, which cut most of the score and story, but benefits from the lush Nelson Riddle scoring and features miscast Frank Sinatra's poignant definitive vocal of "It's All Right With Me, one of the greatest vocal performances of the 20th. Century. The soundtrack can be enjoyed on its own level (if EMI ever decides to reissue it on CD) away from the mediocre film and both versions belong in any musical theatre collection. A new production of "Can-Can is opening at the Pasadena Playhouse in Southern California at the time of this review with a revised book and a superb cast which could be Broadway bound and may introduce "Can-Can" to a new generation of theatergoers. This is a good thing for, as it has been established that Cole Porter's score for "Can-Can" is second rate Porter, compared to most of what has passed for musical theatre on Broadway since the 1980's, "Can-Can is a masterpiece. It is genuine musical theatre, not a thrill ride masquerading as musical theatre. And when the audience applauds, they will be applauding the artistic aspects of the show, not the technology as is common with today's Broadway musicals.



2. Read the reviews (including the Amazon staff reviewer who didn't even get the song titles or lyrics right), and had to say something. This show, "Out of This World," and the revival cast recording of "Anything Goes" with Eileen Rogers and Hal Linden are my 3 favorite Cole Porter scores. When I was into Bway, I listened to them constantly. And loved it! This show produced several standards, and all the songs (except "Never Be An Artist" and "Maidens Typical of France") (did I get the titles right? it's been a long time) I think are wonderful. A pleasure. The lyrics aren't witty. And only mildly clever. But they are still better than anything anyone else except Larry Hart ever wrote. One reviewer said that paradoxically, in this Porter score, the music is better than the words. I don't agree, but I see his point. One thing I noticed however, starting with "World," Porter's sexy cleverness, while never always so subtle, borders on the blatant.



3. It would be easy to say, as many critics did, that Porter was not up to his usual standards. I have to disagree. "Can Can" is a wonderful score that never has been given it's due. Many popular songs came from this, but the best ones are overlooked.
   
   
   The performers are all top notch. Lilo takes her material and belts it to perfection. Being a Gwen Verdon fan, I found her numbers thorougly enjoyable.
   
   
   The sound quality is great considering the age of the material. Angel supplied wonderful liner notes, and the synopsis is very helpful. I can recommend this to Porter fans, and those who enjoy great music. Also for Porter fans, "Mexican Hayride" is now available from Decca Broadway.



4. Capitol Records gave the score of CAN-CAN a lively cast album in 1953. Of necessity some music had to be cut: The Garden of Eden Ballet, The Apache Dance, The Overture. Lilo has a brassy Broadway belt voice and makes the most of her songs. Peter Cookson sounds dull, though in a way that does fit in with his stuffy character. The remaster is well done and as with others in this series the liner notes are fascinating and well written. The movie sountrack version of "It's All right With Me" by Sinatra is much better but that CD is now out-of-print. Given the number of hits this score yielded plus other shows set in Paris (SILK STOCKINGS, PARIS, FIFTY MILLION FRENCHMEN) it's clear that the city served as Porter's greatest inspiration.



5. When "Can-Can" opened on Broadway in 1953, critics roared with approval for Michael Kidd's choreography and his fetching lead dancer, Gwen Verdon, who became a star overnight. They dismissed Cole Porter's score, for this show about the bohemian Montmarte culture of 1890s Paris, as "not up to his usual standard." Even though the score ended up producing five hits-"I Love Paris," "It's All Right With Me," "C'est Magnifique," "I Am In Love," and "Allez-Vous En, Go Away"-time and this original cast recording seem to agree with the critics of 1953. This is a rather hum-drum Porter score, most of which is not particularly memorable. Even the naughtiness of his lyrics seems to be there as a cheap shock rather than the usual sly wink. The hit songs aren't bad, but that's about it-even the best of these songs, "It's All Right With Me," is given a too-fast and not really well-sung rendition by Peter Cookson, a dramatic actor in, as far as I know, his only musical.

   Thus, there isn't much to recommend this recording, except maybe its star. Not Verdon, who only appears in one song in which her trademark throaty quiver is virtually unrecognizeable (If only her spectacular dances had been preserved on film!), but Lilo, the French chanteuse for whom this show was supposed to provide a smashing American debut. Lilo actually does a pretty enjoyable job of belting out the standards and other songs she is given, but even she may not be enough to make the score seem any better than it is.

   "Can-Can" was filmed with the story and score heavily changed in 1960. In addition to the glamorous evocation of Pais itself, what was left of the score, even when sung by plain American folk like Frank Sinatra and Shirley MacLaine, did manage to provide much more enjoyment than is available from this recording.

3 comments about The Greatest Songs.

1. Normally, I LOVE Andrew Lloyd Webber's music. I've bought many CD's featuring his work, so when I saw this collection at the music store, I was pretty excited "A DOUBLE CD??? For 20 bucks? Oh yeah!" I thought it would good esp. when I saw it said "stars of the london stage." So imagine my reaction when I put it into my CD player once I got home and starting listening to it...the performers on this CD SLAUGHTER many of Webbers greatest songs. The musicians were fine, its the SINGERS that ruin it. For example "Think of Me" sung by Lesley Garrett doesn't even SOUND like the song! The end where she goes up the scale is suppossed to be POWERFUL, and OPERATIC, NOT lazily swooning!
   Have these performers ever actually PERFORMED this music? I am aghast that I wasted 20 dollars on this CD...and KICKING myself for it too.



2. This is a double disc 1995 recording of all of Andrew Lloyd Webber's greatest songs. Stars of the London stage perform the hits.

   1) SUPERSTAR is sung pretty strong by Christopher Howard but his voice is a little wabbly for the strong role of Judas. 2)I DON'T KNOW HOW TO LOVE HIM is performed by Original London Cast Member Sharon Campbell and is considered the "authoritative version" I prefer Yvonne Elliman's performance. 3)EVERYTHING ALRIGHT is okay but when Christopher Howard belts "feet and HAAANDS!" it's pretty amazing. 4)CLOSE EVERY DOOR has Andrew Wadsworth, who's too old to sing the role of young Joseph. 6)ANOTHER SUITCASE has another older person, Sharon Campbell, singing the role of a teenager. Although it may be pretty it doesn't work for me. (I know I'm picky!) 7)OH WHAT A CIRCUS is a disappointment because it isnt the whole song! It stops before "Sing You Fools!..." 9)TELL ME ON A SUNDAY is musically boring 11)UNEXPECTED SONG has DIVA Meredith Braun of London's "Sunset Boulevard" fame as Betty (Available on CD. She can also be heard in what I think is the DEFINITIVE version of "On My Own" on the Les Miserables Manchester Highlights CD, available on AMAZON.COM) She performs sweetly, it's not belt like Bernadette Peters or the Kim Criswell Version but it's enduring. 12)MACAVITY has a sexy Michelle Hooper and an "Ertha Kittish" Deborah Steel who both actually played the character roles of Demeter and Bombalerina in London. 13) MEMORY is sort of a disappointment. Lesley Garett is a DIVA but Memory is not an operatic song. It's a BELT song.

   CD II is MUCH BETTER and worth the price alone

   1-6) Lesley Garett shines as Christine in the Phantom songs. Meredith Braun is sweet as Meg, and Dave Willets isn't half bad as Phantom. 7) SEEING IS BEIELVING is nicely sung but Meredith Braun, even though she is a DIVA, is too young to sing the role of Rose, so they changed the part when she sings "he is young, very young but appealing!" so it would make sense.

   Now we're in the Sunset Boulevard section which I think is pretty fierce! 9) SUNSET BOULEVARD sung by Gerald Casey is pretty gutsy.

   ENTER MARY CAREWE. I DON'T KNOW WHO SHE IS BUT SHE'S SO DIVA. 11) WITH ONE LOOK sung by Mary Carewe is amazing. Mary is the ONLY woman to take the higher notes at the end of the song besides the first Norma Desmond, DIVA Patti LuPone. All other woman who play it take the note down. My only concern is that I think she's to young to sing Norma but Damn does she BELT it! And sings it better than most of the famous Divas I've heard. 12) TOO MUCH IN LOVE.. is pretty terrific. Actually I prefer Anita Louise Combe's rendition over Meredith Braun's and Judy Kuhn's. (Anita can be heard playing Betty on the Canadian Cast of Sunset Boulevard with Rex Smith, the definitive Joe. She can also be heard sing What Kind of Fool on the Saturday Night Fever, London Cast CD. She's fierce and she BELTS.)

   The Last and final song of the CD set. MISS DIVA MARY CAREWE 13) NEVER SAID GOODBYE is Belted! She belts the last "Never said goodBYEEEEEEE! We taught the world new ways to DREAAMMMM!" Only Barbara Streisand sings the song like that and Mary stole from her, but it's diva. Also it's in the Original key which I don't think all the other actresses sing.

   Well now, I've thoroughly gone through most of the songs. It's a great CD to listen to because it does have ALL the hits but if your looking for stellar perfomances, save CD II, you might be disappointed. But I would say for you to buy it to hear the Sunset Boulevard section. Hope this review helped!




3. Basically two disks for the same price as a lot of the other one disk Andrew Lloyd Webber collections. Contains a nice selection of songs from the expected shows (Jesus Christ Superstar to Evita to Cats to Phantom to Sunset Blvd). A good value for somebody who would like two hours of great songs. My only complaint - I wish there were more songs from "Cats".

5 comments about Judy.

1. Judy Garland had those legendary genes from the beginning of her incomparable & remarkable career and if one needs proof today just look at the still amazing careers of her two supremely talented daughters Liza Minnelli & Lorna Luft...both great singers and incredible performers still touring in stellar form as of now and making Mom very proud as they are both giving amazing performances winning numerous Standing Ovations nightly in World Class venues around the globe!
   Through a true labor of love, producer Joel Dorn put together this fascinating Box Set of Judy Garland from the beginning of her tremendous career as a brilliant young singer wonderfully charming & complete vocal perfection to the grand finale where Judy acheived status as the a world-class performer and greatest singer of her generation and beyond...beautifully illustrated with a fascinating Aretha Franklin interview where Lady Soul herself calls Judy Garland the greatest Soul Singer & this gem of a box set is so brilliant that true connoisseurs of this entertainment wonder will be in musical heaven as the range and full scope of Judy's recorded work are on brilliant display along with a stunning video sampling from the legendary CBS Television series...again a lavish booklet contains a number of interesting stories & interviews but Aretha Franklin exclaiming Judy as the Ultimate Soul Singer has the ring of truth to it as Judy more than earned this high compliment with a legacy of quality great vocals throughout her wondrous career that were always sung with heart and soul and a great amount of passion!
   Those lucky to secure this entertainment treasure chest will marvel at the peerless career of Miss Show Business who was the greatest of them all for a number of decades and the late classy producer Joel Dorn, God Bless him, realized this and gave us this great treasure...Bravo to Joel and to Judy!!!



2. This Judy Garland box set, which is simply entitled Judy, gives us so much to enjoy. We get four fantastic CDs; and the sound quality is excellent. There is a VHS video; this gives people some of the highlights from Judy's critically acclaimed weekly television series. In addition, you really do get a 100 page booklet with great information about Judy.
   
   "The History Of My Life Is In My Songs" starts the first CD with this tune from Judy's 1955 LP entitled Miss Show Business. Judy sounds very strong and her voice is warm, vibrant and full of positive energy. Great! "Zing! Went The Strings Of My Heart" is an older recording from Judy's recording years at Decca; she sings this flawlessly with the grace and style of a much more seasoned chanteuse. Judy also does a smash-up job on "(Dear Mr. Gable) You Made Me Love You;" this comes from the film Broadway Melody Of 1938. In addition, "For Me And My Gal" features Judy again at her best; this song remained a concert staple for Judy during her concert years after she left MGM.
   
   On the second album, "Get Happy" comes from Summer Stock; and Judy aces this effortlessly. "The Man That Got Away" comes from the soundtrack of A Star Is Born from 1954; and Judy sang this so passionately it easily became one of her signature songs. "Happiness Is A Thing Called Joe" again features Judy front and center--and she loved this song because her son was named Joe. In addition, "Rock-A-Bye Your Baby With A Dixie Melody" was another concert staple for Judy during her concert years; this Al Jolson hit sounds even better when Judy sings it!
   
   On the third CD, "What'll I Do?" gets the royal treatment; Judy sings this with great sensitivity. "On The Atchison, Topeka And The Santa Fe" showcases Judy's ability to perform this MGM classic tune during the latter years of her career; Judy sings this so well she truly owns this song. "Get Happy/Happy Days Are Here Again" showcases Judy Garland doing a magnificent duet with Barbra Streisand; it was very rare that these two great songbirds worked together.
   
   The fourth CD rounds the track set out nicely. "Swanee" gets a fine treatment; this also was a concert staple for Judy; her adoring fans loved how Judy could really let loose during this tune to deliver it with all her might. "By Myself" comes from the movie I Could Go On Singing;" and Judy again performs this to perfection seemingly without any effort whatsoever. Great! There's also "Old Man River;" this tune from the 1960s couldn't sound better.
   
   Of course, there's that 100 page booklet. The photos of Judy are wonderful; and you can read fascinating essays by Joel Dorn, Will Friedwald and Scott Schechter. There's also an interview with Mort Lindsey, who conducted Judy's orchestra for years.
   
   The videotape has numerous highlights of Judy's TV series. We see her perform "Swanee;" "Almost Like Being In Love;" What'll I Do;" "Come Rain Or Come Shine" and other songs. It's wonderful; and the image is crisp.
   
   This may no longer be the latest or the most complete Judy Garland box set; but a diehard fan will still want this. This remains an excellent retrospective of Judy Garland's illustrious career.



3. This box set seemed like the definitive Judy Garland collection when it first came out. Not only does it offer all her hits including a few rare outtakes in the studio (one of her laughing like crazy), an early recording with her sisters, and a few solo recordings made when she was 7 years old, it includes a 100-page booklet and a video featuring a few songs from her 1960s television series (including the memorable "Battle Hymn of the Republic" recorded soon after John F. Kennedy's assassination). The video also includes a couple of old commercials; one for Lucky Strike cigarettes ("separates the men from the boys...but not from the girls), and Contact with the Wizard of Oz characters.

   However, five years later Garland's TV episodes are all being released on DVD and, with so many books and CDs out there, this collection does not look as strong. The booklet has a lot of nice photos, but is a hodgepodge of memories and interviews with different people (including Aretha Franklin) about Garland. It is also a little inconvenient to have the track listings in the booklet and not with the CDs, although I enjoy the brief histories on some of the tracks offered in the booklet. It is nicely packaged, with classy looking cases for the book, CDs, and video. If you want a taste of audio, video, photos, and text in one compact set, this might be the one for you; but if you are really getting into the career of this legend, there are many other collections out there.




4. Believe it or not the people who put this together actually CUT part of a song from the Carnegie Hall album because they didn't like it! When people are disrespectful in that kind of way to the integrity of the material you know you're not getting top quality stuff.

   There are some good things scattered through the album--maybe some of it is not available elsewhere. The book that comes with it has some wonderful pictures and a hodge-podge of essays, some good/interesting, some poorly written.




5. Of all the Judy Garland purchses I've made [and believe me I've made many], this box set has probably brought me the most joy. Not just hearing the fantastic variety of Garland music [and a special surprise on Disc 2 of Judy's absolutely infectious laughter ], but the video and the small book that comes with it leave you crying out for "more". I was genuinely devastated when both the video and the book ended. But they're kept in a special place where I can pick them up and watch, read and listen as much as I want; and I never tire of any of the collection!

5 comments about Rent [UMD for PSP].

1. I always planned to see Rent (the stage version) I pass the Nederlander Theatre ALL THE TIME. I just didn't do it. When the movie came out I planned to go to and see it. (I didn't)
   
   One I was stuck in bed with a badly sprained ankle & I ound a website where you can watch entire movies for free online. I found myself thinking of what movies I wanted to see but hadn't, I thought of Rent and pleased when the search engine had found it. I realized then that I wanted to see it for 3 years, I didn't even realize it had been out that long.
   
   Anyways I watched it & was blown away.
   
   I was going to wait until the holidays and ask for it as a gift, but the message of Rent had already sunk in too deep & was tired of waiting for tomorrow - NO DAY BUT TODAY right? The first day I was back on my feet I went out & purchased the 2-disc DVD & the soundtrack.
   
   I have been listening to the soundtrack ever since & I have watched the movie at least 3 times a week since I bought it.
   
   It is either a love or hate thing. None of my friends get it, but that's okay, it means something to me. It has changed my whole perception on life and what's important.
   
   It's a great movie & the music is incredible. Jonathan Larson made something real. His effort causes me to question my own motives and my own abilities. Just what could I contribute if I put today first?



2. An amazing movie that does justice to the original stage production. Performances are wonderful.



3. RENT is the best musical out there. The rock opera mix is perfect, and it is a must buy for musical lovers out there. However, some may find the contents a little disturbing due to the fact that it is during the AIDS pandemic (IDK if that's what it would be called really). All in all..Great Movie.



4. When I received the movie it seemed to be very well kept...It was like brand new



5. The trouble with Rent is that most people see it for the surface plot, and take it as a musical about people with AIDS. In fact, for some of the most die-hard fans, it took a few listens and years of letting the lyrics sink in to understand the message behind the story. It's not a musical about AIDS; it's a musical about people learning to live life in the moment -- live for today -- and find happiness instead of dwelling in regret and indecision. Any artist knows this feeling, and that's perhaps why so many fans are other struggling artists while people who are "mainstream" or professional don't find a connection with the story or its characters.
   
   While the character relationships are inspired by the characters in La Boheme, the lyrics and the heart of this story are rooted in social issues that its creator dealt with; in struggling for his art, for his career, and while watching many of the people around him die. Today we live in a society where having AIDS isn't so much of a death sentence with the proper care and medication... but in 1989, the first generations who had contracted it earlier and were now reaching the end of their lifespan were dealing with a much different life, involving a lot of confusion, fear, and regret. The point is not that all of these people have AIDS; if you actually take the time to hear the words as a message and a lesson to learn, what you receive is very profound and eye-opening. In fact, only 4 of the 8 main characters are ill. No one complained that La Boheme, the world's most beloved opera, was about a bunch of people complaining about the plague; perhaps because it's easier to listen to people dwell on something we're not afraid of anymore. AIDS makes people uncomfortable.
   
   Contrary to the opinions of some viewers who feel that the costumes and sets and characters are cliche and almost caricature in nature... perhaps these people don't LIVE the life depicted in the musical. After all, shows like Jesus Christ Superstar are just as ridiculous to me because of my religious beliefs -- or lack thereof -- and so one can't expect me to share the same appreciation for something I don't understand. However, the people who do adore the musical will tell you that they also dressed that way and lived that way and that we are NOT caricatures to be made fun of. I DID dress like that. I WAS stared at by those who were conservative... but there are two kinds of audiences: those who look for entertainment value and those who appreciate the poetry and the symbolism. After all, with the exception of Chicago, I loathe flashy, dancy musicals because I find them unrealistic and cheesy. But that's just ME.
   
   To say that this is clearly an amalgamation of stereotypes by a creator who didn't understand his material is utterly ridiculous if you take the time to read about Jonathan Larson and his life; especially what inspired him to write this musical in the first place. To suggest that he was some big shot who thought it might be cute to write about this subject material without firsthand experience... well... maybe it is the reviewers who follow the stereotypes. It is Mr. Larson who is also rolling in his grave.
   
   What I WILL say about the Rent movie is that it stinks. I was a Renthead who saw it every weekend during its run. Call me crazy -- in retrospect I know it sounds lame -- but you also have to consider that some people go to church every week to reaffirm their belief system, while Rent taught me to appreciate life and where I am, regardless of the hardships. To accept who I am and where I'm going without fear. To trust in risk and not feel so obligated to follow the rigid, conservative structure we're pressured to comply with because of judgment and conformity. In the end, as long as I love what I do and surround myself in people I love, happiness is with me. That was a lesson worth every single one of those weekends... and it's clearly not what the opposition got from this musical, but it just goes to show you that there is something deeper than what's on the surface. And that's a legitimate response. Some people don't think they should have to get to know the show first, or spend more than one sitting in order to appreciate it. Some people expect it to be laid out for them, to see a show and go home. If you're expecting that, this isn't the kind of theatre you should see. It deals with many issues, from battling with your pursuit of your art versus "the real world", family obligations, love triangles, illness, inability to let people into your heart... all issues some of know quite well all our lives. For the right person, it can be a very thought-provoking and life-changing experience with an important message.
   
   But it was a message that did not come through when Hollywood tried to take control of the project. Fans and newbies alike either love or hate this film, and I am thoroughly disappointed with it, despite the nostalgia of the (mostly) original cast members. I just happened to see a new Rent movie this evening: the final Broadway performance -- filmed live on stage -- and I am finally satisfied that I have seen a proper Rent movie. THAT is the movie I would recommend for someone wanting to experience the musical as it should be. Even *I* found the Hollywood characters flat and hollow, but perhaps it's not a story for this kind of film, or perhaps the cut material made more of a difference than they anticipated. Either way... there is not "rap" song. I don't know WHAT that reviewer is talking about. There are some weaker pieces -- which happens with musicals -- but the ones that snagged the followers are the ones with a message about acceptance, love, and living for the moment.
   
   Ultimately, audiences either love or hate Rent, and the response is pretty predictable depending on where you came from, how creative you are, and the kind of social outlook you have. And I don't mean social classes -- I mean just your social circle, career path, or view of city life. This musical isn't for everyone, that's for sure. But just because you didn't share our experiences doesn't make it bad or inaccurate; it just means you don't sympathize because it's not a story you relate to.

4 comments about The 1930's Recordings.

1. I am a big Mills Brothers fan and thought I just couldn't live without this 5-disc set of their earliest recordings. Frankly, I've become bored. The producer decided every recording, in chronological order, even those recorded twice, three times, even four, should all be included. I've struggled to listen all the way through, and am still working at it; after all, I paid $60 bucks for this set. At the same time I purchased THE ANTHOLOGY (1931 to 1968) which is nothing short of delightful. That's the one I recommend!



2. What a great collection of music! I knew very little about the Mills Brothers prior to buying this set, and pretty much found this item by accident (you know how it is on Amazon). But I have purchased JSP sets before, and was familiar with their high quality and value. So I took a chance on the Mills Brothers, and since getting these I've listened to the set over and over, I never seem to get tired of it. Yeah, a few of the songs are repeated now and then, but it's all good. I have to say that this is one of the best music purchases I've ever made. I'm just glad that CD's don't wear out.



3. JSP has done it again! I'm a big fan of their CD box sets--I've got the Jelly Roll Morton set, the Louis Armstrong set, and the Carter Family set. They're all excellent! This one is no exception. The remastering is by John R. T. Davies, so naturally, the sound is superb. From the earliest 1931 recordings through the 1938 sessions here, the recordings are crisp, clear, and rich-sounding. Each piece is a gem. The Mills Brothers voices blend so smoothly together, I could listen to their records for hours. And with this 5-disc box set I *can* listen for hours! Each disc is packed full, and I appreciate having the alternate takes. Occasioanlly on these discs, the Mills Brothers are joined by Louis Armstrong, Bing Crosby, Alice Faye, Cab Calloway, Ella Fitzgerald, Dick Powell, and a few others. The liner notes are good, and for five CD's, you can't beat the price. My only complaint--and it's a small one--is while the recording dates and master numbers for all selections are given, no indication is made of the original record labels or numbers.



4. My reason for not giving this five stars is due to the large number of alternate recordings of duplicate songs, but this is really due to the utterly documentarian approach the folks that put this CD together followed. Every single recording from the Mills Brothers earliest years are here (in stunningly good sound), presented in chronological order, which means that the listener is subjected to multiple recordings of "Caravan" and others. If you are a Mills Brothers fanatic (as I am), this is an indispensable set to own. If you are a more casual fan, pick up one of the greatest hits CD's listed here.

5 comments about Out Of This World (1950 Original Broadway Cast).

1. The show, to begin with, is just ordinary, definitely not Cole Porter at his best. And, it does not translate well to sound recording. The few things the critics in 1950 liked--sets and costumes, and Charlotte Greenwood's comic genius and high kicks--cannot be heard.
   The lyrics are banal, taken out of context, and do little to propel the plot line. Some are banal, in or out of context. There is considerable 1950 humor, that will not be clear to someone who did not live during that time.
   Vocally, there is nothing outstanding. For all of her attributes, Charlotte Greenwood does not have a pleasant singing voice. Priscilla Gilette sounds strident.
   I will say this for the overture. As it begins, we catch an "Out of This World" feeling. But from there . . .
   Maybe you need to see it.



2. I can confirm that while Porter originally tried to get Carol Channing and then Judy Holliday for the part of Juno, he was thrilled when Charlotte agreed to do the role - it was a big deal for her, as she was taking the New York stage for the first time since leaving Broadway in the late 1920's, and Porter worked with her at his house in Beverly Hills, making sure she was OK with the material. He wrote three new songs for her, interspersed throughout the rehearsal and tryout phases - "I Sleep Easier Now" was the last new song he wrote, with "Men, Men, Men" (as Charlotte called it) and "Nobody's Chasing Me" coming before that.
   
   In my biography of Charlotte (just published this past April), I talk about OUT OF THIS WORLD's trials and troubles, and relate the confirmation I got from some of Charlotte's co-stars that she kept the show from closing within the week. It ran for over four months, and as George Gaynes (who played Jupiter) told me, "It was because of Greenwood."
   
   - Grant Hayter-Menzies



3. Now is the perfect time to buy the CD of this.
   
   Sony's transfer engineers used state-of-the-art restoration software to remove the roughness and surface noise from the originals, but (thankfully) they resisted the urge to tart-up the sound with artificial reverb, faux stereo, and thundering bass. This is by far the best-sounding CD of this ever released, and it may be the last.
   
   The age of music ownership in America may be drawing to a close. Five years from now, this music may only be available by download, you may only be "borrowing" it, and it probably won't come with the the authentic cover art or the 16-page booklet.
   
   (See also the original broadway Out of This World.)



4. ...you may realize that this is some of Cole's finest music and wittiest lyrics. It takes a few listens for it to dawn on you. There is quite a gamut of emotion here as well. 'Use Your Imagination' and 'I Am Loved' are sensitive and beautiful songs. The numbers performed by Priscilla Gillette are often pointed out as comedic highpoints in the recording, but 'They Couldn't Compare To You' (William Redfield) will snare you into giggles with every listen. My favorite is Barbara Ashley's 'Where, Oh Where?' The song opens with a grand verse which hearkens back to forgotten times when men were noble and women were sweet. But my, what is she really singing about? Oh, how very funny and how naughty of Cole, like so many of these songs. I just love this recording so much. I find myself going back to it frequently, even more frequently than Kiss Me Kate.



5. OUT OF THIS WORLD features a catalogue of second-rate Cole Porter songs, the cast headed by comedienne extraordinaire Charlotte Greenwood. Greenwood was the show's main saving grace on Broadway, and on the cast album she operates in the same capacity. The rest of the cast is fine and stong (William Eythe, Priscilla Gillette, William Redfield, Barbara Ashley, George Jongeyans-Gaynes and David Burns), but none equal the sparkle and finesse that Greenwood possesses. Greenwood and the cast give the score more fanfare and credibility than it deserves, none of the songs could be counted among Cole Porter's finest (remarkably "From This Moment On" was dropped during tryouts), but numbers like "I Got Beauty", "I Sleep Easier Now" and "Nobody's Chasing Me" are turned into showstoppers thanks to Miss Greenwood. Sound quality is excellent for its 1950 vintage. For completists only.

1 comments about Oliver!.

1. This is the 1962 London studio cast recording of Lionel Bart's OLIVER! The recording--featuring several famous British celebs--is a fantastic rendition of the score.
   
   Alma Cogan, a famed British songstress, plays the role of Nancy; and the part fits her voice like a glove. Dynamic with "It's a Fine Life" and "I'd Do Anything", she also tugs at the heartstrings with a chill-inducing "As Long As He Needs Me". Ms Cogan could--and should--have been one of the leading singers on the world stage, had she not died of ovarian cancer at the age of 36.
   
   Stanley Holloway, star of the Broadway, London and film incarnations of "My Fair Lady", plays the villainous rogue Fagin. He delivers a comic and sly performance with such numbers as "Be Back Soon", and "Reviewing the Situation".
   
   Playing the title role, Denis Waterman sings a tender "Where is Love?". Tony Tanner ably-delivers as The Artful Dodger with a lusty "Consider Yourself". This recording also features the fondly-remembered character actress Violet Carson (who played Ena Sharples on long-running British soap "Coronation Street"), in the role of vile Widow Corney.
   
   On the whole, this rendition of OLIVER! features enough top-drawer talents to help ensure it becomes an often-played title in your collection. Snap it up today!
   
   [Broadway Angel/EMI ZDM 0777 7 64890 2 5]