5 comments about Pure Imagination.

1. I remembered listening to this album when I was a kid, and HAD to find it when my son was born. The songs are fun for dancing around the living room, or singing loudly in the car, and aren't so annoyingly repetitive as other children's albums I've come across. Tons of fun, and great for memories!



2. its a good music CD has the pure imagination part of the song was song in this move Willy Wonka and the Chocolate Factory and has this great song title "BE KIND TO YOUR PARENTS" good advice for the kids and lots of other cute litte songs for kids
   
   
   
   
   



3. If someone would want to sample Michael Feinstein's art for the first time, assuming anyone who likes Easy/listening Pop hasn't already, this would be a wonderful place to start. It is representative of everything Mr. Feinstein does so wonderufully well. It has a couple of forgotten or never known songs which turn out to be charming or better (The Dressing Song and Mole People), it has a couple of well known songs that haven't been sung all that much recently (Arent You Glad You're You, Lydia the Tatooed Lady and Teddy Bears Picnic) and it has some well known songs that you do hear frequently performed with great style and charm (Swinging On a Star, When You Wish Upon a Star) and it brings Michael's great good friend Rosemary Clooney in the sing a wonderful song from an awful Walt Disney Movie, Ten Feet off the Ground. In short this is one of the best Michael Feinstein albums ever. Pay no attention to what other reviewers have said, don't buy this for the kids, buy it for the kid inside you, and make the kids get a job and buy their own copy. This is an album for all ages.



4. Michael Feinstein captures the perfect balance of whimsy, fun, and songs that teach. He has a beautifully trained voice and he is backed up with wonderful arrangements and musicians. My 2 year old daughter and I listen to it over and over and never get tired of it.



5. I have to confess to shedding a few tears over this album, especially with the title and opening song Pure Imagination. As I grow older I find it harder and harder to feel the pluck of heartstrings, but Michael Feinstein does it with his rendition of the Anthony Newley classic. He takes me back to an innocent time with his infectious joy in this music. You can hear the smile on his face, hear the love he feels for the melody and lyrics. Most of the songs are happy and silly, but curiously there is one that every parent should listen to and take to heart. If you have heard this album, you'll know the song: Because We're Kids, from that amazing and surrealist movie The 5000 Fingers of Dr. T (From which the crazy Dressing Song also came.) This album is a true gem for all ages.

5 comments about Joseph And The Amazing Technicolor Dreamcoat (1973 London Studio Cast).

1. For those complaining that this isn't the original release, there WAS an earlier LP, made when Joseph was a shorter cantata written for a boys' school choir and soloists, hence the all-male cast. This was the other LP that one could easily find in the US in the 1970s, recorded after the show was expanded with extra songs to make it a halfway decent length for a musical, making this the first FULL recording. I still have both LPs somewhere, but I always liked this one better overall, so I'm very glad to find it available here, and finally for a decent price. I'd like to have the shorter first version as well, but for now, I'm happy to hear this oh-so-familiar album again. As soon as I saw the cover art, I got a huge smile on my face, like seeing (and hearing!) an old friend again.
   
   One reason that I prefer this and the previous version over the later recordings, besides the simpler, non-techno pop orchestrations, is that the full emphasis here is on the music, not the dramatic acting. So on this version, the song telling how the brothers are starving in Caanan and decide to come to Egypt is a catchy cha-cha-cha number that simply tells that part of the story, rather than snippets of music punctuated by the brothers' overly-dramatic hungry moans like in other versions. More singing and less acting makes this verson an easier listen, in my opinion.



2. Maybe this would be "the original studio album" somewhere, but not in the US. I've listened to the clips and not one of these performances was on the LP I had (and unfortunately lost in a fire when I was in high school.)
   
   So if you're in the US and you remember loving the studio album, check out the samples. Not one of them will sound familiar to you.
   And I miss the boys' choir!
   
   But this is a ripoff.



3. I have the original on vinyl and was looking for a CD replacement.
   
   No such luck apparently.
   
   The original is by far the best and was performed as a cantata. So far as I know, it wasn't to become a stage production until after the success of "Jesus Christ Superstar."
   
   On the original, Jacob and Sons begins thus:
   
   "Way way back many centuries ago
   Not long after the Bible began
   Jacob lived in the land of Canaan
   A fine example of a family man"
   
   If you get a chance to hear the ACTUAL original, the others pale by comparison.
   
   I give this one star only because this is not the original Joseph.



4. I have been searching for the original recording of this musical on CD and it is unfortunate that this one has been given that name. The ACTUAL original recording was done in 1969 and it may only be available as an LP in used record stores. Someone should do us all a favor and remaster that recording to CD so that this imposter can stop calling itself "original".
   
   I recently saw the movie version that Donny Osmand did and, while I enjoyed it, I was actually a little dissappointed with the songs that were added later on. The cowboy song, the French ballad parody and the calypso number are all fun songs for sure but, to me, they lack the vitality of the songwriting found in that original recording when the show was short and the writers were young. To me the new material felt like they were inappropriately dropped in to "pep up" what used to be more emotionally intense moments in the show. They also felt a little lazy in songwriting terms. It doesn't take a songwriting genius to do copycat parodys of various genres to stretch out the show. The ACTUAL 1969 original recording did an Elvis parody but it worked because Pharo is "The King". It was a neat little musical pun. It was also fun in that Tim Rice himself played the Pharo. To then make the leap into cowboys, Frenchmen and Jamacians for no apparent reason felt like they were over using the trick and forcing puns down my throat. It was a bit of a turn off but maybe I'll get used to it now that they are officially part of the shows "cannon".



5. I don't have the CD, but I do have this recording on Vinyl. I have liked it from the get go. It's also great if you buy the song book with the same cover. You can read along exactly as it is written. After being in the show and having all of the other cast recordings of it, it's nice to hear it in it's humble beginings. It was interesting getting used to the male narrator, but I really think it adds to the piece. Really great soundtrack. It's a must buy!

No comments about All-Time Christmas Favorites.

5 comments about Sweet Smell of Success (2002 Original Broadway Cast).

1. Based on a 1957 movie about the gossip industry, "Sweet Smell Of Success" falls a bit flat despite the pedigree involved.
   
   Winner of the Best Actor Tony, John Lithgow ("Dirty Rotten Scoundrels") marvelously stars as the quick-witted "newsman" (con man) in control of the city's gossip rag. Brian D'Arcy James ("The Wild Party", "Titanic") and Kelli O'Hara ("The Light In The Piazza") are also terrific.
   
   Marvin Hamlisch's score is quite jazzy, but doesn't remotely compare to his brilliant "A Chorus Line". There are, however, a few notable songs.
   
   Best tracks include:
   
   At The Fountain
   Don't Know Where You Leave Off
   Don't Look Now
   
   The show did not do as well as its title may suggest, but the score is not bad and worth a listen.



2. I like this cast recording, but just after I heard the song more than twice. At first I didn't like it but then I realized that maybe John Lithgow doesn't have a "Broadway singing voice" but he is dominating the whole cd because of his charm and power. Brian D'Arcy James is terrific to just in Wild Party or Brownstone. Buy it you won't regret it.



3. Yes, this is a very good Broadway recording of a show that has comedy, thriller, and romance twisted into one. All of the songs are sung well, and sound crisp and energetic as the live performance onstage.The Highlights of the CD are definately Brian D'Arcy James & John Lithgow. Though John Lithgow doesn't have a very strong voice, he makes up for it in the quick-witted humor and laid-back New Yorker character that he plays. Brian D'Arcy James has a very unique and powerful singing voice that will soften your heart and almost cause you to get chill bumps at the incredible "At the Fountain" & "At the Fountain (Reprise)". Other favorite tunes of mine include the fast-paced opener "The Column", "Welcome to the Night", "For Susan", "One Track Mind", and "Break it up". Overall, a very classy and enjoyable recording. If you are a Broadway fanatic, this CD is a must.



4. Yes, this is a very good Broadway recording of a show that has comedy, thriller, and romance twisted into one. All of the songs are sung well, and sound crisp and energetic as the live performance onstage.The Highlights of the CD are definately Brian D'Arcy James & John Lithgow. Though John Lithgow doesn't have a very strong voice, he makes up for it in the quick-witted humor and laid-back New Yorker character that he plays. Brian D'Arcy James has a very unique and powerful singing voice that will soften your heart and almost cause you to get chill bumps at the incredible "At the Fountain" & "At the Fountain (Reprise)". Other favorite tunes of mine include the fast-paced opener "The Column", "Welcome to the Night", "For Susan", "One Track Mind", and "Break it up". Overall, a very classy and enjoyable recording. If you are a Broadway fanatic, this CD is a must.



5. If you are wondering how anyone could write a musical in which John Lithgow plays the leading role - buying the original cast album (SONYCLASSICAL SK89922) will not help much with the answer to that one! The answer is to write a musical around John Lithgow, who is to musicals what a black-hole is to space. Hmmm...I'll bet the producers thought they had a 'concept' show going: the leading man doesn't sing! Oh my God it has a history all the way back to Rex Harrison and MY FAIR LADY - it's brilliant! We'll bring in John Guare to give him some gutsy scenes so he can show his acting chops, and surround him with Broadway dancers doing angular angst-ridden choreography! Remember Marvin Hamlisch? Well, his big ballads can bring a tear to any eye and the audience can have the added thrill of imagining what the hit singles from the show will sound like once Barbra Streisand records them!

   My impression of the score: Lot's of talented singers (minus John Lithgow) sing lots of beautifully shaped notes with un-striking lyrics by the very underrated Craig Carnelia.

   Lithgow's big 11 o'clock number "Don't Look Now" stands square in the con-man number tradition, like DAMN YANKEES' "Those Were The Good Old Days", but it isn't half as funny or original as its model. And it should have come in the FIRST act to set up Lithgow's character. It needs a second-act number to top it in order for the audience to really believe that the Lithgow character is carrying the show.

   Lot's of ersatz Latin numbers.

   Rated: C+, buy it only if you believe that the person with the most CDs when they die - wins!

   Mr. Firstnighter
   

4 comments about Jessie Matthews: A Centenary Celebration.

1. I frankly cannot understand all the carping in the other reviews of this marvelous, must-have cd collection. I possess excellent hearing and find the sound quality terrific - in a word. Matthews' ineffable crystal bell of a voice rings out with exquisite clarity, making it easy for even novices to her divine cult realize what made her such a special, ultra-charismatic star. The producers' efforts should be wholly applauded for their sincere, painstaking work in bringing the complete Matthews oeuvre to her fans and - more importantly - introducing her to a new audience, somehow unaware of her.
   If ever the cares and idiocies of this millennial war-torn world we live in ever get to be too much for you, I suggest you listen to this treasurable cd and discovery a joyous, real therapy any psychiatrist would be hard-pressed to equal.
   
   David Noh, New York journalist (OPERA NEWS, FILM JOURNAL INTERNATIONAL, etc.)



2. Jessie Matthews was arguably the greatest British film star of the 1930s. There are few actors or actresses who could light up the screen as Jessie did, and her musical films are truly delightful.
   
   There is much to commend in this collection. Detailed information is provided on the 56 tracks with recording dates, catalogue and matrix numbers of discs used etc. A lot of thought has gone into the compilation and there are some rare items here like the most delightful recording of Noel Coward's "A Room With A View" that I've ever heard. Recordings here cover some fifty years and are indeed comprehensive, as claimed.
   
   Unfortunately the remastering of the commercial 78s could have been better overall. Bearing in mind that many of the records were made by Columbia and some like "Hold My Hand" and "Turn On The Music" would have been issued with superior laminated surfaces, there is no excuse for the evident hiss which detracts from Jessie's wonderful performances. It is certainly not surface noise from the 78s. "Everything's In Rhythm With My Heart" from the Decca catalogue is also marred by hiss and if you want to hear what can be done with Jessie's records, listen to how Past Perfect have remastered some of her recordings on several of their 1930s compilations. Actually "My River" on this collection is beautifully clear and no hiss! If only this was the standard throughout!
   
   There are a number of film soundtrack recordings which are generally acceptable or very good, as in the case of the excerpts from "Evergreen", considering the sources used.
   
   Nevertheless this is an interesting double CD set which will prove of use to Jessie's many admirers.



3. Another plum from Avid, and a worthy tribute to Jessie Matthews, who was born on March 11th, 1907. She was a star of stage and screen, and this broadly chronological compilation traces her career from her earliest recordings in 1926. The most recent was recorded in the late 1970s and is one of several hitherto unissued tracks, which are complemented by film soundtrack material. She possessed a light soprano voice, and the sort of clear diction that one associates with the prewar theatre, where the object of the exercise was to endear the character to the audience.
   
   For that reason I began by thinking that this would be of greater interest to devotees of the stage, but as I listened I was persuaded otherwise by the fascination of hearing what became dance band numbers performed by their original interpreter, coupled with the quality of the accompaniments, a fair proportion of which were provided by either Carroll Gibbons & the Savoy Hotel Orpheans or Jay Wilbur. This is a magnificent collection, which is augmented by comprehensive discographical details and a commentary by her biographer, Michael Thornton. This is about as good as it gets.



4. I am the biographer of the late Jessie Matthews, and knew her well over many years. I would like to say that I regard this new Avid double-CD, "Jessie Matthews: A Centenary Celebration", as quite simply the best Jessie Matthews collection ever issued on CD, and this is a view that has been expressed already by Christopher Ward, the curator of the principal Jessie Matthews website, The Jessie Matthews Home Page, who describes it on that site as "superb". Not only is this magnificent collection by far the most comprehensive ever released of this great star's work, comprising virtually her entire recorded output on 78rpm between the years 1926 and 1949, but it has the historically important addition of some 16 items never previously issued on CD, including rare soundtrack material, such as a duet with Sir John Gielgud, and hitherto unreleased performances of two of Jessie Matthews's great song hits which she originated on the London stage but never recorded commercially: Noël Coward's 'A Room with a View' and Cole Porter's 'Let's Do It'. The technical quality of this collection is outstanding. All 56 tracks have been expertly remastered using the CEDAR process by Terry Hepworth, and the compilation, produced by Hugh Palmer, one of Britain's leading CD producers, has wonderfully precise and detailed discographical details that are not to be found on any other Jessie Matthews CD.
   
   It was precisely because I was so deeply impressed by the technical quality, excellence and comprehensive content of this collection that I accepted Avid's invitation to write the sleeve notes for it, and to have my name publicly associated with this outstanding centenary tribute.
   
   [...]
   
   MICHAEL THORNTON (Daily Mail, London)

2 comments about Currier & Ives: Christmas Treasures.

1. A beautiful album! If you enjoy soothing orchestral Christmas music, this is must for your collection.



2. I purchased this CD and loved it. It has become one of my favorite Christmas CDs. The carols are performed by a symphonic orchestra using original and fresh arrangements. (The arrangers are very talented in highlighting individual instruments.) My daughters have asked for their own CDs to add to their personal Christmas CD collections. This is a perfect CD to play at nicer parties as background music to create a classy and festive atmosphere.

4 comments about Somebody Loves Me.

1. I would buy this CD if you are interested in hearing a greater range of Betty Hutton's work apart from her novelty songs. There are quite a few ballads mixed in with the more up-tempo songs. The sound quality is excellent also all the songs have been remastered.



2. The ups and downs of Betty Hutton's career and private life would well serve a biography or musical film (if Hollywood was indeed still making those bio-musicals of the fifties). Certainly time has not been kind to the type of boisterous characters she played on the big screen nor to her general approach to her songs. Therefore, it is a pleasure to write that Sepia Records, Somebody Loves Me, is a collection of Betty Hutton songs sure to please anyone interested in film musicals or pop music of the forties and fifties, as well as the more hardcore Hutton fans. First and foremost, there is the long overdue CD release of her RCA recordings from Somebody Loves Me, a 1952 Paramount film based on the life of Blossom Seeley. Hutton approaches this material with a softness and subtlety that is rare in her other recordings. In particular, "Rose Room", "Dixie Dreams", "Jealous", and "That Teasin' Rag" benefit greatly from her beautifully restrained performances. For fans of her more frenetic style, the CD includes several Capitol and RCA hits including "Doctor, Lawyer, Indian Chief", "Murder He Said", and "It's Oh So Quiet". And then there are wonderful gems never before issued on LP or CD: "The More I Go Out With Somebody Else", "The Musicians", and "How D'Ye Do and Shake Hands" (an opportunity to hear this entire song which is only fleetingly heard in Disney's Alice in Wonderland). Dinah Shore, Tony Martin and Phil Harris join Hutton on the latter two. The last six songs on the CD have never been re-released since their 45 and 78 rpm days on Capitol records. While Hutton's voice is deeper and huskier on these recordings they benefit greatly from Nelson Riddle's orchestrations. Finally, we are treated to Hutton's haunting version of "It Had to Be You" and the rare "Don't Tell Me That Story" each of which she delicately treats with a lovely subdued verse and/or chorus followed by a more "swing" tempo.
   The sound quality of this CD (as it seems with all of Sepia's releases) is generally excellent with only "Don't Tell Me That Story" actually revealing its 78 rpm source. But then, the sound quality of that original 78 record was dubious to begin with. If you are deciding which Betty Hutton CDs to buy (as there are several available now) I would strongly suggest purchasing Somebody Loves Me, generous with its rare photos and recording dates, followed by DRG's Satins and Spurs (which also includes all of Hutton's early Capitol recordings), The Best of the RCA Years, and the Rhino soundtrack of the MGM film, Annie Get Your Gun.



3. A great CD! She can bring the best out of any song. This CD has it all. Romantic music,classic "Hutton" fun fare! Every one worth the buying. I could listen to her all day! Love her and loved this CD! Betty Hutton is a real class act,all by herself!



4. There's precious little Betty Hutton on CD. Fortunately, this collection offers a generous sampling of Hutton's music, cramming 27 tracks onto a single disc. Seven songs from the soundtrack of "Somebody Loves Me" make up the core of the album; the remaining 20 tracks intermix some lovely straightforward ballads ("The More I Go Out With Somebody Else," "It Had to Be You") with plenty of the delightfully over-the-top vocals for which she is best remembered ("Murder He Says," "He's a Demon, He's a Devil, He's a Doll," "It's Oh So Quiet!"). The sound quality of this disc varies but is never less than very good and is usually much, much better. Highly recommended.

5 comments about Bright Eyed Joy: The Songs of Ricky Ian Gordon.

1. March 15, 2001
   CABARET REVIEW
   Ricky Ian Gordon: Bursting With Effervescence, Skipping Among Genres
   By STEPHEN HOLDEN
   
   If the music of Ricky Ian Gordon had to be defined by a single quality, it would be the bursting effervescence infusing songs that blithely blur the lines between art song and the high-end Broadway music of Leonard Bernstein and Stephen Sondheim.
   
   A composer versed in the harmonic idiom of Samuel Barber and Benjamin Britten, Mr. Gordon also has a knack for witty theatrical pastiche. Many of his lighter songs pluck vintage theatrical echoes from their 1920's and 30's niches and dress them up with bold chord changes that catapult them in new directions.
   
   Mr. Gordon's music was the focus of the third and final season concert of Lincoln Center's American Songbook series at Alice Tully Hall on Tuesday evening. Befitting a musician whose songs defy category, the event brought nine singers -- some from opera, others from Broadway -- to the stage to perform more than two dozen numbers. While the majority were Mr. Gordon's settings of poems by Edna St. Vincent Millay, Dorothy Parker, Langston Hughes, Jane Kenyon and others, six songs had words by the composer whose lyric style might be described as fancifully romantic.
   
   Accompaniment was provided by a nine-member ensemble playing arrangements mostly by the composer. The concert was organized around five appearances by Cherry Jones to read poems, which were immediately followed by the composer's elaborations. A musical extrovert who reveres his material, Mr. Gordon never tries to insert an opposing point of view. He takes the emotions of a poem at face value and sharpens and deepens them.
   
   Lately, Mr. Gordon, along with Adam Guettel (who sang two numbers), Michael John La Chiusa, Jason Robert Brown and others, has been saddled with the role of potential artistic savior of the Broadway musical. But don't expect an imminent coronation. As accessible as it is, Mr. Gordon's music is sophisticated even by the standards laid out by Bernstein and Mr. Sondheim. It's caviar for a world gorging on pizza.
   
   With a couple of glaring exceptions, the casting of material to singer was impeccable, as was the ensemble playing under the direction of Ted Sperling. Lorraine Hunt Lieberson brought a quiet wisdom to settings of two Jane Kenyon poems, "Otherwise" and "Let Evening Come," and Kristin Chenoweth brought a sassy verve to "Run Away" and "Just an Ordinary Guy."
   
   Monique McDonald and Camellia Johnson infused "Summer," a gorgeous swatch of Sondheimesque impressionism, with a voluptuous warmth. Mr. Guettel's tender reading of "We Will Always Walk Together," a transcendent hymn to friendship from the 1996 musical "Dream True," underscored its stature as an all-seasons ballad redolent of "Somewhere," from "West Side Story," via Schumann.
   
   Ms. McDonald lifted "Stars," a dreamy lullaby by Hughes, to the stratosphere. Two other Hughes poems, "Heaven" (sung by Billy Porter) and "Joy" (by the company) echoed the evening's title, "Bright- Eyed Joy," by hitting notes of pure exhilaration.
   
   Following the American Songbook's solid tribute to Arthur Schwartz, "Bright-Eyed Joy" was the latest encouraging sign that the troubled series has found its footing. In branching out beyond a musty hall-of-fame format, the concert also struck a positive blow for the future of American song.



2. 
   
   A heavenly recording
   
   Talented singers interpret the songs of Ricky Ian Gordon
   
   Audra McDonald (left) and Darius de Haas flank composer Ricky Ian Gordon. (by Alice Arnold)
   
   by Greg Varner
   
   Seven talented singers lend their voices to Bright Eyed Joy (Nonesuch), a superb collection of songs by Ricky Ian Gordon. The composer himself provided text for two of these pieces; the others are his settings of poems by Langston Hughes, Dorothy Parker, Edna St. Vincent Millay, W. S. Merwin, and James Agee.
   
   Any gathering of singers that includes Audra McDonald, Dawn Upshaw, Darius de Haas, and Judy Blazer, among others, is something to celebrate; these are some of the most beautiful and distinctive voices you'll hear anywhere. And they are matched to the material with uncanny precision. Who else but Dawn Upshaw could sing Gordon's setting of Dorothy Parker's "The Red Dress" so perfectly? The purity and classicism of Upshaw's soprano make her a stellar interpreter of Parker's lyric -- especially in Gordon's setting, which gives Parker's lament a fullness and contemplative sweetness it lacks on the page. (This composer enhances and augments his texts with remarkable delicacy, never becoming intrusive or trampling on the poet's original intent. Still, it would be interesting to hear a man sing "The Red Dress"!)
   
   Judy Blazer's jazzy delivery is just right for Gordon's inspired meshing of three short verses by Parker, "Resumé," "Wail," and "Frustration." This deathly cackle is reminiscent of Jacques Brel, and Blazer puts a wicked spin on lines like "Love has gone a-rocketing. That is not the worst; I could do without the thing and not be the first." When she sings a zinger, Blazer simultaneously gives it more sting and more fun. Baritone Chris Pedro Trakas joins Blazer, singing of his frustration at not being able to murder his enemies while she bemoans the obverse, equally cruel fate that leaves one with no enemies at all. Gordon's deft counterpoint of "Wail" and "Frustration" is wittily bookended by "Resumé," a brief ode to frustrated suicidal impulses.
   
   If choreographer Mark Morris's work famously unites the sister arts of dance and music, then Gordon joins music with its other sister, poetry. He has composed literally hundreds of art songs as an act of homage to poems that move him. His work finds a home in the neutral territory between classical and theatrical music, sometimes speaking with one accent, sometimes with another.
   
   The poet most often represented on this album is Langston Hughes. Audra McDonald, who recorded a handful of Gordon's songs for her debut CD, Way Back to Paradise, is heard here on three of those previously released tracks, as well as on a handful of newly recorded works. In her hands, Gordon's setting of Hughes's "The Dream Keeper" is a song both of consolation and of mourning. The composer's deft use of a sudden rise in pitch emphasizes the singer's startled response to the "too-rough fingers of the world," and McDonald's bereft concluding cries are eloquent, though wordless. "Daybreak in Alabama," also with text by Hughes, was a highlight of Way Back to Paradise; it remains a subversive gem, positing racial and sexual equality as attainable (and inextricably linked) ideals. Gordon's beautiful melody and orchestration can make you weep even after repeated listening; "Daybreak" shimmers with hope and restrained passion.
   
   McDonald is joined by the marvelous Darius de Haas, who played her brother in Broadway's Marie Christine, for Hughes's "Love Song for Lucinda," rendered by Gordon as a jazz waltz. The text advises caution in the face of love's blandishments; the singers easily capture its ambivalence. De Haas and McDonald, like the other performers on this record, are also skillful actors: Given Gordon's sterling settings, they interpret these compelling texts for all they're worth. In Edna St. Vincent Millay's "Wild Swans," for instance, you feel Dawn Upshaw's terror when she sings of being in a "house without air."
   
   With her achingly sweet soprano, Theresa McCarthy seems a natural choice for "Run Away," a song Gordon wrote after a younger boyfriend left him reeling. The folksy, slightly forlorn quality of McCarthy's voice is what made her so memorable as Nellie, the sister of the doomed miner in the musical Floyd Collins; on this disc, she also interprets other selections, including "Afternoon on a Hill." In Gordon's cascading melody, the exuberant descent anticipated by Edna St. Vincent Millay's poem is nicely emphasized.
   
   With the voice of an openhearted choirboy, Adam Guettel brings an attractive "everyman" quality to his selections. (Guettel is also a talented composer; he wrote Floyd Collins.) He may be most effective here in W. S. Merwin's "A Contemporary" -- his unassuming warmth offsets the relative unfamiliarity of the music (Gordon gives the piece what sounds like an Asian accent) -- and Merwin's text is a little more abstract than some of Gordon's other choices.
   
   The album's title comes from its finale, "Joy," another short lyric by Hughes: "I went to look for Joy ...[......], laughing Joy ... And I found her driving the butcher's cart in the arms of the butcher boy!" Whether or not Hughes meant this as a coded [......] reference, the suggestion clearly would not have been lost on Gordon, who has said that an important factor in his aesthetic is his sense of being different. (Growing up on Long Island, Gordon was taunted with [......].)
   
   Darius de Haas gets the whole disc off to a promising start with yet another Hughes lyric, "Heaven." His soaring performance sets the bar early, and the rest of the record is just as heavenly. This album is so good it's a miracle. The only problem with Bright Eyed Joy is that it wasn't made a double CD, so that listeners could enjoy more of Gordon's beautiful work.



3. Ricky Ian Gordon is a very talented composer and poet, and the songs on "Bright Eyed Joy" display his magnificent gifts. There is not a contemporary composer who has his talent of fitting text to music, and the singers on this disc bring his compositions alive. Track 17, "Once I Was," will make you weep!



4. This is an incredible CD, from the sparkling orchestrations which are chamber but in the way they are mixed everything dances out at you, to the vocal interpretations which are so innovative for a recording of this type...settings of poetry but sung by regular, albeit, extraordinary regular people (except people like Dawn Upshaw and Audra McDonald who have already established themselves as major vocal artists)so that the songs feel personal. There is about this CD an incredibly meaningful air...moving, magisterial, powerful...straight from "Heaven" to "Joy" Gordon takes us on an inexorable journey through life towards transcendence and he and his brilliant players and performers succeed...Nonesuch does it again...Superb! Kudos all around. Gordon is a REAL composer, with a deep understanding of poetry as well as a fabulous gift for writing words himself!



5. Being a fan of Mr. Gordon's, I couldn't wait until this CD came out. And I was not disappointed. The music is a cross between classical art songs and standard Broadway fare. Perhaps most enjoyable are the tracks sung by Audra McDonald, some of which were previously released on her first solo album, Way Back to Paradise, but which were supplimented with some additional tracks that really suit her dramatic voice and extensive range. Two other highlights include "Afternoon on a Hill", "Souvenir", and "Once I Was", which demostrate clever writing on the part of the composer, as well as true understanding of the texts on the part of the performers...I feel that Mr. Guettel performs well on this disc. It may appear that he does not have the vocal training that others do, however, his interpretive skills as well as his clear understanding of texts and emotions make his tracks poignant, and his voice is quite pleasant. My only complaint would be that Darius De Haas was included on the disc instead of Billy Porter, who I have seen performing these songs live, and quite well. Mr. De Haas is quite adequate, I simply prefer the power and exultation that Mr. Porter displays when he sings the compositions. Overall, however, this is a wonderful inclusion to anyone's collection, especially anyone who is a fan of anyone writing new, sophisticated theatre music.

5 comments about Bright Lights, Big City.

1. Not only does this recording feature an all-star Broadway cast - Patrick Wilson (The Full Monty, Oklahoma), Jesse L. Martin (Rent), Eden Espinosa (Wicked, Brooklyn, Rent), Sherie Renee Scott (Aida, Rent, The Last Five Years), just to name a few - but it preserves one of the best musical theatre scores in recent years. A contemporary rock score sung by some of Broadway's finest, BRIGHT LIGHTS offers a look at sex and drugs in 1984 without getting sappy or dated. This recording is a must for any fan of RENT, BARE, SPRING AWAKENING, or other rock-flavored musical.



2. This album has many really wonderful songs (and a few not so wonderful ones). It is a really passionate and inspiring story about a man with a cocaine problem grieving the death of his mother, broken hearted by his wife leaving him, and coping with the disappointments of his career. I am very glad I chose to purchase this album. It's a great addition to my vast music library of Broadway Show Tunes. Some of my favorite songs are: "I hate the French", "Kindness", & "Heart & Soul".



3. I had heard a few of these songs on Broadway Max on LIVE365 internet radio and fell in love with a few tunes. After buying the album I couldn't be happier! There are great songs with deep lyrics and catchy melodies. The performances are top notch and this recording makes me wish I had seen the live production. If you liked Rent you'll enjoy this cd.



4. The one tragedy that will always plague "Bright Lights, Big City" from now until eternity is that it was written after "RENT;" because of this, it can and will only play second fiddle in the history books to that other, better known rock-musical from the 90s. However, if one ignores the pretty obvious typecasting ("City" Tad = "RENT" Collins, anyone?) and other technical aspects of the show, the music by itself is a gem in the recent rock-musical canon. The amazing thing that struck me about this show is that it kept the tone and the feel for each song distinct and unique while never seriously deviating from the rock/pop genre, an uncommon accomplishment even "RENT" cannot boast.
   
   As noted by other reviewers, the cast leaves absolutely nothing to be desired as far as talent goes, even though some of the actors and actresses were given fairly weak material to work with. However, despite the weakness of the individual songs and characters (of which better breakdowns and descriptions than I could write are found elsewhere) the show as a whole is fairly strong and tight. A very good recording that shouldn't be missed by rock-musical aficionados.



5. Great idea, great cast. The songs wonderfully tell the story, while each song could be covered by a rock-pop band of the day. That being said my only major concern is that people buying this CD know the subject matter is more adult than most musicals. It does have a warning on it, but so does Avenue Q, and I dont feel that label is as necessary as this one. All this being said I'm not sure this musical is a glowing gem. It has its moments and I think its more than just a collectors CD, but it shouldnt be the first of a collection. It is definitly one for younger listeners who like the more modern musicals. Favorite Song: "I Hate the French"

5 comments about As of Today.

1. Barbara Cook was originally a Tony Award Winning leading lady on Broadway and the toast of the Musical Theater throughout the fifties and sixties then disappeared...by the mid-seventies the svelte figure was gone and Barbara emerged as a cabaret act and was then on to conquer Carnegie Hall and a bright new star was born! To go along with this new direction and image, which in no small part was guided brilliantly by the late Wally Harper, this tremendous studio lp showed that Barbara and Wally were a match made in musical heaven and they created a genuine vocal masterpiece that is wildly eclectic and masters every musical twist and turn from the old classics to new classic by composers such as Janis Ian! Opening strong with the powerful medley "Sing A Song With Me/Let Me Sing And I'm Happy", this riveting medley is an exciting anthem that Barbara still sings to great effect in concerts and always earns a well-deserved standing ovation and this version is nothing short of brilliant...multi-tracked power ballad "Why Did You Promise Me The World?" is a soulful & engrossing workout while the folksy "It Was" is genuine and amazing coming from a former Broadway musical star showing how truly versatile this great singer is. "You And I" from "Goodbye Mr. Chips" is haunting and a gorgeous vocal while the romantic "Ain't Love Easy" is moving and very catchy. Two brilliant Janis Ian form the centerpiece of this awesome collection of great performances and "Stars" is tailor made for Ms. Cook and she turns this one inside out giving a Grammy Award worthy performance..."Candlelight" is saved for the finale and this amazing passionate song leaves one breathless with its glorious vocal sung with so much depth of emotion. "Waiting" is fascinating while the drama and pathos of "One More Love Song" is a stunner that leads into a fantastic version of "What'll I Do" which is the best version ever of this classic. Thank you to Barbara and Wally for this treat and all of the musicians who rose to the occasion making this one of the greatest Vocal Masterpiece collections ever...don't miss this if you love a great voice!



2. As of Today was released a year after the first Live at Carnegie Hall Album that is on Columbia Records. I was lucky enough to have seen Ms. Cook in performance in a lovely room in Boston around this time. Her live performances of Stars and Candlelight were thrilling but Ain't Love Easy just made me melt. Because of connections, I was able to attend these performances multiple times and bask in the glory of Ms. Cooks mastery. This album may not be to everyone's taste, as the song choices are somewhat different from what Barbara Cook efficianados have come to expect. These songs are more pop oriented than what Ms. Cook has normally been drawn to, which is why I find the album fascinating. There are a couple of misses on the album, I don't care for Why Did you Promise me the World and It Was, but the 2 Janis Ian songs, Wally Harper's Ravelish arrangement of You and I and Ain't Love Easy make this album a necessary part of any Barbara Cook fans collection.



3. I do not know a lot of Cook's recordings but I always come back to this one...
   A great album of a happy singer with a great voice.
   To people who don't know her very well, listen to her in Candide's (Bernstein) Glitter and be Gay and you'll hear what kind of voice she has...



4. Ms. Cook has proven time and again that she is a singer of great range,as this crossover album from 1977 shows.It's a comfy emotional easy-chair worth sinking into, and one of my favourite Barbara Cook albums.The songs(mostly Ballads) are well chosen and arranged,with standouts being "Ain't Love Easy","You and I",from the musical version of "Goodbye,Mr Chips",and Janis Ians' "Stars",given a superlative reading,and standing as one of my all-time favourite songs.The album has a Folk-Rock sound,and should be a part of any Barbara Cook collection.



5. I dont know what it is about this album that annoys me. It is a collection of songs no one ever heard before she recorded them in the late 70s - this CD reissue is from 1988. The only one of the nine cuts I like is the opening combo of SING A SONG WITH ME/LET ME SING AND I'M HAPPY, with which Ms. Cook opens her live shows. This is grand in every way and she sings it perfectly. The other songs strike me as mediocre both in lyric writing and composition, especially the self-indulgent, repetitious, maudlin and way too long STARS, a nearly seven minute selection. Although the actual title of AIN'T LOVE EASY "sings" beautifully, the song is pedestrian. This along with OSCAR WINNERS are the only two Cook albums I don't care for. She is usually well supported by fine orchestrations and fine song selections, but this misses big time.