1 comments about Symphony.

1. A beautiful mix of different styles of music onto one album. Sarah Brightman's voice is lovely and powerful.

5 comments about Kiss Of The Spider Woman: The Musical (1994 Broadway Cast).

1. Award winner actress-singer-ballerina Vanessa Williams makes a thrilling Broadway debut in maybe Kander & Ebb's best collaboration ever.
   She brings a sweetness and a sexyness to the score that no one has ever brought to it.
   One of the best Broadway Recordings I own.
   
   Terrific.



2. Maybe I'm biased because I saw the Original Cast (Chita Rivera, Brent Carver and Anthony Crivello) on opening night in Toronto, and because the Original Cast Recording of KISS OF THE SPIDER WOMAN was the very first CD I ever purchased more than 14 years ago (wow...) -- but while Vanessa Williams usually has a very beautiful voice, she is certainly no Chita Rivera and, let's face it, Miss Chita was born for this role. It was sublime casting.
   
   More to the point, I am not impressed by any of the performances on this recording. The over-annunciation takes away from the emotion involved in the poetry of the music and it reeks of community theatre. The acting is also very campy compared to the darker performance I saw. The most disappointing part is the scene leading up to the finale in which (*potential spoiler*) Molina finally says "I love you." It was a moment which Brent Carver played so gut-wrenchingly well, and although I was very disappointed that it was not included on the Original Cast Recording, it SHOULD have been omitted from the 1994 Cast.
   
   Where Carver's version of the scene had him utter the words in a weak, surrendered, haunting last breath as if the words might bring some meaning to his inevitable death... the Broadway version has the line shouted as if the characters are in a noisy bar. Valentin's "oh gods" that follow are shallow and void of sympathy. This cast went through the motions but CLEARLY the orignals were passionate about the roles they helped create for the stage. My guess is... Miss William demanded a soundtrack be made, despite the fact that there was no need. The end result has orchestrations sped up and cut to fit on one CD.
   
   If you want to hear the show the way it was meant to be, buy the Original Cast Recording starring Chita Rivera.



3. After reading Manuel Puig's novel, "Kiss of the Spider Woman," I approached this musical with great enthusiasm, while at the same time resolved not to let previous expectations ruin the experience. After all, I love musicals, and I love the novel. And still, I cannot get around it -- "Kiss of the Spider Woman: The Musical" is terrible.
   
   Beginning with the campy, synthesized panflute and electric piano undermining a brutal torture with background music that sounds like something from a children's show, I knew something was amiss. But I remained open-minded.
   
   However, as one song after another rolled along, I grew more and more skeptical. I waited ever-so-patiently for a number that actually had something to do with the central narrative -- the relationship between Valentin and Molina. Only one, very brief song ("I Draw The Line") depicts their relationship. Nearly every song is given to the imaginary character of Aurora or an ensemble of prisoners, neither of which have any importance in the scheme of things. Singing generic lyrics on generic themes, they diverge from the story rather than advance it: "Gimme love" for example, tells us nothing new about the characters or the story, and could honestly appear in any campy cabaret. Even songs that spring out of Molina and Valentin's situation are handed over to Aurora and the ensemble, who then proceed run away with the themes until they are completely removed from the emotions that these two men feel.
   
   You may thinking that Aurora is important to the theme of fantasy and the imaginary that runs throughout the story. While it is true that the films that Molina tells are a significant part of the story, they overshadow the characters when they are able to traverse the confines of their narrative via the device of Aurora, who was invented for this musical (apparently she is the "spider woman", despite the fact that in the title of the novel is a reference to Molina). One of the key elements in making Puig's novel work was the fact that the films were all told in Molina's voice; here the films are given all the voice, while Molina is silenced.
   
   The rest of the songs focus on the lives that Molina and Valentin led before their imprisonment. That's perfectly relevant, but these songs are almost never related to the current events at hand, and lack a conversational nature needed to develop the relationship between the two leads. None of these songs display any reaction from the other man. "Gabriel's Letter/ my First Woman" combines the backstories of the two, but has them form independently of each other, with no influence from one to the other. This is simply bad drama.
   
   With no attention given to the relationship between Valentin and Molina, it's no wonder that the musical has Valentin pretending to have affection for Molina in order to acheive his own goals -- a complete insult to the novel, which features a genuine love shared by the two men.
   
   The musical ends with a light-hearted excersise in camp underscoring (undermining) the death of the hero, Molina. "Kiss of the Spider Woman" was a heartfelt novel...this is an excersise in camp and dettatchment. I consider myself generous for giving it two stars.



4. I was told after I had already become obsessed with the show that it has a habit of becoming habit-forming. It's an extremely addictive show, mostly because of the intricasy with which it weaves its story. It is beautifully written, with musical themes that have dramatic purpose, unlike the themes used by Andrew Lloyd Webber or Boubil/Schoenberg. When a theme recurrs in this show it takes you back to a dramatic moment from earlier in the show, compounding the magnitude of every moment.
   
   And the performances are spectacular. Vanessa Williams blew me away with her seductive, glamourous, sly Spider Woman. Her performance of the title song cannot be beat. Howard McGillin is heartbreaking as Molina, and the voice on Brian Stokes Mitchell melts me every time I hear it. This score seems to have been written with his voice in mind.
   
   This is just about as good as musical theatre gets, and it is perfect.



5. This production of KISS OF THE SPIDER WOMAN premiered in Toronto in June 1992. As a theatre reviewer I atteneded the opening night performance. It is rare that a show is so near perfect at this early stage in its life. The first act needed some trimming and the pacing was uneven, but the score and performances were nothing short of dazzling. The production played Toronto through the summer of 1992 the opened in London for a six month run, then the cast moved to Broadway where the show deservedly won the 1993 Tony for Best Musical and Tonys were won by the three stars.

   A CD was made during the show's London run and is billed the "original cast recording. Kander and Ebb have found so much heart in this story: "Dear One" is one of the most beautiful songs the partners have ever written. (In an interview, John Kander told me this was his favourite number in the score. Fred Ebb's favourite was the song "Dressing Them Up" where he got to show off his lyric writing abilities.) "You Could Never Shame Me" has become an anthem that every closeted gay man wishes to hear from his own parents. Listen to the longing that comes through in Carver's sensitive reading of "She's a Woman." The score sometimes goes off the rails..the "Morphne Tango" was one number that Toronto critics expected to be dropped and yet it's still there. Overall it's another first rate show from Kander and Ebb (and Terrence McNally who adapted Manuel Puig's novel.)

   As the musical enetered its second year in New York the original cast members departed and Vanessa Williams was signed to play Aurora (A younger more sensual Aurora) with Howard McGillan and Brian Stokes Mitchell. A new "Broadway" cast recording was made by Mercury which included more of the score as well as several key dialogue seuqnces (very abridged) so the recording gave the listener a sense of hearing the full show.

   Because it communicates more of the drama of the piece, the second recording is slightly preferable. The packaging includes background notes, a detailed synopsis and libretto. The Cd was produced by Thomas Z. Shepard (who did a similar CD of the revival of DAMN YANKEES! featuring much dialogue form the show) and it is a first rate production.

5 comments about Jesus Is Magic.

1. Sarah Silverman is mad funny!!! Her songs get stuck in your Fn' head. You'll be walking down the street going "your gonna die soon, your gonna die soon", and stuff. Plus she is really really hot! She is halarious, but some of her jokes aren't funny, but only like two or three. I don't know why she always talks about diarreia, but that shhh still cracks me up! I was never really a SS fan until I saw this movie! Now I can't wait for Season Two of The Sarah Silverman Program on Comedy Central!!! I'ma watch every Fn episode! and I hope Season One cums out on DVD soon! Go Sarah Silverman! You Fn Rock!!!



2. While I am far more of a music man when it comes to what I listen to in the car and on my stereo at home there are always the days where I'm in the mood for a little stand up comedy. And Miss Sarah Silverman is hillarious! Granted, she is not for the faint of heart or the easily offended. It takes a lot to offend me and I enjoy her humor (although there may be one or two too many "doodie" jokes) a lot. The album is a pairing of studio humor songs with some live stand-up thrown in alongside. Overall the whole thing comes together and gives you a wonderfully irreverant look at the world we live in. And, come on, isn't that exactly what so many of us need in this age of overly rampant political correctness? We need to learn how to laugh at irreverence and (expecially in Sarah's case) the ridiculousness of some of our darker traits. She embraces racism, stereotypes, religious intolerance, homophobia, and the self-centered nature of Hollywood in a way that shows how hollow and empty those view points are. You find yourself laughing out loud and saying, "How could anyone really think like that?" So, it's not only incredibly funny humor but there's also a touch (while it's hidden very well) of social commentary in there with all the doodie jokes too. I loved it.



3. If you want to see someone devalue VIRTUALLY everything you held in esteem, buy this sordid, valueless, non-comedic diatribe. If you want to watch her demean ML King, and Jesus Christ, among others, buy this sordid, valueless, non-comedic diatribe. A disgusting individual among an increasing crop of disgusting individuals PRESUMING to have something to reveal that might make her a few dollars.
   
   She makes Lenny Bruce seem like an icon of anti-bigotry. Dice Clay to be a language teacher.
   
   In America, this individual has the unfettered right to free expression, but she seems to "esteem" nothing more elevated than her own depravity.
   
   Is that the level to which normal Americans want to sink?
   
   Buy it if you think she has something to say. Anything you would feel remiss to avoid - like a toenail fungus - and help support her ambition to be the most despised figure in American "comedy".
   
   I did not buy this video. For some reason, it was shown on cable TV.
   
   I could barely watch - and decided after she expressed the opinion that Christ's crucifixion deserved a repris - not to.
   
   And I'm non-religious!



4. When Sarah Silverman delivers her standup, she is very funny. Only problem is, this CD features 15 titles, only seven of them are standup comedy. The rest is stupid songs, which are supposed to be funny, and some lines in some songs actually are. But if you're like me and hate singing in comedy CDs, beware.



5. Sarah Silverman is one of the funniest people alive. I'm patiently awaiting for the DVD to come in the mail. In my waiting, I bought the OST on iTunes - it's absolutely hilarious. It has some of the songs from the movie ("I Love You More" is great and "Porn Stars" is growing on me) and includes a lot of the stand up from the film also - very hilarious stand up. After the movie bit, there are a few "unreleased" songs. The first is "Everybody Sings", which most Silverman fans will probably recognize. In the song she talks about black people, chinese people, and mexican people and how all these ethnicities sing. Rather funny, especially the ending with her talking. After that, we have "Nobody's Perfect", in which Sarah makes fun of Abraham Lincoln, Mother Teresa, Gandhi, and George W. Carver. Too funny, especially the Gandhi (sp?) part. The next song is "Phoebe's Song", which just sounds like Sarah messing around in the recording studio, but it's funny (in a juvenile sense of the word). Then there's the Christmas classic, "Give the Jew Girl Toys".
   
   Overall, if you're a Silverman fan, this is perfect for you.

5 comments about At Carnegie Hall June 9, 1962: Complete Concert.

1. I was only 12 years old in 1962, but I would give anything to have been there on this night. For me, it's not only Tony at the height of his vocal powers, but more importantly, firmly taking the step from a popular singer to the jazz master he is today ... a step he started years earlier with Cloud 7, but cemented on that night.



2. Although my mother often played Tony Bennett albums while I was growing up I never appreciated his talent at the time (growing up in the 70s). Like many I never got past Frank and Sammy. A few years ago I rediscovered Tony through the MTV unplugged sessions. Although the MTV CD is great, IMHO, this one blows it away. The song selections and arrangements are terrific and Tony's voice shines throughout. This CD covers almost all of Tony's great hits from that era and has the added benefit of spontaneity found in a live performance combined with Ralph Sharon's exception playing and big band. Believe me these songs swing! There are a lot of up-tempo arrangements on this CD and just too many great songs to mention only a few. Tony's voice and phrasing are uniquely different from his peers and that's what makes this CD such a gem. We are lucky that we live in an age where we have so much access to so many diverse artists from so many different eras.



3. To the last reviewer, I saw both Garland and Bennett in separate concerts in Boston not long after their respective Carnegie Hall shows. Judy gave the best performance I have ever seen, Tony was not far behind.
   
   How wonderful to finally have the entire concert at last. You are reminded time and again how Tony picks the very best songs to sing. There are a lot of gems here, but my favorite 'new' song is the one from "I Can Get it for You Wholesale." With Tony singing you wonder why the song did not become a hugh hit. Tony is still around, bless him, but I had forgotten how rich and glorious his voice was 42 years ago. I would classify this concert as one of 10 best live recordings of all time, pop or rock. It just does not get much better than 2 hours of pure Bennett at his peak. The live concert brings out the best in him.
   This is the one indispensable Tony Bennett CD.



4. I like a great collection of songs where the speakers vibrate, and the furniture moves. Judy Garland could do it at Carnegie Hall. Tony Bennett, on the other hand, sings some songs with gusto, but that first CD just doesn't cut it for me. I had to turn up the stereo several times on the weaker tunes, and when he hit the torch songs, I had to turn the stereo down. Could someone at Columbia remaster this fine concert???



5. ....has no idea what he's talking about. This two-disc set showcases Tony Bennett at his best. He was, and still is, a fabulous singer. In many ways, he was more compelling in a concert setting than in the studio. On this night at Carnegie Hall in 1962, the acoustics must have been perfect. His voice, though always great, sounded extra special. I'm fortunate to have this as part of my eclectic collection.

3 comments about Songs of Faith.

1. This CD has many of my favorite hymns and then some. Particularly impressive is "My Sweet Lord" which I like as much as the George Harrison original. Andy's smooth, sweet, but heart-felt voice reflects faith and inspiration.
   
   Also see the Christian music of Jim Nabors and Elvis Presley.



2. This album is a poor presentation of Andy Williams talents. This disc was not digitally remastered, so what you are getting is 1960's audio technology slapped on to a CD format. And, to top that, there is only 35 minutes of music on this disc. Even at [this low price], this is overpriced.



3. All of the songs on this CD have been available for years. From a 1972 gold album of the same title we have Andy singing the best version of Impossible Dream ever recorded. For the first time since its' 1968 release we have the beautiful Battle Hymn of the Republic, as recorded live at Robert Kennedy's funeral. The emotion of the event at the times really comes through in Andy'a all vocal version---very stirring. A very inspirational collection by one of America's true entertainers, wonderful to hear these again.

5 comments about Annie Get Your Gun (1957 Television Cast).

1. I first heard this as a teenager in the 1970's when I bought an LP at a yard sale and couldn't get enough of it. Mary Martin is absolutely fabulous--her voice is crystal clear, and her versions of these oft-sung classic Berlin tunes are original. John Raitt's voice is in its prime as well. This is a "sleeper" that deserves a listening.



2. This recording of Annie Get Your Gun has been my favorite recording of the show since day one. Maybe it's just because I'm such a Mary Martin junkie, but this one is tops. It was recorded several days before the show was performed live on NBC television back in 1957. The broadcast itself does exist in kinescope form and I understand this kinescope was released on tape years ago, now out of print. It is this recording of the broadcast (I should say studio recording, since this is not technically taken from the soundtrack, but who cares) that most people remain familiar with. On a side note, I would like to see some enterprising company restore this and put it out on DVD, as Image Entertainment is doing with the original Julie Andrews version of Cinderella, which is being released next month.
   
   Mary Martin was not a newcomer to the role of Annie. She had been with the show in one of the original touring companies in 1947, and went on a sellout tour just prior to this television production. To her credit, Martin is one of the leading ladies still most identified with the role (Merman and Hutton, of course, are the others). As Frank Butler, we have the great John Raitt, who had been in the original cast of Carousel.
   
   This recording is fairly complete as ANNIE recordings go. All of the important songs are here... the only ones missing are the two minor songs written for the secondary characters, "Who Do You Love I Hope" and "I'll Share It All With You." These were cut after the original production and in all subsequent productions and the 1950 movie version, but were put back into the score for the recent Bernadette Peters revival. Therefore we really do not miss them in this show.
   
   ANNIE GET YOUR GUN has garnered many recorded versions over the years. Other major recordings of the show are Ethel Merman original (Decca), 1950 movie soundtrack, with both Hutton AND Garland recordings (Rhino), Ethel Merman revival (RCA), Bernadette Peters revival (Angel). McGlinn's complete recording on EMI is out of print, and Columbia's studio album with Doris Day and Robert Goulet from the early 60s has not appeared on CD as yet.



3. ANNIE GET YOUR GUN came to the small screen in 1957, after completing a sell-out touring season. Mary Martin (PETER PAN, THE SOUND OF MUSIC) played the title role with John Raitt (THE PAJAMA GAME, CAROUSEL) as Frank Butler.

   Mary Martin originated the role of Annie in the original national tour of the musical in 1948. This small-screen incarnation was part of a series of live presentations on NBC that also featured SATINS AND SPURS starring Betty Hutton and PETER PAN with Mary Martin and the original Broadway cast.

   This cast album was recorded on the Capitol label a few days before the broadcast. Mary Martin is superb in the lead role, and John Raitt's booming, resonant voice is perfect for the role of Frank.

   Highly-recommended. [ANGEL/BROADWAY ZDM 0777 7 64765 2 0]




4. I saw "Annie Get Your Gun" in NY recently and after the show my dad went to the library to get the recording. We got the Mary Martin version first...WE LOVED IT!!! You can sing a long with all the songs. We than later got the Bernadette Peters version and did'nt like as much. If you like to learn and sing a long with music than this is the recording for you!!!! Now I own it on CD



5. I'm a Mary Martin fan. A BIG Mary Martin fan. And next to "Peter Pan," I think that this CD is her best. And the best version of "Annie Get Your Gun" that I've heard. I'm sorry to say that I haven't heard the original, but I have heard the 1966 (I think) revival with Ethel Merman, and the Bernadette Peters one (which I also saw live). Neither of those Annies measure up to Mary, in my opinion. I'm probably a disgrace to "Annie Get Your Gun" fans everywhere, but I can't stand Ethel Merman's voice. Bernadette I love, but Mary Martin tops her. Her (MM) performance isn't as exaggerated, which I think is more natural works better. I have constant arguments with a friend of mine over who makes the better Annie, and have tried to figure out the difference between them, which I think is this: Mary Martin *lets* it be funny, Bernadette Peters *makes* it be funny. And Mary Martin's way works. The song "I'm An Indian Too," cut from the show for obvious reasons, is still one of my favorites (when sung by Mary, anyway), and I think it comes closest to "Peter Pan" out of anything else she's done.

   John Raitt as Frank Butler is also wonderful, the best I've heard, and so on. I love his "I'm A Bad, Bad Man," which isn't currently in the show, as well as "Anything You Can Do," which is both performers at their best. In fact, the only thing that I don't like about this recording is that they cut out all characters besides Frank and Annie and the chorus. But for someone who's a genuine fan of either Mary Martin or "Annie Get Your Gun," this is a wonderful CD. Listen to it. Hear the Mary Martin magic.

2 comments about Thrill Me - The Leopold & Loeb Story.

1. If the concept of turning the story of an infamous murder into a musical sounds bizarre...then you are not alone. But, that is exactly what "THRILL ME-THE LEOPOLD & LOEB STORY" does...and with overwhelming success! Through this two-character musical play, with 15 paper-thin, piano-accompanied songs, we learn of the intimate intricacies of one of the 20th century's most heinous and pointless crimes-the murder of a young boy by a mentally abused young man, and his older, manipulative lover. On the surface, THRILL ME is a crime story, but as we listen to the story, told through music, we realize that the murder is the sympton...and the disease of mental abuse, homophobia, and compulsive love. The stage is set when Nathan explains his actions in the songs, "Why" and "Everybody Wants Richard," two upbeat numbers with lots of background information. The seductive romanticism of the gripping "Nothing Like A Fire" quickly gives way to the crime plan, sickeningly explained in the nightmarish "Roadster." As the play reaches its fevered pitch with the realization that the perpetrators are about to be discovered ("My Glasses/Just Lay Low and "I'm Trying To Think), the two actors-Matthew S. Morris and Christopher Totten reach brilliant heights in their singing performances. Do not let the subject matter dissuade you from experiencing this music- THRILL ME in no way glorifies the hideous crimes of Leopold & Loeb. This is not a testament to their lives, but more an indictment of the sociological elements that led them to their fate.



2. I went to Uptown Players' (Dallas) production of Thrill Me last night not knowing what to expect. I'd studied "the thrill killers" in a psychology class in college and couldn't imagine what a musical about them might be like. But I'd read the rave reviews of the Off-Broadway production and didn't want to miss my chance to see the show.
   
   The show is really not about the crime so much as it's about the relationship between the killers, Nathan and Richard. Richard is the type of guy who can get just about anyone to do whatever he wants. Nathan describes his seductive personality in what is, perhaps, the best song of the show, "Everybody Wants Richard." Nathan seems to be a victim of Richard's charm. And, it's this relationship that makes the show so engaging.
   
   The music is beautiful and completely haunting. It's relatively simple, with only two vocalists and a piano, but it's really been sticking with me a lot more than most musicals I've seen. "Everybody Wants Richard," "Nothing Like a Fire," and "Thrill Me" are my personal favorites.
   
   Generally, when I see a musical I like, I get the cd and listen over and over again. As I watched this show, however, I found it hard to imagine repeatedly listening to songs based on the true story of two killers. But the music was so good, I couldn't leave the theatre without buying a copy. There's one song, "Plan," that I usually skip; it discusses the crime in more depth than I really care to think about. "Roadster," the song during which Nathan lures the victim to his car is perhaps even more haunting, but too good to skip everytime.
   
   If you don't trust me, read any review of the show you can find. I have yet to find a negative one.

2 comments about Pepe (1960 Film).

1. I bought the CD for one song, Judy Garland's number "The Far Away Part of Town". For some strange reason this great number is only available on this CD. This Andre Previn piece is rare, haunting, and beautiful. It's like the number was written with Judy in mind and her performance of it is nothing short of extraordinary. In the movie the song is in the backgorund of a dance number with Shirley Jones. The movie plot is just an excuse for a number of cameos by great actors and artists. However, the Garland number is the best of the bunch.



2. ...buy this cd just for the ultra cool Bobby Darin cut!!!!!!!
   The rest isn't so bad either!!
   
   Jim P

5 comments about Sings the Music of Cole Porter.

1. The peak of Rosemary Clooney's singing career was in the 1950s, and she was one of a number of great female vocalists in that era, in fact one of my three favorites. Unlike most of the singers who peaked in that era, whose careers slacked off when rock'n'roll took over the music scene, Rosemary Clooney continued to sing and record. One thing that helped was that a small jazz-oriented label, Concord, signed her up in the late 1970s and she continued to record for that label almost to her death a few years ago. And her voice remained good. Not, perhaps, up to her 1950s standard, but still amazingly good for her age.
   
   This CD was released (as an LP, originally) in the early 1980s, perhaps 25 to 30 years after Clooney's biggest years, but illustrates that she still could out-sing almost anyone. Her treatment of Cole Porter's great standard songs is outstanding, showing feeling, and still sounding much better than most singers can at the age she had reached when she recorded these tracks.
   
   This CD is heartily recommended to Clooney fans, Cole Porter fans, and anyone else who loves the music that Cole Porter and Rosemary Clooney represent.



2. Rosemary really swings on this album, her very best in my opinion. A tasty little combo backs her up perfectly, with yummy piano, vibes, flute or sax solos and a driving bass that's just perfect for these songs. Whoever arranged these tunes knew just when to swing (In the Still of the Night, I Get a Kick) and when to slow it down (I Concentrate on You). Rosemary's throaty voice is simply WONDERFUL, and she swings like nobody's business. I heard a Porter song I'd never heard before (always a treat): "Get Out of Town," and just understand and appreciate his songs better because she sings the verses, not just the chorus, as on "My Heart Belongs to Daddy" and "Just One of Those Things." Someone has said that Rosemary just flat-out loved singing, and it REALLY shows on this record. #1 on my disc-player. "It don't mean a thing if it ain't got that swing." 10 stars out of 5.



3. I am 22 and I love jazz and jazz singers, Rosie may not be an improvisor but she has a jazz feeling in everything she sings, and she does a swell job on these Porter classics with help from a red hot jazz combo. Recommended if you like jazz singing. Also highly recommeded Clooney discs "Blue Rose" with The Ellington Orchestra,and "Swing Around Rosie" With Buddy Cole's Trio(only available as a Japanese import, but worth searching for)



4. I reccomend this to anyone who appreciates jazz music. I am 19 and I have so much fun with the songs :)



5. Because of the early, light novelty numbers Rosemary Clooney recorded in the fifties, fare like "Botcha Me, Botcha You" (?), I've consistently avoided purchasing her music. In a weak moment I bought "Sings The Music Of Cole Porter", more interested in hearing how her voice has aged over the years. To my elation, this album is a terrific compilation of Porter standards sung and swung by a master jazz stylist. Clooney's voice, gritty and growly with age, bounces from one meaningful note to the next with stunning warmth, humor, and clarity, Her phrasing and timing are perfect, her interpretations of Porter's sharp lyrics impeccable, her voice in my opinion so much more interesting now than it was in her so-called prime. Kudos to Concord Jazz for working with Clooney in recording this and her many other great jazz albums. I am currently a huge fan and this is my first and favorite CD.

5 comments about Face the Music.

1. MR.WARLOW HAS A BIG BEAUTIFUL VOICE,BUT IT'S NOT USED ON THIS CD.....THE "BIG" IS LEFT OUT..TO BAD...I BOUGHT 3 OF HIS CD'S ALL THE SAME VERY LITTLE VOICE USED!..THE BIG SOUND OF HIS VOICE IS NOT THERE I WONT
   BUY HIM AGAIN....BOB L.
   P.S.I AM 60 YEARS OLD...



2. Warlow is the finest baritone I have ever had the pleasure of listening to. Don't miss any of his work.



3. I was lucky enough to see Anthony Warlow perform the tracks of this CD live in Brisbane [Australia]. He has an amazingly powerful and talented voice and they style he sings these songs are truely unique.

   These songs are uplifting and lively big band numbers, and Anthony Warlow sings them flawlessly. The band is amazing too!




4. Anthony's voice is amazing. He is truely the Angel of Music!! I own all of his CDs and had to get this one. A Must have for Anthony Fans.



5. After 10 years from recording his last solo CD, Anthony still has the voice to rival everyones. Classically trained in opera, Anthony possesses tremendous vocal technique and passion in his music. I often times compare him to the male Streisand.
   This CD offers music from the Big Band Era of the 50's and 60's. He sings in a jazz/lounge voice, while still maintaining his trademark high-soaring notes. It was definitely worth the wait!!!