5 comments about Elegies: for Angels Punks and Raging Queens.

1. The cd arrived at the time the seller said it would and I love the cd.



2. The music of Ellegies is some of the most moving I have ever heard. The premise of the musical was that the monologues were from the perspective of those who had died from AIDS and the songs were those who were still alive (only the songs are featured on the album).

   The only problem with this album is that it isn't as good as the newer version (which I also have). The newer version has the monologues and stars of the stage that are more famous. However, the orginal cast album does stand on its own and is the perfect addition to any collection.

   In addition, if you go to First Knight, the label's, webpage you can get more information.




3. The music of Ellegies is some of the most moving I have ever heard. The premise of the musical was that the monologues were from the perspective of those who had died from AIDS and the songs were those who were still alive (only the songs are featured on the album).

   The only problem with this album is that it isn't as good as the newer version (which I also have). The newer version has the monologues and stars of the stage that are more famous. However, the orginal cast album does stand on its own and is the perfect addition to any collection.




4. This recording by the Original London Cast of 1993 has been largely overlooked. It is quietly moving and stands the passage of time.

   Of course the flamboyant Miss Kim Criswell leads the cast with her opening of Angels, Punks and Raging Queens. Her performance is exquisite and emotional, never coming across as over-the-top.

   Miquel Brown and Simon Green and Kwanme Kwei-Armah take the story further with their quiet,powerful deliveries...

   My Brother Lived In San Francisco told by Miss Criswell never fail to move me to tears.

   Although the Live Concert Recording from USA is full of gusto and good-meaning, it comes across as a little forward. But as a live tribute concert, it is what all the artistes have put in with their heart and soul.

   I highly recommend the London Cast Recording which has the composer Miss Janet Hood on piano. The cast is solid, although English.

   Other stuff by Miss Criswell includes the wonderful "Wonderful Town" by Bernstein




5. One of the greatest musicals I've heard EVER! A wonderful West End show featuring an incredible cast of actors including the wonderful Kim Criswell. The script is available from Samuel French and is a great companion to the recording. One of the few shows where everyone who has heard the cd loves EVERY song! A very moving and joyous celebration of lives lost, remembered and lived. Buy, borrow or steal a copy! This is a cd you will want to share with your friends.

No comments about Georges Van Parys.

No comments about Simply Musicals.

3 comments about Ballads/Solo Jazz Standards.

1. I'm an admirer of Previn as both classical and jazz musician, and in both categories he excels. This album has the same intimate, highly musical quality that you'll find in Keith Jarrett's The Melody at Night with You. What I appreciate about both is the fact that the pianist's invention always serves the music; it's never obtrusively artful or showy. Highly recommended. Do yourself a favor and get Jarrett's disc to go along with this.



2. Andre Previn has always been an underrated jazz pianist. Because of his astonishing variety of successes as a classical conductor, pianist and composer; a film composer; a songwriter; and a performer of romantic cocktail music, he has been eyed suspiciously by the jazz community. In fact, his Tatum-like virtuosity, and his wildly unique and often playfully humorous piano style has made him one of the most interesting, innovative, and entertaining jazz pianists around. His many trio albums on Contemporary Records in the '50s (with Red Mitchell and Shelly Manne) still hold up as some of the best of their kind. But like Rodney Dangerfield, he never gets any respect. Thus, even his most kind critics are likely to throw darts at "Ballads" as too sweet and not swinging. Nonsense! It's not Monk, but it is nevertheless a beautiful set and a loving tribute to some of the greatest songwriters in Tin Pan Alley. Previn squeezes out every harmonic nuance of each song, yet he sounds like he's playing off the cuff in his living room late at night just to amuse himself. Previn may not swing like Teddy Wilson or Oscar Peterson on this offering, but I can't imagine any serious listener being left unmoved by his version of Burton Lane's "How Are Things In Glocca Morra?" It's simply gorgeous. Previn's amazing talents and his proficiency in many musical styles all come together in this unjustly overlooked CD. Give it a chance!



3. THe magic is gone. After reading the liner notes, I learned that someone at the studio asked Previn to make an album of just ballads. BIG MISTAKE. I think he was not in the mood.

2 comments about Evita.

1. This is an excellent version of evita. I prefer julie covington and colm wilkinson to patti lupone and mandy patinkin. Julie to me sounds like a natural evita and colm does a great job; he has an edge to his voice that patinkin most assuredly does not. The only problem is this a 1976 recording and does not have the clarity high fidelity of a modern recording, I definently prefer the sound of the movie version even though madonna isn't a world class singer



2. Evita is my all-time favourite musical and this is definitely the best version ever recorded. Julie Covington really is the best Evita they could have picked.
   I also have the Original London Cast recording but it just grates on my nerves so much I could only listen to it once. And let's not talk about Madonna's version... who is she kidding?
   Buy this one... you won't regret it :)

5 comments about My Favorite Broadway: The Leading Ladies.

1. Some of the other reviewers have left out songs that was omitted in the recording, the concise list of songs that wasn't in the recording is below:
   
   Marin Mazzie: Bewitched Bothered Bewildered
   Audra McDonald: Down With Love
   Dee Hoty: Could I Leave You?
   Rebecca Luker: Falling In Love With Love
   Karen Ziemba/Bebe Neuwirth: Hot Honey Rag
   Karen Ziemba: I Wanna Be A Rockette
   Nell Carter: Ain't Misbehaving
   Anna Kendricks: Life Upon the Wicked Stage
   Lea DeLaria: encore to I Can Cook Too
   Jennifer Holliday: intro to And I'm Telling You I'm Not Going
   Tony Roberts/Robert Morse: The Beauty That Drives A Man Mad (I suppose it's leading ladies, so this one omitted is okay)
   
   So as you can see it's quite a rip off version of the DVD, so don't buy it, right-d-o?



2. I have to say the mounting of this show alone was fantastic. Broadway divas from past to present sing their famous/ favorite tunes. All the ladies turn in a brilliant performance.
   
   There is only one complaint about the CD version of this event. The exclusion of Audra McDonald's rendition of "Down with Love" from the 1937 musical "Hooray for What!". It is included on the DVD and is the best version of this song...even.."gulp" better than Streisand's
   
   I highly recommend this cd, even with the glaring omission.



3. When I saw this performance on KCET, I was blown away! Such amazing talent all brought into one performance is amazing. So the next time it was on TV, I taped it and I've watched it several times. Still realizing that wasn't enough, I bought the CD, and it keeps amazing me every time I listen to it. Although I wish that all of the songs from the show were on it, they have most of my famorites. Linda Eder obviously stole the show, but Jennifer Holliday, among others, came close. What a tremendous addition to my musical theatre collection! I would recomend it for anyone who likes modern female musical theatre vocalists. Noah (17)



4. I would just like to tell the person that wrote Over All A Great Compilation the reason why this CD Is bad is because many of the songs you mentioned are not on the CD. Rebecca Lucker is no where to be found on it and Marin Mazzie's Bewitched was one of the best songs of the concert and it is not on there. Karen Ziemba's I Wanna Be A Rockette was probably the greatest number in the whole show but funny, it's not there eather. So Yes like that reviewer said these people gave great preformances but unfortunitly that person forgot to mention that all of the numbers were left off the CD.



5. Okay first off, do not pay attention to any of these other reviews, they were really not well-founded arguments (minus thes ones who actually liked it). Okay this CD does leave out a lot of the good stuff from the VHS and DVD, so I recommend you buy both. The performances were fantastic, most of the original singers from Broadway sang their trademark songs. Priscilla Lopez did pretty good after 20 years, I mean today she's not as amazing but it was nice to see her. Liza Minelli can't sing very well anymore but has a great acting ability. Marin Mazzie is unbelievable and by far always amazing (she's herself). Rebecca Luker is great too, Dee Hoty is amazing as usual, Judy Kuhn is one of the best singers ever born. Audra McDonald is not as good as she could be -- buy the original Ragtime CD. Bebe and Karen are great, Karen is awesome and very versatile. Debra Monk did a nice job but was overacting a bit in the actual performance. It was nice to see Julie Andrews talk and to revel in her memories of her great roles. Elaine Stritch was astounding, she sounds just the way she did when she originated the role in "Company" back in 1970. She is not supposed to have a great voice but she can definitely sing. Her song means something and she can still get that message across, by far her version is the most authoritative in all of Musical Theatre. Nell Carter and Jennifer Holliday were sensational as well. No one sang or acted badly and the show was a great success. You need to buy it if you like Broadway or any of the singers on it, the final Chorus Line number "One" is the best recording ever, of course you must consider it's all female voices.

5 comments about The 60 Greatest Old-Time Radio Shows of the 20th Century selected by Walter Cronkite.

1. While there are many sets on Old Time Radio out there, none have yet come close to this one. 60 radio classics are here, all selected by the great broadcasting legend Walter Cronkite. I'm a a die hard collector of Old Time Radio shows, so this set was the perfect one for me.

   Like Comedy? You'll get such classics as Jack Benny's "Your Money, or Your Life?", Abott & Costello's "Who's On First?", and the infamous Don Ameche & Mae West "Adam&Eve" sketch, on The Chase And Sanbourn Hour.

   Like to be scared out of your wits? The best horror broadcast of all time "The Thing On The Fourble Board" will certinly do the job, as will Escape's nail-bitting classic "Three Skeleton Key", and it's other shocker "Leinengan Vs. The Ants". Add that up with the haunting Mercury Summer theatre episode "The Hitchhiker", and there's 2 Hours worth of terror!

   There's all sorts of other great show, but I'm in a rush! OTR fans, take my word for it, this set rules!




2. I am very happy with this collection. Old Time Radio continues to be hard to obtain in a decent format, and finding it on CD is even more difficult. In light of this, "The 60 Greatest Old-Time Radio Shows of the 20th Century" is the best, all-around collection I have found.

   There are some real gems here. The dramatization of Isaac Asimov's "Nightfall (X Minus One)" is very well done. Adolph Huxley introduces his classic "Brave New World (CBS Radio Workshop)," and Abbott and Costello shine as usual with "Who's on First (Abbott and Costello Show)." Orson Wells is well represented in a variety of genres, doing good work with "The Hitchhiker (Mercury Summer Theater) and "White God (The Shadow)." His classic "War of the Worlds (Mercury Theater on the Air)" is included, although if you buy any Old Time Radio collections, you tend to end up with several copies of this. A nice episode of Bold Venture stars Humphrey Bogart and Lauren Bacall. "Sorry Wrong Number (Suspense)" is considered one of the finest examples of the genre, and Orson Welles considered it to be the best script available. Bing Crosby is great in his performances

   Personally, I would have picked a slightly different collection of the 60 greatest, but they did not ask me. The collection is a little heavy on comedy and variety shows. This type of humor tends not to translate well over the years, and you may not know the references. The patriotic pieces are very heavy handed, and America operates under a different set of morals. "God, and plutonium, are on our side..." I could do without any Baby Snooks.

   All together, the good episodes far outweigh the mediocre. I am definitely happy with this purchase, and have listened to episodes multiple times.




3. This collection of old-time radio programs is barely passable. The selection of shows only brings out how dull and very TV-like radio could be. Listening to these "great" Jack Benny and Edgar Bergen episodes (and they give us two or three shows from each) you may be left wondering --what on earth were people laughing at (and I like both these comedians). And why would The Jazz Singer be on here. It has freak appeal, but surely there were better Lux Theater productions. The only redeeming tapes in this entire collection are one with an odd Christmas episode from Dragnet, and the tape devoted entrely to Yours Truly Johnny Dollar. The other episodes are --for the most part-- barely passable... definitely not anywhere near the best radio shows ever. But that title probably wouldn't sell many tapes.



4. This was just the companion I needed when I drove 14 hours home for Christmas. The selection is kind of heavy on "christmas episodes" so it was even more perfect. Granted I am a radio "buff" but this collection exposed me to a lot of "new" old shows.



5. Radio Spirits, Inc. is in the process of making available on tapes (and a few on CDs) to a video-oriented public just about every popular radio show of the century that will end on New Year's Eve of 2000. Not only is their catalogue bursting with individual programs, but they have boxed sets of 60 shows each on 20 cassettes packaged by type: science fiction, detective, comedy, and so on. Their latest offering in that format is titled -- and lest one exclaim "Sez who?" the rest of the title is "Selected by Walter Cronkite." Of course, we cannot be sure if he chose each episode personally. The box tells us that "Radio Spirits has teamed" with him in the selection. For some of these choices, I fell into violent disagreement with the use of "greatest"; but all in all this is as remarkable a collection as are the earlier releases and quite different from them in one important respect. Several of the shows are highly poetical and designed to help audiences through the war and postwar years back in the 1940s. The one called "We Hold These Truths" gives us Jimmy Stewart in a Norman Corwin tribute to the Bill of Rights, while Orson Welles intones the purple prose of Corwin's "Fourteen August." I found a salute to Carl Sandburg somewhat overlong. However Corwin's "The Undecided Molecule" is not only all in verse and truly funny, but features Robert Benchley and Groucho Marx among several other stars. Of course Cronkite would include a full Walter Winchell broadcast when a few seconds' sample would have sufficed, and the Vic and Sade episode chosen is particularly vapid. (Were they all like that, can some reader tell me?) But choosing the Abbott and Costello show that has not only the "Who's on First" but also the "Bob Feller" routine was right on target, as was the Edgar Bergen/Charlie McCarthy show in which Mae West got herself banned from the air for her suggestive reading of Eve in a sketch in which Don Ameche plays Adam. Other highlights are the "Sorry, Wrong Number" with Agnes Moorehead ("Suspense") and the same author's "The Hitchhiker" with Orson Welles ("Mercury Summer Theater"). Mr. Welles' famous Mercury Theater "War of the Worlds" is the first selection, by the way, to be matched in terror only by "Three Skeleton Key" ("Escape") in which Vincent Price and two men are trapped in a lighthouse by millions of rats! Or the classic "Leinengen vs. the Ants" ("Escape") in which William Conrad defies several square miles of the man-eaters. For comedy we have Baby Snooks, Fibber McGee and Molly, Burns and Allen, Jack Benny, Fred Allen, Desi and Lucy (with the Mertz's), Eddie Cantor, Bob Hope and Bing Crosby (in a particular funny Philco Radio Time Episode), and a host of comics in a Dick Tracy spoof on a "Command Performance" designed for GI's overseas. For drama we have, among many, the science fiction "Nightfall" ("X-Minus One") the western "From Here to Boston" ("Have Gun, Will Travel") the mystery "The Death Bed Caper" ("Sam Spade, Detective") the suspenseful "The Shadow of Death" ("Inner Sanctum") and the speculative "Brave New World" ("The CBS Radio Workshop"). (I regret I simply do not have the space to list them all, but you can contact me for more details.) Different from the other sets is the format that mixes 60 and 90 minute shows with shorter ones, so that an entire tape can be devoted to a sequence of "Johnny Dollar" episodes. But you still get 60 shows, if each episode counts as one! As I said when I reviewed some of the earlier releases, this is a terrific educational tool if used correctly. The Bill of Rights broadcast, for example, would do a better job letting the young know about those original 10 amendments than any textbook could. And think what a teacher could do in having a class write its own radio show after hearing some of these! I believe there is a CD version available, but I find CDs leave out the commercials to make room on a side that cannot hold more than 79 minutes. But in either format, this collection (as are the others, of course) is a most enjoyable, if not a most valuable, set to have and to play many times. Perhaps if we understood better where we came, we might make a better job of where we are going.

4 comments about Cole Porter: A Centennial Celebration.

1. Any music lover around my age (over 60) must have lots of Cole Porter songs in his current or past collections of recordings. I have owned original cast records, tapes or CD's of shows he composed, entire albums by pop singers dedicated to his songs, both vocal and instrumental jazz collections of his works, and even orchestral versions of his output. A nice touch on this compilation is that there are three tracks sung by Cole himself, with his own piano playing. These are from 1933-34, and represent the best of the few tunes he ever recorded himself. The 20 tracks offered here were laid down between 1932 and 1987, so the quality and the styles are wide-ranging. Artists performing include from Broadway, Patti Lupone, Alfred Drake, and Mary Martin. From Hollywood we hear Dinah Shore and Fred Astaire. From the concert stage we are treated to songs by The Robert Shaw Chorale and the Norman Luboff Chorus. The world of jazz gives us tracks by Artie Shaw, Andre Previn, Skitch Henderson and Al Hirt. You will also hear Mario Lanza, Lena Horne, and the Boston Pops. Cole's songs are universally clever, and therefore enjoyable even with repeated listening, and in all styles of musical expression. If you like him, add this one to your shelf. If you are not very familiar with his work, this is a good start.



2. If you like Cole Porter, this is a good one to add to your collection



3. This CD was released for Cole Porter's 100th birthday. It features music from the RCA Records vaults. The earliest song here is from 1932 and the most recent is from 1987. Naturally, with such a long time frame, there are a wide variety of performances. Some are better than others, but the highlights are three songs sung by Cole Porter himself accompanied only by piano. Recommended to Cole Porter fans.



4. This celebration of Cole Porter's 100th anniversary is "the top." The highlights of the disc are the three songs performed by Cole Porter himself. "Anything Goes," "You're the Top," and "Be Like the Bluebird" were recorded in about 1930, but are the gems of this collection. The intonation and inflection of Porter makes these songs funny and magical. These performances alone make the disc a good buy.

   Also thrown in are vitage recordings by such noteworthies as Astaire, Mary Martin and Don Ameche. The Astaire rendition of "Night and Day," the oldest recording on the disc, is delovely and memorable.

   In addition to these older performances, there are contemporary recordings by Andre Previn that were performed on the night of the 100th Anniversary celebration. No thinking person can listen to this disc and not be delighted and charmed.

5 comments about The Best of the Capitol Masters: The London Sessions.

1. I am gonna get killed here bu this cd has teriific vocals from Judy but she was still trying rediscover her voval power and some of the songs drag under the admittedly lacluster conducting of her European conductor Norrie Pramour. Yet in Numbers like Swanee and Over The rainow and lucky day there is an almost operatic quality to her singing-very raw and unforced like her 1960 eurpoean concert tour, Carnagie hall would be soon after this and she would come very far in that short time. Recorded at her absolutest healthiest ever.



2. The Best of the Capitol Masters: The London Sessions is an excellent CD of some of the very best studio recordings of Judy Garland's entire career. Her voice sounds fresh, energetic and clear as a bell. Judy was able to deliver these songs with the ability to impart every subtle nuance of the lyrics to the listener--a rare feat indeed! The sound quality of the songs on this CD couldn't be better; and the artwork alone is enough to make you want to buy this one!
   
   "Lucky Day" features Judy singing marvelously; her voice sounds great and the big band style arrangement works wonders for this number. "Stormy Weather" gets the royal treatment from Judy who sings this passionately with all her might. The strings work well and Judy's vocals in the spotlight are absolutely enchanting. "Come Rain Or Come Shine" has great drums as Judy belts this out like the pro she always was! Judy's voice rings through as if she were standing right next to you as she sung this to you and only you!
   
   "The Man That Got Away" is actually so good it's even on a par with the rendition Judy sang in A Star Is Born; she shows off the operatic qualities of her voice on this track. Judy's excellent diction bolsters her performance even further. "Swanee" benefits from a strong backup chorus; and listen for "Happiness Is A Thing Named Joe" which was probably very important to Judy personally because her own son was named Joe. Judy delivers "Happiness Is A Thing Called Joe" with panache and Ethel Waters, who sang this in Cabin In The Sky, would be mighty proud of Judy!
   
   The "MGM Medley" features parts of "The Trolley Song;" "You Made Me Love You" and more; Judy sounds perfect on these numbers and she leaves you wanting more! Fortunately, that's precisely what you're going to get--there's more to this fine album!
   
   "Do It Again" is a most romantic melody that puts Judy squarely in the spotlight; and the musical arrangement is very elegant. "Chicago" is a bouncy, energetic number that sounds so much better whenever Judy sings it; I love the brass on "Chicago!" "After You've Gone" lacks nothing--it's THAT good. "After You've Gone gets more than one great tempo and Judy handles the tempo changes very well. Of course, the album closes with one of Judy's biggest hits ever, "Over The Rainbow." Judy never misses a beat and she sings this from her heart. Sadly, Judy's life wasn't always too happy; so I believe that her delivery of this masterpiece is enhanced by her ability to inject her personal feelings about her life into this ballad.
   
   Overall, this is one mighty fine album by the incomparable Judy Garland, the world's greatest entertainer ever. As another reviewer correctly notes, if you like this you may as well purchase the three CD set by Judy entitled Judy Garland: The One and Only. The box set would be a good buy and diehard Judy fans will want the entire three CD box set. More casual fans will be comfortable with just this one CD.



3. After a near fatal illness, Judy went to London and feeling better and on the mend went into a London studio and recorded these classic sessions which contain many of her finest studio performances which are beautifully arranged with a full studio orchestra...the results are totally stunning and these incredible recordings are also a preview of the legendary Carnegie Hall concert which exploded on the music scene the following year, selling millions and gave Judy Garland a much deserved "Five Grammy Awards" win including a Grammy Award for "Album Of The Year". "Judy In London" finds Miss Garland in great voice and in a wildly creative mood expanding her classic reportiore with new classics such as the most inspirational version of "You'll Never Walk Alone" ever recorded with a glorious vocal soaring to breathtaking heights showing Judy in peak form! Opening with an exhuberent and brilliantly sung "Lucky Day", it is clear that luck belongs to the listener of this treasure chest of tremendous performances...the richness of Garland's voice and the passionate and wildly soulful performances show that this great singer possessed the greatest voice of her generation and of the century...never before or since has Cole Porter's "I Happen To Like New York" been sung with such emotional depth plus a full-voiced rich vocal that is gorgeous and incomparable! A tour-de-force medley "Judy At The Palace" defines what great singing and the art of emoting are all about thus bringing the song to life for the listener in a most extraordinary way...and those rich heavenly tones!!! Judy manages to make an athem out of "It's A Great Day For The Irish" and this timeless collection is full of definitive performances of many of the greatest songs written over the past century...quite a accomplishment but Judy Garland's brilliant career was full of them and Judy left behind quite a collection of wondrous performances for us to savor and enjoy and these legendary sessions are as far as her recordings go at the top of the list...get it and enjoy the greatest singer ever! Bravo Judy and we miss you!!!



4. This is one of my favorite recordings of Judy. She had just survived a near-fatal battle with hepatitis and comes back with a vengence and a zest for life that is evident in her delivery of these songs. Her voice is older, more mature, not as clear and shrill as in her films in the MGM era, but it's a rich as caramel and chocolate. Each note is perfect, the phrasing is all-natural, and Judy sounds happy. Only Judy is able to allow her emotions to shine through a song, infusing each note and word with her whole being. And for this reason she is a legend, a star whose brilliance will never dim. She will always be loved by millions and never forgotten.



5. Judy Garland's famous London Sessions recordings, recorded during the first week of August 1960, stand as some of her most remarkable studio recordings ever. Judy had nearly died a year earlier and had been told that she would be a semi-invalid for the rest of her life. Free of her constant stress and worry over work, Judy's health and spirit actually soared miraculously. In June 1960 she recorded the album "That's Entertainment!" and soon afterwards flew to London, where she launched a series of European concerts that paved the way for her triumphant American concert tour of 1961. While in London, between August 2 and August 8 of 1960, she recorded the twenty incredible songs you will find on this album. Many of these were songs she would sing in her upcoming concerts, and it is fascinating to listen and distinguish tiny differences in pace and delivery between these studio recordings and their live-audience counterparts in such concert albums as Judy Garland a Paris, The Legendary Amsterdam Concert 1960, and the amazing Judy at Carnegie Hall. Show-stoppers such as The Man That Got Away, San Francisco, Swanee, and Rock-a-Bye Your Baby (With a Dixie Melody) had a much more energetic and exciting feel to them when Judy sang them in front of thousands of adoring fans, but these studio recordings reveal subtle yet hidden depths in these songs, and Judy had never sounded better and more in love with her music than she did in these London Sessions recordings.

   Most of these songs are quite familiar and need no introduction from me. A few merit special attention, however. Lucky Day is a joyous song enlivened with the passion for life Judy was finally feeling at this turning point in her career. The Judy at the Palace medley harkens back to Judy's incredible nineteen-week run at Broadway's immortal Palace theater in late 1951; Roger Edens wrote the introductory verse and adapted Shine On Harvest Moon, Some of These Days, My Man, and I Don't Care into a special medley to honor some of the big names who had previously played the Palace. Happiness Is a Thing Called Joe was a song Judy began singing after the birth of her son, Joe Luft. Perhaps the most unusual song in this collection is Cole Porter's I Happen To Like New York; much of the song hovers around the same few notes before building into an awe-inspiring crescendo of sound toward the end. Why Was I Born? is a song Judy enjoyed singing, but in my experience it is not featured on very many collections of Judy Garland songs. Over the Rainbow, as always, deserves extra special attention. This particular version is remarkable for the haunting quality of Judy's performance; this is no longer the young Judy Garland dreaming of a better world, it is a mature Judy Garland singing about hopes unfulfilled and a deep longing for something never found.

   Amazingly, only six of these songs were released during Judy's lifetime. 1962's "The Garland Touch" included Lucky Day, the Judy at the Palace medley, Happiness Is a Thing Called Joe, It's a Great Day For the Irish, You'll Never Walk Alone, and I Happen To Like New York. In 1972, all twenty of these songs were released on "Judy in London," but this album saw only limited distribution. This London Sessions CD marked the first digital release of all twenty of these Garland classics. This album is actually the third CD in the remarkable Judy Garland: The One and Only box set released in 1991. While The London Sessions CD is certainly well worth owning, I would encourage prospective buyers to seek out and purchase the entire box set if possible, thereby getting 45 additional Capitol recordings to complement the twenty treasures found on this one album.

No comments about Christmas Encore.