No comments about 21 All Time Swing Greats.

No comments about Highlights From Disney On Broadway.

5 comments about Joseph and the Amazing Technicolor Dreamcoat.

1. The advertising was listed the cast of the movie version, while it actually contains only Donny Osmond from the movie everyone else is not from the movie version with Maria Friedman as it states on the website. Sent it back, since this copy was improperly advertised.



2. I actually got to see this cast perform live in Canada. While they made changes in production when adapting for the movie, the basic feeling of the play remains. It is just like watching it live. I highly recommend this if you enjoyed any of Sir Andrew Lloyd Weber's other plays: Phantom of the Opera, Les Mis., etc.



3. I purchased this cd to give to my child along with the dvd "Joseph and the Amazing Technicolor Overcoat." This cd is a recording of the Canadian cast which produced Joseph in 1992. It is not the audio recording of the dvd production starring Maria Friedman, Sir Richard Attenborough and Donny Osmond as advertised.
   Donny Osmond shows the amazing vocal skill and talent he possesses as a performer in this audio production. The production is well done, however the only criticism I have is that I do not care for Janet Metz as the Narrator. Her voice is to high and does not blend well with Osmond's.
   I would like to see the dvd movie version of the "Joseph" soundtrack released on cd. With the vocal talents, musical arrangements and full orchestra it would be a cd well worth purchasing.



4. I also have been searching for the ORIGINAL Joseph for years. Scepter Records number SPS 588X. I have the vinyl album right in front of me - and no way to play it or record it to disc. It is too scratched and old. Doesn't anyone out there have a decent recording of this? Why is it not on CD? I have also heard all the other versions out there...and none can compare to the original recording by the Joseph Consortium.



5. There are many CDs available with different casts, but there isn't one that is better than this one.

No comments about Sing Me a Swing Song.

1 comments about Keep On Smiling: Songs By Irving Berlin, 1915 - 1918.

1. No other composer so closely kept his fingers on the pulse of American thinking and gave the country so much of what it thought it wanted. "Yiddle on Your Fiddle" tells us more of the second-generation immigrants' desire to become Americanized than all the history and sociology books can ever do. So it is a double pleasure to announce the appearance of "Come on and Hear!: Early Songs by Irving Berlin, 1909-1915" and "Keep on Smiling: Songs by Irving Berlin, 1915-1918," two fantastic CDs or tapes on Oaktown label and released through a friendly little Connecticut company calling itself Original Cast Records. Between the two sets, you have 41 tracks of the Berlin output from "Everybody's Doing It Now" to "We're on Our Way to France." The soloist is Benjamin Sears, who with pianist Bradford Conner has something of a reputation around the Boston area. Now some of this material is duplicated by the more widely known Joan Morrison on two RCA Victor releases, possibly out of print by now; and like those discs could use another voice now and then. (Conner does join in where a duet is called for, but my point remains.) Sears is a capable if not an outstanding baritone, who does justice to these historic expressions of Americana. So not only do I recommend both of these sets for their enjoyment value, but I wish to continue to point out to Social Studies teachers how valuable sets like this would be to classes who have no concept of how people really felt (as opposed to what they merely said and did) "way back when." And I might even stick out my neck so far as to offer to come to any school (in reasonable distance of where I live) to give a sample lesson on how these sets can be used.

5 comments about Frank Sinatra ~ The V-Discs ~ Years: 1943-1947 ~ Columbia ~ Two Volume Set.

1. Frank Sinatra - The V-Discs - Years: 1943-1947 is a wonderful two CD set of songs recorded by Frank Sinatra to be shipped overseas to the fighting men and the women primarily during the Second World War and a couple of years thereafter. The quality of the sound is rather good but there is some degree of surface noise on these older recordings; but I say they're still very much "worth it." The artwork is also very nicely done.
   
   The first CD starts with Frank singing "I Only Have Eyes For You." I'm sure this brought many a happy memory of the men overseas as they heard this tune and thought of their sweethearts back home in the states! Frank aces this easily and it's even a major highlight of this two CD set. "(There'll Be A) Hot Time In The Town Of Berlin" held out hopes for the soldiers that they were going to win the war--it was only a mater of time. The big band arrangement works wonders for this ballad. Listen also for "You've Got A Hold On Me;" Frank massages the lyrics to this song and it sounds fresh and new even today! Great! In addition, Frank Sinatra does an excellent job on "Long Ago And Far Away;" the surface noise doesn't bother me because this number is so beautiful and it probably doesn't have many alternate takes for us to choose from because this was recorded so many years ago.
   
   "All Of Me" gets the royal treatment from Frank; he swings brightly to make this number shine like silver and gold combined! The horns work well in the big band arrangement and Frank never sounded better! "Falling In Love With Love" also gets a fine interpretation from The Chairman Of The Board; and if you haven't heard this early rendition of this song by Frank I think you're going to like it!
   
   "If You Are But A Dream" on the second CD starts with a wonderful musical flourish; and when Frank comes in this number takes off like a jet! "Ol' Man River" also impresses me as Frank sings this to perfection--and beyond! "I'll Never Smile Again" is a tune that Frank sings with panache and the backup vocalists enhance the natural beauty of this fine ballad. Similarly, "Was The Last Time I Saw You" charms me with its beauty and Frank makes this into a masterpiece that only he could sing this well. Frank also sings Judy Garland's signature song, "Over The Rainbow;" Frank delivers this with ease and he handles the complicated tempo and key changes like the pro he always was and still remains! "My Romance" features Frank front and center--and that's OK by me! There's also Frank doing a fine interpretation of "They Say It's Wonderful;" "They Say It's Wonderful" is another stunningly beautiful ballad that I'm sure the soldiers loved to hear. "Come Rain Or Come Shine" gets a somewhat slower tempo than I'm used to but it all works very well; and the second CD ends well with Frank Sinatra singing "Stormy Weather." "Stormy Weather" was a famous song when Lena Horne sang it; and Frank's version would have made Lena very proud!
   
   Overall, this two CD set is an excellent one for Sinatra fans and people who enjoy music from the era of World War Two will love this two CD set as well.



2. What should have been a momentous occasion, that of Frank Sinatra's signing to Columbia and striking out on a solo career after fronting for Harry James and Tommy Dorsey, was nearly silent due to a commercial recording ban enforced by the Musicians Union from mid-1942 to 1944. Because the ban affected instrumental musicians, vocal-only recordings were allowed, meaning that Sinatra and Axel Stordahl had to come up with alternate vocal-backed arrangements that may not have ordinarily been chosen. The second loophole was that instrumentals were allowed on V-Discs, free recordings for the sole use of GIs overseas that were supposed to be destroyed when the war ended (the Library of Congress was allowed to keep one of each disc for posterity).
   
   Sinatra's V-Disc material encompasses 53 songs on two CDs, including material from airchecks as well as studio performances. There are many well-known Sinatra Columbia tunes such as All of Me, Nancy with the Laughing Face, Close to You, Ol' Man River, All the Things You Are, and She's Funny That Way, but many of the brightest gems are songs that Sinatra never got around to recording commercially for Columbia, such as Long Ago and Far Away, You've Got a Hold On Me, Hot Time in the Town of Berlin, Just Close Your Eyes, Come Rain or Come Shine and Noel Coward's I'll Follow My Secret Heart.
   
   Guests include Dinah Shore, The Pied Pipers and Tommy Dorsey. The remastering and clean-up of these decades-old songs is flawless, and Sinatra's charm is as fresh as ever. His transition from boy singer to teen idol shows him singing with remarkable poise and confidence, and Axel Stordahl's touch is unmistakable. The liner notes are courtesy of George Simon, Roy Hemming, and Will Friedwald. Amazingly, none of these 53 recordings are represented on Columbia's massive (and out-of-print) 12-CD Sinatra box set. This is absolutely essential listening for fans of Sinatra and 1940s popular music.



3. The 1994 edition of FRANK SINATRA * THE V-DISCS is the original long box format that would get an inferior redesign four years later. If you're interested at all in early Sinatra, the one that has a cover close-up of Frank with an NBC mike is the keeper. The reason: that long box album accomodates a gorgeous thirty page book, while the scaled back 1998 reissue sacrifices much of what was in that booklet.
   
   Sound quality of these rare early '40s V-Discs is darn good, and young Frank really turned out some fine sides for our fighting men overseas. Guest stars include Dinah Shore, Tommy Dorsey and the Pied Pipers. Contains six previously unreleased tracks-- this is the complete V-Discs sessions! If you love Frank, THE V-DISCS is essential to your collection. Highest recommendation.
   
   TOTAL RUNNING TIMES --
   DISC ONE --
   DISC TWO -- 74:26



4. Sinatra still has detractors who, whatever their actual reasons, choose to impugn his vocal quality. But more disturbing are the Sinatra defenders who casually accept and dismiss criticisms of the voice, insisting that phrasing and emotion are what count. In a way, they're right, but the sum effect is regrettable if Old Blue's singing comes to be seen as all about "attitude" rather than vocal production.

   If any one has doubts about the quality of his instrument, listen to "If You Are But a Dream"--or better yet, "Where Is My Bess." Both are all-out, impassioned performances in which nothing can be held back or covered up. The musical weight is entirely on the quality of that "bel canto" voice and the forcefulness of its underlying breath stream. Even Caruso and Pavarotti would have to stand back.




5. I am one of a very few who do not particularly care for Sinatra's work with Columbia, Reprise and such. My favorite Sinatra is the music he made with The Tommy Dorsey Orchestra from 1940 - 1942 (See "The Song is You" boxed set). I also love the first recordings that Frank made in 1939 with The Harry James Orchestra (also available on disc). However, the material on this cd is beautiful. It is a wonderful bridge between Frank with Tommy Dorsey and the Frank Sinatra that is mostly played on radio. This collection is obviously historic for it features songs that Frank would never record again (with the exception of one or two). It is also historic in the fact that these recordings were not meant for the public. They were part of special albums that were shipped to our service men and women overseas, so, for the first time in over 50 years these recordings are for public consumption. I would advise any Sinatra fan -- casual or serious -- or any collector of war era music to get this collection.

1 comments about Tryout: A Series Of Private Rehearsal Recordings.

1. This album features Weill and Gershwin's own voices singing (and their own piano playing) in an informal recording session - it is truly unforgettable. It's like having the two men in your own parlor, making up stuff as they go along, and having a great time with it.

   I heard "That's Him" sung by him in the recent Kurt Weill tribute in March in NYC, his recorded voice was accompanied by live orchestra; the effect was amazing.

   This is a keeper!

5 comments about The Best of the Decca Years.

1. I'm not a fan of anthologies, but at least a well-produced collection such as this beats a grab-bag of mp3 downloads. Peggy's "second career" was kick-started when she left Capitol for Decca, where she was able to record her singular interpretation of "Lover" (the most attention-getting orchestral opening a pop tune has ever received) and "Black Coffee," the album that established her as a bona fide "jazz" singer. Unfortunately, only the title song of the latter session is included here, and the assortment of tunes, like other Best of-- collections, contains sometimes jarring alterations in audio fidelity, orchestral textures, and ambience. Nevertheless, it's a thoughtful selection of 16 tunes nicely representing Peggy's work for the label. Two of the tunes feature Peggy in the rare company of other singers (Bing Crosby and the Mills Brothers), and about half of the songs have lyrics penned by Peggy herself. The biggest revelation for me was "Where Can I Go Without You?," virtually an American "art song" with Peggy's poignant lyric set to an exquisite melody provided by the great Victor Young.
   
   If this one isn't brought back into print, I certainly hope it's available under a different title. But listeners new to Lee need to know what they're purchasing. Not realizing that "A Peggy Lee Songbook: There'll Be Another Spring" was virtually her last recorded gasp rather than a Best of--anthology, some reviewers, I've noticed, are criticizing the septuagenarian Lee for not being 30 years old, or the record company for not making her sound that way. Let's at least play fair--or, if you prefer, release your own vocal recording after your 70th birthday.



2. Some people believe that the Decca years were Peggy Lee's finest. Whatever one believes, it cannot be denied that during her time with Decca she made a number of very fine recordings many of which are featured on this CD. From her original rendition of "Lover" through to the almost whispered "Mr. Wonderful" she displays her own inimitable talents. Peggy does not have a powerful voice in the conventional sense of the word and perhaps that is part of the secret of her success. Her voice has a quality with somehow compels her audience to listen and to concentrate on her singing. Once you do that, she has got you - like a femme fatale she tightens her grip and any attempt at escape is futile. This CD encompasses the complete spectre of human emotions from elation to blues as in her rendition of "Black Coffee". From the less serious side of her nature as portrayed in two of her tunes from "Lady and the Tramp" to a more contemplative mood in such classics as "Where Can I Go Without You" and I would thoroughly recommend it to those who enjoy nostalgia, or those like myself, born after these recordings were made, who just enjoy good music. The recent death of Peggy Lee in January 2002 leaves an empty space which will never be filled for she was, in the tradition of all truly great performers, unique. We can, however, take some solace in the fact she left behind a plethora of recordings covering half a century and keep her memory alive for many years to come.



3. This CD captures Peggy Lee at her most expressive. Containing many of her own compositions, including one great ditty with the Mills Bros., she tears out your guts right from the start. But this is no ordinary singer, this is Miss Peggy Lee. She makes you think you know where she's going, then-- BANG--you are taking ANOTHER magic ride! That's the mark of genius, and, of course, the mark of Miss Peggy Lee. This is a MUST HAVE!



4. This superb collection will introduce you to some of Peggy's best work on the Decca label. When Capitol Records wouldn't record her amazing rendition of "Lover" she signed with Decca. This CD opens with her smash-hit "Lover" and includes her unequaled reading of "Black Coffee." It also has seven songs written by Peggy! "Johnny Guitar" and "Where Can I Go Without You" are Peggy Lee (lyrics) and Victor Young (music) classics! Then there's her wicked "Sans Souci," watch out! Truly a five star CD. For more info on Peggy please write to: The Peggy Lee Fan Club - 744 Collier Drive - San Leandro, CA 94577



5. Peggy Lee could sing the phone book & it'd be great..how I wish I were fortunate enough to have seen her perform live about 40 yrs. ago, I heard she gave the audience more than their money's worth, singing all her hit songs & more. Hers was one of the best voices in recorded music & I'm thankful Peggy has such a treasure trove of songs on both Decca & Capitol Records. This cd is an absolute must have if you're a true fan.

5 comments about No Way To Treat A Lady (1997 Off-Broadway Revival Cast).

1. "No Way To Treat A Lady," Douglas Cohen's brilliant and engaging musical, thrills and chills simultaneously. With a series of murders popping up in the plot, there is plenty of tension, even when you listen to it on a CD. But there is also romance, marvelous wit, soaring songs, and literate, biting, and -- yes, sweet -- lyrics. I've listened to the show innumerable times, and it continues to give me enormous pleasure. To me, it's worth at least five stars!



2. This mildly entertaining musical black comedy about a momma's boy serial killer and the momma's boy cop who tracks him down is definitely unique in its choice of subject. Unfortunately the jewish mother and murder jokes wear thin quite quickly.
   
   Despite a top-notch cast, the music all sounds the same. Melodies and lyrics, while pleasant, are rather pedantic and simple- no complex Sondheimesque harmonies or witty word plays here.



3. A great neo-Sondheim musical, witty and imaginative.

   Whatever happened to Douglas J. Cohen? I hope he's still writing!

   BUY THIS! (If you can find a copy.)




4. I purchased this after listening to the sample snippet of "So Far, So Good." The 30 seconds kept running through my head until I had to buy it. Thank goodness I did! Douglas Cohen has written a witty, snappy musical that should be ranked up there with the top shows of today. Do yourself a favor & buy it immediately.



5. I initially bought this CD because I know Alix Korey (slightly, but I've met her twice). I missed the show off-Broadway and wanted to see what it was about. I was instantly hooked and eventually got my local theater to do a production of the show so that I could play Kit. It was one of my favorite performances - the show is warped and scary and just plain fun.

   The cast is inspired here. Mo and Kit are acted and sung with great talent and verve, Sarah is sung beautifully and sweetly, and the show is entertaining and stylish. Best of all is Alix Korey as Flora - she steals the show and really makes a caricature (overbearing Jewish mama) into a real person.

   Anyone who likes cast albums will want to add this to their collection. Just don't be surprised if it brings out the serial killer in you and makes you want to act in the show - it's that much fun! Highly recommended.

5 comments about Forbidden Broadway 2001: A Spoof Odyssey.

1. This is so funny! Like all the Forbidden Broadway cds, its another knock-out. I feel like such a crazy person when I am in the car driving and I just burst out laughing. Its great and a must have for any Forbidden Broadway fan.



2. I enjoyed "Forbidden Broadway 2001: A Spoof Odyssey." This recording has some truly genius material, and although these actors' impersonations of famous Broadway stars aren't as strong as they have been in the past, the CD has a lot to recommend it.

   Particularly strong is Track 16, "Let's do an old fashioned show tune," featuring Elton John and Ethel Merman duking it out over AIDA, which Merman says is "putting everyone here through hell." Likewise, Track 15, "Let's Ruin Times Square Again," tickles my funny bone. Also wonderful are the satires of Beauty and the Beast, Angela Lansbury, and the Full Monty; Gerard Alessandrini's done a tremendous job with these! In addition, this CD's introductory song is much stronger than those on the previous volumes of Forbidden Broadway. It really sets the tone for the best parts of this recording.

   Unfortunately, with a few notable exceptions, the first half of the CD is a bit thin, which is why I give this recording 3 out of 5 stars: Even though it entertains me, there's a lot I have to skip over. For example, the Liza Minelli spoof annoying (though, I admit, a little funny), and in the Music Man revival satire, their Robert Preston impersonator sounds *nothing* like the original. (In earlier recordings, the actors *did* sound like the people they claimed to be.)

   The good news is that the CD has 30 tracks in all, so even though there are 13 that I dislike, I just love the rest... I do recommend it!




3. First and foremost, this CD is really for diehard fans of Forbidden Broadway, those of us who want the good, the bad and the ugly on the cd rack. I was extremely unimpressed with the latest offering.

   While I agree with some of the other reviewers that there is some nice work, I don't know that Saturday Night Fiasco and Sondheim's Blues are sufficient to carry the rest of the tracks. Not much seems new or worse yet, important. Disney isn't new, nor is Les Miz. And while pointing out what is stale and pedestrian on Broadway was amusing on the last couple of releases, this Forbidden Broadway spoof clearly has joined the list of stale and pedestrian.

   While there is some nice material on this disc, I really didn't laugh out loud, and that is why I have always bought these in the past.

   If Alessandrini reduces the show to the same complaints of the same shows and then replaying lightly tweaked versions of past numbers, Trouble and Alan Cumming in Cabaret specifically, then he has himself is on the becoming a revival - and we know what he thinks of revivals.

   The repeats might even be acceptable if there was something fresh in the perfomance, but both were done much better on their respective discs. I think Danny Gurwin is a great comedian, but he doesn't shine in either of these numbers. We also need a recording with no Ethel Merman or Liza numbers - give them a rest already. And why bring back Streisand with such a poor imitation? The earlier Barbara's were dead on vocal impressions as well as speech patterns. If you aren't going to improve on it, then don't drag it back out.

   Alessandrini suggests that this is one of the best casts he has ever worked with. I don't know what he bases that on, but I beg to differ, either cast with Bryan Batt was significantly better, although they worked with fresh, clever material. Still, those recordings had verocious talent that brought Gerard's stinging wit to life for those of us who can't see every new production of FB.

   Maybe it is time to go to off Broadway productions, or to the radio or the movies for some new ideas. Or else promise no references to the Gap, Disney, or Chorus Boys, (way over used on this recording), along with a Merman and Liza free season. Start from scratch. That might give us hope that Forbidden Broadway too might not be dead.




4. I just saw the stage production of Forbidden Broadway 2001: A Spoof Odyssey. I agree with the other reviewers who feel that Alessandrini is no longer at the top of his game. Perhaps he should lay off for a year or three and let Broadway present new things for him to lampoon - as it always will.
   
   The opening sequence is forced and unfunny, and clearly in place only to batter the listener with the "2001" theme. Unlike a previous reviewer, I found the Judi Dench parody hysterical, though I question its accuracy.
   
   The "Trouble" parody is, as it always was, incomplete and thin. My dear friend John Kenrick (...) did a better job with it - included the segments of the original song that GA left out, and in a funnier fashion. The Cole Porter parody is marginally amusing, but the Brian Mitchell/Marin Mazzie parody is dead on the mark, and VERY funny.
   
   The parody of Cheryl Ladd remains in the show, although she's no longer in "Annie Get Your Gun" - Reba McIntyre is now in the role. Similarly, he stabs at Alan Cumming, who is no longer playing the Emcee. These numbers, while funny, lack punch. On the other hand, he once again skewers long time target Patti LuPone with an hysterical new parody of Being Alive. I suppose she's innately funnier, after all these years, than Alan Cumming, who is, after all, a relative newcomer.
   
   The Rocky Horror parody is amusing, and the observation that sex has moved off 42nd Street and onto the Broadway stage is not without merit. The Beauty parody is amusing, and apt, but as has already been noted, GA has been clobbering us with the Disnification of Broadway for years now. I suppose he finds some glee in the fading success of this particular show.
   
   I must say that while Gurwin is not the greatest singer, "Sondheim's Blues" is the most brilliant piece I've heard from Alessandrini in years. It's absolutely dead on. The friends I was with had never seen nor heard "Follies" and completely missed the point, but I was in stitches.
   
   The "10 Years More" (which does not appear on this album, but remains in the show) has really begun to wear thin, especially with the closing this year of Cats and Miss Saigon. The Cameron Macintosh British mega-musicals are finally releasing their grip on Broadway, and this isn't as funny any more.
   
   Broadway, despite the naysayers, will never die... and apparently, neither will Forbidden Broadway. I don't think it should - but I do think it needs a rest.



5. Four CDs cover the first 20 Years of Forbidden Broadway, Gerard Alessandrini's viciously witty satire of New York Theatre. The last year has seen Three new CDs, FB "Cleans Up Its Act" "20th Anniversary Edition" and now "2001 a Spoof Odyssey". Do the math.

   Alessandrini is running out of ideas, and is spreading the remaining ones too thin. . Sanitized Time Square - Been there. Disnified Broadway - Done that, and so many times. Asinine casting faux pas, plotless pointless set-monster musicals, and Ethel Merman and Liza. We've heard it all before - and last time, it was funnier.

   Now normally when a writer (or director or actor) has truly entertained me on numerous occasions, I'll forgive the odd show that disappoints. This would be the case here except for two things: Alessandrini is in the vicious parody business - he's never spared anyone else Besides, if he's going to actually include couplets like: "If lyrics are no longer witty... Then I don't want to go " he's inviting the pans.

   When you hear the AIDA lampoon, you'll be reminded of the dim bulb in Cyrano de Bergerac who taunts the hero with the brilliant witticism: Your nose is very large

   Yes, there are a few true Forbidden Broadway tracks on Spoof Odyssey. Dame Judi Dench singing "Why can't Americans do theatre like the Brits?" (with apologies to My Fair Lady), I Hate Ben (with apologies to Kiss Me Kate) and about 1/3 of "Let's Ruin Time Square Again" (no apologies necessary to Rocky Horror which understands how easy it is for good parody to go bad). Oh yes, there is one absolutely true Forbidden Broadway track: TROUBLE - yes, the same Trouble from Volume 3 which was just re-released on the 20th Anniversary compilation - and it's back again with a more hackneyed Robert Preston impersonation and all of 4 words changed. Granted it's one of the better bits, more worthy of rerunning than say, referring to Miss Saigon as Viet-Numb, but oh, he reran that gag too