5 comments about What I Did for Love.

1. I have the two solo records of Carol O'Connor. I prefer her second record, From Stage to Screen. However, I must admit that I am blown away by this singer everytime I listen to this CD. It is definitely a "resume" type of record highlighting her strengths as a character singer. Some notable renditions are "Who Will Love me As I am", "Don't Rain on My Parade", and the two songs from All that Jazz. I am not so fond of the song "The Story Goes On", however, i learned to appreciate it after hearing Carol O'Connor's version. Another good song (on another CD) is Kissing You, a "must-hear". If you are tired of those "lyrical singers", sopranos, and Broadway vocalists (which seem to sound all the same), try the lady from down-under. Note: Time Heals Everything is nice as well, but her version of the song in the Mack and Mabel CD is better.



2. I first came across Caroline when I saw her perform the role of Velma Kelly in a revival of Chicago The Musical in Melbourne and Sydney. I was so totally blown away by the performance of Caroline that I ended up seeing the show 4 times. Needless to say I was estatic when I found Caroline had released a solo CD. Caroline is not merely performing, but she becomes totally engrossed in the role so the audience sees the true character and not just a performer playing a part. This really comes across on this CD - the characterisations on this compliation of musical numbers really comes across, which is no doubt helped by Caroline's wide vocal range and her ability to change from sweet soft singing to gutsy outpouring of emotion, sometimes even in the same song. This CD is packed with wonderful numbers from a wide range of musicals, my personal favourite being 'Who will love me as I am'. Even if you're just remotely interested in musicals, buy this CD. you won't be disappointed.



3. This incredibly talented lady can only be a breath away from super-stardom. Her vocal range and her choice of songs is sublime, and these tracks will just knock you out with their charm, power, excitement and achingly beautiful arrangements. I have just seen Caroline in Sydney in her new show, "Piaf." It is an absolute tour de force, and she is truly one of today's great musical stars. This album is an absolute must for anyone who wants to listen to one of the first ladies of song. Take a bow, Caroline, this album is a knockout!



4. For anyone who has ever been thrilled by the vocal performance of a star in a Broadway show...this is a must have. Caroline O'Connor belts her way through some of the stage's greatest songs with a voice that both soars and thrills. This is what a musical star is made of. She rightfully takes her place along side the diva's Elaine Paige, Betty Buckley, and Patti Lupone with showstopper after showstopper. Her range and emotional performance on sweeping ballads is nothing short of brilliant. I can't wait for the next album...encore Miss O'Connor!!!



5. After seeing this power house woman perform live on stage,on two continents, I was elated to see she had released a debut Album.Believe me, you will be thrilled with this showcase of her work. Virtually every track is taken from a musical production that she has appeared in. All I can say is I can't wait for the next addition to my Caroline O'Connor discography.

5 comments about Julian Lloyd Webber plays Andrew Lloyd Webber.

1. The reason I checked out this CD from local library is because I just watched the disappointing movie version of `Phantom of the Opera' and hoped Andrew Lloyd Webber who appears suffering from `over-esteem' would redeem himself in this format of presentation. It really would have worked, considered the similar quality of cello and human voice and the already famous melodies.
   
   But it didn't! This is a tacky and totally forgettable presentation only suitable for elevators and ... well, you know, some public facilities. It makes the critically panned 'Phantom of the Opera' movie like a masterpiece! It's not so much the music's or musician's faults. There just isn't any thought process in the music making at all. If the cello is just going to play by the numbers, what's the point then? And the music arrangements on the orchestra side are just as shameful and insulting.
   
   Compare to 'Yo-Yo Ma Plays Ennio Morricone', it's a clear example how a good taste of music adaptation can make a difference between Heaven and Hell.
   
   
   It should be a minus star!



2. Fantastic collection for true Andrew Lloyd Weber fans. A perfect gift for you or your friends. Everyone who hears mine wants a copy.



3. Certainly Andrew Lloyd Webber wrote some superb melodies and certainly his brother Julian is an accomplished, outstanding cellist. That said, while it is fine to listen to a couple of these songs at a time played in this format, the real greatness of Andrew was in his collaboration with his lyricists like Tim Rice, and the songs just work better in my opinion as Broadway/theatre, with the rich diversity of soloists who have sung them.



4. I got an e-mail recommending this CD....Being the Andrew Lloyd Webber fan that I was, I just decided to buy it thinking it was his greatest hits by the original casts of his Play.

   Boy was I wrong...but pleassantly so. Julian Lloyd Weber does a brilliant job of his brothers work...Purely instrumentational and incredibly beautiful... definately worth buying if your are ALW fan




5. An updated and improved version of Lloyd Webber plays Lloyd Webber. The original was great; and this new one is even better. The old songs have been enhanced, and there are six new selections from Sunset Boulevard, Whistle Down the Wind (the title song featuring Andrew on piano) and the two best Andrew songs brother Julian has ever done: "Our Kind of Love" and "God's Own Country" from the Beautiful Game. Even if you aren't into the Lloyd Webber brothers, any fan of classical and/or show music would absolutely love this CD.

1 comments about Little Me.

1. This is an excellent version of a pretty good show. The leads, Bruce Forsyth, Eileen Gourlay and the wonderful Avril Angers, are streets ahead of Sid Caesar and the Broadway cast. Forsyth is very versatile but it's the ladies who pick up the show and steal it from right under his nose, particularly in their Act 2 duet of the title song, a rollicking performance that shows both talented ladies at their best. A great record!!

3 comments about The Park Avenue Hillbillie Sings Feudin' & Fightin'.

1. Few people today even remember Dorothy Shay, the Park Avenue Hillbilly. This album bring back all of her great voice and her signature quirky lyrics. Backup music is great. If you want a return to the days of the Big Bands and WWII, when they needed something to laugh about, Dorothy Shay delivers.



2. I discovered Miss Shay as a boy in the late 1950's when I found a 78 rpm album a family member owned. My reaction has not change 50 years later-the songs are funny little commentaries on life and love and "sophisticated" despite being from the 1940's. Don't be fooled by the moniker "Park Avenue Hillbilly" because the backround orchestration is a dance band setting, not fiddles and gee-tars. Enjoy! There is very little duplication of the tracks contained on the recent Sepia lable CD.



3. Finally a substantial collection of Dorothy Shay's songs. The sound quality is great and most of my favorite comedy songs are here. Every since I wore out my mother's 78's of "Agnes Clung" and "It's the Little Things That Count", I hoped that Dorothy Shay's musical humor would be reissued in a quality package, and now it's happened. The collection, "Park Avenue Hillbillies and West End Cowboys" did a good job of remastering but only about half of the songs on it were Dorothy Shay's. This has a lot more of the most popular songs she sang. A treat for anyone who enjoys combining good music and good humor.

4 comments about Best of the Muppets Featuring the Muppets' Wizard of Oz.

1. Don't pay any attention to the idiots dissing the movie/album. The songs were GREAT; both cute and fun. I loved them! (And the movie, too).



2. I'm giving this 3 stars because it's 1/2 a good album. I bought it out of nostagia for the song "Halfway Down the Stairs," which I haven't heard in 20+ years. (The rest of the classic Muppet songs are good, of course, but that is my favorite track.) I could do without the songs from Muppet Wizard of Oz, which are mediocre at best, but put up with them to get the rest.



3. okay im going to be frank with you . I adore THE WIZARD OF OZ.It was my favorite story growing up , so naturally i was drawn to the MUPPETS WIZARD OF OZ.I was nervous , I mean what if they screwed up the story? Well , I said to myself if it turns out to be worthless at least Ashanti will sing and make it at least bareable.
   
   I was pleasantly surprised.
   
   It was imaginative witty and clever with cute acting , but one thing really drew me in - and that was the music.Okay we all know that Ashanti has a buttload of talent but wow ! She is really a gifted young lady.Every song she sings becomes gold , and they all have great upbeat tunes .While the muppets have enjoyable songs Ashanti was the highlight for me . I reccomend this album to anybody who enjoyed THE MUPPETS WIZARD OF OZ.



4. let's hear it for disney.
   
   they screwed up the entire spirit of the muppets on this movie, and on the recycled album.
   
   there is no more spirit of adventure or zany antics, just a stupid urbanized tale- but it does not work.
   
   the CGI was cheap, the songs were uninspiring, and the plot was expected.
   
   this record is 60% already released.
   
   whatever.

5 comments about Mikado/The Sorcerer.

1. A brilliant performance not only from the pre-stereo era, but of all time. For those who really cannot abide CDs transferred from 78s, then I would recommend Mackerras' recording with the Welsh National Opera but for sheer brio, this has a class all of its own. Bertha Lewis' performance of Katisha is not only an object lesson in clarity of diction but a superb testiment to one of the great contralto voices of the twentieth century who is sadly overlooked as she specialised only in this repertoire. Nevertheless her performance can strongly be recommended to classical vocal students for showing how 'light' music can be executed with great vocal quality. Leo Sheffield, incredibly light-toned as Pooh Bah, gives a rendition brimming with humour (what musical liberties he gets away with!). It's not hard to understand why HMV dispensed with the services of Henry Lytton in favour of George Baker as it is definately not a pretty sound, but stick with it as Lytton's artistry does shine through. Baker has his moment as Pish Tush and is a splendid Wellington Wells in the accompanying Sorcerer. Harry Norris as the maestro starts the proceedings in a somewhat stately manner but by a quarter of the way in, things are moving along nicely. The recording is accompanied by a shortened Sorcerer which manages to give much of the piece in the remainder of the second CD and is a thoroughly enjoyable performance. Once you can open your ears and bypass Pearl's "frying tonight" sound quality, an extremely delightful experience awaits!



2. Sir Henry Lytton joined the D'Oyly Carte company with his wife as a chorus member in the original production of Princess Ida. In Ruddigore he skyrocketted to the top two weeks after the opening to take the part of Robin Oakapple when Grossmith fell sick. There can be no question that when we listen to him and his companions on this recording that we are hearing the style that Gilbert and Sullivan invented and wanted. It's one of the great losses to history that Lytton recorded only four G&S roles. But what we have shows how spontaneous and deeply charactered performances were earlier in the last century. True, musical values were often sacrificed to dramatic and comic ones, but if you want the spirit of G & S as it was originally conceived, you'll find more of it here than on any recording in stereo. This is true of George Baker in The Sorcerer as well. He's at the opposite extreme interpretively from Lytton, but, though he was never a member of the company he knew the style very well, and had one of the longest recording careers in history, ranging from accoustical recordings to stereo. Melt Lytton and Baker together and take off the scum and the G&S style is the residuum.



3. I grant his recording 5 stars in spite of myself. As an ardent Savoyard I had to have this item for my collection. I have never been a big fan of Henry Lytton's voice. I am sometimes truly shocked at his complete lack of musicality. That said,I do prefer him to the mannered stylings of John Reed. Lytton's Ko-Ko charmed me from beginning to end. Leo Sheffield's Pooh-Bah has never been equalled, as this recording will attest. His cadenza during the Act I finale is a highlight. Bertha Lewis' Katisha is worth the price of the CD alone. She truly was a remarkable talent. The D'Oyly Carte never quite managed to fill the void left by her passing. As regards the pops and hisses on the recording all I can say is: This is a seventy five year old recording. What did you expect? Consider yourselves lucky that this has been rescued for posterity.



4. THE MIKADO is likely Gilbert and Sullivan's best loved operetta and it's heard here in a splendid recording. True, there is some surface noise, as this was originally released as a set of 78 rpm records, but the sound is sharp and clear and the surface noise doesn't distract. Best of all, this 1926 recording preserves superb musical performances by many members of the D'Oyly Carte Company (With one ad-libbed exception, there is no spoken dialogue). Henry Lytton (Koko), Leo Sheffield (Pooh Bah), and others (before or behind the microphones) had the good fortune to work with Gilbert and/or Sullivan, so we can assume the performances are generally faithful to the Savoy tradition. Also included is an abreviated 1933 recording of THE SORCERER. It's also an excellent recording, but only a few D'Oyly Carte principals appear. The comic lead of John Wellington Wells is taken by George Baker, a singer who was never a member of the DOC, but gives a performance worthy of any Savoyard (In the MIKADO section, he sings the role of Pish Tush). After hearing this "highlights" version of THE SORCERER, you may well wonder why it isn't staged more often.



5. This recording may be important historically. Only buy this CD if you are a diehard history buff of Gilbert and Sullivan and enjoy listening to cylinders or 78's. The hiss and pops are dominant and cannot be ignored. Save your nerves, ears and money and buy a more recent recording.

No comments about Richard Rodgers/ Three Ballets.

5 comments about Dinah Sings, Previn Plays/Somebody Loves Me.

1. No, my dears, this is not the Dinah you knew from her T.V. shows. This is a jazz singer, soft as silk, sleek as a breeze, sexy, insinuating and worldly wise. These two albums with the estimable Andre Previn are outstanding in every way and certainly a revelation about Shore's talents and abilities. She can do more than throw a smooch.



2. As a DJ played The Man I Love by Dinah Shore & the Andre Previn Trio(fro mthis cd) on a college jazz radio station in Southern California, the dj mentioned "No that wasn't June christy, it was Dinah Shore." First off that was a dumb comment, Shore couldn't fool a bozo into thinking she's Christy she doesn't need to, she is just herslef here, and that's as good as June Christy. It may surprise some, becasue Shore sounds like a jazz singer at least on 12 of the 22 songs(where she's backed just by Previn, or the trio), the other 12 selections are with Previn & strings, which are charming, but not nearly as great as the trio selections, which came fro mthe LP "Songs In A Midnight Mood." Shore's voice is pure and beautiful here, so sparse and not overproduced or weighed down, just Shore and a jazz trio. This is a great cd, and worthy of many, many listens, I never tire of it. Get this for someone who thinks Dinah cou;n't sing, it will proove them wrong.

   Also get:
   Doris Day-Andre Previn "Duet"(another pop singer in jazz trio setting)

   Dinah Shore Sings Some Blues With Red Norvo(until it appears on cd, look hard for the lp)

   and

   June Christy-Duet(with just Stan Kenton's piano, talk about sparse)




3. Dinah Shore had a wonderfully expressive voice, and a technique an opera singer might envy. Previn is featured both as pianist and arranger/conductor: I like his rather classical approach to jazz piano, especially when he accompanies a singer, as he does superbly here.

   Although recorded in 1960, the songs are all from the 30s and 40s and the mood is nostalgic. Dinah sings 'April in Paris' (including the rarely heard verse) with a real springtime freshness, as if she had never heard the Count Basie version, and she gives classic performances of 'My Funny Valentine' and 'I'll be Seeing You' with cool, restrained backings from Previn at the piano.

   A great programme of romantic songs, performed romantically with a light seasoning of jazz.




4. This is not the Buttons & Bows Dinah Shore that you all know & love. This is La Dinah the jazz singer, who's spare yet warm vocals thrill on such jazz standards as April In Paris, where Shore is so convincing as a jazz singer she fools you into thinking you're listening to June Christy. This is one of two sessions Shore cut for Capital, the other was with Red Norvo's hot little jazz combo. This session features andre Previn's trio(though Previn's no Art Tatum, Shore's no Sarah Vaughan) It would have been nice if Shore were paired off with a jazz pianist worthy of her acceptional jazz talents that really came out, when in the proper jazz settings. However this set won't disapoint and Previn is in a jazzier mood then usual just enough to bring out the jazz singer in ala Shore. Here Dinah Shore proves beyond a doubt to be on the same level as Billie Holiday, Mel Torme, and June Christy. Here she uplifts some classic American popular music from the great songbooks, in the same class as Ella's songbooks. Great and recomended music.



5. Dinah Shore proves on this CD reissue of "Songs In A Midnight Mood" that she could sing in a jazz setting(being Andre Previn's trio) Yes Dinah sings and Previn plays songs for the midnight mood such as The Man I LOve, Sleepy Time Gal, It's Easy To Remember, plus many other tunes from the great American songbooks. Is Dinah a jazz singer listen to this fine CD and judge for yourself, it's certianly one of her best sessions.

2 comments about Dick Bartley Presents: On The Radio, Vol. 2.

1. Volume 2 Of The On The Radio series has a focus more on the 70's. Friday On My Mind is presented in the original mono 45. The Stereo version runs a bit faster. Just Like Romeo And Juliet is for the first time in true stereo. Susan the single version is making it's first appearance right here with the sound effects section cut out thank god. Also the single version of Amie Pure Prariie League is making it's debut on CD. If your looking for more hard to find edits get this disc.



2. This disc continues Dick Bartley's series of compilations of stereo (mostly) versions of tunes as they were originally heard on a.m. radio. While many of these songs can be found on other CDs, versions presented here are either single versions as opposed to the album cuts usually encountered or, in a few cases, first-time stereo versions. Of particular interest on this volume is the first stereo appearance of the Reflections' "Just Like Romeo And Juliet". With the mediocre sound quality previously available for this tune, this crytalline version is a sonic revelation. Another notable track is Yvonne Elliman's "I Don't Know How To Love Him". Although trumped on the charts by Helen Reddy's version, this is the original from "Jesus Christ Superstar". One oddity is the inclusion of the Toys' "A Lover's Concerto". The mono single version presented here does not differ from that widely available on other comps. One other track, the Easybeats' "Friday On My Mind" is presented as the original mono single. Sound quality is excellent, especially with the 12 stereo tracks. The eight-page liner notes booklet provides interesting backround on each of the included tracks. Although a bit meager on track count (14), this is a well-executed package for either the casual collector or the purist looking for more true-to-am versions of these tunes.

1 comments about Inside U.S.A./The Band Wagon.

1. "Inside U.S.A." was a huge hit revue with the unique Bea Lillie, Jack Haley of "The Wizard of Oz" and such future names as Carl Reiner (not on the recordings). "Atlanta" was apparently cut as it doesn't appear in any programs of the show, and it is revue material with topical references so younger Broadway fans may wonder what the hell Bea is singing about (Atlanta was known for it's federal prison, imagine her in a neat striped suit and matching pillbox hat with a ball and chain to twirl), but her spirit was perhaps as well captured on these tracks as it ever was in a studio recording. "The Bandwagon" is also wonderful, Fred Astaire at his stage height just before he went Hollywood (with his sister Adele, a bigger star then), and a pioneer recording that was LP length before that existed. All the material by Dietz and Schwartz in it is classic and showed up in the very different film 25 years later. But these recordings may be better, and the sound is brilliant for the time. So, a bargain and let's hope the trove of theater recordings continues to be mined - how about all the Decca recordings of Bea, including the unreleased 60s recordings as well as the two lps from her legendary "Evening with Beatrice Lillie"? (See the Joyce Grenfell "Requests" recent CD for a handfull of the Decca material, beautifully remastered as bonus cuts).