5 comments about 16 Most Requested Songs.

1. Yes there was a musical world before 1956 and the Elvis explosion. That musical world, however, was the world of the parents, including mine, of the Generation of '68. One of those voices was that of Rosemary Clooney. Then I thought she was square- you know with that smooth voice and `good girl' image and all in a film like White Christmas with Bing Crosby. Then, several years ago, before she died I heard her in an interview on National Public Radio where she admitted to a drug problem and other little indiscretions. Of course, for this reviewer that meant that I might have to reevaluate her work now that I knew she was not really that `good girl'. Now a lot of her sound is still beyond the pale for me and her seeming addiction to bebop novelty songs like Mambo Italiano is off-putting but she certainly is more interesting as a singer to me now. I like the sound of Come On-A My House but what really is nice is Ms. Clooney's way with a ballad. Try Hey There and Tenderly on for size. Then work your way to Half As Much and then a nice little version of Blues In The Night and Too Young. It only took me 50 years to recognize it but Rosemary- you did good.



2. At the outset let me point out that the cover currently shown above is not the cover for the Rosemary Clooney entry in the series 16 Most Requested Songs. Rather, it comes from her album Love Songs. The correct cover is shown with the cassette version of the release.
   
   As for this volume (the tracks shown above are correct) there is one thing common to the large Columbia series which covers a wide variety of artists ranging from Tony Bennett, Mel Torme, Doris Day, and Johnny Mathis to Robert Goulet, Jim Nabors and Buddy Greco (among many many more), and that is, the otherwise informative liner notes (usually at least three pages) never explain how the producers arrived at what constituted the "16 most requested" for any of the artists concerned. Requested by whom?
   
   Now I know they do not claim to be the "best" or "greatest" hits of those concerned and anyway, when filling out a 16-track volume for a Buddy Greco or Jim Nabors they couldn't find 16 legitimate hits anyway. But when it comes to a Rosemary Clooney, that's a different story because this elegant lady had 33 singles reach the Billboard Pop Top/Hot 100 from 1951 to 1960.
   
   So, with that much material to choose from, and with many of those hits certainly being at the top of any list of "most requested songs" why would they include these four: When You Wish Upon A Star (never a hit for Rosie); It Might As Well Be Spring - the 1945/46 hit versions from State Fair are more closely associated with Dick Haymes, Paul Weston & His Orchestra with vocal by Margaret Whiting, and Sammy Kaye & His Orchestra with vocal by Billy Williams); In The Cool, Cool, Cool Of The Evening - the 1951 hit versions of this song from the film Here Comes The Groom belonged to Bing Crosby & Jane Wyman, and Jo Stafford & Frankie Laine); and Too Young (there were 5 hit versions of this in 1951 - and none belonged to Rosie, but rather Nat "King" Cole, Toni Arden, Patty Andrews, Fran Allison, and Richard Hayes.
   
   More appropriate tunes than the four mentioned above not normally associated with Rosie would have been: You're Just In Love (her first hit, a duet with Guy Mitchell that reached # 24 in early 1951; Beautiful Brown Eyes (# 11 in spring 1951); Too Old To Cut The Mustard (a duet with Marlene Dietrich that reached # 12 in late summer 1952); and Mangos (# 10 in spring 1957).
   
   But even at that, it's still a nice volume of some of her most significant hits, and with the insert you get six pages of background notes written by Fred Binkley. What you don't get, and this seems to be a hit-and-miss thing with the entire series, is a discography of the contents. So, I have indicated the chart performances hereunder for your information:
   
   Come On-A My House - # 1 for EIGHT weeks in summer 1951 and Botch-A-Me (Ba-Ba-Baciami Piccina) - # 2 in summer 1952 - both featuring Stan Freeman on harpsichord; Hey There - # 1 for SIX weeks in summer 1954 with Buddy Cole & His Orchestra; Be My Life's Companion - # 18 in February 1952, Tenderly - # 17 in March/April 1952, and Mixed Emotions - # 22 in September 1951 - the past three with Percy Faith & His Orchestra; Mambo Italiano - # 10 in December 1954/January 1955 with Buddy Cole's orchestra and The Mellomen; You'll Never Know - # 18 in January 1953 with Harry James & His Orchestra; Half As Much - # 1 for three weeks in June/July 1952 with the Percy Faith orchestra; This Ole House - # 1 for three weeks in late summer 1954 with the Buddy Cole orchestra); I Could Have Danced All Night - # 49 in June 1956 with Paul Weston & Hus Music From Hollywood; Blues In The Night - # 17 in October 1952 with the Percy Faith orchestra.



3. I went to see a play and before the play started they piped in music for the people in the audience to listen to while waiting for the actors to come out and begin the play, one of the songs that was played was Rosemary Clooney's Come on-a My House and I really loved it and thought it was a wonderful catchy song and I thought wow, Rosemary Clooney is a wonderful singer so when I decided to buy a Rosemary Clooney CD this is the one I chose and I love all of the songs, Come On-a My House, Mambo Italiano, etc, and I'm truly pleased with this CD and I highly recommend it!



4. Rosemary Clooney's most recognizable standards are all here in one collection, which will appeal to novices and die hard fans alike.
   
   Strangely, the recordings don't sound as perfect as they could...perhaps remastering was called for...
   
   Even so, it's an enjoyable compilation sure to get your toe tapping and to leave you humming with a smile in memory of the great chanteuse!



5. Rosemary Clooney was the greatest pop or jazz singer that the 1950's had to offer, for the pop side, these hits were a mixed blessing. On one hand you had the horrible music hater Mitch Miller, producing, or shoudl I say overproducing her songs. It was Mitch's idea for the harpsicord in Coma on a my house. Clooney wished she hadn't recorded some of these tunes. However there are some gems here like Tenderly, Hey There, In The Cool Cool Coll of the evening, I could have danced al night. However thsi is just the pop side of Clooney try Blue Rose, with Duke Ellington's orchestra, and you'll hear a whole different versitile singer! This cd is the best way to get the 50's pop side of Clooney but don't judge her from this fluff until you've heard her with the Duke! Or any of her earlier Concerd cd's.

No comments about From John with Love.

5 comments about Smokey Joe's Cafe: The Songs Of Leiber And Stoller (1995 Original Broadway Cast).

1. Love hearing these songs, most in a different style from the hits. The artists are very good. Two criticisms: First, a few have very abrupt cuts at the end, as if part of the song is dropped. Second, the title song is not on the album even through the insert says that it is on disc 2.



2. Saw this on Broadway in 1996, had the last row way in the back of the theater, the songs are memorable to everyone. You will surprised at the songs performed. The vocals are just outstanding. I have purchased this twice (the first one just wore out). Great for long car rides.



3. What a FABULOUS CD !!! This is my second purchase of it as a friend
   liked it so much when we were listening to it in the car that I pulled
   it out and gave it to her to listen to when she drove home, knowing I could get another !!



4. This was a great show. The arrangements of the songs were masterful. A pleasure to listen to.



5. The album is great, i needed it because i work at a dance studio and i have a dance to the song Trouble. The song and whole album is awesome.

3 comments about Black Manhattan: Members of Legendary Clef Club.

1. The title of the CD indicates that these are recordings made by such greats as James Reese Europe--they are actually rather bland modern re-recordings. Look for the originals--they do exist--and bypass this flat second-generation rehashing.



2. Yes, why is it so difficult to find this outstanding record when I look under Paragon Ragtime Orchestra"... it's another gem of those 1900-maniacs! Well, SPECIALISTS sounds maybe a little more polite. And I love those extensive liner notes: we get lots of entertainment and information at the same time! All of a sudden, the efforts of today's popular musicians to mess around with heavy and sempre out-of-balance P.A. equipment seem so useless... hahaha!



3. This CD captures all the energy and optimism of the early Harlem Renaissance...you'll think you've been transported back in time.

   Ragtime music is probably most familiar to people through two contemporary movies: The Sting, which brought Scott Joplin's "The Entertainer" to public awareness, and Ragtime, with a score by Randy Newman. In my opinion, Newman's score pales in comparison with these originals. The Paragon Ragtime Orchestra faithfully interprets original orchestral scores of composers like James Reese Europe and Will Marion Cook so if, like me, you're used to hearing this music on scratchy old mono recordings, you're in for a real treat.

   It's easy to see why this music took the country by storm at the turn of the century...I played this CD three times the first night I got it, because it captivated me. There's not a song here I don't like and there's such a good mixture of styles that it doesn't become repetitive.

   As with all releases from New World Records, this one includes a booklet packed with historical and biographical information. HIGHLY RECOMMENDED!

   Curator, AfroAmericanHeritage dot com

2 comments about Spotlight on Dolores Gray.

1. Oh, that voice. Forget the sound quality of these ancient recordings (although they're much better than most CDs culled from old 78 records) and focus on one of the most magnificant voices in 20th century popdom. It's sad that Dolores Gray is relatively forgotten by all but the most diehard fans of Broadway or movie musicals. She has one of the most distinctive instruments imaginable and an interpretive style that dares any singer to attempt a song once she's done it. Yes, she can belt them out like Merman but, unlike Merman, when Gray reigns in the power for gentle ballads like "There Never Was a Baby Like My Baby" her exquisite phrasing and perfect pitch astonish all the more. This collection of songs from (mostly) the early fifties is a good example of Gray's versatility as a singer, and if the material varies in quality (with some selections typifying the cornball novelties that passed for "pop" in the early 50s), Gray reigns supreme throughout. One hopes that more of her catalog, especially the LP "Warm Brandy" from the mid-fifties, sees the light of CD day because this one-of-a-kind chanteuse (who sadly died last June at the age of 78) deserves to be rediscovered in a big way. Until that happens, check out the films "Kismet", "It's Always Fair Weather", and "Designing Woman" (with their accompanying soundtrack recordings). There never was a singer like this singer.



2. Dolores Gray is still probably one of the most underrated Broadway performers of the 50s and 60s, largely because she often wasn't given the credit (and roles) she deserved then.

   This recording, from the new UK-based label Sepia, gives us 25 tracks of prime Dolores, with a few cuts from her Broadway shows as well as a few songs that entered the hit parades of the day.

   Collectors will delight in hearing most of this material, remastered from the original 78's, which includes rarities like "Shrimp Boats", "Did Anyone Call", "Say You'll Wait for Me", "I Don't Care", "The Night Has a Thousand Eyes", "Music! Music! Music!", and "Quicksilver". There are also some choice cuts from her 1951 Broadway show TWO ON THE AISLE (full cast-album from Decca Broadway), including "There Never Was a Baby Like My Baby" and her show-stopping "How Will He Know?".

   I thoroughly recommend this fantastic CD, which is a must-own for all Broadway fans. A legacy and testament to one of the most consummate performers to grace the Broadway stage.

1 comments about The Best Things in Life Are Free: The Songs of Ray Henderson.

1. Henderson, though one of the giants of American popular music, was, strangely, only one of three great songwriters from his neighborhood, since Harold Arlen & Jack Yellen grew up within walking distance of him on the east side of Buffalo. All of Henderson's music is great, & much of it is well known, although his name isn't anymore (in fact, his name never was, since Henderson wasn't his name - his real name was Ray Brost). The only two drawbacks are that (a) Henderson wrote so much that even 25 songs don't cover all of his best known works (e.g. "I Wanna Be Bad" isn't here), & (b) some of the songs were better done by performers other than the ones here. The most glaring example is "Let's Call it a Day", which in this CD is performed in a saccharine fashion but which was recorded elsewhere in a much more up tempo manner, all to the good.

   And one other criticism - 1920s mono recordings don't need a CD - a tape would be fine.

   Criticism notwithstanding, the guy was a phenomenal writer. If you like Irving Berlin, you'll like Henderson also.

3 comments about The Musicality of Sondheim.

1. ... the Lion Dance and the fact that some of these arrangements work well out of context. Some of these songs in their original arrangements are diffiicult to listen to on their own. Regretfully, some of these arrangements are a little cheesy (for example the saxophone solo in this version of Loving You).
   
   All in all, this is an okay compilation of some Sondheim songs, but definately one to get after having bought all the original Broadway cast recordings.



2. I love this CD, every track is a winner. Get it.



3. All in all, this is a pleasant enough compilation. There are no embarassing moments. The performers all acquit themselves nicely. But in the long run, there's really little to recommend this above the rest of the many tributes and reviews recorded of Sondheim's music. No new interpretations. No amazing performances. No inspired song choices. Nothing special here, folks.

2 comments about Summer of '42 Off-Broadway Cast Album.

1. The voices perform difficult music flawlessly, and Rachael York has a voice you could just snuggle up to.



2. This is an absolutely beautiful show. It perfectly captures the mood of WWII America through the eyes of a 15-year-old boy who befriends a 25-year-old war bride while her husband is overseas. Ryan Driscoll as Hermie and Rachel York as Dorothy are charming together. We really feel their hopes and fears, joys and sorrows. Solo highlights are Driscoll's "Will That Ever Happen to Me?" and York's "Promise of the Morning," "Our Story So Far," and "Losing Track of Time." Touching duets include "Little Did I Dream," "Like They Used To," and "Someone to Dance with Me." A trio of young girls sing several swing interludes in the style of the Andrews Sisters, and Hermie's friends Oscy and Benjie join him for some fun testosterone driven numbers that add comic relief. The entire cast is very talented, but Rachel York is, as always, a standout. Her voice is equally beautiful when soaring powerfully or gently cradling more pensive lyrics. This musicalized version of the classic film is sentimental without being cloying. You will be moved to both laughter and tears. Your heart will break, but it will also be healed. What a treat to have this cast album include the entire show - book and score. It's well worth every penny.

3 comments about A Love Worth Fighting For.

1. After reading some of the reviews here, I ordered this CD. I am very pleased with it. The songs are moving and inspiring. I had not heard the majority of the music or artists ever before and I listen to this CD daily now and have learned all of the songs. My favorites are Help is on the Way, John Wesley Oliver Jr, Listsen to My Heart and of course the song in the title, Love Worth Fighting For. I highly recommend this CD and look forward to any CD's this group creates in the future.



2. I'll admit it---I bought this CD for Michael Callen's and Cris Williamson's songs alone. But I was pleasantly surprised to find I like all of the music, in particular the selections by Bill McKinley, Ann Reed, The Flirtations, Janis Ian, and Marsha Malamet.

   The music is heartfelt and literally feels true. Good voices, decent orchestration, and a feeling of strength throughout. The only thing keeping me from giving this 5 stars is that the tone is a little too much the same throughout, which may be what they were striving for, but I would have liked a couple more songs of wanton, raucous celebration.

   One note: When Michael Callen died, a little bit of light went out of the world. His voice is hauntingly brilliant, and if I had to buy all his music one song per CD, I would. :-)




3. I was so surprised not to see a review for this cd - it is not only a great introduction to the many gay & lesbian singers but also a educational landmark in the people who have fought againt bigotry and ignorance. Stand out tracks for me are "Love Worth Fighting For" - Michael Callen, "Lay Your Burden Down" - Dan Martin, "Sit With Me" - Holly Near and "Jonathan Wesley Oliver Jr" - Lee Lessack. This is a not only a must for anyone coming to terms with their sexuality and looking for support and understanding but also for anyone looking for great lyrics, music and above all faith. I'm sure there should be Volume 2 in the making!

No comments about South Pacific.