4 comments about Evita: An Opera Based On The Life Story Of Eva Peron 1919-1952 (1976 Studio Cast).

1. Ah, the "White Evita" - this is not the theatrical ALW of late. This is a scathing character study of one of the most fascinating women of the 20th century. In this concept album, Rice and Webber pull no punches in bringing us a story of dictatorship and demagoguery. Later versions, especially the movie, have been toned down considerably. Material has also been cut out, which has stripped the story of interest and complexity.
   
   This Eva Peron is bold and ambitious; she doesn't apologize or ask for our sympathy. Julie Covington plays her with great style. Like Eva herself, Covington's voice is beautiful, clear and cold as a mountain stream. As her counterpart (Che), Colm (C.T.) Wilkinson brings a much greater depth (his signature) to the role than other portrayals, and also great range from rock to the soaring rendition of "High Flying, Adored". "Oh What a Circus" and "The Lady's Got Potential" are such fun! The interposition of Covington's sweet and insincere "Oh, but it's sad when a love affair dies" with Wilkinson's gruff and sarcastic "For God's sake, get out!" in "Goodnight and Thank You" is brilliant.



2. In my opinion Evita is the best musical ever and this recording is by far the best. Colm's Che is wonderful and much better than Mandy's wimpy performance. Mandy is woderful but his voice just isn't right as Che. I feel that Julie Covington is the only Evita. She puts so much passion into the role.She sounds so much better that Patti LuPone who screams her was through the cd. An added bonus in the song "the lady's got pontential" which is a great upbeat number. It is much better than the Art of the Possible (broadway version) which could put a person to sleep. It's the best.



3. Che is sung here by CT Wilkinson, but it's our man Colm. This is the only other recording of the rockin' "The Lady's Got Potential" before the movie came out - later productions of the show cut that neat song! Julie Covington here has trouble hitting the high notes. Patti Lupone (OBC) is still the definitive Eva, tho Elaine Paige (OLC) is not far behind. It's interesting to compare this recording with later ones, to hear the changes in lyrics, mostly.



4. This, not-as-spicy-as-the-new-version-Evita, recording is a classic. It doesn't have the modern sound that the remake with Madonna has, but it is what was originally intended by Andrew Lloyd Webber. If you have seen the play, you will love this version. Patti Lupone does a great job, as does Mandy Patinkin. No dialog to bog down with, just pure listening enjoyment. --Like most though, best if you've seen the play.

No comments about Bouquet of Blues.

3 comments about The Broadway Years: Till There Was You.

1. Even if I don't own this CD (stuff I have on 33 rpm), I had to approve the other critics here. To know Barbara Cook is to participate to the Great Broadway Era with one of its essential star performer.
   Cook was made for the stage and, following next, her live shows are quite impressive. Her voice can be tiny at times, but who doesn't get older?
   Just listen to Glitter and be Gay: a Bernstein masterpiece, but a Cook personal creation. (Only Sumi Jo made it as good on her Carnegie Hall show).
   All B'way fan should know Barbara Cook...



2. Before Barbara Cook became a cabaret performer, she was a fantastic Broadway star. This out of print cd focuses on the songs from her revivals and original productions with the omission of The Glass Harp. It goes chronologically from the beginning of her career with the shows Candide, Plain and Fancy, and Flahooley. (Sadly they were flops.) Then it reaches The Music Man where she finally became a star. Her Till There was You is marvelous. The last three songs are from her 1975 At Carnegie Hall album. I wish that this was replaced with numbers from her shows. It doesn't quite fit in with the phase. I guess this cd wanted to be an outlook on her career in general. Barbara Cook had a clear warm soprano. If only her 1958 album Songs of Perfect Propriety could be released.



3. Just to hear her voice intentionally break with emotion on "Dear Friend" will affect you deeply. This is a fine document of a great career and a stunning voice. You will treasure it.

3 comments about Joseph and the Amazing Technicolor Dreamcoat - Selections From.

1. I bought this CD expecting something very similar to an original cast recording. However this CD has little to no resemblance to the offical soundtrack. The lyrics are the same, and the vocals are somewhat similar to the real thing, but instrumentally this CD is lacking. It sounds like the CD was put together using a keyboard. However, for someone not quite as picky as I am this is a great listen, the words are moving and the music, though not holding to Webber's original score, is good.



2. Selections From Joseph and the Amazing Technicolor Dreamcoat is a wonderful CD for parents and children alike! You will be singing along with this music for hours. At a great price you will not be offended by the words and, you might even learn about the amazing story of Joseph. I give it five stars for a great price and great quality. Buy it today!



3. Selections from Joseph and the Amazing Technicolor Dreamcoat is a must have for children and parents alike! This is a wonderful CD at a great price. You will be singing along with these songs for hours and won't be offended by the words. You may even learn from these songs about the amazing story of Joseph. I give it five stars for a great price and great quality music. Buy it today!

3 comments about Moll Flanders (1993 Original London Cast).

1. I bought this because it was really cheap, I love the original story and I like Josie Lawrence. All of these combined meant that I wasn't totally disappointed....BUT I have to admit that there's nothing in the music that really grabs me. There are some wonderfully witty lyrics but there isn't a single song that stays with me once I've ejected the CD. I would say it's worth having in your collection if you are a collector but not if you're looking for that next great song to sing around the house.



2. I first heard this music when aksed to perform it in the North American premiere of this musical being put on at the Virginia Wesylean College in VA Beach, VA with a professional guest director flown in from England. What made my decision to do it and what drew me to it was this music. In its self, it tells the wonderful story of Moll Flanders, a novel by Daniel Defoe. I feel very lucky to have heard this as well as perform it for the first time in the U.S. I highly reccomend this to all musical lovers as well as fellow actors/actresses. It is Superb!



3. Before I bought this CD I had no idea what it had to offer. I bought it because of the classical music (by Bach, Vivaldi etc.), but I ended up listening to the new stuff by Mark Mancina - excellent. This soundtrack successfully conveys the atmosphere of the movie. The aptly named "Devil Woman", boy, is that scary. And "Full of Grace" is beautiful stuff by Sarah McLachlan. The classical bits are excellent too, but Mancina's work is the highlight of the CD. This is a must-have. I listen to it while driving, relaxing, everthing, but especially studying - it calms me and sets me in the mood for work.

No comments about Beauty & The Beast (OST).

5 comments about Inside Out.

1. I got a copy of this album on a whim. Part of me dreaded that he'd end up sounding ..... to be blunt....a little fey. Couldn't be further from the truth. His voice is rich and sexy. A country-style tone pervades and just adds to the overall effect. What started as a whim has become a regular in our cd tray. I so hope that he records again. His version of Son of a Preacher man is the sexiest that I have heard



2. I've been a fan of Cam longer then I can remember, so after following his voice acting career for so long it doesn't surprise me that he put out such a good CD. I honestly thought that he sung these, for the most part, better then the originals. Even though it's sung from a gay perspective, and that im not, he doesn't go over board with the gender's. I would defiantly recommend this CD, straight or gay, you defiantly wont be disappointed!



3. I found that I wasn't the only who loved Cam Clarke (as a voice actor) since the days of Robotech. I never knew he could sing. I always wondered about that. (Just for the record and so no one makes this mistake again: in response to anharmyenone's statement, Cam Clarke NEVER sang a song on Robotech. Michael Bradley was the singing voice of Lancer/Yellow Dancer.)
   Just hearing how different his voice is from singing and acting is surprising. His songs incorporate his rich, deep tones and that soothing country flavor. Plus, it gives a surprising twist to his cover songs that you could enjoy. And some songs give "gay pride" to those who feel the norms of society prevent these kinds of songs from getting airplay.



4. Accept first that this is an album of covers from someone who's a singer and no more. Then enjoy.

   Some of the songs here are a little obscure, but you'll know most of 'em, and Cam has chosen pretty well. He hasn't gone overboard with the gender-swapping, so thankfully it doesn't seem like it was the whole point of the project. But it's there, and it's nice to hear him sing "Something in the way he moves", and others, where the object of the song is a man.

   I have to say that you soon get used to that though, and happily, this remains an attractive album when you do. Cam's voice is central to this, and he's got a warm, smoky, deep voice and a nice sense of phrasing that's very masculine, and soothing at the same time.

   One or two of the songs (like "Jesse") sound cloying and too sentimental, but in general there's a good mixture. If "I Will Survive" seems like it's far too corny to be on here, have a listen, because it's not the version you'll be used to. In many ways, it's my favourite track because he's had to do something entirely different with it.

   Okay, it's not the greatest work of art, but there will be times when it fits the bill. Play it to your unsuspecting straight friends and watch their faces!




5. I've been a fan of Cam Clarke (a.k.a. Jimmy Flinders) ever since I heard his voice as Max Sterling and Lancer in the 1980s robot cartoon "Robotech". The Lancer character was a transvestite rock star (though straight) and actually sang several songs in the cartoon. (Yes, it was a groundbreaking cartoon!) He then went on to voice Leonardo in "Teenage Mutant Ninja Turtles" and a bunch of other cartoons and voiceovers for TV commercials. His speaking voice is great, and so is his singing voice. You can actually still get the Robotech soundtrack CD with several songs sung by him in a 1980's techno style, but his voice has improved a lot in this CD. I get a kick out of people's reactions to this CD and they wonder why I would be listening to it since I'm straight, but it's just a really great CD and I get to tell them about Robotech too. I hope he puts out more CDs.

5 comments about Kiss Me, Kate (1993 London Studio Cast).

1. 
   It takes much more than this generally lack-luster performance delivers to overcome the intrinsic embarrassments of 'Kiss Me Kate'. While minor misogynies were then more or less default, if not de riguer, it is doubtful even the nudge-nudge friendly audiences of the 1940's and `50's would have put up with Cole Porter's stale, striving, prep school vulgarities had he not possessed an uncommon lyric gift.
   
   And the set is too long. No one (except, apparently, devotees unwilling to settle for less than every note) needs instrumental reprises and variation-less dance numbers--especially when no purpose is discernable beyond running up a second disc. Most CD players have a Repeat mode. (At least the McGlinn/Barstow/Hampson EMI effort offers up some interesting out-takes to pad the second side; this one kicks in 15'' of overtures.)
   
   Barring the two leads, the cast is ho-hum, and while Thomas Allen has his moments, he will not be remembered for his Fred Graham.
   
   Notwithstanding all of the above, one is tempted to declare it all worth putting up with just to hear Diana Montague sing 'So in Love'--possibly Porter's loveliest song. (Why has no one thought of doing the reprise as a duet?) She even renders listenable the insufferably adolescent 'I Hate Men'. There's just not enough for her to sing in this show. Unless money is no object, go--for Montague alone--for the highlights disc.



2. Until you've heard the complete score to "Kiss Me, Kate" with Robert Russell Bennett's original orchestrations recorded in good, modern sound, you don't know what you've been missing. Matchless as the original Broadway leads were, neither of the recordings they made satisfies completely. Both the original Columbia and the Capitol remake are missing huge chunks of the score and neither adequately conveys the quality of the orchestrations even in the parts that are recorded.
   
   So it is slightly frustrating that there have been two complete recordings of "Kiss Me, Kate" in modern sound featuring the original orchestrations, and both of them have significant problems. The earlier recording, an EMI release conducted by John McGlinn, is not currently available in the U.S., while this JAY release is conducted by John Owen Edwards. Even though the EMI recording is not currently available, I'm going to compare the two, for those who are interested.
   
   Both recordings are well-conducted, but I feel McGlinn gets more out of the score than does Owen Edwards. McGlinn can often be a bit stodgy, but his "Kate" is just gorgeous. He does a better job of bringing out all the neat touches in the orchestration than does Owen Edwards, and he's also better in the jazzier sections. Owen Edwards does a good job, but it's sad to hear him completely miss some moments, as when he fails to slow down sufficiently for the crucial second "And you're mine, dear" in "Wunderbar." Overall, McGlinn just points things better without getting too fussy. If only the same could be said for his cast.
   
   But both recordings fall down in their casts. As Fred/Petruchio, McGlinn's Thomas Hampson is completely at sea. The music doesn't lie well for him, seeming to mostly sit in the least attractive part of his range. And his readings of the dialogue that is included is labored and self-conscious. Thomas Allen, on this JAY release, sounds older than Hampson, but his basic sound seems more attractive to me, the music lies better for him, and his dialogue, if not great, is at least not painful.
   
   It must be said, though, that Hampson has been coached thoroughly in the role, and is aware of every nuance. The trouble is that he overdelivers on every nuance, whereas Allen almost sounds like he's sight-reading some of the score. Still, he's preferable to Hampson. I wish, though, that the JAY people had realized that they were using the bowdlerized British edition of the score. In "I've Come to Wive It Wealthily in Padua," Allen sings "doggone nose" instead of "goddamned nose." It's just not the same.
   
   As Lilli/Kate, EMI's Josephine Barstow tries hard, perhaps a bit too hard, but what she does seems to me mostly suitable for the role. She does well everywhere except "I Hate Men," in which her vocal style just doesn't work, and she is further hampered by some lyrics not usually heard, and with good reason. The rest of the time, she puts out 110 percent. I suspect some may find her a bit too operatic, but I'm convinced by her. JAY's Diana Montague sings well, but is a bit pallid and humorless. She could use more of Barstow's spunk.
   
   And so it goes. As Lois/Bianca, EMI's Kim Criswell is a bit pinched and colorless. JAY's Diane Langton sounds a little old for the role, with some of her top notes a tad frayed, but brings more humor and brio to the role in general, especially "Always True to You in My Fashion," and this is one song on which Owen Edwards surpasses McGlinn.
   
   As Bill/Lucentio, EMI's George Dvorsky is OK but a little staid, with "Bianca" oversung. JAY's Graham Bickley is more winning, even if his British accent shows through at moments. Without oversinging "Bianca," he still sounds like he has a voice that might have been good for Fred/Petruchio, and I suspect he would have better in the role than either Hampson (well, I'm sure of that) or Allen.
   
   On the other hand, EMI's gangsters, Robert Nichols and David Garrison, are a hoot, surpassing JAY's pair, who are certainly good enough. And the other supporting roles tend to be a bit better on the EMI, with Davis Gaines and John Mark Ainsley particularly funny in their introductory sections to "Tom, Dick or Harry," while their counterparts on JAY don't seem to realize they could be funny. On JAY, Shezwae Powell does a good job with "Another Op'nin'," but with McGlinn's fabulous conducting, Karla Burns is even better on EMI. Similarly, Paul Collis does a nice job on "Too Darn Hot" on JAY, but Damon Evans really sizzles on EMI.
   
   EMI also has more interesting filler, with cut songs from "Kate," although JAY's filler of the overtures to "Can Can," "Jubilee," and "Out of This World" is certainly nice to have.
   
   So, on balance the EMI is perhaps a little bit better, if you can get past Hampson. But as long as it's not available, this JAY version will serve adequately.



3. As an MD for an amateur production of Kiss Me Kate, I found this recording useful as it contains not only every single note in the score, but also every encore as well. It was really helpful in learning the orchestration, as the score was a piano reduction. It certainly saved a lot of time in rehearsal trying to work out who has what tune etc. - I could do it from memory in that I knew the trumpet had the tune there etc. The choreographer used this recording to estimate how long each dance was - something very important as other shows I have done the Choreographer was using a different version of the show (such as the broadway revival of Kiss Me Kate).
   Singers can listen to this and know exactly what they will hear from the pit - which is always a helpful thing!! And less experienced singers (or non singers!!) can learn by ear.
   I agree with another review that dislikes the singing - however my use was only for learning. The voices don't seem well suited for the parts, however they are not so bad that you cringe in horror - I think stopping after the first disc is a bit excessive!



4. Great CD - Don't be fooled by other 'jazzed up' versions - this is how it was written and how you'll normally hear it performed. A very gutsy and earthy performance all round. The original Broadway album, sounds great but has alot of "enhancements" which the composer never wanted put in and disapproved of. Go for this one if you want the true Kiss Me, Kate in it's full version - NO CUTS or HIGHLGHTS!



5. It's a shame the John McGlinn recording on EMI is out of print, because this travesty is no compensation at all. The singers are really, really bad. And the conductor fails to capture the swing of the score, leaving it sounding dull and lifeless. Run, don't walk, away from this CD.

No comments about Robert Goulet's Wonderful World of Christmas.

5 comments about Grease.

1. This brings back my childhood! Why can't today's music be as melodic and fun to sing? Awesome soundtrack - one of the best!



2. My daughter and I went to the drive-in about 50 times one summer to watch Grease. We would pack a cooler with food and drinks and watch it each time like it was our first. Many years later, this was a birthday gift for her, and we watched it together for the first time---AGAIN!
   
   Cindy



3. The soundtrack to Grease is actually one of the five albums that changed my life. When I was a tee weeny little boy, this soundtrack and the film were the first real adult type of fare that I came across which actually affected me in any way. T
   
   he film was so exciting to me I made every relative I had take me to see it claiming I had never seen it before. My Aunt and I listened to it on my Grandma's big record player in the living room - one of those things that look like a cabinet but actually house a record player and in Grandma Ferlie's case an 8 track player. Then I made my mom buy me the 8-track for myself.
   
   I sang every song as if it were my own and as if I knew what half the words meant. "Summer Nights", "You're The One That I Want", "Greased Lightning" - not to mention the 1,2 punch of sassy pants Rizzo with her teaser "Look At Me I'm Sandra Dee" and "There Are Worse Things I Could Do", plus the Sha Na Na whole middle of 50's dance music, and the Cindy Bullens sung "It's Raining On Prom Night", "Freddy My Love" and "Mooning" from the original play (which I didn't even know existed at the time). The soundtrack to Grease made me grow up and to this day I still get sucked in to both the flick and the soundtrack and it made me a life long Livvie fan.
   
   Plus my very first ever time performing live was as a 6 year old kid getting up with a live band and singing the duet "You're The One That I Want" as a solo - yeah I was cool like Zuko.



4. Grease will continue to stand the test of time forever. I am in my fifties, my son is 18. I enjoyed the movie's music when I was his age, he enjoys it as much now, 34 years later from the time I first did. Apparently the music is timeless. Just as it moved people to sing along, dance or click their fingers at the very least when it was first heard, so does it continue to do the same now.
   
   I can almost see my son introducing this music to his children in the future, and their enjoying this as much as I did then and now.



5. Grease (Original 1978 Motion Picture Soundtrack) is the coolest soundtrack of all-time. Songs like You're The One That I Want, Summer Nights, Sandy, Hopelessly Devoted to You, and We Go Together are simply irrestible and timeless songs. John Travolta and Olivia Newton-John sound great, their vocals are spot-on. Stockard Channing also has a distinctive voice, There Are Worse Things I Could Do is a cheek-in-tongue kinda song, love it! I highly recommend this flawless album and the film as well.