No comments about Highlights of Broadway.

No comments about American Songbook Series: Jerome Kern.

1 comments about The Essential Judy Garland.

1. This is a very good compilation of the best of Judy Garland's tracks from her MGM/Decca days. It has several overlooked gems from some of her MGM musicals that don't usually make it onto other collections (such as "Put Your Arms Around Me Honey," "I Don't Care," "Who?" and "Look For The Silver Lining") plus all the standards that will forever be associated with her. Great purchase for either the hard-core Garland aficionado or the first-timer looking for a good sample of her work.

No comments about Ivanhoe.

5 comments about A Little Bitty Tear: The Nashville Years 1961-1965.

1. I am so happy with this set of five cds of Burl Ives. It was very expensive I thought at first, but worth every penny and more after hearing the songs etc. GET IT if you can afford it and if you enjoy his singing. The Very Best there is



2. As has been noted in other reviews, this is actually a review of the 5 CD box set released by Bear Family in Germany, not the MCA Specials single disc. This is a review of Little Bitty Tear(if you think you're on the wrong page, search Amazon for B0000282UX as the item number) and NOT A Little Bitty Tear. I am not sure why Amazon cannot distinguish between the 2, but please make sure you are looking at the box set and not the single CD release when considering this review.
   
   What Bear Family has done is a proper restoration and remastering job via licensing the audio from MCA whom owns the original Decca recordings. If you hear a bit of missing audio or other anomaly it is due to the condition of the source material and Bear Family being unable to do anything to repair this. It seems they've spared no expense on this set and it shows.
   
   For those audiophiles who squirm when you read "remastered," fear not. Bear Family showed the proper respect and properly remastered this. There is no dynamic range compression; I would say these recordings are as close to the original analog recordings as can be possible for CD. It helps that Burl's music is mainly vocals based; who buys Burl Ives music for the guitar work?
   
   There are a total of 144 tracks in this set. There is no Christmas music included (there are plenty of Christmas CDs available with Burl however).
   
   There is an instance of a duplicate track, Gater Hollow, however it's not really a duplicate as there seems to have been 2 unique versions of the track recorded by Burl and both are included here for completeness' sake.
   
   There is some of Burl's "gospel" music included, mainly on Disc 2.
   
   
   The book that comes with this set is really well written and is Vinyl LP sized. You have a capsule history of Burl (I'm sure there is a lot more to tell but space is limited) and includes a complete listing of all the original recordings the tracks on these CDs originated from, including the recording date and the studio in which they were recorded.
   
   The set may be relatively expensive (it is an Import), however you can't find a better collection of Burl Ives anywhere else. You have a 4 year collection here (Nashville Years 1961-1965) and it does an amazing job of capturing the essence of Burl. If you never buy anything else from Burl, you still have a large portion of every "style" he ever had if you decide to purchase this top quality set.
   
   
   Burl Ives - R.I.P



3. Burl Ives! . . . even the sound of his name is like a melodie . . . evoking memories of folk songs and ballads and stories in song as told by the honeyed-tinged voice of this balladeer.
   
   The "Nashville" years to my mind became his "best years" . . . not only was Burl in the best delivery, but the songwriters of then "Nashville" were also the best ever . . . no one since has topped the excellence of the "country ballad and song" since.
   
   This collection is truly a treasure and one to be relished picking through again and again. Each track will bring you joy to experience each time you play it and listen to it . . and you will often and for years to come.
   
   Today's singers and songwriters of Nashville would do well to listen also . . and to learn from thre Master and the Masters who's art brought about these musica; tracks and gems. These songs will be around long after most of today's "flash in the pan" musical celebs are gone and forgotten. A talent like that of Burl Ives is and will remain an American treasure.
   
   Thank you Burl Ives for all of the music and smiles (and the "little bitty tears") that you have brought to our lives with your talent. You are missed these days . . . but yet you remain present in these recordings . . . and for this we can be eternally grateful! :)



4. I became familiar with a BurlIves song back in the '70's and although I am not a perticular fan of the man as a singer I am still rather partial to the song "A Little Bitty Tear Let Me Down". When I first heard it, I had just gone through a rocky ending of a bad relatinship, and the words just seemed to say a lot of the things I was too inarticulate to put into words. Maybe, if I could have said what he said in that in that song, I could have salvaged a relationship that still haunts me as a dismal failure. Burls' songs are obviously mant to appeal to a wide audience and I am sure that if you give all of them a fair chance you will be somewhat surprised (and maybe even delighted) aat the things you hear. Above all, please try to remember that Burl Ives was an actor, not a singer. But he was still able to put forth a lot of entertainment as a singer also. (AT LEAST TO SOME OF US)



5. The reviews posted for this album are a bit confusing, so I'll begin with this brief disclaimer: Little Bitty Tear is a single disc, with 10 tracks, on the MCA label. It is an AAD recording, totally dependent on original analog recordings as its source material. Perhaps some of the negative comments on sound quality are due to that.

   So far as the songs, Little Bitty Tear offers Burl Ives at his maudlin best. The top cuts are the title tune and Funny Way of Laughing, both soft country tear jerkers that stay oddly touching, despite their somewhat dated sound. The album also includes interesting renditions of Blue Tail Fly, Polly Wolly Doodle and Waltzing Matilda.

   Burl Ives' singular voice and peculiar delivery appeal to a very select group of fans. If you are one of those, you will find this album very satisfying. However, if you are only familiar with the featured hits, the rest of the album will likely not have much impact.

   Either way, this is a respectable little collection at a very good price. Well worth the investment.

No comments about The Rodgers & Hammerstein 50th Anniversary Collection.

No comments about This Heart Of Mine.

4 comments about Sophie's Choice.

1. Today I heard a melody that reminded me of the love theme from this soundtrack, but I could not remember what film it was. I hummed it all day, and attached to it was a kind of wrenching sadness I associated it with. I racked my brain all day going crazy trying to remember. Boy is this music evocative of the themes from the film. Wonderful.



2. There are times that you might want to reflect upon something lost in life. A lost love, a time that has passed, or while somewhere far from home. This is the music to do it with. Marvin Hamlish did a great job matching the music with the mood. Slow piano music, yet with a style that will keep your attention and pull at your emotions. Sad, yet full of spirt and hope. A good music CD to keep around just in case you might need it someday.



3. Listen as this soundtrack brings you up and down through a romantic journey through the heart. Sophie's Choice was an excellent excellent heart wrenching true to life movie, and this soundtrack is an emotional protrayal, the heart of the movie. Listening to it gave me goosebumps.



4. I direct local theater and have used pieces from this soundtrack as background music for my plays. I believe Marvin Hamlish composed the music, whihc is touching and somber at times. Recommended

1 comments about Three Wishes for Jamie (1952 Original Broadway Cast).

1. "A charming and whimsical musical fantasy -- a bit like BRIGADOON, a bit like FINIAN'S RAINBOW, a bit like PAINT YOUR WAGON . . ." These words appear on the jacket of 1993 Broadway Angel release of THREE WISHES FOR JAMIE -- perhaps in an effort to entice Broadway cast album collectors to buy a show they probably never heard of.
   
   After a fairly disastrous run at the Los Angeles and San Francisco Light Opera companies during the summer of 1951, the producers cancelled the projected Broadway opening, and THREE WISHES FOR JAMIE underwent extensive revisions. Abe Burrows (GUYS & DOLLS) was brought in to rework Charles O'Neal's book, and several of the leads were recast. Former opera soprano Anne Jeffreys replaced Marion Bell (BRIGADOON), and Hugh Wheeler took over the part of the matchmaker, Owen Roe Tavish, from Cecil Kellaway (LUCK OF THE IRISH). Fortunately, John Raitt - who had "been swept to stardom" in CAROUSEL (1945) and appeared (briefly) in MAGDALENA (1948) - was available, having turned down a secondary part in SOUTH PACIFIC.
   
   It is John Raitt's magnificent singing that, for me, is the major reason for listening to THREE WISHES FOR JAMIE. "John Raitt possessed possibly the finest male voice on Broadway at that or any other time, a perfect instrument with the deft grace of a lyric baritone but with a tenor's ringing high notes." (from David Foil's excellent notes for the Broadway Angel CD) Ralph Blaine must have had Raitt in mind when he thought of writing the score, for they fit Raitt like the proverbial glove: "The Girl That I Court in My Mind," "My Heart's Darlin'" (sung with Ms. Jeffreys), "The Army Mule Song," "It's a Wishing World." Wheeler, Jeffreys, Peter Conlow and the rest of the ensemble are also first rate, and there's the added bonus of the incredible Charlotte Rae, even though "Love Has Nothing To Do with Looks" is embarrassingly misogynistic by today's standards.
   
   So, I urge you to ignore the opening quote and to enjoy THREE WISHES FOR JAMIE for what it is: a charming show with a pleasant, if not memorable, score. With Broadway Legend John Raitt at his peak, and a supporting cast who are apparently having a wonderful time, JAMIE is fine listening, indeed. It's a wonder that more community theatre groups haven't staged the show. Perhaps, with this fresh recording, THREE WISHES FOR JAMIE will see new life on the stage.
   
   Recommended.
   
   (These comments are about the 1993 Broadway Angel recording. I have great confidence in DRG's remastering capability, which will undoubtedly improve the somewhat flat sound of the recording.)

5 comments about Metropolis (1989 Original London Cast).

1. I heard this was a flop. Judging by how well the CD sells, and how much it's talked about (not at all) I gathered that much on my own. Upon listening to it for the first time, it hit me "dear god, another rock opera with music that doesn't support opera singers."
   I LOVED Fritz Lang's movie, and although the anime version was a bit of a let down, in its own right, it was a fairly good film. As theatre though, I'm quite certain you'd have to see it before it would get perhaps 4 stars.
   The music is, needless to say, very 80s sounding. As a kid who was raised listening to 80s music, I wasn't too shocked by the strange sounds, however, John Freedman's hardcore opera voice juxtaposed to the music gave the me the feeling of bleeding ears.
   The love songs are quite stupid. Many people rant and rave about them, but "It's only love" not only makes no sense, but also is terribly annoying.
   The Pressure Songs get on your nerves a little bit as well. They're very well written, musically, but the lyrics are atrocious due to their predictability.
   "that girl is a witch" is my best example of the dreadful lyrics, in which a man simply repeats himself.
   On the whole, I'd say it's... entertaining (in a different sense) to listen to, but if it came down to paying for it, it would most assuredly be left at the store.
   On a final note: the majority of flops flopped for a very good reason.



2. I got this recording along time ago when records were still around and I really like the way they made this out of an old silent movie. Doing an oustanding job on this score and a kind of unknow litte sleeper, I hope someday to see this. It may never make broadway but, I hope to see it someplace. The only reason I did not give it 5 stars is just felt that the male lead seems to be having to hard of a time getting to those high notes. Otherwise a good recording, glad someone out there took the time and money to record it.



3. It's curious how well done is that musical. It includes beautifull modern music whith clasic music. The chorus is wonderful and the main rols are very well selected. Is a musical that respect the Fritz Lang film, or one of it's versions. You will enjoy it.



4. Although never having seen the orignal London production (a friend did a few times) she did bring me home the double CD recording of the complete show (shown above).
   
   The musical suffers from mediocre to amazing, often tugging in both directions. Some of the numbers (THE SUN, IT'S ONLY LOVE, WHERE DO YOU THINK SHE'S GONE YOU'RE PRECIOUS MARIA? (this mumber is a great ensemble piece and should be MUCH longer!), LET'S WATCH THE WORLD GO TO THE DEVIL) are great theatrical songs and add generously to the story and characters. Other songs (OH WHAT A BEAUTIFUL CITY, THIS IS THE VISION WE'RE FORBIDDEN) are flat and pretty, but don't engage or ask the listener or theatergoer to become sympathetic to the characters plight.
   I (like it seems many others here) often skip over tracks that are fair and go to the powerful numbers instead. The story is very clear and all of the show's dialogue is on the CD as well (a rarity to be sure in ANY cast recording Thanks JAY RECORDS!).
   Contrary to some of the posts prior to this one, the show has been performed by some regional groups in the US (most recently in 2004 in East Peoria (where it first played the US back in 1999 or 2000).
   Having just watched the composer's other current musical on Broadway (IN MY LIFE), I can only hope when he finally brings METROPOLIS to New York in 2006 (as he mentioned recently in Playbill) that he will tighten and replace fair numbers with exciting ones. He has the gift, let's hope Joe doesn't let us down!
   Bring on METROPOLIS and rewrite that book! Focus more on the characters and expand George's part, his in an interesting sideplot that isn't fully explored in the stage musical.



5. Metropolis - a futuristic city in which the society of the privileged few is kept going by the toils of a subservient underclass, with machinery and robots galore. Nothing about this immediately leaps out screaming 'West End musical' does it? Coming at the end of the era of all-conquering mega-musicals, it is easy to see why Metropolis failed to catch on. Trying to mix the science fiction of the concept with the romantic themes musically make for rather a messy score. Add a remarkably silly plot and the original 6-month run isn't a surprise.
   
   Yet despite this, I've given the recording four stars. Although the final execution is flawed, it is by no means a bad recording. As plenty of other reviews have pointed out, there are some stunning songs in the show - 'Hold back the night', 'It's only love/Bring on the night' and 'One of those nights' especially. The vocal performances from Graham Bickley and Judy Kuhn are fantastic and are responsible for making some of the dodgiest lyrics sound passable, while the company by and large offer sterling support. Brian Blessed is . . . well, Brian Blessed, and despite criticism of his overacting, it's difficult to see how else his slightly one-note role could have been played.
   
   Unfortunately, not all the score is solid gold. In trying to sound futuristic, the orchestrations have dated pretty quickly, and far too many of the songs just stop the plot dead, making the narrative rather muddy and dis-jointed. More often than not, I find myself programming in my favourite songs rather than listening to the album as a whole.
   
   However, it's a fascinating curiosity for both collectors of cast albums and fans of wonderfully overblown 80's mega-musicals!