5 comments about Funny Girl (1964 Original Broadway Cast).

1. Now you can hear what is missing from the 1968 film version of "FUNNY GIRL"-- and that's actually quite a lot! Barbra Streisand sings a super "Coronet Man." There's a bit more for supporting players Danny Meehan and Kay Medford to do (they sing a funny "Who Taught Her Everything") because, I assume Streisand had to be off stage sometimes to change costumes. Jean Stapleton of "All In The Family" fame is distinctively heard in "If A Girl Isn't Pretty."
   Broadway Cast Albums were recorded live with orchestra; just like the a live Broadway show. In later years, Barbra developed such an obsession with perfection and absolute control. She does not have that luxury here. She just has to do it big time, and boy, does Barbra deliver the goods!! I like the more intimate sound throughout. This is the only version of "People" I like, because Barbra sings it so simply and straightforward. By 1967-1968, Barbra had sung the song so often, she became too stylized. Her version of "Don't Rain On My Parade" here is every bit as thrilling as the movie version. The arrangement in the movie is just bigger and brassiier.
   It's a sin that the haunting and superb songs "Why Are You Now?" (where Fanny Brice privately expresses doubts about her relationship with beloved husband Nick Arnstein) and "Music That Makes Me Dance" were omitted from the movie version. These are two of Barbra's most sublime and classic performances. Because they were dropped from the movie, they remain lesser known. Also, Barbra's record label Columbia passed on the original Broadway Cast Album; so Capitol got it. "Music That Makes Me Dance" was dropped from the movie in favor of Fanny Brice's signature torch ballad "My Man." Barbra sings "My Man" at full dynamic, emotional throttle to give the movie a heartbreaking finale, but the movie should have included both songs.
   The ending is completely different. Fanny Brice is devastated by the loss of Nick Arnstein, but she's going to survive. Barbra sings a determined, valiant reprise of "Don't Rain On My Parade", belting out, "Let's give 'em hell, Brice. We'll cry a little later. Well, Brice, that's life in the theatre. Nobody, no nobody, is gonna rain on my-- PARADE!!" You go, girl!! I love the movie, but I never listen to the movie soundtrack anymore (although I own it, too). When I want "FUNNY GIRL", I turn to this divine, sublime Broadway Cast Album. If you love Barbra at her best, you've GOT to get this original Broadway Casr Album, too!! 5 Stars. Highest Recommendation!!



2. Barbra at her fabulous freshman best, most of the songs are better on the movie album but there are some songs that were dropped from the broadway version that unfortunately did not make it to the movie and it would be a shame not to have them!
   
   twinspin



3. While not her first show, "Funny Girl" proved to be Barbra Streisand's ticket to immortality. Too bad she lost that year's Best Actress Tony to the equally deserving (?) Carol Channing in "Hello Dolly" ... though she ultimately won the 1968 Oscar for the film version of the classic role.
   
   Composer Jule Styne's terrific score was tailor-made for Ms. Streisand and contains several theatrical standards.
   
   Best tracks include:
   
   I'm The Greatest Star
   People
   Don't Rain On My Parade
   Who Are You Now?
   The Music That Makes Me Dance
   
   Yes, there are a few tracks I regularly skip, but, overall the score is terrific!



4. The fun of this cast album is hearing young Streisand. She projected so much star quality in her voice, that the album is a gem. But compared to later years, when her voice has aged, improved and been somewhat trained, her singing pales. Yet it's fun to hear, even when she cracks, as in the end of Don't Rain On My Parade. Still a great score, but get the film soundtrack, Barbra's voice is much better on it. Even though two of the scores best songs were dropped for the film, you can almost understand why. The song Funny Girl works better than Who Are You Now? would have..and while I think The Music That Makes Me Dance is a gem, using My Man in the film worked brilliantly



5. It was a good recording but i found the actual songs kinda Blah. They had no spice or spunk. . . Just kinda boring.

5 comments about The Songs That Got Away.

1. I'm sure this album won't appeal to everyone but personally I love it. The standout tracks here (for me) are: Meadowlark, Mr. Monotony, Dreamers, Three-Cornered Tune, Away From You & If Love Were All. This album should appeal to lovers of obscure musical theatre songs and to fans of Sarah Brightman. I think this album shows that she is far more versatile a singer than people give her credit for. The reason I have given this a 4 star rating instead of 5 is because the album was recorded on a lower volume so you have to turn it up a bit, but that is a very small quibble about an otherwise great album.



2. This is an interesting and surprising production that showcases the vocal prowess of Sara Brightman. It is not however, representative of the new and highly overproduced vocal productions that constitute her newer recordings. Although this production really allows the listener to hear a very melodic and unencumbered vocal performance, as it is pleasing in it's simplicity, yet meant for the more discriminating listener. Fans of Irving Berlin, Andrew Lloyd Weber, and Richard Rodgers will feel right at home here. For those seeking another major sonic production as in Eden, La Luna, Dive, or The Harem Tour this is not it! My criticism is not of her vocal prowess or production values but the apparently endless array of previously released material offered as a new and different recording. But I suppose that this is rather due to the greedy objectives of of A&M Records just trying to go to the bank, often and laden heavy with dollars. Nothing that any label wouldn't try to do. My advice with Sara Brightman is "caveat emptor" (buyer beware) check the disc carefully for redundancy of tracks within her discography. If you're a fan of this genre of music, you will probably respond quite well to this recording.



3. This is one of my favorite albums by Sarah. She surprised me with her ability to go from light opera to jazz. Here we don't find the over-produced albums such as Harem, just a superbly trained voice. No little girl breathy tunes here, just solid performances. This is the Sarah Brightman that I like to remember and enjoy. If you see this album and you're a Sarah Brightman fan, pick it up and treasure it. I'd like to see her do more of thisgenre, where she showcases her voice. Who ever thinks that Sarah has a small voice will be convinced otherwise by this album.



4. Before experimental albums like Dive and Fly, as well as the ones where her classically-trained voice enchanted millions, Sarah Brightman did a collection of musical and theatrical songs originally released in 1989, but reissued when she made it big with Time To Say Goodbye. Her vocal style leans towards the theatrical Broadway side, but more mellowed. But on songs like the strings-laden mid-tempo "Meadowlark" from Stephen Schwartz's The Baker's Wife, the way she would later do splendidly interpret Lloyd Webber's songs is in the making. Here are other highlights, including those that were reissued on Sarah's Encore album (2002).

   Stephen Sondheim's "I Remember" is a sad ballad told from the POV of a window mannequin remembering the sights it has experienced throughout the seasons, but the memories are now hazy and at the end, it sings, "At times I think/I would gladly die/for a day of sky."

   Some songs like "Lud's Wedding" from Bernstein's failed bicentennial musical, only seem to work due to Sarah's voice. Ditto for the simple "Three-Cornered Tune." Consisting of three verses, each repeated twice. However, Irving Berlin's "Mr. Monotony", a tune understandably cut from Easter Parade, is not a particularly inspiring song.

   Marvin Hamlisch's "Dreamers" is one of my favourites here, as I have affinity to it, and I'm sure Sarah is one at heart as well. "Only dreamers have wings with which to fly far away", as in their own fantasies, but unfortunately, "sometimes dreamers are forced to leave their dreams far away", i.e. the harshness of reality. However, it paints them in a positive light and states that everyone needs to have some sort of dream "to take time to find treasures and mountains we can climb."

   "Silent Heart" really showcases Sarah's voices, on how some things the heart is best left silent, as in things that really thrill it. "If I Ever Fall In Love Again" is taken from The Crooked Mile and is a nice love song Sarah really wraps herself in.

   "Chi Il Bel Sogno Di Doretta" from Puccini's La Rondine is a great showcase of the operatic voice that would come into full bloom on Time To Say Goodbye. This song would be reissued on Encore.

   "Away From You" by Richard Rodgers, and taken from a musical biog of Henry VIII (!!!). "The clocks are frozen and time's a traveler who's lost his way" is one of the sentiments Sarah conveys effectively. Also reissued on Encore.

   "If love were all, I should be lonely" sings Sarah from Noel Coward's Bittersweet, "If Love Were All" was the one song that stood out for me when I first heard this CD. The ability of a talent to amuse is seen as a solid standing for mental security. A definite standout here.

   From Lloyd Webber's Jeeves, the lush strings of "Half A Moment" features the vocal stylings familiar enough to those who have Sarah's Andrew Lloyd Webber Collection. It focuses on how important the capture of a moment to bright up a future rainy day is. Also reissued on Encore.

   Initially, I dismissed this as the songs that should've stayed away. Although they lack the magical punch of Time To Say Goodbye or La Luna, it's still a worthwhile collection, because Sarah's clear birdlike theatrical/musicals voice makes it all worthwhile.




5. Some people just love Sarah's voice, but I don't see what's so special about it. She sings in two sorts of ways, the first one is lovely, simple, forgetable, and the other sounds like Stitch with a high voice. This CD does her justice, though. A lot of the tunes are catchy and nice (how she sings them could be better) but the one I really like is "Three cornered tune." Now that's a good song! She does not have a particularly bad voice, but nothing interesting - that's for sure. And when she tries to act in her music she sounds even worse! But that's alright. After all, everyone has a different style. A highlight of this CD includes "Mr. Monotony," which, unfortunatly, did not come with lyrics in the CD case. Too bad, because its a great song. At the end of this record, though, she writes about these songs and - wow! It is amazing how many shows that song was taken out of! At one point it said it had Judy Garland singing it, and when I try to imagine her doing it I know that must have been awesome. I really want to hear Judy Garland singing this song sometime. Maybe I'll find it here on Amazon... But anyway, back to Sarah Brightman. The only other thing I can think of to say at the moment is that from what I've heard of her records, this is as good as it gets. And also, the track titled "Dreamers" is nice. I like the tune and she doesn't sing it too bad, either. It would be a good song to be played at a graduation. Only after a while the sound of it gets a little creepy and annoying. And its sticky, too. "Silent heart" is a classic, though she shouldn't sing it twice. For you see, she sings it, and then you think, "Ah, that's a sweet song. Wonderful words, soft tune," and the music gets at a great stoping point and then comes back for an encore (as one of Sarah's other records is titled). And then we have to listen to it all over again - and its not as good the second time. So overall is it good? Yes, it is. Though perhaps not good enough.

5 comments about Oliver!: The 1994 London Palladium Cast Recording.

1. While Jonathon pryce did an amazing job with Fagen, I was not impressed with the production as a whole. I do not like the added songs. The songs were the cheesy stereotypical songs that I think people hate about musicals. Also, I think the horribly graphic murder of Nancy was completely inappropriate. It was so horrific! Some of the best things about theatre is the emotions and actions they "imply" it doesn't have to be in your face to have an impact.
   For me the best will always be the Original Broadway cast from 1963. (although you have to love the film version with Ron Moody, carol Reed and Jack Wild)



2. I too looked forward to this recording. Oliver was one of my favorite shows from the 1960s. This recording lacks all of the charm of the original recording (Broadway cast.) Songs go on forever, orchestrations and choral arrangements are overblown and go over the same territory tediously. Stick to the original Broadway or London cast recordings - you'll hear the show as it was originally intended. Short, to the point and quite poignant. And besides, no one can come close the Georgia Brown!



3. I heard some tracks that my friend Adam (Dodger) played for me this morning. I can't believe I haven't bought a copy before now and gutted I never saw him in the show! I was definately impressed with what I heard and very proud to know you Adam!!! :-)



4. I recently took my three oldest grandchildren to see the show "Oliver". Usually, when I take them to a show, I buy the CD from the soundtrack so I can familiarize them with the music. The show we went to was a revival with a semi-professional cast with no CD available. I went onto Amazon to find one to purchase. After listening to samplings that were available through Amazon I decided on the 1994 revival in London's Palladium. It is wonderful!!! ...except that my grandchildren are driving me crazy everytime they come. They each have their favorite songs from the show and they play them over and over again! I love having the ability of listening to different CD's.
   
   Thanks Amazon!!



5. I was thrilled to hear this recording of "Oliver!" Finally, someone has seen fit to play the show as darkly and textured as Dickens' novel on which the musical is based. The arrangements are ominous, from the thunder and music-box echoes of the short overture to the sparse open version of Sikes' "My Name". This is a hard-edged "Oliver!". The performances are exceptionally good. It's wonderful to hear boys in the lead roles of Oliver and Dodger who can actually sing. Jonathan Pryce's Fagin, while maybe a little too avuncular, has a mix of charm and desperation that makes the character both complex and appealing. While Sally Dexter sounds a bit old for Nancy (in the novel, she's 18), her performance has a raw edge that makes it believable. In the up-tempo numbers, she's playful, raspy and belting. But there is great versatility in her vocal performance, as one can hear in the conflicted yearning of "As Long As He Needs Me". The others in the cast fare just as well, creating clear, colorful characterizations through their performances. This recording paints a landscape that has the complexity of Dickens' "Oliver Twist", at turns humorous and threatening. If you're after the happy "Oliver" of the film version, with Fagin and Dodger skipping off into the sunset, this is not for you. But if you want to enjoy the full scope of the musical, I highly recommend this recording.

5 comments about Shenandoah (1975 Original Broadway Cast).

1. This CD is great. John Collum is a great actor and singer. As the other reviewers have said it about a family during the Civil War who are drawn into the fighting. The music is wonderful and tells the story. I like THE PICKERS ARE COMING which I find very poignant because the Father sees that his Daughter will be getting married soon. This is a situation that parents have to face in all walks of life as their children leave home. Get this CD, and you will love it.



2. I got this as a gift for my mom and she said she listened to it about 3 times the day she got it. Fast delivery, great product.



3. they should bring this show back to Broadway, would love to see John Cullum one more time



4. I was living in New York City when SHENANDOAH debuted on Broadway, and was fortunate to see this musical twice starring John Cullum as Papa Anderson.
   I love the show, never forgot it, and now that CSN in Las Vegas is thinking of producing it, I'm reliving my experiences and enjoyment of SHENANDOAH. Terrific musical; but it is a 3 handky musical. You'll love the romance, fun, and heartbreak of this story of a father who fights for his family, on this wonderful CD.



5. This 1975 Original Broadway Cast CD is excellent. I saw this show on Broadway and the CD reminded me just how good the musical was.

5 comments about Yankee Doodle Dandy.

1. Good sound track! I would recommend this to anyone who loves the movie "Yankee doodle dandy"



2. It's an old movie with an old soundtrack, but I loved the movie, I love the music, and I'm very happy with my purchase.



3. Excellent in black and white and color. James Cagney also got a medal from a President. (President Reagan!} If you like entertainment...this is it!



4. 
   I am so very glad I bought this CD. I own the DVD of "Yankee Doodle Dandy" and watch it all the time, so I almost didn't buy this, wondering if I really needed yet another CD.
   
   Well, thank God I didn't pay any attention to that dumb idea!
   
   If you love "Yankee Doodle Dandy" and Cagney, you just have to buy this soundtrack. It's like being able to take the movie with you anywhere ... it's not just the songs - as others have said - but also includes bits of Cagney's voice-overs, even the tap-dancing from the end of "Little Johnny Jones." And since the audio system in my car is better than my TV's, it all seemed even bigger, richer and better. (George M. would love that!)
   
   Wonderful, wonderful stuff!



5. I haven't been able to see this movie on TV since Turner bought it (don't get TCM), but if you've seen the movie several tims, as I have, listening to this CD is very nearly as good as watching it all the way through. (I'm so delighted with it that I'm even willing to forgive TCM for putting a paper ad inside with the disc.)

   Monumental effort must have gone into this soundtrack, given the age of the original recordings. The tracks here are crisp, clear, and bright, with no evidence of how long ago they were first put down. The editors were also generous in their inclusion of dialogue that ties some of the tracks together (for example, we hear the man tell Johny Jones to watch for the skyrocket, then we hear the skyrocket as it leads into "Give My Regards to Broadway"). There are a couple of places where the endings are slightly abrupt but this is because, in the movie, the music fades into extended dialogue.

   The only bit of dialogue I expected to hear in a song, but didn't, is in "Over There" near the very end of the film, when Cagney/Cohan has fallen in step with the soldiers going off to WWII, as they're singing "Over There", when the soldier nearest him says something like, "What's wrong, old timer, don't know the words?" and Cagney says, "Seems to me I do" and starts singing along. That's minor and pales next to how wonderful the rest of this soundtrack is.

   One of the biggest treats on this CD is that we get to hear some of Cagney's tapping, notably in "Give My Regards to Broadway", "You're a Grand Old Flag", and - one of my favorite moments in movie history - when he dances down the White House stairs to "Yankee Doodle" near the end).

   The outtake is not a humorous one, simply a track they decided not to use. It and the rehearsal tracks are all just the performers voices with piano accompaniment. I especially enjoyed hearing Cagney rehearsing "You're a Grand Old Flag".

   If you like Cagney, if you like Cohan's music, if you like movies "the way they used to make them", or if you're not ashamed to get a little choked up with patriotism once in a while, you will not be disappointed in this CD!

5 comments about Hairspray: Original Motion Picture Soundtrack.

1. I had this tape from years ago, and recently bought the CD. Excellent foot tapping music from the awesome movie by John Waters. In my opinion, the original movie is so much better than the remake, and certainly any one will enjoy the antics of Divine and Ricky Lake! It's a great movie soundtrack that you can "shake a tail feather" and dance too...



2. I great throwback to the original movie. Each song brings images of the movie to mind. I was disappointed to see the 'Dirty Boogie' song missing but all in all a great purchase. I am glad I bought it.



3. John Waters always has a knack for supplying his movies with some of the most off-beat, least heard music and Hairspray (the ORIGINAL!) is right up there with the rest. Great music for a party or for driving, sing right along and do "The Madison" with Tracy and the rest!!!



4. The movie Hairspray by John Waters boasts a score so good it's almost criminal! This CD contains twelve great songs that deserve much more attention than they ever received; and just one listen proves it.
   
   The great songs on this CD include Toussaint McCall's heartrending ballad "Nothing Takes The Place Of You." Toussaint McCall sings this beautifully and the musical arrangement enhances the beauty of this number. Jan Bradley performs "Mama Didn't Lie" which is another excellent song. Jan sings about protecting her heart from boys who don't want to give her true love. "Foot Stompin'" boasts an infectious beat by The Flares as they sing about dancing to what was once known as "race" music. Excellent!
   
   "You'll Lose A Good Thing" is a very romantic ballad by Barbara Lynn. In this song Barbara reminds her man to treat her well.
   
   One of very favorite numbers on this album is Gene Pitney's "Town Without Pity." Gene delivers this song very well; his voice is strong and energetic. The musical arrangement will stun you, too. Another excellent song is "The Madison Time" by The Ray Bryant Combo. "The Madison Time" is essentially a great instrumental number with a man telling dancers on the dance floor which steps to take. The arrangement is slick, $exy and very catchy, too.
   
   Despite the fact that this CD boasts a fine collection of obscure oldies, the song "Hairspray" was written for the 1988 movie. "Hairspray" represents camp at its best and you will enjoy this number even if it isn't an oldie.
   
   Other great songs on this CD include "I'm Blue (The Gong-Gong Song);" "Shake A Tail Feather" and "The Roach (Dance)."
   
   Some reviewers write that they wish that this CD included more music from the motion picture soundtrack. They are right. I considered making this a four star review for that reason but I concluded that the strength of this CD as it stands merits a five star review. The songs here are just so good I said "Aw, heck" to myself and so I gave it five stars anyway.
   
   The liner notes give the songs credits and John Waters adds a brief essay about the songs on this CD. The graphics are excellent.
   
   Overall, this CD offers a rare opportunity to hear many obscure but wonderful oldies that deserve more play time than they ever will receive. The quality of the sound is excellent even on my portable CD player. Fans of the oldies or movie soundtracks will love this album. May you enjoy this album as much as I have!



5. The reason this only gets 4*'s is because it's without the Bunker Hill tune, "Hide And Go Seek (Part 1)".
   
   When the LP was first released, I picked up a copy and was also disappointed not to find the remaining songs from the movie.
   For years I had been collecting the songs that brought my best memories
   of my youth. Here was a chance to add a few of the rarer ones.
   
   Since then, I've been able to complete my own collection of the tunes of Hairspray. And yes, "Hide And Go Seek" was my number one priority.
   
   I found it on 2 different CD's. "The Golden Age Of American Rock 'n' Roll Vol. 6" on Ace and the ultra-rare, "Do You Remember? 30 Original Golden Oldies" on Mr. Maestro.
   
   Luckily, though, "The Roach", "Footstompin'", "Mama Didn't Lie" and "Nothing Takes The Place Of You" are included in the Hairspray LP/CD, which are very much repsonsible for its 4* rating.
   
   The only so-called weak tunes on this recording are the title track, "Hairspray" and "I Wish I Were A Princess".

5 comments about Ultra-Lounge, Vol. 5: Wild Cool & Swingin.

1. There are so many great songs on here. I was introduced to two great Sam Butera songs, enjoyed more of Lou Rawls silky smooth voice, and gained more appreciation for Dean Martin and Bobby Darin's great voices. Great CD - all the songs are great!



2. what's better than Dean Martin, "ain't that a kick in the head"....lots of great theme music, good spy party music.



3. Ultra Lounge, Volume 5: Wild Cool & Swingin gives us eighteen swinging tracks to delight your ears and make you dance all through the night! The collection of hits doesn't have a dud in the set; and the diversity of the artists couldn't be broader.
   
   The CD track set begins with Dean Martin's classic interpretation of "Ain't That A Kick In The Head." The Nelson Riddle arrangement relies on the horns and the piano is awesome! Dean's voice is in perfect form--energetic and full of masculine warmth as he sings of his new love. A previously unreleased track of "Dig That Crazy Chick" by Sam Butera & The Witnesses follows; Sam & The Witnesses swing hard. Sam's voice is clear and full of excitement as he describes his new girlfriend. The musicians never miss a beat, either!
   
   Bobby Darin performs "More" with sensitivity and panache; I love that piano arrangement by Richard Wess! Peggy Lee's classic rendition of "Fever" absolutely oozes the feminine desire for a man; the people snapping their fingers along with the beat really add to the number! Peggy's voice is rich and vibrant for "Fever." Excellent!
   
   "Danke Schöen" by Wayne Newton will surpass your expectations if you've never heard this ballad before; Wayne sings this with all his heart. Wayne's interpretation of "Danke Schoen" makes his rendition THE definitive interpretation of "Danke Schöen." Jimmie Haskell's orchestra performs beautifully with a firm emphasis on the horns, percussion and strings.
   
   If you want a more playful number, however, check out "French Poodle" by Sam Butera & The Witnesses. Sam sings this to perfection and the horns sound great on "French Poodle!" "Closer To The Bone" by Louis Prima continues in this vein; I believe that you will enjoy "Closer To The Bone" by Louis Prima.
   
   The CD provides us with still more traditional love ballads. Nat King Cole performs "L-O-V-E" without a superfluous note; love that horn solo in the middle of this number! Moreover, Dean Martin croons "Volare (Nel Blu Di Pinto Di Blu)" with a great musical arrangement; I really like how Dean Martin sings this number in both English and Italian. Great effect!
   
   Julie London delivers "You'd Be So Nice To Come Home To" with all the style of a consummate performer; and the CD track set ends well with Bobby Darin crooning a great "Hello, Dolly!" Darin sings "Hello, Dolly!" with great care and sensitivity. "Hello, Dolly" provides a strong ending to the CD track set.
   
   The liner notes include great artwork; and R. J. Smith contributes an essay about lounge singers and the nightlife of the late 1950s and early 1960s especially on the Vegas strip. The song credits and recording dates are there for you; and there are even two drink recipes! Bob Norberg at Capitol Recording Studios did a great job of remastering these tunes.
   
   The very special, golden age of The Vegas Strip with its superstars of the 1950s and 1960s may be behind us but this album does a great job of recreating those special times. I highly recommend this CD for fans of lounge music; and people who enjoy classic pop vocals will cherish this CD for years to come.
   
   Enjoy!



4. Love this kind of music - can't get enough - have most all of the CDs. Excellent New Jersey-based company with excellent foresight and retro-understanding for the best party and jazz combos. Excellent choice for any kind of day or evening, party or relaxation time.



5. The sound quality of the Ultra-Lounge series is excellent, even though the songs were recorded mostly in the 50's and 60's. Capitol Records packs each CD with carefully chosen tracks consistent with the theme of the particular volume in the series. Many of the selections that appear here aren't available elsewhere, either because the original album on which the song appeared is out of print, or because the song was issued as a single and never collected in an album. A few 'previously unreleased' tracks also appear here. This series is a wonderful introduction to the music of a by-gone era, and each album includes detailed notes on each track (artist, writers, date recorded, how released, etc.). I heartily recommend it to anyone who has an interest in this type of music.

5 comments about Flower Drum Song (1958 Original Broadway Cast).

1. I must say I have enjoyed this score over the years, however, the play does drag and presents itself much better in a concert version, which we are seeing alot of these days of older musicals...Must add that there is a 20 minute clip of original Broadway Cast performing music from the show in full costume with sets on the Ed Sullivan Show from December, 1958, shortly after the show opened on the Internet...it is quite fun to see all of the major stars of the original show performing their numbers, while show is fresh on Broadway...we see Miyoshi Umeki (I am going to like it here), Pat Sazuki (I Enjoy being a girl) Larry Blyden (Sunday), Love Look Away, etc.. also great to see Juantia Hall perform her numbers....many of these stars are now gone (Hall, Umeki, and Larry Blyden, who was killed in a vehicular accident in Morroco at the age of 49...enjoy a great recording!!



2. Sounds great! I enjoyed this as an album in my youth. And, I've seen the movie numerous times. Of course, the broadway recording is not a perfect match to a movie soundtrack, but I'm enjoying it for what it is.



3. great cd. could not find anywhere. Amazon to the rescue. And its easy to order and pay.



4. I was introduced to the original cast of FLOWER DRUM SONG, as a small child, on vinyl. For me, some of the songs (written by Rodgers & Hammerstein) made such an impression that I memorized them in record time and sang them to myself quite loudly! It wasn't until later that I came to recognize the themes of intergenerational and intercultural tensions that arise in this story, set in San Francisco's Chinatown. The original cast shines here, with some of the finest jazzy vocals (including Juanita Hall and Pat Suzuki).
   
   We see an example of a more "traditional" woman, just arriving in the United States from China (played by Miyoshi Umeki) and a modernized woman (Pat Suzuki). They both sing songs that reflect their natures ("I Am Going to Like It Here," is sung by the newly-arrived Mei Li and "I Enjoy Being a Girl" is sung by the fiesty Linda Low, who juggles boyfriends like balls in the air). There are also numerous songs reflecting the tensions ("The Other Generation," "Love Look Away") and joys ("Sunday," "You Are Beautiful") experienced by a community of people brought together by culture, yet divided by cultural awareness and experience.
   
   Though, some may criticize FLOWER DRUM SONG for its stereotypical depictions of the "generic" and presumed Asian experience, I found that the musical possesses a lot of heart and the music totally memorable. I can still remember the lyrics to some of the songs--especially, "I Enjoy Being a Girl," which is really an anthem to all women who enjoy being who they are (yes, it is decidedly "anti-feminist" in nature, but it's fun and upbeat). You will enjoy this, too. Pat Suzuki, a legend in the jazz scene, was a great performer and brought such sass and sauciness to her role as Linda Low here, as well as Jack Soo (BARNEY MILLER), who appeared in this musical. Give it a chance and I think you will enjoy it.



5. The first instinct is to lump this with flops like "Allegro" thanks to its trouble-plagued casting and staging; but all things told (not least of which R&H's hospital stays during production) it's a very fine and apt score, with one of their best songs, the ethereal "Love, Look Away", the sort of thing with its slow, swingy rhythm that should have spread to the world of close harmony (i.e., the doo-woppers) but never did. Hammerstein did some of his most ingenious lyric writing, searching out new rhythms and templates. He must also take blame for turning "I Enjoy Being a Girl" into too much the cross of "A Wonderful Guy" and "Honey Bun" (and yes, someone should have instructed Pat Suzuki about her bikini), and one wonders what if anything went through Oscar's head as he wrote the dummy-like list for "Chop Suey": "Harry Truman, Truman Ca-POAT and Dewey....Hear that lovely 'La Paloma'/Lullaby by Perry COMA...." (Listen for yourself -- this is precisely how the great Juanita Hall sings it.) With R&H one member of the partnership almost always pulled the other out of the muck, and however dubious the project (the politically-correct revival underlined that) they almost always found it within them to create haunting and invigorating tunes -- as most certainly here.

5 comments about Chicago - A Musical Vaudeville (1975 Original Broadway Cast).

1. A great classic, no doubt about it. Most of the songs are wonderful and very catchy. Be careful because there are three versions (a revival and the movie soundtrack); however, this is the classical one and the very best. The movie version left out the song CLASS, which is one of tne most beautiful ones and, obviously, is not in the movie soundtrack.
   A real MUST for musical collectors.



2. I have all three recordings of this score -- the original, the revival, and the soundtrack -- and this is, by far, the best. Every performance of every number is incredibly perfect. In my opinion there's only a small handful of what I call "perfect" scores for a musical. That list would be comprised of WEST SIDE STORY, GYPSY, MY FAIR LADY and CHICAGO. Not one misfire in the whole score. (The otherwise perfect THE KING AND I misses because of "Western People Funny," a song frequently cut from revivals. THE MUSIC MAN misses the list because of the dreadful "Shipoopi" -- or however you spell it -- and SWEET CHARITY misses because of that dreadful ballad the Italian movie actor sings, the title of which escapes me, it was so bad.) I've just listened to the original cast album of CHICAGO again and am just as delighted as I was when it came out in 1975. (I saw the show when Liza Minnelli had stepped in. It suffered from her performance, but at least I saw the show!)



3. I bought this on LP when it came out and absolutely hated everything but All That Jazz. Then I recently saw the flick and loved it, as much as the MOVIE of Cabaret (its clone). Had rented the movie from Netflix and immediately bought it and watched it again. The bloom was off the rose, but I still liked it. Then I bought (for $3 used thank god from an Amazon seller) this garbage and am appalled. This thing is tuneless and terrible. The movie was rich and exciting. This thing is bloodless and thin. The performances are mediocre. Even the orchestration stinks. I'm a big fan of Gwen Verdon and Chita Rivera. But not in this. Oh my god! "flash in it/passionate"! Hart and Porter BOTH use that 80 years ago! Kander/Ebb/Minnelli. They belong together. The music in the movies Cabaret and this is wonderful. The shows are drek. How could Fosse (or ANYONE) possibly choreograph this? There are a few good tunes in it, hardly enough for a 3 hour show, and they all ended up in the flick. No wonder I got this CD for $3 used and in mint (absolutely like new) condition. I don't want it either.



4. There are lots of CHICAGO records. But the original has to be the best. Gwen Verdon is loads of fun to listen to on this cd. Especially in the songs "Funny Hunny" and "Roxie". And nobody can sing "All That Jazz" as good as Chita Rivera does. Chita is also good in the songs "I Can't Do It Alone" and "When Velma Takes The Stand" and "Class".
   I recomend this cd to any CHICAGO fans and anyone who loves Broadway Cast Recordings!



5. With all of the productions of Chicago that have been and gone in this world, there are few that could be as forgettable as this recording.
   
   With a seemingly excellent cast upon first view, I expected so much more from this early recording. Rivera's powerful yet run-of-the-mill performance is one of very few good things here, after all, anything could out-shine Verdon's elderly performance in which every note she manages to warble sounds like it'll be her last. Some say her performance was meant to be "over-the-hill", however, to me, it sounds like she passed the hill many miles back.
   
   Chicago has never, to me, been a show of much calibre but this recording is probably one of the very worst in existence. Upon first listening you might think... "Oh, `tis not that bad, I don't know what he's talking about", but, when played alongside more recent recordings you will see what I mean. This recording is great if you're a fan of Chita Rivera as you can tell she is trying hard, and, although I think she doesn't suit this role entirely, does a creditable job. Verdon on the other hand... a big mistake.
   
   The basic foundations of the what I think of this recording being laid out, I must say that I did enjoy Orbach's performance as Billy Flynn. He seems to master the role with confidence and his clear voice is perfect for "All I Care About".
   
   Look elsewhere if you're a newcomer to the show but buy if you like Chita Rivera!

5 comments about Bat Boy (2001 Original Off-Broadway Cast).

1. I picked up this soundtrack because I will be in the musical this fall, and hadn't heard of it before a month ago. I was very pleasently surprised by the dark humor, and the sometimes upbeat, somtimes haunting tracks. Tracks like "A Home for You," "Comfot and Joy" and "Three Bedroom House" show the large range of genre this musical encompasses. There is so much to enjoy with this soundtrack, and kept me enthralled through the whole thing. I was also happy to see that the soundtrack does not ruin any surprises about the musical itself, but a listener who is unfamiliar with the show can still enjoy it.
   The only thing that bothers me about this soundtrack is that there are many lyrical changes in the soundtrack. (I hate that.) But I would say that this is an original, enjoyable and engrossing soundtrac. It will make you want to see the show live.



2. Not particularly well-written music. The orchestration's not bad. Some of the voices are okay, some are pretty bad, and some are on a teeter-totter.



3. Bat Boy is a musical tour de force, a gem of a show that transcends its unlikely source material, the perennial cover freak for the sub-tabloid Weekly World News. It should please any open-minded musical theatre buff with it's bouncy numbers and absolutely fantastic cast. Don't deny your beast within, take a chance on Bat Boy!



4. I first heard of this musical on researching the W.W.N.'s character, and thought the idea was a little silly; a musical based on a tabloid bat/human hybrid. I heard the show was along the lines of a black comedy like Rocky Horror and Little Shop of Horrors, so I picked up the soundtrack and the script anyway. To my surprise, it turned out to be an awesome show, and I'd love to see it live! The soundtrack is amazing, and a must for all into dark comedies.



5. This is an AMAZING show...I have never seen it but the music is so well done I know I would love the show. The songs WILL get stuck in your head!!! and come on thats what a musical should do!!!! Buy this CD before it is gone forever...this is a great one to add to your broadway CD's...