5 comments about Hello, Dolly! (1964 Original Broadway Cast) (Deluxe Edition).

1. This is a GREAT version of the Hello Dolly Original Cast album with many "extras" not included on the Original Cast album.
   
   Included on this CD are interviews with Carol Channing about her experience with this show -- some very enlightening commentary about the plot and the character of Dolly Levi which I had never thought about before.
   This is a much deeper show after listening to her interpretation, and has enhanced my enjoyment of the song "Before the Parade Passes By" and "Hello Dolly!" numbers included on the CD.
   
   In addition to the cast recording are numbers from the Pearly Bailey production (outstanding) and also some original songs from the show which was originally written with Ethel Merman in mind as Dolly. The liner notes included give a great history of the show and information regarding Merman's role as Dolly - information which I was never aware of before reading and listening to her perform several numbers which did NOT appear in the Carol Channing version on B'way, but were re-introduced to the show when Merman performed it on B'way.
   
   Overall - for the price of this CD you are getting a lot of extras that any theater lover would enjoy. I rate this a 5 stars out of 5 stars due to the quality of the recordings and the extra features included. Enjoy!



2. I have to say this deluxe edition is a welcome add-on to my CD collection...I now have the Carol Channing, Pearl Bailey, and Mary Martin versions on CD...I believe Arkiv Music is the only vendor for the Mary Martin "London" version, but if you go to their website you can get that version as well as the Pearl Bailey version for $13.99 per copy...there are not any liner notes on either one, but was nice to finally replace my LP's with the CD's...I also purchased Jerry Herman's "The Grand Tour" for that price too!! I must mention the extra's on this Deluxe version are outstanding and liner notes are formidable!! It was nice to hear the numbers that Jerry Herman created for Ethel Merman, and to hear Pearlie Mae's rendition of So Long Dearie.....If there were only recordings made of some of the other Broadway star's Dolly's..like Ginger Rogers, Martha Raye, and Ethel Merman (the complete shows of these performers), although they only performed the role for a few months..I know Phyllis Diller, and Eve Arden also performed the part...When I was at Southern Illinois University in the sixties, I got to see Dorothy Lamour as Dolly in a roadshow on our campus (1967)....she was very good even though she was in her 50's at the time...What I most remember about her performance is what she said at the end of the show...she gave special thanks to our fighting men in Viet Nam and saluted them for all of their efforts!! Well, again a very well done album, and show, which we will all remember for years to come Amen!!



3. This is the best recording of Hello Dolly! without a doubt. The ONLY flaw in the entire show is Eileen Brennan as Irene Molloy. Her voice is not the greatest, but it doesn't really matter. The bonus tracks are to die for Mary Martin's are spectacular and Pearl Basiley's are great and Ethel Mreman's are just splendid. The packaging is not great though. The booklet is glued to the inside cover. Inspite of the packaging flaws this is the recording to get. The bonus tracks are splendid.



4. This is the original recording, with all of the best names included. Wonderful, wonderful music.



5. Great re-mastering of original BWay cast album with wonderful other Dollys, particularly Pearl Baily who makesHello, Dolly! (1964 Original Broadway Cast) (Deluxe Edition) the title tune her own. It is still a great score and a delight to own.

5 comments about Steppin' Out: Astaire Sings.

1. If you enjoy the songs and sounds from the movies you will enjoy this,one reviewer said they thought it was recorded from the tv it may have but they did an excelent job of keeping the cd balanced,this is 1930,s sound so that is what you get.



2. This is an album that should straddle the market - jazz lovers for the sympathetic playing of Oscar P and the band; but also for any Fred Astaire fans. No; he doesn't have the best quality voice - but - he has an astonishing feel and his timing & phrasing is beyond critisism.



3. I had only a CD that featured Mr. Astaire's recordings directly from the soundtracks of his films from the 30's...while they have a place in the pantheon of cinematice greatness, this wonderful collection of sublime, understated, and classic performances from one of the great artists of our time has a permanent place in my music collection. I am only now discovering that there is a Fred Astaire collection which was recorded with Oscar Peterson, et.al, but also an Irving Berlin CD from the same time period (1950's) and while there may be some duplication, I plan to expand my personal library to collect whatever is available...it is almost like you are sitting there and he is singing for you...the sound, the arrangements and the style that Mr. Astaire puts over are all fresh and modern and cool...do it.



4. No question that Fred Astaire could dance and sing. This CD incorporates his most famous, (& best), tunes. However, I was somewhat disappointed as these tunes are not the original tracks from his various movies. I prefer the older, & more "ancient" versions. Nevertheless, a CD worth having in your library.
   
   THW in CA



5. According to Hollywood legend, Fred Astaire's 1933 screen test for RKO resulted in this studio memo: "Can't sing. Can't act. Can dance a little." In reality, the dance visionary was an underrated vocal stylist who brought out the best in the compositions of George and Ira Gershwin, Irving Berlin and Cole Porter. Originally produced by Norman Granz, "Steppin' Out" compiles 17 recordings from Astaire's classic 1952 session - accompanied by a stellar jazz combo featuring pianist Oscar Peterson. The sound quality and musicianship are impeccable, with Fred smoothly gliding from one standard to another. A particularly nice touch is the three-minute interview that follows "Cheek to Cheek." If you cannot find the 38-track "Astaire Story," this hour-long Verve CD makes for an excellent overview.

5 comments about Tarzan - The Broadway Musical (Original Broadway Cast).

1. Don't be fooled, this does not even come close to other musical works of disney such as beauty and the beast. I can't believe people actually rated that they like this! It must be because they must never heard the original music recording of the animated movie. The songs here are cheap imitations of good songs in a good score. The score is just all around bland. True the lyrics aren't clever but that might have been overlooked if it had at least a good score behind them but no....
   
   P.S. Tarzan sounds like a woman



2. The hype about this musical coming out was so big. i was in new york at the time and it was crazy. When i left, it came out. i heard the recording and liked only 3 songs. and i mean only 3 songs. i am such a lover of disney shows and its a shame that i only liked 3 songs. i've listened to this cd about 10 times just trying to get myself to like it better but it bothers me more than it entertains me. The 3 best songs are "Two World" - Great Opening for the show.
   "You'll be in my Heart" - It was very sweet and touching and i could see it being performed before my eyes despite the fact of other peoples views that this version was horrible. Give it a chance.
   "Different" - Very Fun
   Besides these 3 songs. This cd is not worth 10 dollars. Try listening to the LITTLE MERMAID OR LION KING. AMAZING



3. Tarzan lacks the sparkle and polish of Disney's The Lion King, when it strays from the animated film. But this cd has its good points. The music that does recall the film is absolutely inspired. This is another one of those cds your munchkins can listen to as you run your errands. Mom and dad won't mind either because the songs are that feel-good. If you're tired of your hard core gangster rap, and your country crooning, buy this little gem which is guaranteed to brighten your day and make you feel oh-so positive about life. I recommend this CD for everyone who's stuck in a rut or ho-humming it along, and wants to try something different. Guess what? It works like a charm. I've got people who normally would be embarrassed to be caught dead with a Disney cd, handing me back my copy at work, thanking me. I should be charging these people. But seeing the smile this item puts on their faces is compensation enough. A must-have palliative, but musical enthusiasts might find it so-so.



4. Excellent cast with some of the best vocals ever. The scenic design was mind-blowing and one of the best i've ever seen in my 5 years watching and doing theatre. Kudos to Bob Crowley for coming up his amazing work. The book though, was kinda loose and could have done with a tighter script + stronger villian/s. That notwithstanding, i love the catchy music and beautiful lyrics. Tarzan's good mix of fast tunes and soft ballads, while not typically Broadway, hooks from the first beat.



5. This music is awesome. I love the show. And I love the music.
   If you see the Brodway show than you have to buy this music cd.
   Great music.
   Also it arrived in time.

5 comments about The Lady with the Torch.

1. I've seen Patti Lupone in almost every Broadway show she's been in, from "Evita" through "Gypsy" and "Sweeney Todd" - and particularly enjoyed her in "Anything Goes." One of the comments I made when I saw her one-woman show was that she needed someone to pick her gowns for her. I couldn't understand how someone could select gowns so unsuited for herself.
   
   Well, the same goes for the selection of materials. She is a belter with a voice that easily reaches second balconies in theatres. Vulnerability is not her forte. Everyone has heard the songs in this CD sung many times - and usually better by such voices as Nat King Cole, Mel Torme, Frank Sinatra, Ella Fitzgerald and Judy Garland -- none of them belters. There are so many songs out there that Lupone could have done justice to, and yet she chose the ones least suited to her talents (go figure). When I saw her in "Can-Can" at the Encore series, I was struck by how sexy and powerful she can be when the material and wardrobe are given to her.
   
   If she's into an American songbook, that's a marvelous idea -- when the songs are more carefully chosen for her.



2. Pattie LuPone was a reasonably new singer to me until I heard her singing 'I Dreamed a Dream' on an album from the musical Les Miserables. My search found me 'The Lady With The Torch' and I haven't been disappointed. She is an excellent singer who sings great songs with a good key range.



3. This CD became an immediate staple in my collection. Ms. LuPone's voice glows: she is distinctive, rich, and memorable.
   
   I find Patti's voice and performance compelling in everything she does. Rather than bland, uninspired pop-vocals, her singing is lush and unusual. She brings an edgy, compelling twist to a great selection of standards here, and is full of emotion and expression. As with her "Matters of the Heart" album, she transitions smoothly from power-house belting to soft, sexy and sweet.
   
   This album is great mood music, I've spent this autumn listening to the CD in my car with the windows open to the cool air. It's a release. The whole album is so sheerly emotional, it just glows with passion and feeling. The song choices and orchestrations live up the delivery. All around great versions of the songs.
   
   I would not change a thing on this album, though those new to Patti might want to check out "Matters of the Heart" first, for a more diverse demonstration of her ability. You don't get a feel here for her humor and ability to handle faster songs. She is a ball to listen to having fun, and it is the only thing one misses here. However, some new songs have just been released online (check iTunes) as "Lady With The Torch...Still Burning" and have a more diverse feel to them, so be sure to check those out in tandem with the CD.
   
   I'd also take with a grain of salt any review that needs to mention a "bad experience" with a performer. While my encounter with her was lovely, any personality qualms are as irrelevant to a review of this album as complaining about her haircut or the car she drove to the recording studio. And, frankly, she could kick me in the knee-caps and it probably wouldn't get this album out of my stereo.
   
   (And, for the record, additional cred is lost when someone has violently strong feelings about an album but can't spell the performer's name.)
   
   I am generally just a musical theater fan, and stick to cast recordings for my listening. Patti is one of the only performers I can think of who I crave to hear just for the enjoyment pleasure of her voice, regardless of a show. She's a pleasure, and never a bore. Really. Take a listen.



4. And I was being kind! Ms Lupone is a wonderful stage actress but as a recording personality - FORGET IT! You have no way of getting any emotion out of her singing with how bad her diction is! One reviewer called her singing MUSH MOUTHED and I couldn't agree more. It's just terrible...



5. What a thrill! I have been waiting for a new Patti CD for quite some time...she sure does deliver!

5 comments about The Mills Brothers: The Anthology (1931-1968).

1. As a former professional singer I look for a number of things in a singing group. First and formost is do they move me. Do you understand the lyrics? Is there stage deportment appropriate for the act they are portraying?
   
   In this case the Mills Brothers rate a resounding yes at every turn. All of them are gone now but their legacy of smooth sounds that tickle your ear without trying to tear them off make for hours and hours of fine listening. If you don't know of these men, get a CD and sit back and let the years fade away.



2. The Mills Brothers Anthology is for anyone who enjoys listening to the sounds of the late 40's - early 50's, along with amazing vocal harmonizing.



3. As several reviewers have pointed out, this collection seriously short-changes the 30's & 40's releases when the group was in their prime. Try Goodbye, Blues to catch them at their very best. The feel is less commercial and more swing jazz oriented, and no remake cheats as here.



4. I'm with the reviewer who doubts the originality of (at least some of) these recordings. The Mills Brothers had a high quality of harmony about them so it's still an okay package. But I am here to tell you, I have a cassette of many of the originals. For sure, this is NOT the original "Cab Driver". If you're willing to settle in order to own some legendary music,then go for it. Even watered-down Mills Brothers music is pretty good stuff.



5. That's right. If I were stranded on an island and had the choice of listening to the recordings of any one artist I would choose the Mills Brothers. According to Jay Warners "Billboard Book of American Singing Groups", the Mills Brothers were the most successful American male group of all time with 71 chart singles spanning four decades. Hailing from Piqua, Ohio, the Mills Brothers started performing way back in 1922. The group consisted of four brothers, Donald, Harry Herbert and John Jr. They signed their first recording contract with Brunswick records in 1931 and were an immediate sensation. Aside from remarkable harmony, the group also simulated instruments!!! In fact, the labels on many of their records had a notice that no musical instruments were included on the recordings. To sample the original recordings of the early Mills Brothers, pick up "Four Boys and A Guitar: The Essential Mills Brothers" on the Sony Legacy label.
   In 1934 the group signed with Decca records. They would remain with the label for over a quarter century. During this period, they were one of the most prolific artists around recording literally hundreds of singles. Tragically, one of the brothers, John Jr. passed away in 1936 to replaced by his father who performed with the group until the mid 1950's.
   As another reviewer has pointed out, the early Mills Brothers songs on this CD that originally appeared on Brunswick are re-recordings. But as far as I can tell, all of the Decca sides are the original recordings. Listen to them again for the first time and rediscover why this group was so beloved for so many years. They just don't make 'em like this anymore. In my opinion, "Paper Doll" was one of the great songs of the century. You'll also enjoys such all-time favorites as "Glow Worm", "Till Then" and "Opus One". And check out one of their later hits, 1957's "Queen of the Senior Prom". Group harmony just does not get any better then this folks. The three remaining Mills Brothers continued to perform into the 1980's. My wife was fortunate enough to catch one of their final performances. Their music is timeless. You'll love this anthology.

3 comments about Red Garters / Irving Berlin's White Christmas.

1. Rosemary Clooney found her two greatest film roles in WHITE CHRISTMAS and RED GARTERS. Both were lavish Technicolor productions from Paramount, where Clooney was under contract at the time.
   
   WHITE CHRISTMAS, based on the earlier "Holiday Inn", is still rightly regarded as one of the greatest Christmas films of all time. It would be a very sad holiday indeed if this film wasn't trundled out for it's regular airing. In the film, Clooney starred alongside Bing Crosby, Danny Kaye and Vera-Ellen, and the story revolved around a pair of ex-GI's who try to help their former commander when his Vermont ski-lodge is threatened with closure. Enter Clooney and Vera-Ellen as a cute sister-act, who soon cause romantic fireworks with the leading men!
   
   With it's unforgettable Irving Berlin score, WHITE CHRISTMAS offered Bing Crosby and Rosemary Clooney a very solid tunestack to work their magic. Clooney dazzles with the bluesy eleven o'clock number "Love You Didn't Do Right by Me"; and she shares the spotlight with her real-life sister Betty (who dubbed for Vera-Ellen in the film) as they perform the cute "Sisters" duet.
   
   At this time, Clooney was under exclusive contract to Columbia, and thus could not particpate in the "original cast soundtrack" album, which was to be done by Decca. Peggy Lee replaced her on the soundtrack, and Columbia prepared it's own "White Christmas" album featuring Clooney doing all the numbers, and it's this album that has been reissued here.
   
   RED GARTERS was one of the better musicals that showcased Clooney with all her shades and talents in evidence. In the film, she plays Calaveras Kate (perhaps a sly dig at "Calamity Jane"), the resident entertainer at the Red Dog Saloon. The film centers on a handsome cowboy (played by Guy Mitchell) on a mission to avenge his brother's death, until Kate decides to use him in a ploy to get her long-standing fiancee (Jack Carson) down the aisle!
   
   Under contract to the Columbia label, Guy Mitchell had been paired with Clooney on a number of cover singles (including an entire series from the Broadway musical "Call Me Madam") and their chemistry played to good effect with their performances in RED GARTERS, where they get a fun duet entitled "Man and Woman". Clooney dazzles with the smokey ballad "Bad News". Co-star Joanne Gilbert also has a ball with a frisky eleven o'clocker, "This is Greater Than I Thought".
   
   Thankyou Collectables, for reissuing these classic albums with Rosie at the height of her Hollywood years.
   
   [Collectables COL-CD 6685 / Sony Special Markets A-50963]



2. Yes, here is another CD that I have long been waiting to see. When I was a kid living in Michigan my parents took me to see a re-release of White Christmas at the local movie theater in Kalamazoo, Michigan. Naturally I loved the film, its music, and best of all, Rosemary Clooney. A few years later, now living in NYC, my grandmother took us to a record shop on 7th Avenue looking for a rock record for my brother. It was a collectors' shop and I noticed a 10 inch copy of songs from White Christmas as sung by Clooney. I begged for the record but my grandmother said no. Finally, as a teenager in the seventies, I went back to that shop and, believe it or not, the record was still there. I bought it for $40!!!! That was a great deal of money then.
   Although I prefer most of the arrangemnts in the film version it is Clooney's voice that still provides the definitive sound to most of these songs. "Snow", "Sisters" (with sister Betty), "The Best Things Happen While You're Dancing" and "Count Your Blessings" all are here and are treated beautifuly with that warm Clooney sound. And then there is "Love, You Didn't Do Right By Me", a corny torch song that somehow transcends to a higher level thanks to Clooney's subtle acting. That really sums up her performance in the film as well. Of all of the actors, hers is a performance of infectuous warmth that is totally natural. Too bad this was to be her last major motion picture.
   Red Garters is fun but no great film but again it is best served by Clooney. I was hoping for a little better sound on this CD but maybe Steve Hoffman will someday get a crack at at the sound. Last year I went to see a stage version White Christmas in San Francisco and during intermission hundreds of audience members were asking the ushers selling film memorabilia in the lobby if the soundtrack was available. No, not the old Decca /MCA studio recording with Peggy Lee and the others but the actual tracks from the film. Maybe Paramount could come up with something from a pristine print. Meamwhile, here is Rosemary Clooney at the top of her form singing songs that so many of us love to hear during Christmas season.



3. These were originally 10" Lps issued in the mid 1950s and out-of-print ever since the 10" format was abandonned. Since most copies of the records are in less-than-mint condition, the chance to hear these without scratches is a plus. Still the sound is not as sharp and bright as it could be.
   
   RED GARTERS - an experimental film (it is now out on DVD) with a pleasant score by Livingston & Evans. Four of the eight tracks are taken from the soundtrack of the Paramount film, while the remaining tracks are studio recordings. Rosemary comes off best here with the torchy "Bad News" and the plaintive "Good Intentions." Her duet with Guy Mitchell, "Man and Woman" is a fun piece of sexist 50s kitch.
   
   WHITE CHRISTMAS - Decca did the official "soundtrack" album of this 1954 film but Clooney was under contract to Columbia and not allowed to appear. (Decca used Peggy Lee instead.) Rosemary recorded this 8-track selection for Columbia. None of these tracks are taken from the film soundtrack. Collectors will need both this CD and the (now out-of-print) Japanese issue of the Decca release to assemble their own "original cast" recording of the film. The best tracks here are "Love You Didn't Do Right By Me" given a definitive performance, and the delightful "Sisters" featuring Rosemary and her sister Betty.
   
   The original LP covers and liner notes are re-produced.

5 comments about Assassins (2004 Broadway Revival Cast).

1. Only a composer of Sondheim's genius would have the guts take on such controversial subject and pull it off with such skill and humanity. Assassins is a unique musical; both thought-provoking and catchy. Sondheim's songs are alternately haunting (The Ballad of Booth, Another National Anthem) and darkly humorous (How I Saved Roosevelt, Unworthy of Your Love, The Ballad of Guiteau). It's rare that every song in a musical is a home-run, but Assassins is start-to-finish full of brilliant, memorable songs.
   
   So much for Assassins as a show, but why this recording, why not the original 1991 version? I liked the 1991 version alright, the singers do an adequate job, but the orchestration and casting of the revival bring the show to life in a way that the original never does. From the opening with Everybody's Got the Right the surreal, carnival world of Assassins unfolds as vividly as a soundtrack possibly can. The cast is superb; alternately frightening, pathetic, and contemptible. Michael Cerveris as Booth, Denis O'Hare as Guiteau, Jeffrey Kuhn as Zangara and the rest of the assassins sound truly insane at times. Neil Patrick Harris is pitch-perfect as the Greek Chorus onlooker who becomes the cornerstone of the Assassins' pantheon.
   
   I've never seen Assassins performed, but it caught me from the first listen. In the list of Sondheim's inspired musicals, this one stands out; it's terrifying, imposing and unforgettable.



2. I can muster only two stars for this revival of "Assassins" and I think I'm being a bit generous, considering that I cannot listen to more than one song at any given time and I usually don't make it through to the end of one. I have listened to it once, in its entirety, and that was more than enough for me; it's since been relegated to occupying space under a pile of DVDs; out of sight, out of mind. In order to write this review, I tried listening to the whole thing again, operative word being "tried."
   
   One thing I immediately noticed about this recording when I first bought it was that something sounded "off," only I couldn't quite figure out what. Once I tried a second listen, with headphones, I realized what it was; rather than being traditionally recorded like most CRs, in studios with proper acoustics, the actors were recorded in a soundproof booth. That may seem like a minor complaint, but it definitely has an adverse effect on the vocals and, by extension, the listening experience as a whole. Rather than re-create the atmosphere of the theatre, in which the voices and instruments seem to fill the room (and provide the wonderful "ring" produced with proper acoustics), the voices here are smothered, deadened, absorbed by the soundproofing material of the studio booth. Several times, one can hear the voices striving to ring out, only to have them sucked into that merciless black hole of foam which makes everything sound unbearably leaden.
   
   Baker gives a wholly detached performance as Moore, sounding as if she's still half asleep and couldn't be bothered to muster the necessary energy. Near the end of the opening number "Everybody's Got the Right," Cerveris and Kudisch (as the proprietor) sound so much alike, I can't tell which man is singing which line. The proprietor comes across far too smug and smarmy, rather than slick, smooth and Machiavellian (for the latter, think "Chicago"'s Billy Flynn had he failed at law) and Cerveris' accent does shift around during the course of the recording. Although O'Hare does manage to sing a dozen or so pleasant "I am going to the Lordy"s in "The Ballad of Guiteau," it's not enough to win me over. His voice isn't particularly strong and the effeminate quality in his delivery could be considered offensive by some; I merely find it irritating (I freely admit to being partial to Hadary's interpretation of Guiteau - you shall be remembered! indeed). In all the performances, notes, at times, seem flat, harmonies not as intricate, and sustained notes are few and far between. All the humor has been completely leeched from "Gun Song."
   
   Other reviewers have mentioned the brighter or "cartoonish" quality of the music and I have to agree with them. The mood created isn't as dark as it should be and I believe Sondheim's score suffers from this particular orchestration. By lightening the tone, the subversiveness is negated and if "Assassins" is anything, it's subversive.
   
   I am appreciative of the inclusion of the spoken parts that tie into the musical numbers, as well as the monologues of Sam Byck, but I can't warm up to, or connect, with this recording. The characterizations seem lackluster, without electricity or nuance. I was disappointed, I wanted to like it and went in with an open mind and high hopes, but, unfortunately, this revival recording is unable to match the brilliance of the original. It would seem that Garber, Hadary, Mann, Korbich et.al did leave an indelible stamp on the material.
   
   "Assassins" is a wonderfully provocative, food-for-thought musical revue that certainly isn't for everyone but, for those who don't mind darker, more cerebral material, it's time well spent. However, if you want to experience it, I can't recommend doing so via this revival recording; go for the far superior, original, off-Broadway cast recording instead.



3. Stephen Sondheim's 1991 revue-style musical about US presidential assassins, which intelligently shows the drak Dionysian underside of the Apollonian American dream, has acquired a great cult following since its premiere. In 2001 it was decided to re-mount the show in New York, this time on Broadway, but the events of 9/11 prompted the producers to put it off for another three years until feelings were less raw about national tragedies. In many ways this is a much more successful re-mounting of the show than the original off-Broadway production: the orchestrations are much richer and more clever, and allow for more texture to the entirety. Moreover, this version retains the song added during the London run of the musical, "Something Just broke," which shows the shock and horror of ordinary US citizens when they heard of the four successful presidential assassinations (of Lincoln, Garfield, McKinley, and Kennedy), which may7 not be musically the most beautiful song Stephen Sondheim has ever written but which is absolutely necessary to convey the repercussions of what the assassins have done. In the original production, Oswald's assassination of Kennedy was treated as more important and more devastating than the assassinations of Garfield and McKinley (and perhaps even of Lincoln), a sentimental choice which may have reflected the personal experience of Sondheim and his collaborator James Lapine but which seemed to work strongly against the transhistorical perspective of the musical (which has all the assassins existing and committing their crimes in near simultaneity). Here all the assassinations are treated as devastating, which seems much more in keeping with the show's intentions and seems much fairer to the memories of those who lived in the time of Garfield and McKinley.
   
   The best thing about this show is it offers a wonderful showcase for singing actors to show their stuff as the assassins and as their two provocateurs and commentators, the Proprietor and the Balladeer (who later morphs into Lee Harvey Oswald). The cast here features several absolutely splendid singers, led by Marc Kudisch (in glorious voice as the Proprietor), Michael Cerveris (who won a Tony Award for his sweet-voiced portrayal of John Wilkes Booth), Jeffrey Kuhn (as Giuseppe Zangara, the explosively furious unsuccessful assassin of FDR) and Neil Patrick Harris (as the Balladeer/Lee Harvey Oswald). Equally strong is Denis O'Hare, who gives an adorably optimistic and scruffy voice (somewhat reminiscent of Paul Winchell's Tigger for the Disney films) to Charles Guiteau, the assassin of Garfield.



4. Assassins is another one of those uncoventional musicals by Stephen Sondheim. Brilliant in its musical execution but lacking in the kind of heart one often seeks from musical theater. That said, it really does offer a lot of mind fodder as it explores the psyches of those who have attempted to assassinate America's chief executive officers throughout history. You'll be perversely pleased by Sondheim's zesty wit as displayed in the overly cheerful, sweet as candy songs. But soon his saccharin tone leaves you feelin' a bit bitter in the stomach as you try to digest the fact that we are talking something as serious as taking the life of another. Not sure this is palatable for all. But if you want something that makes you think, something that plumbs the playhouse's darker corners, you'll get some kick out of Assassins. Suggested for mature musical hounds.



5. Well I was really looking forward to this recording because it has "SOMETHING JUST BROKE," unfortunately they left out major parts of the dialogue of the Lee Harvey Oswald scene. That was a real disappointment. Neil Patrick Harris was very good in the show and in the recording as well.

5 comments about They're Playing Our Song - Original Broadway Cast.

1. I've always loved Hamlisch and hated Sayger Faker Baker, my GOD what a horrible dated, terrible lyrics and rotten scoring. I feel like take a shower now that I've listened to it. Not 1 memorable song, and it's amazing that Chorus Line which is 5 years before, is as fresh, brilliant and innovative as ever, and this piece of garbage started OUT dated.



2. I was fortunate to see the Broadway musical back in the late 1970s. The love story of Marvin Hamlich and Carole Bayer Sager was done so well, I wish they would remake it again.



3. I recently went to a small production of Theyre Playing Our Song and it made me recall just how catchy and "boppy" this show was - and rather than get out the old LP thought maybe i should buy the DVD - it may not be the best nor lavish musical - but if you want to bring a smile to your face and remember a fun time - this certainly fits the bill!



4. A little known musical from Hamlisch on the tails of A Chorus Line. This love story with book by Neil Simon is a real gem and it's fun to hear Luci Arnez.



5. I saw the original broadway play. The CD tells the story without anyone having to see the play and does it beautifully. It is a fun cd to listen to and brought back wonderful memories of my trip to the Big Apple and everything good about broadway.

5 comments about Forever Plaid: The Heavenly Musical Hit (1990 Off-Off-Broadway Cast).

1. Love, Love, Love this show! If you ever get to see a production, go! The music and singing is wonderful and I think it's funny enough for even young people, but you do have to be a little older to appreciate the Ed Sullivan tribute to the fullest! ;-D I listen to this often and it's great to sing along with. I'm going to see a performance of "Forever Plaid: Plaid Tidings" soon...hope it is as good!



2. If you ever get a chance to see Forever Plaid on stage, GO! It is one of the best shows out there, and this CD will keep the memories coming back every time you hear it. Two thumbs up for the "Lads in Plaid"!



3. I think there is a later version of this collection, based on a recent revival of the show in Las Vegas. Ignore it. This is the one to own. Probably the only people who can truly appreciate these performances are those old enough to remember the original "guy groups" imitated (or should I say reproduced) by this cast. That is, you must have been at least an adolescent in the early fifties, just before rock and roll replaced popular music. (Get it? R&R is popular, but not music.) However, it is quite possible that a few people from later generations, boomers and beyond, actually have some appreciation for melody, harmony, and sentimental lyrics. I hope so.



4. A relative saw FP in the original off-Broadway production years ago, and purchased the tape after the show, making copies for us all. I've seen it twice in local productions and absolutely love it. The music of course is terrific as is the patter and interactions of cast and audience. The music is fun to sing along with, too.



5. hey, I'm a theatre techie and I was the costume mistress for Forever Plaid (with 3 original members) in the fall of 2002 in Riverside, CA. What an amazing show. The guys couldn't have been sweeter to me and it was by far the show I'm most proud of in my career.

   As for the cd.. the next best thing to hearing the boys! Be prepared to fall in love and never, ever get the songs out of your head :)

5 comments about Cabaret: The New Broadway Cast Recording (1998 Broadway Revival).

1. "Life is a cabaret..." Indeed it is my friends, and no horrifyingly beautiful music can tell it quite like the Cabaret itself. This musical is nothing but beautiful ballads, and that is what I love. While the original Broadway cast comes with five additional songs, they are just songs from the show, sung by someone else with bad quality. This recording actually comes with "Maybe This Time" which is not on the original cast, and it is one of my favorite songs! The major difference between old and new casts is the evilness of the emcee. In this recording Alan Cumming is sinister and almost sadistic in his portrayal of the emcee, while in the Original Grey takes a much milder tone with the character. In addition to that, the music in this recording is much more interesting and engaging. So if you are having to decide which Cabaret to get, get this one hands down. If your just looking for the next addition to your Broadway or music collection, this is full of Jazz and burlesque style music. I think it's good to listen straight through, but not exactly a typical Broadway CD. Favorite Song: "Maybe This Time"



2. This was a great production. My son is an actor and loves Broadway. It's one of our favorits.



3. The 1998 revival of John Kander and Fred Ebb's `Cabaret' belongs to a handful of revivals that actually stand equal, if not better, to the original production. Although most people know `Cabaret' as the Oscar winning movie with Joel Grey and Liza Minelli, the stage production, which bears little resemblance to the movie, remains the definite version of the story and the score.
   
   This CD captures the main musical numbers of the highly acclaimed 1998 Broadway revival of the show. Directed by Sam Mendes, it run for six years and won four Tony awards. We follow the events in 1929-1930 Berlin, during the rise of Hitler and the Nazis. This main plot has few other layers: the relationship between a young American writer Cliff Bradshaw and the London cabaret singer Sally Bowles, together with the problems facing the relationship between Cliff's landlord, Fraulein Schneider and her Jewish suitor Herr Schultz. The whole plot is presented and affected by the Emcee (The Master of Ceremonies) who is the main character and runs the cabaret at Berlin's `Kit Kat Club'.
   
   This revival has considerable changes when compared to the original production (directed by Hal Prince in 1996) and the 1972 movie version. The score was re-orchestrated and played by the bigger orchestra. The orchestrations themselves feature a fresh, lively sound. Some of the songs written for the movie are also featured here (`Mein Herr'; `Money'). There were some differences in the staging as well. Whereas in the original production at the end of the show the Emcee himself is shown wearing the Nazi insignia, this revival has him stripped in the concentration camp striped suit, with a yellow star of David (denoting a Jew) and a pink triangle (denoting a homosexual). The appeal of this revised score is easily seen on this CD. The highlights include `Willkommen' (Emcee's invitation to come in and leave our troubles outside); Sally Bowles' and Emcee's cabaret numbers (`Cabaret', `Don't tell mama'; `Two ladies', `Money'...) or the deeply disturbing `Tomorrow belongs to me' (where a group of party guests shows their enthusiastic support for the rising Nazi Party). The score is generally very enjoyable and grabs you from the start.
   
   One of the main reasons this revival was so successful is its excellent cast. The highest praise goes to Alan Cumming who deservedly won a Tony award for his new take on the role of the Emcee. Joel Grey's great interpretation (both on the stage and in the movie) gave us a puppet-like character in a tuxedo. Cumming created a whole new personality for this revival. His Emcee is far sleazier, humoresque and sexualized, with a vulgar make up and less clothing. He gives a truly inspiring performance on this recording; since his voice alone manages to capture all these things and leaves no doubt that his Tony was well deserved. Natasha Richardson makes a vivid Sally, yet a bit more in the borders of what this character should be (not sheer talent as shown by Minelli in the movie). She and Cumming make a wonderful driving force for this show, supported by the rest of the wonderful cast.
   
   The CD is another one of RCA Victor's lush releases with the production photos, a libretto, reviews and accompanying production notes. The sound on the recording is excellent.
   
   Whether this is another recording for your `Cabaret' collection or you simply want to get a single `Cabaret' recording, this is the one to choose. Alan Cumming's interpretation of the Emcee is worth the price of the entire disk. A must have for `Cabaret' fans.



4. We are actually performing this show at TMCC (Truckee Meadows Community College, Reno NV) next month, so I purchased this CD for reference. For those only familiar with the Liza Minelli movie, the play itself is very different. There are some good songs by Kander and Ebb and Alan Cumming does a wonderful job as the Emcee. Natasha Richardson cannot vocally compare to Liza Minelli; however, on stage, perhaps this served her well to better embody a Sally Bowles who sings in a tawdry Berlin cabaret. For the most part, although I am performing in it, it is not a show I would care to see, and I am not so fond of the music that I'll listen to the CD after the show is over. As a matter of fact, our music director asked us to stop listening to it since it is different from the actually score we have.



5. I am NOT an Alan Cummings fan, everything I have seen him do has grated on my nerves , but I have to admit that his quirky weirdness works here. The rest is a terrific interpretation, realistic right down to the dirty, torn fishnet stockings of the chorus girls(??), and the other performances, Richardson imparticularly, are first rate. Never mind Richardsons less than Minelliesque singing voice, she acts the part dead on, she IS what Sally Bowles would have been.