4 comments about Little Mary Sunshine (1959 Original Off-Broadway Cast).

1. Rick Besoyan's Little Mary Sunshine's songs brilliantly satirize earlier operettas and Broadway musicals--plus a ballet. Here's how:
   
   * The Forest Rangers - alludes to "heroic fighting team" songs, notably "The Mounties," from Rudolf Friml's Rose Marie; "Stout Hearted Men," from Sigmund Romberg's The New Moon; "The Riff Song," from Romberg's The Desert Song; "Song of the Vagabonds," from Friml's The Vagabond King; and arguably even "March of the Toys," from Victor Herbert's Babes in Toyland. The line "For there's always one more hill beyond the hill beyond the hill . . . [six "hill" mentions]" apes the title of "There's a Hill Beyond a Hill," from Jerome Kern's Music in the Air. "The Forest Rangers" also gives the rangers nine of the twelve virtues from the Boy Scout Law.
   
   * Little Mary Sunshine - mimics the title song from Rose Marie. Both songs are title songs, and both use the name of the musical's heroine as the song title.
   
   * Look for A Sky of Blue - alludes to "Look for the Silver Lining," from Kern's Sally. "When e'er a cloud appears" is the first five words of both the first line of the chorus of "Sky of Blue" and the second line of the chorus of "Silver Lining."
   
   * You're the Fairest Flower [". . . An American Beauty Rose"] - alludes particularly to two Friml operetta songs with "Rose" in their titles--the title song from Rose Marie and "Only a Rose" from The Vagabond King--but also alludes generally to other boy-serenades-girl love songs such as the title song from Romberg's The Desert Song; "Serenade," from Romberg's The Student Prince; and "Yours Is My Heart Alone," from Franz Lehar's The Land of Smiles.
   
   * In Izzenschnooken on the Lovely Essenzook Zee - alludes generally to nostalgia songs like "Golden Days," from Romberg's The Student Prince; "Will You Remember," from Romberg's Maytime; "I'll See You Again," from Noel Coward's Bitter Sweet; and "When I Grow too Old to Dream," from Romberg's The Night is Young. But more particularly, "Izenschnooken" pays tribute to "In Egern on the Tegern See," another tune from Music in the Air.
   
   * Playing Croquet + Swinging + How Do You Do? - These three songs salute Irving Berlin and Meredith Willson. Sung first separately, then simultaneously, the songs display counterpoint one-upsmanship. Counterpoint, in the context of popular music, is the simultaneous singing of separate songs, each with its own lyrics and each designed to harmonize with the other(s). Berlin's "Play a Simple Melody," from Watch Your Step, and "You're Just in Love," from Call Me Madam, both had an initial tune and a counterpoint tune and verse that were sung simultaneously after first being sung independently; so did Willson's "Lida Rose" + "Will I Ever Tell You?," from The Music Man. Rick Besoyan did Berlin and Willson one better by combining THREE songs.
   
   * Tell a Handsome Stranger - alludes generally to boy-meets-girl songs such as "Kiss Me Again," from Herbert's Mlle. Modiste; "I'm Falling in Love with Someone," from Herbert's Naughty Marietta; "Marianne," from Romberg's The New Moon; and "Make Believe," from Kern's Showboat; but the title particularly alludes to "Tell Me Pretty Maiden," from Leslie Stuart's Floradora. The line "I'm falling--I'm falling in love with you" once more suggests Herbert's "I'm Falling in Love with Someone." The words "Oh, joy!" apparently reflect the song "Oh Joy, Oh Rapture Unforeseen," from Gilbert and Sullivan's HMS Pinafore. And the words "You make my little heart go pitty-pat" paraphrase the words "Your heart goes pitter-patter," buried in "You're Just in Love," from Call Me Madam.
   
   * Once in a Blue Moon - alludes to Romberg's The New Moon and to its song "Lover Come Back To Me." The antecedent tune's opening lines are "The sky was BLUE, and high above, the MOON was NEW, and so was love." "Blue Moon" not only rhymes with "New Moon," it incorporates the word "blue" from the lyrics of "Lover Come Back to Me." And both songs display the theme of interrupted love. Viewed from the comedy angle, "Once in a Blue Moon" evokes the lyrics of "All Er Nuthin," from Rogers and Hammerstein's Oklahoma. Both lyrics have two lovers--secondary characters--arguing about the girl's flirtatious (and possibly promiscuous) ways.
   
   * Colorado Love Call - alludes conspicuously to "Indian Love Call," from Rose Marie.
   
   * Every Little Nothing - alludes, again conspicuously, to "Every Little Movement," from Karl Hoschna's Madame Sherry. The first five notes (sung with "ev-ry lit-l moe/nuth) of both songs are identical. The words "every little moment," sung later, reinforce the parallelism by substituting "moment" for "movement"--a clever play on words.
   
   * Such a Merry Party - alludes to "This Was a Real Nice Clambake," from Rogers and Hammerstein's Carousel; perhaps also to "Drinking Song," from Romberg's The Student Prince; and maybe even to "I Could Have Danced All Night," from Lerner and Loewe's My Fair Lady.
   
   * Say "Uncle" - Sung by General Fairfax, who brings gifts for the ladies, "Say `Uncle'" alludes not to Broadway but to ballet and to Uncle Drosselmeyer, who brings gifts for the children in Tchaikovsky's The Nutcracker.
   
   * Naughty, Naughty Nancy - alludes obviously to the title of Herbert's Naughty Marietta.
   
   * Mata Hari - alludes to comedy songs sung by operetta soubrettes. The best examples are "I Cain't Say No," from Oklahoma, and "Life Upon the Wicked Stage," from Kern's Showboat. The former song's lyrics, sung by Nancy's prototype, Ado Annie, have the same general theme--a man-hungry girl--as "Mata Hari." The "Wicked Stage" lyrics also have a touch of that man-hungry theme: "I got virtue, but it ain't been tested/I can't find nobody in-ter-est-ed."
   
   * Do You Ever Dream of Vienna? - another nostalgia song like "Izzenschnooken." "Vienna" pays homage to "Vienna Mine," from Emmerich Kalman's Countess Maritza. It may also hint at "How Are Things in Glocca Morra?" from Burton Lane's Finian's Rainbow.
   
   * Coo Coo - earlier song uncertain, but "Coo Coo" apparently alludes to "Bluebird of Happiness," a 1934 non-Broadway song popularized by Metropolitan Opera tenor Jan Peerce. Both title birds, according to their songs' lyrics, bring cheer to sad listeners.
   
   These wonderful, funny, melodic songs belong in your collection.



2. Shades of Jeanette MacDonald and Nelson Eddy!!!
   
   LITTLE MARY SUNSHINE is the perfect recording for rainy days and Mondays - and all the other days - that always get you down. It's virtually impossible to listen to this CD and not have a huge smile appear with the first tympani notes of the overture and stay there throughout the show and long after the last notes of the finale have faded away. After its long absence, it's good to have this show back with us, an hilarious and affectionate send-up of the type of operetta ". . . Singmund Romberg and Victor Herbert were turning out circa 1910-'20s." (David Finkle, "The TheaterMania Guide to Musical Recordings") Mr. Finkle neglected to mention Rudolph Friml, whose ROSE MARIE appears to be the most obvious subject of Rick Besoyan's gentle lampoon. A chorus of forest rangers replaces the Royal Mounted Police and this show's "Love Call" is a Colorado one rather than an Indian one. Hero Jim Kenyon becomes Captain Jim and Rose Marie LaFlamme appears here as - who else? - the perpetually "rosy" Mary Sunshine.
   
   Finkle continues: "Throughout the narrative about forest rangers, finishing-school maidens, and a few Native Americans, the clever author lines up every cliché of the art form as if setting ducks in a row, then shoots every one down with great delight. There's the love chant ('Colorado Love Call'), the cheer-up ditty ('Look for a Sky of Blue'), the marching song ('The Forest Rangers'), the fun-time contrapuntal choral pieces ('Playing Croquet,' 'Swinging,' 'How Do You Do?'), the salute-to-the-old-country tune ('In Izzenschnooken on the Essenzook Zee'), the novelty number ('Mata Hari'), and a darling title song."
   
   LITTLE MARY SUNSHINE grew out of a 1957 revue, "In Your Hat," that Rick Besoyan wrote for Jim Paul Eilers. The Act 2 finale was "Gems from Little Mary Sunshine." Expanded to its present form, the show opened with little or no fanfare at the Off-Broadway Orpheum Theatre on November 18, 1959, where it ran through September 2, 1962 for a total of 1143 performances, earning the author the 1960 Drama Desk Award/Vernon Rice Award for Outstanding Theatrical Achievement. Dom DeLuise joined the cast as Gen'l Oscar Fairfax, Ret. in 1961.
   
   Unfortunately, Mr. Besoyan was unable to duplicate LITTLE MARY SUNSHINE's success. His 1961 Broadway outing, THE STUDENT GYPSY - or - THE PRINCE OF LIEDERKRANZ (starring Eileen Brennan as Merry May Glockenspiel and Dom DeLuise as Muffin T. Ragamuffin D.D., Ret.), lasted for only 16 performances. BABES IN THE WOODS, his 1964 musical based on "A Midsummer Night's Dream," played at the Off-Broadway Orpheum (home of LITTLE MARY SUNSHINE) for only 45 performances. Neither show was recorded. At the time of his death from internal hemorrhages in 1970, Besoyan was working on a musical version of "Mrs. 'Arris Goes to Paris" It was never produced.
   
   Thank you, DRG, for this wonderful reissue. I'm still smiling.
   
   Very highly recommended.



3. LITTLE MARY SUNSHINE, a delicious parody of the Jeanette MacDonald-Nelson Eddy style of operetta, was the biggest Off-Broadway success of 1959. It had the critics running out of superlatives, and launched the career of celebrated character actress Eileen Brennan, starring in the title role. The show also made history as the first Off-Broadway musical to be recorded for the Capitol label.
   
   As a patische of the flowery operettas from a bygone era, LITTLE MARY SUNSHINE hits the mark beautifully. The score by Rick Besoyan hilariously apes the genre (without insulting or degrading operetta fans). Eileen Brennan's voice is a little more meatier than the standard operetta ingenue's would be, and she adds a great deal of heft to her numbers.
   
   Ms Brennan won an Obie Award for her performance; and the show itself went on to run for 1,143 performances at the Orpheum Theatre. The talented cast also includes John McMartin as Billy Jester, William Graham as Captain Jim, and Elmarie Wendel as Mary's maid, "naughty naughty" Nancy Twinkle.
   
   The actual production did not feature a full orchestra (only piano), however Capitol producers decided to bring in a complete orchestra for the recording.
   
   Four years later, Eileen Brennan would originate the role of Mrs Molloy in "Hello Dolly!" on Broadway, before focusing her talents on a burgeoning film career ("The Last Picture Show", "Daisy Miller", "Private Benjamin"). She also became a favourite on television's "Laugh-In". An entirely new generation of viewers would know her best as Jack's eccentric acting coach on "Will & Grace".
   
   The subsequent 1962 London production starred Patricia Routledge in the title role, and hopefully DRG might want to consider reissuing that cast album later down the track.
   
   You'll be humming "Coo Coo" and "Colorado Love Call" for weeks!
   
   [DRG 19099]



4. After having been out-of-print for more than 10 years now, Capitol's original off-Broadway cast recording of Rick Besoyan's delightful operetta spoof returns to active service today.
   
   This was Capitol's first off-Broadway cast album, although the 2-piano accompaniment heard in the theatre was replaced by a full orchestra for the recording.
   
   Eileen Brennan shot to stardom as the winsome Little Mary. John McMartin (later in FOLLIES, SWEET CHARITY, HIGH SOCIETY and dozens of TV shows) was her co-star.
   
   Not all of it works on record. Without the exaggerated staging it might come across as just another operetta.
   
   Some of it didn't work in the theatre: "Do You Ever Dream of Vienna" only made people sad.
   
   But then there's the lively title song, the delightful "Look for a Sky of Blue" and the silly (but fun) 3-part sequence: Playing Croquet/Swinging/How DO You Do?" all make for enjoyable listening, and thanks to DRG for the reissue.
   
   At one time (1992-1997) DRG had the London cast album in their catalogue. It's worth tracking down since it contains the First Act Finale "What Has Happened"; as well as "Say uncle" and "Heap Big Injun" all of which were left off the American album. (The London cast does drop 3 other songs, so you really need both Cd's to get the full score!)

5 comments about Jesus Christ Superstar.

1. Ok, so, comparing the soundtrack and the original album to this, we are missing a couple songs. You really need Blood Money to get the full effect, yet this version seems to do well without it, despite the fact it is a key song. The song from the movie soundtrack is not necesarily needed, but I thought it was a good addition. Musically, I like the updates. And Mary Magdelene, OH-MY-FRICKING-GOD!!!! The Mary's on the other versions are great and right for the time, but Renee Castle is phenomenal, I don't care what anyone says. "I don't know...love him" had me in tears. Of the three, I think this is the best version I've heard. She combines he best of the two previous Mary's and yet is a unique and wonderful Mary Magdelene. For that reason alone, I should give this 5 stars, but the song omissions keep me from doing so. At any rate, this does not disappoint for anyone who owns or has listened to the other two versions of this. The CD is fully emotive, and you feel like you are actually going through all this with the characters. Pick this apart all you like, this is a good listen.
   Comparing characters, there are certain aspects of each that I like. I thought Ian Gillian's Jesus was a little better overall, but this Jesus is a bit more emotive. There are aspects of all three Judas's I like so it makes it hard to pick a winner there.
   All in all, if you like Superstar, you'll love this album, despite, or because of, what is presented.



2. Blood Money/Damned For All Time's omission from the soundtrack throws the whole progression off. And "Could We Start Again, Please?" just sucks.



3. This updated version of the transcendant 1973 rock opera has deep, glaring flaws as well as at least one bright spot- Fred Johanson's powerful performance as the cruel, conflicted and bureaucratic Pilate. Johanson's ripping low vocals are a refreshing take on the earlier reedy interpretations of this role.
   
   Unfortunately, most of the other performers cannot hope to match the technical prowess or emotional power of the 1973 cast. Glenn Carter, as Christ, has a limited range and a thin voice. He can hit the notes and that's about it. The agonized skyrocketing power of Gillian's 1973 vocals in Gethsemane as he accepted his cup of poison is nowhere to be found in this version, as Carter mails in a technically correct version of this iconic piece without touching the raw humanity delivered by the former Deep Purple singer.
   
   Pradon has been roundly criticized for his portrayal of Judas, but Owens' portrayal of the basso profundo villian Caiaphas is worse. Owens had great stage presence in the DVD as the towering malevolent priest, but he really cannot sing, and he certainly cannot sing deep bass. It is embarrassing to listen to him try to go downstairs on the richest and deepest notes of the score. He has to go an octave up, then try to roughen his voice so it's still sufficiently evil, and it simply doesn't work. We need Victor Brox back. Or Johanson should have sung both parts.
   
   The other bright spot of this production in this adaptation on film was the cruel alien wierdness of Michael Shaeffer's Annas and his work with the other priests in "This Jesus Must Die" and "Blood Money," yet these integral songs are unforgiveably missing from the soundtrack. Superstar already has throwaway songs built into it, like "Could We Start Again, Please" that should have been cut long before the numbers that symbolized the gathering menace of the priests and an essential plot line in the Judas story thread. Cutting those numbers, which have some great electric guitar riffs attached to them (something else missing this gutless, synthesizedm, homogenized soundtrack arrangement- an electric guitar) is one more bad decision by the producers of this CD.



4. Love the DVD of this version of JCS, but was less than impressed with the CD, as it was missing several key songs. Since I purchased the downloadable version, this omission is inexcusable.
   
   With the exception of those missing songs, the downloadable version was very good. The talent of the cast was supurb, to say the least. There is some noticable clipping in the music and vocals, likely due to some volume level balancing done during the ripping process. I do not know if this problem exists on original CD's.



5. Tim Rice and Anderw Lyyoyd Webber's new musical "Jesus Christ Superstar" shines in this soundtrack that has beautiful music which is based on the musical movie. It is a very dark production, but it some ways the music helps enlighten the story in some ways due to its graphic nature. I love all the songs in this musical, and would highly recommend this edition of "Jesus Christ Superstar" because of their wonderful performences. There are several songs that happen to be my all time favorite: "Heaven On Their Minds, "What's the Buzz?/Strange Thing Mystifying," "Everything's Alright," "Hosanna," "Simon Zealoates/Poor Jerusalem," I Don't Know How To Love Him," "The Last Supper," "Gethsemane (I Only Want to Say)," "King Herod's Song," "Could We Start Again," to "Superstar." I could listen to this soundtrack all the time and it would never get old or boring because its hip and now. The lyrics are so memorable that it could have easily been written yesterday. There are some complaints that there have been a song or two not on this edition, but it didn't bother me at all, I still charished it with all my heart. I can't wait until the next Tim Rice and Andrew Lloyd Webber's newest musical premiers. I don't understand God's word very much, but I don't understand music, and I think the music in this production is very inspiring and will help me build a better relationshiop with my Lord. I'm very excited and happy about my product and would do buisness with www.amazon.com again.

5 comments about The Christmas Music of Johnny Mathis: A Personal Collection.

1. I Love this CD. Johnny Mathis has a unique voice and while I was watching the Belagio Water Show with Johnny Mathis singing, I knew I needed this CD. It is awesome!!! He is a Classic!!
   Loa Davenport



2. I love the Christmas music of Johnny Mathis. There was not one song on this cd, that I did not enjoy.Beautiful, Christmas music to put you into the holiday mood.



3. This is pure Mathis! This is all you need when you think of Christmas music. A very good collection.



4. 
   Thanks to the magic of modern communications, I am able to share with you this E-mail I recently received from Santa Claus. I copied and pasted it below for your perusal.
   
   - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
   
   Deer Stephen:
   
   I thank you for the kind letter and many compliments. To allay your fears: no, I do not suspect you of "kissing up" to me (as you so delicately phrased it).
   
   I have looked over your Christmas Wish List and regret to inform you that we have never made those types of things up here at my workshop. You'll need to seek out another source. We're a little more "family" oriented, don't you know-ho-ho?
   
   I can, however, happily fulfill your request for my most highy recommended Holiday music. I'll be brief beclaus - I mean, because - this is my busy time of year, what with overseeing the work at the elves toy factory and coal mine, and with the Missus constantly shoving food at me and insisting that I, "Eat! Eat!"
   
   Mrs. Claus and I have always been partial to the JOHNNY MATHIS renditions of most Christmas standards. The Missus says they're, "Wonderful! Wonderful!" And though It's Not For Me To Say, Chances Are you'll enjoy them, too. Little Johnny's voice is a "gift" that originates from regions even higher than the North Pole!
   
   THE CHRISTMAS MUSIC OF JOHNNY MATHIS: A PERSONAL COLLECTION is a readily available single-disc compilation of songs personally selected by Johnny from his previously released Christmas albums.
   
   There are a few songs that were regrettably overlooked, most notably, his emotionally stirring, O HOLY NIGHT from his first release, 'MERRY CHRISTMAS.' Leaving that off nearly landed Johnny on my "Bad Boys" list! And there's no I'LL BE HOME FOR CHRISTMAS, nor THE CHRISTMAS SONG. That's ho-ho-horrible!
   
   Missing from the album, 'FOR CHRISTMAS', is Johnny's spirited, JINGLE BELL ROCK. Also, GOD REST YE MERRY GENTLEMEN which, while too slow, concludes with two indescribably joyful notes!
   
   I think we can both agree that JINGLE BELLS is overrated beclaus - I mean, because - it is too simplistic and has been played to death. But Stephen, did you ever hear Johnny's version from 'CHRISTMAS EVE WITH JOHNNY MATHIS'? It's even superior to the rendition that the Jingle Dogs barked out many moons ago! It has a marvelously updated arrangement that makes me want to stuff the Missus into the sleigh and go for a Winter ride. Alas, we can't BOTH fit into the thing side-by-side anymore. But then JINGLE BELLS isn't included on this disc either.
   
   To really do Johnny's Christmas music justice, this should have been conceived as a two-disc set. Nevertheless, what IS included is truly classic Holiday music that's been widely celebrated and publicly played since you were nose-high to an elf. We deerly love it up here at "The Pole." Of course, the elves don't pay much attention to it; they're forever singing their nerve-racking elf songs, but my reindeer team just can't get enough of it - especially Rudolph: you should see his face light up every time the Missus puts it on! Why I even saw it bring a smile to grumpy ol' Blitzen once. (Or else he had gas, and that was only a grimace.) You really should own all of Johnny's Christmas music, but if you're inclined to buy just one Christmas music C.D., this disc is the way to go-ho-ho.
   
   Well, I'd better close now beCAUSE we're way behind schedule as it is, and I've got trouble brewing over at the toy shop: two elves recently got caught sniffing snow; one elf ran off to become Denver's most diminutive dentist; another one has a ribbon fetish; and yet another is in therapy because she insists that she's a reindeer; and the whole lot of them are threatening to unionize! Yeah, ol' Santa's got his troubles, too.
   
   I hope this letter has been some help to you.
   Stephen, be a good boy between now and December 24th, and perhaps you won't be unwrapping another lump of coal this year.
   
   - Saint Nicholas
   
   P.S. - Please don't forget to leave some milk and cookies this time. A heavy man gets hungry flying around the world in one night, and Mrs. Claus says that I must, "Eat! Eat!"



5. Johnny Mathis is one of the most nicest, kindest singers who is a gentleman. He attended the funeral of former President of the United States, Ronald Reagan.
   You may have heard Johnny Mathis sing "I Get Misty" or have heard his tune, "Chances Are" in the film, "Close Encounters of the Third Kind" (1977/1980)
   Did you know Johnny Mathis appeared in the film, A Certain Smile (1958)?
   It's only natural Johnny Mathis should do a Christmas album as he releases the spirit of joy with every tune he sings. Each song has been personally selected by Johnny Mathis as his favorite and therefore have been digitally remastered for this personal collection for you.
   From 1958: "Silent Night, Holy Night",Silver Bells, Winter Wonderland, Sleigh Ride, White Christmas.
   From 1969: Have Yourself A Merry Little Christmas, The Little Drummer Boy, Santa Claus Is Coming To Town.
   From 196: Let It Snow! Let It Snow! Let It Snow!, "A Marshmallow World".
   From 1986: It's Beginning To Look A Lot Like Christmas", The Christmas Waltz, We Need A Little Christmas, It's The Most Wonderful Time Of The Year.
   All 14 tunes are on one CD disc and inside the little booklet is a personal message from Johnny Mathis to wish you "Happy Holidays".
   So decorate your Christmas tree, warm your popcorn and pumpkin pie, make yourself some Hot Fruit Toddy and enjoy the snow outside as you listen to Johnny Mathis.

5 comments about Sing Phantom Of The Opera (Accompaniment 2-CD Set).

1. I was very upset that this came with no written lyrics!! How are we supposed to learn the songs without lyrics. I felt the description of the product was very misleading.



2. The karaoke accompaniment sounds really good compared to other karaoke background music that sounds too electric, if that makes sense.
   
   I have to learn "All I Ask of You" for my voice class, and this will help me perfect it.
   
   I'm getting the one for Beauty and the Beast.



3. The music is wonderful, the voice could use a bit more practice, for the most part they were good, but some errors could still be heard, and the Phantom's voice did not live up to his predecessors. The second CD was nice, but had no back up singers and no lyrics showed on the karaoke machine.



4. An excellent karaoke CD for true phans. It is modelled after the superior stage productions, instead of the inferior movie soundtrack. Very well done. If you're a true phan who is true to the real, stage production instead of the disasterous movie, then this is for you! Pitched identically to the original music (instead of the re-"engineered" movie score), and with all the bells and whistles that will forever keep the stage production alive and well, and on top, and keep the hideous movie version out in the rain. Bravo indeed!



5. Since this CD was released in 2006, I was hoping against hope that the music,lyrics and arrangements would be identical to the movie. But, alas, they are not. They are examples of various versions from Webber's play.
   As a karaoke, this CD is average, at best.

5 comments about Wonderful Town (Original 1953 Broadway Cast).

1. This is a terrific show. It has a famous composer, great tunes and a good, upbeat story. Why it has so thoroughly faded from memory is a question that puzzles me greatly.
   
   The orchestrations are attributed to another individual, but Bernstein must have taken some substantial role in their creation, for large parts of "Wonderful Town" resemble only one other musical, "West Side Story."
   
   Rosalind Russell is the star here, and rightly so. She sings--or rather croaks--her material very well, indeed. Only in "Swing" is she overmatched by the musical requirements and even then she fights them to a draw.
   
   Edith Adams is very good, too, as Eileen. I think of her as Edie Adams, a sixties icon, wife of comedian Ernie Kovacs, mayhem-minded member of the Nairobi Trio and super-sexy pitchwoman for White Owl Cigars. I had no idea that she had also starred on Broadway. It was a pleasant surprise to find her here.
   
   The men in the lead parts sing in that typical Broadway growl: perfect diction and lousy tone. They are endearingly awful. And I mean that in the best possible sense.
   
   Five stars, no doubt about it!



2. The first cast album of WONDERFUL TOWN sounds even better than ever in Decca's latest remastering. The sound is still somewhat flat (as are all Decca albums from the 40s/50s) but the Decca engineers have worked wonders on the 50 year old tapes making them sound as good as possible. Rosalind Russell was a perfect choice to play the acerbic Ruth. She doesn't have much of a singing voice but the songs were tailored to her limited range and she makes the character come alive. Edith Adams sounds properly winsome as her sister Eileen. In the supporing roles, Jordan Bentley comes off best as Wreck, but George Gaynes makes for a ponderous, somehwat stuffy Bob Baker.
   
   In terms of album production, Decca eliminated the Overture and some of the dance music, and re-arranged "Christopher Street" to eliminate the spoken vignettes. Otherwise the score is presented in a faithful aural re-creation. The booklet offers a detailed synopsis to guide you through the score.
   
   The bonus tracks are six songs from ON THE TOWN originally recorded when that show was playing on Broadway. This is NOT the definitive recording of ON THE TOWN. For that you need the 1960 album avaialble on Sony. But, the excerpts heard here provide an enjoyable bonus.



3. This marvellous new re-issue of WONDERFUL TOWN is a must-have for Broadway buffs. In fact, this is really two albums in one, as it also contains the rare 1945 studio recording of ON THE TOWN as a bonus!

   The story is based on the play "My Sister Eileen", written by Joseph Fields and Jerome Chodorov; as well as the stories written by Ruth McKenney. The play was later turned into a successful Columbia film starring Rosalind Russell (as Ruth Sherwood) and Janet Blair as Eileen. Several years later Columbia released a musical version (following the success of WONDERFUL TOWN) which starred Janet Leigh and Betty Garrett.

   WONDERFUL TOWN originally starred Rosalind Russell (repeating her film role) as Ruth and Edith 'Edie' Adams as Eileen. The cast also included George Gaynes (GIGI, 'Punky Brewster') as the romantic male lead.

   The score by Betty Comden and the late Adolph Green is gorgeous, and features the comical "100 Easy Ways", the lilting "A Little Bit in Love" and the showstopping "Conga!" and "Wrong-Note Rag".

   No Broadway-recording collection is complete without the original cast of this landmark musical.

   This re-issue from the superb Decca Broadway range also includes the rare 1945 set of ON THE TOWN, which featured original cast-members Betty Comden, Adolph Green and Nancy Walker singing their songs from the show, with Mary Martin singing "Lonely Town" and "Lucky to Be Me".

   Highly-recommended.




4. Yes, the original 1953 cast recording of "Wonderful Town" may not be the most complete cast recording of the hit musical BUT I would wholeheartedly reccommend this CD over any other version. Why? Because of its original cast members and its original orchestrations! Rosalind Russell is peerless as Ruth Sherwood (I consider her version of "One Hundred Easy Ways" one of the funniest songs in musical theatre history) and Edie Adams shines through radiantly. Listen to her sing "A Little Bit In Love" to understand what I'm talking about. Also, the original orchestrations gtive this CD more vibrance than any of the later incarnations INCLUDING the 1999 studio recording, which to me sounds too mechanical and the British orchestrator doesn't seem to get the rhythms right. The original cast recording is A MUST for the true theatre fan, abridged score or not



5. Yes, I know it is heresy to admit it, but I think this original cast album of Leonard Bernstein's only Tony-Winning score. (Believe it or not, his scores for CANDIDE and WEST SIDE STORY lost the award to other musicals) is not terribly good.

   Ok, I'm willing to bet that if you saw this cast on stage you would find George Gaynes a proper leading man and Rosalind Russell funny, biting, charming, etc. But if all you have to go on is this recording, he sings bleatingly and she is quite underwhelming in both the singing and the comedy departments.

   The Bernstein/Betty Comden/Adolph Green score is, to put it mildly, super. And it deserved the super, "complete" recording it got in 1999 conducted by Simon Rattle on EMI. Rattle's cast which includes Broadway stalwarts Kim Criswell, Audra McDonald and Brent Barrett and from the opera world, Thomas Hampson, could not be bettered. The sound on this disc is far superior to the one released in 1953 and, for about the same money, you get about twice the music.

5 comments about Swing! (Original Broadway Cast).

1. A swinging musical great time...great tunes, fantastic arrangements and orchestratins. Interpretations are fantastic...great musicians...Ann Hampton Calloway is a national treasure. This is a must for music theater and swing afficionados both!



2. I bought this for my son and we won't be listening to it because I don't appreciate the "Oh My G---!" Why do they have to ruin a good CD. I know it doesn't bother some people, but if it bothers you, DON'T BUY. I just wasted my money....



3. I bought this CD on the assumption that it was just a compilation of music pieces. It is but they are pieces for a musical play as opposed to ordinary music pieces.



4. Any who have seen "Swing" on Broadway know that the dancing is fantastic. But those who love swing music, good singing, and superior musical arrangements will love this recording. The singing is top-rate, no matter who is doing it; and the arrangements are complex and delightful. I can't stop listening to this CD. So, if you love swing, go for it!



5. I had the great honor of seeing this Broadway musical live on Broadway. I remember that I loved every act and song. The performers were excellent and I floated out of the theatre. We had a chance to meet the performers after the show and they all were very welcoming and each one signed our original copy of the Swing CD that we bought that night. It's a memory I will cherish always. I highly recommend this show if you love to be entertained from beginning to end. My favorite part was the Blues In The Night performance and also I'll Be Seeing You. I walked away with tears of joy! Enjoy!

5 comments about Thoroughly Modern Millie (1967 Film Soundtrack).

1. Thoroughly Modern Millie is a corny little movie filled with bloated egos...a classic and very soulful singer Miss Ann Dee (Angela DeSpirito) sold her legendary San Francisco "Ann Dee's 440 Club" a famed night club where Ann developed and showcased numerous big name talent such as Lenny Bruce, Ernestine Anderson, Johnny Mathis, Fran Jeffries and many others to come to LA to embark on a solo singing career and by this time Ann Dee was already well into her forties..."Free Again" is a timeless classic Capitol Records lp filled with thrilling performances including the definitive version of "If He Walked Into My Life" from the musical "Mame" and the brilliant and hauntingly gorgeous medley "Carnival/This Dream" which is high vocal art at its very finest! "Free Again" was produced by avant-garde producer David Axelrod and beautifully arranged by the legendary Ernie Freeman with a full studio orchestra...Ann Dee was so incredible in concert performing these wondrous classics with such passion and tremendous vocal beauty & quality that she received numerous standing ovations every night over the years in always packed-out clubs (was the wildly successful "house singer" at the Beverly Hills "Ye Little Club" for many years) where one could find a wide array of the famous such as Judy Garland, Timi Yuro, Edith Piaf, Toti Fields, Carmen McRae, Johnny Ray, Margaret Whiting, Dorothy Collins, Yvonne De Carlo, Gordon MacRae, Alexis Smith, Joanie Sommers, Regis Philbin to name just a few in her adoring audience...hopefully this lost vocal masterpiece will someday be released on Compact Disc if Capitol Records ever wakes up and realizes what a glorious treasure they have in their vault deserving to be remastered and released! Ann Dee was next cast in this lame and superficial Hollywood Musical and was thrilled but soon found that she would be pushed into the background by the greedy "stars" of this movie who were threatened by her magnificent talent (especially vocal!) and didn't want to share the spotlight or residuals with her...this was why Ann Dee did not receive any billing for her glorious performance that is clearly the finest vocal on this otherwise tired soundtrack filled with cartoon like baffonish performances. Ann was deeply hurt by all of this and the real kicker is that Ann Dee received no billing at all on the original soundtrack lp for her sublime performance of "Rose Of Washington Square" and was listed only as "vocal blues singer"...for shame and this needs to be corrected!!!! May Ann Dee rest in peace and she is loved and missed by many...those 5-Stars are all for you Angel as you earned every one of them!!!



2. "Thoroughly Modern Millie" was probably the most superficially enjoyable movie that Julie Andrews ever made--no depth at all, but loads of fun. The soundtrack album is also fun to listen to, but probably won't mean as much to people who've never seen the film.
   
   The only reason I gave this CD 3 stars is its poor sound quality. I've still got the record album and believe me, the CD sounds EXACTLY like the record except for the absence of surface noise: thin, tinny, and with little bass response. The CD mastering gives no added clarity or frequency response. In short, the engineers obviously used the same master that the record was made from, a master than was equalized and compressed within an inch of its life. If they had bothered to go back to the original session tapes, this album would have sounded much better. You can hear the proof on the compilation CD that Rhino put out several years ago called "Thoroughly Modern Julie." The only song that's from the movie is the title track, but you will be amazed at the difference in sound quality: this version has much better clarity, presence, and frequency response. Let's hope that someday "Thoroughly Modern Millie" will be given the audio restoration it deserves.



3. As a twelve year old broadway lover, when I first saw the play I immediatly fell in love with it. The music (all included on the CD) is so wonderful, everyone deserves to know about it!!!!
   The Thouroughly Modern Millie music is appropriate, and funny. There is not a large amount of bad language and is very clean. The music has a fast tempo and a jumpy sound. It makes you want to jump up and dance! I would buy this CD for sure- with no doubt! From what I've told you, wouldn't you agree?



4. THOROUGHLY MODERN MILLIE was producer Ross Hunter's attempt to re-create THE BOY FRIEND, in which Julie Andrews had starred on Broadway. MGM held the movie rights to BOY FRIEND and would not sell them to Universal. Eventually MGM would turn THE BOY FRIEND into a rather-misguided film starring Christopher Gable and Twiggy.

   The story of THOROUGHLY MODERN MILLIE concerns one Millie Dillmount (Julie Andrews), a simple girl from the country who comes to the Big Smoke looking for love, excitement and most importantly, Mr Right. Along the way Millie meets up with demure Miss Dorothy (Mary Tyler Moore), hooks up with a lively paperclip salesman Jimmy (James Fox) and fights off white-slaver Mrs Meers (Beatrice Lillie). Joining in the fun are carefree society dame Muzzy van Hossmere (Carol Channing) and Millie's dashing boss Mr Trevor Graydon (John Gavin).

   The songs are a perfect blend of 20's standards as well as brand-new numbers. Julie is at her best singing "Jimmy", "Poor Butterfly" (which includes the scene dialogue that accompanies it in the film), and the catchy Title Song.

   Carol Channing adds her brassy vocals to the showstopping "Jazz Baby" and "Do It Again". James Fox is wonderful during the "Tapioca" number.

   With THOROUGHLY MODERN MILLIE currently gracing Broadway in an all-new production, now is the perfect time to fall in love with the fantastic film score.

   Highly-recommended.




5. Wonderful Oscar winner score!. One of the most remarkable works by Andre Previn and Elmer Bernstein. The "title song", "Tapioca" and "Poor Butterfly" are my favourite ones. I've been waiting for this CD a long time and finally it's a honor to listen to it.
   Thanks for giving me the chance of remembering this unforgetable soundtrack.

5 comments about Together Again.

1. Apples, Oranges and Pistols.
   How do I link these three? Last week I watched a 74 years old man known to be a Grand Master "Combat Pistol" shooter at play on the range. He moves with an economy of motion. A poetic fluidity that was like watching ballet or one of those Samurais in a Kurasawa film. Each little move detailed the skills and practice of a lifetime; effortless.
   That individual's talent with a weapon and the talent of the timeless Tony Bennett's voice leads me to believe that rather than outliving his voice and being embarassed by the treatment of time, he will prevail as long as he can walk and present what he has developed over a lifetime.
   I watched him perform with a totally talentless wretch named Christina Aguilara (sic)at the Emmy Awards (a disgraceful and self congratulatory example of gluttony)and he made even her musicality bereft self appear to have a sliver of charm. That's skill. More than skill; that's talent.
   Long life Mr.Bennett.



2. Never could and still can't ... understand how Tony ever made a living as a singer. Ruined the effort of Bill Evans for my money. Sad!



3. The first album pairing Bill Evans and Tony Bennett was a classic - one of the two best albums of jazz vocals ever recorded. When I learned that they recorded a second album, I could hardly wait to hear it.
   
   I didn't find this album as moving as the first. That's not to say that it isn't very good in spots - it just lacks something.
   
   After listening to it several times , I believe that the "something" that it lacks is two things - the tunes are not generally as good, and it was mixed differently.
   
   While there are some very good tunes on this album, they aren't uniformly good, while the first effort featured no weak spots.
   
   Second, Evans' piano is mixed more in the background, making him more of an accompanist and less an equal partner, except when he has a chance to improvise.
   
   On the plus side, Evans does get opportunity to "stretch out" on a few more tunes here.
   
   On the whole, a very good album, but one that doesn't reach the lofty peaks of the original.



4. Not in my opinion. On the first CD, both men absolutely "brought it" and the result was magic. There was top-form musicianship and interplay, and the engineering and song selections let both performers shine. This CD, although certainly a fine work, falls short in a couple of ways.
   
   First, Evans seems more relegated to the background. Bennett fans may be perfectly OK with that, but I was not. Several factors could be at work there - the mixing engineer, the take selected by the producer, the comping of Evans, or some mixture of the three. My sometimes fertiles imagination tells me that the producer was thinking, "Let's really reach out the Bennett fans with this one."
   
   Second, the energy of this CD is not up to the first. The most upbeat number that comes to mind, Dream Dancing, is a lot calmer than When In Rome, so the "average energy level" of the entire CD is brought way down. Again, some people may be OK with that.
   
   Third, the performances on this CD seem a little more "phoned in". Evans' playing is always great, but he doesn't play with the authority and fire he has on the first CD. Bennett seems a little tired or distracted. The moods he conjures up seem a bit flat compared to the interestingly dark and sometimes ironic tones he gives to numbers on the first CD. Reasonably minds may differ about that.
   
   If you're wondering whether to get the first CD or the second, start with the first. The excitement of something new comes across and the performers are near their best. If you love it and can't get enough, you'll like this too. If you love Tony Bennett and can't get enough of his intimate "just me and the piano" sound, you will probably love this one too. If you want more of Bill Evans minus trio, you may be happier with Alone or Alone Again.



5. With eager anticipation I opened this CD in Window Media Player. Imagine my surprise when the music started to play and it was blue grass banjo music instead of Tony and Bill. I pooped the CD out and looked closely. Yup! It said Tony Benntett and Bill Evans, Together Again. I wondered which played the banjo and which played the Guitar.

5 comments about Runaways (Original Broadway Cast).

1. 
   Both CD's arrived in good time, in good condition and exactly as I had expected.



2. I SAW THIS SHOW YEARS AGO AND THOUGHT IT WAS QUITE STRIKING. I STILL FIND THIS UNUSUAL MUSICAL STRIKING, POINGANT AND POWERFUL. I AM SO GLAD IT HAS BEEN PRESERVED



3. Liz Swados unique (and Tony nominated) musical managed a fairly successful 274 performance run in 1978. The cast album was made by Columbia in their last flurry of activity before abandoning the field the label had dominated for 30 years. As an album it never gave you a sense of what the show was about. Perhaps they needed to record some of the monologues and speeches. The youthful cast has energy to spare but the diction in the chorus numbers is often mushy. Still the score is unique in melding several different styles, and almost two decades ahead of RENT in addressing urban social woes. Some of the material is disturbing, some heartbreaking: listen to "Lullaby from Baby To Baby."
   
   The lyrics are stream-of-consciousness style and some of the lines seem forced. The show has had a number of regional and community theatre stagings, but remains one of the least-known Tony nominated shows of all time.
   
   The problem of teen runaways is still a major one, and no musical is ever going to solve that.



4. A phenomenal soundtrack - listen for young Josie Guzman, later to become a star in the "Guys and Dolls" revival. I was involved with a community theater production of this musical at age 15, and I've been listening to a bad tape of a warped record for more than a decade. I couldn't be more thrilled to finally own it on CD!!



5. RUNAWAYS is composed by Elizabeth Swados and premiered at the Public Theather NYC, 1978. This excellent show which spans multiple musical styles featured such performers as Diane Lane, Trini Alverado, Jossie de Guzman, and Karen Evans. RUNAWAYS is great for anyone who likes shows in the style of HAIR, THE ME NOBODY KNOWS and INNER CITY (another AMAZING AMAZING musical avaliable on LP from Footlights Records NYC) For people who like urban musicals and rock music (RUNAWAYS even has a full rap, preety advanced for 1978, this is an album to have. The script is avaliable from Samuel French, NYC

5 comments about Kids' Stuff.

1. I ordered it expecting the quality songs from King's singers. Again, they did not let me down. The great songs. I like Judy Dench's narration but it made me feel like a child. And, I hope it could have been separated from the music tracks. But I am not complaining. young Moms liked it in the neighbors but kids didn't seem to care. I guess they are not innocent any more ;)? Post-Britney syndrome we think.



2. Kids' Stuff is an absoultely wonderful CD. How could it not be with the likes of Judi Dench and The King's Singers - one, a brilliant actress with a beautiful, melodic speaking voice, and the other a vocal group that I've loved and listened to for over 30 years.
   
   I've purchased many copies and have given them to family and friends when they've had a new baby. The response has been the same from everyone I've given it to "The kids love it, and so do we (the parents).
   
   I highly recommend this album for young and old alike.



3. This and Free to Be You and Me were my favorite tapes to listen to from the time I was five to the time I was nine.
   
   
   Judi Dench's introductions and the King's Singers' delightful melodies stay with me to this day, and as a 22 year old I find myself still getting these caught in my head.
   
   A great, great gift for the babes/kids in your life!



4. This is a fabulous recording. Its been out of release for years, and I'm thrilled to see it back. This is the perfect present for a new big sister or brother, not to mention a new baby. We played this on just about every car ride when my kids were little, and now that they are teens, I bet they'd still get a kick out of it. The format doesn't talk down to kids or to their parents. Judi Dench is warm and delightful. My children learned to appreciate choral and vocal music, largely due to this King's Singers recording (and "Good Vibrations.") It is phenomenal. Buy it!



5. This is their FINEST work ever....and not just for children, either!!!! I have all of their music - this is, by FAR, the most magnificent!!!