5 comments about Promises, Promises (1968 Original Broadway Cast).

1. Televiewers who know Jerry Orbach only from "Law & Order" are not aware of his many contributions to the world of stage musicals. From "The Fantastiks," to "Carnival," to "Forty-Second Street," and on to "Chicago," he has shined (shone?)
   Orbach does not have the most musical voice; but his clear enunciation and his true pitch make him a standout. And, in "Promises, Promises," add his ability to shift rhythms in the middle of a number.
   This show, and this recording, are all about Jerry.
   I agree with several other reviewers the almost uniqueness of the overture, with the use of a pit chorus as an instrument. I agree, also, with those who find Jill O'Hara's voice strident.
   While I cannot go full steam ahead, as some have, about Bararach's score, it is certainly well above many others of his time. For those like me, who were introduced to musicals in the days of "Oklahoma," "Brigadoon, and "Call Me Madam," this is a noticeable change in style. But it signals a new era and a new taste in music.
   "Promises, Promises" has earned its place in Broadway musical history.



2. Every song in the show still holds up as far as having that unique Bacharach/David style. Orchestrator Jonathan Tunick did his usual outstanding magic of creating the "Bacharach" sound in his orchestrations. The CD is ADD so the sound is quite clean and clear (much better than the original LP). It is too bad that this was Burt and Hal's only foray into the musical theater.



3. This musical is unique in the Broadway literature, having been written by Burt Bachrach and Hal David. Bachrach was the king of pop composers in his time, and he assembled a score that still is infectious and listenable. Almost all of the songs in this score truly advance the plot and help to further define the characters.
   
   I'm sorry that I can't be as generous in my assessment of the singing, particularly that of the late Jerry Orbach. Don't get me wrong...he sings with great energy and characterization, but his intonation is quite sketchy in several numbers. He does shine in "Half as Big as Life", but sort of goes downhill from there. Jill O'Hara has a voice that may be polarizing to several listeners. Her style and aesthetic fit very well with the aesthetic of the late 60's and early 70's. It's sort of a Joni Mitchell meets Minnie Mouse sound. She has her own intonation issues.
   
   But, there are several great moments. The pit orchestra was just fabulous, as were the offstage female voices. The production was very well conducted. The ensemble plays in a very relaxed, jazzy style, but they are always on top of the beat. The solo trumpet was worth whatever they payed. The music in general is outstanding, particularly the overture.
   
   Despite the intonation issues, the cast does bring great energy to the production numbers. Jill O'Hara's ballads ("Knowing When to Leave" and "Whoever You Are") are showstoppers. Orbach's "Half as Big as Life" and "She Likes Basketball" were energetic and fun. His duet with Marian Mercer ("A Fact Can Be a Beautiful Thing") will make you smile. Edward Winter's ballad ("Wanting Things") was poignant and well-sung. "Where Can You Take a Girl?", sung by the four Coastal Life execs, was snappy, brisk, and funny. I would have liked to have seen it done live.
   
   In the end, music is not about perfect. It is about performances that touch you, and that are genuine. That's why this CD is a good addition to your collection.
   
   Highly recommended.



4. One of the better scores from a 60's musical.



5. It's nice to have this lively Burt Bacharach score on a CD. I was the show back in 1969, and listening to the CD brought back memories of a good time in the theatre.

5 comments about Closer Than Ever: Original Cast Recording.

1. "Closer Than Ever" is one of the best Off-Broadway musicals to be produced,and won a much-deserved Outer Critics Circle Award for best Off-Broadway Musical. It's actually more of a revue than a musical, since there's not really a plot. Rather, "Closer Than Ever" is a collection of songs on themes relating to getting through life. "You Wanna Be My Friend?" is a funny song that vocalizes what most people think when a relationship is ended and the person ending says "I want to be your friend." "Fandango" humorously explores the difficulties of raising a child when both parents have full-time jobs. These are just a couple of examples of the fine songs you will find in this recording. "Closer Than Ever" is perfect for those who enjoy musicals and are looking for something different from the usual Broadway fare.



2. This is my third CD of this off-Broadway revue, illustrating how many times I have played the music in the last 15 years. I'm sure I'll wear this one out, too.
   
   However, I also purchased one of the librettos that was advertised and have not received it yet, after one month, so I feel as if I was ripped off by the person who took my money for it and never sent it to me. That was $40 wasted.



3. The fine cast does credit to some Shire/Maltby gems. While each singer shines, the ever-astonishing Lynne Wintersteller alone is worth the purchase price. Her warm tone, perfect diction, respect for the lyrics, and pervasive intellect really do put her in a class by herself.



4. What can I say? CLOSER THAN EVER is probably the best musical revue ever written. It's a collection of 25 songs about the complications, joys, and woes of everyday living in America. This is the only show I've ever produced and directed, since I wanted to share it with as many people as possible. Since I first heard the score, I always include at least one song from the show in every concert I give!

   THE HISTORY:
   Richard Maltby, Jr. and David Shire have worked together for decades, although only two of their shows, BABY and BIG, have ever reached Broadway. During the creation of BABY, they wrote a song entitled "The Bear, the Tiger, the Hamster, and the Mole" to introduce the character of a female biology professor. As the song evolved, it not only introduced her character, it told her story and resolved it. Since the character had nowhere to go, both she and the song were dropped from the show.

   Maltby and Shire didn't want the song to die, so they slowly created a roster of "story songs" for use at a later time. In 1989 (at the same time Maltby was also working on the English lyrics to MISS SAIGON in London), these songs were combined with other songs Maltby and Shire had written over the past 30 years (with alterations) to make the new revue, CLOSER THAN EVER.

   THE LYRICS:
   Let me allow some theater critics to speak first, all cited in the CD liner notes. Stephen Holden of THE NEW YORK TIMES said that the songs "communicate .... a rich sweeping sense of lives being lived and people changing over time." Howard Kissel of the NEW YORK DAILY NEWS: "There is more genuine drama in each ... song than in the entirety of most ... musicals." David Patrick Stearns of USA TODAY: "the most satisfying and humanizing new musical."

   What are these songs about? I like to say that the songs cover the day-to-day aspects of everyday living: relationships, childcare, and Dan Quayle. A few examples:
   "One of the Good Guys" explores a successful man's nagging feeling that he's missed the joys of life.
   "Fandango" is the morning dance that a husband and wife do on the day that both of their careers are on the line and no one is available to babysit their infant child.
   "The Sound of Muzak" gives a comically frightening scenario of how technology alters our lives.
   "There's Nothing Like It" pokes fun at the platitudes of the fitness movement.
   "Another Wedding Song" (written by Shire for his marriage to actress Didi Conn) explores the awkwardness of making eternal vows at a second wedding.
   "There" starts out as a torchy ballad, but ends up examining how the selfishness of two people destroyed a relationship.

   Over the years, Maltby has been known to insert rather cheesy lyrics into otherwise good songs. Only two egregious examples are in this show. The opening number asks at one point, "What's in the skies from Boston to Florida? / High-rises rising, each being horrider." In "Miss Byrd," the character proclaims that she gets so excited, "that's when I start to go `La dah di dah.'"

   THE MUSIC:
   Although the show is only scored for piano and bass, David Shire brings incredible variety of musical form to each piece. "Back on Base" is a nightclub jazz act; "Three Friends" is right out of the Las Vegas `show biz' style; "There's Nothing Like It" mimics a classical aria before taking off in a wildly different direction. Shire's musical abilities are just amazing. The chord progressions in parts of "The Sound of Muzak" and "I Wouldn't Go Back" are incredible.

   THE SONGS:
   Six tracks deserve to become staples of the musical theater repertoire. A divorced woman tells her "Life Story" about the struggles and triumphs she's had as a single mother and freelance journalist. "Three Friends" from college hilariously chronicle how their relationship has changed over the ten years since graduation. A musician tells his father whose health is failing that "If I Sing," it's because you were my role model. Three men reflect how parenthood (being the "Fathers of Fathers") has defined their accomplishments in life. As a younger woman laments that "I've Been Here Before" in doomed relationships, an older woman tries to console her while warning "It's Never That Easy." A man resolves he'll succeed in a romantic relationship "Next Time" before being joined by the whole cast for a rousing anthem to making life-altering decisions, "I Wouldn't Go Back." This song has become a permanent fixture in my life's soundtrack.

   The weakest songs of the show come early in the first act. "Like a Baby," included on this recording, has since been replaced by the more humorous "I'll Get Up Tomorrow Morning," in which a man explains his attempts to deal with the stresses of work, children, and marriage. If I were to direct the show again, I would attempt to replace "What Am I Doin'?," the song of a man obsessed with a woman no longer interested in him, with "I Don't Remember Christmas" from Maltby and Shire's earlier revue, STARTING HERE, STARTING NOW.

   THE RECORDING:
   In many ways, the recording is wonderful. Each cast member (plus the pianist, Patrick Scott Brady, who sings on a few of the numbers) has gone on to have a successful career. The score has been more heavily orchestrated. The liner notes give the histories of the show as a whole and of each song individually.

   There are two problems: first of all, some of the orchestration choices are poor. For example, a cheap synthesizer steals some of the tenderness from Lynne Wintersteller's "It's Never That Easy." Secondly, some of the numbers don't have the pizzazz that I would expect after seeing them performed live by amateurs. Perhaps some of the cast members were tired on the day of the recording? Only Sally Mayes seems to give all of her numbers the full intensity they deserve.

   Despite the problems with the recording, this is still a must-have for anyone who loves musical theater. You won't find another collection of songs - with such liberal doses of wit, intelligence, and creativity -- anywhere!




5. Maltby and Shire did an excellent job with these exquisitely crafted songs. Not all of them are dead-on hits, but there are some real wonders in this show. Their talent in songwriting shines through in songs such as the painfully delicate "She Loves Me Not," in the fiesty and--there's no other word for it--HAPPY song "Miss Byrd;" the superb "It's Never that Easy/I've Been Here Before", and others--"Doors", "Patterns" and the rest. Maltby and Shire are often underappreciated, but this revue is excellent in its hidden gems. The extremely talented cast only augments the beauty of these songs. Get it if you can!

5 comments about Jesus Christ Superstar.

1. What I was looking for when I bought the CD was the remastered copy of the original album, the one that was played in coffeehouses all over the U.S. in the 70's. I still have the vinyl but it is too scratched to be a good candidate for ripping to the computer. This CD was not the same people, same notes, etc. I'm looking for a very specific recording and have thus far not been able to find it. I returned the CD after discovering that it was not at all what I wanted.



2. This would undoubtedly be a five-star product were it not for one tiny little detail - that most unrewarding of female supporting leads, Mary Magdalene. True, Joanna Ampil does have a very pretty voice.
   
   But could she possibly be more British?
   
   Seriously. Her diction is crisp and impeccable, at the cost of emotion and nuance. Her Mary Magdalene sounds more suited to exhorting the value of a spoonful of sugar before medicine. It throws off the balance between the male leads and the only female presence in the show, and ruins some of the best songs in the whole show ("I Don't Know How To Love Him" is almost laughable, a perky mess of a rendition).
   
   This imbalance is only exacerbated by the reason for the four-star rating - the two leads. Simply put, they're perfect. Steve Balsamo is possibly the best Jesus on record, his gorgeous, clear, unbelievably powerful tenor voice lending a whole new dimension to the character (generally he's played by a more "rock"-voiced actor, as is Judas). He absolutely blasts his songs out of the park, too - this "Gethsemane" has to be heard to be believed, and his reprimand of the sinners in "The Temple" is sung in FULL CHEST VOICE to insane effect. Zubin Varla is more than his equal as Judas, with just the right blend of pathos and power. And he doesn't have half-bad pipes, either - listen to his soaring high notes in "Heaven on their Minds" or "Superstar".
   
   Alice Cooper (Yes, that Alice Cooper) has way too much fun with Herod, David Burt is excellent and sympathetic as Pilate, and Glenn Carter, who would go on to play Jesus in the 2001 Broadway revival, is a suitably impassioned Simon Zealotes. The orchestra sounds a little muted, but play with vigor.
   
   So, if you're only into Jesus for Mary, don't bother. But if you feel like revisiting Sir Lloyd Webber's best score and enjoying the performances of the lead men, this set is definitely worth the money.



3. This is the newly re-released and Remastered Edition of the West End 1996 Production of JCS Starring Steve Balasmo, Joanna Ampil and Zubin Varla. First I have to comment on the new packaging. 2cd in a slim case with slip cover and new lyric book. The best thing about the new release is the colored photos from the production! I was actually under the impression that this was the production that inspired the new movie "RENT/PUNK" style version, but judging from the pictures it's anything but that! The pictures are set in the time of Christ's crucifixion. You get a glimpse of the amazing sets and costumes. Joanna Ampil's a beautiful Mary and Steve and Zubin look great as Jesus and Judas. If you're interested in the new release the must have the "Digitally Remastered at Abbey Roads Studios London Deluxe Edition" black sticker on it!
   
   I have the Original Concept CD, Broadway CD with , Australian 1994 CD and 25th Anniversary CD (which is pretty much a joke). This is my favorite version all together. The orchestrations have been slightly changed and updated, including a final ending to "Heaven on their Minds," "Everything's Alright" and "Gethsemene" which finally seems to get some closure instead of the annoying fade outs on the previous CDs. THERE AREN'T ANY FADE OUTS IN LIVE PERFORMANCES!
   
   Steve Balasmo tackels the title role of Jesus with fierce intensity. "Gethsemane" is literally the showstopper when he raises his key much higher when he gets to "See how I DIIIIIIIIIIIIIIIIIEEEEE!" He holds it for, including starting with "See how I die" for 24 seconds. Another reviewer said it was a G above High C. Simply and utterly amazing. But Steve's voice is an aquired taste in the role of Jesus. In comparing him to Ted Neeley, Steve has a soft beautiful Tenor quality while Ted's is hard and sharp at the edge's. Ted screams his way through "Gethsemene" and it's amazing, but Steve's rendition is done with more of a pop-rock sound that is easier on the throat than all the screaming Ted and the other Jesus's do. All versions are amazing, but I prefer this one over all. (For all you Steve Balasmo fans out there you can catch him on the cast recording of "Notre Dame De Paris." He plays Phoebus and sings the amazing "Torn Apart")
   
   Zubin Varla is a great Judas, much stronger than Jerome Pradon, but is no Carl Anderson or Ben Vereen. Although I like Jerome's acting all we have is Zubin's voice to go by and I prefer listening to Zubin. His "Heaven on their Minds" is near perfect with amazing Orchestral sounds and vocal riffs. His acting is superb too. Carl and Ben sing more souful and Zubin has more of the edgy rock sound. All are great.
   
   Joanna Ampil (of "Miss Saigon" fame, you can hear her as Kim on the "Complete Recording of Miss Saigon, 2CD) is a little weak, timid, and shy to portray the role of the prostitute Mary Magdeline. Original Yvonne Elliman seemed to capture every essence of the character. Claire Moore, original Ellen of Miss Saigon does a fine job of Mary on the 20th Annv CD, but Joanna's voice is beautiful and soothing, but sounds too technically clean. This is a Rock Opera so I need a little more umpf. I needed her to let loose some more in the repeating finale of "Everything's Alright". Although she's not bad at all, but seems to get lost among the belters.
   
   Glenn Carter is Simon on this CD, you might all know him as Jesus in the new DVD vesion of Jesus Christ Superstar that was released a few years back. HE does well as Simon, belting all those notes out. David Burt is a good follow up as Pilate since Barry Denon played the part 3 times in the 70s. "Could We Start Again Please" is hauntingly beatiful. The rest of the cast does the CD justice.
   Overall I would say this is the best recording. There are some performers here and there that are better on other recordings, but it's impossible to have the ultra perfect cast, for that you would have to create a mix tape.
   
   Also on Remastered Re-Release
   Joseph London Cast
   Aspects of Love (Brilliant Re-Release)
   Sunset Blvd (Glenn Close)
   Cats London
   Cats Broadway
   Song and Dance London
   Starlight Express



4. Too much opera, not enough rock. When I bought this recording, I expected to hear Jesus Christ Superstar, not Phantom of the Opera! Gone are Ian Gillan's dynamics, from sweet, soft, tender, vocals to intense, high-pitched, screaming vibratos. Replaced instead with someone who would be better served playing the role of "Cherubino" in the Marriage of Figaro. Murray Head, while perhaps not the worlds best vocalist, brought passion and a lot of emotion to the part of Judas. Zubin Varla brings a bunch of right notes, but little else. I've had this recording for over a year now and despite several attempts, (the most recent one bieng last night) I've only made it to the end once. I simply find this version unlistenable. If you've never heard the original or simply didn't like it, you may find this one to your liking. As for me... I grew up with the original version and sadly, have found all other renditions I have heard to be musical blasphemy!



5. You can read all 45 reviews of so here, or you can read mine, I've summarized them. I am a musical theatre student, opera tenor, and I own my own theatre company so I have a pretty good idea of what's hot and what's not. This is HOT. I own/have heard every version of JCS to date (March 2006) and this one is the most well rounded. Steve Balsamo with his amazing 4 and 1/2 octave range is an incredible singer; lacks a bit in bringing out the character of Jesus, if you're going for character over voice, Ted Neely from the 70's movie album is best. Judas is pretty good, problem is...he's a baritone singing a true tenor role, so he screams like a rocker to get the high notes, very convincing Judas though. Pilate is decent, Caiphus is also good. Mary Magdelene is the weak link, she's got great potential but she's only half baked as a singer. Some people here fell in love with the 70's version; hating the rock band of an orchestra on this album. HOWEVER, I will let everyone in on a secret. In this version, Andrew Llyod Webber selected all roles himself, including the orchestra. This is what he WOULD have produced in the 70's IF they had the technology. It's a simple matter of opinion; you prefer the older sounding 70's "orchestra" or the modern day "rock band." Alice Cooper as Herod, Geln Carter as Simon (He plays Jesus in the movie revival) make the scale tip when you weigh this against other versions. (Glen Carter is over-rated as Jesus in the movie however...) All in all, I like this version best. The title of the show is "Jesus Christ Superstar: A Rock Opera." And this CD puts the ROCK in Rock Opera.

5 comments about High Society.

1. This soundtrack is just fun and it features Grace Kelly singing....she has a sweet voice.
   I love the movie; it's just so funny and touching so I had to have the soundtrack.
   Enjoy!
   Barb



2. What a dissapointment! The bass is set way too high on this recording and there is white noise on some of the tracks. I remember my parents original cassette tape being of a far superior quality. I am currently returning this CD and purchasing the "High Society" DIG CD, hopefully the quality will be what I originally expected. I now see that the previous reviews were no help at all.



3. A wonderful soundtrack with some of the greatest singers evah. The duet with Bing Crosby and Frank Sinatra, Well Did You Evah, is the main reason I bought this CD. I think the chemistry between them in this song is magical. Then to have Satch thrown in on the same CD, as well as the voice of one of the most beautiful actresses to Grace the Silver Screen. What a swell party this is.



4. Been looking for this album for years! Reasonably priced import and the quality is super. If you loved this movie as much as I did, you really should add this CD to your collection. BIng, Frank, and the whole gang did one great job on this one!!



5. Note: This review is for the German release of this album on the Back Biter label (BB 61032).
   
   The soundtrack from the 1956 MGM film HIGH SOCIETY with its Cole Porter score has been a favorite for nearly fifty years. The picture stars Bing Crosby, Grace Kelly, and Frank Sinatra--its just a treat to watch.
   
   This German release of the soundtrack is probably the easiest version to come across in CD format. The entire contents of the original 1956 Capitol Records LP are featured here--all 10 cuts. The sound is in stereo. The sound quality, though, leaves a bit to be desired. There is quite a bit of distortion and tape hiss in many places and the fidelity varies. The cover has a little sticker claiming that the recording was remastered for this. My guess is that, if it were remastered at all, it was done from the original LP masters, and NOT from the original recording session masters. If you're able to get over that, though, this disc is a very worthwhile purchase if you're fortunate enough to come across it. The cover art from the 1956 LP has not been reproduced for this release. As I said, this release is rather difficult to find and when it does surface, it can get rather pricey. You might even be further ahead to locate a nice copy of the LP on Ebay.
   
   We would like to see a restored edition of the HIGH SOCIETY soundtrack from Capitol Records released in this country in the near future--maybe an expanded edition? Capitol/EMI should be closed down for allowing this recording to become so scarce in the US market. Rhino could do wonders for this--as they have with other MGM musicals--except that HIGH SOCIETY is one of the few MGM musicals to which they do not control soundtrack album rights. The BELLS ARE RINGING soundtrack album, which is also controlled by Capitol, has been on CD for years... why not this as well? Is anyone at Capitol Records reading this? I guess we'll just have to wait. In the meanwhile, enjoy this if you get a chance.

No comments about Irma La Douce (Original London Cast) and Bonus Tracks.

2 comments about Mamma Mia: Songs from the Broadway Musical.

1. Really great job. It's rare enough to find mamma mia songs in karaoke version. Extraodinaire



2. 
   This item is NOT a karaoke CD, but is an Accompaniment CD which means that there are no on-screen lyrics.

5 comments about The Most Happy Fella (1956 Original Broadway Cast).

1. It would probably not be right to call this a perfect musical. But, "The Most Happy Fella" is certainly a complete musical.
   Complete musically--ranging from the comical "Ooh, My Feet," to the exuberant "Sposalizzio," to the light-hearted "I Like Everybody," to the emotional "My Heart Is So Full of You."
   Complete story-wise--from Tony's desire for companionship, to his excitement when Rosabella arrives, to his anger upon discovering her unfaithfulness, to his acceptance of the future with her and her baby.
   Complete vocally--This may well be the finest collection of good singers ever assembled for a musical, not only Robert Weede, the Metropolitan Opera star transplanted to the Broadway stage, but the entire cast and the ensemble such as heard in "Standin' on the Corner."
   A complete recording--I have not had the pleasure of seeing an actual production of "The Most Happy Fella." But, listening to these two cd's, with the dialogue and recitative almost complete, I feel that I have.
   For those who like the music, but do not wish the full-length version, there is an lp with highlights. It may be difficult to find and pricey, but it is well worth it.



2. This is an excellent recording. The most important feature is that, unlike other original cast recordings, it offers almost the entire play -- and that is a considerable accomplishment since this particular production had so much more music than the typical Broadway production.
   
   In addition to the mere fact of being complete, because it is so complete it is possible to follow the plot simply by listening to the musical numbers -- again something very different from most original cast albums.
   
   That is why listening to this dual disc is the next best thing to a frontrow seat in the theater.



3. Surely one of the most brilliant shows ever done on Broadway and I would include such stellar ones a My Fair Lady and Kismet. MHF is a powerful, rousing, joyous show, much beyond the run of most Broadway productions. Loesser was at his absolute top when he put this one together. The scoring was incredible, demanding the absolute most from his singers. (I did this show in stock with Keith Kalldenberg doing Tony.) We used to say that Loesser scored it for high first tenors...then raised it all a third! The brightness of the singing, captured on this recording, is a total delight to the ear. And the incredibly capable cast put all the emotion into the numbers they could possibly have done. This is, to me, a 10 star recording of a 10 star show. You'll listen to it for years...laughing and crying along with everyone else who owns it.



4. As I see it, cast albums serve two purposes: to preserve the score and performances for posterity, and to convey a sense of the show's arc and theatricality. Goddard Lieberson's 1956 recording of Frank Loesser's THE MOST HAPPY FELLA does both, and to a degree never seen before and rarely since. This is a very special album because, as previous reviewers have pointed out, it preserves the COMPLETE show, including all the spoken dialogue, dance music, incidental music and underscoring (minus a few moments of stage business that, on recording, would have proved incomprehensible). To be able to hear an entire show, from overture to finale, gives the listener unprecedented access to its plot and characters -- listening to this recording is the next best thing to actually seeing the original production on stage.
   
   And thank goodness, because it's a terrific show. This is one of the best, and biggest, scores ever composed for Broadway -- in three sprawling acts, it tells a tale of pathos, romance and humor, expertly structured and executed, with delicate characterizations and a wonderfully rich vocabulary. Are there any two songs less alike than "Don't Cry" and "Love and Kindness"? or "I Made a Fist" and "How Beautiful the Days"? Yet they exist side by side in THE MOST HAPPY FELLA, all completely integral to the show because, in addition to being great showtunes, they convey plot, reveal character, and define relationships. And everything is unified by Don Walker's beautiful orchestrations. Walker wasn't known for being a very subtle orchestrator (his arrangements of Rodgers and Hart sound, as my friend put it, like heavy metal), but here he works magic and makes Loesser's music soar like Puccini.
   
   The cast, too, is superior in almost every way. Who else but Robert Weede could play Tony, with his huge voice and huge heart? Weede was that rare creature, an opera singer who could actually act, and do both exceedingly well. Who else but Jo Sullivan could play Rosabella, with all that tenderness and hesitation that blossoms into such joy? As Cleo, Susan Johnson will floor you when she belts "I know how it is," then break your heart when she confides that "I don't know how it is." In the hands of a lesser performer the character of Joey could have been just another musical comedy sleazebag -- but somehow Art Lund turns him into a real human being, one you might feel a hint of compassion for, despite all his restless hedonism. The minor characters -- Marie (Mona Paulee), Doc (Keith Kaldenberg), the Postman (Lee Cass), Pasquale (Rico Froehlich) and the rest -- are all brilliantly acted and sung. In fact, one of my favorite moments on this recording is a tiny throwaway scene between a Country Girl and a City Boy (Meri Miller and John Sharpe): it's only a minute long, but it's hilarious and bespeaks the high quality of the ensemble as a whole.
   
   This is a royal score, and it gets the royal treatment on this two-disc set. A lot of "big" Broadway scores never got the same deal, which is why we listen, frustrated, to the eviscerated original cast recordings of ALLEGRO, CANDIDE, FOLLIES... But THE MOST HAPPY FELLA is here to sweep us off our feet, with all its heart and soul intact.



5. Someone once asked Frank Loesser if he considered THE MOST HAPPY FELLA an opera. "No," he replied, "it's a musical...with a lotta music!"

   And here we have virtually the entire show. (A few visual moments were eliminated since they would not make sense on a recording) All the dialogue, songs, recitative were recorded by Columbia records just weeks after the show opened triumphantly at Broadway's Imperial theatre. It was originally released in two formats: a boxed 3-Lp set of the entire show, and a single Lp of the key musical numbers. While the single Lp was more commonly found, Sony has released the complete recording as a double CD.

   It's a vivid, theatrical performance. Robert Weede came from the Metropolitan Opera to play Tony and it is a perfect match of performer with character. Jo Sullivan sings gloriously as his "Rosabella" (and must have impressed the composer: he divorced his wife and married her during the run of the show.) As the heroine's best friend we have Susan Johnson, a performer who never got the attention she deserved. This was one of her few hit shows, as she often gave fantastic performances in flops liek OH! CAPTAIN and WHOOP UP. She retired from the stage and for many years show music fans cherished her few cast album performances for her distinctive belt. Her's was a perfect musical comedy voice.

   Loesser combines several musical styles from standard show tunes ("Standin' on the Corner", "Big D") to operatic arias ("Rosabella", "How Beautiful the Days.") There is some spoken dialogue and some recitative. About 80 % of the show is sung.

   It's a great chance to sit and listen to an entire performance of the show, undisturbed by late-comers. It's great for long trips in the car too!

2 comments about Santa's Bag: An All-Star Jazz Christmas.

1. 'Santa's Bag: All-Star Jazz christmas' is on top of my list as an favorite Xmas cocktail party CD. Hearing Bobby Short singing White Christmas, as well as Jazz all time Great; George Shearing playing 'Away in a Manger' is a real delight.. My favorite has to be Jeanie Bryson's sensual rendition of 'Have Yourself a Merry Little Christmas' At this price it is a steal, play it at that afternoon December cocktail party, and enjoy!



2. This is the only Xmas CD I'm replacing after our home burned down. It is jazzy, fabulous, and at times really funny.

5 comments about Man of La Mancha (1973 Movie Soundtrack).

1. Not sure what I might have thought of this 30 years ago, but at 68, I'm feeling pretty dumb that I only just now got round to seeing it.
   
   I was blown away! Not since the Broadway musical, "Les Miserables," have I been swept up in such a powerful presentation of the grace of God.
   
   Having spent the past two days tracing down its origins, it is clear that there was an invisible hand guiding the various writers through which the life of Cervantes finally became "Man Of La Mancha," the movie.
   
   Imprisoned by what was calling itself "church" in the days of the Spanish Inquisition, Cervantes, the sane man behind the mad man, Quixote, finds himself tried on two fronts. In the dungeon, where the Inquisition has locked him up, he is put on trial by his fellow prisoners. He defends himself by becoming the crazy Don Quixote, the would-be knight in quest of an "Impossible Dream."
   
   Enlisting his fellow prisoners as the cast of his play, as his defense plays out, he must convince a very fallen women, Aldonza, that she is an incomparable princess. All she need do to make the transition is to believe the new name he gives her, "Dulcinea." To that end he dedicates his life. Dying to prove his unoffendable love, she finally sees the light, and in her seeing, transforms the others held in prison be the Inquisition of that day.
   
   In short, the movie seemed to me to be vested with a meaning no sane person of this world intended. The original script may be found in Ezekiel, Chapter Sixteen.



2. Should be listed in Things to Do Before You Die. I have watched and listened to the Broadway and countless stage musical versions,this original film soundtrack always comes up trump. Don't worry if it's not Peter O'Toole doing the singing but it is enough to hear him delivering the fine lines superbly in the three roles - Miguel de Cervantes, Alonso Quixana and Don Quixote. Sophia Loren excels as Aldonza/Dulcinea and not to forget Sancho and the rest of the cast and crew who together bring this literary classic to life for us to enjoy and reflect.



3. I saw the movie ages ago and had beeen looking for the original soundtrack for just as long. Thanks to Amazon, I found it. As usual, you lived uo to your reputation.



4. I will be entirely honest: I hate the original Broadway cast album. I bought this one because I already owned the original cast, and, quite frankly, I didn't feel it was up to par with this version. First off, James Coco is a definite improvement to the high, nasally, and extremely obnoxious shrieking of the Sancho in the original cast. Secondly, Man of la Mancha is not, has never been, and will never be The Phantom of the Opera. The intent is not, in fact, to "wow" people with the amazing, perfect pitch and quality of the singers. The point is to draw you into the story and teach you something. Aldonza should not have an operatic voice. Sophia Loren acheives a far more impacting and touching performance with her rough, uncultered singing because a "kitchen slut" would not have a trained voice. Period. Comparing the versions of "Aldonza" between the original Broadway cast and the movie soundtrack, the movie leaves the original in the dust. I have never once cried during the original version of that song. Every time I hear it on the movie soundtrack, I'm in tears. Loren sells me like none other, especially in the reprise of "Dulcinea." And, personally, O'Toole or whoever it was who actually sang as Don Quixote, sounds more like an old man than the singer in the original. The movie seems more real.
   
   And, let's be honest, it's worth just about anything you could pay just for the "Life As It Is" speech. I don't care who you are, that speech is amazing. I just don't understand how anyone could hear that speech and NOT be breathless. O'Toole shines in that speech, and any soundtrack that doesn't include it isn't complete. And it really is worth buying the CD for that track alone.
   
   Maybe I am mad to love this version, but who knows where madness truly lies? I cannont say enough about this soundtrack. I love it. It gives me chills, and if Broadway Purists want to knock it, that's fine. They're missing out on the incredible experience of amazing versions of, "Aldonza," "Man of la Mancha," and, most importantly..."Life As It Is."



5. I see Simon Gilbert being given credit for having dubbed Peter O'Toole's singing, in the leaflet it specifically mentions O'Toole working 3 hours a day with a vocal coach to do the singing. Its tough to tell, sometimes it sounds like O'Toole, sometimes it sounds decidedly unlike O'toole. As for Quixote's songs (The Quest; I, Don Quixote) I agree that the Broadway version is better.

   However, I strongly disagree with the opinion that Sophia Loren's singing is terrible, but I do see how one could arrive at that opinion. My friend, who is also a big musical buff, winced the first time he heard 'Aldonza', she is off key at times, and her voice breaks occasionally as well. The passion in her voice more than makes up for that, and puts it in context if you will. I'll take a Aldonza/Dulcinea with passion whose voice has an accent and breaks when she is spitting words at Quixote over a perfectly in tune singer who conveys no passion. In short, when listening to Loren singing, I *believe* she is a trollop with no hope for anything better than where she is at, with the Broadway version I don't get that at all.

5 comments about A Funny Thing Happened on the Way to the Forum (1996 Broadway Revival Cast).

1. 1) Show is hysterical. The music, the tempo, the acting, it all worked so well, and there was such cohesion it was superb
   2) I played Hysterium in my high school play (Greenwich, CT: Brunswick - '01), and I had so much fun, and the CD helped immensley, as I heard several versions of the songs, and this one just rocked
   3) N. Lane's voice is very strong, but can sound whiney at times. I don't know...I'm not getting money for this, so what do I know?!
   4) Any chance I can get on stage?



2. My high school is doing Forum for there musical this year (I play Erronius by the way..), and this play is hysterical.Although, the movie conversion was totally crappy. The stage version is funnier. Nathan Lane was superb as Psudolus, and i reaaly didnt like him being replaced by Whoopi Goldberg...o well...



3. I personally am not a fan of classic musical theatre (although the time it was written may not be classic, but I do consider the music to be), but I love this album! The lyrics are witty and clever, and the wonderful music is all that I'd expect from Sondheim. This is a sure bet for anyone who's looking for a light-hearted musical where everything turns out okay in the end.



4. If you want to laugh, listen to Everybody Ought to Have a Maid. If you've never seen this show, I feel sorry for you. It's hysterical from start to finish. A great show and a great CD. I only wish that the early 70s revival which starred Phil Silvers was out on CD.



5. The number one reason to buy this remake is this: They took all of us musical theatre people's advice and speed it up! The tempo of this rendidtion is quick, smart, well timed musically and comically, and wonderfully orchestrated.

   Saks and his team have turned in a fun album of a show that sometimes needs to be seen (Coutesans, Marcus Lycus) to be appreciated. Great attention was paid to sound effects which helps the listening audience understand the action that more than likely was happening on the stage at a particular momnet. And that, my friends, is the mark of a good musical theatre recording.

   Much has been said about the individual performances, all of which are clear, well sung, and spoken. However, to say they are good performers is to take away from the real genius here. To make this musical work (and I've done it a couple of times) one has to find a complete cast of talented character actors. Romeo, Maria, Hamlet, and Barbara please sit down and make way for the circus fare. Saks has found his faux with the likes of Lane, Sabella, and Linn-Baker.

   At times the orchestrations drag on and the quality of the actual recording could be better if you have an audiophile ear. But for the most part this is a must have for the musical theatre person.