5 comments about Emotion.

1. Streisand Soars on fantastic vocals. This album came out in 1984 after Yentle the Previous year. It is pure Streisand Magic. It has an upbeat song Emotion with a classy video with Roger Daltry as Babs love interest. a Great duet with Kim Carnes. THe lovely Clear Sailing hits an emotional note since it is a song my ex and I shared as one of ours. Barbra's voice is a gift from heaven and any album of hers is worth a listen. Enjoy!



2. In my opinion, this was one of Barbra's best albums. Years ago I wore out the cassette tape - happiness is being able to hear these great songs and relive the memories that go with them.



3. As always Barbra can sing anything and make it sound like a masterpiece and this CD is truly magnificent - I burnt out my first copy of the cassette and now need to get this on CD - there are just so many I need - I'll eventually have the entire Streisand collection! Only Streisand can bridge the genertions - whatever the genre of the music, she makes it uniquely hers and does it with class, style and creativity! She makes each and every song come from the heart and the soul! The one and only superstar - Barbra Streisand!



4. Released in 1984, this album came at a point where Barbra Streisand's career was thriving more than ever. This came after Guilty, perhaps her greatest pop album, her surprising best-seller Memories, and of course the positive reaction to the Yentl project, so it had a good chance of being a huge success as well. Unfortunately, this did not match the success of any of her other 80s projects up to that point.
   
   To this day, many critics and fans alike consider Emotion Barbra's worst album. While I agree that this is far from her best, there are still plenty of shining moments for Barbra here. The title track is perhaps the most fun of all her recordings, and one of the few that even non-fans may enjoy, "Heart Don't Change My Mind" is a very catchy and well-sung ballad, "Make No Mistake, He's Mine" is a surprisingly good duet with then-fading star Kim Carnes, and "Here We Are At Last," written by Barbra and her then-boyfriend Richard Baskin, has a quiet sincerity to it.
   
   That being said, this album is maligned for a reason. For one thing, the album jumps around to the point that there's no consistency, and the end result feels too unfocused. But more detrimental to it all is that Barbra, who is known for feeling the lyrics to a song and making it her own, just doesn't seem to be willing to make these songs hers. Even listening to a lot of them, you can picture other artists singing them, and perhaps even doing it better. Just a few examples: "Heart Don't Change My Mind" sounds like it was meant to be a ballad for Aretha Franklin, "Time Machine" could have been a killer dance track for Chaka Khan, "Make No Mistake He's Mine" sounds like a Carole King performance, and "Here We Are At Last" would have sounded great on an Anita Baker album.
   
   Overall, while this album is not a classic, there are enough high points to make it an okay listen. However, it should be bought more for the curiosity factor than the want for a great Streisand album.



5. As some of people already mentioned in their reviews, this Streisand album is very peculiar and recurrently underestimated by music experts. From my persective it has its own value, setting clearly her capability to sing whatever she wants with no restrains to predefined musical genre. Definetively an album I enjoy and I will recommend for sure.

No comments about The Platinum Anthology.

5 comments about The Boy Friend (1954 Original Broadway Cast).

1. A wonderful return to the past, when musicals were simple without anything extremely complicated to convey to audiences. The music is up, refreshing and toe-tapping.



2. While Julie Andrews is wonderful, it is interesting that the vocal quality of other ladies in the cast does not match. It does provide a good idea of the show, though.



3. My daughter did this production for the high school musical. We still listen to the songs. Julie Andrews has a wonderful voice, and this CD is no exception.



4. This is a very zesty, stylized production of the original import from England with a very young and fresh voiced Julie Andrews. Ms. Andrews, in her debut to Broadway, leads the way in this marvelously entertaining and delightfully campy "The Boy Friend". All the cast members join in with great infectious and sincer enthusiasm to insure that those of us "in the colonies" get two shot gun barrells full of satyrical musical comedy to which the British reign supreme. Unfortunately, this was made before DVDs were born, but one can almost clearly visualize the cast in their stylized costumes and flapper era postures belting out the tuneful score that will sweep you off of your feet. What a joy!!! The sound is suprisingly very good, so purchase and play this CD, put your feet up and ENJOY!



5. I just saw the Julie Andrews Production of The Boy Friend and she did a marvelous job. Polly was good but does not compare to Julie as Polly Brown. This CD is great with Julie in it. If she were not in it, it would have flopped.

5 comments about Zombie Prom (1997 Original Off-Broadway Cast).

1. A cross-between Grease, Night of the Living Dead, and the Rocky Horror Show. Two teenagers from opposite sides of the track fall in love. When their parents and friends force them to break up, Jonny commits suicide in the town's nuclear reactor. But his girlfriend's love brings him back from the dead. Will they be able to go to the prom together, or will the school principal end their happy future? Catchy tunes and witty lyrics make this a fabulous addition to anyone's soundtrack collection.



2. When I first heard of this show, I was like, "Um...what the heck?". But then I learned that our school was going to perform Zombie Prom, so I decided to research the musical, and when I heard the songs, I was hooked. The songs are amazing and the story is one-of-a-kind. It's one of my all time favorites. Two thumbs up!



3. Recently I was in a small group who put on a production of Zombie Prom in 10 weeks, with only 2 hours of rehearsal each week. I had no idea what to expect, as I'd never heard of ZP before. To get to know the show better, I ordered the CD. For 10 weeks, I practically lived for those Saturday mornings from 9 to 11. To say this is my favorite musical almost seems like an understatement. It is just such a great show. Sure, the music is slightly cliché, but it's supposed to be. The lyrics are fantastic, the story is certainly different, and overall it's fantastic. My only complaint about the CD is that though 90% of the dialogue is included, the few scenes that were left off happen to be some of the funniest in the show.



4. I performed Zombie Prom with a local community theatre group and it was the most amazing experience of my life. The music and the storyline are so unique and original it's impossible not to fall in love with this show. If you have any reserves, forget them! Zombie Prom is the best production I have ever been in, everything about this show is hysterical, the music is great with good lyrics and tight harmonies. This is a CD I would recommend buying over every other CD in the world (and that is not exaggerating)!



5. I just came back from rehearsal for this musical at the college. I'm costuming and lighting for the show, had previously heard the first 15 minutes of the CD but hadn't until this evening heard all the songs. It is a WONDERFUL show! High energy, great songs (GREAT songs!) fun, campy... I came home singing the songs and decided I must buy the CD right away.

5 comments about The Best Little Whorehouse In Texas: Original Cast.

1. Great sound track, very close to the sheet music, speedy shipping from seller, over all a very good transaction.



2. I saw the orginal broadway play. It was a fun show. The original broadway cast should have been the cast for the movie, but I digress. Carlly Glynn has a wonderful voice that puts you in the scene and makes you want to be there. It is an enjoyable cd. A lot of fun made of our "sins of the flesh" without being tacky. Great Fun!!!



3. I've always tried to find the Broadway version of movie musicals. I got this one at a used CD store. I liked the songs, including several that didn't make it into the movie, (sub-plots that wouldn't fit?). My complaint is the vocalists. I wouldn't mind if one or two were less-than-spectacular, but the whole cast? Miss Mona is shrill, the "watchdog" is flat, and the governor gargles! The music is interesting, but the vocals are a step below community theater. I'm going to look into the re-make recently released.



4. Simply put, "The Best Little Whorehouse in Texas" is one of the most underrated scores in Broadway history. True, it doesn't have traditional, grand melodies like "My Fair Lady" or "The Sound of Music," but it does have wonderful songs that help advance the story of this unique musical. Every song in the score is hummable, and some are very lovely. Just because it wasn't nominated for a Tony for Best Score in 1979 (it was nominated for Best Musical and several others) doesn't mean it didn't deserve a nod. The score should've been on the list, and, in fact, did win two Drama Desk Awards the previous year when it played Off-Broadway.
   This CD should be in everybody's original broadway cast collection. It's a true gem.



5. Those of you who have read some of my other reviews probably think I'm a prude: I've complained about shows that throw in sexual material just for effect, and I've praised shows for omitting sexual innuendo. Well, you'll be surprised to learn that I enjoy listening to THE BEST LITTLE WHOREHOUSE IN TEXAS, which I'll call `BLWT' for short.

   Why the apparent change of heart? From its title, you should expect this show to have the capability to offend. When you consider the potential coarseness of the subject matter, BLWT handles it quite tastefully. (Although there are plenty of scantily clad men and women in a few scenes, don't confuse the staged version with the more vulgar movie!) As long as you can suspend your objections to prostitution, and you don't mind rooting for the girls to keep their jobs, it really isn't that difficult of a show to digest.

   That said, here are some more specifics on the show.

   THE STORY:
   The Chicken Ranch of Gilbert is a beloved institution in Texas. With a history harking back 80 years, it has served as a homey "pleasure palace" for the men of the Lone Star State, and is currently run by the no-nonsense Miss (not `Madam') Mona Stangley. Miss Mona runs a class act: the grounds are well-tended, her `Ladies' live under strict regulations, and the `Guests' are treated with the utmost respect and are expected to reciprocate.

   Everything's fine until TV moralist `Watchdog' Melvin P. Thorpe declares a personal crusade against the Chicken Ranch. Despite the fact that "one-half of the police officers and two-thirds of the lawyers in the state of Texas grew up in this house," the political pressure mounts and the Ranch is eventually shut down. While others object, Mona just takes the bitter with the sweet and moves on.

   THE MUSIC:
   Carol Hall (best known for her music on SESAME STREET) has written a fun-loving score reflecting her Texas roots. Her lyrics reflect the low-key lifestyle of the citizens of Gilbert, from extolling the virtues of the Chicken Ranch ("20 Fans"), to Miss Mona's assistance to a lost girl ("Girl, You're a Woman"), to a town waitress wishing she were less respectable ("Doatsy Mae"). Two great upbeat numbers are "A Lil' Ole Bitty Pissant Country Place," in which Mona explains the rules of the Ranch to her newest Ladies, and "The Sidestep," the governor's dance for the media. Perhaps best of all are three songs of the Chicken Ranch residents as they see the writing on the wall: "No Lies," "Hard Candy Christmas," and by far the best song of the show, Mona's reflection on how she ended up in her present situation, "The Bus From Amarillo."

   The only song that's a real let-down is "Good Old Girl," the sheriff's paean to Miss Mona. It doesn't help that that Sheriff Ed (Henderson Forsythe) has a terrible voice.

   THE RECORDING:
   While none of the voices on the original cast are standouts, everyone's voice (except Forsythe's) is pleasant enough to listen to, and their acting abilities are fine. As Miss Mona, Carlin Glynn does an admirable job being a tough Texan while still showing compassion.

5 comments about Bernstein Conducts Candide.

1. This CD is broadcasted on the best level for this music. The singers are a pleasure to hear and the orchstra is really perfect. Why only Leonid Bernsteins musicals Candide and West Side Story are availiable in this high quality? There is a lot of musical composers on this level, but CDs like this are not produced.



2. (Note: This review substantially repeats an earlier one for a highlights album from DG.)
   
   Since almost everyone owns a CD burner now, it's possible to compile a hybrid performance that merges the classic 1956 original cast recording (Sony) with this very complete DG performance from 1989, featuring Bernstein on the podium and nearly every delicious bit he composed for the show over a period of three decades. (One could also dip into the excellent revival by the Scottish National Opera, whose singers are as operatric as DG's but younger and often better.) Candide is the sum of original inspiration and a lot of mixed after-thoughts.
   
   I mention this recourse to a hybrid rendition becasue for all its virtues--this is a well-reocrded set with alert conducting from Bernstein (without the extra fat he added to his semi-operatic West Side Story with Te Kanawa and Carreras) the weakest things here are the two leads. The late, lamented Jerry Hadley has a gorgeous voice, but he applies a layer of ersatz emotion carried over from the opera stage, and June Anderson is a crossover diva who never lets us forget that she was born to sing Norma, not Cunegonde.
   
   They are so inferior to the brilliant Barbara Cook and Robert Rounseville on the original-cast album that I hit upon the idea of a hybrid performance, as follows: Keep all of the 1956 selections and splice in additional music from this set in proper sequence. It doesn't make for perfection, because after decades of tinkering with the score, allowing Broadway babies like Hal Prince and Stephen Sondheim to hang ugly tinsel on it, Bernstein includes some trashy numbers (the text of the opening quartet is a cringe-worthy Sondheim addition) and revives some inferior discards from the original score.
   
   Even so, the finished hybrid product is very satisfying, much greater than the sum of its parts. One gets to hear a classic show saved by the skin of its teeth when Columbia producer Goddard Lieberson decided to make a cast recording of a flop, with the addition of brilliant music that never got into that first album. This DG performance gets 4 stars, the hybrid 5 stars.



3. I have owned this recording for some time , but really enjoy giving it as a gift to those who are not aware of the work. It conveys all passion and zeal of a live performance. Only the composer , often with tongue in cheek, could extract this performance from the soloist and orchestra. you can literally feel "Lennie" dancing on the podium and mouthing the lyrics..and who else but bernstein could capture Ludwig,Hadley and Anderson to create the stellar cast.. this recording alone should create interest in a possible broadway revival



4. Has anyone else noticed that as you get older somethings need a second look and they turn out better than you remember them being when you were younger? This is one of those things. For lots of reasons! I find as I get older I appreciate a great many things I did not when I was younger. How could I have missed this? Perhaps Candide just requires too much thought for youth? But this is music you have to listen to rather than just use as background music while you work. For that I still use Harry Potter sound tracks!
   
   In response to one reviewer's comments on this CD:
   I DO just give out five stars. I have learned that those who read and vote on reviews already have been attracted enough to the item to look for it and so may vote against your review if you give less! But then, I don't recall being interested in something I wouldn't give five stars to enough to think of doing a review -- which after all turns out to be a good way to help remember things! I have had this CD set for longer than I remember but now that I have listened to it again more carefully and not just to find the piece that was so lovely on the radio -- now is when it occured to me to praise it here. But I even gave Ann Coulter's new book five stars! That review has since disappeared for some reason.



5. I find the operatic voices grating and the overall effect somewhat lacking, where there should be words all there is is tremolo. My appreciation of this piece is colored by my first exposure to the excellent San Francisco Symphony and Chorus production of 2002 or so. I find Candide and the Governor particularly disappointing. In the SF Symphony performance the finale was a superbly powerful and full bodied affair, if they had been allowed to record it I wouldn't be writing this review now, by contrast the finale on this production is spoiled by the excessive tremolo. As I listen while I write this I've had to take my headphones off so I can remember the way I have heard this instead of how it's performed here.
   
   This is not the production for me.

5 comments about Annie Get Your Gun: Original Motion Picture Soundtrack (Re-release of 1950 Film).

1. What could have been one of MGM's best, very simply, is not. While Betty Hutton gamely gives it her all (some times a little too much "all") and Keel is perfectly cast, MGM once again massacred the score. One of the best theater songs ever written, I Got Lost In His Arms, was cut. Why?
   Should have been better than it is, leaves one wondering what might have been had Garland completed the film.



2. This CD is well worth the money. If you loved the movie and want to relive the thrill and energy of the production while driving or around the house - get this CD you won't be sorry. I want to point out that some other reviews said Betty Hutton was not as good as Judy Garland. Not true. Betty's ability to sing in the accent she spoke in brought the character and performace to life. Judy's great but not great at everything.



3. I was very pleased with this CD because it not only had the original movie musical soundtrack, but also included the versoin with Judy Garland that was scrapped when she was replaced by Betty Hutton.



4. I bought this especially for the "missing " Garland soundtracks. And yes , anything Hutton sang, Judy sang better. It goes to prove that as a singer, Betty was a struggling artisan, croaking out the words badly at times. Whereas,when Judy the artist sings, you can feel every emotion and nuance that you would expect from a great artist.
   
   Even though the movie version with Hutton isn't the greatest, it's still worthy of getting for your collection. Hutton's version adds a bit of zaniness to the character that neither Judy, or Ethel would want to attempt. With Garland the movie would have been entirely different, and knowing Judy's ability to rise to the occassion, it probably would have been better. After all,there is a reason why she has been known as the "world's greatest entertainer". Even in her outtakes that were supposed to be "so horrible", she seemed to have that performers ability to entertain. (I felt her outtakes were better than Hutton's finished performances.)
   
   That being said, this soundtrack gives you an idea of what a Garland Annie could have been like. Its kind of fun to compare and contrast. Hutton did give her Annie a slapstick, comedic take that makes it fun to watch, and she did give it her all. Its amazing to hear the Garland naysayers, though. For one, Judy was always beautiful as an artist and as a person. Secondly, everyone has a favorite Judy Garland movie whether it be Oz, or Meet me in st louis, or Girl Crazy, or A Star is Born. Each of her characters were different and her co-stars and chemistry were different,yet each perfomance was done beautifully. I have to give the little lady the benefit of the doubt. I think Judy Garland would have been a terrific Annie Oakley.



5. I was a little nervous ordering this CD because I thought it would be poor quality based on the reviews. I was very pleasantly surprised and enjoy the music. The CD includes Both Betty Hutton and Judy Garland. ( I prefer Betty Hutton) and 2x Howard Keel. If you like the music from Annie get your gun, you will enjoy!

5 comments about Music for a Darkened Theatre, Vol. 2: Film & Television Music.

1. Years ago, watching peter Jennings cover the funeral procession of Princess Diana, my soul was captured by some hauntingly beautiful music that at times played in the background. So began my mission to find out what it was, who wrote it and how I could get it. After some correspondence with the network I was put in touch with the woman who "put together" that part of the programming. All she could remember is that it came from the movie "Black Beauty". THEN I found out how many versions of that had been made lol. With determination, I finally found it, and had a local music store order it for me.
   There are no words to describe what this music does to me. I did try listening to some of the other tracks, but they didn't even come close. I rate this music right up there with the 1971 score for "Jane Eyre" by John Willams... and that's pretty high :D



2. Very nice overview of Elfman work. Insufficient by itself but worth having along with the full soundtracks. Bonus disc is a nice extra.



3. I Love Danny Elfman's music so much that I have started my own collection of the soundtracks that he composed. For a while, I was trying to find the "Beetlejuice" theme song from the TV show, but thanks to this release, I finally have it!!! Keep up the good work Elfman!



4. Music For A Darkened Theater, Vol.2 is a great cd!!! I love all of the tracks on both cd's,but my fav. ones are the t.v. scores and the This Is Halloween demo!!! If you love this,then i recomend looking at all the actually albums on this cd and his other works!!!! good job,Danny Elfman.



5. The liner notes and "This is Halloween Demo" on this compilation are well worth the CD price by themselves. Danny comments on each of the tracks on the CDs which is a rare and ego-free look at what a composer thinks of his own work.
   
   Edward Scissorhands is magical, Black Beauty is a rollercoaster of emotion, and Dolores Claiborne makes me want to find the nearest piano. This is not a "Most Popular" compilation, rather it aptly showcases Danny Elfman's (and Orchestrator, Steve Bartek's) brilliance and wide range of style.
   
   Every suite has an Elfman signature, such as the layered complexity which never sounds overdone, or the use of a choir as an instrument.
   
   This (and Volume 1) are examples of the work of a modern day composer who consistently stands out as one of the best.
   
   If you like this and have the spare cash, grab the individual scores from some of the movies he has worked on, including "Men In Black", "Spiderman", "Batman", "Batman Returns", "Nightmare Before Christmas", "Edward Scissorhands", "Mars Attacks" and so many more.

3 comments about Mary Poppins.

1. The CD as such is just fine. It even came sealed and was not damaged in any way.
   
   But if you are looking for a CD of the original LP, you will have to look further if this bothers you as much as it bothers me: in the cut "Fidelity Fiduciary Bank", the two lines starting with "While stand the banks of England" are missing. Instead, on the CD (not just the MP3 file, but on the CD itself) you get a few moments of silence.
   
   Of course, you may not care about this.
   
   Another point: the volume of the CD/MP3 files is /much lower/ than usual. This is a "digitally remastered" recording, which may or may not be related to the low volume level. The low volume level, of course, may or may not matter to you. Since I use a Windows computer, and since turning up the volume for this album makes any sounds Windows choses to emit very very loud, it matters to me.



2. My daughter's eyes lit up when she heard her favorite movie in the car. The soundtrack sounds great. One of the other reviewers mentioned that her copy did not come with the shrink wrap, my copy did and it was also a import, but, the case of the CD was damaged but luckily the CD was not. I



3. Love the music. My only complaint is with the packaging. The CD was not sealed which the vendor says is because it was from another country. I was giving one as a gift and I was uncomfortable giving an unsealed CD. Also, I ordered 2 CD's and one of the cases was damaged.

5 comments about Elegies - A Song Cycle by William Finn.

1. What is there to say about Elegies that hasn't already been said? Let me start off by saying this is a totally biased review. "A New Brain" is my absolute favorite score of a musical, so I was not surprised to fall in love with Elegies the way I did. Some may find it crazy that I enjoy having my heart ripped apart and and crying for hours while listening to this score, but I do.
   
   I'd like to end on a good note, so I'll give my one negative critique now. Bette Buckley (with the exception of Looking Up, which is PERFECT) doesn't really do it for me on this album. Sorry Buckles, but your "Infinite Joy," which is possibly the most beautiful song ever written, doesn't hold a candle to Liz Callaway's. I may even enjoy her more if the rest of the cast wasn't so so perfect. She sticks out. Unfortunately. Moving on.
   
   Carolee Carmello, where did you come from?! This woman is absolutely fantastic. If you need further proof, listen to "Parade." Go see "Mamma Mia!" (a show I would spend $110 to see JUST to see Carolee), listen to her on "Infinite Joys." In fact, buy it right now and listen to her singing "When The Earth Stopped Turning" and "I Have Found." Seriously, not enough good things can be said about her. Though "Anytime" would've been perfect in A New Brain, which it was originally written for, it's even more perfect in this show. "Monica & Mark / Anytime" is an epic story that simply breaks my heart. And if that's not my heart, Carolee does it again in "Boom Boom." I was left devastated the first time I listened to it.
   
   Other highlights in the record: Christian Borle singing "When The Earth Stopped Turning." William Finn has such a way of being subtly heart breaking. Keith Bryon singing "Mister Choi" and "Joe Papp." The beautiful group number "Peggy Hewitt." Oh, and let's not forget about Michael, who's a Finn alum, and for good reason. William Finn really knows who is going to sound good singing his music, and this is the perfect CD for that.
   
   Again, not enough great things can be said about this album. Buy it now, please.



2. I had the great good fortune to see a production in Boston, about a year after the NY production represented here. While the voices were not quite as big, they all presented the material beautifully. What some of the other reviewers have said, not all these songs are things that you want to listen to over and over. Some of them are best left at the theater. Through the wonders of modern technologies it is easy to skip pasts Dogs and others that don't stand up as well. Then there is the masterpiece Infinate Joy. Every once in a while, while performing, I slip in the song Infinate Joy. It is amazing to see people stop dead in their tracks and tune in and then wonder where this incredible song came from. For every cabaret singer who sings the same twenty or thirty songs that everyone else does (Stars and Moon for example), why not try this one out. It is far more emotionally open and listeners love it afte they have tuned in. It is by far the most perfect song Mr. Finn has written, and I love his material. Add to that When the World Stopped Turning and Goodbye and you have quite a lot to love here.



3. A friend has been pushing Finn's work at me for a while now, especially extracts from Putnam County Spelling Bee and Elegies. I finally ordered the Elegies CD (from Amazon), received it and have listened to it a few times now, some tracks more often than others. The concept of the cycle is wonderful, and as many others have stated, one is left with an ache that somehow contains optimism. Each song is a polished gem, though some shine more than others. I would have to list "Dogs" as a low point, and "Mark and Monica" as the high point for me. All 6 performers are wonderful-----the 5 singers and the amazing pianist. As a pianist myself, I can hear how much work went into preparing to play this music, and feel that the gentleman is not given enough credit.
   
   The most haunting moments (for me) occur when ensemble singing is heard, such as the opening quintet, the wordless male trio interludes in "Mark and Monica", and the finale. The vocal writing at these moments is absolutely brilliant, taking advantage of each singer's strong points.
   
   My only criticism (and it is perhaps just that I am unused to Finn's aesthetic) is that everything is is so self-referential. We do not have the memories that he does of his family and friends, and although these songs bring them to life for us to some extent, they are impressionistic portraits drawn from a cohesive whole that only he knows deeply. Writing this cycle must have been very cathartic for Finn.
   
   That said, I am sure that repeated listenings of this work will allow me to hear things that are as yet not noticed. It would also be wonderful to see a live performance of Elegies, adding a new dimension to the overall experience.
   
   Bottom line, then: Bravo, Mr. Finn! Thanks for sharing your world and the people it contain(ed).



4. The work here is about more than simple aesthetics of the voice. Hello...it's called ELEGIES for a reason. Trust me, if you want to be touched by some of William Finn's most personal work, then give it a listen.



5. I love the pianist.

   I was a fan of Finn's "A New Brain" (thanks, mostly, to it being Kristen Chenoweth's B'way debut) and was excited to purchase this album. However, I couldn't focus much on the music as all three of the male performers (who have the brunt of the music to sing) were incredibly nasal and very irritating to listen to. Most of the time I found myself skipping a track (aspecially "Mark and Monica" and "All Male Thanksgiving") because the performers' voices were soo obnoxious and nasal that I started getting a headache.

   The only people I would recommend this album to are fans of the divine Carolee Carmello and Betty Buckley. Both are in excellent voice (although Carolee seems to have started pushing her voice since "Parade") and sing their songs with as much conviction as they have in all of their other works.

   Except for the last song, I was not impressed by the material--what few rhymes there are are trite and commonplace, and Finn is even audacious enough to put praise forhimself in one of the lyrics. Sure he struck gold with "Falsettoland" and (well not so much) "A New Brain", but Finn's "Elegies" are less reminiscent of good times as they are whining about the unfairness of losing someone and how shocking everything is when someone you love is gone forever. Blah blah blah.

   Mediocre at best.