5 comments about The Gorey End.

1. If you like avante-garde cabaret music with a morbid twist, this is the album for you. A joint collaboration between the Tiger Lillies and the Kronos Quartet, the songs are based on poems by Edward Gorey.



2. ...normally play string with my girlfriend's cat while naked, gradually working both her (the cat) into a fearful frenzy before my own faux-waltz of lip-syncing grandeur.
   
   Now that I have the perfect music to do it to, this may change.
   I only wish my girlfriend loved it half as much as her cat loves that string.
   
   I first came across The Tiger Lillies years ago on, of all things, a Satanic Internet radio station, and have found myself returning to them periodically, trying to be frugal with my music budget, knowing (as happened with the late great Gorey) that novelty can turn to addictive brilliance before your credit card can say:
   
   "Well, hello again."
   
   The higher price of imports helps, but I fear this album won't sustain me for long, long and graceful as the vocals are, encircling the wind keys, wrist strings, and waif skins that live forever. A mad old heiress disguises herself as one libertine commoner, then wails watery makeup into the corpse of the one she eats, and dies, but her spirit will weaken, then cling to you like a starving orphan.



3. But now converted... I was attracted to this CD because the songs are musical versions of Edward Gorey stories. I have to confess that at first I did not know what to do with the music, how to categorize it I mean... but because the stories are great and funny, the music grew on me and now I love the CD. I listen to it almost every day, at least my favorite songs:
   
   Weeping Chandelier (great tango!!!), Besotted Mother (a delightful waltz... ja!), Gin (that rhythm makes me want to dance), Hertha Strubb (crazy!!!), QRV (what is QRV? Anyway, the kids love it) and Trampled Lilly (romantic, sad and dark, veeeery dark)
   
   If you do not have an obscure humor, a taste for experimental music and if you are expecting classical music or something of that source, this is not the CD for you.
   
   But for everyone else, I recommend it widely...



4. Once you get past the falsetto Lotte-Lenya-meets-Kevin-Coyne voice, you can concentrate on the meta-Gorey lyrics. The words come from original Gorey texts that have been liberally adapted. If anything, they emphasise the commonalities with the world of Charles Addams. The musical style is, as the group itself says, avant-garde cabaret. The Kronos Quartet, despite being co-stars, do not seek to upstage the Tiger Lilies.
   Definitely recommended for Gorey fans and Goths who love serious (?) cabaret (if you are out there).



5. The Tiger Lillies are a trio,who play a slightly demented cabaret
   style of music. Just the perfect band to put Edward Gorey's lyrics to music. They use accordian, banjo, sting bass, snare drum and even ukulele to achieve a unique sound.
   This recording adds the Kronos Quartet on 9 of the 13 tracks and
   They really fill out the sound nicely. One caveat; Martyn Jaques
   singing. It's a dramatic falsetto, with lots of rrrroled "R's".
   But if you are a fan of Gorey you can probably accept his voice
   on it's own terms. This is not as raw as other TL releases.
   Recommended for the adventurous listener.

5 comments about Classic Disney, Vol. 3: 60 Years of Musical Magic.

1. This CD is a wonderful collection of some 25(!) of the most beloved Disney hits. Indeed, the songs on this CD are all songs from the great Disney movies that you remember from your childhood. There's "You've Got A Friend In Me" from Toy Story, "Oo-De-Lally" from Robin Hood, and "I Wan'na Be Like You" from The Jungle Book (I love that Louis Prima!).What's also wonderful is that the hits are from the great Disney movies right up to the present, with such songs as "Jack's Lament" from The Nightmare Before Christmas.
   
   My whole family loves these songs, and often sings along with them. My personal favorite is The Silly Song from Snow White and the Seven Dwarfs - I love that scene!
   
   Buy this CD you won't regret it!



2. This third CD of Disney music is a good mixture of the old with the new. Track 1: "Colors of the Wind" from POCAHONTAS is one of the best songs composed to date for a motion picture. Track 18: "Bella Notte" from LADY AND THE TRAMP brings back many memories as does Track 21: "The Ballad of Davy Crockett" from television show and movies. Going back even further is Track 24: "Little April Shower" from BAMBI, which is an interesting composition representing nature's beauty, fury and return to tranquility. Track 6: "Les Poissons" is a great number from THE LITTLE MERMAID that is well composed musically but also is used to advance the story of the film. This is yet another great CD in this series.



3. Disney has once again put some of its most liked songs into a single album. The songs on this CD are some of my favorite songs and I'd recomend the CD for anyone that has kids or just likes the songs.



4. Burton movies are great. Burton movies with Elfman's music... well, they're out of this world. Nightmare before Christmas is my favorite movie of all times, and someone who hasn't seen it, doesn't have to make those comments. It's a movie full of great feelings; plus the music is great. Someone who hasn't seen the movie wouldn't understand "Jack's Lament"... I invite Caroline to see it and THEN critize it. BEST MOVIE OF ALL TIMES.



5. These Disney CD's are so great. People of all ages can enjoy them. My favorite is volume 2. My 3 year old LOVES it but so does my 22 year old friend!

5 comments about City of Angels.

1. Fun show, ingenuos concept, so-so score, with one exception. The ballad With Every Breath I Take is brilliant. One of Coleman's best pieces.



2. A duet between an author and the character he created, each claiming "you're nothing without me," is just one example of how sharp, witty and clever show is, with an unusual score, jazzy and bluesy and very 1940s, and some of the best lyrics I know.



3. City of Angels is an incredibly fun, classy, and jazzy musical that delivers. Stellar vocal performances are provided by the entire cast, particularly the female end. The fact that Randy Graff was the only female from this cast nominated at the Tony Awards that year floors me. Kay McClelland and Rachel York deserved nods for their powerful solos, With Every Breath I Take and Lost Found, alone. These two songs are also the type of sultry, jazz solos that one would expect in the 40's, which is why the show works. The music is completely period with when the show takes place, and that's why I love it. The best tracks are:
   
   3) What You Don't Know About Women
   6) With Every Breath I Take (destined to be a classic)
   9) Lost and Found (wonderful solo)
   10) All You Have To Do Is Wait (FUN! FUN! FUN SONG!!! Hilarious as well)
   11) You're Nothing Without Me
   13) You Can Always Count On Me (Randy Graff's Tony!)



4. 1990 Tony winner for Best Musical, "City Of Angels" contains a great score, filled with jazz-oriented melodies & torch songs. Not all the songs are terrific, but most of the score lends itself to repeat listenings. Best tracks include:
   
   Double Talk
   What You Don't Know About Women
   With Every Breath I Take [beautiful song!]
   Lost And Found
   You're Nothing Without Me [the show's hit]
   You Can Always Count On Me
   Funny
   
   Great cast ... great buy!



5. This is one of my favorite soundtracks ever! Since I'm going to be working on music for the show, I'm happy that this is the case. It has been in my CD player for a few weeks now, and there's enough variety for it not to get old. But having read through the script makes the lyrics infinitely wittier. Musicals are supposed to rely partially on the lyrics and partially on the script. This show does that perfectly. Without the script, the lyrics are (apparently) lacking. But without the lyrics, the script is missing something. When you put the two pieces together, however, it's really easy to see why this show won a Tony.

5 comments about My Fair Lady (1959 Original London Cast).

1. Before the days of cd's, I wore out two lp's of the original Broadway cast of "My Fair Lady." When time came to purchase a cd, I bought this one, not even realizing that it was a different production. I saw just the two stars on the label, Julie Andrews and Rex Harrison.
   Now, the question arises: When an artist has been performing the same role for two years, does he/she settle more deeply into the character, or become blase and mechanical? I did not sense a great movement in either direction, although the former might have a slight edge.
   As I have read the other reviews posted about this recording, I notice that most are actually comparing the two rather than reviewing the one. Let us not forget that "My Fair Lady" is a great musical. Either of the two recordings does it justice. Andrews and Harrison are just right for their parts, as are Stanley Holloway and Robert Coote. In another role, I must say that I prefer the Freddy of John Michael King from the Broadway cast.
   The only reason I have not given a five-star rating is the sound engineering. The orchestral sections blast me out of the room. Then, when I turn the volume down, I can hardly hear the vocals. So I turn it up, until the next orchestral, and then . . . . . . .



2. One listen to the London original cast recording of My Fair Lady and you know why this CD still sells. Despite the decades, the recording sounds fresh, clear and crisp. There is no background noise on this CD! Moreover, the songs by Lerner and Loewe are brilliantly composed and the lyrics are clever, witty and poignant. This CD proves it.
   
   The CD opens with the overture to the musical stage play and then goes right into the first song entitled "Why Can't The English?" More spoken than sung by Rex Harrison, "Why Can't The English" fleshes out his character's lament that too many British people don't speak English well. The melody is catchy and the lyrics are funny at times even if some of the humor is dated.
   
   The lesser educated British have their say in the next number, "Wouldn't It Be Loverly." In this song, sung by Julie Andrews as Eliza Doolittle with male backup singers and a chorus of whistlers, demonstrates how these persons really do want to lead a much more sophisticated life with more luxuries.
   
   Other great songs on this CD include the rousing "Get Me To The Church On Time" sung by the memorable Stanley Holloway; the beautiful love ballad "On The Street Where You Live" performed by Leonard Weir; "I Could Have Danced All Night" which is performed flawlessly by Julie Andrews who belts out those incredibly high notes; and "The Rain In Spain" delivered by Julie Andrews, Rex Harrison and Robert Coote. Excellent!
   
   One especially amusing song is entitled "A Hymn To Him" performed mostly by Rex Harrison with some assistance from Robert Coote. The violins at the beginning of this number are beautiful in the musical arrangement.
   
   The CD concludes with a extra bonus monophonic track of the waltz music for the scene in which Henry Higgins takes Eliza Doolittle to the Embassy ball. "The Embassy Waltz," conducted by Percy Faith, offers a beautiful musical arrangement that leaves you wanting more--so don't be surprised if you get the urge to play the CD all over again from the very beginning and enjoy it once more.
   
   The musical arrangements are carefully planned and executed throughout; only Lerner and Loewe were capable of producing such a fine score to go with this stage play. The tempo of the score is faster overall than it was for the original Broadway production; this is especially evident in the opening notes of the overture. Nevertheless, it all works brilliantly.
   
   The liner notes boast terrific black and white photos of the actors in the stage play along with a special color photo of Julie Andrews and Rex Harrison. Didier C. Deutsch contributes a lengthy essay about the history and production of My Fair Lady as well.
   
   The music and lyrics to the original London cast recording of My Fair Lady are timeless. Even today, more than four decades later, the soundtrack still sells well. The musical is one with which many people can identify as it illustrates through words and music the blossoming love affair between Henry Higgins and Eliza Doolittle. Indeed, the story and the music add to the enchantment as we realize that even Higgins and Doolittle themselves are unaware of the full power of their mutual attraction until the very end of the stage play. My Fair Lady will remain a classic musical; and the score to the stage play on this album is priceless. May you enjoy this soundtrack as much as I did!



3. In 1956, Lerner and Loewe's MY FAIR LADY swept into Broadway and quickly captured the hearts of critics and audiences alike, the perfect transformation of George Bernard Shaw's play "Pygmalion" into the world of the musical theatre. Both Rex Harrison and Julie Andrews played the show for two years on Broadway before yielding to replacements (Edward Mulhare and Sally Ann Howes), and in 1959 traveled across the pond to headline the London company. The show opened at the Drury Lane Theatre in April 1959, and ran for 2,281 performances.
   
   While both Julie Andrews and Rex Harrison had laid down their definitive performances as Eliza Doolittle and Prof. Henry Higgins for the 1956 original Broadway cast album of MY FAIR LADY, the subsequent 1959 London production allowed them to record another album, in the brand-new stereophonic format.
   
   Despite this 1959 recording having a sweeter sound than the earlier 1956 mono album, this sadly remains the lesser of the two, because a lot of the energy and flash had disappeared from Julie Andrews' voice in the years she had performed the role. On the Broadway album, Andrews gives a rich performance that runs the gamut from cockney guttersnipe to regal high society, but comparing the two albums directly, she does not sound at her optimal best on the London set. Andrews has acknowledged that she found the role of Eliza both physically and vocally exhausting, even more so because of the lack of body-mikes, and the projection must have been gruelling at times. No wonder that so much of the bloom in Andrews' voice had vanished by the time she reprised her role in London. Despite Andrews, the album does have a few merits including breezy orchestrations under the direction of Cyril Ornadel (the Overture is given a much faster tempo than is heard on the Broadway set).
   
   The supporting cast includes Stanley Holloway (also reprising his Broadway role) as Eliza's dustman father Alfie. The role of Freddy is played by Leonard Weir (his "On the Street Where You Live" is very charming), and Robert Coote also repeats his Broadway role as Colonel Pickering.
   
   The 1959 London cast of MY FAIR LADY, just like the 1956 Broadway album, has never been out of the catalogue, though the confusion between the two albums still exists, despite the fact that the London album sports a gold-brown cover and the Broadway album is white. Sony Broadway Masterworks' edition features a bonus track of the "Embassy Waltz", a mono recording from 1956.



4. I have heard the Columbia Masterworks recording of this show as it was produced in Isreal. Same orchestrations, different lyrics! In Hebrew of course. I wish it were still available.



5. Let's begin by comparing both the Broadway and London scores to the 1964 movie soundtrack-- actually there is no comparison! Both Broadway and London surpass the movie recording by far, only demonstrating the HUGE mistake Hollywood made by not casting Julie Andrews as Eliza Doolittle. Andrews' purely delightful soprano voice and perfect diction cannot even be compared to Marni Nixon's voice dubbing in the film. In addition, Andrews is British, which is critical to this play, unlike Nixon's purely American accent heard in the film.

   As far as Broadway vs London MFL recordings, I would have to agree with the others who are in favor of the "white" Broadway album. While both are very good, the Broadway album does appear to be less "forced" than the London album due, most likely, to the fact that it was recorded before the cast had exhausted themselves singing the score after a few years on the stage. Both Rex Harrison and Julie Andrews appear to be more "natural" in the Broadway album, and Andrews does definitely lose a bit of the innocence in her voice in this recording.

   All in all, I would recommend that any MFL collector invest in both the Broadway and London cast recordings to make your own opinions. Yet, for someone looking to buy only one album, I would stick with the Broadway version. In all situations, save yourself some money and skip buying the film soundtrack.

5 comments about Broadway: The Music of Richard Rodgers.

1. Well, I cant really say much more than amazing...thanks julie - memories of your glorious gift



2. Julie Andrews was one of my favorites up to ... maybe the '70s. I saw her in Camelot on and of course in The Sound of Music. When I bought this CD several years ago, I thought I'd be hearing the same pure voice and diction. Instead, I truly believe that this must have been her last CD leading up to throat surgery in 1997. She talks through some songs. (Her diction is still there.) Simon would say she's pitchy in almost every song. Worse, she sounds as though she has no feel for the songs, especially "Bewitched" (one of two great songs from Pal Joey), but even those from her most well known roles are botched.
   
   Though she should have been able to carry a tune in 1994 - unlike those people who are still singing waaaay past their prime like Tony Bennett or Diana Ross - I felt the same embarrassment as I do for the truly over the hill gang.
   
   My advice: just to be on the safe side, don't buy anything that was recorded after 1980. Anything before that should be a gem. Of course, if you've become tone deaf as a boomer, maybe you won't be able to hear or remember how great she was versus how badly she sings on this CD.



3. I find myself listening to this album and wondering "What if". Julie was supposed to go and record an album of Gershwin tunes before her voice was lost to the famous "botched surgery" and I find myself hearing possibilities of what that album could have sounded like here. Both of Julie's studio albums this one and the 1996 release are testaments to how timeless Julie's voice was. Everything about this album is exquisite, to the song selections, the arrangements, and orchestrations to Dame Julie's voice itself. This is a true collectors item not only for what we no longer can hear, but for the beauty that has been encased in this time capsule of stunning music.



4. If there were an ideal voice that I think anybody would die to have it would have to be Julie Andrews' voice. Her voice exemplifies the perfect technique that every vocalist strives for. Diction, Vowel choice, Consonance, Word Painting/Coloring, Phrasing, Dynamics, Wide Range, Flexibility, and HEART!

   This is one of the greatest recordings of Andrews. Her crystal clear voice combined with great orchestral accompaniment is absolutely lovely. It would be hard to pick my favorites out of this album, because each song is so meaningful that you don't want to leave it out. So I'll pick a few. Obviously the Opening is definitely a favorite, it has always been since I saw the movie when I was so young I can't remember how long ago. The Sound of Music is the SOUND of great MUSIC. Julie's voice is probably perfect for any ballad, but I would have never imagined how much I would adore her belting voice. Her belt is nothing less of her classical voice, still keeps the same focus and HEART if not more. Great examples for this are I WISH I WERE IN LOVE AGAIN, THIS CAN'T BE LOVE, BEWITCHED, and COCKEYED OPTIMIST. It is simply beautiful and definitely BROADWAY.

   This CD is filled with many treasures. Julie Andrews with her voice, her performance stamina, and her delivery is a LEGEND.




5. If you've forgotten some things, this recording will remind you...

   what inspired phrasing can add to a performance... what proper diction lends to a song... what a superb vocal artist sounds like...

   If you miss these things, then listen to this!

   And, if you've forgotten the art of Lorenz Hart's lyrics...they're here, too!

   The arrangements are lush, and the performance has class!

   What a treat!

5 comments about On a Clear Day You Can See Forever.

1. Although I saw this movie when first released...had the soundtrack at some point too...I came across the film the other day on one of the cable networks and found myself mesmerized by a Barbra in her late 20's, singing what isn't one of Lerner's great scores (helped by Burton Lane), but singing and giving new meaning and, thus, making the songs from this score her very own. Barbra is impossible not to watch and listen to. Is there any scene from any Barbra movie that is sexier than when, under hypnosis, she travels back to the 1800's, and seduces with "Love With All The Trimmings?" And in scenes such as those or in "Hello, Dolly" or "Funny Girl, one can only feel that Barbra was born to be costumed...at least at that time in her career. She is gorgeous in period gowns and hats! Barbra makes this film very much her own; and the title song has, of course, become one she's included in most of her live shows. Although the Hollywood musical was on its way out in the late 60's and early 70's, it's just a special treat to see Barbra captured forever in musicals that, with a lesser star, would not have remained as captivating to enjoy. And take a look at the sets Vincent Minnelli must have had a hand in creating...as well as directing the film...he had an eye for gorgeous detail, something that Barbra seems to have acquired if you take note of such in, say, "Yentl." Anyhow, this film and score are a delight in the hands of the premiere vocalist of the last almost-fifty years. Enjoy!



2. Released in June of 1970, this album (the soundtrack for the Streisand/ Minnelli movie) came at a time when not only were musicals on their way out but Streisand was in the process of redefining her image.
   
   Shortly after this, gone were the carefull tresses and classical songs as Streisand ventured into Joni Mitchell territory. However, don't over-look this soundtrack as it is worthy of a second (and repeated) listening.
   
   Although some might quibble it is overproduced, Barbra's voice was young and she did herself (and Alan Lerner) proud. From the opening ("Hurry It's Lovely Up Here") to the signature title piece, Barbra is relaxed and quite free with the lyrics. Her voice is beautiful as she enjoys the songs she is singing. Of particular note, one should listen to the lush "Love With All The Trimmings" to hear just how a show tune should be sung.
   
   Even though it is nearly 40 years old, the album, the score, and most definitely Ms. Streisand, hold up admirably.



3. Barbra Streisand's second movie after her triumphant debut in Funny Girl was, let's face it, not a very big hit, and the soundtrack to the movie did not fare any better. In fact, according to IMDB.com, this release has the dubious distinction of being Barbra's worst selling soundtrack album. Admittedly, it isn't her best, but there is very little wrong with it.
   
   Streisand shines on all of her tracks, especially the title track, which while a mere 2 minutes, is a song that is sung with such emotion you can't help but need to hear it over and over again. Other tracks that she shines on are the happy-go-lucky "Hurry! It's Lovely Up Here," which just makes the listener happy, and the delightfully silly "Go to Sleep," which is very catchy, and probably could have been a hit for her if released.
   
   Unfortunately, Barbra's co-star, Yves Montand, sang a few songs that are also included here, and take up close to half the recording. They are not too good, and I often skip over them when I listen. Needless to say, only fans of the film will really like it, which in turn is only liked by Streisand's fans. But there's a lot to like here if you are a fan.



4. I loved the music from this movie and was having a hard time finding it until I found it on this site.....nice!!



5. This is one of my favorite Streisand movies and to see Jack Nichholson so young is always a treat. The acting, story and singing are fantastic. I'm so glad it came out on DVD and I LOVE the songs.

No comments about When the Lights Go on Again: World War II Favorites.

5 comments about Mamma Mia!.

1. Does in no way compare to "A Decca Broadway Original Recording (1999 London Cast)." If you love the music of ABBA, that's the one to buy!!!



2. I love this CD! It was shipped to me very quickly and I immediately put it in to listen! It was a great movie and the music is great!



3. Just an absolute joy!! It is a great escape movie that has surpassed my expectations...It is just a GREAT MOVIE...Thank you ABBA for the music!!!



4. Well sung and lots of fun, this is a CD where most of songs are well worth listening to. Both my mother-in-law and my teenage daughter enjoy hearing this in the car, so it has multi-generational appeal - that's rare.



5. After seeing the movie we just had to have the soundtrack. My wife and I have the music on our MP3 players and listen to it whenever we feel a need to be cheered up. The music is so uplifting we expect to be listening to it years from now.

5 comments about Rodgers & Hammerstein's State Fair (1996 Original Broadway Cast).

1. I was lucky to live in Des Moines, Iowa the week that "State Fair" premiered at the Civic Center. It was great fun to see the celebrities come to town for the first performance of this musical of which Iowans are very proud. Patricia Neal was there as well as Mary Rodgers representing her father and others.
   The Premier was planned to coincide with the actual Iowa State Fair, and the musical's leads waved to the crowds proudly from their convertibles as they rode in the State Fair parade(John Davidson, Kathryn Crosby, Andrea McArdle, Donna McKechnie, Scott Wise, and Ben Wright). It was truly a photographer's "hey-day", and cameras were snapping pictures all along the route.
   Then came the actual production itself. Before seeing the show, I was most concerned about two numbers: "All I Owe Ioway" and "Boys And Girls Like You And Me".
   The first (because if not handled right) can make Iowans appear in a bad light. But, it was done as the huge production number of which farmers and urbanites alike could proudly join together and celebrate their love of the fair.
   R & H have tried to interpolate "Boys And Girls..." into several shows without success, but happily it has finally found a place where it could fit in and make sense.
   The performers all gave top-notch efforts. Donna McKechnie proved she still had it even though several years had passed since "Chorus Line", and Scott Wise lived up to the praise he had been given in "Jerome Robbins' Broadway". What can you say about Andrea McArdle except that she's great! and Ben Wright wore his heart on his sleeve as McKechnies' love-lorn swain. The leads John Davidson and Kathryn Crosby sat back and let the kids have their fun and opined on growing older and fretting over blue ribbons to be won at the fair.
   All together you had a simple story with lavish sets, good orchestrations, spot-on choreography, and great performers to interpret and make the whole thing come off in grand style.
   One New York critic said the production cried out for a ferris wheel which isn't very practical for the Broadway stage, but I hope someday the show will be given a blue ribbon revival, and somehow that critic can get his ferris wheel in the production. Until then, enjoy this well recorded and delightful cast album.



2. State Fair is often deemed a simple and boring show. I say simple - yes, but boring - no way! The music in this show is catchy and entertaining. This has quickly become my favorite Broadway recording, and I listen to it every time I'm in the car. This is easily my favorite R&H score and is one of the few recordings that I listen through entirely. That's right - I never skip a single song. I can't speak highly enough of this delightful recording. All of the cast members deliver top notch musical performances, as does the orchestra behind them. This recording cannot dissapoint.



3. STATE FAIR is one of the Rodgers & Hammerstein scores I'd only recently paid any attention to, having just bought the DVD of the 60th anniversary special edition, which includes both versions (1945 and 1964). So when I sent for this original cast album of the Broadway version of the show, I had high hopes for it. I'm a great fan of the traditional (read: pre-Andrew Lloyd Webber) Broadway musical, and I expected a thrilling overture and exciting performances. Not so. The overture is rather poorly orchestrated and the performances are lackluster.



4. What a delight to finally own the C.D. of what I remember to be such a fine show, Everything is first rate and the inclusion of color photographs and the incredible costume and set designs is a plus for collectors. I can just picture the show listening to the C.D. and seeing the beautiful costumes took me right back to 1946 and era my husband and I shall never forget. Our grandchild considers this her favorite show an she likes Usher!



5. I got this CD a while ago at a used CD store mainly because it had Ben Wright (of "Into the Woods" fame) and Andrea McArdle (of "Annie" fame.) Needless to say, I listened to it once, then set it on my shelf to collect dust. Then I purchased Bernadette Peters' "Bernadette Peters Loves Rodgers & Hammerstein" where I fell in love with the songs "So Far" and "It's A Grand Night for Singing." I put my "State Fair" soundtrack in the CD player, and really listened to it, and realized how great it actually is. I am so glad that this musical happened. The success of the songs from the "failed" R & H shows is worth the soundtrack itself. On this CD, my faves are definitely "So Far," "That's For Me," and "Isn't It Kinda Fun?" All of the voices are marvelous. Andrea McArdle and Ben Wright have truly grown up since their earlier appearances on Broadway, and both display true musical theatre voices. If you love Rodgers & Hammerstein, Broadway musicals, or just good music, I would DEFINITELY reccommend this soundtrack. It's becoming one of my favorite Rodgers & Hammerstein shows.

5 comments about Funny Lady: Original Soundtrack Recording.

1. Some of us were disappointed by Funny Lady, the picture, after Funny Girl. Barbra looked amazing, of course, but the picture didn't have the oomph that Funny Girl did (except in the "How Lucky Can You Get" number.) Meanwhile, I still decided I needed the soundtrack and I'm extremely thrilled that I bought it! The CD is simply amazing- I've already listened to it twice today. The score is really wonderful. It's fun and silly and serious and Barbra sounds f***ing amazing. Buy it. Now. Added bonus are liner notes by Barbra's self-proclaimed biggest fan: the real Linda Richman!



2. I owned this on vinyl and missed it since moving. Many of these tunes (her versions of them) are the best ever recorded IMHO. It is as wonderful as I remembered!



3. Let's say right now that Funny Lady, the sequel to Barbra Streisand's hugely successful movie, Funny Girl, was very unnecessary. The first movie was fine on its own, and sequels are notorious for ruining the original. But made it was, and was a big hit (even though Barbra Streisand herself hated being part of it). Similarly to the movie, the soundtrack is very similar, but also like the movie, it is still enjoyable in its own right.
   
   Unlike Funny Girl, where most of the songs are originals written specifically for the musical, these were mostly songs recorded by Fanny Brice, and Barbra covered. Barbra pulls most of them off, especially "It's Only a Paper Moon/I Like Him," "I Found a Million Dollar Baby (in a Five and Ten Cent Store)," "Blind Date," "How Lucky Can You Get," and even slower songs such as "More Than You Know" and "Am I Blue." But even so, many of them are just not too memorable, and in the end this feels like a weak album with poorly chosen material.
   
   Most fans will want this, especially if they liked the movie. Similarly to the movie, it is an entertaining affair, but your world will not shatter if you do not have it. This is mostly for the hardcore completists.



4. I could not wait to hear this soundtrack on cd. I was impressed that the order was more true to the order of songs as they appeared in the film. My favorite song was always "(It's Gonna Be A) Great Day". Imagine my surprise when the original song (which was perfection) was replaced by an alternate version. This version sounds like a demo gone bad. It is just horrible! I would recommend that one get the lp version and transfer it to cd. What a truly disappointing experience. Pass on this 'funny' recording.



5. Funny Lady: Original Soundtrack Recording
   
   A better CD than a movie. Nearly all of the songs are terrific and beautifully orchestrated. Woth the price just for Bab's version of "Great Day." James Caan really has a very pleasant voice that works well with Babara's on a few duets. A very relaxing score worth owning. It's one you won't tire of even 30 years after its original release.