3 comments about Mamma Mia!: 5th Anniversary Edition.

1. If you are going to get the CD of the Mamma Mia musical this is the one to buy. I know the price is stiff, but, at least to me, it is worth it. I have played it several times and never get tired of it. In addition, it includes an encore rendition of the songs Mamma Mia, Dancing Queen, and an initial rendition of Waterloo. You can buy cheaper CD's of the Mamma Mia musical, but these ABBA songs are worth paying a little more to get the best version that is available for sale.



2. I wish that this edition was released earlier, I have the original soundtrack, but it would have been nice if they had the encore songs in it, which this one does. If you enjoyed the musical you should have this CD because it will bring you back and recall the scenes from the musical.



3. Anyone who has the privilege of watching the ingenuous Mamma Mia! musical (especially ABBA fans) will adore this soundtrack. With all the amazing hits that were woven into the play, the vocal talents on this CD are every bit as brilliant, captivating and dynamic as they are on stage. If you haven't seen the musical yet - go see it... it's worth it, and something real fun to take the family to!

5 comments about By Jupiter (1967 Off-Broadway Revival Cast).

1. It is a delight to have this long out of print recording available. True, this is not one of Rodgers and Hart's greatest scores, but as the reviews of the original in 1942 said, even lesser Rodgers and Hart is a treat. "Nobody's Heart" shows off Lorenz Hart's true gifts. "Wait Till You See Her" is a lovely Rodgers melody. "Ev'rything I've Got" and "Jupiter Forbid" are wonderful upbeat numbers. This c.d. may not please the throngs, but is a must for Rodgers and Hart devotees.



2. The quality of this CD is good but the singing is very old fashioned as compared to how they sing today. The voices are all good however, and natuarally you couldnt ask for anything better as it was written by Richard Rogers and Lorenz Hart.



3. This is (almost) wonderful. I've had the LP of this show since about 1967. It is as everyone must know Hart's last complete show. It's a wonderful score wonderfully performed. And it is almost complete as performed. Three songs were dropped before Bway (wonderful songs), but they can be found on Ben Bagley's R&H Revisited albums. 98% of Bottoms Up is left off the album. And what is left was badly rewritten by that egomaniac hack Fred Ebb. The lyric to the rest is wonderful, I've never heard the music. And a silly little bit of nothing is also left out. I've never the music to it either. Fred Ebb dipped his fingers into Ev'rything I've Got as well. He spoiled the whole album as far as I'm concerned. I hate the guy. But most of the words and music are there as written by R&H, and it's (almost) wonderful. The dropped before Bway songs are Fool Meets Fool (Lynn Redgrave - Vol. 4), Life Was Monotonous (Anthony Perkins - Vol. 3) and Nothing to Do But Relax (Blossom Dearie - Vol. 3).



4. Kudos to DRG for releasing another obscure or long unavailable cast album! But in their usual fashion, the liner notes are insufficient (see another review above). And worst of all, in usual DRG fashion, the track listings are incorrect (as they are in Amazon's listing above; there is no Bonus Track). The case and booklet list 13 tracks, when in fact there are 14. The 14th track is actually the "Jupiter Forbid" portion of the finale that is shown included in track 13. Careless of DRG, and disrespectful of their (admittedly, limited) audience. Let's hope for an "Encores" production and recording, but until now, this is a very enjoyable recording of a typical 60's off-Broadway offering.



5. What a shanda it is that so many examples of the American musical theater are not available on CD, especially in "authentic" recordings. It seems that titles disappear from major labels' catalogues faster than DRG, ArkivMusic & Fynsworth Alley can reissue them and far faster than City Center's Encores! can concertize them. Even a worse shanda is the way our Broadway "pioneers" have been treated. Where are all those fabulous scores by Vincent Youmans, Sigmund Romberg, Victor Herbert, Rudolf Friml and - to a lesser degree - Jerome Kern, and Rodgers & Hart? Gone are the days when the major labels gave full rein to people the likes of Goddard Lieberson, John McGlinn and John Mauceri to bring these composers' glorious music to life in the recording studio. Shanda! Shanda! Shanda!
   
   So, whenever the opportunity comes along to sample these treasures, we should jump at it, as I encourage you to do in the case of BY JUPITER, even though it's not grade A Rodgers & Hart and decidedly not a top-notch recording. But it's all we have for now, so savor it. The mystery is why it took so long to make it to CD. Thanks to DRG, it's finally here.
   
   Even though BY JUPITER may be second-tier R&H(art), it does contain three bona fide classics: "Nobody's Heart (Belongs To Me)," "Wait Till You See Her," and the feisty, fisty duet "Everything I've Got (Belongs to You)." The rest of the score is serviceable, but neither the tunes nor the lyrics are up to the standards of THE BOYS FROM SYRACUSE, PAL JOEY, or even A CONNECTICUT YANKEE. Nevertheless, it had the longest run of any Rodgers & Hart show - 427 performances - slightly beating JUMBO (421). No doubt it would have run longer had not its star, Ray Bolger, left the show to entertain America's fighting men and women during World War II. It was also the last full-length collaboration for the composers; one year later Richard Rodgers would take on a new partner, Oscar Hammerstein II, and make Broadway history with a folksy little show called OKLAHOMA!
   
   The plot? Pretty slight by SWEENEY TODD standards, but standard fare for the time. "Based on THE WARRIOR'S HUSBAND by Julian F. Thompson, [BY JUPITER is] set in the land of the Amazons, where the women rule and do battle while the men stay at home, mind the children, and buy new hats. An army of Greek soldiers, led by Theseus and Hercules, arrives in search of the Sacred Girdle of Diana, currently in the hands of reigning Queen Hippolyta. Accompanying them is war correspondent Homer, author of a recent bestseller called The Iliad. The Greek warriors are captured by the Amazons, and romance blossoms between Theseus and Antiope, the warrior-leader of the Amazons. A subplot involves Hippolyta's epicene gender-bending son Sapiens, who employs his 'feminine wiles' to get his way with the opposite sex." (Wikipedia.com)
   
   In this 1967 off-Broadway revival, Bob Dishy takes over the Ray Bolger role of Sapiens, Robert R. Kaye and Charles Rydell play Theseus and Hercules, respectively, while Jackie Alloway assumes the role of Hippolyta and Sheila Sullivan plays Antiope. Emory Bass is Homer. Of all the principals, only Mr. Kaye has an impressive voice. This revival does not use Don Walker's original orchestrations, but is scored for a small combo by Abba Bogin. Disappointing, but probably necessary considering the limited space and budget of Theatre Four, where the show lasted for only 118 performances.
   
   I would probably have given this recording a 4-star rating had DRG chosen to include a cast list (for this, go to Lortrel Archives) and a plot synopsis (Google "The Guide to Musical Theatre") and had they decided to do something about RCA's wretched sound quality. DRG's engineers must have been on vacation when they remastered this one, if they actually remastered it at all. I've compared the CD to my old LP, and, except for clicks and pops, the two sound identical! Pity. DRG has done wonderful work with other older shows (check out THE ADVENTURES OF MARCO POLO and ARCHY AND MEHITABEL), so why not BY JUPITER?
   
   Anyway, it's good to have another Rodgers & Hart musical brought back from limbo, so let's be thankful for what we've got. At least until - if ever - someone decides to give us a new, "authentic" recording.

2 comments about The Gig.

1. Superb entertainment! This is what musical theater is all about. The American Dental Association should adopt "Beautiful" as its theme song; I can't remember when I've heard lyrics as clever and witty.



2. Douglas J. Cohen's 'The Gig' is clever, entertaining, ingenious and highly original. The score is wonderfully melodious and, several times, the brilliant lyrics made me laugh out loud!

5 comments about One Woman's Live Journey.

1. I've always liked Olivia's sweet voice and have several of her albums so when I saw that this live performance had been produced by DTS Entertainment, I jumped on it.
   
   This disc has multiple play modes:
   
   1) DTS track for discrete 5.1 channel sound for which a DTS decoder is required.
   
   2) Dolby Digital 5.1 that will play in any DVD player (even in the car!)
   
   3) DVD-Audio track that produces a high-definition audio experience. The DVD-Audio track is recorded in MPL lossless 5.1 surround which requires a DVD-Audio compatible player. While the package does not state the sampling frequency used in this rendition, the norm for DVD-Audio is 96 kHz as opposed to 44.1 kHz for a standard CD. This disc gets 5 stars just for the technical execution.
   
   Olivia is brilliant as always with her vocals in extraordinary shape. In this concert she performed a great variety of her best-loved songs and even included a couple from the Grease soundtrack.
   
   A wonderful addition to any audiophile's collection and highly recommended.



2. I was a bit skeptical about DVD Audio. Could it REALLY be that much better than CD--enough to cost more? Well, if this recording is any indication, the answer is YES. LIke others have said already, Olivia is in fine form. I used to have a television special with Olivia and remembered how much I liked her singing live. Here she blows me away again--20+ years later.
   I am amazed by how CLEAR this recording is. Every instrument is distinct and brilliant. In surround sound, I swear it sounds like you're sitting on the edge of the stage. I have the "Back to Basics" CD with many of these songs on it, but I think this recording is TONS better.

   Now, if only I could get a DVD VIDEO of this concert!




3. Olivia in Concert is better than Olivia on CD any day, and this CD proves why. The woman is pure "Magic" throughout, connecting with her audience in a way that very few artists do. The astaunding thing about this artist is that she appeals across generations, from older fans whose children adored her growing up, to the youngest of kids who still think of Livvy as Sandy in "Grease." Her pipes are perfectly pitched STILL, and there has never been a better showcase of her pure talent than this Journey. A terrific addition to any music collection.



4. Olivia has never sounded better in her 30 years as a performer and seldom does an artist sound this good when it comes to live recordings. Here, she performs her classics like PHYSICAL, XANADU, HOPELESSLY DEVOTED TO YOU, I HONESTLY LOVE YOU, SUDDENLY, LET ME BE THERE, HAVE YOU NEVER BEEN MELLOW, MAGIC, PLEASE MR PLEASE, YOUR'E THE ONE THAT I WANT, IF YOU LOVE ME LET ME KNOW, SAM, DON'T STOP BELIEVIN' and SUMMER NIGHTS to name a few........and as the say, the song remembers when.....Olivia takes you back with this collection of gems!



5. Olivia has never sounded better in her 30 years as a performer and seldom does an artist sound this good when it comes to live recordings. Here, she performs her classics like PHYSICAL, XANADU, HOPELESSLY DEVOTED TO YOU, I HONESTLY LOVE YOU, SUDDENLY, LET ME BE THERE, HAVE YOU NEVER BEEN MELLOW, MAGIC, PLEASE MR PLEASE, YOUR'E THE ONE THAT I WANT, IF YOU LOVE ME LET ME KNOW, SAM, DON'T STOP BELIEVIN' and SUMMER NIGHTS to name a few........and as the say, the song remembers when.....Olivia takes you back with this collection of gems!

5 comments about Storybook.

1. Can't compare her to anyone else because I have found no one who can envoke emotion like she does....she is remarkable and I am exceedingly grateful for her music and this album.



2. I really like this album. I enjoy it more everytime I listen to it and get more out of it. Bridge Over Troubled Water is spectacular(and I usually don't like covers of it). Her voice is like silver!



3. Let me preface this by saying that I LOVE LINDA EDER and I LOVE FRANK WILDHORN. However, why does a new album by the partner of one of the most talented and prolific songwriters alive contain a line-up of music that her true fans already own??? I felt a little robbed by this. I expected that these would be "re-invented" and they aren't! Linda has a habit of re-recording songs to "fill" albums...come on, how many have "Vienna" and "Someone Like You"?? And "Broadway My Way", which has some AMAZING new recordings, also reincarnates "Gold", "A New Life", "Unusual Way", and "Man of La Mancha".

   Linda, your fans want to buy your music because you are a talented performer and your husband is a talented writer. Give us what we deserve...new music. Those of us who have been your fans since the first album and the concept recording of J&H deserve a little more respect than this album shows.




4. While there are many Broadway legends (Bernadette Peters, Michael Ball, Ethel Merman, Mandy Patinkon, Michael Crawford, etc), there are few that can be described as "the best of the best": Michael Ball, Bernadette Peters, Barbara Cook...

   And Linda Eder.

   STORYBOOK is beautiful. As a huge fan of Broadway, I have a great love for BROADWAY MY WAY, and honestly believe that is one of the greatest Broadway solo albums ever made (right up there with Michael Ball's MUSICALS and CENTRE STAGE).

   But STORYBOOK is a close step behind.

   Many, if not all, of the gorgeous ballads showcase Eder's amazing range; in addition to demonstrating her amazing ability to control her heavenly voice.

   To top it all off, the first few tunes are big band/jazz nubers, a feat that Eder pulls off with incredible ease.

   There is actually one song on here that I hold a strong dis-like toward: the "bonus track," VOL MON ANGE. In my opinion, this tune is an example of "corny gone bad."

   Other than that, STORYBOOK is a "must" for all Broadway afficianados and/or fans of great vocalists.




5. I have read some of the other reviews of this album- granted, not everyone likes that these aren't all new tracks. In this world of other stars who pump out 15 or so new songs where many of them sound redundant or tiring, hey, I'm happy to have some new gems and some re-done tracks by this woman with the voice of an angel. Linda Eder has so many different sounds depending on the song she sings. They can be anything from lush and soulful to resounding and downright Herculean. And then, opening up a new door, she sings a beautiful opera aria. I'm thinking, "This is a woman who never had vocal training- unbelievable!"

   The Streisand comparisons keep coming up, which in most ways is a compliment to both artists. But the criticisms of some reviewers in this album don't fairly apply to Linda. Barbra never tackled Linda's level of demanding material. We overlooked the overriding nasal, wavering strength and tremoring vibrato on those long notes, etc., because we saw all the other strengths in Babs. Similarly, Linda is not perfect, but it's her sheer potential from this late bloomer- a shy farm girl from a non-musical family; it's the realization that this woman can sing anything and give audience members absolute cold chills. No comparisons!!

5 comments about Company - A Musical Comedy (1995 Broadway Revival Cast).

1. with the roster of big named broadway talent ,you would think this revival,which is closer to the original than any other production,would make for a good recording. it did not.everyone seems to be not in good form. even the usually amazing la chanze cranks out a lackluster marta.
   the orchastrations are nowhere as good as the original.it soft of reminds me of a community theater production of actors trying to play the characters so differently from the originals that they end up underdone. there are very few standouts.....actually only one. jane krakowski, who i believe would have been a better marta.anyways, buy this cd if you are a completist.if you need the song marry me a little buy the putting it together cast recording the voices is better and the arrangement is even better



2. It took 25 years for a Broadway revival of COMPANY to happen. When it did it was a production by the Roundabout Theatre Company announced for a limited run and though there were rumors the show would transfer to another Broadway theatre, this was not to be. There are changes to the text and orchestration here. The orchestra is reduced to fourteen players, less than half the size of the original. Recording techniques have changed since 1970 and the singers now all use isolation booths. The result on the record is not the sound of all voices blending into an ensemble but of 11 individual voices. This is most apparent in You Could Drive a Person Crazy. Debra Monk sounds too young and lacks world-weary quality needed for Joanne and screams too much in The Ladies Who Lunch, but La Chanze makes a wonderful Marta, belting out Another Hundred People in a style all her own.
   
   Sondheim mad a few lyric changes. "Much the simplest of crimes" becomes "much the cleanest of crimes." And the line "I could understand a person if a person was a fag" was changed to "if he happened to be gay."
   
   Boyd Gaines had been sidelined during the run of the revival with throat problems. He shows no sign of strain in any f his tracks, and this version restored Marry Me a Little for him to sing at the end of Act One. If the others don't quite match the original cast, they at least offer an interesting alternate.



3. I'd like to get proponents of the three versions of "Company" I'm aware of - the OBC, 1996 London, and this 1996 Broadway Revival Cast - and put them in a room together to "discuss" which one is the best. And better, put a large table in the center of the room, piled high with fruits and doughnuts and the sort, and see how long it takes for the food to start flying.
   
   I actually have all three of those recordings. An ex gave me a cassette of the 1996 Revival Cast, then she bought me the 1996 London cast CD, and after the OBC was remastered on CD, I went and bought that for myself (after we broke up). Each recording has its high points, and in a geeky song-to-song comparison, each recording has songs which are done better than on the other two. But this 1996 Revival Cast has the least. It doesn't help that the actor who plays Bobby is kind of bland, and his "Being Alive" was a disappointment - a song that when I listen through line by line, listening to what it says, usually gets me all verklempt. "Getting Married Today" is the most technically proficient performance of that song, and still amazing at that, but the singer sacrifices the desperation and frantic emotion needed to really deliver that song.
   
   On the plus side, I don't think there should ever be a comparison to Elaine Stritch's "Ladies Who Lunch", I think our panel can agree to put down the tomatoes and kruellers and give that song to the Original Broadway Cast. Given that, the 1996 Revival version is quite well executed and hits all the emotions and nuances required of that most nuanced of songs. This version is the only one that makes me laugh *every* time she hits that last 'I'll drink to that' - you know the one. It's a little over the top, but it's so gold. I liked the version of "You Could Drive a Person Crazy" best on this recording because it has the cleanest execution and the women really hit the Andrews Sisters-esque close harmony, the precision of which makes the song work just a tiny bit better than the other versions. It's a competent recording, and an update on the OBC (there are more parallels between the two Broadway recordings than with the London), and it's obviously a better sound recording.
   
   My favorite of the three? I know I'm gonna get pelted with jelly doughnuts, but I like the London best *throws up arms defensively*. It's the little things in that recording, like the 4 bars of swing, breaking the rhythm in one of the chase sections of "What Would We Do Without You?", that I'm always listening for now, and isn't on either of the Broadway recordings. There are a whole bunch of just little things I listen for that I like when I put on the CD - a syncopation, an inflection, a different bit of orchestration - oh, the orchestration on the Revival cast is excellent, a lot of little subtle additions. Finally, I liked Adrian Lester's Bobby on the London recording the best because he just sounds very natural, whereas the other Bobby's sound more like formal singers. It's the little things.



4. Nearly 35 years after its original Broadway premiere, Stephen Sondheim's "Company" remains one of the most unique and daring works of musical theatre ever. The true definition of a concept musical, the show enschews a traditional, linear plot in favor of vignettes that offer insight into the lives and psyches of married Manhatannites. The show is centered around Bobby, who is the only one of his friends who isn't married and trying to figure out why.
   
   Of course, such a daring concept wouldn't matter if the show wasn't any good, but Sondheim has written a stellar score for this one. Although it initially isn't as melodic and memorable as some of Sondheim's more famous works ("Sweeney Todd," "Into the Woods"), repeat listenings reveal a depth and subtlety that is unfortunately uncommon in most theatre scores. Unassuming songs like "Sorry-Grateful" and "Someone is Waiting" may not instantly grab the listener, but if you surrender yourself to them you will find deeply moving and insightful songs about love and longing.
   
   That's not the say that the show doesn't have its fair share of showstoppers. The title track grabbed me from the moment to first notes were sung, with its endless rounds and lines of counterpoint proving what a master of songcraft Sondheim truly is. And of course, the show ends with "Being Alive," one of Sondheim's most haunting and beautiful melodies ever.
   
   Endless debate has been waged over the merits of this cast and the original, and the simple answer is that the original cast is slightly better. This is only natural, since Sondheim has been quoted as saying he writes for specific actors and believes that if you truly write a great part for a particular person, then anyone can succeed at it. Which this revival proves in spades, with the entire cast doing an excellent job with the difficult music.
   
   However, for some odd reason all the best songs in this show seem to go to women. Veanne Cox does a fabulous job on "Getting Married Today," with such crisp diction and such a frenzied edge to her voice you have to wonder if she ever breathes. LaChanze belts out "Another Hundred People" with confidence, and Debra Monk expertly handles the showstopping "Ladies Who Lunch." She won't replace Elaine Stritch (no one will), but on her own merits Ms. Monk is more than capable of handling the role.
   
   Sondheim buffs need this CD because it includes "Marry Me a Little," and song added after the show's 1970 New York premiere, as well as the full lyrics. It also sports a crack cast performing one of Sondheim's better scores. Newbees might do better to check out the original cast album first, but this revival is certainly worth a listen.



5. If you want to see a new side to sondheim then I truly suggest this CD. It is different from his touching and more profound musicals. Bobby is the only person who is single amongst a group of friends, and each of these friends are giving him advice and trying to get him married. The score includes great musical numbers from a variety of well-knowns including Jane Krakowski, Robert Westenberg, and LaChanze. Highlights on this CD as opposed to the one from the 70's version are the addition of Bobby's number Marry Me A Little. Also Getting Married Today is a hilarious number done with in a deadpan style reminiscent of Madeleine Kahn. I promise that you will not be dissappointed. The only thing that could make this CD better would be the presence of Elaine Stritch, just because she is amazing.

1 comments about Nipper's Greatest Christmas Hits.

1. This is an interesting, if odd collection; it's as though the executives at RCA assigned an intern to find anything they had the rights to and smashed them all together on the same disk. So you find Perry Como along with Alabama, Kate Smith and the Judds, Arthur Fiedler and Elvis Presley, Eartha Kitt and Willie Nelson songs and others as well. The collection doesn't know if it's in the 40's, 50's, or 80's. That's probably OK for a Christmas collection, which by definition is multigenerational, but tracking from Roger Whittaker to Alabama is a bit jarring, to say the least. It does have a good variety, however, and we load it with about 4 other Christmas collections and let the CD changer mix them up; at least there are few repetitions (of both song and artist) as you find on many other Christmas collections (Bing Crosby's "White Christmas", Nat Cole's "Christmas Song" are NOT here, which some may find a good thing, since they probably already have them somewhere in another collection.)

5 comments about Meredith Willson's The Music Man (2000 Broadway Revival Cast).

1. The other reviews are of a different recording - that of the recent Broadway revival with Craig Bierko and Rebecca Luker.
   This is a studio recording starring baritone Timothy Noble. The performance tries hard and includes probably more music than most recordings (including "Being in Love" from the film). The main problem seems to be with the tempo. All the songs could be performed twice as fast as the are. While orchestral details might be missing at that speed, the score would get an injection of energy which is what makes this musical work.



2. First of all, let me say that I love this show, but the old Robert Preston recording gets...well, for lack of a better word...old. Preston created the role, yes, but his less-than-stellar voice is often overpowered by the golden voiced divas he was duetting with (i.e. Barbara Cook and Shirley Jones). Craig Bierko, however, has a VERY good voice and he and Rebecca Luker blend nicely. I am a big fan of Luker's work, too, so her presence on this recording is an added bonus.
   
   It is also a "complete" recording, if you will. I mean that it includes all the songs that are performed in the stage version of The Music Man including the "Pick-A-Little" reprise and "My White Knight", which was re-written for the film.
   
   If you're looking for a Music Man recording, this is the one to buy. If you want Preston, buy the film, but stay far, far, FAR away from Matthew Broderick.



3. This is the best Music Man CD yet! It has enough new instrumentations that it is interesting, but not so many that it is very different than Broadway. The book that comes with it (the one with the cover on the front) is great, it has pictures, lyrics, cast, and a summary of the play. The quartet was not that good, though. In all this is a 5-star album that any real Music Man fan should own.



4. If you like musicals, buy this CD. It is THE best Music Man cast recording of all time for one main reason; Susan Stroman (many Tony awards) directed it. Since Susan is a choreographer as well as a director she included dance music on this recording. It is great to finally hear complete songs. Although it is not the exact music you will hear if you go to see a "non-Susan Stroman" production of the music man; at least there is dance music. 76 Trombones is the most well known song from the show. On most other cast recordings it has been reduced to about 3 minutes, on this CD however, it is well over 7 minutes long. Also the Shipoopi is horrible on ALL the other recordings, on this one however the music is fabulous and the cast is great! All the songs on this CD are perfect. Craig Bierko is amazing (as good as Robert Preston, maybe better). Rebecca Luker is a great singer and does not at all bring down this cast recording, but she is not quite as good as Kristin Chenoweth from the new movie (but who is?). A lot of the songs have been slightly updated; the best are 'The Wells Fargo Wagon' and 'Finale Ultimo'. This new cast recoding is wonderful and greatly appreciated my music man fans and dancers all over. BUY IT!!!



5. Forget all but the Original Cast Recording. Everything about this Digital Recording blows every other recording of this musical out of the water. I've heard them all (including the new Kristin Chenowith/Matthew Broderick version) and this beats them all. Reading all the reviews of every version of this available here on Amazon.com, I am honestly shocked more people don't know about this incredible version. The cast is by far the best, the chorus is full and on target, and the orchestra is right off the bandstand--and wonderfully recorded. GET THIS NOW!

3 comments about Broadway: The Great Original Cast Recordings.

1. Did the creators of this CD forget about Andrew Lloyd Webber? Gees! Where's Cats? Joseph? Evita? Jesus Christ Superstar? and all those other great musicals he's done????? How can you forget one of the greatest composers of our time? Other wise its a good CD



2. This is well over 2 hours of classic broadway. Most of the tracks are from the 50s and 60s. There are only a couple recents, the newest being 1997. If you are a fan of or interested in Broadway sonfs from the 1930 and on this is definitly for you. The only problem I see is that the only songs on here are songs in which Sony Music had recorded. So the it is the best of the Sony recordings really. Other record labels are shunned. It does come with beautiful 64-page booklet. I like it.



3. Although I just received this today and am currently listening to it now, I couldn't wait to share my feelings, even though I've yet to listen to the entire collection. Anyone and everyone who loves the musical theater MUST add this to his or her collection. What a joy and delight it is to hear, with the help of modern technology, these classics! It absolutely gives one chills to hear some of these long lost beautiful voices sing classic standards, and, to relive some of the joys I've been fortunate to have experienced attending many of the later shows. This collection is a millenium collectable, capturing as it does such fond memories of 20th century musical theater. My congratulations to all who envisioned it's production and brought it to fruition. Columbia/Sony must share the spotlight on this one with the performers. Don't let this one pass you by.

No comments about Lyrics by Ira Gershwin: The 1952 Walden Sessions.