5 comments about Barbara Cook - Live from London.

1. She is a phenomenon! Her voice still soars and the notes are well within her grasp. The music she has chosen to perform is exceptionally beautiful and exceptionally moving in its execution. Ms Cook proves once again that she is a national treasure.



2. I recently had the pleasure of meeting Barbara Cook. She told me this was her favorite recording of her career; I agree. It is an extraordinary concert. Barbara Cook's glorious performance is perfection.



3. PURE VOICE - PURE BEAUTY - WITH A FULL ORCHESTRA BEHIND HER.
   THE FACT THAT IT IS "LIVE" DOES NOT TAKE ANYTHING AWAY FROM
   HER PERFORMANCE. THE BEST I HAVE EVER HEARD!!



4. There is no one like Barbara Cook in the Musical Theater genre except perhaps Elaine Stritch when it comes to talent and class. Ms.Cook has the range and versatility that brings songs to life and makes them live on in our hearts. I saw her do this same show live at the Naples Philharmonic, and it was very clear that the audience knew they were in the presence of greatness.



5. Barbara Cook is a singer with the rare combination of astounding vocal prowess and a deep feeling for the meaning of the lyrics she is singing. She never "shows off" when singing, just conveys very beautifully the essence of each song, whether light or depressing, fast or slow, gentle or full-blast. Her gifts are fully displayed in this wonderful CD, which compares favorably to her two other classic concert CD`s.

No comments about Legends of Broadway.

2 comments about Two's Company.

1. My LP of this show was totally worn out, so I'm absolutely delighted to have this on such a great sounding CD. Davis is right up there with other musical luminaries such as Hepburn in COCO and Bacall in WOMAN OF THE YEAR and APPLAUSE. All three were non-singers who acted, and their recordings are really just a joy to have to offset soprani like Cook, Chenowith, and Lukker.
   
   This really is a must have recording for any true musical comedy lover who wants the unusual and historical. Davis's "Turn Me Loose on Broadway" is wonderful from her "Mistah conductah, iff You Pleeees" to her slightly off tempo "hey" in the dance break. Davis did try to sing several times through her career. Frank Loesser's "They're Either Too Young or Too Old" has been on a few collections, and there was that failed musical version of THE CORN IS GREEN entitled MISS MOFFAT that closed in Philadelphia. Betty Davis wasn't a good singer, but she tried!
   
   The supporting cast is excellent, and I think it's just a joy to hear an old-school musical by one of the forgotten greats, Vernon Duke. That's why I'm really pleased to have the Duke bonus tracks on the CD as well. It's a great value with Davis, Duke, and Lawrence Welk and his orchestra as well. The album was coveted for years, and it's just wonderful to have it in better sound than it ever was.



2. Bette Davis in a musical? In 1952, when her film career started on yet another downward spiral and she was unceremoniously labelled as "box office poison", the legendary Ms Davis decided to do the unthinkable, and made her Broadway musical debut in TWO'S COMPANY, a fluffy little revue that would have certainly folded a lot quicker if a mega-watt star like Davis was not in the starring role.
   
   TWO'S COMPANY ran on the box office power of Davis, and the moment she became ill and started missing performances, the closing notices were posted (the show limped along for 90 performances). Nevertheless, this curious jewel of a show was recorded, and now gets it's CD premiere thanks to British boutique label Sepia.
   
   Apparently, Davis was so embarrased by her performance, that she attempted to buy every single copy of the original LP in order to destroy them. One can just imagine Davis (in full Margo Channing mode) swaggering into a record store and slamming a pile of TWO'S COMPANY albums onto the sales counter ("don't bother to wrap `em!").
   
   While Davis was never a singer, she croaks out her songs quite well, and what she lacks in musicality she compensates with comedy and sheer brio.
   
   Performing the more demanding material is Ellen Hanley, known to musical fans for her role as Thea in "Fiorello!"; as well as Adrianna in the 1963 Off-Broadway revival of "The Boys from Syracuse", and replacing Polly Bergen in "First Impressions" (the Jane Austen/'Pride & Prejudice' musical of 1959).
   
   Sepia's remaster of the TWO'S COMPANY album (taken from original 78's) is quite crisp and clean, with some slight hiss and sonic wobble in certain areas (like towards the end of "Haunted Hot Spot"), although we are lucky to have this title on disc in the first place.
   
   Known for their copious bonus tracks, Sepia do not disappoint, and the TWO'S COMPANY disc is filled out with extensive supplementaries (Nancy Walker singing "I Can't Get Started" and Jack Smith with "I'm Gonna Ring the Bell Tonight"); and a whole "Vernon Duke plays Vernon Duke" section.
   
   Now that TWO'S COMPANY has been released on compact disc, we can finally hear what all the fuss was about.

5 comments about A Twinkle in Your Eye.

1. One of his best for the whole family! You learn fun songs with his amazing humor and voice!



2. I can remember playing the LP of Burl Ives in the 70's when I was a little girl. My favorite song was Old Witch, Old Witch . I can't find that song on any other album. It now has become one of my daughters' favorite song. His voice is like no one elses. You will love this CD.



3. This man (I saw in person) sang for KINGS and PRESIDENTS (I forget how many but MANY of them including JFK) AND he compiled and SAVED many songs written IN AMERICA BY AMERICANS ABOUT AMERICA during it's building stages!
   
   He sang in all of EUROPE (every country) plus Russia, and Australia!
   
   HE was loved by millions! I grew up with him in a time BEFORE HEAVY ROCK and HEAD_BANGER music when you LISTENED to the words!
   
   HE is BURL IVES and no one else and has his own way of singing. IF you like it--you'll love these songs==IF NOT--don't buy it! I grew up with him singing these songs and our daughters sang along with him. When we traveled in our car--it was HIS SONGS that we'd all sing together!
   
   BUT---I still belive for REAL AUDIO--the LP still reigns--there is more "pixles of information" in a grove of an LP than in a CD and for classical or this type--IT (LPS) picks up ALL the nuances of the music and the instruments !



4. "A Twinkle In Your Eye" is a compilation issued by Sony Wonder, Sony's childrens music imprint along with Legacy, Sony's reissue imprint, features 14 songs from the 1940s-early 1950s including the following songs only in print on this CD: Two Little Trains, The Lollipop Tree, Old Witch, Old Witch, The Little Turtle, The Moon's The Northwind's Cooky, and Where Have You Been? all in their original mono form. The rest of these tracks do appear on other CDs available here in Amazon such as Wee Cooper O'Fife, Lavender Cowboy, and Cowboy's Lament all on Wayfaring Stranger on Collectables and other CDs available right here at Amazon, The Donut Song, which is also on "Little White Duck and Other Childrens Favorites" in rechanneled stereo and on the CD reissue of "Return of The Wayfaring Stranger" on Collectables in its mono form (the Donut Song as it appears on here is mono), and these tracks which all appear on "Little White Duck" in rechanneled form while these tracks on this CD are in their original mono form: Mr. Froggie Went a Courtin', Mother Goose Songs (a medley of Mother Goose nursery rhymes), Mr. Rabbit, and The Little Engine That Could. Burl Ives music is for all generations so this CD is essential.



5. What a thrill to find this CD.I grew up listening to Burl Ives,and still can see myself dancing around the house to songs like: Old Witch Old Witch and Lollypop Tree. In fact,my Mom still has the old lp record,and my 2 year old son loves to dance to the same Burl Ives songs and music,thats why this CD was a "must"for me.It's a timeless classic for young children,my son and I are proof of that!

4 comments about Seven Brides For Seven Brothers (1985 Original London Cast).

1. I find I can't agree with the other appraisals I see here of this delightful recording of this musical. Both Roni Page and Steve Devereaux are truly exceptional with Devereaux in particular bringing a very pleasing baritone and a great characterization to the part. Personally, I do not feel either of them give up anything to Powell or Keel in the quality of their singing and I, in many ways, find them preferable.
   
   I think this set is also more complete than the MGM issue containing songs like "One Man", "Love Never Goes Away", "We Got To Make It Through the Winter" and "Glad That You Were Born" that are just not in the MGM CD. Moreover, the sound quality is excellent in this issue. The impact of the score comes over exceptionally as a result.
   
   Frankly, I would prefer to have both recordings, but if I could have only one, it would be this one.



2. SEVEN BRIDES FOR SEVEN BROTHERS was tricked-out for the stage in the early 80's, and quickly met its demise in London. This production opened in 1984 but met with mixed reviews, and closed after a relatively short run.

   Roni Page and Steve Devereaux hardly compare with Jane Powell and Howard Keel (though who could?), but aquit themselves with their solid voices. Roni Page beautifully handles Millie's elation in "Wonderful Wonderful Day" (which features a rewritten lyric and setting).

   Steve Devereaux has a powerful voice, used to his advantage in "Bless Your Beautiful Hide" and "Sobbin' Women". Although the new songs written by Al Kasha and Joel Hirshhorn don't fit in well with the original Johnny Mercer-Gene de Paul songs.

   The supporting cast includes Peter Bishop, Victoria Lynson, Michaela Strachan, Anna Rees and Tom Barritt.

   Stick with the 1997 studio cast with Katrina Murphy and Hal Fowler, available on the JAY/Showtime! label.




3. I was glad to get this recording simply because it had the songs that were added after the movie. The problem is that it just doesn't have the musical feel that I was expecting, the Barn Dance isn't on here, and the guy that plays Adam is just ridiculous sounding. The rest of the cast sounds decent, and the woman who plays Millie shows just the right amount of feistiness and tenderness. All in all, I'd say it's only for the completists, otherwise wait until the Jay Masterworks recording coming soon.



4. I was sort of dissapantant in this CD. It wasn't as good as the movie virson. Jane Powell isw much better than the other women.

5 comments about Hair - Actors' Fund of America Benefit Recording.

1. If you are looking for a Hair cast abum...this is NOT it. If you want to hear the score performed by an amazing array of broadway and pop belters, this is the CD for you. From the great Lillias White's powerhouse of Aquarius, to the ultimate recording of Let the Sunshine In, every song is done powerfully and effectively. Jennifer Hudson gives a preview of what she would do in Dreamgirls with Easy To Be Hard. The score now seems dated and the shock value is totally gone, but still alot of fun. I'll bet the same version in concert the night before the recording was produced was a total blast!!



2. A disclaimer - you'll probably have more fun with this recording if you think of it as "Songs from Hair". This is NOT a recording of a traditional version of the show; it's more a cabaret, with each song being sung by a different artist. While this completely removes continuity and character development, it does free up the listener to appreciate Galt MacDermot's music, sung as it should be. Let's face it - the original RCA recording of the Broadway cast of 1964 is priceless as an artifact of its time, but it's not exactly a pleasant listen - the cast is of the "more enthusiasm than talent" school.
   
   Here, though, there's no such problem.
   
   There's a whole lotta belting goin' on in this album. Because each singer only has one song, and there's no need to conserve their voices for later in the show, everybody gives it their all - and in the case of such powerful singers as Gavin Creel, Lillias White, Shoshana Bean, Raul Esparza, Adam Pascal, Eden Espinosa, Orfeh, Jennifer Hudson, and Billy Porter? That's quite a lot. And the backup voices, if anything, are even more spectacular: listen to that anonymous chorus girl hit an air-raid-siren high note at the end of "Goin' Down".
   
   Track-by-track:
   1. "Aquarius" - The famous chorale opening, led by the inimitable Lillias White. The orchestrations and backup singing sends shivers down the spine, and White brings the gospel something fierce. 5/5
   
   2. "Donna" - In the first of many gender-bendings on the album, "Donna" is here sung by Lea DeLaria, who does a passable job, if she tends to overemote. 3/5
   
   3. "Hashish" - All-chorus listing of various hallucinogens and illegal mind enhancers. Fun as always, but a trifle. 2/5
   
   4. "Sodomy" - That timeless ode to deviant sexual practice, here sung in a pure, innocent choir-boy tenor by Jai Rodriguez of Zanna, Don't! and Queer Eye for the Straight Guy fame. 5/5
   
   5. "Colored Spade" - For everyone who's ever wanted to hear Tony-winning bass-baritone Chuck Cooper declare himself "President of the United States of Love". 4/5
   
   6. "Manchester, England" - A four-decade-old antecedent of Britpop, charmingly given life by Euan Morton. 4/5
   
   7. "Dead End" - The first really high-energy number since "Aquarius" kicks things back into high gear. Ana Gasteyer shows off the pipes that would later land her the role of Elphaba on Broadway in "Wicked". There's a big black woman hiding inside that white comedienne! 4/5
   
   8. "Sheila Franklin/I Believe in Love" - Shoshana Bean, if you've ever heard her, is infamous for singing every song as one giant melisma. She does it here too, of course, but particularly impressively. She rockets through all of her 72 octaves in the course of a minute and nineteen seconds. 5/5
   
   9. "I'm Black/Ain't Got No" - A kind of pointless song, the whole chorus yelling about what they lack in life. Fun ending, though. 2/5
   
   Ahh, now we're getting into the really good stuff. The meat of the disc is from the middle to the end, and it's a three-course meal from here on out.
   
   10. "Air" - Harvey Fierstein, he of the goose-strangled-with-barbed-wire voice, rasps out this little ditty in an inspired bit of gimmick casting, and manages to not cough up any internal organs, despite the ungodly noises toward the end of the track. 5/5
   
   11. "Initials" - What was originally a choral number is now handed primarily to the divine Laura Benanti. And what do you know, she's funny! Topping the whole thing off with an operatic high C doesn't hurt matters, either. 5/5
   
   12. "I Got Life" - Broadway's resident rock star, Adam Pascal, shows off the voice that he should have blown out looong ago in a rollicking, fast-paced number. Great fun, but I wouldn't recommend trying to emulate it. 5/5
   
   13. "Goin' Down" - Gavin Creel has a voice of honey and silk that can rise into an impressively soulful belt when he feels like it. And here, he feels like it. Another energetic roof-raiser. 5/5
   
   14. "Hair" - These three songs, these three singers, one right after the other? It's bliss. Raul Esparza snarls out the first verse, then roars full-throttle into a higher octave for the last few stanzas. A fitting title song. 5/5
   
   15. "My Conviction" - Another fun trifle, amusingly given voice by a veddy proper Charles Busch. 3/5
   
   16. "Easy To Be Hard" - Jennifer Hudson, post-American Idol and pre-Dreamgirls, is revelatory here. She tears the lid off this already-impassioned number and absolutely rips it to shreds. Just the right amount of emoting, just the right amount of full-throated vocalizing. The definitive rendition of this song, EVER. (I was unconvinced she was right for Effie, until I heard this. It gave me chills like I hadn't felt since Jennifer Holliday's performance in... well, you know.) 6/5
   
   17. "Don't Put it Down!" - Funny indictment of patriotism, given an unfortunately nasal rendition by the duo of Christopher Sieber and John Tartaglia. It passes quickly. 2/5
   
   18. "Frank Mills" - The sweetly-warbling Annie Golden is adorable in this lament for a lost love. 4/5
   
   19. "Be-In Hare Krishna" - Catchy as all hell. This has been in my head for approximately... ten years. 5/5
   
   20. "Where Do I Go?" - Another gender switch. Here, Julia Murney sings a song of uncertainty. Fans of the Wild Party will be unsurprised to learn that it does end in a big, belty final phrase. However, she has grown into her voice, and shows a bit of welcome nuance in the plaintive lyrics. 5/5
   
   21. "Hippie Life" - Eden Espinosa does her thing with some dated lyrics and some insanity-belting. 4/5
   
   22. "Electric Blues" - The most aurally interesting track on the album, and also the one that takes the most liberty with its source material - there's no instrumentation and no lead vocalist. The a cappella group Toxic Audio is menacing, and yet somehow amusing, showing that even though they lack the Broadway star status of most of the other participants, they more than deserve it. 5/5
   
   23. "Black Boys" - Part one of a two-part ode to jungle fever. Odd tempo and some strange, strange metaphors comparing black men repeatedly to candy. 3/5
   
   24. "White Boys" - Part two, and by far the more satisfying. True, the whole thing is basically a long contest to see which girl can belt the highest and riff the most, but by God it's fun as hell to listen to Shayna Steele, Brandi Chavonne Massey, and Orfeh skip up half step after half step, till you're not sure they can continue to do that without hurting somebody. 5/5
   
   25. "Walking in Space" - Another paean to the positive aspects of drug use, sung gorgeously by Sherie Rene Scott. 5/5
   
   26. "Yes, I's Finished on Y'all's Farmlands" - Short and good. 4/5
   
   27. "Four Score/Abie, Baby" - Gives the legendary Billy Porter the Emancipation Proclamation and lets him run with it, with fantastic results. 5/5
   
   28. "Good Morning Starshine" - Sweetly given voice by Liz Callaway. Shows off MacDermot's uncommon melodic gift, and the inanity of Gerome Ragni's lyrics. 5/5
   
   29. "Three-Five-Zero-Zero" - Absolutely terrifying choral requiem for Vietnam. 5/5
   
   30. "What a Piece Of Work is Man" - Darius DeHaas again shows why he deserves a lot more work than he gets, and also why he's known to possess a killer tenor voice. 4/5
   
   31. "The Flesh Failures/Let the Sunshine In" - Possibly the best track on the album is saved for last. The incomparable Norm Lewis starts things off with uncertainty in his deep, resonant tenor, built around a repeating bassline. As the orchestration builds and he climbs up the staff, Euan Morton makes a return appearance as Claude, screaming in anguish. The chorus joins in gradually, Billy Porter and Darius DeHaas start exhorting the audience to let the sunshine in, and joy breaks through the clouds, though that minor key constantly reminds us that there are no clean-cut happy endings.



3. A fabulous cast including the incredible talents of Lillias White, Jennifer Hudson, Ana Gasteyer, Soshana Bean and Eden Espinosa! The journey this CD takes you on is truly a treat! The new songs on the disc are FANTASTIC! (Eden and Ana) The men in the cast are just as wonderful as the ladies...a VERY diverse cast with a FANTASTIC sound!



4. After reading the below reviews, I decided to purchase this CD. I am a huge fan of the play, movie, and their respective recordings- BUT, this CD is terrible. The songs are very oversung- some of them even sound like they have a choir in the background! There is no continuity to the singers, and wonderful classic songs like "Where do I go" are sung by the opposite gender?!? I have never written one of these reviews before, but I hope you consider carefully before purchasing this CD.



5. My one complaint about this recording is, "Too Much Shouting!" Yes, in these days of "American Idol," this is very much in vogue, but good golly! In the song "White Boys," for example, the three singers, all of whom have powerful voices, seem to be trying to outsing each other. Normally, I like Jennifer Hudson's singing, but her rendition of "Easy to Be Hard" might as well be called, "Easy To Be Loud". That written, this endeavor has much to admire. The musical direction is tight, and the diction is excellent. The quality of the voices is uniformly good, and polished. A good deal of variety also exists here, from Harvey Fierstein hacking out the song "Air," to Laura Benanti triumphantly capping off "Initials" with an operatic high C.

5 comments about Strait Up.

1. Wow dude, did PMS hit you really hard back in March? Did Uncle Freddie start touching you in the no no spot again?
   
   I read your pathetically laughable diatribe, wishing arson upon my house simply because I expressed a friggin' OPINION, and honestly, I'm really worried about you. Do you hang out in front of Mr. Strait's tombstone at night loudly singing "Get Some" like so many hippies who make pilgrimages to Paris to hang out on Jim Morrison's grave? Do you have a candle lit shrine to Lynn in your room and do you constantly ask Lynn's parents if they can donate pieces of his hair or articles of clothing to you? You, my friend, have some serious issues.
   
   Its obvious this band means a lot to you, probably too much in fact! But you know what? I don't care. Yes I got into Snot for a while because I was into bands like old hed PE and old Incubus at the time and Snot were highly regarded by fans of those said bands. But after having seen them live twice and finding myself listening to Get Some less and less, I came to the conclusion that they were a pretty mediocre band. I gave Strait Up a shot because of the roster of musicians, but it didn't click. I didn't jump any bandwagon, nu metal was simply growing banal and tired to my ears. I still enjoy SOAD, Incubus and hed PE to this day in fact. Before you throw another childish tantrum, I must mention this word again: opinion. Do you know what those are?
   
   Not once in my review did I instruct anyone to not purchase this cd, or not to listen to Snot or anything like that. I'm not telling YOU what to think; I'm telling you what I think. I expressed a simple opinion, that's all. That's what people do when they write these reviews, whether they are 5 stars or 1 stars.
   
   I'm still sitting here laughing at you for trying to indoctrinate me and give me sensitivity and morality lessons over a friggin' one star review. If you can't handle the fact that people have opinions that differ from your own then I say you can stick your sermon where the sun doesn't shine.
   
   You, my friend, are a complete moron and I think it is you who needs some serious help.



2. Dude, you are full of some pretty terrible words, and I think everyone who reads your review will realize that. You want us to feel special that you "broke out" into other music, and burned your bridges. Yeah, well, after reading your review, I want to burn your house down.
   
   I think you're just full of it and I bet your words hardly convince yourself to disbelieve what Snot offered. Heck, if they weren't good, someone like you wouldn't have been into them at one time, unless you were so messed up that you didn't know what you liked. People like you don't feel the effects of the "it" factor that certain creative people have, and you just sway with the wind to what you think others like. I really feel sorry for you and the thousands of other mindless drones like you. You make me sick, and I believe if anyone sees this page, they will have no respect for your words. If they have heard anything about Snot, then some worthless words like yours will not deter them from owning their works. I don't even need to tell people to go out and buy all the Snot cds. Strait had the "it" factor. It speaks for itself, and leaves all these worthless dissillusioned kids that don't understand shivering in its presence.
   
   I hope I never see you around, kid, and R.I.P., Lynn, Dobs, and Snot!
   D.S.



3. On December 11, 1998, Snot vocalist Lynn Strait was on his way to Los Angeles to work on the second Snot album when he got in a car accident that claimed his life. Meanwhile, the rest of the band had just finished demoing the music for 9 new songs when they got the call that Lynn was gone.
   
   There are really two ways to look at this album - as a tribute to Lynn from his friends and bandmates, and as a glimpse into the aborted second Snot album, which with Lynn's death was doomed never to happen. Obviously it is a very touching gesture and a testament to how many lives Lynn affected. However, Lynn's death was also the death of one of the best metal bands of the era and while the lyrics are in many cases a heartfelt send-off for a good friend, the music is a scrapbook providing a glimpse into what Snot could have become.
   
   First, lyrically, there are some very touching lyrics. What is interesting is how many different reactions Lynn's death incited - from Serj's poetic celebration of Lynn's virtues to Jonathan Davis's anger and feelings of betrayal and Corey Taylor's shock. Among the more disappointing deliveries is Fred Durst's inane ranting on "Forever"... on one hand, it can be seen as a reaction to the self-rightous a-hole DJ's and music critics who dismissed Lynn as just another worthless drug casualty, which is an honest enough reaction. But at the same time, why sully Lynn's memory by calling out his enemies on this tribute? Also, "Reaching Out" has mostly nonsense lyrics, even though the tune is one of the best on the album musically.
   
   Seen as a glimpse into Snot's aborted second album, Strait Up is both fascinating and massively frustrating. What is immediatly clear is that Snot's music was becoming significantly more dark and serious. These tunes don't even need the somber lyrics to be heavy-hearted, as the music is just a lot more brutal and angry than most of the punk/jazz-core found on Get Some.
   
   It should be pointed out that there are actually 15 tracks on this album. However, the band only wrote 9 new songs as of when Lynn passed away. So which songs constitute Snot's hypothetical second album? Well the 15th "hidden" track is a remixed soup of Snot songs and a few recordings of Lynn's spoken voice. Interesting, but not that listenable, and clearly not something that was written in the regular sense.
   
   The only performance by the full band Snot on this album is "Absent", probably the band's single most emotionally powerful song. However, while this version is remixed and cleaned up for Strait Up, it was originally released on the Strangeland soundtrack, and was not one of the 9 new songs. It may have landed on Snot's LP2 though, and it is a perfect example of how much more powerful and dark Snot's music was becoming at this time. The music to "Sad Air" was written by ex Snot guitarist Sonny Mayo in response to Lynn's passing. While it is a very emotional track, with what I assume is one of Lynn's last interviews, it wouldn't have existed without his death.
   
   "Ozzy Speaks" is a spoken word tribute from Ozzy Osbourne at the center of the album. "Angel's Son", on the other hand, is an absolutely beautiful ballad featuring singer Lajon Witherspoon from Sevendust. Actually, it features several other members of Sevendust, and was written by Sevendust guitarist Clint Lowerly. It is a great song but it is a Sevendust song and an alternate version can be found at the end of Sevendust's third album, Animosity.
   
   All the rest of the songs are Snot songs, but one of them had to be written explicitely for this tribute album, since there are 10 tracks left. Well "Starlit Eyes" is for certain one the songs, since a version of it exists with Lynn's vocals, under the name "Choose What?" This song is a frenzied, intense metal track that is passionate in either version (but especially in the version with Lynn.)
   
   Using "Absent" as an archetype for the overall vibe of new Snot songs (and using Get Some as a pallette of musical devices characteristic to this band,) several equally dynamic tracks can be assumed to be would-be LP2 songs. "I Know Where You're At" is a song that develops quite gradually and is musically a trip in a way old Snot wasn't. Granted, the hip-hop beat in the intro was probably added when M.C.U.D. was the confirmed as the guest vocalist, but the rest of the track is clearly Snot in origin. "Requiem" is even creepier than "Absent" and would probably have been one of my favorite Snot songs. I can only imagine what Lynn would have done with it. "Reaching Out" is of a slower pace than any previous Snot songs but has the same dark edge as the rest of the music on here, and the last minute and a half or so is ethereal. "Take It Back" is musically one of the lesser of these songs, being a bit heavy in a more 'cliche' nu metal way than the other songs, but maintains a similar style and was probably set for release on the next album.
   
   Snot also had a penchant for fun and fast punk songs, a description which can easily be applied to "Until Next Time" (which was written by Lynn himself) and "Funeral Flights." However, three tracks have almost no resemblance to anything else by Snot and one of these was probably written to accomodate the guest singer - "Forever,""Divided," and "Catch a Spirit." The first song actually does have some telltale Snot lead towards the end, so my money is either on the bubblegum-sweet "Divided" or the tribal "Catch a Spirit." They're just too tailored to their respective guest singers. Both are good songs, especially "Divided", although not standouts on the album.
   
   It is clear that Snot's second album was going to be amazing, and it is more than a little frustrating that we will never get it or any other future output from this band. Having not known Lynn personally, I'm not going to pretend I feel the pain these people felt from his passing, but it did make me pretty sad - this effort affected me strongly when it came out and I think I have more appreciation for their personal loss through it.
   
   It is a bit depressing to sit through this record once you know the lyrics, especially if you make it all the way to "Sad Air," but I recommend it strongly - musically it is an accomplishment and even if you don't care for one or more of the guest artists, there's a high likelihood you'll find at least a few songs on it that you like. It is a MUST for fans of the band, who where left wanting more after Get Some.



4. THIS CD WAS GREAT TO HAVE THE BAND MEMBERS OF SNOT TO DO SONGS WITH OTHER SINGERS IN TRIBUTE TO ONE OF THE COOLEST MEN TO EVERY LIVE SNOT WAS LIKE NO OTHER BAND THEY HAD THEIR OWN STYLE.IT WAS VERY TRAGIC ABOUT LYNN,BUT SNOT STILL LIVES ON.IF YOUR LOOKING FOR A TRIBUTE WITH GREAT PASSION AND HEART FELT LYRICS THIS IS IT. SNOT!!!!!!!



5. I sold this album after owning it for a week, because I was beginning to break out of the confines of nu metal worship. I realized that 1)Snot was really not a very amazing or enjoyable band and 2) Lynn Strait was a pretty unremarkable individual and a mediocre frontman/songwriter. Its obvious the guy was popular amongst his friends, but ultimately this tribute probably sounded better to the people who participated in the album itself rather than listeners. The standout is "Angel's Son", though Lajon Witherspoon writes some pretty cheesy lyrics(Dude, what does your daughter have to do with Lynn?)he does a fine job and the acoustic guitars are pleasing to the ear.
   
   Oh well, the nu metal's domination is long over anyways.

No comments about Music of Your Life: Best of Robert Goulet.

5 comments about Soubrette: Blossom Dearie Sings Broadway Hit Songs.

1. A really great, fun cd with the kind of off beat songs for which Dearie's (what my son calls "cartoon") voice is perfect.



2. Blossom, the arrangements, witty lyrics and tuneful tunes. This has it all. One of my faves!



3. Blossom Dearie has a voice that you will either like of dislike--part ingenue and part little girl. This collection has some real gems in it--her rendition of Life Upon the Wicked Stage from Showboat is delightful. Unfortinately other songs struck me as dull and listless. It is that kind of voice--at times you are drawn to it and at other times you just wonder what you are doing listening.



4. What do you mean, you've never heard of Blossom Dearie? Shame on you!
   
   Love Broadway? Love Jazz? Order this today. "Blossom Dearie: Soubrette" is my favorite of her many recordings. The songs collected here are not your usual Broadway fare. No, these tunes are character songs, novelty song ususally sung by the second female lead or soubrette.
   
   The greatest Broadway composers are represented to great effect: Rodgers & Hart with "Too Good for the Average Man" and (especially) "To Keep My Love Alive," Porter's "Always True To You in My Fashion," Loesser's title tune from "Guys and Dolls," and two incomparable numbers from Schwartz and Dietz, "Confession" from "The Band Wagon," and the unforgettable "Rhode Island is Famous for You."
   
   This is simply a joyous recording. It's hard, if not impossible, to listen to this recording without at least a smile on your face. This is one that should not be missed [I know I say that alot - but I mean it]. Order this, you be glad you did. And remember, I told you to.



5. Ok, it is always a matter of taste. This may be not a typical B. Dearie album, wich means, you will not find a Jazz Combo. Those who are jazz buffs should start by somewhere else. But for those who enjoy traditional vocal Pop, will find these recordings very rewarding. The arrangements are a little contained, but very well designed by the master Russ Garcia, who respected the "light" voice of the performer, giving a non-obstructive orchestral dressing, in other words, lots of vibraphone and woodwinds. It sounds very nice. Plus, aside of the overrercorded songs like " Guys and Dolls", you will find some other tunes that are almost rare like Porter's "The Physician" and Rodger's "Too Good For..." . And even if you say "not her best" due to the bright of other recordings of her, it deserves at least four stars for its contents.

5 comments about The Robber Bridegroom (1976 Original Broadway Cast).

1. This item was exactly what I ordered. Its not a great musical in my opinion, but I didn't buy it because I liked it, I bought it because I needed it.



2. This show should be better known. I think it's just as good as "Big River" and in several ways much more complex. One of the few musicals that really combines country and folk and Broadway
   effectively. It's a forgotten gem-- & cast all do a fine job too.



3. I was not prepared for how... um... redneck this production sounds. It makes BIG RIVER (a fave of mine) sound "citified." A LOT of WARBLING and drawling and vocal scooping. It's so thick, it actually distracts from the melody and music. But it sounds well-portrayed and energetic and funny. I just wasn't prepared for the kind of musical it is. No negatives intended.
   
   "Sleepy Man" is a beautiful track, and if you love a clear soprano, it's a must-hear (try Emily Skinner's solo CD).
   
   I write this review to steer those who may not like hillbilly country music in another direction.



4. I have been looking for thisa for about 8 years on CD. My old 33 1/3 wore out and so did my cassette tape. I HAD TO HAVE THIS ON CD and it took calls all over the country as well as the internet and 8 years to find it... buy it now if you are interested it's a rarity.. By the way the samples are off by one so if you are not faliliar with this wonderful show don't get too confused just sit back and enjoy!



5. The Robber Bride Groom is a wonderful production that has been one of the best kept secrets of Broadway. It's music is so lively and "foot stompin'" on CD that it makes you want to get up and square dance when you listen to it. Certainly you do not have to love country music to love these extraordinary musical pieces. "There's Nothin' Up", "Rosamund's Dream", and "Deeper In The Woods" are some of the most beautiful songs that you will ever hear. And "The Prickle Pear Bloom", "Two Heads", "Love Stolen", and "Goodbye Salome" are hilariously funny and entertaining. I would highly recommend this soundtrack to anyone!