Amazon.com

What I Meant to Say continues 1970s superstar Donny Osmond's comeback, which began more or less with his role in the revival of Joseph and the Amazing Technicolor Dreamcoat. The title tune ably demonstrates Osmond's ease with his long-patented brand of pop. The CD also includes the single "Breeze on By," a carefree summery number. Sharing song writing credits with Bobby Womack and Gary Barlow, the tune demonstrates the MOR pop polish of the album to perfection. Ensuring there are plenty of cuts for future singles, the album features a very relaxed new version of the Bacharach/David classic "This Guy's In Love With You," which Osmond originally recorded in the 1970s. Those of a certain age will go weak at the knees recapturing their teenage years swooning over Donny, while the still good-looking Mr. Osmond may well capture an entirely new generation of young hearts with this perfectly produced pop collection. --Gary Dalkin ... Read more

Reviews (31)

Quite an Impression
WOW!! This album is quite an impression and update of the reknowned, Donny Osmond! Very relaxed and cool!the song that i predict will be the summer hit is "Breeze on by"..I can tell that he sampled some isley brothers motions, and greg conquiso flow!!

Donny's STILL Got it!
With all the music we have today to weed through to find some good music, well, look no more. This CD is very much Donny, but he's all grown up. It's got classic love songs but so much more, heart and soul. Donny continues to amaze his fans. You can't go wrong with this CD, it's a must have!! I can't stop listening to it since I saw him in concert.

truly a broken man is d ozman
it's products like this that haveme wondering why amazon doesn't have a zero star option for product ratings

A good moment for Donny
On WHAT I MEANT TO SAY, Donny's clear expressive vocals and surprisingly good songwriting talents come into the forefront.The UK Top 10 hit "Breeze On By" creatively samples George Benson's jazz classic "Breezin'", and features free-flowing lyrics along with a relaxed vocal performance by the sexy Mr. Osmond.

"Breeze On By", "In It For Love', "Keep Her In Mind", and "Broken Man" prove that easy listening music can be very soulful, while on the Bacharach/David classic "This Guy's In Love With You", Osmond makes it all look easy when he hits those perfect high notes.

The rest of the album has good songs bathed in too-slick music arrangements, especially on the gooey "One Dream", the cleverly sincere "My Perfect Rhyme", and the uptempo "Shoulda' Known Better".A dose of mid-70's Marvin Gaye would do these tunes some good.

I was a fan as a kid and now as an adult...
My husband bought this CD for me after I heard a radio interview with Donny on the radio.I was so excited that he had a new CD out, it was like being a kid again.He is such a genuinely good person that you can't help but love all that he does.the music is wonderful.I especially love the song for his children called "I Will Fight For You."It struck a nerve with me and I cried my eyes out for every parent will understand what he means. One song is better than the next.It is definitely a must have for anyone who is an "old time" fan and for those who have never heard Donny before will find a new friend in him and his music. ... Read more

Amazon.com

Don't have the time (or the props) to watch the whole movie?Just puton the soundtrack--it's got all the best parts without the dialog in-between! Well, isn't that what an Original Soundtrack Recording like this issupposed to be?Back in the mid-70s when The Rocky Horror PictureShow was a midnight staple at countless movie theaters, Tim Curry wasn't yet"Tim Curry" and Susan Sarandon wasn't yet "Susan Sarandon"(hell, Barry Bostwick wasn't even "Barry Bostwick"!). Listening tothese science-fiction double-feature showtunes will take you back through a timewarp to the days when the now-Academy-Award-winning actress was perfectlywilling to stand around for most of a picture in her bra and panties--and sowould her boyfriend!In those days, they were just Brad and Janet, forced tospend a dark and stormy (also sexy) night in the haunted house of mad scientistFrank N. Furter--just a sweet transvestite from transsexual Transylvania-ha-hawho really knew how to belt out a song.Those were the days. --JimEmerson ... Read more

Reviews (50)

You SO need this soundtrack!
I'm just going to say it straight out, this soundtrack is a MUST HAVE! Not only is this movie totally great, the soundtrack is equally superb. The songs go from catchy to addictive (I think the fact that you can sing the phrase "Be It, Don't Dream It" over and over.. and over..... and over- contributes somewhat,) but addictive in a good way. The songs range in genre, yet all seem to posess one similar characteristic - they are all really really good! Although RHPS is most well known for "Time Warp," it isnt the only hit the movie bore. "Sweet Transvestite," a powerful rockish tune in which Tim Curry gives a dramatic vocal performance is definitely a favorite of mine and many others. "I'm Going Home" is on a much softer note, a beautiful ballad with a few splashes of violin, sax, and electric guitar, with great back-up vocals. "Over at the Frankenstein Place" is a nice little duet with Barry Bostwick and Susan Sarandon and a small part with Richard Obrien with his odd and imperfect voice, but that's what makes it so cool! "Science Fiction" is another slightly odd-voiced song, but the awkward sound of it is what makes it so special. Also, Meatloaf's song "Hot Patootie" is an instantaneous favorite with it's old time rock n roll sound. "Eddie" is also a favorite of mine, it's timeless! In fact this whole album is timeless, seeing as how it was recorded in '75 i believe, and I can still listen to it without cringing! Actually, i don't cringe at most any 70's music, but THIS particular CD is very non-cringy! It's the anti-cringe! What can I say you have to get it! Just get it already! And don't forget the movie!

A really great listen!
I first saw RHPS on December 12, 2002 when I bought it on VHS. I've been a huge fan since then. Not too long after, I bought the soundtrack, which I never seem to stop listening to.

Science Fiction/Double Feature-5 out of 5-A wonderful opening song. It seems to tell you right away what this movie is: a spoof on all of the past Science Fiction movies. Richard O'Brien is great singing this one. ;)

Dammit, Janet-5 out of 5-Great singing by Barry Bostwick and Susan Sarandon(B.B. and S.S. =P).

Over at the Frankenstein Place-5 out of 5-Great song. I really love singing back-up and Riff-Raff's verse in this song.

Time Warp-5 out of 5-I love Patricia Quinn as Magenta. I always sing her parts in this song. Also, the dance is so much fun to do.

Sweet Transvestite-5 out of 5-Noone could ever pull off the role of Frank N. Furter like Tim Curry. Tim has the look and the voice.

I Can Make You A Man-5 out of 5-Great song. Tim really sounds great here.

Hot Patootie, Bless My Soul-5 out of 5-One of my favorites from this album. Meatloaf, I believe was the best choice as Eddie.

I Can Make You A Man(reprise)-Great finish. I really like Mendelssohn's wedding march re-done with a rock sound.

Touch-a Touch-a Touch Me-5 out of 5-Susan Sarandon is great as Janet. This is a great song.

Eddie-5 out of 5-Jonathan Adams is great as Dr. Everett von Scott. This is a great 60's style rock song. Very fun to dance around and sing to.

The Floor Show-100 out of 5-The best song on the album! My favorite part to it is "Wild and Untamed Thing".

I'm Going Home-5 out of 5-The saddest song on the album. I always get sad during this song in the movie because I know Frank's murder is coming up. =(

Super Heroes-5 out of 5-It's sad because what Brad and Janet were singing about, summed up, is that they had a taste of a seedy life and it was abruptly taken away from them and they feel the repercussions of their actions.

Science Fiction/Double Feature-5 out of 5-A re-telling of the movie, in song form! =D

This movie isn't for everyone. You'd have to have a very open mind to be able to sit through it.

Which is better? The movie or the soundtrack?
Thats a really hard question, because they're both so uberly awesome! I mean, this is what all soundtracks should be like. The ones that come out today, just mark some of the songs in the film, and they don't exactly make you replay the movie in your head when you listen to it. This is exactly what this soundtrack does! Just listening to "Time Warp" I want to get up and do the dance, and I can see the antics of Magenta, Riff Raff, Frank, Brad and Janet in my head. This soundtrack brings back so many memories!

I first watched this movie at a movie night at my soon to be boyfriend's house in 9th grade. After that I became obsessed with this movie! I later watched it again on tv by myself at home, and I realized that its one of those films, that just seems to be better if you're watching it with a group of really close friends. So, when my boyfriend gave me the soundtrack for V-day, (hahaha!) I was extactic after listening to it for the first time! Even though I was by myself, it brought back all the magic of the movie, both of the film itself, and of the craziness that insued while we were watching it! This is truly one of those soundtracks that can be listened to just for itself, and not for the movie! Known of the songs sound the same, and they all kinda make you sit up and go "What did they just say!?!?!" hahaha! Its a surprising and delighting album, and definately worth a buy, whether you've seen the film or not! And if you haven't, one listen to it, and you'll want to!

all hail frank n' furter!!!!!!!!!
i am thrilled to report(memories like the 'cobwebs' of my mind), that i was in the audience for the official opening of "RHPS"in 1975...and i like everyone else became instantly intoxicated and obessesed with frank and his denizens. the power the film had over a generation, via its imagery, symbolism, characters and their talent could be likened to releasing invisible heroin into the atomosphere at regular intervals keeping us in a constant state of euphoric submission. i think its absolutely redundant to review this recording. it is however, etched into our cultures psyche and has opened doors for the depraved, the not so depraved,the gay, bi, lesbian, transed out, geeky, s&m'd, stifled, frigid, barren, openminded andclosed, worn in, worn out, fresh, nubile, old, young, smart, slow, you name it.... peoples, of every walk of life and much, much more;futher confirming the power the entertainment industries have to influence. i saw the stage production at the roxy only once, albeit after tim curry left. in his stead was the wonderful and extremely competent paul jabara who unfortunately died way too soon. he was also responsible for penning some very famous pop tunes including "last dance," and "enough is enough." the stage production and its soundtrack primed me for the forthcoming film. i remember the build up..the hype..which can often leave one disappointed. the film in this case was rare in that it FAR EXCEEDED everyones expectations. because the film is what i identify(ied) with so much, the soundtrack has a VERYsoft spot in my heart. i did have to adust to the slowing down of the songs, but only for a very brief period. they simply took what was great and made it greater...perfection! if you're reading this, chances are youre already a fan. if you're new to RHPS then please, do yourself the biggest favor and GET IT! you will join ranks and be a part of a massive cult following that believe it or not, continues to grow. rock on!

See it, then hear it, dream it, then be it.
You don't have to see the movie to enjoy this soundtrack, oh wait, yes you do. Really though. It's as insane as the movie is, and once you see and hear it, you'll understand why it's got the biggest cult following of anything ever. You eventually become part of the music, addicted, and then are forced to give in to absolute pleasure. You'll start to dream it, and then you'll be it. GREAT SCOTT!!! It's just crazy science fiction. Besides everything else, the music itself really is great. I highly recommend "The Rocky Horror Picture Show". I'm going home. ... Read more

Amazon.com

A criticism that has long dogged Billy Joel's career involves his songs' direct, heart-on-the-sleeve emotional sentiments and a musical approach that often revels in pop music's past glories instead of reacting against them. Ironically, those are the very strengths of Twyla Tharp's dialog-free pop ballet based on Joel's infectious canon of music, including his recent forays into the classical realm. This live cast recording is fueled by the piano and vocals of Michael Cavanaugh, who, backed by an ensemble handpicked by the songwriter, gooses every last drop of drama from Joel's already theatrical songs with a verve worthy of the legend himself. But divorced from Tharp's always kinetic choreography, and despite angular reworkings of "We Didn't Start the Fire" and other Joel standards, it's a collection that sometimes sounds akin to Joelmania: not really Billy, but an incredible simulation. --Jerry McCulley ... Read more

Reviews (35)

Excellent
When I first heard of the whole concept of "Movin' Out" - a ballet using the songs of Billy Joel played and sung by someone who is not Billy Joel- I thought it was a pretty stupid idea. I thought it was a cheap way to make money off of a great songwriter, performer, and his masterpieces. However, I listened to the CD, and while it does not take the place of Billy Joel (as nothing ever could), it is excellent in its own right. The songs are all wonderful, and are performed with energy and exceptional musicianship. The songs are so loyal to Billy's own versions (he did orchestrate them) but the performers give a little bit of their own character to the music. (My only complaint is this arrangement of "We Didn't Start the Fire"). Michael Cavanaugh, the pianist/lead singer, is amazing. His voice is incredible and soulful; he puts all of his heart into the music. His pianistic skills are flawless - listen to "Prelude" and you'll know what I mean. The other musicians are fabulous as well, and were handpicked by Billy Joel himself. I saw this musical on Broadway and was very pleased. I think it's better than London's "We Will Rock You" (based on the songs of Queen)and Broadway's "Mamma Mia" (based on the songs of Abba) in that the whole cast does not sing and the arrangements are not for a stage chorus. Rather, the one guy and his piano backed up by the band is as close to Billy Joel as anyone will get.

Still rock and roll to me
Having seen the show, "Movin Out", twice last summer in Chicago I was very anxious to get my hands on this CD. I was not disappointed...well, ok..maybe a little bit. Compared to the three song promo CD I'd acquired earlier, the sound on this CD seems a little tinny...not as rich as the studio recording I already had. This CD was recorded in Chicago in August- not sure if it was done on stage or not- but it does have a live quality to it that lacks the round richness of the usual studio recording. As I was mainly interested in the show because of the drummer, Chuck Burgi, I was a bit disappointed that the drums don't sound as clear and sharp as what I had before.

That said, Michael Cavanaugh is fantastic...I wouldn't call him a Billy Joel sound alike as some reviews have...he has a younger voice, perhaps not carrying the miles of Joel, but in keeping with the themes of the dance show- youth, hope, possibilities. His piano playing is quite proficient.

The band is brilliant! Tommy Byrnes is Joel's regular lead guitarist and Burgi and Greg Smith have very impressive resumes(Rainbow,Meatloaf,Brand X,Hall & Oates,BOC, Alice Cooper). I think Smith and Byrnes sing backup. Wade Preston is on the keyboards, the arrangements for which were done by Joel's own keyboard guy, David Rosenthal. Dennis DelGaudio is the other guitarist- he's been a part of the Long Island band scene for years. These guys have been friends for a long, long time. An awesome four man horn section makes up the rest of this amazing band.

It is unfortunate that the CD was rushed through and doesn't reflect the exact lineup of the tunes in the show, the worst case being that the finale band-only number of "NY state of mind" is left off the CD entirely. When I saw the show, this number led to standing ovations both times. Leaving it off was a mistake.

Anyone who sees "Movin Out" will want this CD. Heck, I wanted it just for the Burgi drumming. But if you forgive the choppy edits and instrumental dance bits thrown in for no reason, you can enjoy [this] band. When I saw the show, the dancing was fine but it was the band that brought the audiences to their feet every night. Billy Joel could do worse than to take these guys on the road with him next time.

Better than Joel
I've never been a big Billy Joel fan, but I enjoy this CD, partly because Michael Cavanaugh's lead vocals are much better than Billy Joel's! Cavanaugh brings a fresh and much-needed energy to songs you've heard over and over again for years. The reworking of "We Didn't Start the Fire" flatters the song and bring the life of the show to the CD. A good purchase if you enjoy Billy Joel and would like to hear a new spin on the classics.

Pretty Good
I have tickets to see the show and already like Billy Joel's songs. I wanted to see if the songs would be any different from what I already knew. Pretty much this is a collection of Billy Joel songs sung by a guy with a really good voice. Unfortunately some of the songs are arranged a bit differently (i.e. "We Didn't Start The Fire"). I still rate it highly overall because they're really great songs and the singer is really good. Even though this is less of a musical than I thought...then again you might as well purchase a Billy Joel CD if you don't care about the show...

A Classic!
I saw the Broadway show, and it was fantastic! I had to buy the CD, becasue I just couldn't get the songs out of my head! This is a MUST BUY! ... Read more

Reviews (24)

ICK - SAME THING I SAY ABOUT THE OVERBLOWN MOVIE
This soundtrack pales, GREATLY pales, against both the 1999 Disney movie soundtrack and the 1977 Broadway cast. John Huston was the WRONG choice as director, Al Finney as Warbucks can barely sing and why did Houston & the producers dump such winning songs as "NYC," "We'd Like to Thank You, Herbert Hoover," "You Won't Be an Orphan for Long" "Something Was Missing" & "Annie", only to replace them with murch worse songs like "Sign," "Dumb Dog" "We Got Annie" "Sandy" & "Let's Go to the Movies"? UGH! Avoid buying this cd soundtrack & the movie video at all costs. Go out instead & buy the video to the 1999 Disney TV movie. A MUCH better choice...

Great Soundtrack for Young AND Old
I have watched this movie since it came out in 1982, and everytime I see it I love it more. Aileen Quinn has alot of talent...it takes alot of guts to not only act, but to sing too, at the young age she was. The casting couldn't have been any better. I couldn't imagine ANYONE else trying to be like Albert Finney or Carol Burnett. I think the Disney version was a waste of money (JO-COCO). I couldn't even stand to watch it because it ruined "Annie". The acting and the music was AWEFUL. Stick to the original, it will have you humming the tunes long after the movie is over, and the soundtrack is well worth it- for the young or old!

good soundtrack; bad movie
Apart from having some fabulous dyed-in-the-wool Broadway talents among its cast, the dreadful 1982 film of ANNIE is a complete abomination. John Huston clearly had no idea of the original stage version and its quiet charms. The only saving grace for the film was the wonderful cast assembled for it: Carol Burnett (ONCE UPON A MATTRESS, FADE OUT-FADE IN) as the addled orphanage mistress Miss Hannigan, Tim Curry (THE ROCKY HORROR SHOW) as Rooster, Bernadette Peters (INTO THE WOODS, GYPSY, SUNDAY IN THE PARK WITH GEORGE) as Lily St. Regis, and Albert Finney as Daddy Warbucks. Aileen Quinn won the coveted lead role (she was a 'Swing Orphan' during the Broadway run of ANNIE). The orchestrations were handled by Ralph Burns, who managed to retain the energy and oomph that the score had enjoyed on stage. Brand-new numbers written for the film version include "Sign", a comical duet where Miss Hannigan attempts to seduce Mr Warbucks, the truly inane "Dumb Dog" (was ever a song more appropriately named?), "Let's Go to the Movies" (which replaced "NYC"). "We Got Annie" was originally written for the stage but was dropped prior to Broadway. The soundtrack of ANNIE is quite fine however, though the film leaves a lot to be desired. Stick to the 1999 Disney-ABC version instead.

Not as sharp as the Broadway version
First of all, the score is brilliant. Charles Strouse is a mastermind of melodies (Bye Bye Birdie, another example...) and he caputred some of the 30s feel here. The people that are writing in with bad reviews are morons who heard Jay Z's sample of "Hard-Knocked Life" and for some stupid reason bought this soundtrack thinking it would be beats. Jay Z is probably one of the most talented rappers out there but maybe he's a bit too sophisticated for his dumb-ass audience.

With the exception of "Hard-Knocked Life", the original Broadway musical is a better rendition. They added some songs for the movie which are relatively forgettable...I don't know if Strouse was involved in that.

Annie stinks!!!!
do not buy this cd. all of the songs stink and are boring. when i listened to this cd, i threw up. If you want to buy a cd, I would recommend "Confessions" by Usher, or one of Eminems many great cds.

PEACE OUT YO ... Read more

Amazon.com

Jason Robert Brown burst on the musical-theater scene with a bang when his first Broadway show, Parade, won the Tony for original score in 1999. This new offering is more modest in scale than Parade, but it allows Brown to refine his skills. A two-character, one-act play, The Last 5 Years retraces a relationship through a complex structure that involves varying viewpoints and a chronology that unfurls backward and forward. Brown himself plays the piano and leads a small ensemble, while Norbert Leo Butz (Thou Shalt Not) and Sherie René Scott (Aida) sing the composer's heartbreaking melodies. Brown's lyrics need a bit of work (he can be oddly crass at unexpected moments), but he knows how to write songs that incorporate a pop sensibility and a distinctly theatrical narrative drive. That in itself is quite an achievement. --Elisabeth Vincentelli ... Read more

Reviews (77)

Jason Robert Brown- need i say more?
if you have heard any of jason robert brown's work, you will understand what i mean by that title. his work captures amazing music and modern lyrics and subject matter beautifully. an example of that is the song "See I'm Smiling" where the music is so beautiful and captures you in an instant, and yet the lyrics are modern and make you feel as though this could be your friend just talking to or in front of you- they dont feel contrived for rhyme. (ex. "I think you're really gonna like this show/ I'm pretty sure it doesn's suck...") Brown beautifully delivers on humorous tracks like "Shiksa Goddess" and somber tracks like "Still Hurting". the other amazing aspect of this recording is how the music truly allows you to understand the complicated storyline of a couple's five years of marriage, with the woman, Cathy, beginning at the end, and the man, Jaimie, starting at the beginning of the relationship. this device portrays both stories without boring the listener, but still capturing the truth of relationships. i would highly suggest this to any musical theater lover, as well as all of Brown's work. if you love Songs For A New World, then youll adore The Last 5 Years.

Complex, Beautiful, and Brilliant
Whether he meant to or not, when the score to Parade knocked down every standing wall around theatrical music, composer Jason Robert Brown made a promise to the Broadway community. He promised to breathe new life into a dying art form, to shake up that which took pride in being sedentary, and to make audiences reexamine everything they thought they knew about musicals. The Last Five Years keeps every promise made by Parade, and proves that Mr. Brown is more than capable of reinventing the entire genre of musical theatre.

L5Y is, at first glance, a very simple story: actress Catherine and novelist Jamie meet, fall in love, marry, have conflicts, and divorce over the course of five years. With so uncomplicated a plot, then, the characters must be incredibly complex and real in order to keep us interested in their lives, and fortunately for us, Mr. Brown specialises in creating a three-dimensional character in just one song. From the beginning, we know and understand these people and their underlying conflicts: Catherine is painfully insecure and needs Jamie's reassurance, Jamie is an egomaniac who needs Catherine's undivided attention. This is a gross oversimplification of these wonderfully vivid characters, but I would need much more space than allotted here to accurately describe them.

What takes L5Y beyond greatness and makes it a work of genius, however, is its presentation. Catherine tells her side of the story backwards, from the divorce to the first meeting. Jamie tells his side forward, from first meeting to divorce. This allows us to see patterns in their lives that might otherwise be hidden- for example, Jamie gets an eager agent and watches his career skyrocket, as we see that Catherine cannot even get her agent on the phone. Every song (save two) are solos, letting Norbert Leo Butz and Sherrie René Scott shine as individuals in their roles.

This excellent recording contains almost the entire show (on stage, it ran 83 minutes; the album is just a little shorter), including the long instrumental interludes in the middle of some songs. It is a true gift to experience such talent, and to hear it rising to still greater hights.

A good sign for the future of musical Theatre
As a HUGE fan of Jason Robert Brown, this album didn't leave my cd player for a month. You can't help but become absorbed in the story of two people falling in and out of love. The lyrics and plot seem to mirror image the realtionship of people in america of how a relationship can start out so well, and end up broken. Great lyrics and voice talents only enhance the magnificence of Jason Roberts Brown's creative genius

Genius, Pure and Simple
With "The Last 5 Years," Jason Robert Brown is three for three as far as composing goes. Once again, he has produced a virtually flawless score that is at once beautiful, inventive, poignant, and emotionally powerful. It is one of the handful of theatre scores where I would not remove a single song, and that is one of the highest complements I can pay a composer.

"The Last 5 Years" also shows Brown's growth and willingness to take risks as a composer. Attempting a sung-through musical with only two people is incredibly ambitious, and if nothing else runs the risk of becoming boring. But Brown's score is so inventive you forget the rather predictable flip-flopping of performers (she sings, then he sings, then she sings, etc.) or the fact that with the exception of "The Next Ten Minutes" all the songs in the show are solos, some of them over seven minutes long.

Also ballsy was the decision to tell half the story backwards. The show chronicles the relationship, marriage, and divorce of Jamie and Kathy, and Jamie's song are in order from their first date to their divorce. However, Kathy's story is told starting AFTER the divorce (with the haunting, heart-wrenching "Still Hurting") and goes backwards to thier first meeting. Although this can be initially confusing, ultimately it works in the show's favor, switching the emotional gears enough to keep things fresh.

Norbert Leo Butz and Sherie Renee Scott both do an excellent job with the roles of Jamie and Kathy, respectively. Although she can sound a bit thin-voiced at times, Scott acts the hell out of her songs and scores big time with numbers like the emotionally volatile "See, I'm Smiling" to the hysterical "Climbing Uphill" (at least it's funny if you've ever been at an audition) to the aforementioned "Still Hurting." Meanwhile, Butz runs the gauntlet from cocky schoolboy (the incredible "Shiksa Goddess") to disillusioned husband ("Nobody Needs to Know") and everywhere in between. And the one duet, "The Next Ten Minutes," is THE most gorgeous and emotionally honest love ballad written for the theatre.

In fact, therein lies the show's greatest triumph. Based in part on Brown's own marriage and divorce, "The Last 5 Years" tells to story of two REAL people experiencing the real emotions of love. The show is never sappy, but instead honors love in a way so emotionally truthful that you really feel for the characters. This is due in no small part to Scott and Butz, who portray both Kathy and Jamie as real people with real flaws, yet who are both trying their best to make things work.

"The Last 5 Years" isn't Brown's best score; that honor goes to "Songs for a New World." It also isn't his best show; that honor goes to 1999's "Parade." Yet it is his most daring show to date, and for that alone deserves attention and praise. If the show doesn't quite work in places, it's such a daring and immensely personally undertaking that the fact it turned out as good and truthful as it is proves Brown's mastery of his craft. We will be hearing a lot more from this man. I guarantee it.

A True Musical For Today's World
When I say that this musical is one for today's world, I mean it. As a musical it has advanced beyond generation constraints and become not only a timless piece of work, but a piece of work that really reflects our generation of people right now. It captures the spirit and spunk of relationships today and it combines it with brilliantly written lyrics and fun, clever semi-modern music. Jason Robert Brown is an up and rising composer/lyricist in the theater world and has broadened our view of entertainment with his very own style of presentation. When asked if he thought that he was the "new" Stephen Sondheim he replied, "Sondheim is a genius, I just write some good songs." This show is basically about a couple, Kathy and Jaime, who meet, get married, and then eventually break up. Kathy starts her story at the very end and progressively works her way backwards. Jaime starts at the beginning and works his way back. It is packed with emotion and power that really hits home. The lyrics are amazing as I have said and so is the music. Both Sherie Rene Scott and Norbert Leo Butz have amazing voices and put so much into it, it becomes hard to believe they did this almost every night. They are true rising stars as well as Jason Robert Brown. Somebody must of thought so as Butz is in the original Broadway cast of Stephen Schwartz's Wicked. I can't wait for Brown's next musical, because even if it is only half as good as this, then it will be spectacular. ... Read more

Amazon.com

Linda Ronstadt, who emerged from SoCal's vaunted early-'70s country-folk scene, became the American female rock superstar of the Me Decade. After the initial success of the Stone Poneys' Michael Nesmith-penned "Different Drum," Ronstadt expanded her horizons through interpretations of a long string of successful pop and R&B covers. Along the way she championed emerging songwriters like Warren Zevon ("Poor Poor Pitiful Me") and contemporary favorites like Neil Young ("Love Is a Rose") in the bargain. As the formula waned with the changing tastes of the '80s, she briefly turned to new wave before stepping boldly back to the pop standards of the '30s, '40s, and '50s. Unfortunately, this collection inexplicably skips over that three-album collaboration with arranger-conductor Nelson Riddle, a body of work that presaged the 1990s' lounge-pop revival by a full decade--and outclassed it by miles. It also eschews a compelling contemporary Latin chapter of her career in favor of her winning collaborations with Aaron Neville ("Don't Know Much" and "All My Life") and less successful AC fodder like "Winter Light" and "Somewhere Out There" with James Ingram. A good primer to Ronstadt's immense vocal talents and recording history, but one that's flawed by some crucial missing chapters. --Jerry McCulley ... Read more

Reviews (30)

Good compilation album
Those of us who grew up in the 70's and 80's can remember how popular Linda Ronstadt was back then. Most of her big hits from that period are all here.
Linda had a good singing voice, and often covered other people songs, in her own style. Who can foget her versions of "Heat Wave" (Martha and the Vandellas), "When Will I be Loved" (The Everlys),"Ooh Baby Baby" and "Tracks of my Tears" (both Smokey Robinson),"Just One Look"(Doris Troy),or "It's so Easy" and "That'll be the Day"(both Buddy Holly)?
This albums includes all those, and will bring plenty of memories back to quite a few people. Linda also supported such songwriters as Warren Zevon("Poor Pitiful Me"),giving them much needed exposure. The album also includes two duets with Aaron Neville, "All My Life" and the lovely "Don't Know Much", which deservedly won a Grammy.
None of her acclaimed work with jazz music (On three albums with Nelson Riddle),nor with Dolly Parton and Emmylou Harris is included. Nor from her Spanish language albums, either. This album would probably had to have been a double cd to include those. Otherwise, this is a good single "best of".

An Incomplete Portrait Of The Artist
Linda Ronstadt possesses a strong, beautiful voice. She has covered many musical genres in her career, but not all of them are represented in this collection. The emphasis is in on her most commercially successful period, the seventies. Her rocking version of "When Will I Be Loved" starts this compilation off on a strong note. The Buddy Holly songs "It's So Easy" and "That'll Be The Day," the Chuck Berry classic "Back In The U.S.A." and Little Anthony's "Hurt So Bad" are also full-tilt rockers. Her emotional rendition of Roy Orbison's "Blue Bayou" is breathtaking. The longing in her voice on "Long, Long Time" is heartbreaking. Her breathy version of Smokey Robinson's "Ooh Baby Baby" finds Linda at her seductive best. While her country-rock classics, "Different Drum" (with the Stone Poneys) and "Love Is A Rose" are welcome inclusions, they sound out of place among the rockers.

The shortcomings with this collection could have easily been fixed. First, the songs would have benefited by being presented in chronological order. Second, the compilation should have been expanded to a double CD. This would have allowed for inclusion of the essential rockers "I Can't Let Go," "How Do I Make You" and "I Knew You When." Her three albums of standards could have been represented with such songs as "I've Got A Crush On You," "My Funny Valentine," "When I Fall In Love" and "What's New?" At the very least, "To Know Him Is To Love Him" from her Trio album with Dolly Parton and Emmylou Harris could have been added. Selected songs from her two Spanish language albums would have spiced things up nicely. The songs that make up "The Very Best Of Linda Ronstadt" are uniformly great, but left this listener wanting more.

Great Collection!
I have enjoyed listening to Linda Ronstadt over the years and happy to still hear her songs on the radio today! I agree with most of the reviewers and do recommend this collection for casual fans.

I already had her two greatest hits albums (1976 and 1980) and also have "Howl Like A Rainstorm...Cry Like The Wind" album, but still decided to buy this. I'm happy I did! Sure, hits are missing, but what is here is great and sounds great too!

Included are liner notes and pictures of Linda in color and B & W through her various stages of her life. Detailed song credits with chart positions are also here.

One of Popular Music's Greatest Voices
Linda Ronstadt has one of the most expressive voices in all of popular music. While she didn't write any of her own hits, she and principal producer Peter Asher knew how to pick songs. Beginning with her first hit ("Different Drum") by Monkee Mike Nesmith to her final big hit in 1990, Karla Bonoff's "All My Life," Ronstadt put her own unique stamp on these songs. Whether it was outcharting Roy Orbison with her cover of "Blue Bayou," Chuck Berry on "Back in the USA" or Smokey Robinson & the Miracles on "Ooh Baby Baby," Ronstadt dominated the charts in the late-Seventies.

The only problem I have is that this collection is somewhat incomplete. It's missing minor hits like "Get Closer" and her cover of the Rolling Stones' "Tumbling Dice." Even more disappointing is the exclusion of the Top 10 hit "How Do I Make You" from 1980. [And with a running time of 68:25, these could have been easily included.] But this does a nice job of including the big hits, a few key album tracks, and the 16-page booklet includes some great photos and track-by-track info. Overall, this is a very satisfying collection and will no doubt please casual fans with an overview of Ronstadt's career from 1967 to 1993. HIGHLY RECOMMENDED

Blue Bayou
"I'm going back someday, come what may to Blue Bayou."

When Linda Ronstadt sang those delicious watercolor-dripping words, it wasn't of a particular place or locale. Though one may succeed in finding a "Blue Bayou" on a map, Blue Bayou isn't any one point on the compass-it's a perpetual state of mind that lives forever in loneliness and heartbreak and the longing for something that no longer exists. It is a picture in our memories and in our hearts where happiness was and somehow still remains, something we have all felt at one time or another in our lives. The melancholy yearning for that singularly quintessential moment when we each have felt enriched by the experience of love and understanding, of family and the jubilance of being surrounded by friends, representing warmth, and of life's constancy-it all goes deeper than our consciousness-it sings to place within, that goes to our soul of souls.
Blue Bayou speaks to what our lives should be all about. It resonates our hearts making us want to be happy again, wanting so badly to change our lives and turn back the clock to a time when we felt and possessed its elusive qualities. Blue Bayou makes each of us understand the differences and difficulties of each of our days in this one life we have been blessed with. It demonstrates how once we might have let happiness slip right through our fingers at a time when we might not have been attuned to its magic, or of when it was suddenly gone, or taken away. Blue Bayou, is watching the petals fall from a flower and recalling with poignant appreciation its former beauty.
Mostly, Blue Bayou is about hope and the need for having something dear to us available again. It is an inspirational overture to make things right, to turn over a new leaf and set ourselves right with the world again. Blue Bayou is that place where all these things are possible if only we can get back to it. It is about finding and understanding ourselves, whether through our own eyes are in the eyes of those who we love dearly. Blue Bayou then, is about love, and what love means to each and every one of us everyday we let in a fresh breath of air. Thank you Linda!!

"Well, I'll never be blue, my dreams come true, on Blue Bayou..." ... Read more

Album Description

This is the longest selling album in the history of country music. Released in 1967, this collection of a dozen gemsfrom country music's greatest female voice raced to #5 onthe country charts upon release and has spent over 630weeks on the country catalog charts since reissue on CD in1988. Digitally remastered/HDCD. MCA. 2003. ... Read more

Reviews (10)

Fall In Love With Patsy All Over Again
Breathtaking. Chilling. Awe inspiring. Unparalleled. What else can I say about this album? Like most Patsy Cline fans, I own a copy of the original 1988 CD release of Patsy Cline's "12 Greatest Hits." So, why would I need to buy this edition? The advances in remastering technology that have been reflected in more recent compilations of Patsy's recordings intrigued me enough to see what MCA Nashville could accomplish with the best selling album in Patsy's catalogue. From the moment "Walkin' After Midnight" begins playing, you realize this CD is like no other Patsy Cline album currently available. Utilizing the original two and three track Decca recordings, Engineer Bob Ludwig used state of the art digital technology to "bring Patsy into the 21st Century." The result: you would swear that Patsy recorded these tracks just yesterday. The nuances that can be heard are incredible. The brush strokes on the drums in "I Fall To Pieces." The glide of the bows across the strings in "Sweet Dreams." The catch in Patsy's voice and that indescribable breath at the end of "Faded Love." Just absolutely amazing. For collectors, the original 1967 Decca LP cover art has been restored for this edition. Also, the CD booklet includes the original 1967 liner notes, the liner notes from the 1988 reissue, and a brand new interview with Harold Bradley, who played on most all of Patsy's recording sessions and is the brother of Producer Owen Bradley. If you're beginning a Patsy Cline collection, this is the album to start with. If you already own "12 Greatest Hits," you'll want to add this to your collection. You'll fall in love with Patsy all over again.

This remastered collection sounds better than ever!
This Patsy Cline primer was first released in 1967, and its first CD incarnation in 1988 was acceptable but Patsy's voice (we'll get to that in a minute) sounded muted and lost. What a nice surprise (even though I shelled out money for the 1988 CD) it is to hear a much improved mix that brings Patsy to the front.

This CD is a must for casual listeners of her country-soul sound as it showcases a musical powerhouse that knocks you off your feet with its subtle intensity and melody. She does not resort to the histrionics of other artists and she knew that sometimes you can express much more by being less showy.

This collection includes a dozen simply brilliant songs from Cline's catalog. The biggest and best-known hits are here, such as: "Walkin' After Midnight," "Crazy," "Sweet Dreams," "He's Got You", and some that you may not have heard before ("You're Stronger Than Me", "She's got you," and "Why Can't He Be You)."

Patsy in an amazing artist who was a pioneer by setting a well-deserved place on the table for female country artists. In short, if you're a casual listener looking for a good single-disc Patsy Cline collection, for more hard-core fans there is the amazing 4 set box set titled "The Patsy Cline Collection", which gathers it all.

Some professional reviewers have been a little harsh about this CD in that its cover is exactly the same as when it was first released and it has the original notes. I actually love that. You'll also find an updated perspective of how her work has been perceived since this collection was initially released. A no-brainer 5 stars if there ever was one.

Perfection.
I'm not a country music fan but if all country sounded like this then there wouldn't be so many jokes about it. Cline's voice is amazing and the range of emotion she conveys in her simple, poignant intonations overpower a million "I love you's" from the pop songs of today. She is clear, elegant, and haunting. I can't say enough about her. It's too bad that she didn't live longer; just think of what she could have accomplished. My personal favorite is "I Fall to Pieces" but there isn't a bad song to be found on the record.

I fall to pieces...each time I hear Patsy Cline
I have always loved Patsy Cline. This is one of my favorite of her tapes. It covers most of her greatest hits. I own at least four of her albums including this one, The Legendary Patsy Cline, Showcase, and The Last Sessions. I also own the DVD of Sweet Dreams.

Here is why I did not give this album five stars. I think that "She's Got You," and the rest of the songs following it are pretty poor songs to follow "Back in Baby's Arms." That is one of my favorite of her songs. I even had it on my answering machine for awhile.

Immortal
The description of Cline that comes to mind for me every time one of her songs is played or even just her name comes up, was this one by David McGee in the 1992 Rolling Stone album guide: "Kitty Wells had retreated to less controversial ground after her 1952 hit, 'It Wasn't God Who Made Honky-Tonk Angels' had found a sizable audience for its distaff point of view; Cline, on the other hand remained a bulwark of feminine fortitude to the end of her life."

And this strength is apparent in every song the woman sings, no matter how much heartbreak the lyrics include. Patsy would probably reject the word 'feminist' and all the negative connotations its picked up over the years, but if we limited its meaning to that of unshakable confidence and self-awareness it would certainly encompass Patsy. Her every performance suggests a woman keenly aware of the scope of her talent, and she applied like the unerring pro she was.

Songs like "She's Got You," "I Fall To Pieces" and especially "Crazy" were substantially crossing over to the pop charts and pulling in even young rock and roll fans like I already was by that time. Had she lived, Patsy would surely have continued this accomplishment to even greater heights. Her first No. 1 pop hit was only one or two records away, no doubt. But once I heard her, even this 50-year-old R&B fan knew the Real Deal when I came upon it, and Patsy Cline is IT. ... Read more

Amazon.com

No one will lament the passing of the boy band phenomenon; now the American Idol runner-up Clay Aiken has released his first album. He's picked up right where 'N Sync and the Backstreet Boys left off, not only borrowing Andreas Carlsson, the Swedish songsmith who penned some of their biggest hits (also using the services of other well-known popmeisters like Desmond Child and Cathy Dennis), but turning out the same type of impeccable over-produced and seamless creations that the Orlando pop mafia rode up the charts at the dawn of the millennium. Several years into the new millennium it seems like there's still quite a bit of life left in that zeitgeist, since Aiken's Measure of a Man debuted at number one on the Billboard charts. Well crafted and well sung, but at times lacking discernable personality or endearing idiosyncrasies, many of Aiken's tunes sound the same, whether he's lamenting the lack of love in his life ("Invisible"), reveling in it ("Perfect Day"), or supporting his fellow man ("I Will Carry You"). As a made-for-TV pop star, it'll be interesting to see how Measure of a Man measures up in the years to come. --Jaan Uhelszki ... Read more

Reviews (3302)

Measure of a Man
I'm not a rabid clay fan and after reading a few bad reviews I was relunctant to purchase this CD -- BUT I AM GLAD I DID! After listening to MOAM I can say without a doubt it is a fantasic collection of wonderfully performed songs -- "The Way", "Run to Me" and "Measure of a Man" are way over the top of what I had expected. If you are on the fence about buying it, read Billboard's review:

"Clay Aiken's "Measure of a Man" is the best pop album of 2003. Every song, every note is brimming with ambition and glory. Thanks to the bull's-eye A&R talents of RCA chief Clive Davis and a cast of grade-A songwriters-including Cathy Dennis, Desmond Child, Kara DioGuardi, Gary Burr, Steve Morales, Andreas Carlsson-the "American Idol" hero's debut album perfectly matches his radiantly melodramatic voice with good, old-fashioned power ballads aimed straight for the gods. Throughout, the timeless production focuses squarely on Aiken's immense talent. "Run to Me" is arguably the sweet spot, the quintessential tear-jerker, along with show-stoppers "No More Sad Songs," "I Survived You" and the title track. In another radio era, this album could be the "Thriller" of the day, spawning hit after hit. In any case, fans have plenty to celebrate. "Measure of a Man" is an utter triumph of art and commerce.-CT"

My favorite CD!
I love Measure of a Man. I really, really, do.

1. Invisible - a pure pop song. Fun and catchy and great to sing along to, especially the chorus.
2. I Will Carry You - a really moving song of support and encouragement with some awesome money notes in there!
3. The Way - soooo romantic and my boyfriend and I's "song". Beautiful!
4. When You Say You Love Me - with a slight country feel, this upbeat number is a lot of fun for riding in the car and singing at the top of your lungs.
5. No More Sad Songs - oooh, Clay is mad! This song is kinda Elton John-esque. Very catchy, very strong vocals.
6. Run to Me - this one is absolutely heart-stoppingly gorgeous, and the bridge is to die for. Feels like an anthem from a romantic movie like "My Heart Will Go On" from Titanic...only a lot less grating. Hee.
7. Shine - very mellow rock kind of feel. One of my favorites on the album with great lyrics.
8. I Survived You - an angst-ridden, modern man's version of "I Will Survive". Very rock-ish. Awesome!
9. This is the Night - hell, everyone knows this song. It gives me goosebumps every time I listen to it. Stunning.
10. Perfect Day - LOL, I typed Perfect Clay at first by mistake. This one is another one of my faves...it's the most rock-oriented song on the album and Aiken nails it!
11. Measure of a Man - the title track is absolutely gorgeous. Very emotional and moving with a powerful message.
12. Touch - wow, didn't expect this one! With an almost-Latin beat, this song has driving guitars and percussion. The lyrics are sensual without being overtly sexual. Amazing.

All in all, a fantastic album. Well worth checking out.

GOD GIFT
I love you clay you mean so much to me when you came out on american idol my heart stopped my sister had to come and revive me. this album was incredible how can you get anymore better than this. well you can't!!! I don,t know why he didn't make 50 most beutiful but anyway please buy this album his vocals are incredible probably one of the best singers in the world!!!misty

Where would we be without Clay?
I've always loved Clay, but now that I own his CD, my love for him is reinforced. The CD is an album full of his beautiful voice. Even though the lyrics to some of the songs ("Touch" and "When You Say You Love Me") are terrible, he still sings them with grace. I can listen to this entire CD (save for the aforementioned songs) and satistfy my Clay addiction. All I can say is, this CD is highly recommended for any of my fellow Claymates.

You'll play it over and over again
It is so nice to be able to listen to a CD that is not offensive. So many people I know have been turned on to Clay because they have heard this CD. Then, there are other people that seem to be threatened by Clay for some unknown reason. He is just a sweet person with a golden voice. I hope he continues to put out new material, because I can't get enough. ... Read more

Amazon.com

Forget the age of battling boy bands, the era of dueling young tenors is upon us. Hot on the heels of Josh Groban's dizzyingly successful, Ally McBeal-fueled debut comes this first international release from African-born, Greek-raised tenor Mario Frangoulis. There are some clear parallels between Groban's debut and this Frangoulis release, but some distinctive differences as well. While Groban coated his slick, David Foster-molded pop sense with a veneer of classical respectability, Frangoulis has effectively turned the formula inside out. With similar classical training--but a few crucial years of experience on his American rival--Frangoulis treats the classics reverently but not slavishly, with the title track effectively turning an aria from Puccini's Tosca into romantic Europop. Elsewhere, the international flavor is further expanded by three melody-rich songs ("Hijo de la Luna," "La Luna de Valencia," and "Naturaleza Muerta") by Spanish singer-songwriter Jose Maria Cano and a sing-along-ready take on the 1950s Neapolitan chestnut "Luna Rossa."

Like Groban, Frangoulis and producer Steve Woods also plumb the music of la cinema italiana for inspiration, turning Nicola Piovani's bittersweet Life Is Beautiful theme into the ponderous "Buongiorno Principessa," but faring better with a moody, dramatic take on Rota-Wertmuller's "Canzone Arribiata." The obligatory rock-pop cover here is the flamenco-inflected"Nights in White Satin", with Frangoulis joined in a bilingual duet with original Moody Blue Justin Hayward that's surprisingly effective. Less showy perhaps than Groban's debut, but a more nuanced and emotionally satisfying album overall. --Jerry McCulley ... Read more

Reviews (82)

INCREDIBLE VOICE...INCREDIBLY BEAUTIFUL!
I am simply floored by the beautiful tone of this guy's voice. Why he's not a bigger star here in the U.S. is beyond me. He blows Josh Groban(Josh who?), out of the water! Not only is he a great talent, but he's also got a strong musical education/foundation behind him too. And on top of it, he's got movie star looks to boot. (You know, I'm beginning to hate this Mario guy!). But seriously, there is not a bad song on this set. I love them all, especially "Buongiorno Principessa" and the Greek song "Lunna Rossa", which has me dancing like an drunken idiot whenever I play it! If you don't get up and dance to this song, then you're heartless. I was dancing around the place like I was freekin' Zorba!

I hope this guy really blows up big in AMerica. Josh Groban needs some real competition from a guy who knows his stuff.
Just BUY this CD..buy 2 or 3..this guy can SING his ass off!!!!!!!!

We Should Have Known Mario Long Time Ago!
I give Mario more than 5 stars if I can. It is a truly amazing CD.

I bought this CD by chance. When it was first released, I listened to the 30-second clips on the net and did not appreciate it. I finally bought it after hearing a few lines on a store promotional TV. Now Mario's voice has become part of my life.

Mario's got the pop appeals - the gentle touch, the expressiveness and passion. In addition, he has very solid classical and music theater background behind him. The Mediterranean flavor with danceable rhythm is contagious. His pronunciation is exceptionally clear and his English sounds like a native speaker. His timing is breathtaking. Yet he sings opera like a pro with the magnificent voice of a true tenor. Yet he composed two of the most beautiful tracks in the CD - Track 3 "Sometimes I Dream" and Track 7 "Ton Eafto Tou Paidi" (He Himself As A Child). The lyrics of quite a few songs have poetry quality. Mario got the good looks too. But he does not need to depend on his looks. He is a truly amazing musician.

My favorite tracks:

1. Vincero Perdero. Great poetic lyrics, beautiful melody. Original song for the CD and for the artist's voice. Mario feels it is his own life story that he sings to us.

2. Buongiorno Principessa. Lyrics written for Acadamy winning movie music. Mario sings at very low range at beginning and end with dramatic ballad in the middle. There is a splendor the way he sings it.

3. Sometimes I Dream. The music and lyric lead into the opera piece seamlessly. The song demonstrates Mario's vocal versatility in pop and opera. It brings life to a classic piece. The rhythm makes you swing.

7. Ton Eafto Tou Paidi. One of the best tracks in the CD. Composed by Mario and written by a well known poet for his personal experience as a child. A very sensitive and touching song. A beautiful way to be introduced to the Greek language.

All said, I am still shocked to find myself listening to this CD over and over again everyday since I got it a few weeks ago. I can now even understand most the Vincero lyrics in Italian. Since Mario already has a good-sized repertoire, it may be possible to see more of his works soon.

No need to buy any other tenor cd
Mario has obviously excelled in the lessons of opera. There is something for everyone on this cd.
This album should have catapulted him to mega-stardom.
Forget Groban and Watson. No one compares. His voice is a rarity in this day and age.
A God-given gift! Now go buy his cd and dvd and tell everyone about him. You won't regret this purchase!

I'm still enchanted...
I heard Sometimes I Dream by Mario Frangoulis more than a year ago and still love it. I am so impressed by this cd that I have given it as a gift to several of my friends and family and they are equally enchanted. I only wish that Mario would visit the US on one of his upcoming tours. I've even thought about flying to Greece just to see him perform, I'm that overwhelmed by his voice. I truly believe the most beautiful song I have ever heard is 'Non Sara'. What passion he has in his voice.

Favorite CD - hands down.
Superb music on this CD... his voice is wonderful. This is definitely the best album I've purchased in the past decade. I look forward to the new album scheduled to be released this summer. ... Read more

Amazon.com

Years after the '90s, the decade will be remembered for the rise of pianist-vocalist Diana Krall. Simply put, this British Columbian-born artist is one of the most engaging musicians to emerge from the heap of scat-happy singers high on pyrotechnics, but short on poetry. Stamped with the imprimatur of the Nat King Cole trio and blessed by her apprenticeship with the late West Coast piano giant Jimmy Rowles, Krall simply sings songs the way they're supposed to be sung: with devotion to the lyric and with attention to the groove. This CD finds Krall in familiar company with compatriots Russell Malone (on guitar), bassist John Clayton, drummers Lewis Nash and Jeff Hamilton, and vibraphonist (and former Bill Evans associate) Larry Bunker--all supported by Johnny Mandel's svelte string arrangements. Krall and crew take Irving Berlin's chestnut "Let's Face the Music and Dance" and the Sinatra-signatured "I've Got You Under My Skin" south to Brazil via a sexy bossa nova. Malone's lush guitar accompaniment complements Krall's heartfelt delivery on "When I Look in Your Eyes," and Michael Franks's "Popsicle Toes" dances courtesy of Hamilton's drum work. "Devil May Care," "East of the Sun (and West of the Moon)," The Best Thing for You," and the stridish "I Can't Give You Anything but Love" groove with a minimum of waste, while Mandel's simpatico strings steal the show on "I'll String Along with You," "Pick Yourself Up," and "Do It Again." All of which further illuminate the cool fire from this fine gift from North of the Border. --Eugene Holley Jr. ... Read more

Reviews (352)

East of the Sun,but Soaring Higher than the Moon..oh Diana
When I first heard this CD ,I had a very limited knowledge and appreciation of Diana Krall.The exposure was limited to a couple of tracks on her tribute to the Nat King Cole trio,and her version of Danny Boy with the Chieftains,on the 1999 offering,Tears of Stone,but even then something attracted my interest...it was well placed.Diana's interpretations of these standards,showcases her rich and husky voice,and seems to marry her jazz vocalist roots with a more mainstream appeal.Lets face it when you have it ,you have it,talent will always stand out. From the opening track,Lets Face the Music and Dance with its bosanova rythms through to the mischievious Do It Again,this is a delight.To see such classics by Cole Porter,Irving Berlin and George Gershwin delivered with such emotion whilst relying upon the jazz tradition is a pure delight to listen to. I have taken the opportunity to listen to previous CDs by Ms Krall,and the performance on this recording really should not come as a surprise. What really caught my attention,and are the strengths of this CD,is the talent and ability of Diana Krall as a jazz pianist,and her ability to meld her trio /quartet to complement her delvery of the songs.In an age when production and studio musicians cover a glaring limitation or lack of talent of many artists,Ms Krall has it all and caresses the keys with a skill and emotion that belies her years.If her talent as a vocalist and pianist werent enough,she has some credits on arrangements as well. My admiration for some excellent guitar work from Russell Malone and the bass credits shared between John Clayton and Ben Wolfe.The atmosphere that is generated on this recording is owed to a large extent to the talent of these gentlemen. The production on this recording is excellent as you would expect from Tommy LiPuma and Johnny Mandel.The overall feel of this recording just simply oozes class that is not a readily available quality these days. The string arrangements beautifully compliment the mood,and I think the purists can forgive me in saying,loosen up live a little,let the jazz be accessible to everybody. A real delight for me was to hear the Michael Franks track Popsicle Toes,delivered with such sensual humour,it offers a new dimension to an artist so unfairly labelled bland,thank you Ms Krall,from an old Michael Franks fan. Whether you listen to this at dinner,when the sun rises or sets,alone or with the one you love you are in for a rare treat.I could not help but think of The Fabulous Baker Boys and wonder what Ms Krall could have delivered in the vocal department!!! Above all this is an adult,smooth and flawless performance...I had no regrets in parting with my money for this one,and I have become a fan of this artist.I give it five stars,and highly recommend that you listen to this with a good red wine,and a sense of adventure.

Stunningly beautiful, a great work of art.
While I'm a new fan of Diana Krall, I have to say that she's such a great talent, and I'm so glad that there's an artist like her out there making music. In this day of "Mainstream Pop", hearing someone who has real musicianship is a much needed change of pace.

The first time I saw Diana was when I was watching Jazz Central on BET a few years ago, and I was truly impressed, but I never really tried to find out anything more about her, until this year. I was searching on the Internet and I found her rendition of "Christmas time is here". I was totally blown away, and I had to find more.

From the very first song, "Let's face the music and dance", with its steamy bossa nova, smokey delivery from Diana, and smooth string accompaniment, it's really hard to put this album down. All of the arrangements are extremely well done, and Diana brings out all of the emotions of each song like she's lived through them all. Especially the title track. I couldn't stop listening to it. I just hit the replay button, and fell into the lush sounds of the strings, the warm guitar, while I fell in love with Diana's soothing, comforting voice. VERY few albums have ever done that to me before, and I can't wait for her next effort so she can do it to me again.

Now I can understand that people are mad that Diana doesn't show off her great piano chops, and those who claim that she's selling out, but I have to totally disagree. Diana doesn't have to go the route of so many artists and use their albums to display how great they are; she just wants the music to show for itself. As for the selling out thing, she is more popular, yes. Being nominated for Album of the year proves that, but can't an artist be allowed to grow, and even expand out of their genre ever so slightly? This album is NOT Pop and ESPECIALLY NOT elevator music. Having strings on a jazz album is also not a sign of selling out either. While the strings were certainly not needed, as she sounds just as great with just her trio, the strings just added a whole other dimension to the songs. I'm glad that she went that route, as it made for a wonderfully splendid album.

It couldn't come any more highly recommended. Go get it now. And while you're at it, newcomers should go and get her other albums as well, so you can see that her talent isn't just a one-album affair; it's the real deal.

classy as usual
diana krall is the definition of class.

i checked out all her clips at http://www.vervemusicgroup.com and then grabbed this right away.
worth checking out.

Can't ask for more..
I've had this album for a while now.. and still love it! "When I Look In Your Eyes" proves to have no weak song, it's a perfect CD to listen to relax and unwind with red wine by the fire place. Diana Krall has this very sultry sound..very soothing, Absolutely cozy! My favourites are "Let's Face The Music And Dance", "I've Got You Under My Skin", "When I look in your eyes". Diana Krall also brings all the emotions in "Why Should I care"...very touching. Whether you consider Diana Krall's music as Jazz or not, this album is one of her best work, worth to have in everyone's collection.

"DOING WHAT SHE DOES BEST"
JAZZ COMES IN MANY SHAPES AND MANY DIFFERENT FORMS. SOME MIGHT TRY TO LABEL OR CATAGORIZE HER, BUT WHEN IT COMES RIGHT DOWN TO IT SHE'S NOT TRYING TO BE ANYONE BUT DIANA. SMOOTH AND SUAVE, HER VOCAL STYLINGS TOUCH ALL THE COLOR'S OF THE RAINBOW. THAT COMBINED WITH HER ARTISTRY OF THE KEYBOARDS MAKES FOR A LOVELY MARRIGE. DONT TRY TO COMPARE HER TO ALL THE PAST GREATS OR SAY THAT HER MUSIC IS NOT JAZZ. GIVE HER CREDIT FOR WHAT SHE DOES BEST. SHE IS TOTALLY JAZZ REGARDLESS OF WHAT BM. PRAISWATER OF PASO ROBLES CA, OR B. BIGGS OF TOLUCA LAKE CA. MIGHT SAY. SHE'S DOING HER THING. AND I MIGHT ADD QUITE WELL! ... Read more

Reviews (2)

Another Great 'New' Dino Concert
A great find - a 'new' dino concert! This one's nice because there's a lot of his concert patter too - few of his mid 60's concerts are around intact, so this is a nice find! The songs, as usual, are terrific but the comedy is a lot of fun to hear too.
Sound quality is really good on this one too!
Wish they'd find more original dino material for us!

kimmmy
dinofan,

Classic Dino... but a little disappointed
First, Dino was one of the best live performers ever bar none! But why oh why, couldn't he come up with some new one liners in the six years or so that his act was captured on tape?If you've heard his Sands concert from February 9th, 1964, or around there.. (the dates vary since the concert is in the public domain and has been issued for years under a variety of different titles), then you've heard this show already.The songs are a bit different, the phrasing is different, but the act is essentially the same.Included are the same old stories about traveling to London to star in "Road To Hong Kong"(a joke he'd been using since 1962!), going to Hawaii,and getting *Lai-d*... get it!?, as well as his politically incorrect humor ex: "I'm unlucky... if they ever cut a woman in half... I'll get the part that eats!"
Then there's the sound quality.. now I love Dino, and I'm grateful for any recordings that are out there... This concert is listenable, and enjoyable.. but when I bought it, I was expecting the same sound quality that was delivered in the two Rat Pack shows, Villa Venice 1962, and At the Sands 1963.Both those shows were professionally recorded by Frank Sinatra's Record label Reprise.. and used several microphones to capture IN STEREO, the ambiance of the room, the audience, as well as the performers on stage.I was expecting the same from this recording... perhaps a Dean Martin performance, recorded for an album but never released.But it appears this is just a reel to reel tape that someone left running on stage on April 4th, 1967.The recording is in mono, though the fidelity is quite good... but it lacks the energy that a stereo recording might have had, if the audience had been included in it.
The packaging is slick.. although why do record labels insist on creating those gatefold paper sleeves for CD's?They scuff easily and don't protect the disc from dust and debris like the jewell cases do.. knock it off guys!
All in all, this concert is for big Dino fans only... I would reccomend starting out with the Rat Pack Live at the Sands.. and work your way to this. ... Read more

Amazon.com

Josh Groban fans who caught the singer's 2004 Closer tour would no doubt take note of Lucia Micarelli, who was the violinist and concertmaster for Groban. Like her boss, who also is executive producer ofMusic From A Farther Room, Micarelli is a young, attractive, and talented player who has the classical training, but who is also enchanted with pop music. Also like her boss, her strain of classical crossover works thanks to tasteful accompaniment, in this case from arranger/composer Paul Schwartz. The smartly chosen program of material comes from such varied catalogs as David Bowie and Rogers and Hart. Micarelli's playing is emotional without being overreaching, assertive when called upon, and nuanced. When she does go over-the-top pop on Queen's "Bohemian Rhapsody," it's brief but fun; when she navigates Piazzolla’s "Oblivion" she draws upon the song's passion more than its technical requisites. This is a debut with likeable pizzazz, coming in a genre not often enough known for it. -- Tad Hendrickson ... Read more

Reviews (1)

Absolutely Amazing
This girl is extremely talented. She plays with such emtion. I had the extreme privalage to see in concert with Josh Groban and let me tell you that this girl is great. She plays amazing music and you can see her emtion on her face. To see her play Bohemian Rhapsody was just...i can't say any more. It takes your breath away. ... Read more

Reviews (22)

Get Ready to be Blown Away! Amazing!
I stumbled upon this collection by accident and was totally blown away. I don't think a better ever singer ever lived than Ella, and these songs are one amazing performance after another. A lot of fun!

She opens with the swinging "Mack The Knife" and moves on to one amazing performance after another. Her version of "Misty" is unbelievable. You have to hear it.

Listen to her completely destroy any other contenders to "best singer of all time" with astonishing scatting on "How High The Moon." It's almost unreal, but actually recorded live in Berlin.

You have to hear this CD!!

Amazing!

A Good Taste Of Ella
Ella's recording library is immense and one CD cannot begin to paint a picture of this lady's talent. But this album will give you a very good taste of Ella. The album begins with "Mack The Knife", not one of my favorite songs. But Ella gives a great performance, enhanced greatly, by forgetting the words and ad-libbing. She sings that she can't remember the words to the second verse and just starts making up something and it results in a very good time for the listener. A great way to start off this album, it's fun and enjoyable. That was, indeed, pure Ella.

"Blue Skies", "They Can't Take That Away From Me", "The Boy From Ipanema", and "Over the Rainbow" will take your breath away. Ella's smooth, singing always melts me. And if it's scat you want, "You'll Have To Swing It (Mr. Paganini)", "Take The A-Train", and the classic "Lady Be Good" will leave you wanting more.

This is a great collection and I prefer the collections that mix up the variety of her recordings rather than showcase only one style.

It's a must if you want a taste of pure Ella.

The Best.
Ella is without question the greatest American singer of all time. Buy this one, buy any of them, buy them all. She never made a bad album. She opens her mouth and heaven flows. I would also suggest any of the biographies, including some on dvd with performances. This diva was, IS, the real thing - with a heart to match the voice.

This Fella Loves Ella
Ella is an extraordinary and refreshing exception to most Jazz vocalists. Many Jazz singers have a very bad technique, producing their sound from their throats in an unhealthy manner. Ella, however, has the technique and stamina of a classical singer. This why her career peaked in her 40's and was able to sing until very late in her life.

Her singing is pure joy. She never strains or manipulates her vocal chords to produce that gorgeous, rich voice that just melts your heart out. The ease and beauty with which she sings, frankly, makes me question her humanity.

If you want the best of Ella Fitzgerald, THIS CD is it. It is the premiere comprehensive single-CD sampling of her career. The recording features some of her best collaborations with arrangers (Nelson Riddle, Billy May, etc.) and performers (Louis Armstrong, Duke Ellington, and Count Basie.)

The musical selections are excellent. The Verve label has chosen a balance of 9 high-energy swing numbers and 9 romantic ballads.

Some remarkable swingers are MACK THE KNIFE, a live recording in Berlin (1960) where she blanks out on a verse and has to improvise. I'm smiling thinking about it. Another is HOW HIGH THE MOON, in which she scats incredibly for about 6 minutes. Throughout the rendition she adds (and revises) brief tidbits of random American standard songs, like SMOKE GETS IN YOU EYES: "They ask me how I knew my true love was true/ I have course replied, 'Something here inside...SWEAT gets in my eyes!" Ella enjoys entertaining while she sings, and her infectious interpretations pull the listener in; especially on the 5 live recordings on this CD, where one finds himself laughing along with the audience at times.

Stunning ballads include MISTY (with her musically sensitive accompanist Paul Smith). Wow! Her lyricism, intonations, and diction are impeccable. Here sh