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What is there left to say about this musical, deservedly one of the most famous in the canon? Created by what lyricist Stephen Sondheim described as "a unique concatenation of people" (Leonard Bernstein, Sondheim, Arthur Laurents, Jerome Robbins), the show remains as explosively vibrant, daring, and modern as it was decades ago. Bernstein integrated Latin percussion and jazz into his electrifying score, dazzlingly translating New York's unique vitality into a musical idiom. West Side Story has been adapted for jazz and interpreted by pop and opera singers, but you owe it to yourself to check out the original version to see what the fuss was all about. This new reissue adds over 20 minutes of "symphonic dances" as well as liner notes and production photos. --Elisabeth Vincentelli ... Read more

Reviews (24)

a Broadway masterpiece
WEST SIDE STORY is indeed one of the greatest Broadway musicals. Rarely has it been better-sung than on the glittering 1957 original cast album, now reissued on the Columbia Broadway Masterworks label.

The young, vibrant cast was made up mostly of unknown actors, who all went on to make big names for themselves on the stage. The musical launched the career of triple-threat Chita Rivera, as the fiery Anita. Carol Lawrence (SARATOGA, SUBWAYS ARE FOR SLEEPING) played Maria whilst the role of Tony was essayed by a young Larry Kert (COMPANY, FOLLIES).

The Leonard Bernstein-Stephen Sondheim score is simply gorgeous and includes "Maria", "One Hand One Heart", "Somewhere" and "The Jet Song". Chita Rivera adds her brassy belt to the showstopping "America"; Carol Lawrence's clarion soprano is perfectly showcased in "I Feel Pretty"; Larry Kert is the picture of youthful longing in "Something's Coming". Equally thrilling is the energetic "Quintet", which is a major highlight of the colorful score.

Chita Rivera went on to star in the equally-successful London production, and went on to appear in both the Broadway and London companies of BYE BYE BIRDIE. Other lauded Broadway appearances came in BAJOUR and her Tony-winning roles in THE RINK and KISS OF THE SPIDER WOMAN. As of this review's writing, she's winning a whole new generation of fans in the 2003 revival of Maury Yeston's NINE.

WEST SIDE STORY continues to be recognised as one of Broadway's landmark musicals. This new remastered edition of the peerless 1957 production is a must-have in every cast album collection.

Romeo and Juliet on the West Side
I was born six years after West Side Story premiered on Broadway, and I have only seen the movie version, so for me this CD is the next best thing to building a time machine to see the original stage production of the Jerome Robbins/Leonard Bernstein/Stephen Sondheim modern take on Romeo and Juliet.

While an original cast recording is no substitute for having seen West Side Story on the New York stage, hearing the cast (which included Larry Kert, Chita Rivera, and Carol Lawrence) gives 21st Century listeners an aural glimpse into the brilliance of composer Bernstein and lyricist Sondheim's musical constructs.

While I love the "standards" associated with West Side Story (Tonight, Maria, Somewhere), my favorite songs are Something's Coming, which reflects Tony's optimistic outlook as he looks to the future rather than to his past as a member of the Jets. The complicated quintet "Tonight" expresses the conflicting dreams and desires of the major characters and mixes the romantic aspects of the two pairs of lovers (Tony and Maria; Anita and Bernardo) as well as the hostility between the "American" Jets and the Puerto Rican Sharks.

My favorite song, Gee Officer Krupke, is a sardonic ode to the cluelessness of adults as seen through the cynical eyes of teenage gang members. I remember this song vividly because when I was a member of the glee club at South Miami High, Gee Officer Krupke was in our repertoire for the first concert I performed in. Its wry humor never failed to make us laugh while we were learning it, and afterwards I wanted to hear the entire playlist from West Side Story.

An Essential Original cast Album!
Recorded just days after WEST SIDE STORY opened on Broadway this original cast disc is one of the best from the golden days of Goddard Lieberson at Columbia Records. He knew exactly how to translate a stage musical to records. The prologue needed more excitement so he added the sonds of the gang members and had the orchestra increase the tempo. Not every note would fit (the Lp was very long for its day: 57 minutes!) so some trims were made here and there but done with such skill that they are hardly noticed. On the other hand, the entire "Somewhere" Ballet is heard here. It was not used in the movie.

Some people prefer the movie soundtrack for its beefier orchestrations. It too is a very fine recording of the score. But this is the first, the original. The way WEST SIDE STORY sounded when it premiered.

Sony's reissue sounds sensational: crisp, and clear with every orchestral texture. The bonus tracks are a symphonic suite of dances that Bernstein extracted for concert performances.

A Musical Theatre Classic
The remastered recording of the original Broadway cast of West Side Story is one of those purchases I am happy I made. Go ahead; compare this to the movie soundtrack - you'll find that this cast, these actors definitely give most of the movie cast a run for their money. (I say "most" because Rita Moreno and Chita Rivera are both strong performers, so there's no weakness with Anita. The B'way cast's Tony and Maria beat the movie by a longshot.) I agree with a lot of other people, Larry Kert is the definitive Tony. In the recording he transmits a huge amount of youthful exuberance and hope. Just listen to "Something's Coming," which is definitely a beautiful moment in the show. Even from this recording you get the sense of longing and wishing for "something" that Tony expects to come soon. An excellent, excellent album, and a great purchase for anyone who loves musical theatre or opera.

Neither "popular" nor "classical"--simply great!
Leonard Bernstein, more than any other 20th Century composer, bridged the somewhat artificial gap between "popular" and "classical" music. To wit: the transition from the Broadway show music (tracks 1-16) on this CD to the Symphonic Dances performed by the New York Philharmonic (tracks 17-25) is seamless. Columbia is to be congratulated on this inspired coupling.

Stephen Sondheim's lyrics--especially the insightful "America" and "Officer Krupke"--are brilliant. Perhaps surprisingly for social commentary of this nature, they have worn extremely well with time; they are just as apt now--not to mention downright funny--as they were back in the '50s.

In summary, this album is everything that good music should be, regardless of the category you may choose to place it in. ... Read more

Reviews (2)

Great Performance
I am a great fan of Daniel O'Donnell, having collected all of his CDs and DVDs, but this performance at Branson would now be the number 1 of my collection. His uncomplicated style and rendition of some old evergreens makes for wonderful listening and enjoyment. I also want to thank DPTV Media for its initiative in releasing both the DVD of the concert and the CDs. Now I can listen to Daniel not only in the comfort of my lounge at home but also in the car on the road. I hope that there will be further DVD releases of Daniel's USA concerts.

DANIEL O'DONNELLLIVE FROM BRANSON
IF YOU LIKE DANIEL O'DONNELL THEN YOU MUST GET THIS PROGRAM.
IT'S A HAFTA HAVE!!! ... Read more

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Bond is a string quartet made up of four good-looking women, two from Australia, two from Great Britain. Their training is in purely classical music, which this CD certainly is not. Their previous CD was banned from the UK classical charts, presumably because of the overly insistent use of beats and other intrusions, and this CD too contains African, electro, Latin and hip-hop beats. Bond will be the first to acknowledge that they're heavily influenced by the club scene and pop culture from London to Bangkok. Here they are joined by the Royal Philharmonic Orchestra, and the sound is enormous: there's level upon level of overdubbing. Some of the tracks have, as their basis, classical works: Pachelbel's Canon, snippets of Swan Lake, the Nutcracker, Carmen's Habanera, Brahms' Hungarian Dance no. 5, Barber's Adagio for Stings. But the sound we get is lush, beat-heavy, club-ish, full of excitement and basic rhythms, and the "classical" connection--aside from the melodies from the above-mentioned pieces--must be taken on faith. The women's solo playing, if there is any, is not audible. The over-riding feel is disco; this is for dancing and for creating a mood of excitement. --Robert Levine ... Read more

Reviews (63)

Simply explosive..
I could not wait to buy this album.. I ordered it previously on Amazon.com.. but ended up buying it a day after it got released at Virgin.. I simply could not wait for Amazon to ship it to me.

I already bought "Shine", "Born", and "Remixed", which I don't consider to be a true representation of Bond's work.. you have to listen to "Shine" or "Born".. or "Classified" now that it is released.

Listening to the album over and over.. and reading the harsh comments that customers and "Fans" that bought the newest Bond album.. I have to disagree. Bond is consisted of 4 very talented, very beautiful girls. They're pretty, suck it up. If one actually took the time to look at the album cover, you will see an electric violin in one of the girl's hands.. it allows listeners of the album to see the type of instrument they use. A modern instrument, as their music is more modern..

Bond is a group that puts a contemporary taste to classics of classical music.. not the original drab, put-you-to-sleep type music.. but make it exciting and fun to listen to. Bringing beats of cultures around the world, electro, salsa, Latin, hip-hop, rock, they put a whole new sound to classical music.

This album for those who have listened to Bond's previous albums like "Shine" and "Born" and enjoyed them, will enjoy this album as well. There is more upbeat songs to this album, it is faster paced than previous albums. They also combine rock on this album in their new single, "Explosive", a song that starts off strong with hard rock and violins with awesome melodies with a softer part with flutes in the middle, then going to the drums and violins with trumpets. You can imagine the whole symphony on this song.

Other songs are fun to listen to, not faster, but more upbeat and the girls lend their voices in "Samba". "Midnight Garden" uses "Swans Lake", "Fly Robin Fly" is a somewhat hip-hopish song, which this style hasn't been on any of their other albums. "Lullaby" is the well-known Canon D.. using a popish guitar intro bringing the song into the violin piece. It is a very fresh, updated version of Canon D. Amazing to listen to. Hungarian is a fast paced song, much like a few of the songs on "Born". "Adagio for Strings", yet another well-known song, starts off with synthesized sounds and drums, then fades into the main melody of "Adagio for Strings".. the drums seem to distract some, but if listening to this song.. there is a lot going on with all the ambient and surrounding sounds. A world of sounds. It is another great remake of a classic song. The re-mix by producer Orion of "Explosive" is not great.. sticking to original songs by Bond is the better choice.

This album is a great listen.. I enjoyed every track. Something that every true Bond fan should have.. and anyone who is interested in Bond I recommened first listening to "Shine" and "Born".

My opinion on this album may not have the "expertise" of someone who studied years on end of music theory and classical music.. but I listen to what sounds good. If Bond was 4 fat guys in their 40's, I still would listen to Bond. I listened to Bond for the first time playing "Allegretto" off their first album "Shine" and was blown away. I have never heard a cross-over of classical music with the fast beat of trance.. it was amazing to listen to. Bond still does what they acheived with their first album.. make great-sounding music. Sure, they may have been banned from UK charts, and others may shun them for bad techniques, or bad remakes.. but the choice is for the listener to buy the album or not. The girls from Bond are attractive.. but that's just a bonus. No one can deny their talent.. If you don't like the remakes.. just stick to the original, boring, put-you-to-sleep scores..

I highly recomment this album.

Simply explosive!
The CD is pink.. that threw me off too, but don't let that make a first impression of the music on the CD itself---

I could not wait to buy this album.. I ordered it previously on Amazon.com.. but ended up buying it a day after it got released at Virgin.. I simply could not wait for Amazon to ship it to me.

I already bought "Shine", "Born", and "Remixed", which I don't consider to be a true representation of Bond's work.. you have to listen to "Shine" or "Born".. or "Classified" now that it is released.

Listening to the album over and over.. and reading the harsh comments that customers and "Fans" that bought the newest Bond album.. I have to disagree. Bond is consisted of 4 very talented, very beautiful girls. They're pretty, suck it up. If one actually took the time to look at the album cover, you will see an electric violin in one of the girl's hands.. it allows listeners of the album to see the type of instrument they use. A modern instrument, as their music is more modern.. and yes, the girls from Bond are actually performing. They performed live at Royal Albert Hall (DVD) and provided the music for the Ms. Universe Pageant of 2003. They are even going on a first-ever U.S. tour in the summer.

Bond is a group that puts a contemporary taste to classics of classical music.. not the original drab, put-you-to-sleep type music.. but make it exciting and fun to listen to. Bringing beats of cultures around the world, electro, salsa, Latin, hip-hop, rock, they put a whole new sound to classical music. Think of it as the ultimate re-mix of classical music.

This album for those who have listened to Bond's previous albums like "Shine" and "Born" and enjoyed them, will enjoy this album as well. There is more upbeat songs to this album, it is faster paced than previous albums. They also combine rock on this album in their new single, "Explosive", a song that starts off strong with hard rock and violins with awesome melodies with a softer part with flutes in the middle, then going to the drums and violins with trumpets. You can imagine the whole symphony on this song.

Other songs are fun to listen to, not faster, but more upbeat and the girls lend their voices in "Samba". "Midnight Garden" uses "Swans Lake", "Fly Robin Fly" is a somewhat hip-hopish song, which this style hasn't been on any of their other albums. "Lullaby" is the well-known Canon D.. using a popish guitar intro bringing the song into the violin piece. It is a very fresh, updated version of Canon D. Amazing to listen to. Hungarian is a fast paced song, much like a few of the songs on "Born". "Adagio for Strings", yet another well-known song, starts off with synthesized sounds and drums, then fades into the main melody of "Adagio for Strings".. the drums seem to distract some, but if listening to this song.. there is a lot going on with all the ambient and surrounding sounds. A world of sounds. It is another great remake of a classic song. The re-mix by producer Orion of "Explosive" is not great.. sticking to original songs by Bond is the better choice.

This album is a great listen.. I enjoyed every track. Something that every true Bond fan should have.. and anyone who is interested in Bond I recommened first listening to "Shine" and "Born". It sounds very thought out and more sophisticated than previous albums, though focus is not on the strings alone. But that's what Bond is renowned for, their classical cross-overs.. isn't it? That's what I've thought all these years.. it's not all about just the classical piece, but the whole magnificent work of the album.

My opinion on this album may not have the "expertise" of someone who studied years on end of music theory and classical music.. but I listen to what sounds good. If Bond was 4 fat, greasy guys in their 50's, I still would listen to Bond. I listened to Bond for the first time playing "Allegretto" off their first album "Shine" and was blown away. I have never heard a cross-over of classical music with the fast beat of trance.. it was amazing to listen to. You don't need degrees in music theory to know what good music is. Bond still does what they acheived with their first album.. make great-sounding music. Sure, they may have been banned from UK charts, and others may shun them for bad techniques (?), or bad remakes (??).. but the choice is for the listener to buy the album or not. The girls from Bond are attractive.. but that's just a bonus. No one can deny their talent.. If you don't like the remakes.. just stick to the original, boring, put-you-to-sleep scores..

I highly recomment this album to everyone!

Mind Altering
This CD should not be listened to by the narrow minded or genre biased. I bought this CD and it is fantastic. I can't stop listening to it and even my 9 and 7 year old son's love it. I actually had my girlfriend want to borrow it and unfortunately I had to tell her....NO.

Bond is a perfect blend of classical music mixed with just enough upbeat tempo. It's not very techno-ish or over board in the style..yet it's enough to constantly keep you wanting more.

Great CD for anyone who is tired of main-stream and needs a break from the ordinary. Bond is anything but!

Classified by Bond
I think that this CD is one of the best that i bought! i love most of the songs, it has so much energy!
I especially love the first song, explosive and the fourth song called Lullaby. Another very beautiful song is Senorita.
Some of the songs were written by bond! They are great at composing. The melodies are great. Lullaby is a very soothing song, Explosive is a feel good song for all occasions. Hungarian and Samba are fun party songs that makes you just wanna stand up and dance! I'll fly away, Dream Star and Midnight garden are songs that are also soothing. They are truly beautiful songs. The songs with great beats and rhythms are Scorchio, Adagio for strings and of course, Explosive.
The only song on this album that shouldn't be is Highly Strung. That song gets me in a very stressed out mood. It's like one of those weird motorcycle chase songs in movies...
Anyway, I recommend this CD for all bond fans and all of you who want some good music!

Is it me or is this album unbelievably forgettable?
Just as I was afraid, after an amazing first and average second album, Bond continues to go down with their third album. After my first listen to this CD, I was ready to give it a two star rating. No song took my attention for more than 30 seconds. After a few more listens I figured it deserves another star due to some songs whose quality is above average. I still couldn't escape the feeling that music from this CD would fit perfectly as part of background elevator or retail store music arrangement. Really no song on this album deserves one's full attention like some songs from "Born".

Os course, it is easy to judge and criticize, however here are my arguments for doing that. On this album there is neither drama (like "Kismet") nor naturally successful classical/pop combination (like "Duel"). There is absolutely nothing new and unpredictable comparing to their previous album "Shine". There are decent covers like "Senorita" (Carmen's Habanera), and "Lullaby" (Pachelbel's Canon in D), and promising new songs like "Explosive" and "Scorchio", however there are also disasters. Wasn't sure whether to laugh or to cry when I heard what they did to one of my favourite classical numbers (Hungarian Dance No. 5 by Brahms). Some songs are pleasant to listen but way too plain ("Samba") and/or boring ("Midnight Garden") to be a part of any kind of classical album.

I can't escape the feeling that this CD was recorded just to make money and not to develop or display skills of artists playing on it. Having some classical training, I can tell that this CD lacks display of talent that these girls obviously have. The only improvement I saw comparing this one to their previous albums was in their looks - they do seem to look hotter and hotter - if anyone cares... ... Read more

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If anybody ought to be hugging the velvet teddy bear for releasing I Need an Angel, the follow up to the Idol 2 champ's 2003 Soulful debut, it's the top brass in the gospel music biz. Not only does Studdard give the genre its props by reinvestigating his roots and turning in an entire disc's worth of well-loved renditions, he also, by virtue of his celebrity, will spawn a new audience of secular listeners for the music. Because to hear this stuff--whether you were raised in the church or outside it--is to love it. The spiritual build-up starts with a light touch: Studdard lays his impeccable musical timing and Luther Vandross-like pipes all over the R. Kelly-penned title track, an anthem that recalls Kelly's "I Believe I Can Fly." Later come gospel-soul hybrids ("Goin' Up Yonder"), spiritual ballads ("Center of My Joy," the Marvin Winans-penned "Restoration"), gorgeously interpreted traditional numbers ("Amazing Grace" and "Shout to the Lord") and a single twirl-toward-the-pulpit, free-your-demons Alabammy howler ("Fix It, Jesus," featuring the preacher Harvey Watkins, Jr.). Capping a disc that for an artist less blessed could have been inaccessible, alienating, or worse, is a Studdard original: "Don't You Give Up" borrows a hook from the Jackson 5, but it's Studdard we hope will carry on, be it as smooth R&B crooner or a mainstream spreader of spiritual inspiration. -Tammy La Gorce ... Read more

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Released close to a decade after her death at 43, this live CD testifies to what made Nancy LaMott special to many cabaret lovers. The singer had a gentle, homespun manner rather different from the urban sophistication one so often associates with the classic American songbook. She sounded as if she didn't have a vindictive bone in her body and enjoyed the true worth of life's most basic pleasures with sincere optimism--no wonder she offers here a cleancut of Berlin's "I Got the Sun in the Morning." Backed by a discreet trio, LaMott is at her understated best on the more melancholy numbers, such as Rodgers and Hart's "I Didn't Know What Time It Was." The recording, which documents an entire show, banter included, also shows that LaMott was ahead of the game in the way she seamlessly mixed standards with modern pop (tracks by Rupert Holmes, Antonio Carlos Jobim and James Taylor). --Elisabeth Vincentelli ... Read more

Reviews (11)

From One Who Was There
Actually, I wasn't there, my wife was, so when she gets a chance, I'll have her write a review.She's told me so much about this concert, she'll be thrilled to know I'm ordering it for her.She said it was simply the best concert she's been to in her life. So if the reviewers are right that the recording quality and live environment on this album are superior, then this will be a hell of an album. And my wife was well aware at the time that Nancy was dying.

Six new songs added to Lamott's songbook--at last.
For those who have been waiting more than eight years for a new Nancy Lamott album, this release is hugely welcome.New songs featuring this great American cabaret singer, and some new treatments for old songs, add new depth to her work and revive all the sadness that she was taken so soon, at age 43, long before she'd fulfilled her musical dreams.Here, in this live CD, one has the opportunity to hear a concert, complete with her amusing patter, and to appreciate her almost palpable sense of connection with her audience.

Six new songs and five previously recorded songs shows Lamott in all her moods.Among the new songs, "Sailin' On" is now one of my favorite Lamott songs, a song of a child's dreams and the uncharted oceans one explores in sleep.A classical piano solo, "Bach's Prelude No. 11, in F," played by Chris Marlowe, Lamott's long-time accompanist, gradually leads to variations, until it turns into a surprising version of the Warren and Mercer "Jeepers Creepers."Lamott sings Lorenz and Hart's "I Didn't Know What Time It Was" slowly and passionately--as a person who has just found love, regrettably late in life (as was true in her own case).

Recorded just seven weeks before she died, the concert seems subtly directed toward helping the audience deal with her illness.The slow but emotionally upbeat "The Promise" features lyrics by Alan and Marilyn Bergman and music by David Shire, and Lamott's musical declaration that "I trust tomorrow as much as today...and I promise I'll never say good-bye" achieves enormous poignancy."Help is on the Way," written at her direction by her long-time producer David Friedman, and James Taylor's "Secret of Life," with its lyrics that "The secret of life is enjoying the passage of time...Isn't it a lovely ride?" all express her refusal to succumb to negative thoughts.

As always, Lamott is accompanied by Marlowe, whose piano accompaniments range from a quiet, elegantly melodic line in "Listen to My Heart" to a rich, fully developed, let-it-all-hang-out interpretation in "How Deep is the Ocean."The strength and purity of LaMott's voice, along with her control, allow her to give unique interpretations to songs, old and new.Her clear vibrato ranges from a soft whisper to full-out belting, though she never loses sight of her lyrics, offering unusual and gorgeous treatments.A vibrant woman and remarkable "saloon singer," Lamott leaves behind a great legacy, not only in her music but also in the strength she demonstrates in this concert.Mary Whipple

Thanks to Jonathon Schwartz and David Friedman
My first exposure to Nancy LaMott was via xm radio and Jonathon Schwartzs' Sunday afternoon simulcast on WNYC.The clarity of her voice and her wide melodic range raised the hair on my neck and goosebumps on my skin.I rarely can listen to any of her recordings without this reaction repeating over and over.

Live at Tavern on the Green is true gift for those who are Nancy's fans and the newly initiated.With less than a couple of months to live, she exudes such enthusiasm and a zest for her craft...which is why her talent will continue to be appreciated along with the great ones....Sinatra, Clooney, Bennett and all the rest of the performers that made the American Songbook the gold standard in music.

I cannot close without saying many thanks to Jonathon Schwartz for playing her music during the "embargo".It is hard to contain such a bright lamp under a bushel basket.And to David Friedman for writing lyrics/music that enabled us all to "hear the angel(s) sing".

Absolutely Inspiring
I just got this CD today and could not wait to play it.Every earlier comment here is right on target -- this is raw, essential, touching, human, and touchingly sad in retrospect.

I first was acquainted with Nancy when she performed at a (no longer existing) cabaret called 88's in New York back around 1990.She performed in solo in the evening but occasionally played and sang at their Sunday brunch.She was a remarkable and amazing talent way back then.To hear this magnificent album so many years after having loved 'the real thing' is an indescribable treat.

I highly recommend this album to anyone who can appreciate not only the best cabaret performer, but also perhaps the best interpreter of standards and ballads who ever graced our presence.

Fantastic - yet representative
As a cabaret goer in NYC, I had the pleasure of seeing Ms. LaMott over the course of 15 years at many smaller clubs, the rare concert and the high end rooms as her artistic/commercial appeal grew more popular. The venues were unique, the overall performances evelotionary but the musical genius was there from the begining.This Live CD not only captures Nancy at the pinacle of her recording career but is truly representative of a life given over to an artist's dedication to honest expression and the devotion to their craft. Nancy LaMott's artistic expression was/is singular, in my opinion, in its presentation of emotional truth and appeal to honesty. This CD is a very worthy introduction to an artist whose life, not her tragic death, engendered such devotion from a core group of dedicated "fans" - - really just people who yearn for emotional truths from an inspirational messenger.We need all the grace and redemption we can find nowadys and this CD, and Nancy, are a beacon that lights the entrance to the path that leads to a better place. Hopefully more lights will be lit and more songs will be heard from musical messenger. ... Read more

Amazon.com

A New Standard builds on the popularity of Steve Tyrell's appearances in the Father of the Bride movies. In addition to "The Way You Look Tonight" (from the Father of the Bride soundtrack) and "Give Me the Simple Life" and "On the Sunny Side of the Street" (from Father of the Bride, Part II), the album features Tyrell singing 14 more standards in a casual, gravel-throated style. A New Standard includes the final recorded performances of trumpet great Harry "Sweets" Edison, who solos on "Don't Get Around Much Anymore" and "I've Got the World on a String." Other notable guests include Clark Terry, Plas Johnson, Joe Sample, and Toots Thielemans. But the real keys to the album's success are the impeccably crafted arrangements of rhythm guitarist Bob Mann and Tyrell's unpretentious, warm-hearted vocal delivery. In contrast to so many neoswing wannabes, Tyrell approaches these timeless tunes with the R&B-bred soul of a gray-haired baby boomer who's just discovered his parents' record collection. In the jazzbo tradition of Louis Armstrong and Jack Sheldon, he doesn't try to blow anyone away with his chops. He just sings the songs with an infectious enthusiasm and easy swing that's impossible to dislike. --Rick Mitchell ... Read more

Reviews (121)

Truley Sets A New Standard!
I am a mother of two girls in their 20's and a daughter of a 75 year old woman. We are now all new fans of Steve Tyrell and absolutely love this CD. A NEW STANDARD has bridged the generations as nothing has before, we listen as a family at dinner and and whenever possible. This man has the sexy romantic approach that all women love, no matter their age. He is bound to be the next Tony Bennet and then some!! I love the song choices, the arrangements are unique and fresh and his voice makes it all come together, it seems so modern and not retro at all even though he respects the origins of this material greatly. I can't wait for the next one. Thank You Mr Tyrell for bringing romance, joy and fabulous sounds into our home.

Tyrell recreates the Standard.
If we have the movie "The Father of the Bride" to thank for this truly inexplicable disc, then please, make the sequels ad infinitum. "A New Standard" is built around popular classic titles that Steve belts out in the well-known movie. In addition, the listener receives a bonus of two tracks from "Father of the Bride, Part II..."Give Me the Simple Life" and "On the Sunny Side of the Street." Steve's gravelly voice gives these "old" standards new punch. Tyrell, a producer by trade, has previously missed his calling as he is an incredibly gifted artist. Regardless how late in the game it may be, the addition of Tyrell as a recording artist will ultimately be considered timeless.

In addition to creating a "New Standard," this disc is also monumental. The disc features the final recorded performances of trumpet god Harry "Sweets" Edison. Sweets solos on "Don't Get Around Much Anymore" and "I've Got the World on a String." Sweets was a prime player with Sinatra in his glory days. He passed on shortly after these recordings. If you haven't heard Sweets before, you're in for a treat. Quite a bonus, I'd say.

The best endorsement of this disc I can offer is that I own 3 copies: 1 for my office, 1 for my car, and 1 at home. And, while I can't vouch for it yet, Steve is releasing a new disc on or about October 2 entitled "Standard Time." I've already pre-ordered 3 copies.

Forget Rod Stewart!!!
Why are people buying Rod Stewart's recordings of the American songbook when they can buy this (and Standard Time). Stewart neither knows nor understands the material. Steve Tyrell fully understands the material and interprets it beautifully. This is no easy task. Anyone attempting this material must compete with the likes of Frank Sinatra and Ella Fitzgerald. Steve Tyrell pulls it off magnificently. But don't take my word for it. Just consider this: the late, great Harry "Sweets" Edison worked on this session. Sinatra and Fitzgerald always wanted Sweets on their albums. So did Billie Holiday. Sweets was Basie's lead trumpet player, and through their work with Basie, he also became a favorite of Joe Williams. If Sweets was willing to work with Steve Tyrell, then Steve Tyrell must be good.

Steve Tyrell: A Man On A Musical Mission!
I recently purchased this CD and have really enjoyed listening to it. Steve Tyrell is a man on a musical mission. He seems determined to acquaint a whole new generation of listeners to the beautiful songs from the Great American Songbook. His unique interpretations of these classic songs brings them back to life, and proves once more that these perfectly crafted tunes are truly timeless. This CD is great for dancing, listening, and especially when you want to be romantic.

If you are in the mood for some Bigger, Brassier, Swingin' versions of tunes from the Great American Songbook, I would recommend Monte Procopio "Swingin' With Style" CD. He is a great crooner that can really SWING and deserves a listen. Buy both these CDs, you can't go wrong!

Must have CD
Steve Tyrell is the best jazz musician that I've ever come across. He's amazing. His music makes me feel happy and alive! I own all of his CDs and have met him as well. He's gracious and charming. Definitely recommend all of his albums! ... Read more

Amazon.com essential recording

It may not have been the first rock opera (the Who's Tommy was released in 1969), but Jesus Christ Superstar was a legendary album long before it hit the stage, thanks to Tim Rice's compelling book and lyrics combined with Andrew Lloyd Webber's irresistible music. Telling the story of the last days of Christ from the point of view of Judas (Murray Head), the still-unmatched original cast also stars Deep Purple's Ian Gillan as Jesus and Yvonne Elliman as Mary Magdalene, the role she made into a career (with a cameo on the Saturday Night Fever soundtrack). Decades later, such songs as "Superstar," "I Don't Know How to Love Him," "Heaven on Their Minds," and "Everything's Alright" still retain their extraordinary power. --David Horiuchi ... Read more

Reviews (85)

The best version of Superstar
The original recording of Jesus Christ Superstar is by far the best version of this outstanding masterpiece. As a huge fan of JCS, I can say this with sure.

By far the best Jesus is Ian Gillan, of Deep Purple. His voice is rich and powerful, and this production shows him at his best; he sings much better than in Purple. He is outstanding at Simon Zealotes, The Temple, The Last Supper. But his superb performance of Gethsemane is enough to put him in the lead of all Jeasuses. It is the best version of this song, by a long, long shot. This is probably not only the finest Gillan performance, but one of the best vocal performances of modern music. It is sad that he rejected to participate at the film production.

While Gillan is, with no doubt, in the lead of all Jeasuses, the competition of the best Judas is very "tough". The best three roles of Judas are played by Murray Head (in this version), Carl Anderson (in the moovie version) and ... Zvezdomir Keremidchiev "Zvezdi" (in the recent Bulgarian cast). Probably the readers will be sceptical to see the name of unknown (outside Bulgaria) artist, Zvezdi. I was sceptical to his performance, too, but he did one of the best roles of Judas ever!!! Back to Head, he sings amazingly, especially in Heaven on their minds and Judas' death. However, Carl Anderson is better at Damned for all time, and he makes outstanding Heaven on their minds, too. So I think that Murray Head and Carl Anderson are equally great.

Other highlight is Yvonne Elliman, who is the best Marry Magdalene, with no doubt.

This masterpiece is great not only from listening point of view, but it also has deep lyrics by Tim Rice, which suggest a new interpratation of the character of Judas that impressed my a lot.

In conclusion, I highly recommend this recording as the very best rendition of JCS.

One thing I'll say for it, JCS is cool!
When I mention Jesus Christ Superstar to people who have never listened to it, they tend to have the impression that it is something for religious types, or have visions (thanks to the movie version) of hippies singing and dancing. This is unfortunate, since JCS is a remarkable work. One can argue that this rock opera is not really rock, nor is it really an opera but more of an oratorio. And it is true that late 60's trappings do somewhat date the album, but it does so in an endearing rather than kitschy way.

For years, the original recording and motion picture soundtrack were the only mainstream versions available. Since the 20th anniversary of JCS, a number of new versions have come out, but the original concept album is still the best for a number of reasons.

The vocals are outstanding. Ian Gillan is very good in the title role. His smooth voice projects a calm yet determined personality. There are times, however, that he lacks the emotionalism required, such as his less-than-inspired version of Gethsemane (Ted Neely's movie version is far better in this respect). Murray Head's Judas is wonderful as the antagonist. His rough voice is a counter to Gillan's Jesus, and Head manages to present his character as someone whose rational justification just barely masks a turbulent and troubled personality.

Excellent supporting characters fortify the lead roles. Victor Brox's rich baritone resonates with power in the role of the Machiavellian Caiaphas. Brian Keith, as Annas, compliments Brox, without turning his voice into a forced falsetto, as it often seems to be done these days. The remaining characters, including future disco diva Yvonne Elliman's Mary Magdalene, and Barry Dennen's brooding Pilate, do well to flesh out the story.

The other strong point is the wonderful music. The emphasis is on electric guitar, drums, and keyboard, which firmly ties this version of JCS to the rock genre. Subsequent versions of JCS, particularly the soundtrack, approach the music from an orchestral standpoint, with lots of strings, brass, and woodwinds. This tends to alter JCS from a rock opera (emphasis on rock) to a stage/movie soundtrack. As such, the original version remains quick and sharp rather than being ponderous and heavy.

Finally, the sound quality of the original album is crisp, and it is a joy to pickup the musical and vocal nuances in the recording. I have the original Brown Album, so the remastered version could only be better. If you listen carefully, you can also hear an occasional cough by a castmember.

JCS has become a beloved staple of the stage, and rightfully so. But it is the original concept album that is the definitive version of this great work.

A simply stunning performance!
I watched the movie before, but this is my first recording of JCSS. I must say that I love it even more so than the movie! This is a stunning rock opera that chronicles the last week (or few days... I'm not sure) of Jesus Christs' life. You see the story through the eyes of Judas (Murray Head), the tortured friend of Jesus who can't seem to understand why Jesus does things the way he does. Won't people start talking if he hangs around the dirty whore Mary Magdalene (Yvonne Elliman)? Judas just can't understand Jesus, and he feels that maybe Jesus is not the man he thought he might be. Why is Jesus saying things like he is the Son of God? If he doesn't watch out, trouble will come! I think that Murray Head is a marvelous Judas because he puts so much emotion in the part, and you actually wish you could hug and comfort Judas when he realizes that he has caused the death of Jesus and can't turn things around. He realizes that it was his fate to be the man to turn Jesus over and is tortured with guilt and confusion. "Superstar" sounds fun and is excellent, but it actually examines the deep question of why it was Judas that had his name bloodied and dragged through the mud of history. Ian Gillan plays Jesus, and I prefer him over the man in the movie because Gillan has more compassion in his voice, and it's not as shrill as some actors make it. "Gethsemane" will bring you to tears because it is so beautifully done! Yvonne Elliman has one of the most beautiful rock voices out there and is perfect for the part of Mary. "I don't know how to love him" is perfectly done! Barry Dennen is also the perfect Pilot. You can hear his frustration when he sings, and he is a wonderful voice actor. Mike D'Abo is a much better Herod than the one in the movie. I highly recommend this recording because of how beautiful it is. Get this album!

Make a Joyful Noise Before the Lord
My daughter asked me for a CD of "Jesus Christ Superstar" for her birthday. I explained to her that there is one version that is in a class by itself; the original London Cast version. The elements of the orchestration as well as the quality of the singing add up to an unforgettable performance. The orchestra moves the musical story along with elements of feeling that really adds to the emotion of the "rock opera" and does so with the fullness that a mere stage orchestra cannot match. I have seen the Broadway version twice and I can sing its' praises. However, that was a visual experience and the recording is different. This is the best in the audial experience. The problem with most popular music is that we always seem to focus on a song as being best presented in the way we first heard it. I hope I'm not caught up in that trap with promoting this version. I really feel that there is a special quality to this version.

I guess, for those unfamiliar with the subject matter, a few words about the content would be in order. "Jesus Christ Superstar" is a sort of elongated passion play put to music with new "interpretations" on the original story. A modernized version, if you will,done poetically, thoughtfully and with often challenging results. In that sense, there was a degree of controversy when it came out. However, the "noteriety" was nothing compared to other works such as the play "The Deputy". What the authors seem to be trying to say is that the message of Jesus Christ was so important to the world. Therefore, why did He appear in such a backward place at such an obscure, otherwise-forgotten place in history. "Israel...had no mass communication" was one of the many puzzlements the authers bring out. Most characters go through at least some degree of revision although some of it was intentially done for comic relief. This is NOT "The Passion of Christ" nor is it necessarily an attempt at theological revisionism. Some people will recoil at perceived "heresy" but I suspect most mainstream Christians will find it enjoyable and complementary to their own faith.

Great, but not the greatest.
I'm a devoted fan of Jesus Christ Superstar. I think Webber reached here the maximum level of composition and freshness. Great riffs, drumming and arrangements. But this version of the Mythical Show is not the best. I'm also a fan of Deep Purple, but i don't agree with other reviewers. The deep, broken voice of Ted Nelly brings the power and rage of a man that is about to die and doesn't want to. Carl Anderson is the most brilliant Judas i've ever seen and heard. The duel between Judas an Christ after the supper looses most of its drama and anger in this recording, while in the movie is simply the best piece of all the soundtrack, helped by these two tremendous voices of Nelly an Anderson. I think there's a TIE between the movie and the concept album. Music, for example, is more ellaborated(don't know how to say exactly what i want in english)in the studio album than in the movie. But i Think the movie cast is better than the studio album ... Read more

Album Description

Andrew Lloyd Webber's sensational new musical. Lloyd Webber has again joined forces with Trevor Nunn, the internationally renowned director responsible for staging some of the most successful musicals of all time, including Cats, Starlight Express, Les Mis rables and, most recently, the London revival of Anything Goes. EMI Classics. 2004. ... Read more

Amazon.com

If one's notion of "world music" promises a touch of the exotic and indigenous, often overlooked is the fact that the influence of western pop music has seeped into every corner of the globe, creating a hybrid that's often more than merely the sum of its influences. Theater vet Brightman steps into that pan-cultural hall of mirrors here, wedding her fascination with the music and rhythms of the "forbidden places" (the title's Arabic meaning) of the Middle East to her own oft ethereal vocal charms and rock-solid sense of drama. And if the diva's equally sound crossover sensibilities (and that of longtime producer Frank Peterson) sometimes mire it in familiar world-beat pastiche, Brightman's charmed muse manages some transcendent moments nonetheless. Her musical borrowings (Borodin for the title track; Puccini's *Madame Butterfly* for "It's a Beautiful Day") are as compelling as her choice of collaborators: classical violin star Nigel Kennedy and Iraqi vocalist Kadim Al Sahir add compelling touches to the weary timeliness of"The War is Over." The musical influences range from Europe across the Mediterranean and as far East as the Indian roots of "Bollywood" composer A.R. Rahman's "The Journey Home" and Brightman's own "You Take My Breath Away" to evocative recastings of the emblematic standards "Stranger in Paradise" and Louis Armstrong's "What a Wonderful World," while ex-Killing Joke keyboardist Jaz Coleman provides the savory East-meets-West orchestrations that ensure Brightman's star turns the seamless foundations they deserve. --Jerry McCulley ... Read more

Reviews (163)

TAKE ME TO THE HAREM!
Oh what a wonderful album release! In short words to describe it, brilliant, a masterpiece in the cross-over music and a must for every CD collectors. For the information of everyone, Harem refers to the forbidden places, where nobody can enter or explore the inner beauty of the faraway lands. It does not completely adapting the Arab musical instruments, but touches all the hearts for those who will hear "THE WAR IS OVER." Kadim Al Shahir participation is much appreciated by the arabs colliding with an artist from the West End. A collaboration by great artists like Nigel Kennedy, Ofra Haza, Natasha Atlas and A.Abdul Rahman. Best cuts to keep on listening are: The War is Over, Beautiful, The Journey Home, Free, Arabian Nights and of course, the title track harem. A very marvelous start to appreciate the beauty of this album! A real getaway music from the usual crossover albums she has made - Eden and La Luna. This surely will top previous album La Luna and Encore. I could say, if you have liked Fly, this one will definitely soothes your mind and soul...

A MUST FOR EVERY CD COLLECTOR OF SARAH BRIGHTMAN!

EXCELLENT, But Perhaps Not Sarah In Tip Top Form!
There are 3 Sarah albums that soar above just anything else out there today.(1) LaLuna,(2) Time To Say Goodbye,(3) Eden..It is asking too much for anyone to continue on such a high level, but this album is just about as good as these three! There are some nifty ,toe-tapping neo-disco tunes here which might even be called joyful, especially the first 3! And I admit I first did not really like this CD, but on further playing, it's now among my all-time favorites.On a few tunes, including the title "Harem", Sarah's breathing is very audible, something the sound engineers should have eliminated. (This is my only criticsm, though) An original here "Till the End of Time" is among Sarah's alltime best, and there are many other worthy moments, including new versions of the tried and true "Wonderful World",and "Strangers in Paradise"..If you're new to Sarah, this is surely the bounciest, least solemn album. I give 5-stars, since this is surely among the best of recent releases, though maybe not quite not up to Sarah's very best! But still many great songs, and another illustrious addition to the Sarah catalogue!

Soaring over the New Baghdad
Get on board a magic carpet ride with Sarah. "Harem" introduces us to the new Sarah with her coloratura voice & Arabian beats. This sets the tone for the whole album. Later we hear masterpieces such as "Free", "Beautiful" (Sensual), "It's a Beautiful Day" (Exquisite Madame Butterfly-inspired),. This album takes you through a journey of the soul. It's beginning teases us with the quiet melodic Arabian sounds, then kicks in with the full pulse-pounding beats & descending strings. Sarah then pours out her sensuality with meaningful ballads. After this, she gives herself to me by releasing her voice to its maximum abilities in operatic pieces that will "Take Your Breath Away". Buy this album and soar over Baghdad.

..What A Wonderful World.. What A Wonderful Remix!!!!!!!!!
When I first heard of Sarah's version of What A Wonderful World, it is definately one of the most beautiful song I had ever heard. I hated this song before, but Sarah takes the song and reinvents it to 'now'.. It sounded fresh as if the song was written yesterday!!! Loved it, though the music was sorrowful but it made me think of even though with all this 'war' going on right now, it made me think... "What A Wonderful World!!"

Buy It!!
Amazing music combination, from Classic, Pop, New Age, Chillout!! wow! ... Read more

Reviews (60)

A Beautiful Collaboration
This cd makes a great soundtrack to any road-trip, to be sure. Norah's enchanting vocals compliment PMG's groovy tunes, creating a feel-good, head-nodding album. More up-tempo than Norah's debut, but trust me, this is a great thing. Faint echos of Bonnie Rait or *early* Sheryl Crow...

1) New York City - Title track. Begging to be stolen by some cheezy sitcom and ruined forever, that good. :)

2) Strange Transmissions - Slow, sensual build up, with a catchy musical hook that just makes you want to smile. This is a perfect mix between Mrs. Jones and Mr. Malick...hopefully shades of this will appear on Norah's next cd...

3) Deceptively Yours - Light rockin' song with a lot of soul. Think coctail lounge rock and you'll be closer. Blues-y and beautiful.

4) All Your Love - I heard a friend play this on his stereo and swore it was a young Bonnie Raitt. Traditional blues, with a *slight* modern distortion added in to the guitars. Seductive and sassy.

5) Heart of Mine - A Bob Dylan cover to slow things down a bit. Once more, Norah nails a classic song, while PMG's instrumentation drives her on, note for note.

6) Things You Don't Have to Do - The loudest song on the cd. This one will make you want to get up and dance, for sure. Don't be suprised if you find yourself smiling by the end of the song; It just has a feel-good vibe.

7) New York City (Radio Edit)

Overall - One of the best new cd's of the year...I find myself listening to it more and more every day...maybe now that it's hit the radio, it will encourage more people to experience this shining gem. One negative comment - at a running time of 30:04, it's too short! Though better to end it on a high note than to ruin the cd with a bunch of rushed renditions. Short 'n sweet. A must buy for any jazz/Norah/light rock fan. Expect to be hearing more of this on the airwaves.

Not the whole album
I can't give it a bad review as these are good songs well performed but this is only a subset of Peter Malick's 'Chance and Circumstance', an album that is so infectious it is almost never off my car stereo.

If you're only interested in the Norah Jones songs then fine, this is the one for you but for me 'Chance and Circumstance' is such a beautifully crafted work that anything less would feel like walking out halfway through the show.

Other people can review the musical style, I just wanted to let folks know.

bE
Bad album. Don't listen what other people is saing to you! Shakira is better! Don't buy it!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Good mix
I really enjoy the mix of Norah Jones voice with Peter Malick's guitar work. Good music to have in the background to hum along to.

NYC is a Disappointment
I borrowed this CD from my library in the hopes that since Norah Jones was featured on it, I would enjoy this album immensely.

I never imagined I'd listen to an entire recording with Norah Jones' voice and dislike it. Fans of Norah Jones' Come Away With Me probably wouldn't like this CD. I suppose a die-hard blues fan would like it, but I don't like the blues, therefore, this CD was a HUGE letdown for me. I liked New York City, but the entire album was enough of a disappointment for me to return to my library and forget about buying for myself. I would recommend Norah Jones' sophomore album before I would EVER recommend New York City.

P.S. This album really does not accurately capture the emotions of New York City. Really, it doesn't. ... Read more

Reviews (12)

Entertaining for young and old alike!
I remember watching schoolhouse rock when I was a child and I use to sing those songs constantly. I bought this CD for my daughter who, although is only 5 years old now, is singing the songs too. She will learn the meaning of each song as she gets older. I plan on buying every one of the videos as well.

I love Schoolhouse Rock!
I can't believe I found this. Almost everyday in math class, I find myself using my 3s timestable and thinking of the Multiplication Rock song. And in Lit, I am constantly humming Conjunction Junction. I thought I'd never hear my favourites from Schoolhouse Rock again...forget that. I'm so getting this CD!!!

Great choice, along with the new SCRIPTURE Rock
This disc is indispensable for children's education.
Also, I just found exactly what I was looking for - a disc called *Scripture* Rock. They still have the magic!

Excellent
As A teacher, I believe that each and every student in my 3rd grade class benifits from this video. I have seen child after child humming the tunes to, "unpack your adjectives" and "I'm just a Bill". Even As A teacher I learn from these videos. I love the music mixed with the wit and humor of it. I think that we could all learn a little by watching "SchoolHouse Rock!"

CD is good, but the box set is better!!!
I love schoolhouse Rock, I love the songs and I love the videos. So I only giving this 3 stars because some of the better songs are not included here. "A Noun Is A Person Place Or Thing", "Elementary My Dear", "Lolly Lolly Lolly (Get Your Adverbs Here)" and others are all missing. Here is some advise... if you are a fan, spend a few extra dollars and buy the box set. It has EVERY song ever made for Schoolhouse Rock. You wont be dissapointed. ... Read more

Amazon.com

This recording was produced more than 40 years ago, only in mono, but from the day it was released it was a deserved phenomenon. It out-grossed the mega-hit show for months, and it still holds the record for the most weeks as a Billboard Top 40 album: 292. The reasons are many. Start with the 20-year-old Julie Andrews in peak voice, singing no fewer than eight sensational Lerner and Loewe songs, soaring most memorably to high C in "I Could Have Danced All Night." Rex Harrison perfected the art of talk-singing in a clutch of equally captivating numbers written especially for his voice, of which the most indelibly delivered is "I've Grown Accustomed to Her Face." And Stanley Holloway brought the best English music-hall style to an eager American audience with "A Little Bit of Luck" and "Get Me to the Church on Time." There were no scene-changers in Frederick Loewe's best score, and Alan Jay Lerner managed to fashion his libretto and lyrics so close to the language of George Bernard Shaw (on whose play Pygmalion the musical was based) that experts couldn't tell where Shaw left off and Lerner took over. Every song created character and advanced the plot. My Fair Lady was a show you "got"--and still get--on first listening--without having seen it. The London cast album (with the same leads) can give you stereo; the movie version, a fuller orchestra, Harrison and Holloway in full sail, and Marni Nixon dubbing Audrey Hepburn. But the Broadway cast album is still the one to have, and the one absolute must in any musical collector's CD library. --Robert Windeler ... Read more

Reviews (30)

Isn't this Loverly?
I was fortunate enough to see Rex Harrison in 1981 during his revival of "My Fair Lady," and even though Rex was way past his prime, the evening was magical. This original cast album from 1956 preserves forever this wondrous musical, where every single song is superb. There isn't a clinker in the bunch and that's saying something considering the record contains 16 songs, most of them standards. Julie Andrews soars, which is to be expected and it makes you tear your hair out that she wasn't cast as Eliza in the 1964 movie version.

"The Rain in Spain" is infectious and fun, you almost want to get up and dance as its sung. Even though Rex talk-sings his way through the album, he brings a charisma and charm that was his alone. Listen to the sly irony he brings to "I'm Just an Ordinary Man," and pay close attention to his show-stopping finale, "I've Grown Accustoned to her Face." The way Harrison places a poignant stress on the word "face" will stay in your memory forever.

This is a much superior version to the movie soundtrack and it should be required to round out any serious record collection, no matter what the genre. This is the soundtrack by which all others should be judged, it's magnificent!

ESSENTIAL: THE BEST MUSICAL OF THE 20TH CENTURY
Earlier, I had written a review of the 1959 London Cast Stereo recording of "MY FAIR LADY." Many amazon.com customers seem to prefer the original Broadway Cast recording to the later London Stereo LP. I'm such a "Fair Lady" fan, I have both discs. The disc I'm reviewing here is a Gold Disc with an extra Bonus Track. Columbia Records president Goddard Lieberson conducts post-recording interviews with Rex Harrison, Julie Andrews, lyricists Alan Lerner and conducter Franz Allers. Liberson states that "FAIR LADY" is "possibly the most successful musical of this (20th) Century." He got that right! Here, you hear Rex Harrison give a full out performance, when he was still excited by the material and everything was fresh and new. Boredom set in afterwards. Harrison growls and grunts his way through Higgins' songs on the London Cast Album, and in the 1964 film version (for which he received an Academy Award), Harrison couldn't be more listless, static, and boring; giving a one-note "phoned in" performance. Much better than Harrison, in any case, is Julie Andrews; then on the brink of her brilliant career. She is best at full fire and music, exploding with fury and rage in "Just You Wait! " and "Show Me." Simply put, Julie Andrews is the best Eliza Doolittle of all time. Added to all this is a delightful dash of Stanley Holloway. For pure freshness and vitality, you can't beat this original recording of MY FAIR LADY. And the Post-Recording interviews make this an irresistable treat, not that everything else wasn't enough!

The London Recording is Better
I recently purchased the Broadway recording, then turned around and got the London cast recording (both with Rex Harrision, Julie Andrews and Stanley Holloway). Though the recording has wonderful music, the recording was nevertheless just so disappointing, and not the way I remembered it. The latter recording isn't nearly so measured. It's far more vital, witty and sarcastic. I highly recommend it.

Julie is better
If only Julie Andrews had been chosen for the movie version of My Fair Lady, this film would've swept the Oscars...not that Audrey Hepburn didn't do an amazing job, but the singing is just not the same. While Julie picked up the Best Actress Oscar, Audrey didn't even get nominated. Of course, Audrey had her voice dubbed by Marni Nixon.

But enough of my fuming, the songs:

Rex Harrison is a delight, though his singing abilities are limited, his enunciation and clear, British english makes all of his numbers absolutely delightful.

Julie is, of course, the highlight of this album. I am an avid fan and positively adore her voice. This recording was made in her younger years, therefore you can really hear the clarity and crystalline quality of her voice. My personal favorites are "I Could've Danced All Night" and "Just You Wait".

The supporting cast is also very strong. Stanley Holloway's "Get Me To The Church On Time" shows off his deep baritone. The man who plays Freddy (I forget his name) is also very good. "On the Street Where You Live" is also one of my favorites.

To those who enjoy this album, I recommend "The Music Man", "Sound of Music", "Cinderella", and "Mary Poppins".

A perfect cast album from a perfect show
MY FAIR LADY is understandably the world's most beloved musical. Based on one of Shaw's great plays, with Lerner & loewe's finest score, put on stage with the perfect cast, and opening on Broadway at just the right time: late in what had been a very disappointing season for musicals.

This original Broadway cast album, made just days after the premire, captures all the freshness and excitement of the triumphant opening. (Avoid the London cast recording which has teh same cover art but printed on a gold background. The ORIGINAL original cast album with the white cover is the one to get!)

This Cd hardly needs my endorsement. It's been a best-seller for 48 years now. ... Read more

Reviews (8)

A misunderstood and underappreciated national treasure
One of this country's most renowned singers is also one of the most misunderstood. And no, this is not a cheesy segway into her great version of "Don't Let Me Be Misunderstood." Nina Simone was never as popular as she should have been due her strength of refusal to be a puppet for neither record company executives, racism, and even the audience's refusal to support a talent who refused to be pegged as either solely a jazz, soul, blues, gospel, standards, or Broadway artist. Her story in a way is similar to Tina Turner's in that she eventually got fed up and felt she needed to leave the US to make the most of her life and not to suffer some of the hardships/prejudices that some would like to sweep under the rug for people.

But what about the music? Well one listen to this remastered 2 CD collection will give any fan or future convert an overview of a versatile treasure who could sing the most tender and elegant of songs and immediately display her anger and frustration, especially when it came to issues surrounding the Civil Rights Movement. The common denominator that I found in hearing all these treasures was a certain elegance, soulfulness, and pride that left do doubt about her feelings regarding any song she was singing. On the other hand, she never resorted to the histrionics of other singers and both her pain and joy were tempered and best appreciated by listening very carefully to the way she uses silence as much as her voice to interpret any given song.

It's amazing that Simone sounds equally good in both studio productions and live performances, and this collection is peppered with many of both. In a nutshell, I think that this is a must have collection and that with the exception of a few covers towards the end of the second CD (Here Comes The Sun and Rich Girl), is perfect. Since I was not around during her most productive period, I am not sure if any of her essential songs are missing, so if you've been are a hard-core fan, consult the song list to make sure that none of your favorites are missing.

Although not relevant to this review, I think that those who love some of the artists thoughtlessly clumped as "neo-soul" artists, owe themselves the pleasure of listening to some of the masters to get a better un understanding and perspective to the music that they listen to. I am amazed by how great treasures like Sam Cooke, Marvin Gaye, Etta James, and Stevie Wonder (just to name a few) still sound fresher than much of what is hailed as the cream of the crop these days. If for example, you were one of the millions that thought that Usher's latest CD was good, give the masters a listen and you may find that it would not sound odd to burn a mix that may have Prince, Lena Horne, Van Hunt, Nina Simone, Seal, and ______ (fill in with your favorite(s)) sitting side by side and the result would be more cohesive than those alleged best of compilations that records companies love to release. One listen to "Mississippi Goddam" and you may never be the same. Nina Simone died in the South of France in 2003, but her music makes her sound more alive than many of the lesser singers who self-pen themselves as "divas." Simone may have been misunderstood but with time we are all catching up to all the singers who matter and she stands at the front of that line.

Masterful
Fantastic compilation. However, I was very upset that my favorite Nina Simone song was excluded, the wonderful "Wild is the Wind". Why that song is not in her anthology is beyond my understanding.

Astonishing
Nina Simone. This collection of her work might just be the best 2 disk compilation of music ever made. There is not a song on here that can be called anything but outstanding. Ms. Simone makes even the most standard of torch songs huanting and compleatly new... she takes classic blues ideal and makes them complex works of classical philosophy....

as a guy raised on indie rock and folk nina simone early on became and important break from the norm. It is impossible for anyone to not like her.... i just cant see how there could be a single human alive that would not appriciate this collection of her work in their library..... FOR THE BETTERMENT OF HUMAN TASTE PLEASE BUY THIS!!!!!

good
This woman sings and you believe every word she is singing. She sings from her heart. She sings deep and from her gut. I feel transformed into a dark smoky lounge room when she sings. I really like her even though she sounds so sad when she sings.

Social activist's career neatly summarized
Young, gifted and black, Nina Simone had a lot of things she needed to get off her chest. Racial conflict, social inequality, political aversion - the passionate subject matter of her songs is as gritty as the voice that sings them. This anthology gathers a collection of material from a variety of labels and demonstrates Simone's two-sided mentality; namely, that of musician and poet. Guided by a subjective introspection, her songs dive head first into a political pathos with an unapologetic disregard for sweetness and simplicity. Their messages are harsh and candid, brutally confrontational; their titles are explicit labels of what issues are contained inside ("I Wish I Knew How It Would Feel To Be Free"; "Black Is The Color Of My True Love's Hair"; "Strange Fruit").

But that's only half the appeal. Simone's vocal delivery - often unfathomably overcooked - produces a dark, smoky and undulating quality to the proceedings that, curiously, travels further than the material often permits. The blues-cum-gospel musical arrangements are mostly uncluttered to lend a more engaged sound as Simone protests, dismays, and wrestles to establish her communal identity in the foreground, and tinkers away brazenly on piano in the background.

Yet her delivery is just as convincing in her love songs. "I Loves You, Porgy", the album's opening track, adopts a relaxed, almost sleepy, disposition, and whose bittersweet content is perfectly reflected in Simone's beseeching voice: "Don't let him take me/don't let him handle me/and drive me mad." In addition, her talents also extended to good humor, as some of the live recordings reveal; her ability to make the audience laugh through on-stage banter is quite moving. Ultimately, Nina Simone left this earth with a much clearer chest. This compilation stows her lifetime's worth of encumbrance. ... Read more

Amazon.com

This unjustly forgotten masterpiece was in many ways the last great creative gasp for the late, great country songwriter-singer Roger Miller, who died in 1992. After he wrote countless country gems like "Invitation to the Blues," "King of the Road," and "Dang Me" during the 1950s and '60s, Miller's creative muse ran dry in the early 1970s. The drought continued until he made a remarkable comeback by penning the 20-song score and contributing vocals to the soundtrack of this 1985 Broadway adaptation of Mark Twain's literary classic. Big River still stands as a dazzling, heartwarming slice of musical Americana and the final crowning achievement in one of country music's most celebrated careers. --Bob Allen ... Read more

Reviews (37)

Not enough lyrics to go with the excellent music
BIG RIVER is the musical adaptation of Mark Twain's great novel, THE ADVENTURES OF HUCKLEBERRY FINN. It relates the hijinks of Huck Finn, an orphaned urchin in the late 19-century American Midwest, who sails down the Mississippi River to escape from becoming too "civilized." Accompanying him is a runaway slave, Jim, and both the novel and the musical are at their best when exploring the relationship between Huck and Jim. Although he is even lower on the social ladder than Huck, Jim in many ways is the hero - he teaches Huck by example about integrity and faith.

All the music for the show is wonderful. Roger Miller has constructed song after song in a variety of American idioms - blues, jazz, country, gospel, vaudeville, and bluegrass - that ideally fit the characters and events. Especially good are the ballads "Waitin' For the Light To Shine," "River In the Rain," "Worlds Apart," and "Leavin's Not the Only Way To Go" and the upbeat "Hand for the Hog." Because Twain's world is populated by young teens and elderly people (but rarely any women between ages 20 and 50), the casting is difficult. Daniel Jenkins does a fine job as Huck, and special mention goes to John Goodman as Pap.

There are two problems with the show. First, there's a bit too much plot to cram into the typical Broadway format, so the show runs a bit long. Second and more important to those considering purchasing the CD, Miller's lyrics are good, but there aren't enough of them. Almost every song - "Waitin' for the Light To Shine," "Worlds Apart," "When the Sun Goes Down In the South," to mention a few - starts with a great verse or two, but the rest of the song just repeats the same text seemingly ad infinitum. Someone attempting to do a production may be tempted to cut out a verse or two of a few songs, but the music is so good that the cuts should be made in the dialogue (where, I don't know) and additional lyrics should be written.

All in all, a very pleasant recording.

A perfect pair: Mark Twain's story & Roger Miller's music
If you are going to be audacious enough to try and make a musical of Huckleberry Finn, then choosing Roger Miller of "King of the Road" fame to write the songs is certainly an inspired move. "Big River," the Tony Award winning musical, owes as much to Miller as it does to Mark Twain for writing the classic story in the first place. Of course when you are talking Roger Miller you are talking fun songs, from John Goodman's ripping diatribe on "Guv'ment" as Huck's Pappy and Tom Sawyer's (John Short) "Hand for the Hog" to the two songs by the King (Bob Gunton) and the Duke (Rene Auberjonois), "When the Sun Goes Down in the South" and "The Royal Nonesuch" ("She's got one big breast in the middle of her chest/And an eye in the middle of her nose/So says I, if you look her in the eye/You're better off looking up her nose"). Even when Miller offers us the tender country ballad, "You Oughta Be Here with Me," Mary Jane Wilkes (Patti Cohenour, who later went on to play Christine in "Phantom of the Opera" on Broadway) sings the song to her father's coffin. "The Crossing" is a nice spiritual, but clearly the best songs are reserved for the Huck (Daniel Jenkins) and Jim (Ron Richardson): "Muddy Water," as they shove off on a raft for Freedom, "River in the Rain" as they spend their last moments alone on the river, and "World's Apart" as the recognize the gulf that exists between them. They also do a trio with Mary Jane on "Leavin's Not the Only Way to Go." The only shortcoming of this musical comes at the end, when we get to the greatest passage in American Literature, when Huck declares he will help Jim to freedom even if it means going to hell; Mill