Amazon.com

The original Broadway cast recording of Annie still has as much charm as it did in 1977. Charles Strouse wrote the snappy music and Martin Charnin's clever lyrics capture the misery of the Great Depression, the glitter of the upper-crust life, and the character of the FDR administration. Andrea McArdle shines in the title role, most notably with the classic anthem "Tomorrow," while Tony-winner Dorothy Loudon and Reid Shelton provide support as the hag Miss Hannigan and the benevolent Daddy Warbucks, respectively.

The 1998 remastered edition includes as bonus material 17 minutes of tape Strouse and Charnin recorded for backers' auditions in 1972. They present the seven songs with some plot structure and early ideas for characters ("Miss Asthma" was a precursor for Miss Hannigan). Many of the songs didn't survive the final cut, but "Just Wait" eventually became "Little Girls" and "We Got Annie" was resurrected for the 1982 film. "Tomorrow" also appears--touted as the song's earliest recording--and Strouse and Charnin's rendition will increase your appreciation of McArdle. You won't listen to this rough draft every time you play the CD, but you'll enjoy it if you have any interest in the show. The booklet includes the original synopsis and production notes as well as new notes by Charnin on the extra tracks, but no lyrics. --David Horiuchi ... Read more

Reviews (33)

My Personal Favorite!
From the time I first saw this show in community theater when I was seven, I have been in love with it. It may seem silly to say, but it spawned my interest in theater, musicals, and history! This is a musical that can bring a smile to the faces of the most bitter people. Charles Strouse and Martin Charnin outdid themselves with the charasmatic music and lyrics. "Tommorrow" is one of the most beautiful songs ever written, and was actually the last song from a Broadway show to become a standard. The cast is lead with great passion by Andrea McArdle as the title character, Dorothy Loudon as a delightfully wicked Miss Hannigan, Reid Shelton as Warbucks, orphans that aren't sappy (a great achievment), and a quality ensemble (listen for Laurie Beechmen as "The Star to Be" during the "NYC" number). Annie was the first CD I ever owned, and i've listened to it hundreds of times. Take it from me: It's a keeper!

andrea mcardle shines
I've been a huge fan of Annie since I was little and first saw the 1982 film(not the best version of the musical but it introduced me to the wonders of the musical) at around the ages of 4-6. Since then, I've grown out a bit in my collection. I own two versions of the 1982 film on vhs, the new disney version, and both the obc recording(this cd i'm reviewing here) and the disney version of the soundtracks. Annie is a musical you can't help but love. From Tomorrow to Easy Street, it's oozing with a story any young girl can relate to, even if you aren't an orphan. The love Annie shows for wanting a family is touching and the songs are beautiful and well done by an incredible cast. Don't buy the soundtrack to the 1982 film unless you want to be confused, buy this one and learn the magic of Annie.

Andrea McArdle and the original cast; a gem
The original 1977 cast of ANNIE still cannot be beat, with its original titled moppet Andrea McArdle in her Broadway debut. Dorothy Loudon is still the definitive Miss Hannigan, with Reid Shelton giving Daddy Warbucks a warmth and sincerity that is seldom seen with any other actor playing the role. Robert Fitch and Barbara Erwin are magical in the roles of slimy Rooster and Lily St. Regis. Sandy Faison is a glowing Grace, and the late great Laurie Beechman shines in a variety of small roles. Raymond Thorne plays F.D.R. (he amazingly stayed for the entire Broadway run), and the ensemble is strong and tight.

This beautiful new reissue of the original cast album contains bonus tracks of the original backers' auditions tape, where composer-lyricits Martin Charnin and Charles Strouse first introduced this marvellous score. The tape is interesting in that you hear some songs that were cut prior to the Broadway opening (like "Apples" and "I've Never Been So Happy), and we learn that the melody-line for "Little Girls" was originally written for a song called "Just Wait". Truly one of the mandatory albums in any Broadway collection.

A Great CD
This CD was great because it is the original Broadway soundrack. I think it has better vocals than the movie soundtrack as well.

Don't bother with this one!!!!!
I just received this CD, they fail to mention in the description that it has been REMASTERED!!!! It sounds AWFUL all the background vocals and music is almost in auditable, I am VERY dissapionted with one, you will be too, trust me. ... Read more

Amazon.com

This 2-CD set comes from Marian McPartland’s 85th Birthday celebration held on March 23, 2003 at New York’s Birdland, an event that also marked the 25th anniversary of her NPR show Piano Jazz. McPartland has been an enthusiastic champion of jazz as well as a superb pianist, and the high esteem in which she’s held shows through in the guest list. There’s a brilliant sextet with Phil Woods and Dave Douglas, while Regina Carter and Jim Hall together generate all the momentum of the swing era. Norah Jones and Karin Allyson are among the singers who join McPartland for ballads and buoyant up-tempos, while the trumpeters include Clark Terry, Jon Faddis and Roy Hargrove. The piano, though, gets special attention. In the enduring spirit of Piano Jazz, McPartland duets with Billy Taylor and impresario George Wein from her own generation and takes an exploratory approach to "Summertime" with the young Jason Moran. Bill Charlap adding a compelling solo medley. A fitting tribute to McPartland, this set celebrates both the breadth and depth of the current jazz mainstream. --Stuart Broomer ... Read more

Amazon.com essential recording

All for You is a tribute to the Nat "King" Cole Trio of the 1940s, when Cole performed as both a singer and a pianist. Krall, like her heroes Lena Horne and Carmen McRae, is also a singer-pianist, and she plays both roles on most of the songs here. She's able to link her singing to her piano playing in sympathetic ways and projects tremendous feeling through both. Like Cole in the '40s, Krall plays with a drummerless trio--here with guitarist Russell Malone and bassist Paul Keller. Their sense of intimate rapport is especially valuable on ballads such as "You Call It Madness" and "I'm Thru with Love," but also allows such uptempo tunes as "Hit That Jive Jack" to swing with surprising lightness. --Geoffrey Himes ... Read more

Reviews (78)

Surprised That I Bought This First
All For You is the best representative of Diana's gift for jazz and swing music at its best, whether bouncy or intimate. You may think you're listening to a live recording. Even Boulevard of Broken Dreams or You're Looking at Me remain sophisticated without the addition of strings. Played just as the Nat Cole Trio might have down at Smokey Joe's.

For someone raised on the pop and rock sounds that came out of the 60's hearing a trio play mostly without percussion was a revelation. When I clicked the local FM station back on after several hours with All For You as music while I worked, the incessant snare of the rock beat pounded in my head like waking up to a jack-hammer on the street below. I have _not_ been listening to jazz for decades. That's the point. I learned a lot about Nat Cole's early career that was unkown to me from the CD notes. If I hand't been able to listen to samples of this album, I would have considered it last because of the Nat Cole connection. I am in debt to Diana Krall for bringing to my attention music I would have never listened to without experiencing her love for it.

I am in agreement with the other reviewers here that this is a great CD to unwind to, with its spare arrangements and quiet presence, not sleepy or mushy with strings. I love the playful Frim Fram Sauce, which Diana makes her own on this performance. Errand Girl for Rhythm is exactly what Diana becomes on this CD, supplying us with a steady telegraphing of her gifted jazz piano. You're Looking at Me is delivered with knowing sophistication the lyric deserves. I enjoy the simpler arrangements and intuitive playing of All For You more than any of her later CD's containing lush string arrangements that just sound studied and distant to me. The guitar work of Russell Malone is very tasteful, blending well with Diana's piano.

This CD has a very intimate and immediate sound. The recoding mikes each player very close, making for the intimate sound of this performance. You feel as if you're right in the middle of Krall, Malone and Keller as they play. Each instrument (including her voice) can be heard distinctly. There is no "wall of sound" or distant miking and mushy strings to come between you and the artist.

The production on Diana's early efforts, such as her first CD and Love Scenes, is uneven and less polished in comparison to the effort lavished on All For You. That is partly why I chose this as the first Diana Krall CD I bought. Unlike the other CD's the mike level and quality does not vary wildly from song to song, which I find annoying.

If you have a strong liking for this recording you will probably have a strong dislike for Diana's later recordings made in lush string settings that place her and the band at a sonically distant location, as we are listening to the band at the back tables of a smoky nightclub in the '50s. The kind of stuff you'd expect to be playing on a penthouse hi-fi in an old movie. Diana does a solid job with the standards on When I Look in Your Eyes and continues the evolution on her new recording The Look of Love. But I can't help but think marketing forces are behind this transformation to the kind of sentimental, mushy sound that Nat Cole was doing by the time of hits like The Christmas Song. I'd like to think it's just Diana's changing sensibility, but could the same process be at work? I say this because I think if you're put off by her latest effort, then by all means try one of her earlier recordings.

five stars aren't enough...
I discovered this album because a friend of mine in the music industry (who doesn't know all that much about jazz vocalists) wanted to know if Diana Krall was as good as all the hype about her said she was. After a quick scan of the song list I replied that it would be easy to tell because she had a version of "Boulevard Of Broken Dreams" and that was one of my favorite pieces -- not only one of my favorites, I said, but I have a recording on a mix tape at home by some woman (who's name escaped me) that I considered the definitive version of " Boulevard Of Broken Dreams".

Two seconds into the song I realized that this was the woman. I said, " she's better".

Diana Krall's ability to interpret standards is truly amazing. I have a fairly extensive collection of jazz vocal albums and I place this one right up there at the top with singers like Ella Fitzgerald, Johnny Hartman, Nat Cole & Billy Holiday -- not necessarily because they sound alike, but more because all of these artists can sing a song and make you hear it differently than you've ever heard it before.

Now I'm not going to try to convince you that all of her recording are flawless, but this one is a pure winner. There's not a bad track on here. Some of the stand outs are 'You Call It Madness', 'You're Looking At Me', 'A Blossom Fell', and of course my favorite 'Boulevard Of Broken Dreams'.

I can't wait for Diana to outgrow this label. They spend way too much time trying to promote her image. It's not an insult to say that her image is the least of her qualities.

HOT MUSICIANS & MONOTONE VOCALS
Sorry but Nat would not be thrilled with vocals that would be more fitting to a Julie London tribute. If you really want to be blown away by a JAZZ DIVA tribute to Nat, then sample the tracks on Carmen McRae's brilliant "You're Lookin' At Me" tribute and you will hear a tribute collection that is classic and would get a big nod of approval from Nat himself! Diana does some excellent keyboard playing and I love the guitar work and rhythm but these vocals don't take you away like Carmen's or many other Jazz Diva's who are not getting the acclaim they deserve. I guess the music industry thinks that a pretty face is what sells in a well produced setting but you cannot build alone on this for too long. The character and soul in the Carmen McRae tribute is so strong and one can go to the Liza Minnelli "Minnelli On Minnelli-Live at the Palace" and sample "If I Had You" and hear how a rich soulful voice can turn this song into a really satisfying listening experience!!

The Diva's Best to Date
Diana Krall is the consensus Diva of Jazz these days. While I don't necessarily agree, there's no denying her talent, and if you're curious about her artistry, this is a good place to start. This, her tribute to Nat King Cole, along with the ensuing "Love Scenes", are her best works to date. Highlights include the rollicking "Hit That Jive, Jack" and the haunting "Boulevard of Broken Dreams" (the latter proving that Krall is capable of doing something memorable that isn't necessarily "cool.") Highly recommended, whether you're a big fan or not.

My favorite Krall CD !
This is my favorite Krall CD as she swings much more on this Nat King Cole Trio tribute (not just sultry singing like her newer Cds) . Also she plays the piano more. I would buy her CDs just to listen to here play the piano as she is one the best jazz pianist on the scene today. I like her song selection which includes Hit that Jive Jack, Frim Fram Sauce, Deed I Do. Baby baby all the time, Gee Baby ain't I good to you . Her trio (like the Nat King Cole Trio)with no drums - Russel Malone on guitar and Paul Keller on bass really sound good together. ... Read more

Amazon.com essential recording

Like a mink draped over mahogany, Diana Krall's luxuriously supple alto adorns the vintage songs of romance and longing found on Love Scenes with a palpable aura of glamour and late-night cool. Her ostensibly effortless command of phrasing and intonation, whether the mood is seduction or a sweet sassiness, further fortifies the opinion that the Canadian vocalist-pianist possesses one of the great female jazz voices to surface in the late 1990s. Augmented by spare but skillful instrumentation from bassist Christian McBride and guitarist Russell Malone, Krall sustains a largely quiet (though hardly sleepy) ambience throughout the CD's 12 selections, from Irving Berlin's "How Deep Is the Ocean (How High Is the Sky)," which she also uses as a showcase for her touch at the keyboard, to Gershwin's "They Can't Take That Away from Me." Her swing is artfully subdued ("All or Nothing at All"), and her wry, expressive approach to "Peel Me a Grape" is pure charm. Yet Krall shines most luminously on languid gems such as "I Don't Stand a Ghost of a Chance with You" and "Garden in the Rain." Anyone in search of an album ideal for watching city lights at 2 a.m. should keep Love Scenes in mind. --Terry Wood ... Read more

Reviews (152)

Wow - what a performance!
Outstanding and oh so alluring collection of beautiful romantic ballads. The clean simplicity of Diana Krall's smooth and sultry alto voice with only a string base and guitar and her own lush piano makes this some of the best music I have heard in years. The thoughtful styling she displays in each cut on this CD makes this the ideal score for the concept of "Love Scenes". Her rendition of "I Don't Know Enough About You" (it's the cut that first hooked me on her) is bouncy and petulant and showcases her vocal and piano talent while her bluesy "Lost Mind" transports me to places dark and romantic. Her take on "I Miss You So" exudes a wonderfully rich torch song aura and drips of romance. Overall, the cuts on this CD are remarkably reminiscent of the combination of dark chocolate and cabernet - rich, smooth, tasty, and utterly romantic.

Definitely a "candlelight evening for two" collection that should touch the true romantic in anyone who listens to it. Ideally, the second CD for such an evening would be another of hers, The Look of Love.

Polished set from masterful traditionalist
Jazz singers who turn songs inside out, such as Cassandra Wilson and Holly Cole, are spectacular to witness, but staying traditional and still standing out is just as noteworthy accomplishment. With "Love Scenes" Diana Krall becomes more than noteworthy.

A smoky, intimate singer just as at home with ballads as she is with swinging numbers, Diana is at her finest here on the longing "I Miss You So," the toe-tapper "I Don't Know Enough About You," and the bouncy "All or Nothing at All." "Lost Mind" offers a tasty bit of blues, "Peel Me a Grape" boasts a sexy swing, and "You're Getting to Be a Habit With Me" is downright irresistible. But the album's crowning moment comes on the classic "I Don't Stand a Ghost of a Chance With You," where Diana sings over a simple guitar and bass arrangement and manages one of the warmest and most inviting interpretations of this standard ever recorded. Not bad for a song commonly associated with Billie Holiday.

The only complaint possible would be that Diana didn't shake up the format much; a Bossa Nova arrangement would have been nice somewhere along the line for variety. But in the face of such glorious singing and musicianship that both flaunts and inspires a love for jazz, such complaints matter little.

About as perfect as hubby's "North"
I have not purchased the new CD by the husband-wife team of Diana Krall and Elvis Costello but am planning to do so. Both have long been in my vocal top ten for sheer talent, originality and musicality. You never know what to expect from such a hyped offering but for once, I was not disappointed. There is something interesting and lovely in ever single track. From the sexy "Peel me a Grape" to the fantastic "Garden in the Rain" these are extremely intelligent interpretations of several old classics.

One almost wants to enter that smoke-filled bar, order a Martini and take a seat. The piano-playing complements the vocals and that is another reason to like this album. With so many rap and hip-hop "singers" abounding who can neither read music nor play a musical instrument, it is refreshing to find an artist who can do both effortlessly. Wonderful, soulful sounds.

Sit down and relax...
Being next to her just as she sings... simply couldn't get better than that! As a jazz freak, it is nice to settle down and just enjoy little nicely composed tunes, in all sense just a great work! Very standard preserved jazz, well structured and entertaining, and Diana's piano skills just add more and more to the scene, not to mention her consonant beautiful voice that is always precisely adding more harmonic structure overall. The girl is talented, no doubt, but I recognize other than her virtuosity the fact that she sticks to her style, and she does it like few others, Sarah Vaughan et al... Great music, just get it...

Amazing
The first song I ever heard of Diana Krall was 'Peel me a grape' and boy did I fall in love. I automatically bought the cd and fell in love. She is one of the first jazz artists I was introduced to and remains to be my favorite. ... Read more

Reviews (704)

Relax and let Fantasia's talent engulf you! Expect Chills.
This is an excellent CD! At 19 years old, this woman is so talented that Hollywood took notice. Celebrities such as Kate Hudson, Denzel Washington, Toni Braxton, Patti Labelle, Ben Stiller, Elton John, Clive Davis, Ray Ramono etc., sing her praises. Fantasia wraps each song around her and delivers it with such conviction it seems as if she is singing just for you. She has a voice that pulls you in from the very beginning and leaves you wanting more. "I Believe" brings chills to my body and tears to my eyes. Even though I didn't like the words of the song initially, you can't help but love it after she is done. "Chain of Fools" is a great song to pick your mood up and get you dancing, even though I would have loved to hear Tina Turner's "Fool in Love." "Summertime" is just phenomenal. This CD is well worth every cent.

In the words of TKAEAGLE:

"She's a new age hybrid combination of Billie Holiday, Aretha, Tina, Patti, an early Diana Ross, Lena Horne, Gladys Night (more for soulfulness than voice match), Natalie Cole, Nell Carter, and early Ella. Cream always rises to the top in due time, this lady is a specially talented individual. Fantasia is the real deal based on talent, desire, and emotions, not by gimmicks, lip sinking, trendiness, publicity stunts, and the like."

Just sit back and let Fantasia's talent engulf and wash over you!

Fantasia receives 5 Stars! (...)
For those of you who may not be familiar with her sound, she is a mix of Billie Holiday, Aretha Franklin, Tina Turner and Mary J. Blige in one. This CD is ABSOLUTELY PHENOMENAL! American Idol owes Fantasia for breaking the stigma of only producing cookie-cutter karaoke. The first time I put this CD on, I went into a trance and drove past my home with the music BLASTING and all the windows down. At 19 years old, this young lady has accomplished what many entertainers would envy. If you've never been brought to tears from listening to a CD alone...this will be the one.

I Believe is excellent! Chain of Fools is a great listen and will get you up and dancing. However, I would have enjoyed her version of Tina Turner's "Fool in Love," Willie Nelson's "Always on My Mind" or even Barbara Streisand's "What Are You Doing The Rest of Your Life." Fantasia then caps it all off with Summertime. Her version of this song displays her versatility perfectly, putting all comparisons of her to Macy Gray to rest.

Treat yourself to this CD, you won't regret it!

(...)

What an amazing, talented, performer
I loved Fantasia from the moment she first opened her mouth in the auditions on American Idol. It was clear from the start she wasn't like anyone else in the competition. Throughout the competition she only grew as an artist and showed she had what it takes to be around for a while. This season of AI was pretty disappointing and uneven, but watching Fantasia walk away with the competition in the show's finale more than made up for that. I was blown away by her performance of "I Believe". That was the best and most moving performance I had ever seen by any artist, not just on American Idol. Expectations were high for the release of her single, and I am proud to say that Fantasia sounds just as good on CD as she did on TV. "I Believe" is great, but this version can't compare to her excellent live performances of it. "Chain of Fools" shows that she can make an Aretha Franklin song her own, which isn't something a lot of people can do. "Summertime" might be the best song here.

What I love most about Fantasia is that she sounds as if she truly enjoys singing. Watching her perform with such energy and skill has been a highlight of the year, and she is truly a standout talent. Fantasia has an amazing voice that may turn off a lot of people, but amazes so many more. She has performed "I Believe" on so many talk shows since winning AI, and she still gives it her all. Her voice is great and her album will surely be one of the highlights of the year. If done right, her album may even be the best of any of the Idol releases so far. I know Fantasia has it in her to make a great album. I highly recommend this CD single because you really do get your money's worth.

Three solid singles from the "American Idol 3" winner
It is too early to tell if Fantasia Barrino will be the most successful American Idol winner to date, but at least this CD-Single gets the 19-year-old singer off to a good start. In addition to the official "American Idol 3" single "I Believe" Fantasia sings both "Chain of Fools" and "Summertime." All three of these songs are ones that she did on the show, so the first plus here is that we get the entire version of the latter two songs and not the mini-versions contestants are forced to sing. Plus, you have the advantage one being an Aretha Franklin standard and the other a classic written by George Gershwin.

My only complain with "I Believe" is the same I had with the first "American Idol" CD-Single for Kelly Clarkson, which is that I actually prefer the emotional touch of the official song sung on the show to the polished studio version. That is the memory I have of watching "American Idol" the last week of season three. The woman feeds off of her audience and dollars to donuts she will always come across better live than in the studio. On "Chain of Fools" big props to the producer, who comes up with a funkier beat for the classic, which makes it easier for Fantasia to provide her own take on the song (note how she powers through on the final note of the bridge). "Summertime" is one of the great American songs of all-time and the contrast between Fantasia's vocals versus the string section and the rest of the jazz bits is nice, although I would probably strip down the instrumentation even more to focus on the voice even more.

So you have one gospel, one R&B, and one jazz song for this debut solo effort, which reinforces the range of what Fantasia is going to be able to do in the future. Plus by having three tracks instead of two this is the best "American Idol" CD-Single to date. Final Note: Just be sure that you pick up this CD-Single and not the one with "I Believe" and "Dreams," because this is clearly the one that you want.

Different
I can't say I liked this at all. The songs all have the same sound although different titles. I was disapointed. Maybe the next run for hew will be better. ... Read more

Amazon.com

Comparisons with Charlotte Church are inevitable, yet 16-year-old New Zealand singer Hayley Westenra has her own distinctive sound. She has impeccably clear diction coupled with a gorgeous voice with a very wide range: her high notes in the Kate Bush hit "Wuthering Heights" are especially striking, and like Bush she is also a dancer, having performed with the Royal New Zealand Ballet. If there's a problem, it's that Pure doesn't have a focus to match Westenra's talent, the tracks spanning everything from "Amazing Grace" to a Maori lullaby ("Hine e Hine") to hybrid pieces adapted from Ravel ("Never Say Goodbye") and Vivaldi's Four Seasons ("River of Dreams"). Ultimately what this set does demonstrate is that whatever direction Westenra finally settles on, she has the ability to go to the very top. For now she is a young artist finding her way, and for many listeners the result is Pure magic. --Gary S Dalkin ... Read more

Reviews (73)

She's different, beautiful and amazing!
I'm not a big fan of classical music, but I will always remember where I was and what I was doing when I experienced Hayley's album "Pure" for the first time. This is the most beautiful voice I've heard in my whole life. I didn't think sopranos could sound so sweet since they basically scream to the music but Hayley doesn't have that screaming sound; it's gentle and soothing instead. At the end of each song all I can think of is I want more! The opening tune "Pokarekare Ana" swept me away like a tropical South Pacific ocean current. "Never Say Goodbye" moved me to tears midway through and made me recall all the joys and sorrows of my love life. "Dark Waltz" left me spellbound and "In trutina" gave me the chills it was so nicely done. And who doesn't feel conked on the head by "Benedictus" the first time you hear it, but Hayley's fabulous voice takes away the discomfort immediately. It's nice to see Hayley is a success story around the world. I hope she continues to record in the diverse styles she's chosen and doesn't limit herself to classical or any other specific genre. "Pure" gets five big stars for music, voice, accompaniment, everything!

Wonderful Vocal Execution and a Strong Debut CD
Ms. Hayley Westenra, hailing from New Zealand makes a strong debut into the classical crossover genre under Decca's release, "Pure."

Her voice is crystalline; however, I beg to differ on her use of her soprano on "Wutherting Heights." I prefer the tracks without "Wuthering Heights." What's wrong with the track? To me, her voice sounds pitchy and somewhat out of tune with the music. Wuthering Heights is a broadway and as such, should be presented in a Broadway-type of singing style using lower vocal registers.

Aside from that one track, the rest of the songs included are flawless. I would still have to make a comment that although Haylet will be judged from her own vocal merits, she'll be also judged and compared to as being in the shadow of Charlotte Church.

In due time, Hayley's soprano will mature and she'll be in better control of her instrument, but at this time, her debut "Pure" is a strong foothold into the crossover music genre.

Highly reccomended if you're a fan of Charlotte Church or a generic fan of the crossover genre.

Pure? Try boring.
You say pure and angelic, I say boring and wimpy. Ms.Westenra does indeed have perfect-pitch (along with thousands of other people in the world) but that's about the only good thing you can say about her. Perhaps it's just because I'm accustomed to real, full-voiced opera singers but I just can't understand how people can stand to listen to a voice with no vibrato. She has no resonance, no feeling, and no dynamic range whatsoever (the entire CD is sung mezzoforte). I'm certainly not saying that this is the worst classical-crossover CD ever (Charlotte Church's sophomore album comes to mind for that award) but I am saying it's bad. Not for real classical/opera fans. Better for easy listening fans.

This CD is pure pleasure
I really enjoyed listening to this album. I admire any singer who can sing effortlessly in more than one language. This is what Hayley Westerna does so well in English and Maori. I fell in love with Hayley Westerna's voice after watching the music video for Pokarekare Ana Come Back To Me. Her voice sounds very romantic and soothing. In Trutina is another great track. Hayley hits all the high notes and shows range of her powerful voice. Hayley also sings a great rendition of the church hymm Amazing Grace. Her voice is so uplifting here. I also loved the track Never Say Goodbye. Her delivery and phrasing is flawless and so snooth on this song. The instruments on this album are a perfect compliment to her voice. I love the violin playing on the track Dark Waltz is just lovely. Pure is simply a pure pleasure to listen to. Hayley Westerna is a very talented singer with a bright future.

second chance?
When Charlotte Church first came on the scene, many of us hoped for another truly great Carmen in the manner of Rise Stevens, but she has chosen to go another way. Hayley Westenra may be not only a second chance but an even better one with the effortlessly clean diction and ease of delivery not heard since Stevens. We live in hope. ... Read more

Amazon.com's Best of 2001

The Producers was the vehicle that first proclaimed Mel Brooks's decidedly singular comic vision as a film director in 1968. At the time, the world may not have been entirely ready for the depth charges of hilarity he unleashed; but more than three decades later, it seemed almost foreordained that the film's retooling as a full-fledged musical--directed and choreographed by Susan Stroman--would become the smash hit of the 2000-2001 Broadway season (even before opening at the St. James Theatre in April). Brooks is, of course, no stranger to the Broadway musical genre or to songwriting, but skeptics might find themselves taken by surprise at just how outrageously well all the threads come together for the new show.

The film's absurd core vignette--the infamous "Springtime for Hitler"--if anything gains a few notches in hilarity when framed by a character-rich musical that comes off as both parody and valentine in its mimicry of Broadway's "golden age." Brooks (with the help of idiomatically expert arrangements by Glen Kelly) has cooked up a variety of numbers constituting a virtual primer of old-fashioned American musical comedy styles (there's even a toying with Cabaret-style decadence), but they're always coated with an extra layer of zaniness. In fact, the whole show becomes a Chinese box of parodies within parodies. But what really gets the whole mix working is a surefire cast headed by Nathan Lane playing Max Bialystock and Matthew Broderick doing a delightfully nebbish turn with delusions of misplaced glory as his sidekick, Leo Bloom.

From his first big number (musically winking at Fiddler on the Roof), Lane hungrily lays claim to the role, undaunted by his formidable predecessor, Zero Mostel. Even on disc, you can visualize his over-the-top mugging as a dethroned "king of Broadway" who was "the first producer ever to do summer stock in the winter." Comedy, as they say, is all about timing, and that's exactly what Lane gets right. His interactions with Bloom, Franz Liebkind (Brad Oscar), and Roger de Bris (Gary Beach) are priceless, even when only in sound. As for the tunes, Brooks crafts a number of truly memorable ones--don't be surprised to find yourself horrified as you hum along with "Der Guten Tag Hop-Clop" and, of course, "Springtime for Hitler." --Thomas May ... Read more

Reviews (157)

Back to the Future with Uncle Mel
My wife and I were lucky enough to see the show in previews on Broadway and we haven't stopped laughing yet. The CD contains music which SOUNDS like tunes you've heard before -- even a casual listening will prompt you to think of Gypsy, Bye Bye Birdie, A Funny Thing Happened . . ., How To Succeed . . ., Fiddler on the Roof and at least a half-dozen other shows. It's as if someone dug this recording out of a circa 1950 time capsule.

This isn't meant to say the show is merely derivative. In fact, I consider the broadly familiar sound a strong positive factor. So is the madcap humor and pacing, both of the songs and the production as a whole.

Indeed, one of the show-stoppers on this cast recording is "The King of Old Broadway" and that's what this entire show is: a fabulous throwback to the old Broadway of classic American musical comedy of the mid-20th century. Three minutes into this CD you'll know you're NOT listening to a Disney show nor one composed by a Brit with three names.

Mel Brooks' tunes are catchy and singable and his lyrics are Noel Coward-sharp. (Just see if you can get these ditties out of your head!) The CD comes with a nice extra: extensive liner notes which include the complete lyrics and spoken interludes of every song.

The songs on the recording are well-played by an enthusiastic orchestra -- Glen Kelly's fine arrangements and orchestrations flesh out Mel's tunes. The singing is uniformly good, an occasional flat note not withstanding, and the interpreations are inspired. When Max/Nathan Lane tells Leo/Matthew Broderick near the end of the show, "I never realized you're a good singer" it's more than a line of dialogue. It's actually true.

If you're lucky enough to see the show, the CD is the ultimate souvenir. If you haven't seen it, the CD will more than tide you over until you do. And if "The Producers" inspires a renewal of the American musical comedy genre in the next few years (let's face it, success breeds imitation), then we all have Mel Brooks and company to thank or, to parody one of his own songs from the show:

Broadway going nowhere in a hurry . . . 'til him.

Bland and spiceless, never ever curry . . . 'til him.

Mel's schtick changed the Great White Way.

It's no longer prim.

Oi vay, let's hope there's at least another one . . . like him.

Pleasant Tunes, Hilarious Lyrics
I attended the first Broadway preview of "The Producers" in mid-March and I have rarely seen an audience respond with such enthusiasm. "The Producers" is lavish, filled with jokes that are as hilarious as they are non-PC, and it boasts terrific performances by Nathan Lane, Matthew Broderick, Gary Beach and the rest of the cast along with extremely clever direction and choreography by Susan Stroman. The music is tuneful without being especially memorable ("Springtime For Hitler" being the exception), but Brooks' lyrics are often riotously funny.

The CD is an enjoyable souvenir, but it cannot serve as a substitute for seeing the show, which has many memorable sight gags that obviously won't come across on the CD, such as a flock of animatronic pigeons giving the Nazi salute, a dance number set in "Little Old Lady Land" replete with chorus members using walkers, the "Springtime for Hitler" production number, etc.

One quibble: too much dialogue has been preserved on the CD. For example, at the beginning of Lane's showstopper, "Betrayed," he reads a postcard from Broderick's character before launching into the song. Excessive use of dialogue can detract from the enjoyment of the songs.

What's all the hubbub, bub?
I'm afraid I'm going to have to agree with the handful of folks here who've found the praises heaped upon this show to be undeserved. I suppose I should say the praises heaped upon this recording rather than the show itself. Never seen the show, never gonna. Sitting through the cd is arduous enough. I can't imagine being trapped in a theater for two hours watching this thing. How this uninspired little throwback of a vaudeville routine earned it's "Second Coming of the Broadway Musical!" label is beyond me. I guess all the tourists who couldn't get tickets to the Lion King actually find the play an amusing way to waste seventy bucks. Go figure.
The songs on the album range from dull & plodding to shrill & shriller still. The humor is juvenile & just plain humorless. Has Nathan Lane ever played a character who isn't Nathan Lane? I sat through the album three times over the course of a couple weeks trying to hit that magic moment when a score grabs you and you find yourself humming the tunes at work or singing along in the car at the top of your lungs. The only thing I found myself doing was shaking my head in disbelief.
If you're looking for a great new musical that combines edgy humor with catchy tunes go for Avenue Q, Urinetown, Reefer Madness or the much more deservedly lauded Hairspray. And fear the coming of "Blazing Saddles: The Musical!"

Great
What a great album. I don't particularly like Nathan Lane. Quite frankly I don't think he can sing a note and can only play one character - himself. However, he is perfectly cast in The Producers. His voice fits the music, his one-character acting is the character. It is perfect. The music overall is brilliant - especially the chorus numbers. Mel Brooks has got to be the funniest man alive, and who knew he could write such great music to go with his lyrics. All in all, a triumph!

Magnificent Musical!
The Producers is an amazing show with hiliarious songs and lyrics. I think Mel Brooks went over amazement and comedy with this listening track, he went way beyond amazement and comedy. No matter how many hundreds of times I've listened to this CD, I've laughed at every joke each time. Any Broadway lover and comedy lover, such as myself, should own this CD! ... Read more

Amazon.com

Following a now-familiar recipe, this musical revue uses a new narrative to string together a series of classic tunes. This time, they are culled from Disney's ample vaults. The material is impressively comprehensive. The oldest song originated in The Shindig (1930) and the newest are from Toy Story 2 and Disney's Tarzan (both 1999).Many of the numbers are grouped in likeminded "sessions." Some focus on a single movie, like Dumbo or The Little Mermaid, while the session dubbed "Silly Symphony" is pulled from nine different flicks. Kids will be delighted by the evergreen classics, while music-minded parents will get a kick out of nuggets written by 20th-century pop titans such as Peggy Lee (cowriter of the tunes from Lady and the Tramp)and Carl Stalling ("Minnie's Yoo-Hoo"). The cast is adept, the plot is--oh, who cares? This is all about the songs, and it's almost scary to realize just how many of them have become part of the American collective unconscious. --Elisabeth Vincentelli ... Read more

Reviews (9)

AWESOME!
I went to see this show a few nights ago, and I was really worried because I had read what it was about and it seemed like a REALLY DIFFERENT type of Broadway.But my mom and I went to see it, and it was awesome!!The Disney music was woven into a complete story of the different characters.The stage setting was very simple and nothing extravagent, but the lighting was what had a huge effect on it all!I recommend this show to anyone and everyone!!I have the CD on order, and I believe that the CD in and of itself is the whole show, because there is no dialouge in the show!There were a total of 16 people who did the show, 8 actors/actresses (4 main actors and then a quartet which were onstage) and 8 Muscians which were also on stage playing the music as opposed to an Orchestra Pit!

I will say this though, it was not as good as The Lion King on Broadway, that is a Disney classic.But Disney pulled it off and did an excellent job with On the Record!

Very enjoyable!
I just saw this show last night in Fort Myers, FL. It was really good. The cast did an excellent job of singing these great tunes and there was a simple storyline to follow among the characters. It IS a simple show...taking place in a recording studio. So not a lot of glitz and glamour. But I would definately go see this again...and would see it before seeing some of the "hits" that I have seen. If you are considering to buy this CD....get it. It's fast and slow and fast again...and leaves you feeling....good.

Makes you feel like a kid again!!!
I saw this show with my parents when it came to Richmond, VA!!! I had so much going to see these wonderful talented people prefrom the songs that we all grew up on!!! They were able to tell a story and have songs from all different movies flow!! I'm 21 and I loved going to the show with my parents and seeing them go hey i know this song!!! The stars were freaking AWESOME!! And Ashely Brown who has a AMAZING voice is going to broadway in september to start in Beauty and the Beast!!! So people should go out and by the record, see the show!!! Really listen to track of I'm Wishing/One Song-Beautiful harmonies and A change in me and thats a taste of what she'll do onBroadway!!!

Worst Broadway ever!
I can't believe that someone would take such great Disney songs from the movies and turn them into this horrible Broadway. Have they no shame? I guess if your between the ages of 5 -10 years old you may get something out of this, but any adult knows better. The album did have its moments but they were very few. I would not recommend seeing this live either. Save your money. If you have to see a Disney Broadway, stick with The Lion King or Beauty and the Beast.

Average Show, Excellent CD
I was able to see this show when it came to East Lansing, MI. While I cannot recommend going out to see the show, I can suggest giving the cast recording a try. What made the show most enjoyable for me was the music anyway. The staging of the show was unimaginative and was hard to accept at times. The performances heard on the cast recording are very enjoyable, the variety of Disney standards is quite impressive, and contains a few songs that are not to be found on other CDs. While the cast recording is a little pricey (even for a set) it would be far less expensive then buying tickets to see the show, and I believe is far more enjoyable. ... Read more

Amazon.com

"America's First Tribal Love-Rock Musical," went the advertising, and nobody could argue with that. Hair opened on Broadway in 1968 and immediately became a smash, although no one could quite discern what it was about. Something like, "War is bad, drugs are good, racism bites the big one, and nudity is nice." Although all these sentiments are expressed on this album which, like the show, has not dated well, the quality of the music makes it forgiveable. The songs weren't really rock, but they accomplished what all good pop songs set out to do; stick in the craw. In fact, several of its tracks later became hits for pop acts, including "Aquarius/Let the Sunshine In" (The Fifth Dimension), "Hair" (The Cowsills), and "Good Morning Starshine" (Oliver). --Dawn Eden ... Read more

Reviews (28)

Still as timely as ever....
I've seen this play a total of six times over 35 years. And, though the message of free love has certainly taken its toll, the louder message strong and clear is that it's about love and not war. Who can say that isn't still true today? And bellbottoms are back! The music is thoughtful, celebratory, in-your-face (today's politically correct would never dare to sing some of the songs here! but - hey! there's a point to be made and it's made loud and clear!), poignant, and heart-wrenching. When I first heard the CD I thought I was listening to a different production - the only audio I had ever heard outside of the live plays was my old scratchy LP played a gazillion times. I had no idea there were so many sound layers! Listen to this CD. Hear it with your heart, and with your humor, and with your spirit. As I write this review, I look up to see the flyer on my wall from the last production of Hair that I attended. I think of the '60s, I think of 9/11/01, I think of Iraq - the flyer has hearts, peace signs and daisies and says: "Come to the Be-In! 3:00pm, City Hall, NY, NY - Make love, not war!"

That's the beauty of Hair.

ON MY OWN
Well, it's very difficult for me to say a word about it.
I was in 1979 the director of the Original Spanish Cast of HAIR in a pre-democratic era. For me Hair was the first "new" musical. The history of musicals are after and before Hair very different, the concept of what a musical must be, more than this, what theatre must be radically changed.
The music is really wonderfull with songs who was flags of a generation and a hundred versions of it (do you remenber Oliver's Good morning starshine?)
What more can I say? Go hurry, buy it and trausure it like a diamond,for many reasons (not only musicals) it's one of the five best ever.
I select this version because I dislike the Original soundtrack of the film a lot (Well, I hate the film too),and the Original London Cast don't have Rado and Ragni singing in it.
I have all of them , but if you must choose only one, this is the one to spend the money.
Don't you believe me? Well,explain me the success of RENT if HAIR never.......

Historic And Unforgettable
This 2 CD recording should be MANDATORY for any musical theater buff- a rare opportunity to hear this historical show's developement from its off-Broadway roots to the megashow it became. Galt MacDermot's unforgettable score is wonderful in both versions (and while the film version tries to accomplish the unimagineable translation from a "non-book" musical to something with a traceable "plot", which I don't think it really does, the full orchestrations of its songs are truly realized by its composer...the versions of "Aquarius" by Ren Woods and "Easy To Be Hard" by Cheryl Barnes justify a manditory puchase alone).
The only "bummer" of this collection is that it doesn't include material from the two other New York HAIR recordings, which are still only available on out-of-print RCA LPs: DIVINE HAIR: MASS IN F(which featured several HAIR songs incorporated into a Catholic Mass) and DisinHAIRited (which has many of the songs cut from both the off-Broadway and Broadway companies).
If you get a chance, check out the book LET THE SUNSHINE IN (available from this website)- it will flesh out the political and historical relevance of this incredible show. For an even BETTER overview, the out-of-print THE AGE OF HAIR traces the show from its roots to the film version. Producer Michael Butler maintains the show's website (www.MichaelButler.com) for updates on current productions and the many cast members from the original productions.
For its wonderful music, evocations of a past era and its timeless plea for peace("Let The Sunshine In", the finale song, always leaves me in tears), this is THE paragon show cd you must own!

Chickahominy!
I say that Hair is the best. And. That. I love it. It's really changing my life.

One Of The Best Musicals Ever!
I first heard of the musical Hair when I tried out for a part in my catholic, all girl highschool's production of it. In order to perform it at my school, several things needed to be done. First, quite a few songs were left out because of time and/or the content of the song. Second, there was no nudity and all text referring to nudity and/or narcotics was edited out. And thirdly, we only had 3 guys in the musical. Even with this kind of limited exposure to the musical, I fell in love with the varying humour and intensity of the songs.
My sister purchased this CD for me in 1996, shortly after our performance had come to an end. I still listen to it at least once a week. There are just so many songs - and ALL of them are wonderful! Some are happy and uplifting while others are filled with such emotion it brings tears to my eyes. And the lyrics are some of the most impressive I've heard. But a few highlights are: Going Down, Frank Mills, Manchester England, What A Piece Of Work Is Man, Good Morning Starshine, and Three Five Zero Zero. But there are two songs from this album that have a special place in my heart - Be-In (for its happy-go-lucky chorus that always makes me want to dance ("Take trips, get high, laugh joke and goodbye") and The Flesh Failures, for its intense sense of regret and sadness ("facing a dying nation").
In summation, this is one CD you definitley won't regret buying! ... Read more

Reviews (12)

Makes me proud to be Italian!
What a georgous collection of songs! Being Italain myself, a lot of these songs I grew up hearing from other artist. Hearing Dean singing these songs is like hearing them for the first time. What a voice... what a ledgend!

Dino my Love:
Hi Dino is one the best Italian love song crooners. I'm really glad I bought this CD. Dean martin is one of my favorites. There is always a place in my heart for Dino. He has influenced a lot of other artists as well. Warm Regards: Cathy Alexander(NH)

The Best!
This CD is the best work of Dean Martin. I love this CD.

The Record Company did very well in making this compilation!
One can buy so many CDs used nowadays; paying full price doesn't often feel worth it; but in this case, it is worth every red cent. Okay, Dino is American, Dino is Italian American, hailing from Steubenville Ohio, he was brought up, on the Italian language, it comes through the speakers, he's a native speaker, with ancestry in the Abruzzo region of Italy. Maybe for strict Italian, I don't know, I think, I'd still like it. I've travelled abroad; can speak two other languages, this collection, gives one some desires to even hear Dean sing in French and Spanish as he did, his talents being so diverse. Maybe this album too, to some, is like travelling abroad, you are not totally immersed in the culture, but you get a good flavoring of it. It might be a nice doorway to listen to other Italian/mandolin music; which brings to mind, some of the arrangements are stunning;

The famous "Return to Me" being maybe the best example, but not the only one. "Volare" is good, but somehow, I favor the Vic Damone (I believe) version more.

"Come back to Sorrento"; I believe is all in Italian, despite it's name, maybe a small part in the end is in English. Maybe in this case, I would like to understand more of the message of the song. What's important with Dean Martin, is that it is his native language, Italian, so it is not as if, he struggles, tries to sing some words, which, say, with all due respect to Nat King Cole, he did wonders for the Spanish language in singing some of his songs in that language, but a native speaker may be able to tell, his pronunciation is not perfect. They were hits in Latin America anyway. This is not a drawback for Nat King Cole, but it is a plus for Dean Martin, he really sings these songs, with Italian spirit!

Does it make you feel like loving? I don't know, but a few of these can surely bring tears to your eyes. For example, "From the bottom of my heart."

Not being in the know on some things, "O Sole Mio" seems to be the same song, as Elvis' "It's now or never."

Not much comment needs to be made on the wellknown songs of Dean Martin on this CD, such as "That's amoure" ; however, I will say, that with "That's amoure" I have a better appreciation of this song, presented with Dean's other Italian-American interpretations and singings of this album.

"Luna Mezzo Mare" is well done, and if you have listened to International music, the style, makes me think, of other songs I have heard, making it sound somewhat nostalgic and Italian.

If you never go to Italy, you'll get a taste of it with this CD.

Magnifico!
I bought this album to use as background dinner music at my wedding, and I received so many thanks and compliments from friends and family. I listen to this CD all the time and recommend it to all. The album is cohesive and engaging. It will put anyone in the mood for love! ... Read more

Album Description

18 of the finest by the original African power diva, all at a fantastic low price! Featuring a varied repertoire that includes both classic songs and well-known hits, this collection is ideal introduction to anyone that's ever been curiousabout Simone, as well as an ear-opener for those that wereof the opinion that Erykah Badu and Lauryn Hill weren't influenced by anyone of their predecessors. Includes 'My Baby Just Cares For Me', 'He's Got The Whole World In His Hands','Don't Smoke In Bed' and 'I Loves You Porgy'. 2000 release standard jewel case. ... Read more

Reviews (7)

Completely took my breath away...
I consider myself very fortunate to have discovered this truly amazing lady. My aunt had this disc in her cd changer on a day I just happened to be having dinner at her house. I really wasn't paying attention to the music in the background. But when I first heard Nina's voice, I found myself absolutely mesmerized. All I could say was "Who's that playing on the stereo?" It was, of course, Nina. I had never heard of this legendary lady before, but I became an instant fan. Nina has one of those voices that you just can't classify, like Macy Gracy, Tina Turner, Billie Holliday, Rod Stewart, Anastacia, Bjork and the list goes on... It's a potent instrument, soulful, emotional, beautifully textured, and deep. It's one of those rare voices that truly stands out from the millions of singers around the world. It's just heaven... One must hear Nina's voice to get a true sense of what I'm talking about. Her voice really will take your breath away...

Dear Sweet Nina
Not really having heard of Nina Simone prior to her recent passing, I caught a retrospective on NPR and was amazed at the power and persuasiveness of her voice. So, I beelined to the nearest music store, and picked out this CD, not knowing which one to select. Needless to say, "The Essential Nina Simone" is a masterful work of perfection.

Nina's voice is so incredibly deep and soulful, and soul-filled. I was immediately drawn to several of the tracks, realizing that just one listen wasn't enough. Nina manages to incorporate the power of her life and times into each song, as a reflection of where she's been and yet a hope of things to come. She's simply unlike any artist I've heard.

This CD is taking a prime place in my stereo for months to come. For relaxing, for reflection, for memories, for living, this CD and Nina Simone is a requisite.

In Memoriam
In Memoriam of Nina Simone, the great singer, pianist, composer, arranger, songwriter, feminist, activist, mother and woman.

Nina was born in North Carolina, USA, February 21, 1933.

Although Nina was called the "High Priestess of Soul" by her fans and was regarded by them as an almost religious figure, she was often misunderstood as well. The High Priestess would walk different paths to find the adequate songs to spread her message.

A protest singer; a jazz singer; a pianist; an arranger and a composer, Nina Simone is a great artist who defies easy classification. She is all of these: a jazz-rock-pop-folk-black musician. In fact, we can find her biography in jazz, rock, pop, black and soul literature. Her style and her hits provided many singers and groups with material for hits of their own.

Nina Simone passed away on April 21, 2003 in Carry-le-Rouet, France. She was Aged 70.

She is survived by her daughter and will be forever missed - yet forever treasured.

May our high priestess find her path to peace.

Very Soulful Sister
Nina Simone is truly One of the most Soulful Down to Earth Sister's that I have ever heard.Her Piano Playing stretched acrossed Classical,to Jazz&everything in between.He Voice took on the ill's of the World&just had your entire attention from start to finish.this Essential Collection Reminds you where so Many Current Sisters got there game off.RIP to a Soulful&Honest Legend.

A point missed
I agree with the other two reviews but neither mentions what a consumate jazz and classical pianist Nina Simone is. After all, she was both Julliard-trained and a South Carolina share-cropper cotton picker in her childhood. What better combination? While not possessing a "fine" voice she sings a song from the soul, and her sheer pianistic power and skill is unmatched by any "popular" performer that I am aware of. In sum. her keyboard performances alone would put her in the top rank of jazz artists.

Ed Williams ... Read more

Reviews (43)

This music.. is almost magical.
I remember when I first heard this album. I was using the computer, and my dad said "This album is very beautiful, I think you'll like it." And boy did I!!
I was 12 at that time. I'm 16 now and I'm still in love with that music. It is, as one of the songs says, timeless. In the moment I heard it, I knew what the album was about - the sea... I knew this before even reading the book.
You see, I've always been a big fan of the sea and the seagulls. For me, they represent total freedom, total perfection. And this music encases the spirit of a seagull in a perfect way.
If you like the sea, the seagulls, Neil Diamond's music or that wonderful, marvelous book, Jonathan Livingstone Seagull, this CD is a must for you.
Buy it. I assure you you'll fell in love with it as fast as I did.

Majestic - Pure - Divine
Jonathan Livingston Seagull is the sound of creation--the earth and the sea. And "Be" is a song about the creation of man and time. It is a masterpiece crafted by God through Neil Diamond as his conduit.

Jonathan Livingston Seagull is about freedom; about an outcaste bird's soul searching journey and triumphant return to his flock with renewed personality, spiritual perception, wisdom and leadership qualities. It is a metaphor that can serve as a reference (and soundtrack) to our every day life's experiences.

Jonathan Livingston Seagull's music transcends style and category--it is music made for all seasons--undoubtedly timeless--truly captivating. It is immaculate. It is majestic--a true masterpiece. It is spiritually enriching--it is Divine.

Attention Animal Lovers:
If you've ever spent time looking into the eyes of an animal & wondered what hopes & dreams occupied its mind, this recording will help you understand!!!

TRANSCENDENT!
JONATHAN LIVINGSTON SEAGULL, a terrific uplifting book about finding the best in others and in ourselves, was a movie that required a very special soundtrack. It got exactly what it needed from Neil Diamond. Though released years ago this album is still as vibrant and soaring and transcendent as it ever was. Wonderful vocal renditions by Neil Diamond such as BE, LONELY LOOKING SKY, DEAR FATHER and SKYBIRD are simply marvelous and add to these the wonderful orchestral tracks of the same titles and you have a soundtrack that will have you coming back again and again.

THE HORSEMAN

jonathan livingstone seagull
1000 for the musics of "jonathan livingstone seagull".
I did have the lp, but today I don't have more. I have now a cd/dvd player for "region 4", and I am interested to buy the cd of musics and dvd of movie.

How can I buy cd and dvd ?

thank you,

luiz ... Read more

Amazon.com essential recording

"Well I guess it would be nice, if I could touch your body...." Given George Michael's restroom hi-jinks in early 1998, those words from "Faith" sound pretty funny, but they sounded fresh and exciting blasting out of car radios all over America in 1987. Michael's stunning solo debut (after four years in the lightweight British duo Wham!) sold seven million copies and yielded six Top 10 hits. Some of those were among the decade's best pop, including the hiccuping title track, the heartfelt ballad "Father Figure" and the wicked R&B groove of "I Want Your Sex." Unlike so much 1980s treacle, this disc hold ups surprisingly well--even if Michael hasn't always done so himself. --Michael Ruby ... Read more

Reviews (52)

Faith (1987)
Back then, I never really paid any attention to George Michael's music. It wasn't because I didn't like him or because he was gay. I had nothing against him and I still don't. When you're young, you don't tend to pay attention to a certain amount of music. Well, at the beginning of the summer, I heard One More Try and from then on, I became an instant fan of his. In fact, he has become a favorite of mine, right next to Madonna. This guy's got a voice of gold. You can't tell me that George doesn't have a great voice. He's got an amazing voice. This is an incredible debut album. He was a smash when he was with WHAM! With this album, he wanted to prove that he could do better as a solo act. And he proved himself right. He released six singles from this album. All six singles shot straight to #1.

FAITH
The first single from the album. It went to become a #1 hit for him. Although, it isn't one of my favorites, it's still an upbeat song. And yes, you gotta have faith. You gotta have faith, faith, faith.

FATHER FIGURE
The second single from the album. It was a another #1 hit. Great song. His vocals run real smooth on this one.

I WANT YOUR SEX (Parts 1 & 2)
Part 1 was the third single from the album. Some say that part 1 was a #2 hit, but apparently, those dead @$$'s are wrong. It was a #1 hit. Just so you know, this is not all one song. Part 1 ends at 4 minutes and 36 seconds. After that, part 2 starts. Part 2 ends at 9 minutes and 17 seconds. Both parts are awesome.

ONE MORE TRY
The fourth single from the album. Yet again, he scored himself another #1 hit. This is the one that turned me into a huge fan. I really get that feeling from it because it is a ballad that was composed correctly.

HARD DAY
I'm not sure if this was a single. It appears on his greatest hits, but I'm still not sure. But, anyhow, it's a great song.

HAND TO MOUTH
Great. Smooth.

LOOK AT YOUR HANDS
Very Funky.

MONKEY
The fifth single from the album. Another #1 hit. It's not one of my favorites.

KISSING A FOOL
Thie sixth and final single from the album. The last #1 hit from the album. This is one of my favorites and it's also my mother's favorite. This may be a jazz song, but it's too irresistible. The sound is very smooth. He sings it with passion and emotion. I own a little karaokee machine. Every chance I get, I always do this one. I sing pretty well, too.

HARD DAY (SHEP PETTIBONE REMIX)
Just as good as the original album version.

A LAST REQUEST (I WANT YOUR SEX pt. 3)
A great way to end the whole I-WANT-YOUR-SEX era. Very romantic for the ladies, if ya know what I mean.

If you buy this album, I can guarantee you that you'll be buying it again after you wear your first copy out. I definitely wore out the first copy I owned. Buy it and prepared to be amazed and impressed. Remember, you gotta have faith. Yes, you gotta have faith, faith, faith.

Songs of Faith and Inspiration,supposedly
George Michael solo debut album spawned six Top 10 hits. I WANT YOUR SEX(part 1) became a hit prior to the album's release and was heard in the movie BEVERLY HILLS COP 2. The title track has religious inspiration,that featuring a cathedral organ heard in the introduction. The album garnered quite a few Grammys,I must admit,one of them being album of the year in 1988. I think the others are best male vocalist and song of the year(don't know which one that is). George Michael had a hit album in 1984-85 with Wham!'s MAKE IT BIG which sold six or seven million copies like FAITH. The cassette and CD formats feature I WANT YOUR SEX PART 3 and HARD DAY(Shep Pettibone Remix).

George Michael's "Thriller".
If I remember correctly, I believe this was the best selling album of 1987. Why, well six of these were big hits, and one quite controversial at the time. This album also is fairly diverse, having upbeat dance tracks, and smooth ballads as well, and all very good. The songs "Faith", "I Want Your Sex", and "Monkey" all got your feet moving, while others like "One More Try" and "Father Figure" were slow and sexy. "George Michael" has had good albums since this one, but there's no doubt this is possibly his best, and is one of the 80's best too.

A Must Have Classic!!!
This CD is a classic that endures all the fickleness of time. George Michael has mastered an imaginative mix of upbeat and cool tunes with beautiful musical arrangements.

"Faith" is a great upbeat jingle that never fails to get you moving. "Father Figure" is as close to perfect as an artist can get. "I Want Your Sex" is a fun club beat. "One More Try" a slow sad song with great music behind it. "Hard Day" my personal favorite track on the CD because of the heavy bass. "Hand To Mouth" is jazzy and easy to listen to, nice drum influences. "Look At Your Hands" this one could have been left off. "Monkey" another dance mix. "Kissing A Fool" so here is where the 40's jazz begins. You will be able to listen to this CD over and over again and across many years. Have faith!!!

Solo debut
I've never been into pop music and all that stuff, so I never cared about George Michael in his Wham days. But as a solo artist I have to give him credit, he's escaped all that pop stuff & tried to be a more mature artist. This 1987 album 'Faith' was a nice first try at being a solo artist. George abandons pop and tries be more funky. The stripped down acoustic title track is still hitting all these years later, and cuts like 'I Want Your Sex' and 'Father Figure' are also cool. The second half of the album is okay, a bit hit & miss but overall this is a nice effort and has aged nicely considering it came out in the 80s and the kind of tacky production technique they employed back then (check the uneccesary remix track for some awful sounding 80s mess). His best albums are still his two follow ups, 1990s 'Listen Without Prejudice' and 1996s 'Older'. ... Read more

Amazon.com

Jesus was a pretty popular guy in New York in 1971; as the ersatz star of both Godspell and Jesus Christ Superstar. If Superstar was a little dark, Godspell was positively frothy; and its portrayal of Jesus as a hippie clown was part of its goofy charm. Another part was Stephen Schwartz's nifty score; a little naive and dated, but also as hummable as anything in history. Slap this in the CD player and be transported back in time to an era when kids were all singing "We Beseech Thee," "Prepare Ye the Way of The Lord" and, of course, the cheery "Day by Day." I'm guessing they don't do these in folk mass anymore. --Michael Ruby ... Read more

Reviews (38)

Such a letdown
Don't get me wrong. I love Godspell. I think its one of the greatest musicals ever written. However, this recording lacks too much, partially because of poor recording e