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Jacques Brel achieved fame through his performances in France, but he was born in Belgium and identified himself strongly with his linguistically divided native land. His acidly humorous lyrics target the hypocrisies of groups as well as individuals, with special attention to Belgium's Flemish population, the military, and the bourgeoisie in general. At the same time, some of Brel's most affecting songs contain passages in Flemish, and many of his lyrics show a pronounced fondness for his "flat country." Brel's irreverent approach to life was sharply reflected in his music and films and can be compared to that of Bob Dylan in the U.S. and Vladimir Vysotsky in Russia, with whom he also shared a capacity for tongue-twisting patter not heard since the early days of Danny Kaye. On this CD, "Le Plat Pays," "Au Suivant," and "Les Bourgeois" illustrate both the somber and raucous aspects of his extensive repertoire. --Edward Killham ... Read more

Reviews (7)

Great introduction to Brel's music...
With all of the immature culture bashing going on between the French and the United States these days it's a shame that some on this side of the water may miss out on Jacques Brel. Of course Brel was Belgian, but most Americans won't know the difference.

Brel was a singer/songwriter of shocking breadth. His voice ranges from powerful to tender. His songs have incredible range from fairly typical sounding accordian music to productions involving full orchestra. If you're not accustomed to this kind of music, it will grow on you. The sincerity of Brel's singing is enough to win anyone over.

I was introduced to Brel through a co-worker who once lived in Belgium. I asked him for recommentations of music sung in French, and Brel was the first name he mentioned. He brought in a CD for me and after hearing "J'arrive" I was instantly hooked. According to him, "J'arrive" is a song to death. Brel is singing "I'm coming, I'm coming, of course I'm coming" to death.

Brel's version of "The Impossible Dream" ("La Quete") is surprisingly uncliched and fresh sounding. "Le Plat Pays" or "The Flatlands" or "Lowlands" is about Brel's native Belgium. "Ne Me Quitte Pas" or "Don't Leave Me" is a passionate plea that builds slowly, creshendoes, then fades out. It's one of the best songs on the CD.

This CD was the only one I could readly find in CD stores in my area. According to my French-speaking co-worker, this one includes a lot of Brel's most famous songs (though there were a few he had never heard as well).

If you're looking for great music sung in French, you've found it.

Gorgeous music even if you don't know French
Music is indeed a universal language, because even if you don't understand a word of it, the beauty and power of Jacques Brel's voice and music shine through and make this a worthwhile, if different, listening experience. And if you do understand the lyrics, you will conclude that Brel is among the great songwriters of his generation, laying bare his soul and expressing eloquently a great range of emotions and insights into the human condition. I can't claim to have heard all the various Brel collections out there but this is certainly an outstanding compilation.

Beuty and drama in a voice
Along with "Le feuilles mortes" and, of course "La vie en rose", I think "Ne me quitte pas" is the most beautiful french song ever, which have been recorded by many different singers (including Frank Sinatra, in his english version called "If you go away"). Here you can find the original version, in the worderful and heart-breaking voice of it's original composer Jacques Brel, but also other marvellous songs such as "J'arrive", "Au suivant" and "Jef". This compilation gathers the best of Brel's work, for any french music lover.

I wore out my First copy of this cd and am buying a second!
This man has a voice that would soften the hardest heart into jello. I have listened to this over the past couple of years while learning French and some times I think knowing what the words mean gets in the way of the soulfullness of the phrasing. It is passionate, tender and real music squeezed from the center of this man's essence and condensed into a passion that's universal.

If you 've never heard Brel, buy this!
Jacques Brel was one of the best writers of lyrics ever, tender, cruel, ironic, hopeful, bitter and mocking (often himself) and at his best all of them at the same time. In this collection there are some of the best like Ne me quitte pas and breath-taking Vesoul, which also present his voice at its best. There are few voices that are as full of life and power and all the human emotions, good and bad, as his. Listen to it and you'll never be the same again. I wasn't. ... Read more

Reviews (2)

What Living in NY Was All About
I, too, treasure the 2-disc vinyl set of "Bobby Short Loves Cole Porter." This particular issue of the CD is a bargain...it was originally issued a few years ago at, if I recall correctly, over $30. More years ago than I want to remember, while living in New York, I had the pleasure of spending my 30th birthday at the Carlyle and Mr. Short with my first wife...who also later became my second! But I digress...This disc set is one I treaure, and one who anyone with a sense of musical style [which invariably means a keen sense of personal style, I find] will enjoy. So, my STRONG advice: mix an ice-cold Manhattan or martini [stir it...don't shake!], settle down over some terrific hor d'oevres, and let the nuances that can define love and life overtake you. Nothing better.

He's The Top
I've been waiting 20 years for "Bobby Short Loves Cole Porter" to be released on CD. I don't know what the problem might have been, but the Atlantic vinly two-disc set from the seventies is perhaps my favorite jazz vocal recording of all time. This album features Bobby with his two longtime sidemen - Robby Scott on drums and the late, great Beverly Peer bowing the double bass. About Cole Porter nothing more need be said. And the whole shebang is cheaper than two drinks at the Cafe Carlyle bar. Buy it and treasure it. ... Read more

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On this new studio CD, Brazilian composer/singer/author Caetano Veloso reinterprets classic and contemporary American pop songs. Veloso's feathery, Miles Davis-like, Portuguese-inflected vocals negotiate the English language with silken skill with a 28-piece orchestra led by his long-time arranger, cellist Jaques Morelenbaum--featuring Carlinhos Brown on percussion and Veloso's gifted son Moreno on guitar--over Afro-bossa rhythms and spacey, echoplexed synth/guitar strains. Veloso sings the melody straight on the stunning string-accompanied "Feelings," and on abrave a capella reading of Cole Porter's "Love For Sale."But the fun begins when he reggae-fies Bob Dylan's "It's Alright, Ma (I'm Only Bleeding)," sings "Smoke Gets in Your Eyes" with boppish sax lines and offers a twangytake on Kurt Cobain's "Come as You Are."From Stevie Wonder's "If It's Magic" to Elvis Presley's "Love Me Tender" and Arto Lindsey's edgy "Detached," Veloso shows that he's a master of sonic subversion. --Eugene Holley, Jr. ... Read more

Reviews (15)

3.5, really. A too-classy Caetano?
Don't get me wrong... I am a HUGE Caetano Veloso fan... I've written about him quite a bit, own all his records and had very high hopes for this album. But, still... this set of English-language standards and whimsically chosen cover tunes may be a bit too restrained and evenly modulated, with Brazilian superstar Caetano Veloso mixing high culture and high camp, while tilting towards the highbrow end of the spectrum -- so much so that it's actually a bit stuffy and twee. The material is timeless -- pop standards from the likes of Cole Porter, et. al. alongside more modern classics from Bob Dylan, Stevie Wonder, Elvis Presley and Kurt Cobain, as well as kitchier bits such as "Feelings," a Morris Alpert hit that remains one of the enduring lounge music classics. Likewise, the album's opener, "The Carioca," was chosen explicitly for its camp value, particularly in light of the album's ironic theme, the notion of "foreign" culture, as seen through the eyes of an "exotic" tropical celebrity from Latin America. The intellectual end of Veloso's enterprise is readily apparent, as is his affection for the songs and the various layers of popular culture they represent, and the level of intimacy he can impart to every line and lyric. What's missing, however, is the transcendant lightness he brings to, say, a live acoustic version of an old Hoagy Carmichael tune, amid the clamor of his thunderous Afro-Brazilian pop shows. The large, lofty arrangements are elegant to a fault, and are largely unvaried in tempo or tone... After a while, it all starts to sound the same -- the same sweet croon, the same charming sparkle, the same knowing smirk, as the same airy string sections underscore the same rarified jokes. Which isn't to say this album doesn't have a richness and warmth deserving of the songs, but it's a bit stilted and the arrangements a bit too lush and overripe... Ultimately, it just feel like that much fun; rather, it felt like he was trying too hard to make a point, and worse still, was travelling on ground he'd already covered before, with a much lighter, more delicate step. It's okay, but I'd hoped it would be much, much better.

Yet Another Success-in English!
This is certainly a CD to add to your collection of C. Veloso, or to any collection, for that matter. I read in a review in O Globo where he stated that he had handpicked these songs because they were American classics, but also because of the lyrics. His English is excellent (from all those years abroad), but with that slight Brazilian reminder of his roots. Since English is his second language, you can sense that he is truly interpreting the lyrics, not just singing them. Also, he goes from Diana to Love Me Tender to a classic Bob Dylan song, so this is not some Cole Porter rehash. Also, his accompanists are great, especially the acoutical guitar. Of course, Caetano is such an international Astro that he can get the best of everything. I have all of his CDs, and BTW, recommend all of them. This particular CD was just released a few days ago, and I got it here. It has not been released in Brazil yet, but is Europe as well. I just got it, and it caught my friends' attention when it came on. Very unique, especially when you put it next to everything he has achieved.

Enlightening
These classic songs take on a new meaning - His renditions make you search your soul for feelings you once remembered - "The Man I Love" is a revelation - "Feelings" reminds me of the first time I was in Rio thirty years ago - The author, Santiago Nasarian, should run out and by this album - I think it would give him a new perspective -

salt and pepper
ITs possible to both love and hate it, depending on your mucial origins. Myself, while I thought the jazz standard covers were somewhat shmaltzy, I found the pop covers (Nirvana, Talking Heads, Bob Dylan) completely enthralling. And very weird. These alone make this album a classic. The rest is pleasnt filler!

you have to listen it several times
As you can see on the other reviews people either love or hate this album. I think it's because it's very hard to listen at first. It sounds really weird specially if you are used to the popular versions of these songs, but after you've listened to it a couple times you end up understanding the beautiful different way Caetano sings them. At least you'll recognize "Cry me a river", "The man I love", "Smoke get's in your Eyes", "Feelings" and "Love for sale", all of them beautifully sung. My personal favorite is "Something good", from "The sound of music".
So my advice is keep on listening, you'll love it. ... Read more

Reviews (17)

Isn't It Romantic? Yes, it is!!!
This is one of my all time favorite romantic cds. Though I have most of Michael Feinstein's cds, this one remains my favorite. Full of beautiful, classic love songs, this cd delivers sentimentality without being sappy. You can tell by all of Mr. Feinstein's cds that he genuinely loves the songs of early hollywood and broadway and it is apparent, most definitely, in this cd. If you are in the mood for love with your special someone and want a little background music, you should give this one a try.

Forget the review (above)....
What a nasty "professional" review that was. This CD is WONDERFUL. I've owned it for years, and never tire of hearing it. It always puts me in a better mood than I was in before playing it. Bette Davis loved this album, too -- and Barbara Walters loves it now. Also, as the title promises, it is romantic.

Romantic songs from the soap opera Santa Barbara
If you liked the soap opera Santa Barbara then you would like this CD since it has alot of the romantic songs that were in the show for many of the characters.

My Favorite Year...
This Is The Cd That Made Me A Michael Feinstein Fan!! I Had Bought His Two Previous Cds And Liked Them Very Much, But The First Time I Heard "My Favorite Year" I Was Hooked!! I Was In Tears By The End Of The Song & A Life Long Fan!!! Johnny Mandel's Arrangements Are Stunning And So Romantic!! One Of Michael's Very Best!!!!

Education's a gem
While this is not my favorite album in my collection, I keep coming back to "You're an Education", a song that Feinstein dug out of the vaults. He has a knack for finding great tunes that were either lost by time or simply forgotten. ... Read more

Reviews (4)

Essential, Critical
It's customary to make noises about how great this album is. (See the other reviews.) In my humble opinion, this is June Christy's worst album (out of the few that I've heard). The song "Something Cool" is pretty horrible, but what really kicks the listener in the privates is the part after the line "The time I went to Paris in the fall" where the arranger puts in a burst of Parisian-sounding music. The next big number on here is the song "Lonely House." This starts out with references to "a neighbor snoring", "a baby crying", "a stair-case creaking", and "a distant telephone," each followed by some attempt to musically simulate these sounds. When I got this album a couple of years ago and heard this baloney, I thought "I just made a big mistake." This album has a great cover though. You might want to get this CD and then nail it to the wall - I mean right through the plastic case. If you're interested in June Christy, try "This Is June Christy!" -- Hey I got an idea. This CD has on it both the mono and stereo versions of the album. Why don't you buy two copies of this CD and a second stereo system. Then you can listen to each track in both mono and stereo simultaneously.

Something Cool, June Christy
Having just reached the "legal" drinking age, on a sunny, hot summer afternoon, in Pittsburgh, PA, my "coolest" male friend decided to take me for a DRINK.
He loved jazz and jazz singers, so we went into a very dim, cool, jazz nightclub.
There, I spent what was to be one of the most memorable afternoons of my life...on stage, singing Something Cool, was June Christy. Quietly, my friend ordered my first Tom Collins for me.
As I was drinking it, Miss Christy paused, and said to me, "This one's for you." At that moment, I realized what being a first class, most talented singer can do...bring special joy, and create lasting memories.
With her wonderful, rich voice, and Something Cool, Miss Christy
still transports me back to that afternoon.
Get this CD, and allow her to make memories for you.
HCS
HCS

Little June,big voice
I basically swiped this LP from my big brother when I was about 8 or so.I had listened to it every day,and when he was going back to the base,I sneaked it out of his suitcase! Then I wore the LP out,and had to get several more.So,here it is on CD!! Ms.Christy was a very tiny lady,but she can hit the low notes with the best of them.My absolute favorite on the CD is "Midnight Sun."Of all the versions I've heard of this song,June's is my favorite.Her unusual phrasing,and the depth of her voice is wonderful to listen to.Here I am,55 and still in love with the songs on this CD.I'm sure you will buy this is you need to fill up your Christy Quota.You will not be disappointed.
Oh,yes..I bought my brother his own CD when it came out!

A historic album, still fresh and intriguing
A decade ago Capitol released "Something Cool" on C.D. intermixed with singles done at the same time, totally obliterating one of the most original and significant albums in recording history. At last now the album is restored to its original form and once again we hear a fresh, intriguing collection matching off-beat songs to fascinating jazz vocals and imaginative arrangements. "Something Cool" was one of the first true albums, a gigantic seller and the catalyst for getting June Christy out of the B-list singles market into the A-list album field. Even better, we get the stereo remake done six years or so after the original album with nearly the same musicians and here's June a totally different artist, much deeper, much wiser, huskier in the voice, more experienced in the soul. With the same arrangements, same conductor, nearly the same musicians, same songs and same singer, it's still a totally different listening experience. But both albums, on the their own, are great and profound and thrilling. A double whammy. ... Read more

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Barbara Cook is the epitome of the cabaret diva. A star on Broadway from the '50s through to the '70s (she still owns the role of Marian the Librarian in The Music Man), Cook continues to sing the tunes of the Great White Way--her venues are just a tad more intimate these days. This live performance at the Café Carlyle in New York should more than please her legion of fans. Cook's tribute to Gower Champion is filled with great music and fond memories of the Broadway director and choreographer. From "Before the Parade Passes By" from Hello, Dolly!, Cook's lovely soprano voice segues into tunes from Annie Get Your Gun ("I Got the Sun in the Morning," "I Got Lost in His Arms"), Carnival ("Her Face"), The Fantasticks ("They Were You"), and more. With perfect piano arrangements by Wally Harper (who accompanied Cook on her prior album, All I Ask of You), this is a delightful disc. --Jason Verlinde ... Read more

Reviews (9)

Great Singer & Great Collaborators
Barbara Cook is sensational and everyone seems to agree. The songs are well known which usually is a negative for me, but anything sung by Ms. Cook seems fresh (So nice to hear "They Were You" sung straight and so beautifully). But the best aspect of the recording for me is to hear Ms. Cook and Mr. Harper in their "natural habitat", they seem so relaxed and the crowd (if the Carlyle can be said to hold a "crowd") reaction is great. I've been lucky enough to see Ms. Cook and Mr. Harper many times at the Carlyle. My favorite rememberance was during a rare flub of a verse by Ms. Cook which elicited a loud, short "HA!" from Wally. The smile and look from Ms. Cook to her long-time accompianist was worth the price of admission. This CD captures for me that kind of comfort and relaxed elegance and excellence that make this duo so pleasurable.

Barbara Returns to Broadway (No, The Other Barbara!)
Another CD of Barbara Cook's that we can rave over! However, this one is different in many repects. On "The Champion Season..." we get a rare glimpse of Barbara's joy in celebrating Broadway musicals that can only be captured on a live recording. Her other live CD's are gorgeously sung but this one is exhuberant and full of fun and whimsy. Here Barbara lets her voice soar in music she clearly adores. She engages all our emotions in this heartfelt and fitting tribute to a very talented man-Gower Champion. A particular favorite track of mine is (#10), I Got Lost in His Arms/Time Heals Everything). This CD is the next best thing to seeing Barbara live! A precious gem of a recording!

THE CHAMPION SEASON: LIVE AT THE CAFE CARLYLE
THIS BRILLIANT , SHINING STAR NAMED BARBARA COOK DOES IT AGAIN ! HOW LUCKY US MERE MORTALS ARE TO HAVE HER RADIANCE HERE WITH US ON THIS PLANET !

She¿s only wonderful
Barbara Cook is one of the marvels of our present world - her voice, feeling, rhythm, intonation, everything is perfect. On this live disc, which captures some of her between song talking, we also get to hear her delightful reminiscences of Gower Champion. Her talking voice and what she has to say are as beautiful and expressive as her singing, so that on repeated listening, one never tires of the talking. The songs are a mix of well known and not so well known, all sung beautifully with the always perfect accompaniment of Wally Harper. Theirs is truly a musical match made in heaven. While all the songs are lovely, I have to single out "They Were You", a gorgeous song which has never been sung more beautifully. Miss Cook never ceases to be a revelation. If you ever have a chance to see her and Wally Harper at the Carlyle, drop everything else you had planned and go to see them. You won't ever forget it.

WOW, WOW, still the best
I anxiously await each new album by Barbara Cook. An this is no dissapointment. Her voice seems to get better each year! Run or "click", don't walk to buy this album. It is absolutly wonderful. Filled with conversation about Gower Champion, you hope that the album would go on and on. what a gorgeus voice. ... Read more

Reviews (2)

NICE WORK IF YOU CAN GET IT
Often cited as the first jazz oriented lp by a popular singer,BLACK COFFEE has a justified reputation.Only the inclusion of EASY LIVING and YOU'RE MY THRILL prevents it from being perfect.Those two are at my humble point of view weaker songs.The disc has a beautifully sexy atmosphere to it that is hard to resist.I also admire the way PEGGY is able to use the limitations of her voice to best effect.I heard many renditions of I'VE GOT YOU UNDER MY SKIN,LOVE ME OR LEAVE ME and THERE'S A SMALL HOTEL, but never like the way miss LEE trancends them.I heard that PEGGY LEE has influenced many singers that came after her.Well,this disc can attest to that truth.Beleive me,there are singers that are worth remembering and PEG is among them.

One of Peggy Lee's very best.
This is another of my very favorite CDs."I've Got You Under My Skin," "My Heart Belongs To Daddy," "I Didn't Know What Time It Was," "Love Me or Leave Me," "There's a Small Hotel" and, best of all, the title tune "Black Coffee."This CD is a treat from start to finish.If you love great singers performing American pop standards, you're not going to want to miss this. ... Read more

Reviews (2)

Must be heard. Must be owned. Must be cherished.
Easy listening, yeah right. This is a classic compendium of the great pop/jazz singers of the fifties, singing the glories of twentieth century American popular songs.
You get your money back with the first three selections. A black soul version of "The Man I Love" by Etta James, "I Fall In Love Too Easily", by Sarah Vaughan, and "Body And Soul", by Diana Krall. Miss Krall is surely not from the fifties, but this rendition, with just herself on piano, is a major performance on a song that can rank with "Stardust", as the two greatest songs ever written.
There are twenty five more selections by artists like Keely Smith, Peggy Lee, Lena Horne, Dakota Staton, Dianne Reeves, doings songs like "The Very Thought Of You", "Lover Man",Misty, "Fly Me To the Moon, and more.
This world was destroyed by songs like "I Wanna Hold Your Hand", and "Satisfaction", but there is a generation like Diana Krall, Norah Jones, and Dianne Reeves, who are looking back, way back, to the glories of twentieth century American popular music. Please join this master class in the music I grew up with. You will not be disappointed.

Great Vocal Album
This is a great easy listening album, and an interesting jazz album. Nearly all of the big name vocalists of the last 40 years are represented with a tune or two. Also a wonderful list of songs. One problem I have is lack of liner information. Jazz people that hear this will want to know who the players are (and there are some good ones), when all the albums were made, and what albums from which they were chosen. None the less, for the music this CD is worth a listen. ... Read more

Reviews (9)

Well done!
Having seen Ms. Olivor live a few times recently it was great to have this recording to capture those memories. A nice mix of new and old songs. Some nice interaction with the audience.

If you are new to Jane Olivor this is an excellent place to start.

I still would like to see a new studio album. There are a truckload of songs out there that beg for a Jane Olivor interpretation. I would love to see a Jane Olivor Broadway album. There are some good popular songs that I know Ms. Olivor can make even better. I think there is some top 40 success left in Ms. Olivor if she could just get hooked up with the right songs and right management.She is too talented to be appreciated by only the limited number of people that have had the patience to follow her career.

Thank You, Jane
From the honest yearning in Jane's and Russell Walden's "Safe Return" to the spirit and fun of Stephen Schwartz's and Gloria Nissenson's "Sippin' Wine" to the melting joy of Rodgers & Hammerstein's "Some Enchanted Evening", and all the other wonderful songs on this CD, Jane touches the heart on every level and in every corner.
Thank you, Jane, for your great interpretive talent. Your voice is richer than ever. You've been gone too long but thank goodness you're back. Congratulations on your "Safe Return"

One more Ride on the Merry Go Round
I was thrilled when Olivor released "Love Decides" 2 years ago. I came across "Safe Return" while killing time at Tower Records and violated a rule I had to only buy replacements for dying vinyl from their bargain bins.
Like a previous reviewer I have loved every single moment of this woman's voice since long long ago. She has to be tired of singing "Some Enchanted Evening." Why? I still remember a snowy day in NYC in 1976 when I first heard Olivor on the radio singing that song. It was like hearing that song for the first time. You know what? On "Safe Return" you have the same feeling. You know why? Olivor sings with a depth of emotion that never becomes trite. When I was sad, there was a voice with that emotion. When I was elated, there was a voice with that emotion. On this CD, you get 28 years of emotion. Sometimes she sounds like she's trying to make up for the years she was absent (One More Ride), on some there is a feeling that the years have just made her voice more intimate. On You Don't Know How Beautiful You Are, there is a moment when you forget she's not singing to you. This CD has been in my Vue for almost 2 weeks now. Let me tell you how bearable it makes bad Atlanta traffic.

Critical praise for "Safe Return"
I've rushed out and bought every Jane Olivor album since I was a disc jockey in the early 1980's...in fact, for seven years running, I ended my show with "Stay the Night." You can imagine how I eagerly awaited "Safe Return!"

Initially, I was disappointed. The pacing seemed rushed; the 'telescoping' effect evident on most live recordings is very noticable. Jane seemed to 'reach' several times early on, and I remember wondering during the opening track if she'd actually make a note or not!

But the album grows on you. Her voice is just as clear - perhaps moreso - than twenty years ago, and her rapport with the audience is evident even on the CD. She still has the same emotive style, filling each song with something of herself.

I think "Love Decides" and "Stay the Night" will remain my favorite Jane Olivor albums, but I'm glad to have "Safe Return." If you have yet to experience the magic that is this wonderful woman, "Safe Return" is a good place to start.

I remember the Billboard ad from the early 1980's which read, "Run, you sensualists...run and grab every Jane Olivor album you can find." Sage advice...even twenty-odd years later!

Where There is Love
I feel I've found a home when I hear this song.
Blessed be the lyricist. ... Read more

Reviews (19)

Glossy, Fabulous Pop Singing
This wonderful album reflects Olivor at the height of her career and singing. As with "First Night," Olivor is produced by Jason Darrow and their teaming again proves incomparable. Where "First Night" was very intense -- kind of pop singing as opera -- this is great, mainstream singing by Olivor. While the material itself isn't as substantial (or as dark) as with "First Night," who cares? This is a brilliant disc. The title cut is one of the finest combinations of song and singer and when those violins and Jane swoop up towards its end, it's pop music at its finest. Jane benefits greatly from the driving force of drums and backup singers and Mike DeLugg's engineering suits her perfectly. I wish Columbia would remaster this as it was one of the first CDs released and sonically it's a little harsh. But who cares -- a terrific album sung by one of the best female singers ever to walk before a microphone.

Last of her great collections with some stellar moments
How does a vocalist with the poignance and range of Jane Oliver remain a wallflower in the music world? It remains a mystery and sadness to me.

Jane lavishes and captivates the English speaking world with a French flare and eloquence. You think if she were French or Italian she would have brought Europe to its knees. The transient and contemporary world of American culture cannot sustain the subtle and sophisticated calibre of such a songbird.

"Stay The Night" remains one of my favorite Jane Olivers songs. One of her best arranged songs with memorable lyrics. "Honesty" has some lovely and thoughtful lyrics. Her version of "He's So Fine" saves this song from being a relic of the 60's. It's not a teenybopper song when Jane does it. "Solitare" comes close to the Karen Carpenter version (which is probably the best). Saying that, Jane's voice give this one depth and despair. "Can't Leave You Cause I Love You" continues the pace in Jane's unique style. The rest of the cd is pretty much up to par to these first selections.

Glad to hear Jane is recording again (twenty years later) and would truly love to hear her do some of Piaf's best songs. That would be spectacular.

I wish one of her remastered cd's would have had "Last Time I Felt This Way" with Mathis. This was as much her song as his but has never appeared on one of her albums.

How Could I Have Forgotten How Fabulous Jane Is?
Seeing Clay Aiken, of all people, try to sing Neil Sedaka's "Solitaire" on Jay Leno took me to my 25 year old vinyl edition of "Stay The Night." Even scratchy, Jane is many heads over heels better than Mr. Aiken. I've now replaced the vinyl with CDs, and Jane Olivor is as incrediible as ever. Jane's "Stay The Night," "First Night," "Chasing Rainbows" and "The Best Side of Goodbye" are must have CDs: brilliant, powerful and superbly nuanced vocals! Thank you Clay for reminding me about Jane!

SENSATIONAL
Just saw Jane at The Berkley Performance Center in Boston on Saturday night and she is just as fine a performer as she was when I first saw her back in the 70's. Want to know if anyone knos anything about her. I have followed her for years....seen her probably 7 times.....have all her CD's....know she lives in Ca. but other than that know nothing. Is she married....children??? Why did she disappear for so long back in the 80's???? If anyone can fill me in on the particulars and if she has a web page that would be great.....

Amazing for years!
This is one of my all time favorite albums - easily in my all time top ten. Was first played to me by a "soon to be girlfriend" - if you know the songs, you know why. And, the girl friend was wearing Lauren by Ralph Lauren, so you can fix the time. No album since has ever expressed such intense romance! ... Read more

Reviews (1)

Just As I Remembered It -- But Better!
Well, it's just as I remembered it from my old cassette version, but now I don't need to wind the tape or flip it over! Otherwise, it's the same as the tape: great Berlin songs, brought to life by some of the most famous voices...Fred Astaire does his best version of "Cheek to Cheek", Dinah Shore for me *defines* the number "Doin' What Comes Naturally", and I much prefer Barbara Streisand's rendition of "What'll I Do"...this isn't some definitive collection, but it's a rock-solid introduction to one of America's most beloved classic composers! ... Read more

Amazon.com

Linda Eder's second 2003 album (after Broadway My Way) is a bit of a hodge-podge. It includes 1992 demo sessions as well as several tracks that had appeared on 1994's And So Much More and excerpts from the Scarlet Pimpernel concept album, with "some new arrangements, new vocals and new mixes," according to executive producer Ian Ralfini. The album starts off with the swinging "One Bad Habit," recorded during the 1993 sessions but not included in And So Much More. Those who know Eder as a Broadway belter will be happily surprised to hear these older tunes, which display a light-footed mix of a cabaret sensibility with jazzy chops (fans of Ann Hampton Callaway, take note). A sultry rendition of "The Man That Got Away" won't make you forget Judy Garland, but it's pretty honorable. It's unclear what purpose this album fulfills in Eder's career, but it holds together surprisingly well, considering its origins. --Elisabeth Vincentelli ... Read more

Reviews (37)

Linda Eder's Storybook-A Musical Masterpiece
STORYBOOK......The title itself is enough to invite listeners inside the beautifully simple, but exquisite, cover of this musical masterpiece to explore each uniquely different song. Linda Eder showcases every aspect of her amazing voice in this latest album from Angel Records and gives the the best of what she has to offer. Her talent runs deep, and the emotions she presents in these songs run even deeper. The selections were recorded in the early nineties, but they could have been recorded at any time, and they would still be a perfect listening experience. Reading the liner notes will enhance your appreciation of just what has been done with this album.

Linda Eder immediately grabs the listener with her rousing big band sound of "One Bad Habit!" From there she will take you on a delightful and very special musical journey, showcasing her fun side as well as letting you into her heart and soul with her haunting and sensitive interpretation of some beautiful ballads. "The Man That Got Away" is a fitting and incredible tribute to Judy Garland. It's sung here with a special passion. I love all the arrangements, orchestrations and interpretations of the songs, especially "Bridge Over Troubled Waters," "Smile," "All The Way," "When I Look In Your Eyes" and "Let Him Fly." What a great idea to conclude the album with an operatic aria, "Vole Mon Ange!" This is the icing on the beautifully prepared cake, and showcases even more Linda Eder's versatility. The final aria is absolutely exquisite!

The genius of so many people is evident in listening to Storybook. Linda Eder, Frank Wildhorn, Jeremy Roberts, Kim Scharnberg, Nan Knighton and Jack Murphy, among many others, you have created something really special. Congratulations!

Storybook is classic!
Storybook is quickly becoming one of my favorite cds. Linda Eder is fantastic and the variety of songs she offers are incredible. There are some favorites from earlier in her career that have been rearranged to give them a new life. There are also some never before released songs that are so fantastic you have to wonder why they haven't been heard before. "Let Him Fly" is one of these songs and what a song it is. This is classic Linda Eder and will capture your heart. "Vole Mon Ange" is an aria that shows you what an amazing voice and range Linda has. This one alone is worth purchasing this cd. If you are an old fan of Linda's then you will definitely want to add this to your collection. If you are new to Linda Eder and this is the first cd you buy, you won't be sorry. Either way this latest cd will quickly become a favorite.

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

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

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

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

And Linda Eder.

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

But STORYBOOK is a close step behind.

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

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

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

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

Reviews (5)

Captures Allen at his best!
A great album from an underappreciated singer-songwriter who unfortunately is still more well-known for being Liza Minnelli's first husband. Allen was the consummate showman and a superb songwriter. Hearing him live is hearing him at his very best. He was one of those performers who thrived before a live audience and reveal so much more of themselves than on a recording. All of his best songs are here, including the sublime "Harbour". What a talent!

So happy to find this.
I had this cassette, but lost it and have been looking everywhere for a replacement. I ordered the CD and, although I agree with a previous reviewer that too much banter with the audience had been cut, the music is still so wonderful. It's hard to believe that he's gone. What an entertainer. His ballads are his specialty. I am so happy to once again have this in my collection.

I have mixed feelings about this re-release
When this recording was first released in the 1980s, it was a stupendous example of Peter Allen's skills as a songwriter and a performer. Unfortunately, this re-release is something of a hatchet job. Several sections of Peter Allen talking to the audience, explaining songs or just demonstrating his charming personality, have been mysteriously deleted. The songs are brilliant and deserve a good listen, because Peter Allen remains a sorely underrated musician. But the omission of Peter's interplay with the audience is a real disservice both to Peter Allen and his fans.

Peter Allen - Live at Carnagie Hall catches the excitement!
I first met Peter at the Colonial Tavern in Toronto on my 18th birthday ( I was legal in Ontario .) I'd first heard him on Riener Swartz's TVO show in March of 1975 and was very impressed at the jazzy/ broadway/ camp quality of his work soooo, I ventured down with a buddy of mine for a few drinks and some tunes. Paul Drake, the pianoman at the hotel Peter was staying & a long time, well respected jazzman was there and INSISTED on singing along. I insisted that he be quiet as I could hear him ANY time and Peter was only here for the week. I met Peter that night - we had a few jars, he sang 'Happy Birthday ' to me and we became friends - something you can't have enough of in this life! It was Wonderful! Peter was and is something that MUST be experienced live! He was new, fresh and exciting! His show, his presentation and his tunes were " new, deft little tunes that are both interesting and happy." Live at Carnagie Hall delivers some of what you would have seen. A performer at his best - live, up close and personal.To anyone that might consider purchasing this album - I strongly suggest that you do! Sadly, the Colonial is gone and so is Peter but they will both be remembered by those of us who had the pleasure of seeing him and knowing him.

Thank goodness for preservation .
I remember when I first heard that Peter Allen had what was initially diagnosed as "throat cancer". After I got over the initial shock, I thought how sad that I would never be able to hear that voice again! When he died - I was shocked that his recording labels "scooped up his albums" from the stores for future gain. (can you say greedy?) That is what makes this album - MOST IMPORTANT. I had worn out most of Peter Allen's albums over the past years so I was pleased to see that this wonderful Peter Allen album was available. He was truly at his best - providing the ambiance of what made him a performer exrtodinaire and a songwriter par excellance. If you can only own one Peter Allen album (and why would you only own "ONE"?) - this SHOULD be it! It's fun, it's serious, it's melodious - and it's campy - in short - it is all of the wonderful things that made Peter Allen - Peter Allen....and boy is he missed! ... Read more

Reviews (13)

music for a rainy day
I loved this CD after hearing my friend's copy of it, so I immediately went on Amazon and bought it. It is the perfect music to listen to when you're feeling down and blue. It makes me feel lke I'm in a smoky, dark jazz club in the 20's. The best track is the first: "Cry Me A River," by Julie London. The only one I didn't like is the MArlene Dietrich one- she has a very weird voice-not a good one like the liner notes said. Of course, one doesn't need to be depressed to enjoy it. Listen to "At Last" by Etta James when you're in love. It will bring joy to your heart.

So So Sirens
I appreciate good jazz vocals; but, these are just ok jazz vocals, with big name singers. I guess I had expected the songs to be cleaned up a bit - you know digitally perfect. While there are a lot of wonderful songs here, by most of the original performers, that does not make them the best versions of the songs. Unfortunately the feel of the songs gradually goes from lounge jazz (good) to early Doo-whop (just ok). Still, if you're in the mood for some historic / nostalgic performances by the first first ladies of music, there is a place in your collection for this disk. I personally enjoyed Judy Garland's: But Not For Me.

The one other thing about the CD I didn't care for was the marketing technique used. It is an honorable thing to support shelters for battered women; however, it is not necessary to employ subtle, emotional male-bashing in the liner notes. Our two genders will never achieve equality, if they can't treat each other with respect and consideration.

Soft . . . Soulful . . . Sighing . . . or Sad .
This review relates to the musical CD, "Sirens of Song:
Classic Torch Singers." Rhino: R2 72514. 1997.
The atmosphere, locale, and tone of these songs
and presentations is close, soft, intimate, jazzy blue,
and easily accessible.
The songs and singers are: "Cry Me A River", Julie
London; "Black Coffee", Sarah Vaughan; "Stormy
Blues", Billie Holiday; "I'm Getting Sentimental Over
You", Ella Fitzgerald; "But Not For Me", Judy Garland;
"Stormy Weather", Lena Horne; "Come Rain or Come Shine",
Marlene Dietrich; "Smoke Gets In Your Eyes", Eartha Kitt;
"La Vie En Rose" (in English), Edith Piaf; "At Last";
Etta James; "Since I Fell For You", Nina Simone; "What A
Difference A Day Makes", Dinah Washington; "I Got It Bad
And That Ain't Good", Carmen McRae; "Soul On Fire",
LaVern Baker; "I'll Wait For You", Ruth Brown.
What really fascinates and pleases on this disc are
the distinctive tonalities, stylings, and intimate
involvement with the songs which each of these ladies
presents. As each voice comes on with its own song
of love-lorn experience and "wisdom" gained, it is
instantly recognizable as belonging to the particular
lady who sings it. There is pathos in these songs,
but scarely any pitiful whining. And, strangely,
although the subject matter is about sadness and
loss, the presentations are soft and soulful, very
restful and in a way, comforting. That's the way
of the world -- it happens to us all -- life is
not just laughter and blase glitz, it's also
cold experience and pain, but at some point there
has to be soulful, restful assessment and release.
For me, the slight irritation in some of the orchestrations,
is the "intrusion" of the jazzy, muted trumpets as if
inserting a bit of razzing worldly smart-aleck
comment. The other possible irritation for some
may be the inclusion of Marlene Dietrich among these
stylish ladies of song -- hers seems more like a
"campy" inclusion, with even a talking portion in
the song.
The personal standouts for me are Billie Holiday,
Ella Fitzgerald (stylish sophistication personified),
Eartha Kitt, Edith Piaf, Etta James, Dinah Washington
(what a special sound her voice has!), Carmen McRae
(another special sound).
The booklet included has excellent photographs of
Billie Holiday, Dinah Washington, Ella Fitzgerald,
Judy Garland, Julie London, Eartha Kitt, Marlene
Dietrich, Etta James, and LaVern Baker.
The purpose is: "The lives of the women who pour their
hearts out on -Sirens of Song: Classic Torch Singers-
read like a litany of heartache, hardship, seesaws of
rejection and adoration, and deaths that came too soon.
Emotion and upheaval make for 'good torch.' Technically,
a torch song is about unrequited love. Here we have
broadened the definition to include all aspects of
love -- good, bad, and uncontrollable -- for that
special, or ultimately not-so-special someone." --
Norma Campbell Edwards. "Happy" listening.
-----------------------------
-- Robert Kilgore.

Listen once and you're hooked
I used to work part-time at Tower Records. Every day when you work at Tower, you get to play a CD sometime during the course of your shift. Whenever I played this CD, customers would flock up to the front counter wanting to know what it was and where in the store they could find it (the first time the copy I was playing was the only copy in the store -- the first customer who asked me for it got to buy it right off the CD player and I had to special-order it for a bunch of other people). It got so popular in the store that the manager ordered a bunch and put the CD on one of the preview-play stations.

Emotional Time Worp
It is wonderful! All of the songs bring one to a place of deep blue emotion. Soothing and Sassy, these torch singers will set soul ablaze with their mezmarizing lyrics and melodies. You'll love it and so will your Mother, Father , Sister , Brother, Spouse...You get now, so get it already! ... Read more

Reviews (6)

The Same Lady Sings the Blues
Altho the disk spans 50 years of torch singing, it amazed me how all these ladies sound the same. Only Etta James stands out with some life in her voice, everyone else is so so smooth I lose track of who is singing.

Relax with the Ladies!
This is a very nice cd. The contributions by Norah Jones and Patricia Barber alone are well worth the price. Where is Tierney Sutton?!

nice
Wow these womens voice can sound as deep as the ocean to as high as the everlasting sky. Each song & singer is fantastic!

Excellent Sound Nostalgia
A Great Gift Album. At my tender age of 61 a family member ordered this album. The engineering is as smooth as the music; super sound and super stars. "New" pop, jazz, etc., have nothing to offer compared to those singing pioneers, who just became better and better with age. Anything else is just a mere copy of perfection. There isn't another Peggy Lee, who I heard on stage in the 1960s. She awed everyone with her love of music and a generous performance filled with so many encores for an audience with endless requests. All the Ladies on the album are the best singing so many "best" classics-all blues-of course!

This Lady is no Tramp...
The fire of Etta James, the elegance, clarity and perfect pitch of Ella and the sophomoric verve of newcomer Norah Jones creates an amazing mosaic of the incredible history of women in jazz. I initially found myself trying to find a logical connection between the very diverse tracks and artists but resigned those analytical impulses to the emotion, truth and appeal of the CD. It somehow alludes the discombobulation of typical "best of" CD's but rather delivers a very fluid soundtrack feel. It seems to indirectly chronicle the struggle, tenacity and success of the best women in jazz; excellent production underscores the legendary tracks and voices. ... Read more

Amazon.com

Given that Paris is one of the great international hubs, it's not surprising that Paris Combo's music applies imported influences like Manouche (Gypsy) swing a la Django Reinhardt, American bebop, and North African rhythms to a base of sophisticated French chanson. The latter style, with its wistful balladry and dance-friendly two-steps, waltzes, and javas, is now a jealously guarded tradition, but these tunes are a modern take on what came before. The instrumentals are at once arch and utterly earnest. Similarly, although lead singer-lyricist Belle du Berry is the latest in an unbroken line of sly, kittenish female vocalists that includes Francoise Hardy and Jane Birkin, she's less of a fantasy figure; here is a woman who is in charge of how she presents herself. Fans of elegant cabaret music should snap this up. --Christina Roden ... Read more

Reviews (5)

very pretty ...
album, that sounds live even more attractive, especially 'Irenee'. But there's another Live version in 2 CD's where twice more such a beautiful compositions. hihgly recommended juzzy funky french-driven music

Great Live Band
This is an excellent recording of an excellent performance by an excellent band. The musicians get to stretch out, making the songs even more compelling than on their studio albums. My only complaint is that the album is too short. Having seen them live several times, I was disappointed that more of their energy didn't come through on this CD. However...

...if you have a few extra bucks and can navigate a French website, I'd suggest buying this album from Amazon.fr. The French version is two discs long and captures the entire concert. The energy builds in a natural and inescapable way, Potzi takes a nice little solo guitar intro to one song, and the show culminates in a fun and bizarre jam called "Instant T."

Refreshing, fun, original, GREAT MUSIC!
I walked into the store, heard this CD playing, and had to buy it straightaway. It's one of the best music purchases I've made in a while: the CD is full of upbeat, fun, jazzy, latin-y, funky beats, great talent, and for the Francophones witty lyrics. Every track is good; put in on after a stressful day and will cheer you right up.

It's the type of CD you put on at a dinner party or cocktails and everyone loves it and asks who it is. I HIGHLY recommend it, and can't wait to catch them live here or in Paris!

An absolutely incredible concert
Paris Combo's live album is a document of what is often referred to as the most exuberant live show in the world. Listening to this performance - and it is a continuous performance, none of this chopping and changing from night to night - it is easy to agree.

By this time the band has three albums to draw from - their self-titled debut, "Living Room" and "Attraction". Without having heard the third release, it is clearly well worth purchase if the newer songs here are anything to go by. The audience clearly knows the music well and claps along to some sections as well as applauding the soloists. The band, meanwhile, verges on the telepathic as each musician solos in unpredictable directions. Vocalist Belle du Berry, the focus of much of the studio work, seems content to take slightly more of a back seat on several tracks - although this is not to say that she is out of things, her vocal displays are as sublime as ever.

The concert opens with "Istanbul", beginning with a mournful moan from - it would appear - bassist Mano. The audience is appreciative of this, and the energy level picks up rapidly throughout the piece. The second offering, "Ubiquite", is clearly a fan favourite as Australian-born pianist David Lewis's intro draws considerable audience response.
"Mais Que Fait La Nasa?", coming in approximately the middle of the performance, features some interesting drumming from Fracois. It has been described as "dub" in other places, and while I wouldn't attach that label to it, it is certainly deserving of a listen.

"Sous La Lune" is another track of interest. On the "Living Room" album, David Lewis's performance here sounds simply muted and unenthusiastic. Performed live, it is easy to understand why - his trumpet is partially submerged in a bowl of water! This unconventional effect sets the song off beautifully and is given a well-deserved round of applause.

Potzi's work on "Senor" is also much more visible here than on the "Living Room" performance. As a guitarist, he is often likened to Django Reinhart, and it is easy to see why during his solo on this track.

The final three tracks - the title tracks from "Attraction" and "Living Room" and the monster hit of "Moie, Mon Ame Et Ma Conscience" - are perfect. "Attraction" serves as a great promotion for its own album, while "Living Room", with du Berry's playful vocals leading the band forward, gets the audience clapping along and stamping their feet. From a musical standpoint, Potzi's solo is stretched out here and proves a real centrepiece to the song.

It is the 7-minute long "Conscience" which provides reason to purchase this album if nothing else has. Ever band member is given a section to shine in, Belle and Mano add extra verses - Mano singing in his native Malagasy - while Fracois and Potzi deliver very intricate solos. It is trumpeter/pianist Lewis who steals the show, though. From the moment he begins improvising around his trumpet figure to introduce the song, the listener can sense that he's about the pull something special out of the bag - and he doesn't disappoint. His trumpet solo exists several registers above anything else he's yet recorded, and then he switches to piano. Not only does he acquit himself wonderfully on this instrument, he also uses it to play a transposed version of the trumpet figure to lead back to Belle's singing. Not surprisingly, when Belle calls out "David Lewis", the applause and cheers go on for quite some time.
As an added extra, in the middle of one of the songs, he plays trumpet and piano at the same time.

One of the problems with live albums is that they often leave the listener - especially the dedicated fan - wanting more. Not in this case. Paris Combo leave the listener with a bemused smile on his face but certainly well and truly sated from the experience.

This album is a great companion piece to the studio albums, and is thus highly recommended for anyone who has ever heard any of the work by this incredible band. The beginning fan may be overwhelmed by the material, although the balance from the three albums ensures that there would be enough familiar music for anyone.

Almost as good as being there
This group can do no wrong!!

Nothing is like seeing them live. This recording captures the feeling of being at one of their concerts: the energy, the clapping, the hooting, the imporvisations, everything that makes live music great.

This is a great, energetic intro to the group for the crazy people who have yet to be converted. What are you waiting for? ... Read more

Amazon.com

Underrated, at least in comparison with the better-known In the Wee Small Hours and Sings for Only the Lonely, 1957's Where Are You? is another excellent collection of melancholy torch songs, including "Lonely Town," "The Night We Called It a Day," "I Think of You," and "Maybe You'll Be There." As on those records, Sinatra doesn't sing so much as breathe, never overwhelming the fragility of the compositions with excessive displays of emotion. Of course, this approach just makes the songs sound that much sadder. This was also the first record Sinatra recorded in stereo, and Gordon Jenkins's lush string arrangements are obviously designed to take advantage of the new medium. --Dan Epstein ... Read more

Reviews (10)

"Mood Red, Gold and Brown"
We hear less about "Where Are You?" than "In The Wee Small Hours" or "Only The Lonely," but this concept album is every bit their equal. The three albums' covers tell us a lot about their actual sounds: "Wee Small Hours" is deep purple and blue (as in "Mood Indigo"), "Only The Lonely" is a nihilistic black, and "Where Are You?" features the brownish colors of autumn. Appropriately, we hear "Autumn Leaves" seven tracks into the CD, and the other fall classic, "There's No You." A mere glance at the titles gives us an idea of how appropriately Sinatra & Co. chose the material for these concept albums. Sinatra also worked with the perfect partner in Gordon Jenkins, whose golden Old World tones and floods of violins match well the melancholy of each Sinatra vocal. And what vocals! I'd say Frank's voice was at its best twice in his career-- around 1943, and then around 1957, when this album was recorded. He has that ringing, pure and secure quality of the younger Voice, but all the cello-like richness of "Sinatra, Act II." Sinatraphiles like myself love to compare earlier versions of Frank's songs with later versions included on albums such as this. Six of the twelve songs on this album Frank had already recorded at Columbia, and one-- "The Night We Called It A Day"-- was actually part of his very first solo session in 1942, when Tommy Dorsey was nice enough to let Frankie cut four sides with Axel Stordahl on the Bluebird label. "Laura"-- from the fine movie of the same title-- has to be one of the greatest ballads ever. It is so spooky yet universal in its statement of yearning. "Lonely Town" has Leonard Bernstein's name on it, a rarity among Sinatra recordings. Hear Sinatra's voice surge about half way through and see if you don't choke up a bit. "I Cover The Waterfront" is one of those classics where Sinatra's competition includes Billie Holiday, and I think he still comes out on top. If Nat King Cole beats him out on the already mentioned "Autumn Leaves" it is mainly because of Nelson Riddle's falling-leaf motif arrangement. "I'm A Fool To Want You" has a very familiar history-- personally I'd rather not hear this version, as the first one, recorded during the stormiest time of the storm that was Ava Gardner, is just too perfect to be reprised. "I Think Of You" is based on a theme from Rachmaninov's Piano Concerto No. 2, and might be sappy in the hands of some interpreters (especially with Jenkins on board), but Frank delivers it with dignity and honesty. The bonus tracks are fabulous too. "Rain" was one of the first songs to be recorded with special effects. Normally I wouldn't care for that distinction, but the rain sounds go perfectly with Nelson Riddle's back-and-forth-windshield-wiper arrangement. All four bonus tracks are Riddle's work, including maybe one of the top ten best songs of Frank's career, "Don't Worry 'Bout Me." He always loved it, and the conversational quality that is so direct yet profound makes me realize why. So here is a CD that fans of good music simply can't pass up-- Sinatra at his very best.

One of my favorite albums by any artist. Truly haunting.
With the release of this album as well as "A Swingin' Affair" and "Come Fly With Me," 1957 was one of many landmark years for Frank Sinatra. I am only 28 years old, but I have listened to some of the greatest music of the 20th century. Without a doubt, "Where Are You?" ranks as one of my favorite albums by any artist. The selection of the album's 12 original songs is impeccable - virtually every one of them is stunning and haunting in both lyrics and melody. And the inclusion of the four bonus tracks, while unnecessary, certainly does not detract from the collection.

However, it is Frank's unparalleled interpretations of these 12 classics that gives them a whole new life, and Gordon Jenkins' string-laden orchestra complements Sinatra's vocals perfectly. The songs on this album collectively create a mood of unmistakable loneliness and are perfect for a chilly autumn afternoon.

In my opinion, this album represents Sinatra in peak form. His voice had grown deeper and richer than in his early days, and he had by now fully developed his art of interpreting songs and putting them across with honesty and without fanfare. Other than Billie Holiday, I don't know of another singer with Frank's interpretive abilities.

Owning this album is a must for anyone interested in looking beyond the "greatest hits" packages and delving deeper into the annals of this one-of-a-kind artist.

the very essence of expressive pop music
sinatras singing here is the very essense of expressive. he and the lush jenkins strings evoke something remarkable.
it is no accident that such high calibre and diverse artists such as montgomery clift and herbert von karajan thought sinatra 'it' as far as popular music goes.
prepare to be deeply moved.
and, as in all great music, its haunting beauty can only be heard, not fully described.

Superbly lush stereo from Sinatra and Gordon Jenkins
Sinatra's first of three albums recorded with arranger/conductor Gordon Jenkins, and the very first Sinatra album recorded in stereo. As the liner notes point out, dawn-of-the-stereo-age recordings such as this are, in many ways, the equivalent of Blue Note's monumental mono works, in terms of preparation. The early 2- and 3-track stereo recorders didn't provoke the sort of piecemeal punch-in assembly that later multi-track recorders would truly enable. Instead, stereo was used as a way to document the physical space of the orchestra and singer. Sinatra is framed in a consistent fa