Reviews (12)

This one will hook you on Barbra's early music!
I was first introduced to Streisand's work in 1980 with her "Guilty" album and during the years that followed I slowly started listening to her older music while waiting for something new. I found that alhough there were many songs from the 70's I liked, I just couldn't get into her earliest recordings...until... "The Second Barbra Streisand Album"!

At some point in the long stretch between "Till I Loved You" and "Back to Broadway" I became desperate for something, anything, I hadn't heard before. So when I caught Barbra's STUNNING performance of "Down With Love" from the old Judy Garland show, I quickly raced to buy whatever album it came from...it turned out to be "The Second Barbra Streisand Album".

If I had to choose one definitive album that so completely catches the magic that was Streisand in the beginning, this album is it.

From the first notes of "Any Place I Hang My Hat Is Home" to the moment when it is reprised again at the end of "Like A Straw In the Wind" Barbra's voice will hypnotize you...!

On the minus side: It seems Barbra's nose was "straightened" on the cover!

On the plus side: This is a better set of songs than even her first solo album "The Barbra Streisand Album".

Best cuts: Any Place I hang My Hat Is Home, Down With Love, When the Sun Coems Out, Like A Straw in the Wind.

The song "Gotta Move" was used in the film "Too Wong Foo, Thanks For Everything Julie Newmar"!

As for me, I'll always remember this as the album that unlocked "early Barbra" for me... if you just can't seem to get into her early stuff, maybe this album will do the trick for you as well!

My First Barbra Streisand Album
I was 9 years old when I first heard this album. I will never forget the effect of hearing "My Coloring Book" that first time. I was with my parents visiting some friends who owned the album. I think I got my mother to take me to buy the album the next day. (...)

Standouts to me are "Any Place I Hang My Hat is Home," "When the Sun Comes Out," and "Have I Stayed Too Long at the Fair." Sentimentally, this will always be an important album to me, but I think it's a superb introduction to anyone who wants to experience the early Barbra Streisand.

At the time, her records, her looks, her personality, were unlike anything anyone had seen before. She was becoming a sensation that has now become a legend. I highly recommend "The Second Barbra Streisand Album."

Barbra's 60's Peak
Forget everything that followed. Barbra was not quite yet BARBRA -- purveyor of heavily orchestrated glop and circumstance. This was the follow-up album from a 21 year-old Brooklynite who had taken the world by storm with her stunning debut album. Expectations were high, and that unmistakable giddyness still permeates this CD -- even 40 years after its initial release.

Yes, the blueprint of the first (and more highly regarded) album was followed, but the sophomore slump was averted by the inclusion of no less than five wonderful Harold Arlen songs. Among these, Down With Love (along with Lover, Come Back To Me) keeps the mood light while eschewing the outright goofiness of the first album's Big Bad Wolf and Come To The Supermarket, whereas Right As The Rain (along with Who Will Buy?) echoes (and improves upon) the spare, haunting sound of its predecessor's A Taste Of Honey. Other Arlen songs are bluesy -- and surprisingly suited to Barbra's empathetic vocals. Meanwhile, I Stayed Too Long At The Fair outdoes Much More as a forthright statement of longing (and, in this case, regret), Gotta Move sizzles like crazy, and I Don't Care Much (a number cut during previews of the original production of Cabaret) delivers a gut-wrenching account of rock bottom.

I grew up with Barbra in the seventies, and was never especially interested in her sixties output. Like one of the previous reviewers, this album was my entree to all that she had to offer at the start of her career. When discovering the 1st and 2nd albums (along with the Funny Girl soundtrack), you - like me - will find that Barbra was never hungrier -- or better.

Great album, but maybe a few more great songs
This is a wonderfull album the songs in here highlight the greatness that is Barbra Streisand. My personal favorites are: Down with Love, a great softie which turns into a very fun jazzy upbeat song, kind of weird, because for once we don't hear her singing about how wonderful love is/ Who will buy, a great song whith an amazing vocal effort by Barbra, really much better than the one in "Oliver!"/ I satyed too long at the fair, perhaps my favorite song of her three-four early albums, this song is amazing! she fills it with so much emotion and that high note at the end is just breathtaking.
But, there are a few songs like : like a straw in the wind, that are a bit confusing, and I would have hoped for two three more songs like Down with Love, or Who will buy

In general, a great album, though a little bit lacking, but deffinitely worth the money!

THE ALBUM THAT KEEPS COMING BACK FOR MORE.
As a diehard Barbra fan, it never ceases to amaze me how this record keeps morphing on me. When I first bought it (probably 1973), I couldn't get into most of the Arlen ballads and thought many of them overproduced and/or oversung. Years later, after reading consistently good reviews about it, I would begin to revisit it and found that it, or I?, had mellowed some with age and the songs began to grow on me. Now, it is one of the records I consistently play from her catalog. "Down With Love", "When The Sun Comes Out", "Any Place I Hang My Hat..", and "..Too Long at the Fair" are among Barbra's best recordings. For the life of me, I don't know why she chose to include the manic "Lover Come Back To Me" on the "Essential Barbra Streisand", but you can't have everything. "The Second Album" is great car music and helps lift the boring work blues at the office as well. Who would have guessed? ... Read more

Reviews (24)

A Nice Departure
While Harry Connick Jr. is generally know for his big band sound, I found this change to be a pleasant one. I am a huge fan of all of his work, this album included. By far, the best songs on the c.d. are "She", and "Whisper Your Name". This album has great songs, and shows Connick's versatility as a performer. I highly recommend this album to everyone, especially Connick lovers.

Creative and Unique Funk - Best Harry Connick Album Yet!
Harry Connick's "She" is the most creative example of funk music available...and it happens to be my favorite Harry Connick album (I have them all). It's also better than "Star Turtle", Connicks other attempt at funk, because of the interesting artists he collaborates with, including Booker T. The album is innovative, interesting, and some of the later tracks could be classified as experimental. However, if you like his more common Sinatra-style big band & swing tunes, stick with "Come by Me" or "To See You", and you may be disappointed with this.

The first five songs are great - more traditional examples of funky jazz than the rest of the album. I especially enjoy "She" and "Between Us", two upbeat (non-experimental) jazz tunes. The only song on this album you're likely to hear on the radio is "Whisper Your Name", another upbeat signature-style tune which was featured in the absolutely horrible & disturbing 1991 movie "Hudson Hawk".

But the genius in this album lies in the last 9 tracks, which were conscientiously arranged to flow together seamlessly. In this respect, it is similar to "Star Turtle", in which the songs follow a story line. However, these nine songs on "She", which represent the bulk of the album, play as if it were one long song/composition - unlike the "Star Turtle" & the first five songs of "She", these tracks do not quite sound right if listened to individually. These tracks are true experimental funk, interacting with unique instruments, poetry, sound effects, & dialogue. It takes nearly 45 minutes to hear them all together, but it's quite an experience, and I'm unaware of any other contemporary musician who arranges music this way.

Other recent/similar attempts at interesting funk-jazz are the "Get Shorty" Soundtrack (primarily arranged by Booker T) and some of Moby's work, including the MobySongs album. "Star Turtle" by Connick is also a good album, but not as funky as "She".

One of my very favorite CD's
This is a CD I just can't live without. I've owned this album for the better part of the last decade and it has never ceased to sound fresh, funky, and fun.

This is not big band Connick. This is well-done 70's funk-influenced rock-tinged music.

I keep listening to this album, over and over again....
I don't know what it it about this album, but ever since my brother gave me a copy on cassette I have never tired of it. Of course, I now have the CD and I find myself reaching out to it again and again. If you think Harry's just about swing and crooning, this album will set you straight. Easily one of my favorites. It really kicks butt and rocks your socks off. I still can't believe it's Connick.

This is not just my favorite Harry Connick Jr. album...
it's my favorite album from any artist. It's not traditional Connick, if that's what you're looking for, but if give his funk sound a chance- it's wonderful, and great fun. ... Read more

Reviews (1)

Almost 5 stars, but...
This fine CD was not as 'remastered' as I would have liked it to be.I thought that this CD would have the stereo version of "Catch A Falling Star", but it is in mono on this CD.However, the snappy tune "Weave me the Sunshine" is a doggone great song that will put a bounce in your step and a smile on your face everytime you hear it.Overall, audio is pretty decent, and Perry's voice is fantastic as always.This is a good collection if you don't already have Perry's other Greatest Hits recordings, but then again, it is a must-have just for the song "Weave Me The Sunshine".You can never lose with Perry Como, so this is a good CD. ... Read more

Album Description

UK twofer combines 'Those Lazy-Hazy-Crazy Days Of Summer' & 'My Fair Lady', both originally issued in 1963 &unavailable domestically. 24 tracks. EMI. 2003. ... Read more

Reviews (3)

"early 1900 & Broadway Musical tunes ~ Nat "King" Cole"
Ordered this from Amazon and received it within that same week...and the shipping was FREE, great service and outstanding album of "Those Lazy Hazy Crazy Days of Summer" and "My Fair Lady", featuring early songs from the early 1900's and one of the most popular musicals every to hit Broadway...both albums were in my LP collection for years, almost forty of them during the early years while my children were growing up...and now that they are adults, they appreciate the one and only master of interpretation NAT "KING" COLE...no other singer in the business had the warmth that this man gave during a performance...along with Frank Sinatra, Cole built the Capitol Towers and brought them fame and fortune. Cole in my estimation did more for Capitol Records than any other recording artist of that time (and that my friend is saying something), but is the gospel.

Nat had a major hit with "THOSE LAZY HAZY CRAZY DAYS OF SUMMER", remember hearing this on all the major radio stations and everyone during that time was sitting around the local swimming pool enjoying it...other highlights are "GET OUT & GET UNDER THE MOON", "THAT SUNDAY, THAT SUMMER", "THAT'S WHAT THEY MEANT BY THE GOOD OLD SUMMERTIME"...and then "I COULD HAVE DANCED ALL NIGHT", "ON THE STREET WHERE YOU LIVE", "I'VE GROWN ACCUSTOMED TO HER FACE", each song has been remastered to perfection...now on digital compact disc we can continue being delighted by Nat's God given talent.

Nat had a tenderness in his voice, completely flawless...he could never deliver a bad tune...his style and signature of making a song his own has never been duplicated...within this twofer album are happy upbeat and Broadway musical tunes...some are timeless and remain classics, while others are songs that have never seen the light of day...the sound quality of this collection isn't the main issue here...but this release is a dream come true...more selections from the greatest entertainer of our time!

For many of Cole's fans, this has been a long awaited release...now we can relive the songs that gave us so much pleasure...remember Nat was with us for such a short time...just sit back, give a listen and enjoy the sounds we grew up with...songs we've come to love over these past plus decades...his music is never out of date...a wonderful human being NAT "KING" COLE!

Total Time: 63:32 on 24 Tracks ~ Universal Int'l 592656 ~ (10/27/2003)

Not Nat's creative heights, but an enjoyable set
These two albums are not Nat King Cole's best original albums. In fact, creatively, they're probably the least of them all. However, that's a relative statement! Enjoying Nat's albums are hardly difficult, and these are no exceptions. This is probably the most "cheerful" set.

The first is a collection of very old 'Americana' (in the form of turn-of-the-20th century "chestnuts") and newer material of a compatible spirit. Some of the authentics here - 'On a Bicycle Built for Two' or 'After the Ball' for example - would have their last mainstream outing here, I suspect. Most should enjoy the affable way these long-cherished but now largely forsaken ditties are done.

The newer cuts are enjoyable, particularly the showpiece ballad 'That Sunday, That Summer'. The title track 'Lazy-Hazy-Crazy Days of Summer' was a very popular hit in '63, but I would single out 'That Sunday, That Summer' and the almost barbershop-quartet real oldie 'You Tell Me Your Dream' as the best of the lot.

By this time (1963), the "Mitch Miller sing-along" approach (bouncy tempos, a chorus singing along much of it, large orchestra with occasional novelty adaptations like a bicycle horn to fit 'On a Bicycle Built for Two') was popular, and this album does reflect that. It does so in an engaging way, however, and of course the main attraction is clearly Nat's game performances.

The second album (also 1963) is Nat "covering" select songs from the Broadway show 'My Fair Lady'. It is admittedly uneven. Nat is not an ideal Henry Higgins in those numbers, excepting of course, 'I've Grown Accustomed to Her Face'. He obviously enjoyed himself, and it's hard not to let quibbles go and enjoy the somewhat ironic readings. What's harder to enjoy is 'The Rain in Spain' which, out of the context of the program, sounds as close to "throw away" as Nat's albums get. Perhaps cutting it way down and adding 'Why Can't the English?' would've been ideal.

On the upside, however, there's several wonderful examples of classic pop. 'On The Street Where You Live', 'I've Grown Accustomed to Her Face' and 'I Could Have Danced All Night' are particularly loverly. 'Show Me' is the most interesting. Its transformation to tender Nat ballad is both notable and effective. The uptempo numbers 'Get Me To The Church On Time' and 'With a Little Bit Of Luck' retain their roughish charm.

The sound quality of this CD won't be a factor to most, as these were good sounding stereo recordings to begin with, and are passably, if hurriedly, transferred. They sound okay. In all fairness I should probably point out that the sound transfer is not of the quality of the above titles. Although the thin, hazy quality of the mediocre digital resolution may not be a known artifact to many, the difference will be apparent with a comparison of the track 'That Sunday, That Summer' or 'On the Street Where You Live' on the 1990's 4-CD Nat King Cole box set where it is cleaner, clearer and richer. At least we're spared another over-processed Capitol CD "remastered by Bob Norburg."

Commendably, both original album sleeves are reprinted at about the full size of the booklet, both front and back. Imagine that! Check out the original cover for 'Summer' - wow is that ever an "idealized" '63 Los Angeles beach! The cover of 'Lady' features a handsome picture of Nat.

For Nat's premium titles in the EMI 2-on-1 CDs series in terms of creative quality, I suggest the following before the purchase of this CD:

- Tell Me All About Yourself (big band) / The Touch of Your Lips (ballads)
- Where Did Everyone Go (ballads) / Looking Back (pop singles)

EMI deserves thanks for this issue, and it's significant: this release reissues both of the two remaining original Nat King Cole LPs not to be issued on CD (counting both the USA and the UK together). Would that Capitol USA, for whom all were originally recorded, had released them all. They've only had twenty years to do it. And of course, most of the ones they have issued are now out of print.

Enjoy while you may, and a "thank you" to EMI!

- CJ

Well-programmed matchup & great sound
Two long out-of-print LPs -- "Those Lazy ..." from 1963 and "My Fair Lady" from 1964 -- make a welcome return on CD. The remastered sound is excellent and the program is relaxed and upbeat on two albums that fit together quite nicely. ... Read more

Amazon.com's Best of 2000

With his controversial The Wild Party, prolificcomposer-lyricist Michael John LaChiusa continues to stretch thepossibilities for contemporary musical theater. His racy musical isbased on a 1928 poem about one night of escalating decadence, throughwhich LaChiusa stages a brilliant, savage, polystylistic unmasking ofthe lies we live by. The original cast recording captures the manicenergy of the top-rate cast, including Mandy Patinkin, Toni Collette,and Eartha Kitt all working together in electrifyingensemble. --Thomas May ... Read more

Reviews (72)

ASTONISHING...
This CD of the Wild Party is something that every theatre lover should have in their collection. It is simply the best score of the 99-00 theatre season. Don't be worried if at first you aren't wild about the cd, it does takes a while to get used to. But, upon repeated hearings, I would really challenge anyone to not appreciate the artistry here. Not only is the music breathtaking, but the performances are absolutely incredible. You simply have to hear Toni Collete of Sixth Sense fame and Eartha Kitt as she melts away time proving she still has it. Best songs on the CD include: This Is What it is, When it ends, the lights of broadway, people like us, lowdown-down, miving uptown, and wild party. People Like Us is the best song to hit the stage this past season and the lyrics are so unbelieavably powerful and beautiful. You won't regret buying this CD. It is LaChiusa's most accessable score and deserved a much longer run. Don't let it pass you by again.

Not What I Expected
When I first heard of The Wild Party, I was a little intrigued as I heard Idina Menzel and Taye Diggs were involved. Then I heard that Toni Colette was playing Queenie and SOMEONE cast Eartha Kitt (someone needed to be shot) That is what I THOUGHT. Then I said to myself 'Get the CD, obviously it MUST be good, it is nominated for Best Musical' (even though I am still bitter about Aida not getting a nomination). So I bought it. Although I am not completely enthralled by this musical, I can't say anything bad about it. The voices are good (save Mandy Patinkin who sounds as awful as he always does, what is up with singing to the back of your throat?). Toni Colette completely surprised me. What a voice! And Eartha Kitt, as much as I hate to say, is fabulous! Lea Hocking is a surprise too. Norm Lewis (A New Brain) is very good as well. Now the music does not interest me (mostly because it is not my favorite style), but it is done very well. I am actually impressed. Don't get me wrong, Aida still blows this musical out of the water, but if anything is gonna take the Tony instead of Aida, I would rather it be The Wild Party (as Contact and Swing! should not have been nominated in the 1st place. Swing! is previously recorded music redone [badly may I say] and Contact is a DANCE show). Ok, down, off of my soapbox. In short, The Wild Party is entertaining. Don't be swayed by the names, they do it justice.

Boring compared to the Off-Broadway version by Lippa
Don't buy this... try Lippa's adaptation of the same poem. I can't believe that this is more popular.

Gin.Sin.Skin.Fun.
I saw this show last year here in Chicago and went WILD over it. Great tunes at this party. This recording has a magnificent cast to sing them: Toni Colette, Mandy Patankin, Eartha Kitt, Norm Lewis, Tanya Pinkins and more. It's not kids-play, the score. No "moon and stars" soppy sentimentality; it's not for sissies. It really bears up under repeated listenings. It's "Who's Afraid of Virginia Woolfe" meets "Pal Joey" or Stravinsky meets Duke Ellington: whatever, it's a dangerous, sexy brew.

Chiusa or Lippa? Both lose
I now own two versions of the Wild Party. I guess I never learn. They're very different in every way but charm. This Wild Party is a charmless story set to an irritating jazzy beat sung badly by people who usually sing very well. I know this show has its devoted fans, but I'm not one of them. ... Read more

Reviews (2)

long-overdue reissue of the classic soundtrack
SWEET CHARITY was turned into a not-so-successful film in 1969, starring Shirley MacLaine. Originally appearing on Broadway in 1966 starring Gwen Verdon, the musical is based on the classic Fellini film "Nights of Cabiria".

The score was heavily revised for the move to celluloid. "You Should See Yourself" was replaced by "My Personal Property", "I'm the Bravest Individual" was replaced by "It's a Nice Face". The melody for "Sweet Charity" was re-jigged for a more uptempo feel. Songs cut from the score altogether included "Baby Dream Your Dream", "Too Many Tomorrows" and "Charity's Soliloquy".

Shirley MacLaine was joined by a cast including veteran Broadway talents Paula Kelly and Chita Rivera, John McMartin (recreating the role he originated on Broadway opposite Gwen Verdon) as Oscar Linquist, Sammy Davis Jr. as Daddy Brubeck, Stubby Kaye as Herman and Ricardo Montalban.

Shirley MacLaine sings her numbers with her sweet pixie-esque voice, gliding through showstoppers like "I'm a Brass Band" and "If My Friends Could See Me Now" with great ease.

Another fantastic package from Decca Broadway. Peter Filichia, as always, offers comprehensive liner notes, and sound quality is quite good. In addition to this CD I also recommend the still-superb 1966 original Broadway cast album with Gwen Verdon.

Sweet Charity
I've been waiting for this version of Sweet Charity to come out for years. My parents use to listen to the Decca LP many years ago and the tunes grew on me. From hey Big Spender, If My Friends Could See Me Now, I'm A Brass Band, etc, etc Great music all around with not one bad track. Before this version I had brought the Broadway Show versions and to me they were all kind of flat. Maybe because I grew up on the film version I couldn't appreciate the show versions as much. The vocals and the scoring are great. Shirley MacClaine doesn't have the greatest voice in the world but she's still great.
My biggest complaint about this CD release is that it is not complete. You think that Decca Records would do a complete Cd release as previous musical soundtracks have done. This is a direct copy of the Lp released so many years ago. There is so much more music in this film that I was disapointed when I found it it was only a Cd of the original album. With Cd's fitting up the 80 minutes of music it is very surprising that this truncated version was released. Maybe because it's not considered a classic. This is am underrated film as far as I am concerned and in my opinion a far better score than Chicago (with all due respect to Bob Fosse who directed this film) This would be a great CD if only it wasn't abbreviated. ... Read more

Reviews (32)

Not Funny, Lady
I hadn't seen this movie since its release nearly 30 years ago, and I thought I might actually enjoy it more now on DVD than I did then. Wrong.

The movie fails on so many levels.

First, what works: the score and Streisand's singing. That's about it.

Vastly overrated director Herbert Ross saps the energy from every scene. The dramatic scenes are lifeless and artificial. Streisand squeezes what laughs she can by punching up her lines, but it's a wasted effort.

Not a single musical number works, and the Great Day scene, in particular, is an embarrassment. It's the latter number that makes you realize how bad the movie is. The song actually works better WITHOUT the visual.

The script is absolutely awful. The whole idea behind fictionalizing a biography is to improve on the life story. What excuse is there for making it all a cliche?

The DVD picture quality is very fine, for what it's worth, although there are no extras to speak of.

Bottom line: Buy the CD (Streisand at her peak singing great Kander and Ebb songs), and forget the movie.

Put on your ear-buffers
Hated the movie, but the soundtrack will take you into some of the pitches of music only Streisand could pull off so well."Am I Blue" is a vocal masterpiece, one of my favorite on the album that is homogenous w/ "Blind Date". Hey, we've all been there and this recording is filled with upbeat songs on the woes of love, in classic Broadway style. I must've listened to this one a thousand or so times when it first came out. Saw the movie once and couldn't get through it a second time. James Caan and Barbra seemed mismatched on screen to carry on the legacy of Funny Girl and the story line seemed too modern to give Fanny Brice's vaudeville presence any realism on screen. But, again, Barbra's vocal talent along with others undeniably makes the soundtrack a harmonious pleaser with a flair all it's own. While some of the tracks will leave you dancing and singing along, despite the serious edge of others such as "More than You Know" makes for this album's mix that is worth the purchase.Not for first-time listeners who missed Funny Girl. Despite the movie not reaching the same acclaim as Funny Girl, to fully grasp the sequel's more early vaudevelle's soulful songs, the movie, Funny Lady was worth a one-time watch as a sequel to Funny Girl. If you are considering this under-rated soundtrack as a first-time purchase, I recommend seeing both movies first and reaching your own conclusions on the soundtracks merits, from this legendary songtress.

ADORABLE! I LOVE IT!!
This is a fabulous movie. I still think "Funny Girl" is better, but I adore this film. One of Ms. Streisand's best! "FIVE STARS!"- Naomi Judd, "Star Search"

"See, Billy, in a tutu, I can be funny."
The 1968 film version of FUNNY GIRL was an absolute masterpiece, and as perfect as a musical-comedy film can be. A sequel to this classic was not something that was ever needed to be made, but since the original was so successful (FUNNY GIRL was the highest-grossing film of 1968) and well-loved, it was pretty obvious why producer Ray Stark wanted to make this follow-up so badly. It took awhile, but he eventually convinced Streisand to sign on and reprise her role as Fanny Brice, with Herbert Ross (who had staged the musical numbers in the original film and had directed Streisand in the box office hit THE OWL AND THE PUSSYCAT) set to direct. Although the film was generally well-received by most critics and proved to be another big box office hit, many fans of the sweet-natured original did not care for the slightly more harsh and cynical tone of this follow-up, and it has since fallen out of favor with many Streisand fans.

While no film could ever recapture the easy charm and beautiful sentiment of FUNNY GIRL, FUNNY LADY is highly entertaining when viewed on it's own terms. Streisand plays the now-hard-bitten Fanny with a depth and maturity that is very different from her characterization in the first film, but almost equally as stunning. Many viewers often complain that James Caan was badly miscast as Billy Rose. While Caan is physically wrong for the role of the short, unattractive Rose, he still comes across as oddly likable, and he has a nice comic chemistry with Streisand. Roddy McDowell is fun as Fanny's assistant, and veteran hoofer Ben Vereen brings down the house with a incredible, almost gravity-defying dance routine. Omar Shariff also returns for two very effective scenes as Nick Arnstein, the man Fanny will always love, but can't seem to live with.

Though Streisand is in terrific singing voice, the song score is a bit more hit-and-miss. The period standards that Streisand vividly performs (particularly the bittersweet "More Than You Know," the gospel-infused "Great Day," and the heart-wrenching "If I Love Again") are absolutely fantastic, however, the heavily-promoted original songs from Cabaret composers Kander and Ebb are a major disappointment. The intended show-stopper "How Lucky Can You Get" is fine number that is made memorable by Streisand's scorching performance, however, the remainder of the original songs ("Blind Date," "Let's Here It For Me") are pretty forgettable despite Streisand's impassioned vocals. Fortunately, these few mediocre numbers (and the rather predictable narrative) are flaws that are very easy to forgive. No, FUNNY LADY doesn't hold a candle to FNNY GIRL, but the film remains a fun and enjoyable ride that should entertain those who loved the original.

About the DVD: The picture quality is excellent - a bit more edge enhancement than there was the FUNNY GIRL DVD, but still great. The sound is also terrific, but I wish Columbia would have at least included the film's original trailer.

A Worthy and Cruelly Underappreciated Sequel
After reading so many negative reviews of this movie, I was surprised to find that I actually loved it. To refute:

She is bitchy because she has been bruised. Notice upon another rewatching of "Funny Girl" how Fanny slowly but surely learns to cover up her pain and anguish through her constant performativity. Whatever innocence was left in her is gone after Nick walked out the door. "Funny Lady" is a worthy sequel because, psychologically, it starts where the last movie leaves off. Fanny must learn to love again. The reason you don't see "sweet Barbra" until the train sequence is because the movie is ABOUT the re-emergence of the sincere woman.

Pay attention to the kinds of lines the writers of both "Funny Girl" and "Funny Lady" give to Fanny Brice. This is the same woman. Only older. Wiser. More bruised. And to those of you who call the movie "cliché," I wonder if you missed the ending.

Is the movie overproduced? Yes. Is it poorly written? No. I would argue that this movie very nearly merits its original in quality, but because it very sincerely tackles the problems of maturity, the problem of Life After Love, its themes may be too complex for those looking only for another tragic love story.

As someone who knows the power of First Love, I found this movie honest and moving, worthy in nearly every way to its prequel, and though there's not enough room in this space to defend it fully, I count myself among those prepared to do so.

The DVD gets four stars because there are no special features. ... Read more

Album Description

13-track album includes mixes plus a 3-track DVD (Pal/ Code 0) with 3 videos 'Losing My Mind', 'Don't Drop Bombs' & 'So Sorry I Said'. Columbia. 2005. ... Read more

Reviews (7)

A Reissue Doesn't Make It Good
This reissue doesn't improve on the original.A bad album is a bad album.You want to listen to a good Liza CD?"Gently" is it. Don't waste any money on this.

Great CD, DVD Does Not Play In the USA
Great CD,too bad never a follow up CD with the Pet Shop Boys,
This is a Masterpiece,

***************DVD***********DOES NOT PLAY IN THE USA************
Someone had told me it would since it was a Code 0, it doesn't

ripoff
the DVD only plays in region 0, so beware! 39.99 for a cd and a worthless DVD is a ripoff!

Great collaboration that gets better with time
'Results' is one of those rare collaborations that works.The Pet Shop Boys producing Liza Minnelli was a great idea from the first moment it was announced.What could have been a cheesy camp classic, turned out to be an elegant, moody, and textured record.Liza's voice never sounded better.The Boys reigned in her vocals, and they are tight and sleek throughout, particularly on 'Rent', 'Tonight Is Forever', and the languid 'I Can't Say Goodnight'.

Bathed in late 80s techno, 'Results' has actually aged very well.Both 'Losing My Mind' and 'Love Pains' remain vibrant club classics, and the Liza-with-a-Z rap on 'Twist on My Sobriety' remains inventive and witty, a perfect example of the Pet Shop Boys' sharp producing skills.

One could say this is an album only a gay man could love, and while, yes, many gay men (like myself) adore this album, it's actually such a unique collaboration, that many others will enjoy this underrated gem as well.

WONDEROUSMINNELLIMASTERPIECE~BRAVOLIZA!!!!!!!!!
Liza Minnelli scored big in Europe with this versatile masterpiece which contains extraordinary and richly shaded vocals by Minnelli throughout!!! American Radio with its burned-out and soulless programmers missed out big-time on a real classic that should have been a huge mega-hit and multi-Grammy winning collection as it is a richly varied and extremely moving collection of pop and rock masterpieces...opening with a smoldering & soulful Liza vocal that soars through a stunningly complex arrangement is the haunting classic "I Want You Now" and this captivating song would have been a huge hit if given any airplay at all...the huge Euro-mega hit "Losing My Mind" is another gem that also would have been a mega-hit in the US if only we had just a few programmers around the country who loved great music but its a sad fact and a real shame that we don't and since the late 80's this situation has further deteriorated to the point now that if something is great then it's a sure bet that it will never be played on the radio...this explains why the music industry that has foolishly allowed itself to be built less and less on real talent over the years has experienced continually growing audience apathy which has resulted bottom line in declining sales...big surprise!!!! You simply cannot build a strong and lasting fan base on weak and marginal talent but for some strange reason this is the continued practice...somebody in the music industry needs to wake up and smell the coffee!!!Sweeping orchestrations and great Liza vocals shine throughtout this wonderous collection and "If There Was Love" and "So Sorry, I Said" are poignant performances from Liza that are deeply moving and richly dramatic. Rocking and infectious is the cooking and classic "Don't Drop Bombs" that will amaze those who didn't realize that Liza can rock out with the best of them...this greatness continues with the funky euphoric rocker "Twist In My Sobriety" which features a magical and magnificent Minnelli vocal in a song full of fascinating twists and turns...a haunting and dramatic Minnelli vocal is brilliantly showcased in the sublime "Rent" and by now it is clear that The Pet Shop Boys knew that they would be making a masterpiece when they went into the studio with Liza and they achieved this beautifully!Bravo to The Pet Shop Boys for this wonderful and varied collection of great songs and to Liza for just being Liza...a dance club classic "Love Pains" is masterful with Liza again in great and hypnotic form with a wide open warm vocal that is infectious and powerful...singing from the depths of her soul making "Tonight Is Forever" a stirring and magnificent epic that soars and builds to glorious heights...closing with the jazzy and soulful "I Can't Say Goodnight" make this stunning collection end perfectly. This extended collection also contains bonus tracks and sublime videos on a DVD that are incredible...these videos are the greatest ever from any DIVA and some kind of award like a special Oscar in the music world should be given to Liza for these phenomenal and highly unique performances...for anyone who wants to experience this Legendary Superstar and peerless singer at her absolute peak, do not miss this extraordinary collection...BRAVO LIZA MINNELLI!!! ... Read more

Amazon.com essential recording

Thomas "Fats" Waller was a brilliant stride pianist and singer, and certainly the only jazz musician who could rival Louis Armstrong as an entertainer, communicating some of the larger-than-life vitality and humor that Armstrong possessed. Waller was also one of the first great songwriters of jazz, his phrasing perfectly mated to the music's rhythmic nuances. This Centennial edition of Satch Plays Fats begins with the nine tracks of Armstrong's 1955 LP devoted to some of Waller's best-known songs, from the drive of "I'm Crazy 'bout My Baby" and the smooth bounce of "Ain't Misbehavin'" to the moving pathos of "Black and Blue." It was one of the highlights of Armstrong's later career, directly comparable to another magnificent session devoted to a single songwriter, Louis Armstrong Plays W.C. Handy. Armstrong is joined by his regular All-Stars, the well-traveled group that matched his clarion trumpet with the vocal smears of trombonist Trummy Young and the woody, liquid clarinet of fellow New Orleans master Barney Bigard, all superbly supported by pianist Billy Kyle, bassist Arvell Shaw, and drummer Barrett Deems. The CD also includes four alternate takes from the 1955 session, and adds another seven tracks of Armstrong's early recordings of Waller tunes. There are versions of "Ain't Misbehavin'" and "Black and Blue," recorded in 1929 when Armstrong was featured in the Connie's Hot Chocolates show, and a stunning trumpet solo on "Blue Turning Grey over You." The result is a valuable composite portrait of Armstrong's enduring relationship with Waller's songs. --Stuart Broomer ... Read more

Reviews (14)

Finally!
Since I discovered beautiful,loving Armstrong's tribute to W.C.Handy,I was looking for this album but all the Books & net sources were warning against strange version of this album (on CD),with alternate takes instead of master ones.Now finally "Columbia" presented this wonderful album as it should be,with master takes + few alternative takes AND as a gift that even surpasses this album,a 7 Waller songs recorded by Louis Armstrong in years 1929-1932.Basically same group as the one on W.C.Handy tribute (even the same producer),even vocalist Velma Middleton is here,althought with all the wonderful singers in the world did Armstrong push her,I would never stop wondering.There are many similarities between Waller and Armstrong (both black musicians,virtuosos on their instruments,both capable of clowning,entertaining and deep tragedy in lyrics and music) but as Waller ended up dying from Pneumonia somewhere from one concert date to another,not even reaching 40,Armstrong lived longer and universally acclaimed & loved.(P.S. The old,rugged and muddy recordings of Fats Waller songs,recorded by Armstrong and his gang in years between 1929-1932 are for me so stunningly beautiful that to my ears they surpass everything recoded 1955.)

It Don't Get Any Better Than This!
Like Eggs Benedick with Hollandaise sauce, like Bud Abbott and Lou Costello, like Roger Maris and Mickey Mantle....Louis Armstrong playing the music of Fats Waller is a sheer delight. Sure there are those who will suggest that Pops recorded his best work between 1925-1929 with the Hot Fives and Hot Sevens. Those are seminal recordings and stand apart from almost everthing else in the jazz cannon. However, Pops can be appreciated for all the great music he left behind and this is clearly no exception.

How delightful is it to hear Louis Armstrong and Velma Middleton having a ball on Honeysuckle Rose, Keepin' Out of Mischief Now, Black and Blue and Ain't Misbehavin'? My CD collection includes over 25 single disc recordings and 3 different box sets of Satchmo and I'd have to say this one is my all-time favorite. I've collected the orginal vinyl LP and the "Columbia Jazz Masters" issue on CD, but this is the one to get. Great digital remastered sound and several wonderful alternate takes make this indespensible listening.

Years of pleasure
I'm somewhat embarrassed to say that I've listened to this album almost every day for several years. I have it in my CD-alarm clock and it wakes me up with a smile every morning. Pops' showmanship and musical wizardry blend with Fats Waller's witty and bouncy tunes to create an exceptionally tasty musical gumbo.

I first heard the album decades ago in college and have always loved as it an incredible performance by a great team of jazz artists. While I love Ella-Satch duets on other records, the lesser known Velma Middleton is really the better vocal match for Pops. The band is tight, but creative and the alternate takes show how different the same song can sound even when played by the same band with just a slight difference in the arrangement. This is possibly the greatest record of all time!

A nice deal
I must say that it is nice that they packed as many tracks as they could on this CD. You get a few alternate for these sessions, but you also get a bunch of classic 30's recordings from Satchmo playing Fats. Now, when I compare this one to the 'Plays WC handy' record, I have to take out one star, because although Pops seems in fine form here, there is no match for the fire and fun displayed on the 'Plays WC handy' recording.

Shows clearly why Louis was loved, and Fats was important...
The more I hear Armstrong the more I like him. On this 1955 release, he did nine of Fats Waller's songs with perfection and great sound quality. In 2000, Sony put out this CD with the original LP plus some alternate versions of those songs, and then stretched the thing to well over 70 minutes with seven Armstrong recordings from 1929-32 of Waller's best. Even the old recordings sound pretty darn good. If one MUST find a flaw, perhaps we really do not need THREE versions of "Blue Turning Grey Over You" and "What Did I Do To Be So Black and Blue." Yet none of the three renditions are low-quality. Fats Waller's career ran from 1925 until his too-early death in 1943. The 11 songs on this disc (in 20 tracks) reveal him to be quite worthy of that Broadway tribute of a few years back, "Ain't Misbehaving." Armstrong's female vocalist of the mid-50's, Velma Middleton, contributes on three of the tracks. At first, I did not think I'd like her, but after two listenings, I find I like her a lot. She fits the Waller style, and provides a nice contrast to Satchmo's famous and wonderful croaking. Of course, the Armstrong All Stars, including Trummy Young on trombone and Barney Bigard on clarinet, are superb here also. ... Read more

Amazon.com essential recording

This 1963 session is a fine meeting of two great performers with a single-minded devotion to swing, a high point for both in the decade. The tunes are all familiar standards, many with roots in jazz, while the arrangements by Quincy Jones seem ideal. They're perfectly matched to Count Basie's idiom while providing a fine complement to Ella Fitzgerald's vocal leads. They may possibly be the best settings ever constructed for her scat singing. Fats Waller's "Honeysuckle Rose" swings infectiously and has Fitzgerald scatting ebulliently, while his "Ain't Misbehavin'" becomes a gentle ballad. The same depth of feeling colors "Into Each Life Some Rain Must Fall," while "Satin Doll" insinuates and "Them There Eyes" bounces infectiously from the first beat. --Stuart Broomer ... Read more

Reviews (11)

For Lovers of Swing
Absolultely priceless. Ella was always impressive when she had someone to impress, as her collaborations with Satch, Duke, and Louis Jordan prove. This 1963 studio date is certainly a winner. The scat exchange on "Honeysuckle Rose" shows that Ella is in a playful mood. Her phrasing throughout the album is inventive and she eloquently re-melodicizes classic standards like "Ain't Misbehavin'" and "On the Sunny Side of the Street". "Tea for Two" is a lesson in sweet sincerity. "Dream a Little Dream of Me" makes Mama Cass actually seem mediocre and once you hear Ella and Basie do "Deed I Do" it is likely no other version will ever satisfy. Basically (or Basie-cally) the entire album is like a big advertisement for the glory days of swing. God Bless Norman Granz.

Rare Summit Meeting
Ella plus Basie plus Quincy spells sheer excellence. Moreover, this recording captures all 3 in their prime. Ella is especially commanding on the 2 Ellington tunes--"Satin Doll" and "I'm Beginning to See the Light"-- as well as on that Basie trademark--"Shiny Stockings." For some fans I know, this is the definitive Ella Fitzgerald recording. Yet the album has become difficult to obtain. Originally released on Verve as "On the Sunny Side of the Street," it's been retitled, repackaged, repriced, as well as "re-nationalized." I'd pay the price rather than risk seeing this American treasure disappear from our midst.

what more could you sak for?
I haven't heard this album in a couple of years and I can still hear every note in my head. A classic.

One of the best combinations ever conceived!
I wore out the LP, and probably the 7" open reel tape at the Rochester (NY) Public Library when I was a kid. Now that I'm a touch over 40, I still think that this was one of the finest jazz records ever made. Mr. Granz (up in heaven with all the greats), thank you very, very much for this wonderful aggregation of musical delights.

I love this album!!!!
This album is pure magic. Ella is in great, great form, she swings more than ever with her clear, impeccable voice. Basie's accompaniment is solid and swinging as usual. Your feet or fingers will be tapping along unwittingly to the rythm all the way and you'll be smiling all the while. A class act. ... Read more

Reviews (30)

The REAL Classical Barbra
This album and I seem to go way back. I had to have been only 1 or 2 when it came out, but listening to it 30 years later, it's familiarity really does come back to me. Quite an unusual turnaround for Streisand, now teamed up with producer Richard Perry and doing rather more folk and less of her earlier Broadway and Cabaret Standards.

The opener, Joni Mitchell's "I Don't Know Where I Stand", seems very folk and fragrant while still keeping Joni's introspective perspective intact and augmented by catchy orchestrations the original needed. Laura Nyro's "Time And Love" and "Stoney End" are both midtempo, uplifting and pleasant pieces still maintaining a high standard. While her version of Nyro's "Flim Flam Man" done earlier on A&M by Robin Wilson, retains that bouncy beat and some good horn charts, a cushioning string section gets added. The steamy "Just A Little Lovin' (Early In The Morning)" by the Barry Mann/Cynthia Weil duo is well done, though Gordon Lightfoot's "If You Can Read My Mind" seems to be an afterthought, but she ably handles it, by retaining its folkish feel. Carol King & Gerry Goffin's "No Easy Way Down" maintains the orchestration and background vocals heard on the other tracks and even a guitar solo, presumably by Louie Shelton, very much like the solos in Seals & Croft's "Summer Breeze" and Boz Scaggs' "Lowdown" we would later hear him do. The Gospel of Barbra Keith's "Free The People" seems to frame her ability to Rock Out, and quite good, helped by a very uptempo arrangement, much like Delaney & Bonnie Bramlett's version. Barbra indicates she seems very well self-assured as she is on the closing track, Randy Newman's "I'll Be Home". But, both Harry Nilsson's "Maybe" and another Newman piece "Let Me Go" are given over to rather schlock arrangements and Barbra seems a little unsure of herself and her ability to through with them sincerely, though at least tries. In All, Barbra is very much at ease with producer Richard Perry's usually extravagant and ornate arrangements and production as well as appropriate material--far different than the material she had done in her earlier days. This is an exceptionally pleasant album and Barbra enunciates and interprets this new material quite well. Instead of being dated, this is one album that really does better with age.

Mama did let her start all over.
Barbra Streisand had tried her hand at contemporary music before (on 1969's WHAT ABOUT TODAY) and had failed, which is what makes the success of STONEY END (released a mere two years after Today) an even bigger surprise. The album shot into the Top Ten and was certified Gold (it also went Platinum when reissued on CD in 1986), while the title song was a big hit (#6 Pop, #2 Adult Contemporary) as well. Producer Richard Perry gives the record a fresh yet assessable sound that won Barbra a new group of younger fans, without alienating her older fan base.

Barbra covers a variety of material here (from Gordan Lighfoot's "If You Could Read My Mind" to Randy Newman's "Let Me Go"), yet she never seems to be out of her element or stretching too far. She obviously found something to identify with in the lyrics to these songs. In particular, Barbra sings Joni Mitchell's "I Don't Know Where I Stand" and Carole King's "No Easy Way Down" so passionately it's hard to believe that she didn't write them herself. Fans of Laura Nyro often complain about Barbra's sound-alike rendition of the title song (as well as two other Nyro compositions), however it is Barbra's recording of the song that was a major hit and is the definite rendition of the song.

MY KIND OF ROCK & ROLL
Why couldn't Madonna, Britany Spears, Whitney Houston, & Mariah Carey put out music like this? Only Linda Ronstadt can rival Barbra Streisand on material like this. Actually they both conned rock n' roll by doing melodic tunes wiht a beat. They both passed off quality music as R'nR. All 12 songs peferctly fit "Bab's attempt at being hip". Even Streisnad had to succemb to the pressures of being CONTEMPORARY & abandoning the GREAT AMERICAN SONGBOOK to sell records. Yet, every song is worth listening to & there is a nice mix of songs styles from gospel, FRREE THE PEOPLE to top 10, IF YOU COULD READ MY MIND, in which she out performs Gordon Lightfoot with a better voice & a more complex arrangement. The 3 Laura Nyro Songs, FLIM FLAM MAN, TIME & LOVE, & mega-hit & title tune, STONEY END, give due respect to a much overlooked composer. I wish some class vocalist would have done an entire album of her stuff. One Carol King song, NO EASY WAY DOWN is in included in which Ms. Streisand shows that a chanteuse can add much to great rock and roll. There are many things good about the 70s. This albun is one of them.

CLASSIC CONTEMPORARY BARBRA!!! BRAVO!!!
Barbra Streisand really arrived as a credible comtemporary artist with this landmark album which opens with a glorious vocal making Joni Mitchell's "I Don't Know Where I Stand" a haunting masterpiece! A light and funky arrangement on Laura Nyro's "Hands Off The Man (Flim Flam Man)" make this version a winner and a dramatically stirring take on Gordon Lightfoot's "If Your Could Read My Mind" is a delightful surprise for its rhythmically involved Streisand vocal. Seductive in her own winning way make for a fine version of the Barry Mann/Cynthia Weill classic "Just A Little Lovin' (Early In The Mornin')" while Randy Newman's "Let Me Go" is the definitive version of this bluesy number. Successful was Barbra's version of the Laura Nyro classic "Stoney End" and this is the song responsible for breaking Barbra out of the conservative mold of a singer of "yesterday's songs" into a singer of songs for all time with no boundries. Sung with conviction and soul also were great versions of Carole King's "No Easy Way Down", Laura Nyro's "Time And Love", and the gospel edged rocker "Free The People" credited to Barbara Keith. Harry Nilsson's "Maybe" and Randy Newman's "I'll Be Home" are sublime Streisand ballads which stand up well with Barbra's peak work. "What About Today" showed Barbra as a credible contemporary singer to fans while "Stoney End" showed this to the world!!! Credit for this incredible accomplishment must also be given to the amazing assortment of the "whose who" in the music world who are featured on this landmark work such as arrangers Gene Page, Perry Botkin,Jr., Clas Ogerman, musicians too numerous to list all but including legends such as Hal Blaine, Larry Muhoberac, Mike Rubini, Randy Newman, Larry Carlton, and legendary background vocalists such as Clydie King, Merry Clayton, Vanetta Fields, Shirley Mathews, Jackie Ward, Toni Wine, Maeretha Stewart, Glenna Session, Eddie Kendrix, Sharone De Vault, & Jerry Cook and this was all put together by legendary producer Richard Perry who went on to produce the classic "Barbra Joan Streisand" album!!! Bravo to everyone connected with this stunning work...

Good pop sound of that time
Hands Off The Man, Time and Love, and Stoney End are terrific uptempo pop sounds untypical for Streisand. Wish she had done more like this. Just A Little Lovin is a beautiful rendition and Streisand shines on it. Much credit also goes to songwriter Laura Nyro. Overall a good album. Nice female backup too. And Hands Off The Man makes a good foxtrot for all you dancers. ... Read more

Reviews (29)

Hey, if Dusty can do it....
Liza and the Pet Shoppers...what a perfect match. Even more so than the Boys' dalliance with Dusty Springfield ("What Have I Done To Deserve This," "Nothing Has Been Proved," etc.), this collaboration is dance drama fit for a queen. With the help of two great club singles/videos (the mock-harrowing "Losing My Mind" and the ultra-campy "Don't Drop Bombs") and a stylistic groove as sharp as Liza's nails, "Results" more than lived up to it's title.

The Sondheim cover is pure brilliance, guaranteed to win over the most jaded "Cabaret" fan as well as the Pet Shop purists. Tanita Tikaram's "Twist In My Sobriety" is beyond twisted in it's big beat incarnation here. The old Yvonne Elliman chestnut, "Love Pains," is an amusing but effective choice; the (non-album) remix by Steve "Silk" Hurley is a Pop-House classic in it's own right.

Neil and Chris provide Liza with plenty of original material of varying tempos: the slow-burning self-immolation of "So Sorry I Said," to the skittering Euro-Hip Hop beats of "I Want You Now." With all the arch sentiments and intricate arrangements in evidence, it's nice to realize that "Results" rates fairly low on the "Pretentious Meter." Sure, Liza slurs and emotes like her life depends on it, but her sincerity is straight-faced; you never get the impression that she's slumming for the sake of a hit album.

"I Can't Say Goodnight" closes the album on a wistful metropolitan note, complete with saxophone solo and traffic noise. If you close your eyes, you can almost see Liza exiting Studio 54, sable in hand. "See you, Bianca....thanks again, Jerry......sweet dreams, Andy."

-Mic

Still Glistens After All This Time
This is THE desert-island-disc of all-time, for me. It was amazing then and amazing now. You can listen to this album straight thru and never have to skip a song...IT'S THAT GOOD. And, I need to mention it is the perfect marriage of Liza Minnelli with the Pet Shop Boys producing...Kudos to Julien Mendelsohn's production, too. The opening track "I Want You Now" is a solid opening shot...beautiful strings, great rhythm and a certain drama (without being TOO dramatic!). The next track, "Losing My Mind" was the 1st single and is one of the best tracks ever on any album. That song segues into another uptempo number "If There Was Love". There are ballads, also, most notably "So Sorry, I Said" which could really fit on any Liza Minnelli album. "Don't Drop Bombs" is a sonic masterpiece. "Twist In My Sobriety" is a new take on Tanita Tikaram's song and also resurrects the "Liza with a Z, not Lisa with an S" rap/chant quite effectively. "Rent" is a nice reworking of a Pet Shop Boys tune. "Love Pains" is the closet thing to a disco song on the album (and I've heard/think it is a remake of one!) Finally there is another splendid ballad "Tonight Is Forever" (another PSB remake) and the concluding, romantic "I Can't Say Goodnight".
Also to be noticed is the great album art (both on the front and back covers). This album is such a treat and though it was considered a brave new direction for Liza when it first came out, it certainly is a wonderful breakthrough and career triumph. PS: I'd like to mention I have the accompanying videotape album and that is every bit as wonderful. If you can find a copy DO SNAP IT UP also!

15 years later....The album stands the test of time
Oh...the late '80s were a great time to be a Liza fan. A couple of albums a couple of movies lots of concerts and appearances.

Well...here we are 15 years later and this album is still with us and still sound really, good dammit! A couple of sign-of-the-times missteps (rapping of Liza with a Z !?). On the whole, it is still a very entertaining project.

Love Pains, Dont Drop Bombs and Losing my Mind are the breakouts here. There are remixes of all of them and each of the remixes adds something. But the straight on album version of each can stand alone.

Fantastic Liza !
Wow what a mix, Liza Minnelli and Pet Shop Boys! at first the idea of hearing Liza singing Euro dance music scared me alot, but the Result of "Results" is superb. Overall the whole album is wonderful and SO not Liza's style, but that's what makes so intersting, I love Liza and I'm used to hear her musicals numbers an a wild and brassy vocal but she's tuned down her vocal to suit the low singing that's acquired to make this kind of music. "Losing My Mind" is disturbingly wonderful, it's a great dance track and Lizas vocal is perfectly mastered. "If There Was Love" is another great track, just listen to the tune, it's wonderful. "So Sorry, I Said" is not a dance track but nontheless it's great and done in great Liza style. "Rent" is another song that stands a mile away from the rest of the album, this song is a typical Liza broadway tune. If you listen carefully you can actually hear how dark the album is, I could imagine Liza standing in an alley watching people walking by as she stands in the shadows. It's an interesting effort, We're all used to hear Liza singing in great Judy style and show tunes but on this album she's mastered the job perfectly. "Gently" is her next studio album, and it's very different but that's another story...

A couple good Pet Shop Boys covers
While I'm not a Liza Minnelli fan, I am a Pet Shop Boys fan, and I absolutely love her cover (all songs were produced by Pet Shops Boys on this album) of "Tonight is Forever" and for PSB fans out there, that cover alone is reason to pick up this CD. Aside from that I didn't really enjoy the other songs but a Lize Minnelli fan would be someone you should get for their opinion on that.

I have to rate the CD as a whole which is 3 stars, but if I could only rate that one cover song, I'd give it 5 stars. ... Read more

Reviews (4)

Music to neck and drink Martinis by
Everything else has been said about this music that needs to be said - hard to be nostalgic for something you weren't around for (I'm only 26, for cryin' out loud) but good grief! The idea that this was some of the pop music enjoyed by millions - this elegant, sophisticated, intimate music - only underscores the aridity of all of the stuff that makes Billboard nowadays. Cole's
art was above all an art of subtely, of small touches that add up to a distinct and unmistakeable whole - much as the small, decisive brushstrokes of Monet yielded those iconic, idyllic rivers and bridges. Listen to how Cole phrases the penultimate line of "I'm Thru With Love" , that fractional hesitation, that delicate caesura between "For I must have you" and "or no one",
and you'll see what I mean. For a romantic evening indoors on a cold winter night, look no further than the Trio for exactly the right mood. (The instrumental stuff is equally fine too, by the way - he was an amazing piano player. Red Garland didn't come out of nowhere, you know.)

Silky Smooth
This is smooth jazz at its finest--not the contemporary non-jazz that usurped that name-- but the light, feathery, and unmistakably jazz work of early Nat Cole. Smooth as silk, really, he has a warm, easy-going, and mellifluous voice (yet it's never bland). While some of the songs are strictly for fun (the great "The Frim Fram Sauce" and the less memorable "But She's My Buddy's Chick") he adds a bit more gravitas to such ballads as "Sweet Lorraine" and lays blue shadings onto "Embraceable You."

The comping is wonderful, a classic trio sound with Johnny Miller's beautifully articulated bass, and Oscar Moore's versatile guitar. At times, Moore coaxes a ukulele sound out of his instrument; other times he has an incandescent sound that recalls Django Reinhardt. The trio also sings together: "Straighten Up and Fly Right " is like a Do-Wop jazz song. Cole's piano is the height of insouciance, a soft but always swinging style that gets the most out of the minimum. Other highlights include the signature "Route 66," "I'm Thru with Love," "Come to Baby, Do", and "(I Love You) For Sentimental Reasons."

This is not the "popular" (and over-produced, in my opinion) Cole of latter years ("Lazy Hazy Days of Summer," "Ramblin' Rose," etc.) but a man firmly rooted in jazz. It's been said by many that his later vocal success overshadows the innovations and influence he showed as a young pianist. (For instrumentals only, I recommend his "Penthouse Serenade"). This album gives you both Cole's voice and piano in the great Cole sans-drummer trio; an excellent selection of songs played by a master, backed with empathy and basking in warmth.

Smooth as silk...
Everyone knows of Nat King Cole's "pop" recordings - "Mona Lisa", "Too Young", "The Christmas Song" but to me the real treasure lies in these recordings (and those on the companion CD covering 1947 - 1950).

Cole is an incredible jazz pianist with a light and gently swinging style. Add to that Oscar Moore on guitar and Johnny Miller on bass and you've got a tight ensemble delivering 22 wonderful performances. The tracks range from classic ballads ("Embraceable You", "(I Love You) For Sentimental Reasons") to fun novelty numbers ("The Frim Fram Sauce", "But She's My Buddy's Chick"). Of course you add Cole's smooth vocals to these wonderful backing arrangements and you've got a great collection.

Considering the age of these recording and the quiet nature of the material - even when the trio swings they swing "softly" - there is some hiss noticeable throughout but in general these recordings have been nicely "cleaned up" and restored.

(In addition to the two vocal collections there is a third strictly instrumental disc which is also very good but when you put on Nat King Cole don't you want to hear that voice?)

Fabulous Music!
This album, and one by Sarah Vaughan, are what brought me into jazz. This is wonderful, simple, warm jazz. And it's fun! It's at the top of my list of favorite albums, and I highly recommend it. Although I love whatever Nat King Cole does, his early work with the trio is by far my favorite. I intend to increase my collection. ... Read more

Reviews (9)

One of the most distinctive voices in popular music
Billy Eckstine was legendary. He is one of those performers I wish I could have seen in person. His distinctive baritone voice made anything he sang extraordinary. This 2 CD set is one of the most well thought out and enjoyable collections I own. Billy Eckstine recorded for M-G-M between 1947 and 1954. Here you will find the original recordings of many of Billy's biggest solo hits as well as more jazz oriented tunes backed by Woody Herman's and George Shearing's groups. But I prefer the ballads, particularly 1950's "My Foolish Heart" and his signature song "I Apologize". Perhaps my favorite tune on the entire set is the final one. "Passing Strangers" is a duet he recorded with Sarah Vaughn back in 1957. This one will literally send chills up and down your spine. It is an extraordinary recording! There are 42 tracks in this collection and over two hours of recorded bliss. This is a great collection to "crash" with. The 24 page booklet is one of the best I've seen with extensive biographical information, rare photos and a short discography. This is a collection of timeless classics that you can enjoy for a lifetime. Highly recommended.

A master voice of his time
Being only 17, my father introduced me to Billy Ecksitne, and wow! He has such an amazing voice, I hear it goes for three octaves! Everything I have is yours, Foosl rush in, Blue Moon are all beautiful ballads, MrB's Blues is a bit of a bebop big band track, Temptaiton has quite an avante-garde melody, Somehow and bewildered feature beautiful backing singingadn are forties type ballads. Caravan is a very unusual song, almost Arabian in parts, Body and soul and my foolish heart are straight forward ballads but have such great melodies, the foru tracks with Sarah Vaughan are at times unusual but often ballads. I wanna be loved, you've got me crying again and I've never been in love before are like My foolish heart, soft and melodious but then comes the big hit, I appologise, such a well sung, emotional ballad. Then there's foru Jazz songs, As long as I live, I left my hat in Haiti, Here comes the blues and life is just a bowl of cherries. Woody herman sings with him on that last one, Then there's two ballads, Wonder why and I'm a fool to want you. Takign a chance on love and You're driving me crazy are cool jazz, Early autumn is a fantastic ballad and Tenderly-April in paris are easy,listening jazz, a bit gloomy in some tracks, Eckstines' vocals impeccable. Coquette is a cheery forties ballad as is the follow up and then there's two blues/jazz songs in How High the Moon and St.Louis blues, followed by two beautiful ballads, don't get around much anymore and lost inloveliness the album is concluded by Passing strangers, a beautiful, emotion ballad with Sarah Vaughan. Not only is Eckstine superb but the people backing him, Hugo Winterhalter, Russ Case, Pete Rugolo, Woody Herman, George Shearign quintet, the Bobby tucker quartet, Lou bring, Nelson Riddle, The metronome all stars [featuing Teddy Wilson and Lester Young!] and Hal Mooney, relive [or imagine] the fifties with not only one of the best singer of modern music history, bt also a good lot of badn leaders and instrumentalists from the period too!

I've known of Billy for years
When I was a pre-teen (1943 to 1955) my mother listened to Billy Eckstine (and others) regularly and I enjoyed his music from the begining. I never thought I could get collections of his music again until I just did a search in his name and found so much of his music had been copied onto present day media. I now can relive all the nostalga that his voice elicits. No one had or has a voice like Billy Eckstine's.

It makes me feel young again
The first time I heard Billy Eckstine in person was in about 1950 in Boston at the RKO theatre. I had an album clutched in my arms just bought next door with most of these songs on it, not all. I didn't have the nerve to go backstage for an autograph on it at the age of 19, but now I can have his songs on CD, not that pretty used up 78 rpm which I treasure, but doesn't sound like a CD. He is getting the credit today for what he should have back then. Besides which he was sooo handsome. I adore Sinatra, but Billy is right up there. Bigger voice, softer personality, good jazz. Too bad it isn't on cassette for my car.

The Incredible Mr. B
What an unbeleivable voice. I first heard Billy Eckstine on a west coast all-stars tape. The two song i heard him perform are part of this collection,How High the Moon? Parts 1 & 2 and St. Louis Blues, Pt. 1 & 2. From this I decided I needed to find out what more work he did. When i found this collection i knew i had a new favorite Jazz vocalist. Billy has a style as well as a voice like no one else. He is the kind of guy you imagine women just swooning at his feet when he says hello. That voice, its incredible. Songs like My foolish heart and tenderly are just perfect for his vocal stylings and just lend themselves to become some of his best work. If you don't have this CD, you need to get it because its a must have. ... Read more

Amazon.com

Although it wasn't designed with the cohesive vision of Frank Sinatra's conceptual masterpieces (like In the Wee Small Hours and Only the Lonely), track for track, this "contractual obligation album"--a lightly swingin' single followed by a bunch of ballads, recorded near the end of his tenure at Capitol--is as strong as anything the singer's ever done. The lightweight title song sets a relaxed tone that's a little misleading--just when you think you can kick back in the recliner and take it "nice 'n' easy" (a swell tune, by the way), Sinatra plunges off the emotional deep end with "That Old Feeling." It's like waking up from an afternoon nap to find yourself afflicted with insomnia in the wee small hours. OK, so he contradicts himself. The first song is about taking your time along the smoothly paved road to romance; the second is about driving straight into the ditch of romantic obsession--the difference, say, between Mia Farrow and Ava Gardner. From this point on, the album's tone is definitely Gardner. And Sinatra's singing has never been more spine-tingling than on the next three songs: sounding unfathomable depths in "How Deep Is the Ocean," seductively cooing "I've Got a Crush on You" in his lover's ear, and unabashedly succumbing to the delirious intoxication of "You Go to My Head," his voice "spinning 'round in my brain like the bubbles in a glass of champagne." You can get drunk on this record. --Jim Emerson ... Read more

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