Amazon.com essential recording

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

Reviews (85)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Album Description

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

Amazon.com

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

Reviews (30)

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

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

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

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

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

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

But enough of my fuming, the songs:

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

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

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

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

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

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

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

Amazon.com

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

Reviews (37)

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

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

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

All in all, a very pleasant recording.

A perfect pair: Mark Twain's story & Roger Miller's music
If you are going to be audacious enough to try and make a musical of Huckleberry Finn, then choosing Roger Miller of "King of the Road" fame to write the songs is certainly an inspired move. "Big River," the Tony Award winning musical, owes as much to Miller as it does to Mark Twain for writing the classic story in the first place. Of course when you are talking Roger Miller you are talking fun songs, from John Goodman's ripping diatribe on "Guv'ment" as Huck's Pappy and Tom Sawyer's (John Short) "Hand for the Hog" to the two songs by the King (Bob Gunton) and the Duke (Rene Auberjonois), "When the Sun Goes Down in the South" and "The Royal Nonesuch" ("She's got one big breast in the middle of her chest/And an eye in the middle of her nose/So says I, if you look her in the eye/You're better off looking up her nose"). Even when Miller offers us the tender country ballad, "You Oughta Be Here with Me," Mary Jane Wilkes (Patti Cohenour, who later went on to play Christine in "Phantom of the Opera" on Broadway) sings the song to her father's coffin. "The Crossing" is a nice spiritual, but clearly the best songs are reserved for the Huck (Daniel Jenkins) and Jim (Ron Richardson): "Muddy Water," as they shove off on a raft for Freedom, "River in the Rain" as they spend their last moments alone on the river, and "World's Apart" as the recognize the gulf that exists between them. They also do a trio with Mary Jane on "Leavin's Not the Only Way to Go." The only shortcoming of this musical comes at the end, when we get to the greatest passage in American Literature, when Huck declares he will help Jim to freedom even if it means going to hell; Miller offers a reprise of "Waitin' for the Light to Shine" rather than coming up with a new song to capture this epic moment. Similarly, Jim's "Free at Last" echoes too much of the old spiritual instead of offering something more unique. However, while this is somewhat disappointing it is not entirely unsatisfying, and I do not mean to downplay Miller's monumental success with this score. After all, Leonard Bernstein never came up with a final aria for Maria at the end of "West Side Story," and that did not take away from the greatness of that musical. At the end of "Big River" what stands out are the moments between Huck and Jim captured in song; those are the ones you are going to want to hear over and over. With his wide variety of songs for this show, Miller perfectly matched the breadth of Twain's writings. It is a monumental achievement and a lasting legacy for Miller, who proved himself to be a writer of much more than novelty hits.

Very Disappointing!
When I bought this CD, I was expecting an "up-and-away", very lively musical. Instead, I found the singing to be mediocre, most of the songs to be horrible (especially "Hand for the Hog"), but some to be rather good (like "Do Ya Wanna Go to Heaven). I would not reccomend buying this album.

An American Delight.
The only reason I purchased a copy of the BIG RIVER soundtrack is because I wanted to incorporate some of the songs into a unit plan I was developing on Mark Twain and THE ADVENTURES OF HUCKLEBERRY FINN. I knew that the musical had won the Tony for Best Musical in 1985, but I honestly didn't think I was going to like the album that much. I was wrong. I've love the music from start to finish. The songs include a wide variety of styles from country to jazz to gospel. However, most of the tunes cannot be pigeonholed as one style of music or the other because Roger Miller has done a beautiful job of blending several types of music into one coherent whole on many of the songs. The company of this production of BIG RIVER includes such stars as Rene Auberjonois and John Goodman. Some of my favorite tunes from the album include:

"Do You Want to Go to Heaven"

"I, Huckleberry, Me"

"Muddy Water"

"The Crossing"

"Worlds Apart"

"Waiting For the Light To Shine"

"Free At Last"

Besides the beauty of the music itself, I was also impressed by how well the dialogue and lyrics complement Mark Twain's original text. Some changes have been made, of course, but not many. I'm really glad that I have purchased the ablum and know it will be a valuable part of my lessons whenever I teach about THE ADVENTURES OF HUCKLEBERRY FINN.

Absolutely Inspired
I never had the opportunity to see this on the stage, but yet this CD ranks among my favorites. Most everyone is familiar with the story, so not seeing the production is no hinderance to enjoying the tunes.

Big River is a phenomenal effort, and I would be hard pressed to think of anything much better to spend an hour of someone's "free time" listening to.

This would be a great "gateway CD" to get friends who are not interested in musicals to perk up their ears. ... Read more

Reviews (22)

Great, but the extra sound effects are unnecessary
This new expanded version of Oklahoma is long awaited for conisseurs of the marvelous 1955 film. It includes not only all music (which has been remastered) from the previous release, but many previously unreleased tracks as well.

On this album we have Gordon MacRae and Shirley Jones in the lead roles that would put them over the top. This is the film for which they probably are both most famous. They were paired up again for Carousel the following year. Jones went on to appear in the 1962 film The Music Man. Gloria Grahame is nice as Ado Annie, but she pales in comparison to Celeste Holm from the OBC album. The cast here is in top vocal form and excellent performances are had throughout.

My only gripe is the presence of extra sound effects in the previously unreleased material. Hand clapping, foot stomping, extra dialog, and shouts and cheers have no place in a soundtrack album. As another reviewer stated, if we wanted the effect this CD gives, we can grab a copy of the movie and fast forward it to those parts. Many of the best soundtrack albums on the Angel and Sony labels have been plagued with this lately. Extraneous sound effects are had on the remastered and expanded editions of Oklahoma, Carousel, My Fair Lady, West Side Story, and others. While I can see the reissue producers' desire to include the music as it would be heard in the film, more effort should have been made to locate the original recording session masters where they exist.

On the plus side, though, all of the selections on this CD sound better than ever. We have the Overture and Main Title as heard in the film itself and they have never sounded better, although I do like the original Capitol Records version of the overture better (it appears as a bonus track at the end of this album). The Entr'acte is featured as well, but the Exit Music has not been included.

I absolutely recommend this album. It is a worthy addition to any Broadway fan's collection. But those who still have their copy of the previous (1993) CD release - hang onto it, you will not regret it! That is how a soundtrack album of Oklahoma, presented with all its integrity, should sound.

OKLAHOMA REMASTER A SLOPPY MESS!
My disappointment with this expanded soundtrack reissue of OKLAHOMA is based on my belief, which is shared by many other people who grew up with and have grown to love these magnificent performances for their musical excellence, not as a mere souvenir of a movie for casual listening. If I want to experience the movie, I watch the movie on DVD or tape. If I want to enjoy the music on a recording, I want the music to be allowed to speak for itself without sound effects mixed in meant exclusively for the visual presentation. The film versions of the three Rodgers and Hammerstein musicals from which these Angel CD reissues are derived, showcase the finest performances, before or since, that these magnificent scores have ever received. The additional music on the expanded editions of these albums is NOT from the original multi channel vocal and music separation soundtrack master recordings stored in the 20th Century Fox vaults but instead recorded directly from a final mix print soundtrack complete with foot stomping and extraneous sound effects, which besides having no place on a music only recording, actually detract from the listening experience rather than enhance it. If this were 42nd. Street, the foot stomping would make sense, since it is an integral part of the musical presentation, but without the visuals these random sounds don't make any sense in OKLAHOMA, where the superb arrangements of Robert Russell Bennett should be allowed to speak for themselves without intrusions from foley effects. If this were a live recording, such sounds would be an artifact of the original and impossible to remove and therefore have to be acceptable if one wanted to hear the score in its entirety. But in the case of OKLAHOMA (and for that fact, CAROUSEL, THE KING AND I and SOUTH PACIFIC) a wealth of unmixed original musical material exists in the studio vaults which could have been made available for this remastering and even more music could have been included on this album (probably enough to fill 2 CD's). For instance, THE OUT OF MY DREAMS BALLET could have been presented in its ENTIRETY, with the extra verse of the song which was on the original album but on this CD replaced by a much shorter version used in the film, without any worry about the sound effects intruding at the beginning and especially at the end. THE KANSAS CITY, FARMER AND THE COWHAND DANCE MUSIC AND THE FINALE could have been presented minus the foley intrusions that almost drown out the music entirely. That is the saddest part concerning this release. The original studio vault material could have been made available if anyone at EMI-Angel had cared enough to present OKLAHOMA with the integrity that this classic recording deserves and should have gotten. If you can get past these aberrations (in addition to some amateur sloppy fade-ins and fade-outs cross cutting the old and new material) the sound on this CD is very good and offers an energetic and beautifully orchestrated performance of the score by Gordon Mac Rae, Shirley Jones and the entire supporting cast. In fact, this performance is superior to the Broadway original in every respect. But even so, try to find the previous CD version of this album, which may not have the additional music but does include the entire vocal score (including the longer version of the song OUT OF MY DREAMS) without all the intrusive sound effects and sloppy edits making for a far more enjoyable listening experience. Let's hope that someday EMI-Angel will give all three of the Rodgers and Hammerstein soundtracks their due and re-release them with added material from the untainted studio vault separations. That would really be SOMETHING SPECIAL.

Oklahoma!
This is by far THE BEST movie and sountrack. The music is beautiful, but still fun and entertaining. It deserves more than 5 stars!

Positively Gorgeous
The score of "Oklahoma" is, quite simply, one of the true masterpieces of the modern world--funny, simple and yet perfectly, elegantly, constructed. Say what you will about other recordings, I can't find much wrong with this one. The vocal performances and orchestration are almost chillingly beautiful. I nearly wept when I heard Gordon McRae's smooth, crooning baritone voice singing "The Surrey With the Fringe on Top"...and that was only the second song on the CD.

Oh What a Beautiful CD!
From the electrifying overture to the finale, this is one for the ages. The rich, strong, at times tender baritone of MacRae complemented by the sweet soprano of Jones, grace the CD throughout. The character actor-singers Greenwood, Nelson, Grahame, Steiger, and others, are perfectfully rendered. (Steiger, though, may not have been up to the movie-deleted "Lonely Room", which would have added considerable depth to his loathsome but pathetic character). There's the fine reprise of "People Will Say We're in Love" and the turn-of-the-century style feminine music of the "Many a New Day" ballet, neither heard in other CDs of the movie.

This is Americana at its most nostalgic, but by no means saccharine. The orchestrations and sound effects of the "Out of My Dreams" ballet, also new in this edition, with their sordid proto-Curly and 'dance-hall' girls, add a dark dimension conjuring up Agnes DeMille's at once menacing and masculine cowboy choreography, not to mention even the sullen sky and landscape. The musical direction under conductor Blackton is crisp and sweeping. Purists have criticized the 'non-musical' foot stomping, clapping, and short dialogues. But who can resist Will's "Kansas City" ragtime, the "Farmer & the Cowboy" dance, and Laurie's calling upon the "elixir of Egypt" to grant her wish? Yes, you can see these on a DVD, but can you play it in your car and let your imagination wander? Or can you see it in a drive-in or a big screen anymore, which is the only way to do it visual and musical justice?

Hammerstein's first lyrics to which Rodgers ever put music began: "There's a bright golden haze on the meadow..." Truer words could not be said of this master work. ... Read more

Amazon.com

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

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

Reviews (33)

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

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

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

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

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

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

Amazon.com's Best of 2001

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

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

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

Reviews (157)

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

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

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

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

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

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

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

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

Mel's schtick changed the Great White Way.

It's no longer prim.

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

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

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

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

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

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

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

Amazon.com

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

Reviews (9)

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

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

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

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

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

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

Amazon.com

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

Reviews (28)

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

That's the beauty of Hair.

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

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

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

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

Amazon.com

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

Reviews (38)

Such a letdown
Don't get me wrong. I love Godspell. I think its one of the greatest musicals ever written. However, this recording lacks too much, partially because of poor recording equipment and a poor transfer from vinyl to CD I'm assuming and partially because a lot of the performers were not professional. Many of Schwartz's beautiful harmonies are lost, and "All Good Gifts" is completely destroyed (by the same singer who manages to cover up all the harmonies in the other songs). Stephan is an excellent Jesus, and David Haskel also gives a splendid performance. However, there are many more, much better recordings of Godspell out there.

This is one spell that's hard to break.
This cd is most enchanting. I saw the movie first, and except for the songs "Bless the lord," "All good gifts" and "By your side," the movie's songs aren't as good as the original's.

But, the music here is still good. This album is great. I actually hope one day to be part of a performance of Godspell, though I'd rather be part of this older version than the modernist revival.

The voice characteristics of each actor are interesting. Stephen (Jesus) bears a UK accent which gives him a difference that no one else quite matches.

David (John/Judas) has a depth of his own, but he has fun in the roles he plays, and his elation shows through.

Robin (Day by day) has an incredibly deep, strong voice so much so that when I first heard her, I thought she just sang beautifully. The issue in this version of Day by day is that it's got 4-beat music . . . to 3-beat singing. It doesn't quite meld or catch up.

Gilmer (Learn your lessons) has a quirky voice, which is initially confusing. Once you realize that she's playing a clown, though (as is everyone else), you understand the point better. A shame the movie didn't use this song.

Joanne (Bless the lord) doesn't have the right voice ability to sing this number. By the time the movie came, they'd figured this out. She was since reassigned to Sonia's role which allowed Lynne Thigpen to take this song. Lynne is much better.

Lamar (All good gifts) has a deep voice more powerful than Robin's. When he's not careful, he drowns everyone else out. This can be quite annoying, but on this particular song, this quality serves him well.

Herb (First voice on Light of the world) doesn't get to say much, which is really quite a shame. Though from what he sang, he might have been speaking.

Sonia (Turn back, oh man) has a somberness to her sultry style, though Joanne does this song with more joy in the movie. It depends on if you think that Sonia's sobriety or Joanne's decadence are better.

Peggy (By your side) isn't exactly the world's best singer. When she adds "You are the salt of the earth," on light of the world, I wondered who in the world screeched? Somehow, she improves just a bit in By your side (which, coincidentally, she wrote with J. Hamburger). Perhaps because Gilmer aided her.

Jeffery (We beseech thee) has the voice one expects of a carnival barker, except that he actually can sing. Of the male voices, his is one of the ones I like best. His song, too, was removed from the movie.

Inspiration, Memories, And Just Plain Enjoyment!
"Godspell" has been n a favorite of mine since my wife picked "All Good Gifts" for use at our wedding. Recently, our son has played "Prepare Ye The Way Of The Lord!" at a campus liturgy. Even without these ties, this CD is a treat! The songs from Save The People" to "Day By Day" bring back memories of the 70s and one of the decade's most memorable theatrical creations. Whether you are seeking inspiration, memories or just plain enjoyment, this CD is for you!

AWESOME to the EXTREME!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
I just love this CD! It's so cool. I love the songs and words. I think everyone should have this CD.

Good, but I've heard better versions.
Origionally, I heard the version ASIN B000005BGX from a friend of mine. That one had better vocals by far, but the music itself was better here. Also, this version omits "Beautiful City" and the "Prologue". ... Read more

Amazon.com

Have some friends who still haven't discovered what the Sarah Brightman fuss is all about? You'll find the perfect introduction to make converts of them all in Classics, so they'll have no more excuses to remain clueless. Sporting a Botticelli-inspired image of the platinum-selling soprano on the cover, Classics is a classy anthology including highlights from three of Brightman's chart-topping releases along with seven new tracks. Songs personally selected by the diva as her favorite classical interpretations are culled from her previous blockbusters: Time To Say Goodbye, Eden, and La Luna. And whether you're afan already in the fold or one in the making, the new material here shows the diva at the top of her form, in new renderings of "O Mio Babbino Caro" and "Nessun Dorma" (accompanied by the Royal Philharmonic)--fascinating displays of the operatic confidence she's developed over her career. Other new offerings include a touching version of Schubert's "Ave Maria,' "Winter Light," a fresh take on her signature song "Pie Jesu" (from Andrew Lloyd Webber's Requiem). "Alhambra" and "Dans La Nuit"--a real treat, bathing the listener in Brightman's silky, sensuous vocalism--add two original titles to her famous adaptations of classical melodies to new lyrics (using Chopin's haunting E major Etude in the latter case). All told, a lovely affirmation of the directions Brightman has boldly taken in her career to date. -Sarah Chin ... Read more

Reviews (127)

ChrisTmas is here!!!
This may not be a ChrisTmas album ~~~it is however full of spirit...Sarah's

Yes this is "SARAH'S CLASSICS"
This whole CD Flows...Floats... Fabulous
From the beginning of "AVE MARIA"
To the last notes of "TTSG"

AVE MARIA is absolutely Beautiful PERIOD.

LA WALLY is done in a pure Classical style no extra percussion/explosions. Done with the same type of sensitivity as La Luna

WINTER LIGHT has become a new Favorite to this listener..."whispers and I will follow"..

ANYTIME ANYWHERE... I Love anyway..*sigh* a sultry pining..

ALHAMBRA a Spanish guitar and Sarah...a beautiful song does it get any better than this ..

LASCIA CHI'O PIANGA....Lovely..soft piece

DANS LA NUIT...a Chopin piece I have heard many times before but never so beautifully sung..

SERENADE/...This is a Peterson Soltau
HOW FAIR THIS PLACE...this is Brightmans adaptation of Rachmannov it is exquisite by its self and especially when attached to Serenade

O MIO BABBINO CARO...You have heard this before too ...so what is that saying about things being better "the second time around"..this is a more mature voice it is beautiful..

LA LUNA...This brought tears to my eye's the first time I heard it ...and it does so now...Davorak must be weeping in his grave with tears of Joy!

PIE JESU....This has a bit different quality to ..and it sounds GREAT "as usual Ms. Brightman". Her voice has matured since she first recorded it and the FULL Orchestra in the back ground adds a touch of drama (Not that she needs it)

FIGLIO PERDUTO and BAILERO these are just great pieces they fit the album they are obviously favorites of Sarah's.

NESSUN DORMA....She doesn't need the full Orchestra but it sounds GREAT!! and just a bit different from the other times we have heard it...she still lifts you right off the ground !!

this CD closes with TIME TO SAY GOODBYE!!! It is fitting... one of Sarah's own.....one of her best!

Thank You SARAH

Thank You FRANK

What a GREAT ChrisTmas PresenT....(the caps here are intentional)

Lock the doors, Turn down the lights, Light the fire and the Candles..put your feet up..and FLOAT with your dreams along with Sarah!

This is "The DIVA" at her BEST.

Buy this album Folks!
For yourself and any other Sarah Fan or as an introduction gift to the voice of an Angel..

JAS

An excellent introduction for new fans
I fell in love with Sarah Brightman when "La Luna" was released late last year. Since then I have been hooked on her stunning voice. She sings like an angel. Several of the tracks on this album are new songs like "Ave Maria", "Winter Light", "Alhambra", "O Mio Babbino Caro" and "Nessun Dorma". Of those new tracks, "Winter Light" is my personal favorite. Sarah's vocals are controlled at a minimum level. Songs like "La Wally" she tends to sound like a foghorn, meaning she oversings to the point of sounding like her lungs are ready to burst. Still Sarah doesn't come off sounding like Christina Aguilera who has no control over her voice when she oversings. The one flaw I found was that five of the 15 tracks are new songs, not leaving much room for her to add more of her earlier material from "Eden" and "La Luna". Only three songs were taken from both "Eden" and "La Luna" each. If this cd was a classic album, there should have been more favorites and less of the new tracks. That is the only flaw I found with this album but otherwise I loved what I heard. Sarah does have one of the most beautiful voices around and I can never tire of listening to her sing.

Sarah can do it all
Can you say, "Absolutely Amazing"? This cd is, by far, my favarite out of all of her cd's. I must say that i like her classical sound better than her pop sound, but what can i say, she can do it all spectacularly well! I will say, however, that i was greatly disappointed w/ "Winter Light." She is breathy throughout the whole song, but it is very listenable. I would much rather hear her sing "O mio Babbino caro."
Other than Pavaratti, who can sing "Nesun Dorma" like that? WOW!! That song is by far my favorite Sarah Brightman song! If you ever get the chance, go see one of her concerts, and hear her perform it live. It is the most magnificent thing you could ever imagine!
BRAVO Sarah!!

terrific introduction to an amazing artist
Though not a 'popular' artist, Sarah Brightman has an amazing fan following all around the world. Her recent 'Harem' tour has played all around the world to incredible commercial success and the fanaticism of her fans can put Tori Amos acolytes to shame.

This album, Classics, is a compilation of her interpretation of more classic pieces of music, but they are not necessarily 'classical.' Brightman virtually pioneered the classical-pop crossover genre, so it's actually very pop-friendly.

Sarah's albums are usually themed concept albums, but seeing as how this is a collection of previous work (and some new), no theme is attached to this release. What you get, though, is a handful of completely new songs, new recordings of old favorites, and a few tracks from previous albums.

Is this worth purchasing for fans who already have her previous albums? It depends. Ave Maria, Winter Light, Alhambra, and Dans La Nuit are completely new, never-before-released tracks only available on Classics. O Mio Bambino Caro and Nessun Dorma, Pie Jesu, and Time to Say Goodbye have been re-recorded. (I actually prefer the Nessun Dorma on this release as opposed the original one from 'Eden,' since a female choir backs on this one, and it's a treat to hear her solo version of Time to Say Goodbye. Aside from this, the songs aren't dramatically different from the originals.) La Luna also comes without the annoying stretch of silence after it and Moon River (terrific for those who want a copy of the song just by itself without the hidden track afterwards). So, you're pretty much getting 4 new songs, 4 songs we've already heard re-done, and 7 songs plucked from previous albums. It's really up to you to decide if that's enough to entice you to buy the CD.

Now, if you're a classical purist, get away from this album. Turn around and pretend you didn't see it! The things some classical purists say about Sarah's renditions of classics are unrepeatable. They pick on everything from Sarah's intonation, rhythmn, and butchering attempts at coloratura. In Sarah's defense, however, she's never called herself an opera singer (or even a classical singer). Personally, the more approval a singer gets from opera lords and classical experts, the more boring and less appealing they are to my untrained ears. What can I say? I love my pop music and I'm out of touch with 18th century technique. Sarah knows what sounds good to people just like me and what she delivers is classical music for the new century. I'm glad she has, though, because there really is a lot of gorgeous classical pieces out there that deserve a revival. Sarah opens up a genre that until her arrival was too esoteric, old fashioned, and intimidating for the average person. Don't get me wrong, I believe people when they say how awesome Renee Flemming and Maria Callas are. Their appeal isn't broad, though, since it takes somebody who actually knows what they're listening for to appreciate them; they fall into a specialized category. (Just like it takes a rap aficionado to appreciate a good rapper; to some, all rap sounds the same.) Sarah gives classical pieces the touch of pop accessability I need--take that away and turn her into a perfect opera diva with perfect technique (and all that stuff I don't know left from right about) and I'll probably stop listening to her. She has gorgeous tone color that makes her voice sound lovely and I love her deliveries of the songs that make it accessible to my taste. Apparently, I'm not alone, since her albums go platinum all around the world.

Unfortunately, the scandal of the album art has overshadowed the loveliness of this collection. I, for one, wasn't offended, but seeing as how Sarah has fans from every demographic and age group, I can understand how some of the more conservative fans detest nudity (or even just hints of nudity) in all its forms. What they saw as offensive I saw as a tribute and tip of the hat to classical art, ala the statues of David by Michaelangelo and Donatello, Botticelli's "The Birth of Venus," etc. Seeing as how the collection is named "Classics," I found the tribute to classical art rather fitting (plus, it kept a potentially boring album from being dull). To each his or her own, though.

Though this is a great introduction to Sarah's work, I'd still strongly recommend purchasing her other albums like Eden or La Luna if you're going to get a full taste of Sarah Brightman. Her concept albums are spectacular, and the way the songs come together to fit the chosen theme add to the atmosphere her music creates. Her fans anticipate the announcement of her themes almost as eagerly as they do the release of her albums!

There is talent, THEN you get Sarah Brightman
I am a broadcaster in my spare time and my show mainly focus on cross over music. Sarah features in every single program of mine.This compulation is a perfect showcase of the Brightman voice!!!!! I listen to it basically every week, and I have all the Brightman albums. This is who she is and she is not a Kiri or a Renee, she is Sarah Brightman!!!!! It has never been a question that if she can sing, rather it is - SHE just has to sing!!!!Buy this album, it is perfect!!!! ... Read more

Amazon.com

Sam Harris has always had a powerhouse voice that raises the roof as well as an honesty that touches the soul, so it seems natural that the former Star Search champion should strike a winning note with his 1999 gospel/inspirational album, Revival.The album had its genesis when Harris's performance of "Bridge over Troubled Water" on The Oprah Winfrey Show prompted the host to declare, "Sam could make Jesus walk through the door!" That Paul Simon standard is included with other familiar tunes such as "Peace Train" and Rockapella's "A Change in My Life" (which features the a cappella quintet as Harris's backup band). "Love Letter" delivers a great funky beat, and "The Rescue" is a spare ballad that works beautifully in contrast to the high-energy tunes. Harris himself contributes two songs, the lovely, yearning "Holding On" and the rousing title tune, while David Friedman's "I'll Be Here with You" is Harris's tender farewell to his longtime collaborator Laurie Beechman following her tragic death from cancer. --David Horiuchi ... Read more

Reviews (109)

Revival Fever Runs Rampant!
Once in every generation a singer comes along that captures the pure emotion that music is! It requires a soulful presence, a mastery of control and emotion that is beyond belief. The singer for this generation is Sam Harris!

The way Sam interprets the songs on "Revival", is unparallelled, unequaled, in all of music. You hear the pain, the joy, the fear, the hope pouring from his heart and his soul in each note.

Over the course of 16 years we have been witness to the growth and maturation of this artist, from the Star Search stage to Internation Acclaim! His uncompromising approach of pouring his all into his music reaches the soul of listeners and pulls them into his joy, ecstasy and passion as he powers the soul through every emotion that God held in His heart at the beginning of time.

"The Cirle" is the epitome of this CD. It's message of new beginnings so appropriate for Sam's beginning again, "Revivalized" and bursting with the power and the splendor that we have come to expect from the Ultimate Artist. Excellent! A must have for any true music lover, and a standard by which all future artists will be measured.

No other entertainer can match the range of this talented young man. No one else can grip the soul of the listener and require him or her to touch the song in the ways that music has always craved.

A powerful and complete experience.

Good, but could've been better.......
Sam's latest CD, "Revival" is a mixed bag of songs that could have used a little fine-tuning. As evidenced on earlier recordings, Mr Harris has an incredible voice, but doesn't always pick the best material to showcase his talents. There are a handful of stand-out tracks here, ("Come to Me", "The Circle", and "Bridge Over Troubled Waters" being among them), but for every great song, there seems to be one of lesser quality thrown in the mix as well. "Giving It Up for Your Love" is one of those throw-away tunes that sounds like it was composed in 5 minutes or less. (featuring this Shakespearean-like lyric......"giving it up for your love, everything......giving it up for your love, right now......" (egad.....) "Love Letter" seems to suffer a similar fate, but I won't quote any of it's