Amazon.com

Evita was finally filmed in 1996, 20 years after its initial incarnation as a studio-bound rock opera. In between, of course, it was one of the most successful and long-running musicals on either side of the Atlantic. Given such a long history, the film might easily have been a stale anticlimax, fatally holed by our overfamiliarity with songs such as the ubiquitous "Don't Cry for Me, Argentina." On the contrary, it was an impressive and immensely satisfying production. The numbers, augmented by a new song for Eva ("You Must Love Me"), sound fresh and the singing is excellent. Coming from Jonathan Pryce (Peron) and Jimmy Nail (Magaldi), this is hardly a surprise. The real revelation is Antonio Banderas as Che, a kind of one-man Greek chorus commenting on Eva's rise and the price she must pay. His warm tenor dispels memories of previous, rougher interpretations from such singers asDavid Essex and Colm Wilkinson. Ultimately, though, the star is Madonna. She is totally immersed in the role of Eva from start to finish, her singing ranging from girlish delicacy to a hard-edged stridence as the dictator's wife achieves her goals. Rarely has a film so successfully given a stage show such a new lease on life. --Piers Ford ... Read more

Reviews (128)

Can't stand on its own without the visuals of the movie...
I heard this soundtrack about two weeks before the movie was released back in 1996, and I was very disappointed. I thought the movie would be a disaster. Upon seeing the movie in a large theater, I was very pleased.

It may be that I was spoiled by Patti LuPone's performance in EVITA (ORIGINAL BROADWAY CAST RECORDING). Madonna simply does not have the range, vocal power, or presence of Patti LuPone. And that's exactly why Madonna is perfect for the movie role: Patti's voice would have been over-powering when combined with the sweeping cinematography of this lush epic. In contrast, Madonna's voice would not be able to hold its own in the sparse theater production. In my opinion, "The Actress Hasn't Learned the Lines (You'd Like To Hear)" is the only aspect of this movie version soundtrack that surpasses the LuPone Broadway version. Madonna's voice is so sweet and warm in the newer rendition of the song, and the orchestration is much more rich and embracing. I also liked Madonna's version of "Another Suitcase In Another Hall," which in the Broadway version was sung by Peron's mistress. But hearing Antonio Banderas and Jonathan Pryce on this sountrack is perhaps the ultimate proof that the visuals are needed to make this project work (Pryce doesn't even really sing the lines). This version is also much slower than the Broadway Cast album or the London Cast album. The reason for this is that during filming, the actors had to lip sync to playback of this recording. In my opinion, this all but ruins "I'd Be Surprisingly Good For You." LuPone's uptempo version is stunning!

My only other "complaint" about this recording is the same I have with the movie and all other EVITA recordings: the lack of historical accuracy. Juan Peron is portrayed as having been a fascist, and it is hinted that Evita had been a protitute. All serious biographers know that this is inaccurate; Peron was not a fascist, Evita was never a prostitute, and though the song "A New Argentina" casts Evita in the hero's role, she in reality had nothing to do with organizing the rally that freed Juan Peron from prison on Oct. 17, 1945. She was still an actress at that point, not yet Peron's wife, and had no affiliation with the true heroes of that day: the union leaders. But I understand why the historical inaccuracy that Evita organized the rally to free Juan Peron was inserted into the musical, because it dovetails nicely with the undercurrent theme of this musical: the assertion that Evita was a ruthless woman who coldly calculated her rise to the top of Argentine society ("Eva, beware your ambition. It's hungry and cold," sings Magladi in the song "Eva Beware of the City").

But that's the operative word here: "serious." ...this is not a serious biography; this is a musical. If you are looking for a serious biography of Eva Peron, I would suggest the book EVITA: THE REAL LIFE OF EVA PERON. The authors of this book say that this musical is an outgrowth of the "black myth of Evita," which was created by Juan Peron's political enemies. Indeed, the entire musical is based on the anti-Peronist book EVITA: THE WOMAN WITH THE WHIP. Thankfully, Madonna helped lighten the portrayal of Evita a little. For that, she is to be commended. She, more than anyone else, knew what Evita - a woman at war with the confines of established society - was up against.

Sure to give you a "Rainbow High"
All I can say is wow! I love this soundtrack. The casting is superb and all of the songs are fabulous:the first cd upbeat and fun and the second haunting and sad especially near eva's death. When I first saw the movie in 1996, I loved it! I wasn't able to get the soundtrack until a while later but it was worth the wait.The music direction is incredible! I never skip over any songs and I never get tired of listening to it! It's perfect for anything--in the morning, for sad or happy times, to listen to while you are working etc. I love singing to it and my friends are seriously sick of hearing from me about how great it is and having me let them borrow my cd so they can see for themselves. This is my dream role and Madonna does a fabulous job portraying Eva, as well as Antonio Banderas as Che and Jonathon Pryce as Peron. And for all of those people out there who say Madonna doesn't have talent, they obviously haven't seen or listened to evita because she has a beautiful voice as well as acting talent in this role. She was very worthy of winning the golden globe.And who knew Antonio Baderas had such a fabulous voice! I love the way he portrays his character. These songs make me smile and cry when I sing them and whenever I hear the complete soundtrack I relive the life of Eva again and again!

TOO WEAK!
OK, HERE'S THE DEAL. THIS CD IS NOT VERY GOOD AT ALL. I LIKED THE ORIGINAL PATTIE LuPONE VERSION MUCH BETTER. SEE, I'M NOT SAYING MADONNA IS A BAD SINGER, SHE JUST CAN'T SING FOR THE PART OF EVA PERON. AND I DON'T KNOW WHO PLAYED THE PART FOR CHE, BUT HE DID AWFUL AT IT. HE'S SUPPOSED TO SOUND LIKE A COOL GUY WHO HAS TO DECIDED A LOT. THIS GUY MADE IT SO YOU CAN HEAR THE LYRICS TOO CLEAR. I MEAN, I KNOW THERE IS NO DIOLOUGE IN EVITA, BUT THERE ISN'T DIOLOUGE IN JESUS CHRIST SUPERSTAR OR CATS EITHER. HE SOUNDED LIKE HE WAS SOOOOOOO TIRED AND SOOOOOO BORED.

OH YEAH, AND THE ACCENTS ARE AWFUL. COME ON! THIS STORY TAKES PLACE IN SOUTH AMERICA! NOT NEW YORK OR PENNSILVANA! ALSO, MADDONA SOUNDED LIKE SHE WAS TALKING WHEN SHE WAS SU PPOSED TO BE SINGING. EXAMPLE, BUNIOUS AIRES IS A WONDERFUL COLORFUL SONG. WHEN PATTIE LuPONE SANG IT, IT SOUNDED LIKE IT WAS ONE OF THE GREATEST SONGS TIME RICE EVER WROTE. THIS VERSION WAS BAD AND SOUNDED LIKE A 9 YEAR OLD WAS SINGING IT A PROM OR FOR MONEY. ANOTHER EXAPLE:A NEW ARGENTINA IS MY FAVORITE SONG IN THE SCORE. THIS VERSION SOUNDED LIKE PEOPLE WERE CRYING AND MOPPING, AND humma...jummana...WHEN PATTIE LuPONE SANG IT, IT WAS SOOOOOOO GREAT AND AWSOME, I'VE BEEN SINGING IT TO MYSELF FOR WEEKS. THIS VERSION SOUNDED LIKE IT WAS FROM BATMAN. IF YOU ARE STILL READING THIS REALLY LONG REVIEW, YOUR PROBOBLY THINKING WHY I GAVE IT A 2. WELL, I THOUGHT MADDONA DID AN EXELLENT JOB SINGING DON'T CRY FOR ME ARGENTINA. DO NOT BUY THIS CD IF YOU HAVN'T SEEN PATTIE LuPONE'S FABULOUSE VERSION. BUY THAT CD FIRST. GOODNIGHT NEW YORK!

Not what you're used to...
I've watched the movie so many times over the years, so when I got the soundtrack I was a little disappointed. I understand that they had to re-record the songs for sound quality, but Madonna, Jonathan, and Antonio could have tried harder to make certain songs sound like they did on the screen. For a person who's heard the same thing over and over and expected the same thing on the soundtrack, it was very disconcerting. It pulls me out of being swept up in the marvelous orchestration and lyrics and gives me the "nails on the chalkboard" feeling.

I still recommend the soundtrack, but just be aware that it's not exactly what you're used to...

Madonna's voice is simply too weak...
...for musical singing. It gets on your nevers after some time and you simply have heard better versions of these songs by better singers often before ... Read more

Amazon.com

It is difficult but possible to put your stamp on a role closely identified with a particular performer. Just look at Bernadette Peters taking on Mama Rose in Gypsy or Patti LuPone tackling Mrs Lovett in Sweeney Todd. Alfred Molina had a similar challenge when he signed on to play the Jewish dairyman Tevye: who could forget Zero Mostel in the original production or even Topol in the movie? Molina wisely plays the part down, steering clear of Mostel's hamming, but then he goes overboard in the other direction and too often his characterization is colorless rather than subtle. This actually applies to David Leveaux's overall production, which lacks energy. This recording is mostly for completists, and the original cast album still stands as the definitive one. --Elisabeth Vincentelli ... Read more

Reviews (5)

a FIDDLER plays once more...
This cast album to the 2004 Broadway revival of FIDDLER ON THE ROOF is, as touted, the most complete album of the Jerry Bock-Sheldon Harnick score to date, including the brand-new song "Topsy-Turvy". Alfred Molina essays the role of Tevye, still most-associated with Zero Mostel and Topol, and does a credible job. Though he occassionally lacks the joyful spirit and charm of his predecessors, his performance is solid (and no doubt the performance on disc cannot compare to the live performance). Randy Graff (the original Fantine in Broadway's LES MISERABLES) is a vibrant and vital Golde (and perhaps the most beautifully-sung). Leading the daughters is the ravishing Laura-Michelle Kelly as Hodel. Kelly is in my opinion the most affecting actress to play the role since Julia Migenes in the original cast. Nancy Opel is a fantastic Yente (Opel was a late replacement for Barbara Barrie, who left the show during previews). Opel gets the brand-new song "Topsy-Turvy", which is on the whole not very memorable, indeed the song it replaced, "The Rumour" was a one-joke number that wasn't too great, either. This sparkling new FIDDLER features a tight and strong cast. Highly recommended for fans of the score.

Broadway is back
What's so amazing to me is that I actually just saw this on Broadway with a few other shows on my recent trip to New York. I feel like I was part of Broadway history. This is a story to be told again and again. It will survive many decades like our operas have. After the show I bought singing lesson CDs at The Colony on Broadway called Voice Lessons To Go by Vaccarino(available on Amazon too)- they are great, and the piano vocal scores to quite a few shows. If only Baz Lurman could here me now! That store was so amazing. So fun to be in the smack middle of Broadway with dancers, actors, singers and tons of tourists everyway- buying my "singing supplies" like I was really a part of it. OK, so we all have secret fantasies! So happy that Broadway is becoming revitalized again.

This CD's THE BEST & Here's Why
When the new Broadway Cast Recording of FIDDLER ON THE ROOF arrived in stores on June 8th, I already had three FIDDLER CD's on my shelf: the Original Cast Recording from 1964 starring Zero Mostel, the film soundtrack from 1971 staring Topol, and a Yiddish recording made in Israel in 1965 staring Shmuel Rodenski. So did I buy the new CD? Immediately! Furthermore, having listened to it several times already, I am certain that, as the years go by, this is the one I will reach for first whenever I'm cooking big dinners or driving long distances.

While no one else "deedle dums" as well as Zero Mostel, this recording removes all doubts: despite any buzz you may have heard when the production opened last February, Alfred Molina is a splendid Tevye. Since this is the first version actually made with the long form CD in mind, it contains far more material than any prior version. So while Molina and cast cover all the beloved moments from 1964, we also get Tevye's three soliloquies and Molina performs them all brilliantly. No one who listens to this recording would ever describe Tevye as "a man desperately clinging to Tradition." The soliloquies make it clear that Tevye is a true mensch, a man who gives himself to each new challenge, and makes each difficult decision with a strong mind and a big heart.

Robert Petkoff does a terrific job as Perchik the revolutionary (lover of second daughter Hodel). His Perchik is virile and ardent, investing his big number "Now I Have Everything" with all the passionate self-revelation it requires. Norman Jewison eliminated this song from the 1971 soundtrack. Big mistake!

Nancy Opel gives uncommon depth to her Yente. At Leveaux's request, Harnick and Bock wrote a new song for her, "Topsy-Turvy," which makes explicit what was implicit in the number they've replaced ("The Rumor"). Yente may say she's doing God's work, but she knows her objection to love matches is purely pragmatic: "The matchmaking business? Finished! Done! I've counted [my blessings]. None!"

(Jewison not only eliminated "The Rumor" from the soundtrack, he also took out Yente's attempt to pitch Ruchel the Shoemaker's Daughter during the opening number "Tradition" - another Big Mistake!)

David Ayers also does fine work in the critical role of third daughter Chava's Russian lover Fyedka. In this new version, it's now Fyedka's voice breaking in with the Russian words "Za va sha, Zdarovia" while Tevye & his Jewish friends are singing "To Life! To Life! L'Chaim!" Fyedka didn't have these lines in the 1964 original or the 1971 film, but giving him these lines now makes a crucial point. From first to last, FIDDLER's Fyedka is a good guy. This is the most significant change FIDDLER's creative team made to Sholem Aleichem's original. They've put him there to challenge us, and that challenge is more relevant than ever.

Finally, this new version also gives us most of the music Jerry Bock wrote for Jerome Robbins' dances. The music for the famous "Bottle Dance" at the end of Act One is especially thrilling, the single clarinet as expressive here as the solo violin which frames the whole musical in its opening and closing moments.

Bottomline: If you buy the 1964, you buy it for Mostel. If you buy the 1971, you buy it for Isaac Stern's medley (created for the film's opening credit sequence). If you buy the 2004, you simply get a whole lot more: more scenes (especially the 3 soliloquies + new Yente song) AND more music (for the Robbins dance sequences).

I'm a FIDDLER fanatic & now that I have the new 2004 CD, I doubt any of the others will get much play. That's the truth!

A terrific, fresh 'Fiddler'
I have been very upset by the unnecessarily harsh criticisms that this recording has received, an example being the reader review before mine. Though I have not seen the Broadway production, any reservations people may have with Leveaux's reinterpretation should not colour anyone's view on the album. What Mr. Krasker, Mr. Chaffin and the PS Classics team have brought musicals listeners is an altogether new and exciting exploration of this stage classic. The score has never sounded better with the aid of a first class cast and orchestra, not to mention the flawless technical aspects of the release.

No, Molina's Tevye does not sound like Topol - and I applaud that. Yet the delightful jewishness of the role, the light philosophising and the fatherly tone is still all there. And he injects the lyrics with great meaning and life.

The rest of the cast is similarly first rate, Laura Michelle Kelly deserving of particular note. Her rendition of 'Far From The Home I Love' is the most heartfelt I have come across; she also makes the listener really understand the dilemma she's facing. Her contribution alone would be worth the price of the disc; the brilliance of the rest of the team elevate it to being an absolute must.

Ignore the negative comments of traditionalists - PS Classics' 'Fiddler' is as finest (and most complete) cast album yet of this joyous score. I believe it genuinely presents the piece for a brand new generation of listeners - and succeeds wonderfully.

Bravo!

Very far from Tradition...
I have not seen the show, just listened to the new cast recording.

One of the most glorious American musicals of the 60's becomes one of the baddest Broadway revivals I ever heard.

Since his creation, there were many Fiddlers around the world in many languages. The most famous, on stage, are certainly Mostel in New York, Topol in London and Rebroff in Paris.

Today, the producers make a curious choice : Molina is not a singer, not an actor in studio, he simply can't be Teyve ! What credibilty with a so ridiculous voice for a so strong character ?

Sincerely sorry, Jerry and Sheldon, but I don't agree with this version : where are Aleichem humour, Chagall colors, jewish sensibility and yiddishkeit of your original masterpiece ?
Even the "new" orchestration seems like a poor and old small production.
So, one star for the company - but no more.

Fiddler lovers, listen to the "30th anniversary edition" of Jewison's original motion picture recording. Solist : Isaac Stern. Music adapted and conducted by John Williams. For audiences everywhere, Teyve always will be the great Topol.

DVD special edition completing the CD with bonus tracks, this is the definitive "Fiddler on the Roof" for eternity.

Mazel Tov ! ... Read more

Reviews (20)

Any collection from Andrew Lloyd Webber is a winner!
This is yet another Greatest Hits collection from the incomparable Webber, who has swept the stage for so many years and so many hit musicals that it's hard to keep track. This CD has selections from some of his best, sung by the most beautiful voices ever.

From "Phantom of the Opera" to "Cats" and everything in between, these songs will have you singing along and enjoying the way only artists like Michael Crawford and Sarah Brightman can hit a note in music and in your heart.

My only complaint is that some of the songs on this collections are mere repeats from other Hits collections. Nearly every Webber "Hits" collection contains "Phantom of the Opera" and "Memory".

But if you are a fan of Webber and his unique music, this is a CD worth buying!

Excellent, but not perfect.
For a beginner, this CD introduced me to many of the Lloyd Webber musicals that I would grow to love. From Michael Crawford's passionate portrayal of the Phantom in the Phantom of the Opera to Michael Ball's star-struck love ballads of Aspects of Love, to the surprising version of Close Every Door sung by Donny Osmond, this CD is perhaps the greatest of all the Andrew Lloyd Webber's Greatest Hits. However, I felt that Memory, the signature song from the longest running musical on Broadway, Cats, lacked attention, attention that was duly needed. The CD also lacked some selections from Starlight Express and Jesus Christ's emotional cry of Gethsemane (I Only Want to Say).

For a beginning enthusiast in musical theatre to the well-experienced veteran, this CD eliminates the hassle of carrying all of the original broadway albums and the terrible background snake-like hiss of recording onto cassettes. Buy Mr. Llyod Webber's music!

(Oh I almost forgot, for all you Streisand fans out there, the album includes her fabulous rendition of As if We Never Said Goodbye)

You will find yourself humming these tunes...
If you can only own one A.L.W. collection, THIS is it. You will be humming each tune, after every wonderful listening session! I got this for the songs I did know (from Cats, Evita, Phantom), but fell in love with those I previously hadn't heard, e.g. Michael Ball's "Love Changes Everything", and Donny Osmond's EXCELLENT "Close Every Door". Also, I had been a fan of Mandy Patinkin's TV work, but after hearing his "High Flying, Adored", I want to rush right to Broadway and see him in a musical-he's wasting his time on TV!
No CD can be "perfect" because A.L.W. has too much talent for a single CD, but this comes close. A minor gripe: on "Don't Cry For Me", I thought the chorus was way too understated, although I like Sarah Brightman's other songs on this version.
By the way, we saw a remake of "Phantom" in London in January 2003, and I felt the male lead was even better than Michael Crawford, who became famous in this role. The point: there are always great singers ready to be given a shot at fame, and I hope there will be new compilations of A.L.W. collections in the future.

Best of many
I would definately say that this is the best CD that I have that contains works from more than one of Andrew Lloyd Webber's musicals. It is superior in that the artists who are singing these songs are from Broadway, and this is evident in their singing. This makes the listening experience much more entertaining and captivating. Whenever I want to listen to a good recording of Andrew Lloyd Webber, I turn to this CD.

Excellent Collection
This is a very nice well chosen, collection. It represents the full variety of Andrew Lloyd Webber's works, and I would recommend this CD for anyone who collects his music. ... Read more

Amazon.com

It's been suggested that almost as many baby boomers were conceived to the romantic sounds of Johnny Mathis's voice as to Sinatra's--and when you consider that Johnny's Greatest Hits stayed on Billboard's Top 40 chart for 178 weeks beginning in '58 (that's more than twice as long as Dark Side of the Moon, folks!), it's easy to understand why. Sony has used this "16 Most Requested" routine on a number of their easy-listening vocalists (including Sinatra and Andy Williams), but this one is special in that it takes the cream of Mathis's Greatest Hits album and rounds it out with his 1970s take on several movie theme hits, including Love Story and Romeo & Juliet. A truly unique and romantic sound. --Bill Holdship ... Read more

Reviews (16)

Johnny Mathis's Voice Keeps Me Going
I have almost every album of Johnny Mathis, as well as the "16 Most Requested Songs by Johnny Mathis." Since my husband passed away this past year, and he also loved to hear Johnny sing, I listen to him on CD every morning before I go to work, and as soon as I come home from work. His beautiful voice (with so much sweetness in it) just makes my day and he is just unique. I like many singers, but Johnny Mathis is the very best. One of my biggest wishes is to meet Johnny Mathis in person one day.

Last fall my brother drove me to San Antonio, TX, to hear him in concert at the Magestic Theater. Of course, it was a tremendous thrill for me to hear and see him in person. He is just the best of all, and I love him -- I thank him for being him.

Johnny Mathis, having the voice that he does, has to be a very kind and sweet person. I just love him, and his voice fills a void in my heart.

Thank you, Johnny.

Marcia Hendricks

Innocence Never Sung As Sweetly As On This Mathis Collection
Most 1950S crooners played (and lived, to a degree) the life of martini-mixing men of the world. Johnny Mathis, here with 16 of his greatest hits, gained his strength and fame from naivete'.

Handsome, athletic, gifted with pipes the timbre of Ella Fitzgerald's, Mathis and orchestral collaborators Percy Faith, Ray Conniff, Frank DeVol, and Glenn Osser crafted sparsely orchestrated, delicately sung hits celebrating love's opening moments. Mathis sings convincingly of love's discovery ("Gina," "Maria," the oh-so-good "Small World.") and fear of the unknown ("Chances Are," "It's Not For Me To Say," the definitive vocal "Misty," featuring music's most romantic introduction). Teenagers fell for this music which shared, at best, a thread with rock n' roll; Mathis sung the confusion and exhiliration they felt, only more tenderly.

The 60s-70s film songs (themes from "Star is Born," "Romeo and Juliet," and "Love Story," plus Jimmy Webb's "Didn't We") are well-sung, romantically done filler. They keep up the album's romantic mood, but lack the drama (and bombast)of the Streisand/Williams originals. Better to hear "Wonderful, Wonderful" and even the hokey "What Would My Mary Say?" for the jazz singer Johnny Mathis might have become but (fortunately, for him and us), did not. A classy set, and highly recommended.

Soulful, Jazzy ... A real classical evergreen ballads.....
A beautiful vocal by Johnny Mathis, especially songs like 'Misty', 'Chances Are'', 'Gina', 'It's not for me to say' etc .... a classical ballad worth keeping and listening as part of your collection........ this album had been digitally remastered to bring back the perfect vocal and songs ....

Not the songs I would request...
This is more of a greatest hits package (yet again) rather than a cd of actual requests. Perhaps the older fans would request these songs, and that's fine, but as for me, I'd rather hear songs like Pieces of Dreams, Life is a Song Worth Singing, Evie, anything off the I'm Coming Home album, This Way Mary, I could go on but won't. So I give it three stars because it's just the same stuff again.

16 Most Requsted Songs by Johnny Mathis
This is an excetional grouping of Mr. Mathis's best songs. I have enjoyed it thoroughly. I would not hesitate to recommend this C.D. to any Johnny Mathis fan. ... Read more

Amazon.com

Cheated out of playing nightclub canary Sally Bowles on Broadway in director Hal Price's Cabaret, Liza Minnelli nevertheless delivered an Oscar-winning star turn in Bob Fosse's cinematic reinvention of the show (which had the good sense to retain perverse imp Joel Grey from the stage production). Although the 1972 film discarded several songs from the original score, the new ones sound even better: Minnelli's breast-beating "Maybe This Time," the sultry "Mein Herr," and the salaciously satirical "Money, Money." By placing almost all the pertinent musical action on the stage of the decadent Kit Kit Club, the Kurt Weill-like compositional nuances and political underpinnings bask in the spotlight...that is, when Minnelli stops eclipsing it with her no-holds-barred performance. --Kurt B. Reighley ... Read more

Reviews (26)

Huge Improvement from the Original Score
Even though "Cabaret" is DEFINATELY my favorite musical, I have to say the movie version is my favorite recording. Yes Lotte Lenya and Joel Grey were excellent in the original recording, there were some pretty so-so songs that didn't stand out as the ones on this soundtrack do. First of all, the movie version of "Cabaret" was NOT the Broadway version. The only songs taken from the original are "Wilkommen", "Money, Money", "Two Ladies", a translated version of "Married and the concluding title track. Two new Bob Fosse tunes are included which spruce up the score: the sultry "Mein Herr" and the unforgettable "Maybe This Time" performed FLAWLESSLY by Minnelli. Another original tune is the delightful yet disturbing "If You Could See Her" by Joel Grey. Overall as I said earlier this is my favorite recording as it's the best vocally. The instrumentals are also incredible and are an improvement over the Broadway. Granted, classics like "Don't Tell Mama", "So What" and "Perfectly Marvelous" were omitted, but who cares? Fosse, Minnelli and Grey make this show their own. "Cabaret" will always remain my favorite musical and the movie soundtrack my favorite recording. A+

PERFECT SOUNDTRACK TO PERFECT MOVIE
This soundtrack is absolutely perfect, without one throwaway track. You needn't even have to have seen the movie to enjoy these marvellous songs, but it certainly helps. I consider the movie and this album the highlight of Liza Minnelli's career. It starts with Joel Grey's Wilkommen, after which Sally Bowles is introduced and lets rip with Mein Herr. Two Ladies is risqué and very funny, while Maybe This Time is a sad love song. Money Money is energetic and very funny while Heiraten sounds like a real period piece, a German love song from the 1930s. If You Could See Her Through My Eyes (the love song to a gorilla maiden) is full of irony, while Tomorrow Belongs To Me is as chilling and sinister as it is anthemic. The title track Cabaret needs no comment as it is so familiar, but it does encapsulate the mood of the film very well. Even the two instrumentals, Tiller Girls and Sitting Pretty are memorable and charming. The Cabaret soundtrack is a masterpiece, as is the movie, a true work of art.

Legendary....
This movie picked up 8 Academy awards, including a best actress award for Liza Minnelli and a best supporting actor for Joel Grey. We follow a night club singer called Sally Bowles (Liza Minnelli) who struggles to make a living as a performer in the 1930's Berlin under world war two. Sally seems happy and unsually bored until one day a man walks into her life...little did she know that the man would change her life forever as it seems...Life is a cabaret, old chum...come to the cabaret.

Willkommen 5/5
The opening act brilliantly performed by the master of command, Joel Grey's performance is strange, gothic and weird but it always comes off strong and vital as Joel himself.

Mein Herr 5/5
Liza Minnelli's first song, it's ferious, fearless groundbreaking and stunning, it has a great beat and Liza shines both with voice and with her dancing act, the song perfectly represents what Sally Bowles is all about.

Maybe This Time 4.5/5
What many people didn't know is that Liza has actually been singing this song since 1964, nonthelss it's melancholic and Liza Minnelli's performance is vital, strong and it remains a Liza Minnelli classic...Maybe this time....who knows?........

Money, Money 5/5
A fine duet between Joel Grey and Liza Minnelli, the song is fun, quirky and sataric, both Joel and Liza are perfect, Joel's growling vocal perfectly suits Liza's crystal clear multi-faceted singing, one of the best songs on the album.

Two Ladies 4.5/5
Another song performed solo by the ecclectric master of command, the fantastic Joel Grey. The song itself is fun, loving and very vulgar, but in a fun way. Joel Grey is outstanding and is obviously one of the biggest Broadway performers of out time...Two ladies...what a fantasy...??...

Sitting Pretty 4/5
A fine instrumental number, but what I don't understand is why Bob Fosse chose to leave out so many songs that is vital for the shows total running time...So What was a song that needed to be executed, Lotta Lenya's performance were ecclectric.

Tomorrow Belong To Me 2.5/5
This song gives me the shivers...it's strangely nationalized and it has a very scary mood and feeling about it, the one song that don't fit in with "Cabaret", it's strange and give me the shivers every time I hear it...how strange!!!...maybe not?..

Tiller Girls 4/5
Another instrumental song (the second and last) instrumental tune, again I still can't comprehend why there were so many vital songs cut out from this movie, but for anyone who hasn't seen the Lotta Lenya original Broadway production of Cabaret they won't miss a thing, I'm confounded. Still good though.

Heiraten (Married) 4.5/5
A great German song about the struggles of the married life, the song is beautifully performed, I can just imagine Marlene Dietrich, Zara Leander or Lenya performing this tune, it's simply great...same year Liza performed this song in english in her Tony award winning show called "Liza With A Z".

If You Could See Her 5/5
WoW this song really sturred something deep inside me, Joel is allegedly singing about his love for a jew and not the Orangutang his performing with, listen carefully and You'll the deeper message within the meaning of the song. Legendary.

Cabaret 5/5
WOW Liza Minnelli's classic act, her performance is forceful, prowess, ravingly stunning, legendary, shadowing, and one of the most memorable tunes ever performed by anyone, no wonder why Liza won a Academy award for best actress. Liza Minnelli is a legend and she truly deserves the title of one.

Finale 5/5
The ending song summons up the whole show, it's emotional and it will promtly remind You just how great Cabaret was, Liza Minnelli, Joel Grey, Michael York all performed with such a powerful and forceful energy that it will be remembered for a very long time, Cabaret was the last succesful musical movie, up until the release of the wonderful "Mounlin Rouge" and some years later "Chicago". A lost genre, it's truly sad.

Excellent CD but not Cabaret
The vocals on this CD are amazing. Liza Minnelli has a wonderfull voice but she is not Sally bowles. Liza sings the final and greatest number, Cabaret, belting and it leaves a good feeling with you. But, that is not how it's supposed to sound. Sally is not supposed to sound happy she is supposed to be upset that she left her love and is stuck in this awful place. This musical is not Cabaret it is something else with Liza Minnlli.
That is not the only problem with this CD. They toatally do away with the lnadlord's and her boyfriend's role. In the original the incriddible Lotta Lenya played the landlord and had to unbelievible songs. the movie also cut's out over eight of the fabulous songs in the origimnal. Including Cliff's only solo "Why Should I Wake Up." Overall the movie recording is not the dark and haunting cabaret it should be. The best on this rrecording is Joel Grey becuase he is the only one who keeps his true collor.
If you want a full and excellent recording of cabaret get the originall with Joel Grey also.

Beedly Deedly Dee-Two Thumbs Up
Cabaret is a musical filled with silly songs, but it is a serious musical as well. The soundtrack is well worth owning. There's parts of Cabaret that are about the Nazi era. If you've never seen the movie(which I have), you'd think that "Tomorrow Belongs to Me," is a comforting song. But in fact is a very synical song, sung quietly. I'd have to say that my favorite song in the musical is "Two Ladies." ... Read more

Amazon.com

The people who felt betrayed when Linda Eder covered several pop songs on 2002's Gold will be relieved that her follow-up, Broadway My Way, is a return to the Great White Way. As if to prove that she isn't limited to either the songs of Frank Wildhorn or ballads, Eder tackles some well-known show tunes. The ballads tend to be overwrought, so it's best to look for the uptempo numbers. The singer's take on "Some People" is technically fine but so va-va-voom showbiz that it lacks the deranged edge that makes the song so compellingly dramatic. Things work a lot better on "I Am What I Am": while Eder doesn't take it to the top (or rather over the top), this is as close as she gets to Mermanizing a number. Elsewhere, "Don't Rain on My Parade" (immortalized by Streisand) and "Man of La Mancha" are appropriately brassy and triumphant, with Eder roaring her way through both songs. Fans of both Eder and Wildhorn should note that the singer reprises her Svengali's "Gold," the title track from her previous album, and an excerpt from his long-in-the-works Camille Claudel.--Elisabeth Vincentelli ... Read more

Reviews (138)

Linda's Broadway
The release of Broadway, My Way brings Linda Eder right back to where I discovered her..on Broadway. The powerful I Am What I Am (from La Cage Aux Folles) leaves you wanting to shout right along with her... "I Am What I Am!" Gold (from Camille Claudel)is sung with such emotion that you feel as though Camille herself is singing to you, along with Anthem (from Chess) are nearly impossible to get through without shedding a tear. Two favorites from Linda Eder's "It's Time" appear here...the beautiful, emotional vocal Unusual Way (from Nine)and the triumphant Man of La Mancha (I, Don Quixote) gives off a heart-pounding energy. Edelweiss (from The Sound Of Music) is simply stunning, with Ms. Eder herself doing all backgound vocals. Don't Rain On My Parade (from Funny Girl) belongs on this album most of all, done HER way...no need to compare! A New Life (from Jekyll and Hyde) a beautifully written ballad by outstanding composer/husband Frank Wildhorn takes Ms. Eder back to her role as Lucy in Jekyll. Her soaring belt is amazing in this new recording and to think I thought it was impossible to improve from the original! Some People (from Gypsy) unlike any version I've heard, is plain and simple a fun track, makes you want to get up and dance!

Broadway, My Way is a must for all Linda Eder fans; For all music lovers, this is a sensational album, a total package if you will!

Linda Eder is a True Broadway Singer
This is my second Linda Eder album, and it ranks the best. What drew me to this album in particular is the fact that I love broadway. I knew Linda has/had an extraordinary talent(my first album was "Storybook") and she sings with the voice of an angel. I have never heard anyone sing broadway like Linda can. She sings each song with intense passion, emotion, and feeling. "I Am What I Am" is enough reason to buy this album. My favorite songs are "I Am What I Am", "Anthem", "Some People", "Don't Rain On My Parade", and "Man Of La Mancha." Take it from me, buy this album. Broadway lovers, you won't be dissipointed. After listening to her mesmerizing voice, you'll be left wondering, "Why is it that this woman has the most beautiful voice in the world, and she wasn't in most of these musicals?" Don't believe me? Then you will miss out on one of this era's most beautiful and talented singer's. Still don't believe me? Then check out the reviews. And if you still don't believe me, then I am forced to believe that you have no taste in good music.

Amazing singer, amazing voice!
I know that this almost sounds like a Josh Groban review, but my first introduction to Linda Eder was when I saw her live on a PBS special. She was incredible! Then a few months later a friend gave me a CD with a couple songs of her singing on there! WOW!!!!! I don't know if Ms. Eder will be the next Streisand, but she's got talent and plenty of it!
Linda, please do a duet with Josh sometime!!!!

Linda Eder singing Broadway show tunes? Yes, that will work
You have to wonder what Linda Eder thinks of the inevitable comparisons to Barbra Streisand that are made every time somebody hears her sing for the first time. The answer to that implicit question would be found when Eder belts out "Don't Rain on My Parade" from "Funny Girl" in the middle of her "Broadway, My Way" album, and you can draw your own conclusions. With only two songs by her husband Frank Wildhorn (a much, much better song writer than James Brolin, by the way), "Gold" from the work-in-progress "Camille Claudel" and "A New Life" from "Jekyll & Hyde," Eder explores other Broadway standards this time around.

On this particular album I ended up liking the songs she did that were originally performed by male singers on Broadway, although I think that has more to do with how much I like "Anthem" from the often forgotten "Chess," "What Kind of Fool I Am" from "Stop the World I Want to Get Off," and pretty much anything from "Man of La Mancha." This is not a carte blanche liking, since I did not care for the production approaches on "I Am What I Am" from "La Cage Aux Folles" or "Eldewiss" from "The Sound of Music." Obviously, when Eder powers up and starts belting a song that is what I like the best. But that is not something she does on every song and I can still enjoy her more mellow, jazzy version of "The Street Where You Live" from "My Fair Lady."

I was actually thinking that there was a song she should have done instead of "A New Life," given what she was doing with so many of the other songs, and that was to do "This is the Moment" from "Jekyll & Hyde" instead. I still remember Sarah Brightman doing "Music of the Night" at a concert honoring Andrew Lloyd Webber, and so that idea fuels by thoughts as much as just wanting to hear Eder sing that song. "Broadway, My Way" has some of the best things Eder has done and while not everything will strike the mark with you when you listen to it, there should be more than enough here for even fans of Broadway who are not overly familiar with her work to justify picking this one up.

Great singer, lousy engineering
I love Linda Eder, but on this CD she is hidden behind the orchestra. I tried it on several machines. I even used an equalizer to help bring out her voice. What a waste of money. And, hey! what a waste of Linda!!! ... Read more

Reviews (3)

Good collection
from one of the smoothed Vocalist Ever.Johnny Mathis has a timeless Quality when it comes to His range&stylings as a Singer.these songs have been on other packages but still are cool."Chances are" is the kind of song that still sounds fresh as it did when it first was released to radio.

So Much To Choose From, But There Are Songs Missing......
Johnny's recorded 100 plus albums in his career, a two disc set just can't summarize that much material; still, there are a few signature tunes missing. "Hold Me, Thrill Me, Kiss Me" which warrented inclusion on the soundtrack but not the soundtrack album of "To Wong Foo" is rather a sore spot for me, I really want that song and the album is out of print. "You Who Brought Me Love" performed with Patti Austin and featured on the t.v. soap "General Hospital" was a huge A/C hit and by all rights should be here. It is nice that this collection is updated to include tracks from Johnny's career of late, all the way up to his Broadway album released in 2000. "Sleigh Ride" from one of the most successful Christmas albums ever, is included so a cut from his very last album, a Christmas album, was understandably skipped. Overall this isn't a bad collection, just not comprehensive enough.

Why all the mono?
Nice selection of songs, but why are almost all of the early hits in mono? Some of these have been available in stereo before and for the remaining few, I hoped that they might remix them to stereo if the 2-track tapes still existed. Oh well... ... Read more

Reviews (73)

One of the Most Original and Diverse Musicals ever!!!!
Before I had bought 'Chess' three years ago, I had only ever heard one other musical with such diverse musical types and that was Lloyd Webber's 'Joseph and the Amazing Technicolour Dreamcoat'; both of these musicals, incidentally, have been written by the brilliant lyricist, Tim Rice. The composers, Benny Andersson and Bjorn Ulvaeus (the male half of ABBA) have combined a variety of styles of music (eg 1980's Pop, and Classical) in creating this - the most original musical I have heard. Yet, it is well known that Rice had devised the idea of 'Chess' long before he even approached Andersson and Ulvaeus to compose the music for it, consequently a lot of the credit must go to Rice.

This album is a concept recording, consequently the plot is difficult to follow at times, but that would have to be the only fault with this album. Set during the middle of the Cold War, 'Chess' focuses on three central characters; Florence played by the amazing Elaine Paige, the Russian (a reluctant protagonist, which makes him realistic) played by Tommy Korberg, and the American (the antagonist) played by Murray Head. Listeners are subject to the conflicts, controversies and, put simply, the darker (and more entertaining) side of the game of chess. Who would have thought that using chess as the subject matter of a musical would create an entertaining story for an audience? It is because of the use of such unexpected subject matter that makes this musical incredibly original and thus appealing.

Nearly all of the events which occur in 'Chess' are linked to the character of the Russian. Listeners are first introduced to the Russian in the song "The Russian and Molokov" where we see a tactical, yet cynical chess champion who has a bit of a temper, but is very focussed on the game of chess. While Tommy Korberg plays the Russian with great dramatic flair he doesn't have a terribly strong voice. But he still plays the character brilliantly, bringing dimension to the Russian as the focussed chess player ('Where I want to be'), the patriotic countryman ('Anthem'), and the gentle lover (Mountain Duet). Yet listeners will also notice that the Russian is extremely self-centred as he pushes aside his lover, Florence, and his wife, Svetlana (played by Barbara Dickson), in order to focus on winning the chess championship ('Argument' and 'Endgame'). This fault of the Russian makes him a more realistic character. The song, 'Anthem' is one of the most inspirational and emotive songs I have ever heard, but while the music is superb, it is Tim Rice's lyrics which create this paramount effect on the audience.

The character of Florence is portrayed as strong yet feminine, and is brilliantly performed by Elaine Paige. Paige, the star of 'Cats' and 'Evita', uses her exquisite, powerful, well-ranged voice to create a character who has endured a lot of suffering in her lifetime. That is; she lost her father at an early age, and she has tolerated the American's intolerable personality for seven years. Despite this suffering, Florence is probably one of the most 'normal' characters in the musical. She is polite and compromising ('A Model of Decorum and Tranquillity'), and a loyal lover ('Heaven Help my Heart', a beautiful song), but her true strength of character is found when she stands up to both the Russian ('Argument') and the American ('The American and Florence' and 'The Deal {No Deal}'). One of the most powerful songs sung by Florence is 'I Know Him So Well', a duet with the Russians wife, Svetlana. Paige and Dickson perform this song with gentle passion as they sing about the man they both love, the Russian. This song captures the listeners' emotions in the music and the lyrics are just brilliant, which is a credit to Ulvaeus and Andersson, and Rice. Another duet performed beautifully by Paige is 'You and I' with the Russian. I think the creators added this song in order to give the musical a happier ending, because 'Chess' once you think about it, is a really quite depressing musical, yet still magnificent.

Probably the most colourful character in 'Chess' is the American. The American is portrayed as a spiteful, trouble-making, conniving, money hungry, frivolous, and selfish chess champion by Murray Head (who played Judas in the Original Concept Recording of 'Jesus Christ Superstar', in which the lyrics were again written by Tim Rice). In the songs 'Merano', 'The American and Florence', 'Florence Quits' and 'The Deal (No Deal)', listeners are subject to these negative aspects of the American's character. Yet, the creators have evoked sympathy for the loathed antagonist in the song 'Pity the Child', where the American sings about his sad childhood and why he is the way he is. Another entertaining song of the American's is 'One Night in Bangkok' where the American introduces the setting to the second act in a very 1980's pop kind of way!!!!

'Chess' involves a lot of very well performed chorus numbers including 'Merano', 'Opening Ceremony', 'The Story of Chess' and the very intense 'Endgame'. All of these songs are different and powerful listening.

'Chess', though a concept album is a must have for any musical fan. Don't let the fact that its different to the normal type of musical turn you off, Time Rice, Benny Andersson and Bjorn Ulvaeus have created a wonderful musical from a rather mundane topic. If the lyrics and the music are not enough to coerce you to listen to this album, then buy it for the powerful vocals of Elaine Paige, Murray Head and Tommy Korberg.

A model of great music
So, I bought this LP (as in record...I'm dating myself) when it first came out in 1986. I got it because of the "One Night In Bangkok" frenzy. Being an ignorant kid, I had no idea that this was a musical soundtrack; I thought Murray Head was a pop singer (I can feel people voting no on my review right now out of sheer outrage at my stupidity). Don't worry, I ended up okay.

What a treat I was in for as I explored the story, voices, and instruments of this gorgeous body of work. I listened to this album constantly. "Merano" is lively, funny, and rousing. "Bangkok" is cool and catchy. "I Know Him So Well" is a perfect blend of the bewitching voices of the two female leads. "Heaven Help My Heart"...the vocals and chords just bring tears to your eyes...so lovely.

The lyrics come with it so you can read along with the songs and learn about the history of the game of chess and former chess champions. Hey, you never know; I once won a game of Trivial Pursuit on the basis of a chess question which I answered correctly due to my obsession with this album. Fine. My name is Jennifer and I'm a geek.

Chess (1986 London Concept Cast - 1997 Polydor Slimline Rele
Chess (1986 London Concept Cast - 1997 Polydor Slimline Release) [CAST RECORDING]~ Benny Andersson (Composer), et al is very good and I usually hate musicals since they are stupid, totally mindless and are made bye hacks like andrew lloyd webber. This one is good and fun.

From Square One You'll be Watching All 64.....
I purchased Chess when it originally came out in album form, and will admit that I originally bought it only because I wanted a copy of One Night in Bangkok. It took me about five minutes to become completely enthralled with the entire album. From Merano to the Embassy Lament to Nobody's Side, there are several amazing songs in this musical (my personal favorite being Anthem).

The concept cast is phenomenal. The six principal singers are absolutely fantastic. The singers from the Broadway recording do not begin to compare to the cast featured on the concept album. In fact, I was rather disappointed with the version of Chess that finally made it to Broadway (some of the best songs from the concept album didn't make the cut to the final version).

The instant Chess was made available in CD format, I purchased it. It is well worth the cost. The concept album is by far the better of the two versions available.

Checkmate!
The year was 1984, and two guys from a 70's disco band, along with a legendary Broadway lyricist, decide to make a musical about a Cold War chess game. And the results were...amazing.

"Chess" is a thoroughly enjoyable musical, full of competition, egos, romance, heartache and, of course, "cerebal fitness."

The highlights here are "One Night In Bangkok," (which was made into a pop hit by Murray Head), "Nobody's Side," "I Know Him So Well" and "Mountain Duet." ... Read more

Amazon.com

This 1974 Norman Jewison film may have been a critical misstep, but some fans actually preferred it to Broadway's rock spectacle. The thing is, Jesus Christ Superstar was first introduced as a two-disc rock opera, not unlike the Who's Tommy, as it even scored several Top 40 hits. While no set matches the original, it's still hard to go wrong with the music, no matter what the source. This also includes the pretty "Could We Start Again, Please," composed for the stage version, and sung here by the original LP's Mary Magdalene, Yvonne Elliman. Ted Neely (Jesus) and Carl Anderson (Judas), meanwhile, have spent two decades on the road, recreating their roles night after night, although they have to now be at least two decades older than Jesus was at the Crucifixion. --Bill Holdship ... Read more

Reviews (74)

In my mind, this is the *only* "JCS" soundtrack to have!
Having seen the musical a number of times on stage and having seen the movie more times than I can remember, I remain a huge fan of "Jesus Christ Superstar," as presented by Ted Neeley, Carl Anderson, and Yvonne Elliman. This is truly an outstanding presentation of incredible material, and I highly recommend it over any other version. I'm quite shocked by the reviews calling these tremendous actors' voices "weak" or "passive" -- I see no basis for this whatsoever. Truly, Ted Neeley is absolutely stellar in the role of Christ -- he is decidedly *not* passive, but incredibly emotional (which one would think is a requirement for the role!). Carl Anderson's performance actually elicits pity for the cursed Judas. . .and might even make one hope he was pardoned. Yvonne Elliman's voice is sweet and poignant -- her "I Don't Know How to Love Him" is beautiful. The entire soundtrack is haunting, and the instruments are far better on this version than on any of the others. What more does an audience need?!

JCSS - A Funky Musical Odyssey
If only it were possible to combine the disparate elements of this fine recording and the original Broadway cast recording. Ted Neeley's Jesus can get a trifle whiny from time to time and he falls far short of Ian Gillan's definitive vocal acrobatics on track 2 of disc 2. All in all, however, his interpretation is worth listening to. Carl Anderson's Judas makes poor Murray Head seem like a pretender and the Soundtrack's chorus is distressingly out of tune at times (listen for a striking example of tone-deafness demonstrated by one woman on track 8 of disc 1 - you can't possibly miss her). The Soundtrack also includes some tunes that were not on the Broadway recording. Check out track 5 of disc 1, for example - the bass line rocks. Regardless of which version appeals to you, the music and the characters strike a chord. Much like Nikos Kazantazkis's controversial interpretations of Jesus and Judas in "The Last Temptation of Christ", this music breathes life into individuals who have been so lauded or vilified throughout history that we've lost any sense of the humanity that draws us to them. Sit back, close your eyes and enjoy the trip.

Superstar amongst musicals
Although this cd could do with re-mastering, the voices and talents of this cast far surpasses any other version I have heard, or seen. Ted Nealy as Jesus brings compassion and feeling to his part but the whole show is stolen by the late Carl Anderson who has a voice that eminates a feeling of anguish and frustration in every chord, most definately a man who should of had greater recognition in his lifetime, but one who will always be remembered by old and new fans alike. This CD is one to have for playing when away from your Video/DVD but if you want the full experience get the film and bask in probably the best musical ever to be bought to celluloid.

Highly disappointed
I am a huge fan of Jesus Christ Superstar and feel that the movie version is the best of all. This is the soundtrack of the movie and it does not do any justice to the movie at all. The quality of the CD is terrible! There really needs to be a re-recording and reissue because this is inexcusable.

If you are a fan of the movie like me, then other than watching the movie, this soundtrack is the only choice, but do not let the five star reviews fool you. You will be disappointed.

If this is going to be your first introduction to Jesus Christ Superstar then please do yourself a favor, skip this CD and get the DVD instead.

One Word-Phenominal!!
I don't know what some of you listening but Ted Neeley is PHENOMINAL!! He makes the whole Soundtrack. He is the only Jesus worth listening too. Neeley brings emotion and a sense of turmoil to the character of Jesus. In songs such as "Strange Things Mystifying," "Gethsemane," and "Trial Before Pilate" Neeley shines and gives the listener chills. Carl Anderson is amazing as Judas. Anderson brings to the role a sense of compassion. He actually makes the listener feel sorry for Judas. Josh Mostel is downright horrible as King Herod and makes the listener chringe when he is singing. BUY THIS SOUNDTRACK!! YOU WILL NOT BE DISAPPOINTED!! ... Read more

Reviews (4)

Good CD for a musical-select audience
As others note below, one really needs to have a somewhat good familiarity with musicals to really "get" this show--although I thought I did, the recording truly tests me. And I enjoy it for that. Apart from that, and although I really do enjoy the recording and am glad I purchased it, I didn't find the music or the performances as "musical" as I would have liked, and I didn't get as much of a "wow" factor as I thought I would. (Just my personal opinion, folks!) But I still will play the CD again to test myself and to enjoy the cleverness of the concept and execution.

If you like Forbidden Broadway, you'll Love this!
This was terrific. I haven't seen the show, but the music & lyrics was among the best I've heard since I don't know when; it was the first time I put in a show album and listened to the whole thing straight (with my wife) without stopping. Basically, it's the same story told in the styles of five different composers (Rodgers & Hammerstein, Sondheim, Herman, Lloyd Webber, and Kander & Ebb, plus a treat of Chorusline at the end). The parodies range from "groan" jokes to three-second delayed laughs to outright genius. Lots of musical jokes, and some terrific lyrics (e.g., "Don't throw okays at me" in the R&H segment. Like Forbidden Broadway, you need an working knowledge of the composers parodied. 100% recommended for the theatre fan.

Wonderful
I saw this show at the York Theatre in December and fell in love with it. My best friend was an assitant for the show and told me I needed to see it.

I just loved it. I know my musical theatre, there were only a few jokes I missed when I saw it. Joanne Bogart and Eric Rockwell did an amazing job with lyrics, book, and even some of the songs are quite beautiful.

It's an ingenious idea that was wonderfully performed. I'm a Sondheim fan, so A Little Complex is my favorite segment, but the Andrew Lloyd Webber skit is hysterical too.

"It's Juny with a J, not Guny with a G..."

GREAT - but only if you know your stuff
Hola, Aloha, Hello. This CD is absolutely hilarious - but only if you really REALLY REALLY know your musicals. Case in point - I consider myself a pretty well-versed (no pun intended) fan, but I don't particularly like Jerry Herman's shows. As such, I didn't find that section all that funny. The other four sections, however, had me completely cracking up. I have never heard so many allusions thrown into one segment as with the Rodgers and Hammerstein piece. Strains of melody appear and disappear faster than the Phantom in a sewer, so you really need to listen closely. I'd make a "specific overture" about not Sending in the Clones here, but it would just be redundant. If you smiled at all while reading this, buy the CD - you won't be disappointed. So long, farewell.... ... Read more

Reviews (20)

A remastered CD of a Broadway masterpiece with some bonuses
Not all that many musicals can brag that more than half the songs have become standards. And in these days of the "one tune show" (if that many), it is the revivals of the Oldie Greats that represent the American Musical at its best. And high up there stands . I will grant that the recording of the last revival is quite good and certainly more complete than the original cast recording from 1951. But the soloists (if we forget the relatively lackluster role of Sarah) cannot replace the Damon Runyonesque cast of the original: Robert Alda, Vivian Blaine, Sam Levene, Pat Rooney, Sr., and Stubby Kaye. Therefore any collection of Broadway history must include this older release.

So just in case you do not yet own a copy, know you by this presence that Decca has reissued it on CD (012 159 112-2) with four bonus tracks from the film for those who think Marlon Brando renditions are worth hearing. Add to which, the booklet has some excellent photos from the 1950 production. 'Nuff said. Run out and grabbit.

Desert Island Bradway Recording Must
Was there ever a time Guys & Dolls was out of the record catalogues? Like "I Love Lucy" does a day go by without some group performing this picture perfect Runyonesque hommage that is amongst the top five greatest musicals of all time (including Showboat and Oaklahoma)? MCA's CD re-issue, complete with the original liner notes and additional notes that serves as a neccessary "antidote" to the original notes, is a must for anyone who loves good music. Now, don't misunderstand me. There's nothing wrong with the original notes. Just that, like the rest of New York, critic Louis Untermeyer was intoxicated with the brilliance of the lyrics, score and the casting (why did they cast Marlon Brando in the film instead of Robert Alda? What a big mistake!). As Max O. Preeo, the writer of the "antidote" notes states, "Untermeyer greatly oversimplified Guys and Dolls' success". This was done with good intentions, of course. Nevertheless, the entire CD package is the best issue yet of Guys & Dolls. The two programme notes, original artwork from the first DECCA issue, photos from the production itself; what a wealth of treasure to accompany the wonderful music. Loesser is a master composer whose style can range from Jazz to Beethoven-type harmonies, with a lyrical singing line that singers would expect from Mozart Arias. Incredible music that easily places one in the world of "petty-gamblers", Salvation Army members and show girls. All this from the same composer of the score for Danny Kaye's film "Hans Christian Andersen"!!

Classic Decca original cast album sounding better than ever!
Winner of the 1951 Tony Award for Best Musical, GUYS AND DOLLS is considered by many to be a near perfect musical comedy. The book is genuinely funny and yet we really do care about the characters.

Decca's original cast album was taped just a few weeks after the show had opened to rave reviews. The voices are full of character: Robert Alda and Isabel Bigley make an ideal Sky and Sarah. Vivian Blaine forever owns the role of Adelaide (and she got to preserve her performance in the 1955 film.) Sam Levene is NOT a singer (the cast even asked him NOT to sing in the chorus numbers) and his appearances on the recording are limited. Still, GUYS AND DOLLS would not work with opera singers. The flat Decca sound does not exactly make the vocals sound warmer, but in remastering the original tapes, we can at least hear everything clearly and especially some of the orchestral textures lost in the previous releases. And no one can beat Stubby Kaye's "Sit Down You're Rockin' the Boat" Like Blaine, he got to repeat his role in the film but neither of them appear on the soundtrack album.

No complete soudntrack album was made of the 1955 film because of Frank Sinatra's contract with Capitol Records. Decca put out a 4-song EP with Marlon Brando and Jean Simmons singing their numbers from the film and that mini-album is included here as bonus tracks.

The 1992 Broadway revival was a spirited production with a great cast (Peter Gallagher, Nathan Lane and Faith Prince) and a recording that captures all the fun. It's more complete, and has better sound. What it lacks are Stubby Kare and Vivian Blaine.

Wasted my money
DON'T BUY THIS VERSION OF GUYS AND DOLLS. I regret buying this one hundred percent. The actors' singing voices are JUST unpleasant and does not make you want to sing a long, while the orchestra is faintly heard in the background. So there's an uneven balance between the amazing instrumentals musicals usually have and the singing.

The singing made me cringe.
There is also NO ENERGY in this recording.

The only part I sort of enjoyed were the four Bonus Tracks in the end, which are sung by Marlon Brando and Jean Simmons, who are NOT the singers for the majority of this CD.

I CAN'T BELIEVE THIS CD!!!
My high school did this for a school production. I bought this CD to see how it sounded. The budding actors and actresses of my school literally blew these singers away like atomic particles!! MY school sounded VASTLY SUPERIOR to this.
I gave this CD one star because that was my ONLY choice. This actually deserves a rating in the deep negetives. No other words could explain what a horrific song experience this was for myself. ... Read more

Reviews (5)

Pleasant But Seldom Memorable
The 1950s and 1960s found Capitol Records with a bright roster of recording artists who specialized in pop classics--and in the course of their Capitol careers many of them took a crack at a Cole Porter song or two, with this compilation the result. And although pleasant enough, taken as a whole it is surprisingly innocuous.

Some of the selections are a bit strange. Judy Garland was a truly memorable performer who could work wonders with a Porter song--but "I Happen to Like New York," one of Porter's truly minor works, is not particularly suited to her gifts. Helen O'Connell was a gifted vocalist, but in similar fashion her style is somewhat at odds with the delicate and formal "In The Still of the Night"--a song specifically written with a male vocalist in mind.

Even so, all of the artists, including those whose luster has faded with the passing years, give at least respectable showings--and here and there a diamond pops out at you, as in Peggy Lee's "From Now On," Louis Prima's "I've Got You Under My Skin," and Nancy Wilson's "You'd Be So Nice To Come Home To." But by and large, this is really Cole Porter reduced to background music for a 1960-ish suburban cocktail party: pleasant, but not remarkable enough to stop conversation.

GFT, Amazon Reviewer

A Clarification
I must clarify a point in Mr. Lawrance M. Bernabo's review. When one speaks of Cole Porter's lyrics, one must remember he didn't write all of them. For songs from "Anything Goes" he partnered with the man few people remember as having penned the words to the most concurrent Broadway hits ever back in the beginning of the last century: Jeeves' author P.G. Wodehouse. If you listen to some of those lyrics and then cast your mind to the wacky world of Bertie Wooster, The Drones, et. al., it begins to become evident. And what a wonderful pairing Porter and Wodehouse were!

As for the CD itself, it seems to be wonderful. The only limitation is the "Capitol" label. So many fine versions, which might make an even better collection if mixed in, don't happen to live in their domain.

contrarian view
As a long-time fan of Cole Porter, I found this recording a mishmash of vocalists promoting their own singing style and mangling the purity of the composer's work. What was done to "Begin the Beguine" is beyond description.

Great Series -- Perfect Gift
There are a couple of these series of composer's "songbooks" culled from the archives of various record labels. The Verve series and the "Capitol Sings" are the best of the bunch. The Capitol collections tend to be a bit more pop, while the Verve disc are "jazzier," but with artists like Stan Kenton, Gerry Mulligan, Peggy Lee and Nancy Wilson, Capitol was no slouch in the jazz department, either.

This collection is especially fine, start to finish. It's a nicely diverse selction of Porter tunes performed in a variety of styles, from Broadway to near be-bop. It's impossible, even if you're a fan of the more improvisational stuff, not to love Judy's Garland's weirdly majestic "I Happen to Like New York" or the tender Jo Stafford/Gordon McCrae "Wunderbar." And hooray for Louis and Keely, and Peggy Lee with George Shearing, for giving us fresh treatments of canonical tunes that make them evergreen.

This is a great gift for people who don't know how great the American pop standard can be.

Yeah, Cole Porter's tunes, but man those lyrics!
It is interesting to note that until you get to the last three tracks on "Anything Goes," the Capitol Sings collection of Cole Porter tunes, the songs are arranged in alphabetical order from "All of You" by Annie Ross to "You're the Top" by June Turner. Go figure. The main thing is that these songs harken back to the old days when hearing the words was important to enjoying the song. Certainly Cole Porter's lyrics are even more fun than his melodies. "Anything Goes" features the standard mix of big names such as Peggy Lee, Tony Bennett, Dean Martin and Nat King Cole with lesser known talents such as Martha Tilton, June Christie, Jeri Southern, Trudy Richards and Jean Turner. Actually, this album probably has more great songs by the latter group than any other in the Capitol Sings series. The lasting appeal of Porter's songs is represented by having songs covered by both Judy Garland and her daughter Liza Minelli. It is really hard to just pick a few favorites from this one: Gordon MacRae's "Begin the Beguine," Tony Bennett's "Anything Goes" with Count Basie, Louis Prima and Keely Smith ripping through "I've Got You Under My Skin," and Jo Stafford and Gordon MacRae's tender duet of "Wundebar" easily spring to mind. This album also features a couple of previously unreleased tracks: Martha Tilton singing "Blow, Gabriel, Blow" and Chris Connor's cover of "I Get A Kick Out Of You." As always you get a wide mix of musical stylings, from the most up-tempo version of "In the Still of the Night" you will ever hear done by Helen O'Connell to a somewhat slow but still swinging version of "True Love" by Dino. With "Anything Goes" you will hear some quite different versions of your favorite Porter tunes gathered from the Capitol vaults, and virtually every song has those remarkably witty lyrics. ... Read more

Reviews (27)

It's great, except for...
This remastered and expanded edition of Carousel has never sounded better. Here we have the entire contents of the original soundtrack LP plus a whole slew of other, unreleased tracks. The previously released tracks are taken directly from the soundtrack album masters. The unreleased tracks are lifted from the edited film soundtrack. Because of this we notice a slight difference in fidelity between the released and unreleased cuts. The unreleased tracks are nice, except that on a music only CD we do not need to be bombarded with extra sound effects such as hand clapping and foot stomping (a good example is the "June" dance sequence). Those are appropriate when viewing the picture, but not when listening to it in soundtrack form. Similar sound effects are also had with the remastered OKLAHOMA, MY FAIR LADY, and (to a small extent) THE KING AND I and THE MUSIC MAN. For future releases of this album (and Oklahoma, which suffered the same downfall) more effort should be made to locate the original recording masters, where they exist, and incorporate them into the album.

If you can get past that, CAROUSEL has never sounded better. Gordon MacRae and Shirley Jones are in top form, and fresh from their successful pairing in the Academy Award Winning OKLAHOMA (1955). Barbara Ruick and the rest of the support cast are excellent as well. While I dearly love the 1945 Original Broadway Cast album of CAROUSEL, the recording methods of 1945 will forever keep that album sounding like it was recorded in 1945 for 78 RPM records.

Those that still have their copies of the previous (1993) CD release of CAROUSEL will want to hang onto them, as that album is how a music only CD of Carousel should sound.

Response to David Pabian's review below
Response to David Pabian's review:

My review was not in error, as Mr. Pabian expects. The review was for the original CD release, not this expanded version. Amazon lifted it out of that spot and dropped it here, which of course makes it anachronistic. Why they did it without reading it is certainly an inept decision.

Gummed up a beautiful soundtrack album
This overblown "completeitis" has got to stop. Some of the stupidist mistakes of this movie, e.g., the prelude in heaven with Billy cleaning stars, are lovingly included here - where, if the actual credits music needed to be used (arguable), it could've been faded into, without MacRae's whistling and spittin' on stars. The original, beautifully played, soundtrack album Carousel Waltz is now relegated to Appendix status, and terrible sonics accompany dancers' footstomping in the "ne