Reviews (4)

Good Music at a Great Price
I bought this CD mostly for "Entry of the Gladiators," which everyone will recognize as classic circus music. The performance on this CD (by Erich Kunzel and the Cincinnati Pops) is the best available version of Entry of the Gladiators. The rest of the CD offers mostly excerpts of classical music.

You will like this!
I had purchased an abundance of the "Favorites" collection and some were better than others.

This CD is at the top of them all. They may be short, but not that short. Wondrous music.

I can almost guarantee that you will like this music.
Well worth the price!

Good for the novice
The recordings on this disc are pretty good. However, the editors selected only the *loud* parts, as indicated by the title. I was pretty disappointed to find that the pieces are, in many cases, edited to reflect the most famous themes, etc, instead of including the whole work. In general, I would recommend this to the classical music novice, or someone who wants to expand their knowledge of classical music in general. Those who already are familiar with these pieces will probably feel gypped.

Short and Sweet
This is the best collection of moving classics on one CD that I have ever seen. The only drawback is that 25 pieces in 75 minutes means each piece averages 3 minutes. However, I prefer that to less pieces. ... Read more

Amazon.com

There are but two kinds of people in the world: Those captivated by Baz Luhrmann's heady, postmodernist musical romp Moulin Rouge--and everybody else. Oddly, the film's initial soundtrack release may have been the project's most traditional element, marketing a slate of pop-star contributions that gave listeners a sometimes-skewed perspective on its true musical charms. This follow-up corrects much of that oversight, offering original film versions of "Sparkling Diamonds" (the lavish, Nicole Kidman-performed medley of "Diamonds Are a Girl's Best Friend" and "Material Girl"), Jim Broadbent's and Richard Roxburgh's loopy take on "Like a Virgin," as well as the lively Offenbach "Can Can" parody "The Pitch (Spectacular Spectacular)." It also pays homage to the efforts of composer Craig Armstrong, whose quietly compelling underscore often binds the film's other far-flung musical influences together, be they stately orchestral readings of Elton John's "Your Song," a dramatic arrangement for Kidman and Ewan MacGregor's original film duet of "Come What May," or his dark, melodramatic take on Queen's "The Show Must Go On." The first Moulin Rouge soundtrack collection flaunted the film's bold, cross-genre ambitions; this one chronicles its nakedly emotional heart and soul. --Jerry McCulley ... Read more

Reviews (143)

An album no Moulin Rouge fan should be without
This Moulin Rouge Volume 2 soundtrack was a necessary complement to the original soundtrack, for we fans of the movie were desperately crying out for the original film versions of the amazing songs from the movie; the first soundtrack, as great as it was, in no way satisfied us with its assembly of cover songs and alternate versions of the movie's most moving and memorable pieces. I love this album, but I admit that I am baffled and disappointed over the fact that it is an incomplete collection; all of the film versions of Moulin Rouge's fantastic songs should really be available on one album, but you will find a huge gap here with the absence of any version of the amazing El Tango de Roxanne as well as no vocal performance by Ewan McGregor of Your Song (versions of both songs are available on the first soundtrack, however). Another confusing aspect of this CD, at least to me, is the fact that the tracks fall just short of proceeding along a chronological basis; I can't help wondering why they just didn't put Meet Me in the Red Room in its proper place in the sequence of songs.

The album opens with an instrumental version of Your Song taken from the "Rehearsal Montage" scene. This is followed by what is supposed to be the original film version of Nicole Kidman's amazing Sparkling Diamonds number, a song that was rather unabashedly edited and changed on the original soundtrack. However, the voice of Jim Broadbent cannot be heard during the sequence of the song preceding Satine's wardrobe change behind the skirts of the Can Can girls, so to my mind this is not truly the film version of the song. Nicole Kidman's singing of One Day I'll Fly Away is one of the most memorable moments of the film, yet sadly the original film version is not available on either Moulin Rouge soundtrack. Whereas Volume 1 features a track stripped of Ewan McGregor's delicately overlaying Your Song lyrics; this album features a remix of the song that robs it of much of its power. While The Pitch (Spectacular Spectacular) may be hard to get out of your head, its frivolous fun is an important part of the movie, and its inclusion here is most welcome indeed. The crowning glory of this Volume 2 soundtrack, however, is the original film version of the haunting Come What May. While the snazzier version included on Volume 1 still manages to give me chills, this film version is what the hearts of Moulin Rouge fans find themselves crying for in the night.

In all honesty, the most memorable scene in Moulin Rouge is the highly unusual performance of Like a Virgin by Jim Broadbent and Richard Roxburgh; this completely unexpected scene does much to define the essence of director Baz Luhrmann's boldness and genius. While it can be an uncomfortable song to sit through, it absolutely belongs on this soundtrack. I am also quite happy that Amiel's Meet Me in the Red Room is included here; its short appearance in the movie, at the time Christian greets Satine up in the Giant Elephant, left quite an impression on my mind, and I was more than eager to hear the song in its entirety. The frivolity of this track is quickly subsumed by the four remaining songs included here. After a truly melancholy instrumental version of Your Song taken from the "After the Storm" scene, Nicole Kidman and Jim Broadbent present us with their meaningfully melancholy version of Queen's The Show Must Go On. This is followed by the Ascension/Nature Boy song from the "Death and Ascension" scene, and the extended Bolero track that plays during the film's closing credits.

I am pretty much obsessed with Moulin Rouge, largely because of the incredible music it gave the world. Naturally, I love both Moulin Rouge soundtracks. I also recognize their faults. This Volume 2 CD fails to be a complete collection of the most significant original songs from the movie. I prefer it to Volume 1 just because I love the movie versions of the songs, but you really have to own both volumes, if for no other reason than the fact that only Volume 1 features a non-instrumental version of Your Song, the incredible Elephant Love Medley, and the unforgettable El Tango de Roxanne. Taken together, both soundtracks meet most of my Moulin Rouge musical needs with one exception: neither contains the brilliant, unprecedented medley of songs extending from Kylie Minogue's appearance as the Green Fairy through the uniquely mesmerizing first entrance into the Moulin Rouge. Even with the gaps and my small criticisms, however, both Moulin Rouge soundtracks will forever be helping to meet my obsessive need for all Moulin Rouge all the time.

Okay addition to the first CD, but dosen't stand on its own
I am a huge fan of Moulin Rouge, and I was really anxious to get all of the songs from the movie on CD. The first CD was great, but most of the songs weren't the original film versions, or just not really important songs--- background music. Only about 5 of the songs were actually plot-related and sung by the original cast. This CD doesn't have as much unrelated music, but it does fail to deliver the essentials of a great Soundtrack. It does have the original film versions of "Come What May", "The Pitch", "Like a Virgin", "The Show Must Go On" and "Sparkling Diamonds", which are all essential plot-related songs, it also has a lot of background music that is probably played for about ten seconds in the film. These songs include "Meet Me in the Red Room", "Bolero" and a instrumental reprise of "Come What May." These songs are nice, but don't really fill up the CD with the kind of quality songs you'd expect for the price. Then there is a re-mix of "One Day I'll Fly Away", which probably most annoyed me. Why would we want a re-mix not featured in the movie when we already have the original song on the first CD? Why not offer something in the CD we actually want like "Green Fairy Absinthe/Children of the Revolution", "Sound of Music", "Goreki" or "Zidler's Rap"? I would have bought the CD even knowing it only had a few satisfying tracks because I love the film, but I am not pleased with how this soundtrack attempts to make more money off mediocre tracks from the movie. What is really needed is a complete soundtrack, like the ones made for musicals. Until that happens, these "filler" CDs are good for avid fans only and basically overpriced.

I bought this CD after reading other people's review's ...
I was very disappointed ... there doesn't seem to be a good soundtrack of this great musical... to date. I few songs sounded similar to the one's in the movie ... and yes they were Nicole Kidman and Ewan McGregor but the CD is incomplete. Half the songs are missing and others are just instumental with no singing. I don't know why the other people gave such a good rating ... I know music ... and I've bought soundtracks before and have never been so disappointed ... but such a great movie without even offering a good soundtrack? I don't get it?!

Oy vey...
Don't get me wrong, I love "Moulin Rouge", but whose idea was this piece of garbage, and what was the point of it? Just a bunch of extra tracks that can be found in the movie. Seesh...what a waste of money.

Spectacular, Spectacular!
After seeing the movie, my husband and I went to a music store to listen to the first and only soundtrack out at that time. We were severely disappointed. It was missing some of the most amazing songs from the film!

You can only imagine how exciting it was to find this one! It included some of the most memorable songs from the film from "Like A Virgin" to "Spectacular, Spectacular" to our favorite version of "Come What May". In fact this is the lesser produced sounding version of "Come What May" which my husband insisted that we dance to as our first dance at our wedding and brought tears to our eyes.

Everytime I hear this soundtrack it brings back terrific memories of the movie, which I recommend that you purchase as well! But, overall if you are debating between soundtracks, get this one, you won't regret it! ... Read more

Reviews (40)

Menken's Masterpiece
This is the one. If there was one Menken soundtrack I would recomend above all others, it would be this one. It's easily the best in both score and songs

The CD starts off with 'Prologue'. The music is here is wonderful, and while there is a storyteller on top, it's still a beautiful piece of music that I wouldn't want to live without. 'Belle' is probably one of the best songs I've ever heard. Great melody, great orestrations, great lyrics, great everything. The rest of the songs are wonderful too, from the humorous waltz of 'Gaston', to the playful Can-Can of 'Be My Guest', to the wonderful ballade 'Beauty and the Beast'. Every one of the songs has everything that makes a good song.

And what of the score? Well, it's great as well. 'West Wing' even contains more of the wonderful 'Prologue' music, and 'Transformation' is a wonderful choral version of 'Beauty and the Beast', and makes for a grand finale. As usual with Menken, the songs are all integrated nicely into the score, which makes for a highly coherent listening experiance.

The final track is the pop version of 'Beauty and the Beast'. It's done very well as far as pop songs go. And unlike the later Lion King pop songs, the lyrics are actually the same.

Overall, you can't go wrong with this. The singing is great, the instrumentations are great, wonderful melodies, and there's just a certain spark to it that makes you put a smile on your face.

A wonderful mix of romance and comedy
For many years, I have thought of "Beauty and the Beast" as the standard by which all Walt Disney animated musicals should be measured. The music by Alan Menken, the lyrics by Howard Ashman, and the performances of a superb cast combine to create one of the greatest movie song scores of all time.

The story is based on the timeless tale of a handsome prince who is changed into a monstrous beast, and who then must earn the love of a beautiful maiden. Robby Benson brings a touching mixture of pain and hope to his performance as the Beast. Paige O'Hara is a revelation as Belle ("Beauty"): she possesses a voice of great power and purity. The leads are well complemented by a superb supporting cast: Angela Lansbury, Jesse Corti, Jerry Orbach, David Ogden Stiers, and Richard White. Each performer brings something special to both the songs and the occasional bits of spoken dialogue on the CD.

The CD begins with a wonderful spoken prologue, and then moves into the excellent Menken-Ashman songs. The first song, "Belle," quickly establishes the rich, stirring "Broadway musical" tone of the CD. As a whole, the collection of songs attains an effective blend of humor, romance, and drama. The title song appears in two versions: the character version by Angela Lansbury (as Mrs. Potts), and the "pop" version, a duet between Peabo Bryson and Celine Dion. Both versions are excellent, but I'm somewhat partial to Lansbury's emotional performance.

The movie is a beloved classic, and so is the soundtrack. This CD is essential for fans of Disney music, and of film music in general.

Best of Disney!
This is a wonderful album. With all the fun lyrics, and lovely instrumentals. Whenever I hear the song "Beauty and the Beast" sung by Angela Lansbury, it makes me feel great.
The songs that are the most fun are "Be our Guest" and "Something There". The loveliest instrumental is "Transformation" and the most lively is "Battle on the tower". The only thing I don't like about this album is the pop version of "Beauty and the Beast" by Celine Dion and Peabo Bryson. It's really sappy (too many ooooo's and aaaaaa's). Buy this album and listen to all the songs except that one.

Where is the rest of the Score??????
Do not get me wrong, this is my favorite movie of all time! I can watch the movie over and over and over again! BUT!!!!!

The soundtrack is missing so much! The original version of Prologue and MOST OF THE SCORE IN THE MOVIE! We only get 25% of the score! WHERE IS THE REST? Why not put the rest on the Special Edition Soundtrack?

Overall you still get all the songs! :)

Perhaps the best Disney soundtrack ever
We all have heard the songs in "Beauty and the Beast" and not one of them is bad. They are all great. As a matter of fact, they are all flawless. The musical themes also resonate in the score, which is composed by Menken in his best work ever. The special edition contains a few extra tracks, and definitely buy it if you can, but even the cheaper version is great too and contains all of the original album. Even if you are someone who (like me) dislikes sappy Disney songs, you will still probably like Beauty and the Beast, for there are none of them in it. This soundtrack is highly recommended. ... Read more

Amazon.com

Peter Allen was an Australian gay man who was once married to Liza Minnelli and was still officially in the closet when he died of AIDS in 1992. It's obvious that when it comes to sheer drama, Allen's life is pretty hard to beat, and Hugh Jackman's portrayal in this bio-show terrifically brings home the music man's energy and inner contradictions. Too bad his life's intensity wasn't reflected in Allen's milquetoast songs, which are generously sprinkled throughout the show. Technically, Jackman's not the best singer (Brian Stokes Mitchell continues to rule Broadway in that regard), but his charisma is undeniable. His take on "I Go to Rio" is appropriately high octane, for instance, while "I Still Call Australia Home" (Oz's unofficial anthem) is rather poignant. As Judy and Liza, respectively, Isabel Keating and Stephanie J. Block try hard to emulate their models' vocal styles, which can be really distracting. Overall, though, this album is mostly for serious fans of either Allen and Jackman. --Elisabeth Vincentelli ... Read more

Reviews (52)

Hugh Jackman Channels the Spirit of Peter Allen
As a longtime fan of Peter Allen's music, and someone lucky to have experienced the legendary stage performer in person three times, I was ecstatic when "The Boy From Oz" came to Broadway. The show itself is a basic pain-by-numbers affair that never fully mines the pathos and brilliance of its subject, with shoddy sets and awkward designs that feel better suited to a high school production than a stage on the Great White Way. But all of the incidentals of this show are completely forgotten and take a much needed back seat to Allen's inspired music and the glorious star-making performance of Hugh Jackman in the title role. I haven't experienced anything quite like the feelings that came up for me as I watched this talented Aussie pin-up and actor literally transcend definition and BECOME Peter Allen - mind, body and spirit. Whereas supporting cast members are given fine opportunities to embody the likes of Liza Minelli (Allen's ex wife) and Judy Garland - and do so admirably despite the obvious challenges that come with playing a well known entertainer - it's Jackman who astonishes in a role that ideally suits his tenuous but forceful voice and his gentle, though complete grasp of character. Watching Jackman on stage was at times like watching the original Allen, who whipped his audiences (and myself) into a frenzy with boundless stage energy, costumes galore and a quick witted manner that was both adorable and dismissive at once. Funny, light, abrasive and ultimately sad, Jackman captures the human qualities of the late great singer-songwriter, whose "DOn't Cry Out Loud" and "I Honestly Love You" became staples for the brokenhearted. This cast recording seems blessed - if that's possible - by Allen's spirit. It's a fitting tribute to a vocalist whose singing ability was secondary to his phrasing and showmanship, and an eerie reminder that when you find huge new musical theater talent like Hugh Jackman, you RUN (do not pass GO, do not stop at the light) to get tickets. A stratling once-in-a-lifetime stage performance, reserved here for eternity. Let's all pray for an eventual DVD of the show! Jackman is TONY and GRAMMY bound!

WOW!!!!
Fabulous! After being disappointed in so many Broadway recordings of late, this is the real deal. I had a show me attitude toward this one, but I loved it from the very first listen. A high octane, high energy show full of great tunes and numbers. I was never a big Peter Allen fan during his heyday, but I was only exposed to a few of his songs. I was surprised at the breadth and depth of his work on here. (Granted, he often worked with other lyricists). Havent seen the show, but if its as good as this recording, it has to be specactular. Isabel Keating sounds so much like Judy Garland its a little creepy. The whole cast, led by Hugh Jackman, is great. If you've only known Jackman from his movie roles, prepare to be bowled over. His version of Once Before I Go, alone is worth the price of the CD. Dont Miss This!! Tony, here we come!

Simply Amazing
Hugh Jackman has truly outdone himself with the hit Broadway show, 'The Boy From Oz'. This CD is proof of that.

It includes the 26 broadway songs, all of them sung wonderfully. Those songs include--The Lives of Me--My Name in Lights--Love Crazy--All I Wanted was a Dream--Older Woman--The Best That You Can Do--Don't Wish too Hard--Come Save Me--Continental American--I Love to Hear the Music--Quiet Please, There's a Lady on Stage--I'd Rather Leave While I'm in Love--Not the Boy Next Door--Bi-Costal--If You Were Wondering--Everything Old is New Again--Love Don't Need a Reason--I Honestly Love You-- You and Me--I Still Call Australia Home--Don't Cry Out Loud--Once Before I Go--Rio--Tenterfield Saddler.

Hugh Jackman is refreshingly different from his previous roles [X-Men (Wolverine) and Van Helsing], and puts his heart and soul into every note he sings. I recently saw the Broadway Show, and his performance was truly hilarious. He would interact wth the crowd and get everyone riled up for the next scene. Every motion he did was part of his character, and truly made it a worthwhile experiance. I highly reccomend seeing the show and buying this CD.

Wish I hadn't bought it
I was raised on show music, normally can't get enough. This one is too loud, tuneless, with pretentious pronunciation and annoying vocalists. Yuck.

Peter Allen (the Boy) is NEW Again
I have seen the "The Boy From Oz" twice on Broadway and believe it is definitely the most fabulous Broadway show in years. Hugh Jackman's performance in the role of the late Peter Allen (songwriter, cabaret singer and recording artist) is clearly one of the most outstanding in Broadway history. Part of that performance is captured on this CD (ie, the vocal part). So, I bought the CD. While the CD brings back great memories of the show, I have learned to value the CD for its own merits. Firstly, the music of Peter Allen is incredible (the most amazing feat of this show is that the late Peter Allen's music is used to tell the story of his life). Each song on this CD is either moving, rhythmic, melodic and/or plain fun to listen to. Secondly, Hugh Jackman and the other cast members all give competent performances of the many classics contained on the CD. Thirdly, the arrangers outdid themselves refreshing and modifying some of the old arrangements (some are totally reinvented). As the song goes, everything old is new again. ... Read more

Amazon.com essential recording

Eno's theory of the "discreet music" he called ambient was far from the modern chill-out room: the idea was that it should function at very low volumes, unobtrusively coloring the atmosphere of a room. Evolving by tiny gradations, the long pieces of Music For Airports (the first in a series of albums that followed the statement of purpose Discreet Music) defy close attention, but then they're not meant to be listened to consciously; they're meant to serve as a counterpoint to the frantic arcs of travel, or rather to be imagined in that setting. --Douglas Wolk ... Read more

Reviews (23)

A Classic Musical and an Essential Recording
Meredith Wilson's THE MUSIC MAN is one of the most beloved of all Broadway musicals. The story is charming and endearing, while the score is tuneful and very inventive. There are rhythm numbers ("Rock Island" and "Ya Got Trouble"), ballads ("Goodnight My Someone" and "Till There Was You"), barbershop numbers ("Sincere," "It's You," "Lida Rose"), quirky comedy songs ("The Sadder but Wiser Girl," "Marian the Librarian," "Shipoopi") a march ("Seventy-Six Trombones"), and even an aria ("My White Knight"), as well as other wonderful songs for the ensemble ("Iowa Stubborn," "The Wells Fargo Wagon"). The original Broadway cast recording, starring Robert Preston as the fast-talking con man Harold Hill and Barbara Cook as the skeptical young librarian and music teacher, Marian Paroo, is the finest recording of THE MUSIC MAN. Preston's charisma seems to leap right out of the speakers; his patter in "Ya Got Trouble" is a marvel, absolutely clear and precise. Cook's pure, golden soprano and heartfelt phrasing are a joy to hear. Add the famous barbershop quartet The Buffalo Bills and the rousing orchestrations of the legendary Don Walker, and you have a truly fabulous show album. This original Broadway cast recording of THE MUSIC MAN is a must-have for anyone who loves musicals.

Brava, Barbara Cook!
Robert Preston IS Harold Hill. Pert Kelton, Eddie Hodges, the Buffalo Bills, the women's chorus, and Don Walker's orchestrations are all perfect. But it is the singing of Barbara Cook as Marian that makes this MUSIC MAN a great recording. Cook's golden renditions of "Goodnight, My Someone," "My White Knight," "Will I Ever Tell You?," and "Till There Was You" make it clear that she is one of the best female singers in the history of Broadway.

Magnificent!
Any lover of American theater should own the original cast recording of THE MUSIC MAN. For me, the high point of this recording is Preston's intoxicating performance of the speak-song number, "Trouble". His performance here is cool and rhythmically precise, unlike his "white hot", vitriolic performance in the 1962 movie. But the whole CD is a lot of fun. Enjoy!

The recording that all others are measured by!!
What a great recording! This is aimed more toward for families, but anyone with taste in music can enjoy it. The sound is crystal clear. The voices are the best. Barbra Cook is Excellent as Marian Paroo, and should have playd her in the film, although Shirley Jones does a good job. Robert Preston IS the Music Man. I perfer this version to the other versions because of the little dialouge. These songs are meant to be heard un-adulterated, and pure. The soundtrack has too much talking, and Buddy Hacketts not so great vocals.
You may have noticed that I enjoy Sondheim. But sometimes I need to take a break from the complex scores and return to Broadways roots. Without shows like these, there may NOT have been a broadway today. These are the tunes that I grew up with, and they will never die, thanks to great recordngs like this. This is a must for anyone who enjoys musical theater!!!!!!

Never Gets Old
The Music Man has always been one of my very favorite musicals. This cd is well worth owning. Barbara Cook is the perfect Marian Paroo. Way better than Shirley Jones and Kristen Chenoweth put together. There's even a song on the cd "My White Knight," which doesn't appear in the movie. Just in stage versions. In the film they sing "Being in Love." But some of the lyrics in the two songs are the same. Both songs have the following verse somewhere in them.

ALL I WANT IS A PLAIN MAN, ALL I WANT IS A MODEST MAN
A QUIET MAN, A GENTLE MAN, A STRAIGHT FORWARD AND HONEST MAN
TO SIT WITH ME IN A COTTAGE SOMEWHERE IN THE STATE OF IOWA
AND I WOULD LIKE HIM TO BE MORE INTERESTED IN ME THAN HE IS IN HIMSELF AN MORE INTERESTED IN US THAN IN ME. AND IF OCCASIONALLY HE'D PONDER, WHAT MAKES SHAKESPEARE AND BEETHOVEN GREAT. HIM I COULD LOVE TILL I DIE, HIM I COULD LOVE TILL I DIE.

Another interesting fact is that after Barbara Cook retired from acting, she became a singer. She's still singing as far as I know. I also reccomend her "All I ask of You," album. ... Read more

Amazon.com's Best of 2001

You needn't see the film of Harry Potter and the Sorcerer's Stone to appreciate the wonder, magic, and fearful chills of J.K. Rowling's phenomenal bestseller in John Williams's outstanding score. Williams typically avoids the source material for the films he scores, but he reportedly derived great pleasure and inspiration from Rowling's first Harry Potter adventure, and created a perfect motif (fully expressed in "Hedwig's Theme") to dominate his score. It's first heard as a dreamy celesta waltz and embellished through myriad incarnations and moods, often with a sinister edge befitting the darker tones of Chris Columbus's direction. Evident are fantastical allusions to Saint-Saëns and Tchaikovsky (among others), and Williams's epic track is "Quidditch Match," a breathtaking frenzy to accompany the film's dazzling highlight. And while Williams occasionally flirts with self-plagiarism (with inevitable variants of his Hook and Star Wars themes), this is nevertheless a richly regal score that brilliantly evokes the mystery and magic of Harry Potter's world. --Jeff Shannon ... Read more

Reviews (213)

A Mix of Old and New
I bought this CD simply because the eerie tinkle of the bell music in the trailers and commercials for the Harry Potter movie had really grabbed me. It's typical of John Williams, with softly layered tones that you have to turn the knob way up to hear, sweeping right into crescendos that knock you off your feet. However, it's largely based on that same set of notes ("Hedwig's Theme") and can get a little repetitive or, dare I say, boring. If you're a die-hard fan of John Williams, I'd suggest it, but otherwise, you're probably better off getting it used or obtaining a copy from a friend.

He's at it again
John Williams has managed to not produce any new music for over a deacade, but he still delights with what he does come up with - generic, entertaining, very true to form to whatever movie he is scoring. This CD is no exception to that rule.
Listen to Harry Potter and you can catch snippets of Star Wars (especially in flying scenes), similarities to Edward Scissorhands (delicate chiming noises) and those ever-present strings that underscore whatever emotion he thinks the character can't convey with looks alone. (You'll find that in ALL of his stuff).
The best part about this soundtrack is that there are no distracting tracks with words, so you can play it in the background and do other things like read or use it as inspiration ofr writing (mmm, mood music!)
Guaranteed that the second track will sound just like this one, but that is not a bad thing either, now is it?

Simply perfect... mostly
Perhaps it's because I heard the soundtrack before I read the book or saw the movie, but I simply cannot imagine any other music being used for the Harry Potter world. While many film scores are well-composed and seem to complement their films well, this score seems to grow naturally out of the story itself, by way of the great John Williams.

One thing to keep in mind about the music, though, however great it is, is that it was composed to complement the movie and not necessarily as an independent listening experience. That said, the soundtrack does, in fact, make a great listening experience, though a few of the tracks do seem to go on for a while without a lot of direction. Williams seems to be big on providing a constant musical wallpaper--or perhaps Columbus requested this, and that means there is simply a LOT of music that went with this film, and much of it is simply atmospheric.

That said, the entire sountrack is worth buying for the trailer music, opening theme, and end titles alone. These pieces bring the main themes of the entire album together (including the excellent Hedwig theme) and integrate them into coherant stand-alone pieces. Also, even the "atmospheric" tracks provide an excellent ambience for exercising or jogging or just working around the house.

A CLASSIC . . . VINTAGE WILLIAMS!!!!!
This soundtrack by world-famous composer John Williams is so good, I can't express it in words. Hedwig's Theme, Harry's Wondrous World, The Quidditch Match . . . this, folks, is what TRUE magic is all about!!!

One of the best movie soundtracks!
I love the movies ,esp. the first one"harry potter and the sorcres stone" and the music really makes it even MORE enchanting. The way they piece the music is magical and whimsicle, and it takes u into another world. I may still be a teen and i'm usally listening to the hippest music, but this cd is a definite exception.Every h.p. fan should buy a copy. Worth the money. ... Read more

Amazon.com essential recording

Though they were long misunderstood as mere technical hurdles, Bach's six suites for unaccompanied cello are among those rare works of music that offer inexhaustible rewards for performer and listener alike. Yo-Yo Ma gave a pathbreaking account of the suites back in the '80s (Suites for Unaccompanied Cello ) but returns to them here impelled by a unique and interdisciplinary approach. For this project, Ma engaged the talents of artists in different fields--ranging from a landscape artist to a Kabuki actor and figure skaters--to produce six short films as a visual correlative for the highly distinctive character of each suite.While the success of the films in illuminating Bach's creativity is decidedly uneven, Ma brings the music itself to life with a searing, quasi-vocal eloquence.His interpretations are probing, characterized by imaginative bowing and attention to the spacious architecture of Bach's score.This is especially clear in Ma's preference for broad, expansive tempos and patient spinning of filigreed detail.True, the generally Romantic cast of his conception can seem overdone and exaggerated in statement, as if Ma is more intent on overlaying his own personality on the discipline of the music.But the prayerful, meditative concentration he brings to the Sarabandes--listen to the single-lined, anguished tone painting in Suite 5--is utterly convincing.There is a sense of profound introspection here, while in the Sarabande of Suite 6 Ma's phrasing suggests we are in the same spiritual terrain as Beethoven's late quartets.Yet there is no lack of blistering energy and extroverted high spirits in some of the more overtly dance-oriented movements.While purists may complain of distortion in these accounts, Ma once again proves he has something vital to say with this music. --Thomas May ... Read more

Reviews (46)

Maybe the third recording will be better!
Some years ago, before Mr. Ma became an industry, he made the error of recording these Bach suites. He played the notes, but never got to the music. Now, he has recorded the suites again and this recording is more musical, but one wonders exactly whose music it is that is being played, Bach's or Ma's. He tunes his cello down in the d minor suite for no apparent reason. He takes great liberties with note values in the prelude of the first suite (and in other places). The booklet tells nothing of the music or of Bach and is a disaster. The suites, as played here, are played in a very modern style with a Romantic sheen and are simply not competitive with the best available: Rostropovich and Maurice Gendron, to name two of the best. The most recent Starker version on RCA suffers from the same kind of excesses described here. A pity, really, because Yo Yo Ma is one of the nicest people in the music business and a great talent, but he really needs to understand this music and what it is that he is trying to convey. Definitely not recommended.

Great - Outstanding - Breathtaking
Great - Outstanding - Breathtaking ..... Yo-Yo Ma definetely is my cello hero ! Thank you so much for this recording, Yo-Yo. This music touched my heart esp. through the slow movements (listen to the Sarabandes in # 2,4 and 5 and you'll understand). For me this wonderful music in Yo-Yo's interpretation seems to be made for long lonely winternights ..... light a candle, lean back, close your eyes and relax - the music just drives you away to far distant places. When you're back in this world again don't miss the six-part film series, which gave me a better understanding for Yo-Yo's play and his thoughts about music. Besides, you'll get to know this man as a very likeable, friendly person with an overwhelming charisma. This certainly was the strongest impression I've got from these exciting films. The combination of both, Yo-Yo's technique and his humanity makes this recording so valuable. 5 stars.

Why tune down?
Very masterful interpretations, but Ma tunes his cello down an entire half step! Is he trying to sound baroque? Does he want it to sound slack, or loose, or invoke some subliminal sense of "depth?" To me this just takes the wind from the sails, and having heard other great interpretations I cannot then listen to Ma's. In addition, the production values are overly breathy and reverberant, as if he is recorded in a large tiled space, giving an artificial impression. I just don't understand this. I'm glad it didn't spoil so many other reviewers' enjoyment, and sorry to seem picky, but my observations are factual and sincere.

Dynamic and interesting
Compared to his contemporaries, Yo-Yo Ma conveys more emotion, dynamics, and personality to the cello in a very individual way. He always sounds like Yo-Yo Ma,not generic cello. He makes Bach sound less sterile than most interpretations. I used to play cello in high school orchestra, so it impresses me that a cello can sound that warm with perfect intonation.

Uplifting, Inspiring, Inspired, and Elegant
This CD is the most relaxing CD i have ever heard. Yo Yo plays the music with precise and beautiful talent. I listen to it over an over again and it is one of his best works ever. I idolize Yo YO and suggest this CD to anyone who favors relaxing, elegant classical music. ... Read more

Amazon.com

Although it's based on the 1967 movie of the same name, Thoroughly Modern Millie is almost thoroughly new. Composer Jeanine Tesori (Violet) and lyricist Dick Scanlan wrote a whole batch of songs, while retaining a couple from the movie--including the Jimmy van Heusen-Sammy Cahn title tune--and recycling even older material (look for Victor Herbert's "I'm Falling in Love with Someone" and the inventively arranged "Nuttycracker Suite"). Miraculously, the show, set during the jazz age, doesn't feel stitched together, and Tesori does a great job cranking out swinging melodies. Sutton Foster is appropriately brassy as Millie, but she can also tone it down, as in the beginning of "Gimme Gimme" (of course, she then proceeds to project up to the last rafters as the song builds to its climax). Harriet Harris, as nasty Mrs. Meers, steals the show with "They Don't Know." Close your eyes, listen to her, and you'll be back in Broadway's golden age. --Elisabeth Vincentelli ... Read more

Reviews (90)

Perfection!
This CD is about as perfect as you can get without Sutton Foster belting 'Gimmie, Gimmie' two feet from your face!

This is Broadway at it's best-they know they're not working with something life-altering and profound and they accept it and have a BLAST. Sometimes you want to see a play that makes you think, and sometimes you want to see what made the Great White Way so GREAT! There's something (And I hate saying this) universal about this musical-no matter how jaded and 'mature' you feel, listening to Sutton Foster's Millie Dillmount will take you back to a point where you were so excited about life. It's funny, it's charming and it's sweet, and it's also brimming to the top with talent. It's the type of CD that makes you smile on a crowded subway, and sing out loud in the shower and hum in mandarin on the elevator!

Overture - Not too bad, gets your pulse racing but you can skip over it after a few times though.
Not for the Life of Me - A wonderful song about that moment in life where you stop and realize "This is it-I'm on my own!" and you love it!
Thoroughly Modern Millie - Cute, from the movie, a crash course in 1920's high society
Not for the Life of Me - see above
How the Other Half Lives - Priceless! It could only be better had they included the text from the performance "I'm not poor, I'm broke, there's a difference. Poor sounds permanent but broke can be fixed!"
Not for the Life of Me (reprise) - Best song sung in mandarin to hit Broadway! ; )
The Speed Test - Disgustingly infectious and catchy, you'll find yourself tap dancing at the gym!
They Don't Know - How amazing is H. Harris? This is without a doubt, ahhhh-I'm speechless!
The Nuttycracker Suite - Mehhhh
What Do I Need with Love? - An amazing song, but I have to be honest, the show belongs to the ladies-
Only in New York - Like Sheryl Lee Ralph, who gives it her all a song you can hear Lady Ella sing.
Jimmy - Awwwww, a good old fashioned love song! You can feel your heartstrings being tugged and you'll love it!
Back at Work / Forget About the Boy - Catchy, this was performed @ the Tony's and is another song which makes you regret not taking tap dancing lessons.
Ah! Sweet Mystery of Life/I'm Falling in Love with Someone - Music swelling, lips quivering, a very period melodramatic piece that comes across like a great piece of lyrical comedy!
I Turned the Corner/I'm Falling in Love with Someone quartet/reprise) - A sentimental song, but by this point, you're ready to leap on stage and join in! A great 4 part harmony.
Muqin - LOL. This is what comedy is all about!
Long as I'm Here with You - Another jazzy toe-tapper by SLR! This woman has a set of pipes on her that you wish they'd showcase more often.
Gimme Gimme - You know how some singers have songs that'll follow them around? Yeah, this is Sutton Foster's-This song explains why this woman deserved every award thrown at her feet and should still recieve MORE! This is the definition of SHOWSTOPPER! BUY THE CD FOR THIS SONG! This is why Sutton Foster has been praised by even those who hated the show. She's AMAZING!
Finale - Cute
Final Bows - A nice full circle to come to, and eases you off your emotional rollercoaster!

THE BEST BROADWAY I'VE EVER HEARD
As a longtime fan of the 1967 Julie Andrews/ Mary Tyler Moore film "Thoroughly Modern Millie," when I heard it had become a Broadway show, I was both excited and skeptical. The inevitable question arose: "can it live up to the film?" The answer is YES, and then some! Of course many changes were made to create the transition from screen to stage, and the ending result is a Broadway show that is brilliantly done in its own right. The cast is exceptional, especially Sutton Foster; what a talent! I have listened to this CD a thousand times already and I am still blown-away by her energy and unique talent. Every song is infectious, comical, exciting, and fun. This whole CD, from beginning to end, is a "Thoroughly" enjoyable experience. You won't have to skip through tracks on this CD, but you will want to put it on "repeat"! My only warning is that as soon as you hear this, you will want to see the actual show, which is unfortunately impossible for those of us who live on the other side of the country! Luckily, I still have the original 1967 movie (also heartily recommended) and this delightful Broadway soundtrack to enjoy!

A Great Cast Album
This CD is a great purchase! Sutton Foster's vocals are powerful and emotional while maintaining a very fresh and spontaneous attitude. Jeanine Tesori's orchestrations create a beautful atmosphere to the jolly tunes that flatter, but never overuse, their 1920's inspiration. A great recording with memorable songs that will keep you humming.

Better than movie
The Broadway version was better than the movie due to the fact the songs were much improved and better. I still think this show lacks something in the music though. it is just not up there with the likes of "The Sound of Music", "The Lion King", "The Phantom of the Opera" and "Singin' in the Rain". The songs are to repetitive and don't touch you like some others in other musicals. The theme song is wonderful, but it is not a musical where every song can get stuck in your head.

On a whim...
I had the privilege of making a quicky trip to NYC last weekend JUST to catch Gypsy before it closed on the 30th... and I saw it twice! Ha! But that's another story...

During the stay we decided to check out Thoroughly Modern Millie as well. I have loved the 1967 movie since I was a tiny tot, and when I found out Broadway had finally gotten their hands on it, I bought the recording. Now, I bought the CD a few months ago. Plenty of time to get into it and have every song stuck in my head for weeks to come, eh? No cost. I never fully got into this recording. Maybe it was all the new material I wasn't familiar with? Maybe I was bitter that this Broadway musical seemed like an entirely different show all together? Something wasn't clicking right.

I just needed a little help of VISUAL AID, I guess!

I enjoyed the show "thoroughly" and ended up having quite a few numbers stuck in my head the following days we were in the city. It was bothering me that I left the recording at home and had no access to it for the time being.

I caught an entirely different cast than what is heard on the recording. I got the UNDERSTUDY of Susan Egan as Millie, Emily Rozek (who was absolutely FANTASTIC. I don't see how Egan could top this girl.) Leslie Uggams as Muzzy, a truly inspiring comedienne Dixie Carter as Mrs. Meers, yet another understudy Richard Roland as Jimmy, Kevin Early as Mr. Graydon, and possibly the only original left, a fabulous Angela Christian as Ms. Dororthy.

A particular stand out for me is "Forget About the Boy", along with "What Do I Need With Love", "How the Other Half Lives", "Not For the Life of Me", and of course the showstoping "Gimme Gimme". The overture and title song are equally exciting.

I wish I could have seen the much raved about Sutton Foster as the leading lady, though I am undoubtedly very happy with the cast I got.

Very cute, very fun, and very hopeful. 3 words that came to my mind as the house was cheering with standing ovations. With a few disappointments here and there about numbers that didn't get carried from the film to the stage, I had a great time.

Go see it before it closes on June 20th!! ... Read more

Amazon.com

Director Jonathan Glazer's supernatural mystery revolves around a NYC woman (Golden Globe nominated Nicole Kidman) who becomes obsessed with the young boy who claims to be the reincarnation of her dead husband. French composer Alexandre Desplat imbues the tale with a sophisticated orchestral score that conjures an aura of magic and mystery, often fusing the minimalist rhythms of Reich and Glass and the impressionistic classicism of fellow countrymen Ravel and Debussy with deceptive grace. The cues here brood and pulse with haunting subtlety, seasoned by fleeting waltzes and solo piano passages that recall the composer's previous fine work on The Luzhin Defence. Desplat's masterful music here (honored with nods from both the Venice Film Festival and Online Critics Society) is on a par with his Golden Globe-nominatedGirl With a Pearl Earring, another elegant, post-modernist musical gem from one of filmdom's most underrated musical talents.--Jerry McCulley ... Read more

Reviews (6)

Haunting melodies with harmonic breadth
This is a superb soundtrack, perhaps the strongest element for the feature film.I recommend this for all who collect highly listenable, mood-themed soundtracks.

Hauntingly Beautiful
I don't know a thing about reviewing film scores. I wouldn't even know where to begin. I haven't a clue what any of the instruments are, so identifying one I like within a track is completely out of the question. The most I can do is point out that in my review of the film, I state that the opening sequence of it is the most beautiful piece of film I've ever seen, mostly because of the score going on behind it. Based on that one piece of music, Prologue, I bought the score after watching the movie for a second time.

What I'm surprised by, though, is that the piece of music I bought the score for is actually the weakest when taken out of the film. Prologue , when taken away from the gorgeous film accompanying it in the beginning of the movie, is actually not the best piece on the album. The rest of the score, however, shines brilliantly when taken out of the film. It's not often that I find myself sitting down listening to a score, most of the time I'll get bored of them, music needs vocals for me, but this score is different. There's something undeniably beautiful and brilliant about it, so full of life that it doesn't need the film to go along with it. Based on how I felt the second time I saw Birth, I'd have to say that I prefer the score by itself to how it sounds within the film.

If you consider yourself a fan of music in any way, I would recommend that you give this a listen. It's one of the most unique and hauntingly beautiful pieces of music I've heard in a very long time. I don't know how Alexandre Desplat came up with it all, it's more then my mind could even begin to comprehend.

A pure masterpiece
ALEXANDRE DESPLAT - Birth

Some excellent work in here indeed. The waltzes, sometimes performed by piano, others by the full orchestra, are beautiful, the main theme is playful, vivid memorable and cleverly rendered / varied and `hidden' inside the whole score. The composer actually worked on it, giving it the forms, space and time needed so it could operate and become an actual musical theme! The piano and violin solos are awesome, especially the piano which has a smooth, almost angelic sound! A lot of development has been passed on the brass and the wind instruments' section of the orchestra and in this score, I heard one of the most wonderful, dark, moody, pompous and mesmerizing pieces ever - one time in `The Wedding' and another in the variation of the above with the addition of some new elements in the `Elegy'. It's simply amazing how easily those 2 pieces manage to fascinate, drift, and hypnotize the listener into a sweet, innocent ride of musical pleasure.

This is a score that actually reminded us of how proper film music should be, sweeping, grand, elegant, orchestral (something that's sadly missing nowadays), must have strong themes with a lot of work and development on them (not just throwing in some themes just to exist) with imagination, feeling and captivating atmosphere.

Its dark and sometimes twisted atmosphere actually reminded me of ANGELO BALAMENTI'S dark works for DAVID LYNCH (particularly Mullholand Dr) only this is clearly a much more clever and developed score.

So well done to Mr. Desplat, he managed to offer something that's frequently absent in our times: an original and alive masterpiece!

Imagination reborn......
I FINALLY got my CD in the mail from Amazon and it had been about a month since I'd actually seen the film (maybe longer) and as soon as it cued up and began to play, it was uncannily just as etherial and eerie sounding as it was the first time.I have a handful of music scores I listen to quite often (Gladiator, Jaws, American Beauty), but this one has quickly become my favorite.The two pieces "The Wedding" and "Elegy" are the ones I find myself listening to over and over."The Kiss" and "Mr. Reincarnation" are right behind.I find myself falling asleep each night listening to this score on my Dell DJ and on those nights my battery is too low to run the player and has to recharge, I certainly miss the eerie lullabies.I think this score made the movie.....it set the mood and kept it in a somber and internalizing place.I am looking forward to hearing more of Alexandre Desplat's work.....most definately.

Memorable
Just like Glazer's movie, the score is both haunting and subtle. The opening sequence is just memorable and owes a lot to Desplat's magnificient partition.

A music which balances between fairy tale and nightmare. Muted pain.

Desplat also made a splendid score for Audiard's wonderful thriller "Read my lips", a soundtrack unfortunately unavailable...

Whereas Glass music can ruin a movie, Desplat's just moves along with the images, not heavily underlying them. ... Read more

Amazon.com

These 1977-78 recordings are Karajan's best Brahms--better than his somewhat mannered digital set. The Berlin Philharmonic, as ever, is amazingly smooth and accomplished, playing with great class without losing any power--as an example, just listen to the finale of the second symphony. DG's engineers have turned this always-good recording into something truly magnificent to hear, and, at the price, this is a sure bet. --Robert Levine ... Read more

Reviews (14)

Good, but not great.
I'm a big fan of Karajan, and even though he was recently voted the #1 conductor of the century by a major classical magazine, it seems that he didn't work wonders with Brahms as consistently as I would hope. These aren't bad recordings, but with the many fine Brahms cycles that are now available, I would not recommend this set. The first symphony is not as crisp and clearly articulated as Karajan's 1964 version, which is perhaps the best on record. The second symphony lacks grace, even though it has plenty of fire. You just feel like the Berlin group is churning away in the finale. The third and fourth symphonies did not make much of an impression either. Like I say, I love Karajan--but these recordings just don't do it for me! Claudio Abbado's digital recordings with the same orchestra are fabulous, and I love Solti's version of the second--so maybe the rest of the works in his set are equally enjoyable. I have not heard Karajan's earlier versions of the 2nd, 3rd, and 4th. Maybe they are better. I hope so!

Great collection of Brahms¿ complete symphonies!
I found these to be excellent performances of Brahms' four symphonies - consistently exciting, vibrant and passionate! The Berlin Philharmonic Orchestra, under the direction of the late legendary conductor Herbert von Karajan, recorded the complete Brahms cycle in 1978. Especially enjoyable for me were Symphony No. 1, which shows the composer at his most fiery and passionate, and Symphony No. 4, which is filled with the autumnal glow of a man nearing the end of his life and at peace with himself.

The digitally remastered sound quality of these analog recordings is excellent. Awarded a three-star rating (signifying "an outstanding performance and recording in every way,") by the "Penguin Guide to Compact Discs," this two-CD set is highly recommendable to all fans of Brahms' music.

Brahms as Brahms!
There is not much to say! This is Brahms with Berlin Philharmonic and Karajan. Which means - the very best Brahms!

Karajan's greatness marred by DG's recording techniques
Herbert von Karajan made many dearly beloved recordings of some or all of Brahms symphonies several times in his lifetime. Two complete sets are worth noting more than the others though. The recordings heard on the set reviewed here, and the recordings made in the 1960s. The set reviewed here was made in the late 1970s. At that time, DG was in the habit of using very close microphone techniques. Someone there thought "the more the merrier" and placed microphones as close to the orchestra as possible. The result is a sound that is very dry, almost entirely lacking in accoustic reverb. I dread listening to these recordings. They seem one dimensional. There is no depth. For example, the listener cannot tell if the timpani is right in front of the conductor, or in the back of the orchestra. The 1960s recordings are entirely different matter. They sound warm, three dimensional, lifelike in comparison to the 1970s. The 1960s recordings are not completely available as a set, to my knowledge. You can get #2 and #3 together (Amazon asin # B000001GBU) , but that CD is s very early remastering done in the mid 1980s, and is marred by digital graininess. For a good example of the 1960s set though, get the recording of #1 that is coupled with the Schumann #1 in DGs more recent "The Originals" series (Amazon asin # B000001GQ5). If you love Karajan's Brahms, this is the pinnacle to aim for. If only DG would issue all of the early 1960s Brahms recordings Karajan made, we who love his interpretations would be in heaven.

Melancholy, Elegiac, Lush Brahms
If you like your Brahms in a melancholy mode, lushly recorded and nuanced to the max,(and I do!), this Brahms is for you. Karajan's approach is to these four symphonies so unified as to perhaps be regarded and overdetermined and sterile, but for me they evoke a variety of emotions that few other recordings do, and there are times when I listen to both CD's at a sitting, finishing, with the peerless Third. It's a fine experience. ... Read more

Amazon.com

"How about a bad title?" wonders Spencer Kayden's Little Sally in "Too Much Exposition." "That could kill a show pretty good." It's a tribute to the skill deployed by the Urinetown creative team (Mark Hollman, music and lyrics; Greg Kotis, book and lyrics) that its title doesn't kill the show. Set in a near-future in which water depletion has led to a ban on private toilets, this may be the only musical in history in which one of the leads makes a fortune on pee. But the show (which originated Off-Broadway before graduating to the big league) limits its subversive intent to subject matter and is refreshingly classic in approach and structure--think Weill-meets-Lewis Carroll. Backed by a small ensemble, the cast (with John Cullum in a turn nothing short of brilliant as the evil urinal magnate) has a field day with Kotis and Hollman's frequently hilarious score.--Elisabeth Vincentelli ... Read more

Reviews (69)

one of the best Broadway musicals of recent years
URINETOWN is one of the best Broadway musicals of recent years. Featuring a killer score by Mark Hollmann and Greg Kotis, it has shades of the political, anarchic musicals written by Brecht and Weill (THE THREEPENNY OPERA), as well as Marc Blitzstein (JUNO) in the 50's.

The story recounts the troubled province of Urinetown. Due to a crippling water shortage, the town is forced to ban toilets, instead having to pay the frazzled Miss Penelope Pennywise (Nancy Opel - TRIUMPH OF LOVE) to use the cramped urinal which has to accommodate the entire population of the town. Toilet mogul Cladwell (John Cullum - ON A CLEAR DAY YOU CAN SEE FOREVER) keeps the town under his forceful thumb, until his headstrong young daughter Hope (Jennifer Laura Thompson) and local boy Bobby Strong (Hunter Foster - LITTLE SHOP OF HORRORS) decide to rally the township to revolt.

Acting as our 'tour guides' are Officer Lockstock (Jeff McCarthy) and Little Sally (Spencer Kayden). Standout numbers include "Follow Your Heart", "Snuff That Girl", "Too Much Exposition", "We're Not Sorry", "Tell Her I Love Her" and the showstopping "Run Freedom Run".

URINETOWN first began life off-Broadway, but later moved up to the Henry Miller's Theatre on the main stem. If you have yet to discover this show (or if you are just put off by the name), forget your qualms and buy it - you won't be disappointed!

A most unusual musical
Urinetown: The Musical is a unique production. As Hollmann and Kotis notes, the musical was never intended to be produced. It was their own little laboratory experiment that they never could put away. Over the years, their obsession finally led to concessions which brought it Off-Broadway and finally on to Broadway.

For even the casual fan of musical theater, you will be able to spot Hollmann and Kotis' deep understanding of the form. Throughout Urinetown: The Musical, they continuously satirize the stock characters (e.g. the dim-witted naive heroine; the unbelievably precocious child), conventions (e.g. exposition techniques), and production numbers (e.g. the Act I Finale which is particularly reminiscent of Les Miserables) familiar to theatergoers. Going beyond satire, they are also unafraid to turn musical theater on its head by breaking the rules (e.g. the "very bad title" among other interesting secrets I will not reveal in the review). In addition to being clever, Hollmann and Kotis provide us with very enjoyable songs with my favorites being "Don't Be The Bunny" and "Tell Her I Love Her".

In closing, the CD provides an excellent introduction to the musical, but musical theater is supposed to be seen and heard so I recommend seeing the production live. It will further your appreciation and provide better context beyond reading the libretto.

Eh...
I can't believe this moved up to Broadway while [the far superior] Bat Boy never made it! Urinetown is, like it's obnoxious title, pretty awful. Usually, I enjoy a musical that dares to be different, so when I heard of Urinetown, I bought a copy of the cast recording without having seen the show before.

Here's what I thought:

As with most musicals, there are a couple of winning songs (Look At The Sky, Act One Finale) but the majority are barely listenable. I'm sorry but for me, a musical needs at least nine good songs in order to redeem itself, not just two or three. Now, it has an interesting plot but that doesn't make up for the BAD singing (with the exception of Hunter Foster), annoying voices (Jennifer Laura Thompson, John Cullum), horrible lyrics, and true let-down of an ending. I give this original cast album two stars for effort.

Check out Wicked, Aida, or even Seussical if you want a musical that delivers.

Urinetown ... you'll keep going back for more!
The first exposure I, like many others, ever had to Urineotwn was its 2002 appearence on the Tony awards performing "Run Freedom Run." Just comparing the selections shown that night of "Throughly Modern Millie" and "Urinetown" it is a complete mystery why Urinetown is not still running today with the Tony for Best Musical in its tow. The book along with the music full of quirking lyrics ('so let's live it up...eat the oyster and the pearl!')and boiling over with spunky similies ('my heart is like a stallion racing through a great expanse...preforming coronary somersaults!') keeps many a listeners singing along. Also, the Tony award winning score is more then complimented by the fantastic performances of Spencer Kayden (Little Sally) and Hunter Foster (Bobby Strong) who is now playing in "The Producers." This is a CD has a one of a kind sound that is addictive leaving you comming bakc for more. No matter how many soundtracks you own there is always room in your stereo for the unique tunes of Urinetown.

Urine Heaven Every Single Second of "Urinetown"
"Urinetown" is so many things. Hysterical, touching, exhuberant, joyful, and above all, it is sheer brilliance. "Urinetown" was one of the best theatre-going experiences I have ever had. I actually wasn't too hot on seeing it, but was convinced to go by a relative, and I was enchanted by the pure magic of this show by the second or third bar of the overture. And a great thing about this cast recording, is that it is one of the best shows to transfer from stage to cd. Every number on the cd, is almost as good as seeing them live. Of course, nothing can match the live theatre experience, but this cd comes close. Unfortunately "Urinetown" has now closed on Broadway, but this cd is an absolute must for Broadway enthusiasts. Don't miss out on one of the most joyful musicals ever written! ... Read more

Reviews (1)

Upbeat and cheerful
I selected this cd when the music store I was in did not have Baby Mozart, the one I had heard about. Now that I have both I can say that this one, Baby Bach, is my favorite. The music is not quite as music-box-like as the Mozart cd so you and baby can listen to it a million times without tiring of any selection. ... Read more

Amazon.com

Laced with almost metaphysically challenging guitar work and laden with rich, full-orchestral arrangements, The Princess Bride soundtrack qualifies as one of Mark Knopfler's cinematic triumphs. Romantically lyrical melodies like "I Will Never Love Again" contrast brightly with fun frolics like "The Friends' Song" and edgy mood pieces like "The Cliffs of Insanity." While most soundtracks are really just compilations of hits or variations on a single theme, Knopfler's play more like symphonies, each movement as fulfilling as the last. Though The Princess Bride doesn't quite carry off the emotional impact of Local Hero or Cal, it does offer up some terrific music and one good love song, Willy Deville's "Storybook Love." --L.A. Smith ... Read more

Reviews (30)

A Wonderful Soundtrack That Fits The Movie Perfectly
Knopfler created a wonderfully fitting soundtrack to the film "The Princess Bride." However, this also creates a problem. Without the movie playing at the same time as the music, you notice the imperfections in the soundtrack quite a lot (such as the overuse of synth strings). The high points of the soundtrack seem to be the guitar pieces, which, unfortunately, are far too few. Though it has some problems, The Princess Bride is probably one of the most pleasing soundtracks to listen to in entirety. Whether it is enjoyable or not is a matter of personal preference: if you don't like hearing synthetic strings, you might want to stay away.

How to Watch a Movie without Looking
Although ostentatiously "80's" with its use of synthesizers, the soundtrack for the hysterical movie and brilliant novel, "The Princess Bride" is a treasure. The music, so perfectly composed for the film, evokes memories of every single action. While listening to the opening strains, one can imagine, nearly in perfect sync with the movie, Westley saying, "As you wish." While listening to the swordfight, one recalls every slash, parry and thrust (not to mention every quip, swing and switch.). "The Princess Bride" plays like a silent film's orchestration, galloping hoofbeats, trumpeting the hero, flitting alongside Buttercup. The CD is a perfect way to "watch the movie" in the office or in the car, no matter how "incontheivable" such a proposition may seem. Enjoy...or prepare to die.

I Have The Soundtrack on Cassette Tape
The Princess Bride is an awesome movie and so is the movie's soundtrack. I have the soundtrack on cassette tape and I've listened to it so many times I'm surprised the tape hasn't worn out and popped in my tape player! Mark Knopfler's music is beautiful and I love all of it but my personal favorites are Florin Dance and Morning Ride but the rest of the music is great too and I recommend this soundtrack and also the movie on DVD!

Anyone Want a Peanut?
The soundtrack is an integral part of a movie. Music helps intensify and brighten images and action that take place upon the screen. Many times purchasing the soundtrack turns into a disappointment because no connection was made between the music on the soundtrack and the movie. That is definitely not the case with Mark Knopfler's musical score for "The Princess Bride". Knopfler, as a composer, has an incredible knack of capturing images in his music.

The music in the movie is barely noticeable. It doesn't detract from the movie at all. You won't notice how much of an impact that it does have until you hear the music on its own without the movie playing over it. If you have seen the movie only once, the songs on this soundtrack will conjure the images from the movie. You can almost hear Fezzik and Inigo exchanging rhymes on "The Friend's Song", and the daring climb on "The Cliffs of Insanity".

As you listen to the soundtrack, you'll be seeing the movie in your mind. There are few soundtracks that are so intertwined with the movie that they can elicit such imagery. Knopfler is able to pull off that feat. If you liked the movie, the soundtrack is definitely worth it.

Good music, but it's not all here
Knopfler is an outstanding composer, but the production team failed us slightly on this CD. One of the tracks has a high-pitched whine in the background that gives me a headache. Also, this is not the same soundtrack that you hear in the movie; it is the same music recorded differently. There are many major differences between the movie music and the soundtrack equivalent... but there's no other way to get the soundtrack, so we'll just have to live with it I guess. ... Read more

Amazon.com

This sublime, tranquil recording features 11 haunting ambient tone poems for treated piano. They are crafted from simple chords, arpeggios, or melodies that are frequently trailed by delicate electronic whispers to produce dreamy results. Even though Budd and Eno chose to compose and record in a minimalist style, their gorgeous, moody music evokes so much more, for the reverberating spaces between the notes are just as important as the notes themselves. In an interesting experiment, both "Against the Sky" and "An Echo of Night" explore the same melancholic musical theme in different settings--the former is a sparse piano piece with gentle electronic treatments, the latter is a murky synth work set against a nocturnal outdoor backdrop. (Budd later explored the theme again as the ethereal elegy "Olancha Farewell" on his 1986 solo album, Lovely Thunder.)Beautifully understated, the slow-motion ballet of The Pearl is a piece of striking ambient impressionism that was highly original in its day, well before the myriads of New Age imitators its composers spawned, and it remains fresh and vital two decades later. --Bryan Reesman ... Read more

Reviews (38)

Harold Budd, Part 2
This album and the preceding one, "Ambient 2: The Plateaux of Mirror", really have to be taken together in the same listen. They both feature the same sparse piano melodies over a treated Eno-scape. These two albums are my favorites for relaxation, reading, painting - you name it, they're great for it. That's why it's called "Ambient" music - it is made to fit in with almost any atmosphere, blending with, as Erik Satie once said, "The sounds of the knives and forks at dinner".
My favorite time to listen to these records is in a rainstorm, especially with distant thunder in the background. The rain sounds seem to bring out subtleties in the music that can't be heard otherwise.
So if you like Eno's "Ambient 1" or "Discreet Music" or Steve Roach's "Structures from Silence", this is the album for you.

Sonic wallpaper
As with Eno and Budd's best ambient work (together and apart), The Pearl is a wash of atmospheres and colors that blends with its surroundings. Music for talking, reading, sleeping, working, meditating or just about anything else, it's as simple and minimalist as it can get yet never sounds weak or disposable.

This time, the basis is simply piano with some "treated" effects. That's it. The Pearl doesn't have quite the variety of sounds & positive tone of Apollo, the relaxing haziness of Ambient 1, or the pure soundscapes of Ambient 4. The mood is occasionally sad, but mostly just.. peaceful. The song titles give the impression of the melodies themselves; ethereal, barely there, as fleeting and beautiful as a sunbeam or a bright fish in a stream. Lovely and subdued. If you enjoy music that fills the room and wraps you in a quiet ambience, well.. you should probably have this album already. If you're only curious to start, I'll just suggest that The Pearl and Eno's Music for Airports are two of the finest to begin with.

Aptly named The Pearl-- Pure and luminous
I love Brian Eno and Harold Budd's music. The drifting effect of ambient music is soothing yet interesting to the ear and it really does create an atmosphere in the space in which you are playing it.

The Pearl is mostly "treated piano" (gosh, as a lifelong player, I sometimes shudder at what they do to my favorite instrument, but it sounds divine.) Even though there is less of the electronic spacey effect, these pieces create an incredible sense of mood and emotion. "Late October" really has the feel of the regret of late autumn, when cold winter is on the way and only a ghost of happy times in summer and a glorious fall remain in a russet-colored landscape. "An Echo of Night" is mysterious and dreamy.

Though the Ambient 1-4 were my favorite albums by Eno and Budd, Pearl is pushing its way right up there for "most listened-to." If you are a fan, I'd say this is one that you have to have. I just love it.

Incredibly sublime experience that brings deep serenity
Never before have I owned a CD such as this one that each time I listen to it I become blissed out.
Harold and Brian are both geniuses.
I only have about 4 of Harold's CD's but his gifted piano compositions affect me like no other...
I thoroughly recommend this music to take you into those places within yourself that are characteristic of the most serene and tranquil states ever imaginable.
Harold, you're brilliant.

perfect
this is a perfectly gorgeous record. all the others here say it better than I could. ... Read more

Amazon.com

Bela Fleck is one of the greatest five-string banjo players performing today. Beginning in the 1970s, he honed his lightning-fast chops performing bluegrass, then moved on to contemporary jazz and fusion sounds. With this album, he broadens his horizons once again by performing an entire program of classical music transcriptions. Reminiscent of classical guitar albums by John Williams (who makes a guest appearance here), the disc traverses a wide range of repertoire--from Chopin mazurkas to Bach's Two and Three Part Inventions. Throughout, Fleck displays a feathery touch on his banjo, and his instrument offers a pleasant, brassy tone with very little twang. The technique he displays on Perpetual Motion is astounding and a refreshing change of pace from the smooth grooves found on the banjoist's Flecktones recordings. The arrangements are generally minimalist and understated, but violinist Joshua Bell, bassist Edgar Meyer, mandolinist Chris Thile, and percussionist Evelyn Glennie join in on this groundbreaking disc. Bluegrass purists may be disappointed (this is a far cry from the free-spirited, folksy abandon found on Sony's Short Trip Home and Appalachian Journey CDs), but classical fans will be astounded by how perfectly natural Fleck's banjo sounds on these works. --Jason Verlinde ... Read more

Reviews (34)

Who'd believe it? Classical BANJO????
To be honest, I bought this CD to please a friend of mine who insisted that I listen to it. My gut feeling was that it was going to be a classical "Annoying Music" CD. (I love the "Annoying Music" CDs -- but classical "annoying music" can be absolutely grating!)

Now, imagine my surprise when I heard absolutely impeccable performances of Scarlatti, Chopin, Bach and Beethoven -- played on a BANJO!

Even more, imagine my surprise when I realized I had driven five exits past my turnoff while listening to this CD for the first time on my way home!

Some of the really outstanding moments on this CD are the Scarlatti Sonata in C Major (K159), Debussy's "Doctor Gradus ad Parnassum", Chopin's "Etude in C-Sharp Minor" (which is a finger-breaker on the piano -- I cannot imagine it being played on a banjo, but he does it, and it works!), and Paganini's "Perpetuo Moto".

The clarity of the playing -- both solo and ensemble -- is nothing short of astounding. Fleck makes the banjo sound like anything BUT a banjo -- the Scarlatti sounds like it's being played on a lute; the Tchaikovskii sounds like it's being played on mandolin -- and it's all uncannily musical!

This CD is probably the biggest shocker I've heard in six years. I can't say this strongly enough: BUY THIS CD!

Smiling Bach
This is just a wonderful collection. It was very risky, I think, for Bela Fleck to stretch himself and try his hand at a "classical" repertoire that he wasn't familiar with. I don't see how anyone could see this CD as anything but a victorious effort. The J.S.Bach pieces are especially good, because I think that Fleck does a wonderful job of keeping their original "flavor." Bach was a master (probably THE master) of baroque counterpoint and fugues, and it seems like the banjo really lends itself to those kinds of interweaving melodies. Edgar Meyer is the best "cross-over" string player (folk/classical music) that I know of. How cool is it that he plays piano with Fleck on the Tchaikovsky piece?! (Note: one reviewer said that the Tchaik piece didn't fit in with the others...I totally disagree). The marimba really works well with banjo on this disc as well. Apparently, the Paganini piece helped to spark Fleck's interest in going classical...that and his friendship with Meyer (one of the best things about this CD are the notes that Fleck writes about how he first started on the path of producing it). Of all the tracks, I'm sure that I listen to the Debussy most often. Who would have thought that a banjo could be played so seamlessly!

Stunning!
. . .
Fans of classical music and the banjo will both be stunned by this CD.

Period.

. . .

Wow
Fleck wins 5 stars for his cross over success with "Perpetual Motion."

This is an excellent collection from the eclectic blue grass banjo master. His success at Bach's "Prelude" (#11) is sublime. His attack on Scarlatti's Sonata in C makes him the Sun Tzu of the instrument. Also, his interplay with Evelyn Glennie on the marimba is very appealing. Josua Bell, Gary Hoffman, Chris Thile, John Williams and the other excellent musicians take this to the top.

This is a milestone step forward for music.

Stunning!
I am an absolute classical music purists. I am often upset by hearing Bach played on piano, since he never composed for the instrument, so that should tell you how narrow-minded I am about classical music. My attention was drawn to this album when I heard the Bach cello suite on NPR one day. It is a late Bach piece, and in my opinion the single piece that does the cello more justice than any other. It is simply a splendid piece. When the announcer introduced Bela Fleck, of all people to be playing it, I was skeptical to say the least, but I opened my ears and listened. Within seconds of the downbeat, I foundmyself in some of the most amazing playing on an instrument for which I have rarely had any respect. Not only does he play every note as it is written, and play them all well, but it sounds good! Amazingly good! I think the banjo actually works really well with lots of baroque music. That interpretation was truly something special.

I do not yet own the CD, but will in the not to distant future, so I cannot speak for the rest of it, but I will say that I am again skeptical about how the banjo will mix with romantic music. I don't think the instrument has the ability to express music in the way a piano or other stringed instrument can, which is one reason Bach works well because there is little room for "interpretation." I am quite curious, though, to hear how it sounds! ... Read more

Album Description

The original score, to 2001 indie film, written & performed by Michael Andrews includes 'Mad World' featuring GaryJules. Enjoy Records. Digipak. ... Read more

Reviews (64)

My review plus some info
okay,"west end girls" by the pet shop boys is NOT on the movie,although it was intended to be,i believe.BUT the song that "sparkle motion" is really dancing to IS "west end girls".Try syncopating the pet shop boys' song to the movie and you realise they dance in almost perfect sycronization to it.It's extremly upsetting that the beautiful theatre music is ommited but I'm sure there is a reason for that.for one thing,it's not written by michael andrews,but by a Steven baker and Carmen daye.Who they are,I do not know but you can get an mp3 over at www.stainlesssteelrat.net/dd.htm I'm pretty sure it's ripped straight from the DVD but it sounds great never theless.
Okay,people this is a SCORE!not a SOUNDTRACK.The classic 80's songs are not here,except for gary jules' tears for fears cover.
That being said,this is an amazing album.I' fell in love with the score to this movie almost as much as the soundtrack (download the 80's songs and burn them,they're great songs)
I asked for the soundtrack for christmas but apperently it's been discontinued.so i kinda lost hope,only thinking i'd find it on ebay.But just today i was in cdplus and true to my habit,i went to the "soundtrack" section and flipped to "D" and there it was!You cannot know my joy at seeing this!And it's everything I'd hoped for.It's gorgeous piano stuff with a lot of ambience thrown in "check out ensurance trap" for an almost "aphex twin selected ambient works vol.II" type of creep-out.in fact this album reminds me a lot of the piano pieces on aphex twin's "drukqs" album.It's a gorgeous album and includes a great dance type mix of "mad world" that's almost worth the pric eof admission.My only qualm is it's length this cd needs to be a lot longer some of my faveorite ambient songs are over 10 minutes long.But it's a minor quibble.and it's of course better to want more of something than to run for the "stop" button!

eerie/beautiful
My review title hints at my usual prerequisites for a soundtrack.This debut!by Andrews has it in spades.The movie is probably my favorite of last year and I now own the dvd,but a large portion of its' charm is due to its' haunting score. I haven't seen the cd in the stores anywhere so on the second viewing of the film,(and knowing by then the music was a must have),I ran to Amazon to make sure it was available.Thank the gods it is!That funeral dirge/gothic lament track is worth the price alone.Sooo beeautiful.I used to be a rabid soundtrack collector,but for the past three or four years that habit dropped off and was forgotten, I guess because nothing much grabbed me when I saw a film--until this one.It's the first soundtrack purchase I've made in a long time.

Will Director's Cut Spawn a Soundtrack??
I too am one of many disappointed Darko fans that searched for the soundtrack and found only the score. Not that the score is bad--though 'for whom the bell tolls' is an inexcusable omission--but without the 80's music the score falls a bit flat. What a pity that the two were not released as one album--even a greated pity that there is no soundtrack in existance. With the May 2004 release of the Darko Director's cut, I can only cross my fingers and wish on falling stars that a soundtrack CD will be eventually forthcoming . . .

not the soundtrack
There is no SOUNDTRACK to this film, because they did not have the money to produce it. So unfortunately, the fans miss out on the fantastic soundtrack that accompanies this film. However, it is not "out of print" so don't even try to find it, you will be unsuccessful.

Addition to Song List
To the song list I would like to add "Voices Carry" by 'Til Tuesday (this must be a feature of the Director's Cut) ... Read more

Reviews (1)

Reverent, beautiful
After criticizing Windham Hill in the past for often recycling the same songs over and over in various collections, I have to hand it to them with the new "Prayer" CD. It's a fine set of all-new acoustic versions of hymns or spiritual songs, plus a good number of original compositions. Producer Dawn Atkinson has done an excellent job of lining up a bunch of top-drawer people for "Prayer," and in working with the artists on the song selection.

Things get started with Tim Story's lovely piano rendition of the "Sanctus" from Faure's Requiem. The quiet and reflective tone of that piece carries throughout the CD. Other highlights include Paul McCandless's moving "Lord's Prayer" version and Steve Erquiaga's "Ave Maria." "Prayer" is a perfect disc for background listening if you're engaged in some activity that needs harmonious yet unobtrusive accompaniment. ... Read more

Reviews (69)

great soundtrack, great movie
if you haven't seen this movie yet, see it. it is by far wes anderson's best work, and the performances by the actors and actresses in this movie make it that much better.
but the icing on the cake for this movie is the music. the music fit in to the movie almost too well. it had an almost "magnolia" feel to it at points. it was as if the songs were written specifically for the movie.
the sequence in the film that includes ellioy smith's classic "needle in the hay" and nick drake's beautiful "fly" was incredible. if you have seen the movie, you know what i mean.
but it is mark mothersbaugh who really proves his talent in this soundtrack. the track "mothersbaugh's canon" is truly wonderful. his has proven himself beyond a doubt as a great film score composer. save yourself from boredem of typical movies and go see this film.
then realize that you can't live without the soundtrack.

Great Movie, Greater Soundtrack
Not only does Wes Anderson have the uncanny ability to make poignant movies that are fun, comedic, emotional, and expressive, but he also can cull a myriad of songs from all different genres and knead them into a coherent and highly enticing amalgam of music. Each independent song on here is just great, not one dud. All the Mark Mothersbaugh songs on here are also exceptionally well done. While listening to this lovely soundtrack, you can't help but to evoke in your mind images from the movie. When Richie meets Margot again after years of seperation, Nico's beautiful composition These Days floods your ears at a timely and wonderful moment. When Royal takes Chas' kids out to be kids and have some fun, there couldn't be a better, more upbeat song playing then Me & Julio by Paul Simon. When Richie makes an attempt at suicide, I couldn't think of a more desolate, macabre song to be playing then Needle In the Hay, by Elliot Smith. All of these scenes would be just average if they weren't backed up by some of these magnificent songs. Music in film has always been an essential element to the movie, and there isn't a greater example of that than in the Royal Tenenbaum's. I highly recommend both the movie and this soundtrack to everyone.

phenomenal
This is by far the most amazing soundtrack I have ever heard. The mood of the music is exactly that of the movie. Mark Mothersbaugh does an incredible job, as always, with a few spunky little pieces, and a couple heart-wrenching ones. Elliott Smith, Emitt Rhodes, and Nico beautifully add to the bittersweet ambiance of this soundtrack. Although it may seem at first glance that the Clash and the Ramones are an odd addition, after seeing the movie or hearing the entire soundtrack, it becomes clear that they fit perfectly. I have never owned a soundtrack that moved me as much as this one does, and I'm not in the habit of giving anything a perfect score. If you are going to own one soundtrack in your life, make it this one. It just makes you FEEL.

Missing Song
The only song I noticed missing was "She Smiled Sweetly" by the Rolling Stones.

The soundtrack goes perfectly with the movie
In fact, some might say that the soundtrack makes the movie. This soundtrack is certainly an asset to The Royal Tenenbaums, which just wouldn't have been the same if any song was missing. As you listen to the soundtrack, you can even think back to certain parts of the movie. Everyone whose seen it knows exactly what they're thinking when "Me and Julio Down by the Schoolyard" comes on. And bands like the Ramones, whom I'm not a big fan of, shine and I actually enjoy listening to the one song that was picked out. This is because Wes Anderson knows exactly what songs to pick. This was evident in Rushmore, as well. Mark Mothersbaugh outdoes himself and really has some great orchestral pieces, and this CD actually introduced me to Nick Drake, which made it worth buying even if the rest of it was awful. A definate must have for and fan of the Royal Tenenbaums. ... Read more

Amazon.com essential recording

Stephen Sondheim's Company still sounds as modern as it did when it opened in 1970. Donna McKechnie, Susan Browning, and Pamela Myers spoof the Andrews Sisters with gusto in the tongue-twisting "You Could Drive a Person Crazy," while Browning and Dean Jones's "Barcelona" is filled with longing and heartbreak. And, of course, Elaine Stritch reigns supreme, proving once more that you don't have to be the best singer to steal a musical. An extra track features Larry Kert (Tony in the original West Side Story) singing "Being Alive." Kert had replaced Jones early in the run but wasn't on the original cast recording. It would have been nice to finally get the lyrics, though. --Elisabeth Vincentelli ... Read more

Reviews (36)

A Sondheim masterpiece
COMPANY is one of the greatest musicals to emerge from the 70's, which proved to be a rather thin decade for Broadway and the musicals.

COMPANY is a "concept musical" in the best sense of the word, where the songs act more as vignettes than form a scene-to-scene story. The cast, headed by Dean Jones and Elaine Stritch, has never been truly bettered.

Dean Jones, in his brief time as Bobby, displayed for the first time his rich and beautiful singer voice. After years playing the goofy leads of Disney comedies like "The Love Bug", "Monkeys Go Home" and "That Darn Cat", Jones was established as a Broadway star to be reckoned with. His renditions of "Someone is Waiting" as well as the life-affirming "Being Alive" are fantastic.

The supporting cast is headed by Elaine Stritch as Joanne, the sardonic older woman who sings the masterpiece "The Ladies who Lunch" (still yet to be equalled). Beth Howland, as kooky Amy, sings the difficult patter-sing "Getting Married Today" with gusto. Pamela Myers, in her Tony-nominated role as Marta, sings a mean rendition of "Another Hundred People". The rest of the cast; Barbara Barrie, Charles Kimbrough, Merle Louise, Charles Cunningham, Teri Ralston, George Coe, Steve Elmore, Charles Braswell, Donna McKechnie, Susan Browning, Cathy Corkill, Carol Gelfand, Marilyn Saunders and Dona D. Vaughn; all sing with gusto.

Stephen Sondheim certainly created what is considered one of his most polished and questioning scores; including "Barcelona", "Have I Got a Girl For You", "Sorry-Grateful", "Poor Baby" and the dance arrangement for "Tick-Tock", which provided a showcase for the galvanising dance talents of Donna McKechnie (who would go on to create the role of Cassie in the original cast of A CHORUS LINE).

One of the Greatest Musicals
"Company" -- along with "Follies", "A Little Night Music", and "Sweeney Todd", represents the pinnacle of Sondheim's achievement and a bastion of the greatest music Broadway has ever sponsored -- both from a musical and literary perspective. "Company" itself is by turns warm, acerbic, amusing, frantic, and is a magnificent expression of the convoluted emotional lives of modern urbanites. (Indeed, it has one of the most perceptive songs ever written about New York City--"Another Hundred People".) The ambiguity of the human spirit is a major theme running through Sondheim's ouvre of lyrics. (Which are, in my opinion, arguably the greatest body of lyrics composed for the stage, Gerschwin, Berlin, Porter, Rodgers & Hammerstein & Hart AND the rest notwithstanding.) Such brilliant songs as "Sorry-Grateful", "Someone Is Waiting", and "Being Alive" attest to that. The words reach down into the gut, and even when cynical they ring true (as in the wonderful "The Ladies Who Lunch"). Although there have been alternative casts and revivals and numerous concert performances of the score, in whole or part, this original cast recording still towers above them all: Dean Jones' magnificent performance, fraught with all the pain and bemusement and alienation (the role nearly caused him to have a nervous breakdown, it affected him so much); that national treasure, Elaine Strich, in "The Little Things You Do Together" and the incomparable "The Ladies Who Lunch"; Beth Howland's tour-de-force panic attack while "Getting Married Today"; the wonderful cast (including Charles Kimbrough of "Murphy Brown" fame and Barbara Barrie, and alumnus of "Barney Miller"). Even the ostensibly "Big" crowd-pleaser numbers, like "Side by Side by Side", for all their conscious nods to popular tastes, have an edge-- how Bobby, at the end, finds himself alone when his married friends pair off with their spouses-- beside the wonderfully witty and insightful lyrics; in "Barcelona" -- one of the most realistic "post-coitus" numbers even written -- where Bobby, after insincere and fulsome praise of his recent bedmate, at a climax calls her "June" -- and she quietly corrects him-- "April" -- there's nothing quite like it, or many of the numbers, elsewhere in Musical Theater. ALL IN ALL -- this album is a classic, probably not for people with bubblegum tastes whose preferences run to the simpy or bathetic-- but for people of intelligence and introspection. It cannot be recommended too highly.

"Company"-The zenith of Sondheim wit and knowing?
Marked for over 40 years as the single most observant, wittiest, most revealing composer/lyricist of the Broadway stage, Stephen Sondheim distills every iota of his remarkable talent in this multi-faceted piece of commentary of the human condition and the human willingness to commit that pulls off the extraordinary trick of being refreshingly- and painfully- honest at the same time.

"Company," the 1970 Tony winner for Best Musical, still stands as a marvelous example of music, cast, and production blending together to create something modern and uncommonly great. The plotless story dealing with the concern of five Manhattan couples for their mutual friend Bobby (Dean Jones) and his romantic life (or lack thereof) is as relevant today as it was to 1970's audiences. As the friends discuss their concerns, we learn that not only has the domestic life they picture for their friend not worked out well for them, but what would they do without Bobby to support them? Bobby himself is ambivalent about committing to a serious relationship, while trying to supplant his friends' concerns for him and themselves.

Just about any married couple will recognize themselves in one of the show's intricately sketched couples, and the uncertain bachelors out there will certainly identify with the angst-driven Bobby. As Bobby, Dean Jones creates a wholly likable character, and a realistic one that can be sympathized with and understood. There are other standouts in the cast: Pamela Myers, Donna McKechnie, and Susan Browning as Bobby's frustrated girlfriends. There are also wonderful performances to be enjoyed from Elaine Stritch, Beth Howland, and Charles Kimbrough.

Each of Sondheim's songs gives us a wry, telling look into the lives and thoughts of the characters. From the bombastic opening of "Company" on, the score never fails to capture interest. The ambivalent "Sorry-Grateful" sung by Bobby's married male friends, is a perfectly integrated mix of the regrets and consolations of the married man. "You Could Drive a Person Crazy," an amusing triplet sung by Bobby's girlfriends, sprinkles laughs throughout its breathless pace. Bobby's plaintive "Someone Is Waiting," in which he dreams of his ideal woman (which can not be lived up to) is still a beautiful dream. Myers' commentary on the connectionless, empty existence of New Yorkers is straightforwardly expressed in "Another Hundred People." Bobby's friend Amy (Howland) suddenly finds herself in a hilarious (and understandable) panic at the prospect of "Getting Married Today." "Barcelona," Bobby's duet with one of his girlfriends, April (Browning) ranks among the most heartbreaking, poignant soliloquies ever composed for the Broadway stage. And as Bobby's elderly married friend Joanne, Elaine Stritch creates a show of her own with the arsenic-filled "The Ladies Who Lunch," a tour-de-force from simmering start to bombastic finish. And there is the wonderful, wonderful eleven o'clock number, "Being Alive" which Jones sings with every ounce he has to give, bringing the emotional heart of "Company" full circle.

These vivid characters and resonating attitudes make "Company" a stark, uncompromsing vehicle in the Broadway canon. But it is a brilliant show at the nth degree of brilliance. It is a show to think about, to be moved by, and to contemplate in everyday life. Because it still is life.

Just Go Buy It Already
Company from the very first chords of its opening, is very much a product of it's time, but that in no way condems it to being anything but brilliant. It's amazing how you can go to the happy, and comical Side By Side, and then go to the melancholy, and slightly haunting Another Hundred People, but this is Sondheim, so could you really expect anything less? Every song is worthwile, which is surprising, because on all of my cd's there's atleast one song that I don't like. My only problem with it, if I had to have one, is that Dean Jones's voice really bugs me, not much mind you, just enough to sometimes make me cringe a little bit, especially on Being Alive, his voice is wavy and seems to be all over the place. Also, the same song being sung by Larry Kurt, the original Tony from West Side Story and Jones's understudy, who actually took over the role on Broadway since Jones left after doing the premier and this cast recording. Kurt has a smooth voice and is a welcome change to Jones's, but you gotta give the guy credit, he was going through a mental breakdown. When I bought this cd, I wasn't quite sure what I had gotten myself into, I listened to the title song, thought it was ok, and just let it sit on my shelf for a few months. I decided to take it on trip to Europe, and on a train listenening to it, it finally clicked and I kept listenening it over and over again. If I haven't convinced you to buy it, then either you've already made up your mind, or dumb, BUY THIS NOW.

I Love a Stephen Sondheim
I can see why everyone proclaims COMPANY the ignition of modern musical theatre. It's a great score that could stand on its own if (magically) it didn't need a cast of names. Sondheim and Jonathan Tunick, the orchestrator, are probably the only remaining artists who know how to use an orchestra the way it wants to be used (although, said skill is only demonstrated occasionally on this recording, such as the pulsating "Have I Got a Girl for You").

I could ooze more and more compliments for Sondheim's score, but I'm going to focus on my critique of the performances. I saw PUTTING IT TOGETHER and was captured by Jim Barrowman's interpretation of some of Robert's songs (he later portrayed the entire role at the Kennedy Center): he's young and attractive with a pure, no-nonsense voice. Dean Jones and Larry Kurt do not have that intensity. Jones sounds too old, too cautious for the desperate Robert; Kurt, in his one song on the CD, sounds like he's not thinking too much, which goes against the character. To me, yes, Robert is careful, but he wants to and tries to be spontaneous and exciting, and on this CD, he just isn't given that specific flavor.

The colorful cast around him is also problematic in my view. Is it just me, or does everyone sound too old? They all have that geriatric quiver in their voices: they all sound like they know too much about marriage when they should just be spouting off what they think they know. Amy should be more of a belter and Beth Howland isn't. Teri Ralston's soprano (especially on "Poor Baby") is delightful--she's probably the best sung in the cast. Pity the important songs go to Elaine Stritch.

What did I just say? Am I criticizing Elaine Stritch? Sadly, Elaine Stritch is probably the least appealing to me on the recording. Yes, I know, everyone knows she can't sing, but why give her such pivotal songs as "Little Things..." and "Ladies Who Lunch" if she can't bring out the music that completes them? I much prefer Carol Burnett's "Ladies...": even when she can't hit the high notes, she carries and uses the melody to the devastating suicidal effect that Stritch doesn't find beneath the music.

Nonetheless, COMPANY is a five star score that would be a five star CD with a younger, more vocally powerful cast. Maybe the 1995 revival is worth investigating. This CD is still worth having: the original has the power of the full orchestra and Sondheim's direct influence on the production, and therefore is priceless to musical theatre. ... Read more