| 1. Colliding |
| 2. Love is All |
| 3. Let Me Go Back |
| 4. I Never Thought You Would Come |
| 5. Hold On |
| 6. I love You |
Editorial Reviews
About the Artist
CAN I ASK YOU A QUESTION? Who is this girl Loni Rose? How is it that her compelling voice and contagious songs keep finding their way into network television shows and major motion pictures? What makes this Seattle siren so irresistable?
Why is this music so compelling and winning?
First, it is fun to discover the marvellous talent of Ivor Norvello. His music is half of the charm of the soundtrack. Some songs are funny ("Her mother came too"), some beautiful ("I can give you the starlight") and some poignant ("The land of might have been"). I had not encountered Norvello before this film. Jeremy Northam's perfect delivery of Norvello's songs would not leave me after I'd seen the film. Days later, I found the songs had taken up residence in the back of my head, insisting that I go back to the soundtrack to make them a permanent part of my musical life.
Second, there is the charm of the orchestral music composed by Patrick Doyle. Sometimes people wonder "why aren't they writing beautiful classical music any more?" Well, they are. It goes into soundtracks, however, rather than being commissioned by orchestras. The test for the quality of Doyle's compositions is that you don't need to refer to the film to appreciate this music. It simply charms and intrigues us with its own merits.
My third reason for loving this CD is too personal to mention here.
I give this CD my highest personal recommendation.
for many reasons: TAKE THAT LOOK OFF YOUR FACE (Martie Webb)( ALL I ASK OF YOU (Cliff Richard & Sarah Brightman) THE MAGICAL MR MISTOFFELLEES (Paul Nicholas) VARIATIONS (Julian Lloyd Webber) MNEMORY (Elaine Paige - how could Barbara Streisand possibly render this any better) TELL ME ON A SUNDAY (Marti Webb), ANOTHER SUITCASE IN ANOTHER HALL (Barbara Dickson)
What a huge disappointment that these marvellous renditions have not been transferred to CD. Does anyone know why, or better still how I can get a copy.
Streisand's rendition of MEMORY has always been my favorite version of the song outside of the show...Betty Buckley's is my favorite within the show. I am a Streisand afficiando, and this is my FAVORITE Streisand song period..so it must be good...
Michael Ball singing anything is wonderful...It captures the wonderful feeling of being on a cloud when you listen to this album
Even Metallica's s&m is better...close but still.
I am sure that it was a great experience to live, for the band and the audience, because that type of event is always unique and can bring strong emotions-unless you have a dumb..s sitting next to you, drinkin' beer and screaming every five minutes Dynamiiiiiiite!!-but on cd...for me it doesn't do it,but it probably is a treasure for those who were there.
Now, I'm not gonna start the debat with DEEP PURPLE and the LSO(1999) but I was there at the Royal Albert Hall and that's why I can understand the concept and the thrill of holding the recording of such concerts...but still DEEP PURPLE 's symphonic album features something that neither Scorpions or Metallica holds...and this is an ORIGINAL PIECE OF MUSIC CREATED FOR A GROUP AND A ORCHESTRA!
Kunzel contrasts the dramatic and lyrical sides of the PHANTOM and SUNSET BOULEVARD suites as if they were written for the Pops. The Phantom suite gains from a breathtaking organ introduction of the Phantom's theme, and from the contrasts in Music of the Night that match the lyrics perfectly, even without the cast album. The tender arrangement of Think of Me cleverly weaves the Angel of Music melody as a counterpoint, while All I Ask of You, complete with some of the details of the original orchestrations, makes a calming answer to Christine's Wishing You Were Somehow Here Again. The JESUS CHRIST SUPERSTAR suite depicts the contrasting and conflicting moods of this groundbreaking rock opera, from the contrasts in I Don't Know How to Love Him to the sheer anguish in Gethsemene (I Only Want to Say).
There are some interesting arrangements on this ALW offering, especially the arrangement of Don't Cry for Me Argentina from EVITA. Although some listeners might be offended when it transmorphs itself into the Ravel Bolero after doing an about-turn from its lush, Spanish feel, it still depicts Evita's rise to power and her manipulative trait in her character, well-suiting an orchestral concert arrangement of the tune and fitting in with the spirit of the musical. Another interesting arrangement is the rousing theme-and-variation finale of Any Dream Will Do from JOSEPH, which incorporates many different musical styles throughout the variations, from ballroom waltzing to jazz, movie music (Magnificent Seven) and circus-style music. I know some listeners might be offended, but in their own inimitable and creative way, Kunzel and the Pops still pay tribute to this early ALW musical by evoking the myriad of colours on the coat and the diversity of musical styles in the original JOSEPH musical. This arrangement certainly fits the trademark style of the Pops perfectly.
The only fault with this collection is in the arrangement of Memory from CATS. Here, this song is treated as a flat-out romantic ballad, rather than as the haunting anthem for respect that Grizabella sings. Nevertheless, the arrangement by Tommy Newsom (who wrote this arrangement for a Doc Severinson album) is innofensive to this well-loved ALW melody (this is the only arrangement that Crafton Beck or Steven Reineke didn't write for this album). Also, I wish that Kunzel had included Love Changes Everything and Whistle Down the Wind, but given the fact that this was a 1996 recording, ALW hadn't written Whistle down the Wind as yet. But these are minor caveats, since Kunzel offers much to savour in these infectuous and spirited performances.
Yet I still feel that Kunzel's ALW offering is a winner in its lush orchestral suite arrangements of his well-loved and great musicals, far superior to any shopping-mall synthesised arrangement. This would surely count towards another feather in Kunzel's cap and stand pride of place with his rousing offering of Rodgers & Hammerstein. I'm sure Lord Lloyd Webber would have been proud.
Don't miss the brief operatic cameo by Sarah Brightman halfway through "AC/DC."
Mr. Webber's scores for "Phantom Of The Opera", "Evita", "Sunset Boulevard", and "Jesus Christ Superstar" hold up better.
There are a few good tracks, however, on this "concept" recording:
Starlight Express (very catchy tune)
Engine Of Love
There's Me (personal favorite)
Only You
I wish they had released a Broadway cast recording (the London one is available as a double disc), but this is a fine substitute.
Highlights include:
the entire album!
The first track, "Black Cat," utilizes string instruments at the beginning to set the tone as a sort of light, funky mood. The verses feature Vest's low, secretive voice muttering to the bass and cymbols. The strings kick in before the chorus, which features catchy guitars. This song is a great opener and one of the jewels of the album. "Brass Digger," the second track, is a bit slower-sounding than the opener, but no less enjoyable. Track three, "Goldstar," starts with a rush of sound, then quickly hooks back into a slow-moving background, during which Vest describes his encounter with a girl and lets out a sarcastic "har, har, har..." at her deeds. The chorus features a great rock sound and nice backing vocals singing out "Gooooooooldstaaaaaaar gunnnnn..." Great song.
Track four, "Pages," has slightly more serious vocals and a great funk-pop background. Vest sings gently in the chorus about someone whose name is a crucifier and heart, apparently, needs a bigger sweater. I'd talk about how good this cut is, but, after saying such things about the first three, praising gets a little old. This is also a great, slow, semi-acoustic song. Number five, "Buena Vista," is one that I occasionally skip. The opening music sequence is slightly annoying to me. It's a very short song that sounds as though it could be the theme song for a TV sitcom. That's not a good thing. It's not bad, but it just really isn't good, either. Track six, "Irene," is much better, featuring some cool distorted bass, some nice piano work and the singer melodramatically telling off Irene. He enjoys it more than a little. It closes with pretty female vocals and brass instruments.
Track seven, "Rinky-Dinky," is a candidate for the best cut on the album. It has a danceable intro, some great vocals, nice keys from guest Derek Brown, and is very, very catchy. Track eight, "Zillion Eyes," is very slow and somber, but far from boring. A hint of sadness sneaks into Vest's voice for the first time. "'Til the music stops..." he sighs to the closing outro. Good song. Next is Track nine, "Jack In the Squares," which starts with begging Jack Archibald for a song "like a ding-dong." This isn't my favorite song, and it's rather short, but it's still a fairly good cut. Track ten, "San Diego," is much better; a catchy chorus and poppy verse make a very good song. Also, by the end of the song, you won't have ANY doubts as to why they drove to San Diego. The finale, track eleven, "Jimmy Cricket," has a great intro that will have you jerkily swaying to the melody. The vocals to this song are a bit more serious, too, and fit the mood very well. What began with strings ("Black Cat") ends with strings; the slow moody vibrations contrast nicely with the frivolous, poppy strings of the first cut. "Jimmy Cricket" is a strong end to a great album.
At 34:20, "Built On Squares" is short enough to go through in one listen and each track is good enough that you won't have to skip any. The only two tracks that I consider inferior (Jack In the Squares, Buena Vista), are short enough to go through and good enough that you'd want to hear them. This album was a pleasant surprise for me when I found it (my sister's college radio station crashed, so she just took a few CD's), and it's now a mainstay in my collection. Buy it and quickly. Do yourself a favor.
This is one of the two CDs that regularily hijacks my creativity. It's impossible to disengage my mind from it. I have no choice but to sit and listen in awe.
I will have to go out and buy my own copy because I am tired of waiting my turn to borrow hers. And I am going to have to buy several copies because I keep thinking of friends who would love this but might not hear about it through their regular sources. I am even sending one to a friend in France. We have the advantage of having them be from our area, although that doesn't mean they play here often. I'd not even heard of them until recently. And now I can't get them out of my head.
I don't know the names of all the songs to write in much detail, but "Pages" is one of my favorites. I always have to get up and move when it comes on. Now I have to go out and buy their first cd and I look forward to seeing what else they come up with. A great band, with an outstanding cd and a potentially phenomenal future.
UPDATE - Still listening to this cd as of April 2006. After buying several copies for friends, I did give one to my French friend when visiting him last month in Paris. He and his amis loved it as well and played it constantly during my visit. (And I'd brought them 5 new cd's.) Just to put it in perspective, every year I choose one upbeat, remarkable, innovative cd to buy in bulk and give away as gifts to family and friends that might not otherwise glom onto its existence. This was the give-away cd of that year.
Looking forward to their newest cd and their continuted success.
BigSis26
Miles can hit notes that just go right through you. Evans is a perfect backdrop for MD and his solos are gorgeous. Coltrane, in my opinion, was never better than when with this group. Miles knew how to reign him in and keep him from going all over the place like he did later in his career(no offense to Coltrane fans and no knock on his talent. He was a genius, but his later work got a bit too note-ey and esoteric for my taste). With Miles in charge, Coltrane shines as he makes every note count. Cannonball hits the mark as well.
Highest recommendation.
Best Tracks include:
Rolling Stock
A Lotta Locomotion
There's Me
Starlight Express
I Am The Starlight
Only He
Light At The End Of The Tunnel
Definitely not a musical to be taken too seriously, nor in the same league as "Phantom" or "Sunset Boulevard", the score for "Starlight Express" is simply fun..though I prefer the concept album recorded before the show's transfer to Broadway..
But this show, Starlight Express, blew me away. Visually it, like Cats, The Phantom of the Opera, is in the same leagues. But score wise, it is a mixed one.
It is indeed a show, like Cats, and unlike The Phantom of the Opera, for children and, although I am not particularly fond of ALW himself, but it is sweet he wrote this show for his children, who were at the time from his first wife Sarah Hugill. The story is based more or less on the old children's tale of "The Little Engine that Could" and perhaps, not sure on this, on the old "Thomas the Tank Engine" show (I may be incorrect on this). I have not yet seen the show as a whole, but I can fully concur that, although the plot in the original was a bit weak, and at times today, even still, I will say that indeed it holds its own and it is a delightful show.
Of the numbers that are on the Original London Cast Recording; I will say this:)-
"The Overture" - Like all of ALW's shows, with the possible exception of "Joseph and the Amazing Techincolor Dreamcoat" , "Aspects of Love", and some of his later shows; ALW writes very intriguing at time eerie sounding music (The Phantom of the Opera, The Woman in White, Cats, and Evita are no exception) and this certainly fits that league. I would definitely say this deserves, if given 5 stars as the best, it is a 5. I love this number indeed.
"Rolling Stock" - This song, or this version, is really quite good, but I admit not as good as the New London Version. But they are both good. :D The singer who sings this sounds alot, strangely enough, like Gerard Butler who does the Phantom in the filmed version of ALW's stage show of "The Phantom of the Opera". Perhaps if Gerry did a movie version of Starlight and played Electra, he would fit quite well in it. But getting off topic, this is a really powerful number and on stage its really quite fun. Of the characters in the show, Electra is certainly the most heavily made up, and has been since the OLC production in 1984. The beat is a bit slow at best, not as more normally paced as the New London, but definitely both versions get a 5!
"Call Me Rusty" - Not crazy about this number personally, and that is only because its not among my favourite songs, but it is a really good number in of itself. Strong, creepy, almost too dark undertone to the music and the plot really flows through this number. Indeed another 5.
"A Lotta Locomotion" - Having been a fan of Frances Ruffelle (best known, later, for creating the role of Eponine Thenardier in Cameron Mackintosh's (non ALW) production of "Les Miserables") for a while, she really shines in this number and her voice still has all the power, fun, intrigue, and the surprising gentleness to her tone that she is known for. She is, out of all the ladies I have heard play her, is the best Dinah. :D Music wise, this song, on this recording at least, is very 80s and it shows through. The synthesizers and the electric keyboards really are the focal point in the instruments used in this. But with that said, the performers really blended well together and I must say it definitely deserves a 5, as well. :D
"Pumping Iron" - This indeed is another cute number with Greaseball playing an Elvis figure (ALW seems to have a obsession with Elvis having incorpriated alot of him into Joseph and the Amazing Techincolor Dreamcoat and some of his other shows). I like this version very much, the performer, at the moment his name illudes me, is really quite good at portraying the sort of macho, but nice, tough guy part of Greaseball (unlike the macho, but evil, Electra). Again another 5. :P
"Frieght" - Is very child-like and really is quite suitable for children, music wise as, unlike its former numbers, is not as dark or adult in nature. But there again the flow of the music is weak and here is where it needs perhaps a little punch, but that is only my personal opinion. For children this is a good number but even then still weak. I give this a good even (out of 5 stars) 3 and a half.
"AC/DC" - Well, this is certainly more in line with his other shows, and it really is quite a good number. The music flows really well, and here Ray Schell (?) shows he played the part well. 5 stars.
"He Whistled At Me" - This is perhaps when the romance section really comes through. The late Stephanie Lawerence is amazing as Pearl and the song at times switches from child-like to an almost creepy note when at the end of Rusty (Ray Schell) whistling it slides down on the synthesizers. The flow of the music is of course slow in this and deserves so to be, and in this it does get a 5 as well.
"The Race" (or the first race) - This is where, in the show, it becomes quite electrically charged, although the show is already enough exciting visually in the former tracks, but here is when it reaches it's first peak. The race on stage is quite thrilling (although perhaps, maybe, not as thrilling as the Final one) and the track really captures the nerve and fire of this scene and number. Definitely a 5!!
"There's Me" - This song is quite sweetly done, and is definitely well played out and indeed is more in line with ALW's other shows. Quite gently played and suitable for children. The flow of the music is perfect, the cast does excellent, no complaints here! 5 stars!
"Poppa's Blues" - You would think that ALW, being a more classically minded composer, would stick to more classically themed music. But here he as already done rock, 60's style music, his own unique style, children's style, (I want to say goth but that's not the word for it so I will say..) dark, 80's style music. You would think he would switch back to classical, but nope. Here, as one reviewer commented, this show combines all of ALW's taste or attempts in music. And here is when, in a shocker for ALW, ALW tries to write a blues number. And surprisingly, for those who don't know that he does this, but not surprisingly to those who do know this, he achieves it. Lon Satton is brilliant as Poppa, as has Frances Ruffelle as Dinah and the actor who performed Greaseball (Ray Schell I am not too keen on at alot of points, but he is good, just not my fave) and really shines through in this number. It is a great thing that he later on recreated his role for the New London show. :D The flow of the music really goes well and ALW has really captured the feel of the blues (although I am not a personal fan of the style myself). 5 stars!
"Belle The Sleeping Car" - This is where I have the harshest criticism. I don't know if its the singer or the music, but it is definitely the first really weak point in the show and I think, personally, when thinking about the plot, slows the show down a bit. The flow of the music is confused at best, and bad at least and the performer does not do justice to this number, if the music is already weak. This gets 2 stars.
"Starlight Express" - I remember when I heard this on the Premiere Recording, I did not know who that singer who sang along with Lon Satton was, I did not know at first if it was Ray or a woman. It said on the track it was Ray and Lon. :P But this really captures the essence of the show, this song is about the show and holds everything. Its a combination of the dark undertone, as I said already in play in the show, and the lightness that is tolerable for children. At the time, being into TPOTO, I was not too crazy with it but I did admit it had a good beat, good lyrics (if the singers were not my fave) and was a bit creepy. But now, I quite like it and it captures the show perfectly. Back to 5 stars!
"The Rap" - This is a really confusing number and indeed, I am not a fan of this at all. Its like a combination of 80's style music and rap. :S I would give this 1 star.
"U.N.C.O.U.P.L.E.D" - ALW has wrote Country?? Yes he has. And once again, although the flow in the music is its one major flaw (not on Frances Ruffelle's part), Frances Ruffelle really shines through and the song itself is lovely. Very sweet and sad in a good way. :) Frances Ruffelle indeed, never fails to incorrectly sing, although perhaps, with the beginning flow a bit distorted as its only fault, she did not do as good as she usually does, could have sung country music, if she lived over in the USA. :D Bravo, Frances!! 5 stars!
"Rolling Stock: rephrise" - Being a girl, I could not sing the former version; but this version is especially written for girls (thank you ALW:D) and, for any female performer wanting to do the show and learn the score, this is at a good slow pace to start with and then slowly increases in the later recordings. But this works well and should have remained as is, in the OLC. :D 5 Stars.
"C.B." - This is really 80's style and it really shows Electra being, as he is in the show, an.. (considering children may read this) a jerk. But nevertheless, its a very confusing style and this, while not as bad as "Belle" or the other poor songs on this, it seems to have some strong points. But my only complaint is the style and crescendos and flow of the piece is confusing. I would give this a 2.
"Right Place, Right Time" - HAHAHA! I had to laugh at that comment, "Rocky 1 and Rocky 2" and the "If I had any brains". :D But with that said, this is a good sturdy number, although not as strong as the others. 4 stars at best. :D
"I am the Starlight" - Ray does not shine here as much as I wished he had, but he really does well nevertheless. Lon does not do as good on this, but the song is the peak of the show in that Rusty realizes he is the "destined" or Starlight :D. The music flows in a very classical, in line with the other classical shows that ALW does, and is brilliantly written (if not cast wise written). So for the music a 5, with the singers a 4.
"He Whistled At Me: Rephrise" - The singer, who sounds alot similar to someone from "My Fair Lady", is really quite cute and this number, I have only one complaint, that Ray again does not show his fuller potential. 5 stars though.
"Race: Final" - This is the climax, where Rusty and Electra go head to head and in the stage show, this is incredible to see and the music is just electric for this, literally in style and in emotion. No complaints at all here! Both children and adults would love this number or at least, find it thrilling if they saw the show live. If you ever see the show, this is probebly, if the children are bored with the former songs, this is where they MAY have fun and get a musical theater buzz. 5 stars indeed!!! :D
"No Comeback" - In regards to the singer here, he does really badly. His flow and style of singing is, perhaps, a bit strained in some notes and poorly done (but to his credit, it may be the score for his voice). But the music really comes through and does briliantly. 5 stars, even with the bad singing!
"One Rock n' Roll Too Many" - This is another confusing number, but it is not the fault of the singer. The style of music is really complicated and indeed in this, this is one rock n roll too many. But with that said, 2 stars.
"Only He" - I have heard this when it was combined with "Only You", as done by, ironically, Frances Ruffelle and, my favourite Phantom and ALW star, Michael Crawford on Michael's Music of ALW CD
. This shows Stephanie at her best. 5 stars!!
"Only You" - Here Ray Schell does very badly, but while Stephanie shines through. :D This is a good number and it is a tragedy that ALW cut this out. Oh well, seeing as he cut out alot of stuff from the ALW TPOTO Movie version, I am not surprised. 5 stars, btw. :D
"Light At the End of the Tunnel" - Finally we are reaching the end of the show, where the beginning starts out very dark, this is very upbeat and cheerful. Lon, in contrast to when he did badly, he redeems himself here. 5 stars!!
OVERALL, with all that said and done, I would give it indeed 4 stars. :D And indeed, try and see this show if it comes to your city or town, if you live in the USA. Although if you want a really GOOD production; I highly recommend the versions in Bochem (in Germany, where it is the longest running production of the show, having been here when the OLC and OBC) and the Las Vegas one. :D
This indeed is one of the rarest of ALW's shows, as its not as well known or popular here in the USA (which is their loss, not mine), and is quite sublte in ALW's various other tastes in music. As a former critic said, this is the best of the recordings.
Starlight is my favourite musical of all time. I have had this recording on some medium or other since I was 4 (15 yrs ago) and I have managed to wear out every copy I have owned - I love it that much. I think it is probably true to say that you would have had to see the show live on stage to fully appreciate it however. This recording does sound quite dated and is quite blatantly 80s, however some of the tracks (A Lotta Locomotion and He Whistled Me) are so 80s that they would pass as cool/retro nowadays.
In conclusion - the best Starlight recording I own.
Most of the show's appeal lies in its visual performance rather than in the score or the lyrics. The plot is even lighter than in Cats: it tells the story of the different trains. Rusty, a steam engine is in love with a glamorous carriage Pearl, but has to compete with other trains by racing them to win her affection. The holes in this simple plot were overshadowed by the grandiose staging that involved vigorous light show and cast members on roller-skates racing through the specially made stage. Because of that, Starlight proved to be a family-oriented show guaranteeing an entertaining evening. It was probably one of the main reasons why the show lasted in the West End until 2002. And yet the fact remains that on Broadway it passed rather unnoticed and didn't cover the basic investment.
This two-disc recording captures much of the original show that opened in March 1984 in London's Apollo Victoria theatre. You should be aware, however, that the score was revised in the early 90-is in order to get a more modern sound. The cast recording here has several problems. First, the orchestrations are full of synthesizers and the disco-beat of the 80-is is more than evident and therefore much dated. The story lacks coherence even more than in the case of Cats, so you don't have the feeling that anything is happening. And the score itself is not among ALW's best, for the most part it's just derivative. That said, some of the songs on this recording are worth noting.
The best of the lot is "Only he", a wonderful love ballad sung by Pearl to Rusty. It's not the music here that matters, it's the lady singing it. The late Stephanie Lawrence had a sweet and tender voice and it will hold you throughout this powerful song. It's amazing that this number was later completely dropped out. Her second big number, "He whistled at me" is a little lighter, but still very pretty. And from the rest of the cast, only Ray Shell's Rusty sticks out. He manages to portray the liveliness of the character in songs such as "Call me Rusty", which has a catching melody. And the other song not to skip is "I am Starlight" on disc 2, sung by Rusty and his father. This is also the only melody that comes close to ALW's symphonic extravaganza, with the perfect blending of the score and the cast. The rest is rather plain and unnoticeable.
The CD package comes with the complete lyrics of the performed songs, but just like in "Aspects of love"; you need a magnifying glass in order to read it. The lyrics are among the most banal I've ever heard in a musical.
This version of "Starlight Express" should therefore be appreciated for its innovative staging and its individual moments rather than its worth as a whole. In this respect, it belongs to the less satisfying scores of Andrew Lloyd Webber and is not at all a must-have, but rather a mere addition to the collection of the composer's work.
CAN I ASK YOU A QUESTION? Who is this girl Loni Rose? How is it that her compelling voice and contagious songs keep finding their way into network television shows and major motion pictures? What makes this Seattle siren so irresistable?
Onstage, Loni has been described as a five-foot-three tempest in a teapot. That's no surprise when you consider that this kettle has been simmering quite a while. Since age 9, Loni's heart and soul have been fixed on music. At age 16 she wrote her first song, crediting her songwriting success to parents who encouraged her early on to pursue songwriting. By 1999 Loni had captured a coveted slot at Lilith Fair by winning the local Lilith Fair contest in her hometown of Seattle, Washington.
In the last 2 years, Loni has landed over 16 of her songs in major TV shows like Providence, Roswell, Jack & Jill, and MTV's Road Rules. Filmgoers swooned to her heartfelt love song, "I Never Thought You Would Come" in 1999's hit comedy, American Pie. It's this kind of instant appeal that has earned Loni Rose a place onstage with artists like Shawn Colvin, Vertical Horizon, Jewel, Sixpence None the Richer, and Kenny Loggins. Combine that success with an arsenal of over 100 songs and four independent releases and you'll discover an artist with staying power. "Evergreen Christmas", released in 1993, continues to gain popularity every holiday season on Pacific Northwest airwaves. In December 2000 "Evergreen Christmas" claimed the #7 spot in the top 200 songs on Seattle's WARM 106.9FM.
Fans around the globe agree on one thing. They love this girl. They love her voice, her songs, and that certain je ne sais quoi that sets Loni Rose apart from her popster peers. Her writing style -fun and quirky yet honest, and genuine -satisfies a vast range of devoted listeners. Drawn from whatever happens to be on her sleeve at the moment, Loni's songs hit with a rich blend of tenderness and sass, reverberating the ups and downs of womanhood, relationships, and life.
With a unique ability to bring a touch of fantasy into everyday life, Loni is beginning to create quite a stir. Her whimsical, lilting "Let Me Go Back" captured the world's imagination as the featured promo song for the NBC miniseries, "The 10th Kingdom". In the fall of 2000 it was featured again in the final episode of MTV's Road Rules 9. To the delight of MTV, the weeks following the episode brought over 300 e-mails requesting information on both the song and the artist. Which begs the question..."What can't this girl do?"
Starlight,Loni Rose
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ASIN: B00000JQG0 Release Date: 1999-07-27 |
Tracks:
- Laura
- Now, Voyager
- Modern Times
- Lost Weekend
- The Quiet Man
- The Adventures Of Robin Hood
- Casablanca
- Henry V
- The Uninvited: 'Stella By Starlight'
- My, Foolish Heart
- Gone With The Wind
- Wuthering Heights
Amazon.com
Cinema Serenade 2: The Golden Age is the sequel to Itzhak Perlman's popular album of movie themes performed with soundtrack composer John Williams. Unlike its predecessor, this disc focuses on classic cinema themes and features the Boston Pops Orchestra, not the Pittsburgh Symphony Orchestra. The Laura theme, as well as Max Steiner's Now Voyager and Miklós Rózsa's Lost Weekend themes, sound lush and romantic in Perlman's lyrical hands. The traditional Irish jig "The Quiet Man" is the disc's most upbeat moment, while the unforgettable Gone with the Wind theme is its most memorable. These are timeless, dreamy compositions, though not necessarily the most uplifting. If you're looking for something cinematic to get your heart racing, check out Ricardo Chailly's recording of Shostakovich's film scores or even Leopold Stokowski's classic work on Fantasia. --Jason VerlindeCustomer Reviews:
NEVER RECEIVED THIS ITEM!!.......2007-03-17
Perlman, Williams reunite in wonderful Serenade sequel.......2003-12-04
The 12 selections include themes by Hollywood legends Max Steiner, Miklos Rozsa and Erich Wolfgang Korngold (whose son George would later produce several of composer/conductor Williams' scores for Varese Sarabande Records). Cinema Serenade 2 presents beautiful arrangements of Steiner's themes for Now, Voyager and Gone With The Wind, Korngold's love theme from The Adventures of Robin Hood, Charlie Chaplin's lovely Modern Times and "St Patrick's Day," a traditional Irish song from the John Wayne classic The Quiet Man.
Since I consider myself to be a charter member of The Rick Blaine Society of Rank Sentimentalists, I'd have to say my favorite tracks on this album are Herman Hupfeld's timeless "As Time Goes By" from 1942's Casablanca and Victor Young's "My Foolish Heart" (from the 1949 film of the same title). It was while I was listening to the radio (on the late WTMI 93.1 FM classical station) that the DJ played "As Time Goes By" and I discovered this recording of mostly lyrical themes; I listened to Perlman's haunting violin solos and the Boston Pops' bravura performance and nearly wept. I, of course, bought this CD the next day and it's now one of my favorites.
For fans of Itzhak Perlman, John Williams or film music in general, both of the Cinema Serenade CDs are a treasure trove of beautiful and memory-stirring themes.
Some of the most beautiful music you'll ever hear.......2001-06-15
Don't compare it to Cinema Serenade 1.......2000-01-24
I can't stop listening to this CD...........1999-10-03
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The Premiere Collection: The Best Of Andrew Lloyd Webber (Original Cast Compilation)
Manufacturer: Mca ProductGroup: Music Binding: Audio CD General
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ASIN: B000002O5W Release Date: 1990-10-25 |
Tracks:
- Phantom Of The Opera
- Take That Look Off Your Face
- All I Ask Of You
- Don't Cry For Me Argentina
- Magical Mr. Mistoffeles
- Variations 1-4
- Superstar
- Memory
- Starlight Express
- Tell Me On A Sunday
- The Music Of The Night
- Another Suitcase In Another Hall
- I Don't Know How To Love Him
- Pie Jesu
Amazon.com essential recording
There are many, many Andrew Lloyd Webber albums out there, including cut-and-paste compilations and songbooks from individual artists, most notably Sarah Brightman, Michael Crawford, and even Jose Carreras. The Premiere Collection is probably as authentic as you can get in a hits album, however. In addition to the most popular selections from the original casts of Evita, Cats, and Jesus Christ Superstar, the 57-minute album includes two selections from Tell Me on a Sunday (also recorded by Bernadette Peters as Song and Dance), the title tune from Starlight Express, the "Pie Jesu" from the Requiem, and a snippet from the Paganini Variations, thereby allowing you to hear the good stuff without having to spring for the complete albums. Note that the three selections from Phantom of the Opera are the 1986 pop singles instead of the cast recordings, meaning Steve Harley rather than Crawford sings with Brightman on the title tune and Cliff Richard subs for Steve Barton on "All I Ask of You." (Crawford does sing "The Music of the Night," of course.) This 1989 compilation was too early for Aspects of Love or Sunset Boulevard, and Joseph and the Amazing Technicolor Dreamcoat is ignored, but these omissions are rectified in the follow-up album The Premiere Collection Encore, and the American-slanted version, The Very Best of Andrew Lloyd Webber: The Broadway Collection. --David HoriuchiCustomer Reviews:
Musical Pleasure.......2007-07-03
The Premiere Collection.......2007-01-17
beautiful.......2006-12-21
Fair Album with 1 starlight and 0 aspects.......2004-07-09
Superb collection.......2003-08-11
Average customer rating: 
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Gosford Park (2001 film)
Patrick Doyle Manufacturer: Decca ProductGroup: Music Binding: Audio CD Movie Scores
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ASIN: B00005UNCB Release Date: 2002-01-15 |
Tracks:
- Waltz Of My Heart
- Mr. Parks
- Gosford Park
- Bored To Sobs
- The Shirt
- And Her Mother Came Too
- Walking To Shoot
- No Smoke Without Fire
- Scherzo In G
- I Can Give You The Starlight
- What A Duke Should Be
- Inspector Thompson
- Pull Yourself Together
- Life Goes On
- Secrets To Hide
- Only For A While
- Rather A Pasting
- Love Jam
- Why Isn't It You?
- The Way It's Meant To Be
- Carpe Diem
- Good Luck
- Your Boy's Alive
- The Land That Might-Have-Been
Amazon.com
Thematically, director Robert Altman's career sometimes seems an endless series of left turns into the unexpected; the one constant has been a rich and rewarding attention to the intricacies of character development and interaction. Composer Patrick Doyle underscores Gosford Park's Merchant-Ivory/Agatha Christie/Altman-wit fusion and '30s British upper-class setting with a score that's period spot-on, character-rich, and often sadly evocative. Doyle's restraint is masterful, often leaning on piano, accordion, and small string arrangements that emphasize the characters' intimacies and the film's drawing room settings. Key to the story are a handful of prewar songs by Ivor Novello (who's also a character in the film), ranging from the sprightly humor of "And Her Mother Came Too" and "What a Duke Should Be" to the romantic schmaltz of "I Can Give You the Starlight" and "Why Isn't It You?" The latter is performed here at the piano (and, remarkably, live before the cameras) by Jeremy Northam. Leavened by a small jazz ensemble and a few darkly ominous cues, Doyle's score is an understated gem. --Jerry McCulleyCustomer Reviews:
Gosford Park Sound Track.......2007-03-30
Better than the movie.......2004-12-08
Why is this music so compelling and winning?
First, it is fun to discover the marvellous talent of Ivor Norvello. His music is half of the charm of the soundtrack. Some songs are funny ("Her mother came too"), some beautiful ("I can give you the starlight") and some poignant ("The land of might have been"). I had not encountered Norvello before this film. Jeremy Northam's perfect delivery of Norvello's songs would not leave me after I'd seen the film. Days later, I found the songs had taken up residence in the back of my head, insisting that I go back to the soundtrack to make them a permanent part of my musical life.
Second, there is the charm of the orchestral music composed by Patrick Doyle. Sometimes people wonder "why aren't they writing beautiful classical music any more?" Well, they are. It goes into soundtracks, however, rather than being commissioned by orchestras. The test for the quality of Doyle's compositions is that you don't need to refer to the film to appreciate this music. It simply charms and intrigues us with its own merits.
My third reason for loving this CD is too personal to mention here.
I give this CD my highest personal recommendation.
I don't mind the repeating themes, but the CD is too short!.......2004-06-08
However, Mr. Doyle's music portrays the lethargy of the snobby Upstairs very well to the contrast of the relative energy of Novello's songs, which the Downstairs servants enjoy, but the Upstairs people can't stand.
My dislikes about the CD include the female singer who can't really sing and the length of the CD. Some of these cues are only about a minute long. WHY pay so much money for such a short CD??? Why not add more music??
Overall though, if you liked either Doyle's music or Novello's songs (hopefully the listener will like both), it's a CD worth getting.
Excellent Mix.......2003-04-23
Sometimes period music, sometimes mystery music, sometime personal music. Jeremy Northam's songs are simply delicious and I love hearing them.
I liken the style (not type) of mix to You've Got Mail.
Heaps of fun and lovely to listen to.
One the best soundtracks out there!!!!!!!!!!!!!!!!!!!!!!!!!!.......2003-03-06
Average customer rating:
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Andrew Lloyd Webber: The Premiere Collection Encore
Andrew Lloyd Webber , Royal Philharmonic Orchestra , Trevor Nunn , Sarah Brightman , Jose Carreras , Michael Ball , Barbra Streisand , Lon Satton , and Ray Shell Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD Requiems
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ASIN: B000001E0E Release Date: 1993-03-09 |
Tracks:
- Amigos Para Siempre ( Friends For Life) - Jose Carreras, Sarah Brightman
- Love Changes Everything - Michael Ball
- Memory - Barbara Streisand
- I Am The Starlight - Lon Satton, Ray Shell
- Wishing You Were Somehow Here Again - Sarah Brightman
- Argentine Melody - San Jose, Rodriguez Argentina
- Oh What A Circus - David Essex
- Seeing Is Believing - Michael Ball, Ann Crumb
- The Jellicle Ball - The Royal Philharmonic Orchestra
- Any Dream Will Do - Jason Donovan
- Everything's Alright - Sarah Brightman
- Close Every Door - Phillip Schofield
- The First Man You Remember - Michael Ball, Diana Morrison
- Anything But Lonely - Sarah Brightman
- Point Of No Return - Michael Crawford, Sarah Brightman
- Hosanna - Placido Domingo
Customer Reviews:
What happened to the Original Recording ?.......2007-07-25
for many reasons: TAKE THAT LOOK OFF YOUR FACE (Martie Webb)( ALL I ASK OF YOU (Cliff Richard & Sarah Brightman) THE MAGICAL MR MISTOFFELLEES (Paul Nicholas) VARIATIONS (Julian Lloyd Webber) MNEMORY (Elaine Paige - how could Barbara Streisand possibly render this any better) TELL ME ON A SUNDAY (Marti Webb), ANOTHER SUITCASE IN ANOTHER HALL (Barbara Dickson)
What a huge disappointment that these marvellous renditions have not been transferred to CD. Does anyone know why, or better still how I can get a copy.
Premier Collection a hit.......2006-05-10
Streisand's rendition of MEMORY has always been my favorite version of the song outside of the show...Betty Buckley's is my favorite within the show. I am a Streisand afficiando, and this is my FAVORITE Streisand song period..so it must be good...
Michael Ball singing anything is wonderful...It captures the wonderful feeling of being on a cloud when you listen to this album
It is a great CD........2005-10-14
Problem.......2003-11-02
Okay.......2003-04-17
Average customer rating:
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Moment of Glory
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD General
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ASIN: B00004TR0A Release Date: 2000-08-29 |
Tracks:
- Hurricane 2000
- Moment Of Glory
- Send Me An Angel
- Wind Of Change
- Crossfire (Instrumental)
- Deadly Sting Suite (Instrumental)
- Here In My Heart
- Still Loving You
- Big City Nights
- Lady Starlight
Amazon.com
Throughout the 1980s, "We are the Scorpions!" was lead vocalist Klaus Meine's concert-opening battle cry, energizing and readying the faithful in sold-out stadiums for a Teutonic onslaught of vital, sometimes plodding, eardrum-splitting rock anthems. In short, the arena-rock monsters were never a picnic-under-the-stars kind of band ... until Moment of Glory. The new millennium brings the Scorpions full circle, melding in-your-face party anthems like "Rock You Like a Hurricane" (now called "Hurricane 2000") and "Big City Nights" into fully orchestrated concoctions featuring the Berlin Philharmoniker. Where the grandiose likes of "Wind of Change" and "Still Loving You" are obvious choices for such a pairing, and indeed, work well, the "Deadly Sting Suite," with almost unrecognizable instrumental versions of "He's a Woman, She's a Man" and "Dynamite," will likely catch the unknowing fan of classic Scorps off guard. Both Deep Purple and Metallica have used full orchestras to accent their songs with mixed results, and the same goes for the Scorps. There's a fine line between wine-and-cheese classical fare and whiney and cheesy metal. Here the Scorpions teeter, if often gracefully, on that line. --Katherine TurmanAlbum Details
New Album Recorded with the Berlin Philharmonic Orchestra. Features Three New Songs, Including Moment of Glory which Has Been Chosen as the Official Anthem of Expo 2000. Includes a Duet with Zucchero.Customer Reviews:
Got me hooked on Scorpions.......2007-04-12
Moment of Glory.......2007-04-01
[].......2007-03-14
dynamite!.......2002-10-21
Even Metallica's s&m is better...close but still.
I am sure that it was a great experience to live, for the band and the audience, because that type of event is always unique and can bring strong emotions-unless you have a dumb..s sitting next to you, drinkin' beer and screaming every five minutes Dynamiiiiiiite!!-but on cd...for me it doesn't do it,but it probably is a treasure for those who were there.
Now, I'm not gonna start the debat with DEEP PURPLE and the LSO(1999) but I was there at the Royal Albert Hall and that's why I can understand the concept and the thrill of holding the recording of such concerts...but still DEEP PURPLE 's symphonic album features something that neither Scorpions or Metallica holds...and this is an ORIGINAL PIECE OF MUSIC CREATED FOR A GROUP AND A ORCHESTRA!
Truly a Moment of Glory for the Scorpions!.......2002-07-31
Average customer rating:
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Erich Kunzel - Andrew Lloyd Webber (Phantom of the Opera, Cats, Evita, Sunset Boulevard, Jesus Christ Superstar, Starlight Express, Joseph and the Amazing Technicolor Dreamcoat) / Cincinnati Pops Orchestra
Andrew Lloyd Webber , Erich Kunzel , Ernest [organ] Hoffman , Randolph Bowman , Timothy Berens , and Cincinnati Pops Orchestra Manufacturer: Telarc ProductGroup: Music Binding: Audio CD General
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ASIN: B000003D18 Release Date: 1996-01-23 |
Tracks:
- The Phantom Of The Opera
- The Music Of The Night
- Think Of Me
- Wishing You Were Somehow Here Again
- All I Ask Of You
- Angel Of Music
- As If We Never Said Goodbye
- The Greatest Star of All
- With One Look
- Memory
- I Don't Know How To Love Him
- Gethsemane (I Only Want To Say)
- King Herod's Song
- Don't Cry For Me, Argentina
- Starlight Express
- Any Dream Will Do
Customer Reviews:
Kunzel's different perspective on ALW's musicals.......2005-11-06
Kunzel contrasts the dramatic and lyrical sides of the PHANTOM and SUNSET BOULEVARD suites as if they were written for the Pops. The Phantom suite gains from a breathtaking organ introduction of the Phantom's theme, and from the contrasts in Music of the Night that match the lyrics perfectly, even without the cast album. The tender arrangement of Think of Me cleverly weaves the Angel of Music melody as a counterpoint, while All I Ask of You, complete with some of the details of the original orchestrations, makes a calming answer to Christine's Wishing You Were Somehow Here Again. The JESUS CHRIST SUPERSTAR suite depicts the contrasting and conflicting moods of this groundbreaking rock opera, from the contrasts in I Don't Know How to Love Him to the sheer anguish in Gethsemene (I Only Want to Say).
There are some interesting arrangements on this ALW offering, especially the arrangement of Don't Cry for Me Argentina from EVITA. Although some listeners might be offended when it transmorphs itself into the Ravel Bolero after doing an about-turn from its lush, Spanish feel, it still depicts Evita's rise to power and her manipulative trait in her character, well-suiting an orchestral concert arrangement of the tune and fitting in with the spirit of the musical. Another interesting arrangement is the rousing theme-and-variation finale of Any Dream Will Do from JOSEPH, which incorporates many different musical styles throughout the variations, from ballroom waltzing to jazz, movie music (Magnificent Seven) and circus-style music. I know some listeners might be offended, but in their own inimitable and creative way, Kunzel and the Pops still pay tribute to this early ALW musical by evoking the myriad of colours on the coat and the diversity of musical styles in the original JOSEPH musical. This arrangement certainly fits the trademark style of the Pops perfectly.
The only fault with this collection is in the arrangement of Memory from CATS. Here, this song is treated as a flat-out romantic ballad, rather than as the haunting anthem for respect that Grizabella sings. Nevertheless, the arrangement by Tommy Newsom (who wrote this arrangement for a Doc Severinson album) is innofensive to this well-loved ALW melody (this is the only arrangement that Crafton Beck or Steven Reineke didn't write for this album). Also, I wish that Kunzel had included Love Changes Everything and Whistle Down the Wind, but given the fact that this was a 1996 recording, ALW hadn't written Whistle down the Wind as yet. But these are minor caveats, since Kunzel offers much to savour in these infectuous and spirited performances.
Yet I still feel that Kunzel's ALW offering is a winner in its lush orchestral suite arrangements of his well-loved and great musicals, far superior to any shopping-mall synthesised arrangement. This would surely count towards another feather in Kunzel's cap and stand pride of place with his rousing offering of Rodgers & Hammerstein. I'm sure Lord Lloyd Webber would have been proud.
Average customer rating: 
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Music & Songs From Starlight Express (1987 Studio Cast)
Andrew Lloyd Webber , and Richard Stilgoe Manufacturer: Decca U.S. ProductGroup: Music Binding: Audio CD General
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ASIN: B000002O3X Release Date: 1990-10-25 |
Tracks:
- Starlight Express - El Debarge
- Engine Of Love - Peter Hewlett
- Lotta Locomotion - Josie Aiello
- There's Me - Peter Hewlett
- AC/DC - Josie Aiello
- Pumping Iron - Marc Cohn
- Engine Of Love - Earl Jordan
- Only You - Josie Aiello & Peter Hewlett
- The Race Is On - Harold Faltermeyer
- Make Up My Heart - Josie Aiello
- I am This Starlight - Richie Havens & Peter Hewlett
- One Rock & Roll Too Many - Marc Cohn
- Light At The End Of The Tunnel - Richie Havens
Customer Reviews:
Good Show...Bad album.......2007-01-10
Not bad at all!.......2006-08-01
Don't miss the brief operatic cameo by Sarah Brightman halfway through "AC/DC."
Doesn't Age Well .. but A Few Good Songs.......2005-07-10
Mr. Webber's scores for "Phantom Of The Opera", "Evita", "Sunset Boulevard", and "Jesus Christ Superstar" hold up better.
There are a few good tracks, however, on this "concept" recording:
Starlight Express (very catchy tune)
Engine Of Love
There's Me (personal favorite)
Only You
I wish they had released a Broadway cast recording (the London one is available as a double disc), but this is a fine substitute.
NIce Score...........BUT !.......2004-02-23
I found it!.......2001-12-07
Average customer rating:
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Built on Squares
The Starlight Mints , and Starlight Mints Manufacturer: Play It Again Sam Us ProductGroup: Music Binding: Audio CD General
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ASIN: B000093BDW Release Date: 2003-05-20 |
Tracks:
- Black Cat
- Brass Digger
- Goldstar
- Pages
- Buena Vista
- Irene
- Rinky Dinky
- Zillion Eyes
- Jack In The Squares
- San Diego
- Jimmy Cricket
Customer Reviews:
Great album for summer.......2006-07-29
A good and kind've unique album - fans of the band and style will like it.......2006-01-10
Highlights include:
the entire album!
Great psych-pop/rock with a sarcastic vocalist........2005-08-09
The first track, "Black Cat," utilizes string instruments at the beginning to set the tone as a sort of light, funky mood. The verses feature Vest's low, secretive voice muttering to the bass and cymbols. The strings kick in before the chorus, which features catchy guitars. This song is a great opener and one of the jewels of the album. "Brass Digger," the second track, is a bit slower-sounding than the opener, but no less enjoyable. Track three, "Goldstar," starts with a rush of sound, then quickly hooks back into a slow-moving background, during which Vest describes his encounter with a girl and lets out a sarcastic "har, har, har..." at her deeds. The chorus features a great rock sound and nice backing vocals singing out "Gooooooooldstaaaaaaar gunnnnn..." Great song.
Track four, "Pages," has slightly more serious vocals and a great funk-pop background. Vest sings gently in the chorus about someone whose name is a crucifier and heart, apparently, needs a bigger sweater. I'd talk about how good this cut is, but, after saying such things about the first three, praising gets a little old. This is also a great, slow, semi-acoustic song. Number five, "Buena Vista," is one that I occasionally skip. The opening music sequence is slightly annoying to me. It's a very short song that sounds as though it could be the theme song for a TV sitcom. That's not a good thing. It's not bad, but it just really isn't good, either. Track six, "Irene," is much better, featuring some cool distorted bass, some nice piano work and the singer melodramatically telling off Irene. He enjoys it more than a little. It closes with pretty female vocals and brass instruments.
Track seven, "Rinky-Dinky," is a candidate for the best cut on the album. It has a danceable intro, some great vocals, nice keys from guest Derek Brown, and is very, very catchy. Track eight, "Zillion Eyes," is very slow and somber, but far from boring. A hint of sadness sneaks into Vest's voice for the first time. "'Til the music stops..." he sighs to the closing outro. Good song. Next is Track nine, "Jack In the Squares," which starts with begging Jack Archibald for a song "like a ding-dong." This isn't my favorite song, and it's rather short, but it's still a fairly good cut. Track ten, "San Diego," is much better; a catchy chorus and poppy verse make a very good song. Also, by the end of the song, you won't have ANY doubts as to why they drove to San Diego. The finale, track eleven, "Jimmy Cricket," has a great intro that will have you jerkily swaying to the melody. The vocals to this song are a bit more serious, too, and fit the mood very well. What began with strings ("Black Cat") ends with strings; the slow moody vibrations contrast nicely with the frivolous, poppy strings of the first cut. "Jimmy Cricket" is a strong end to a great album.
At 34:20, "Built On Squares" is short enough to go through in one listen and each track is good enough that you won't have to skip any. The only two tracks that I consider inferior (Jack In the Squares, Buena Vista), are short enough to go through and good enough that you'd want to hear them. This album was a pleasant surprise for me when I found it (my sister's college radio station crashed, so she just took a few CD's), and it's now a mainstay in my collection. Buy it and quickly. Do yourself a favor.
Best pain ever.......2004-08-05
This is one of the two CDs that regularily hijacks my creativity. It's impossible to disengage my mind from it. I have no choice but to sit and listen in awe.
New and Improved Music.......2003-12-09
I will have to go out and buy my own copy because I am tired of waiting my turn to borrow hers. And I am going to have to buy several copies because I keep thinking of friends who would love this but might not hear about it through their regular sources. I am even sending one to a friend in France. We have the advantage of having them be from our area, although that doesn't mean they play here often. I'd not even heard of them until recently. And now I can't get them out of my head.
I don't know the names of all the songs to write in much detail, but "Pages" is one of my favorites. I always have to get up and move when it comes on. Now I have to go out and buy their first cd and I look forward to seeing what else they come up with. A great band, with an outstanding cd and a potentially phenomenal future.
UPDATE - Still listening to this cd as of April 2006. After buying several copies for friends, I did give one to my French friend when visiting him last month in Paris. He and his amis loved it as well and played it constantly during my visit. (And I'd brought them 5 new cd's.) Just to put it in perspective, every year I choose one upbeat, remarkable, innovative cd to buy in bulk and give away as gifts to family and friends that might not otherwise glom onto its existence. This was the give-away cd of that year.
Looking forward to their newest cd and their continuted success.
BigSis26
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'58 Miles Featuring Stella by Starlight
Miles Davis Manufacturer: Sony ProductGroup: Music Binding: Audio CD Bebop General
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ASIN: B0000027R5 Release Date: 1991-07-23 |
Tracks:
- On Green Dolphin Street
- Fran Dance
- Stella By Starlight
- Love For Sale
- Straight, No Chaser
- My Funny Valentine
- Oleo
Customer Reviews:
If love and lonliness have a voice this is it...........2006-10-31
Miles can hit notes that just go right through you. Evans is a perfect backdrop for MD and his solos are gorgeous. Coltrane, in my opinion, was never better than when with this group. Miles knew how to reign him in and keep him from going all over the place like he did later in his career(no offense to Coltrane fans and no knock on his talent. He was a genius, but his later work got a bit too note-ey and esoteric for my taste). With Miles in charge, Coltrane shines as he makes every note count. Cannonball hits the mark as well.
Highest recommendation.
ONE PIECE OF CRAP.......2005-10-31
Sober Modal Jazz.......2005-02-28
More from the Kind of Blue sextet........2004-06-13
"On Green Dolphin Street", "Fran Dance", "Stella by Starlight" and "Love for Sale" are from a studio session, the first three at slowish tempos and played in a mostly warm, mellow and genial style (unless you think that those adjectives couldn't possibly apply to Coltrane's playing). Miles uses a mute on all four pieces (in fact, "Straight No Chaser" is the only track on the disc on which he doesn't play muted) and he plays well, in his intense, lyrical mode. If you like that side of Miles's music you will like these pieces. If they don't rise to the heights of the best of `KoB', there are nevertheless some good solos from Coltrane, Adderley and Evans and some memorable moments, like the one in "Stella by Starlight" when Miles's solo hands over to Coltrane's with a dramatic high held note. You might be disappointed that Adderley doesn't play on this track. Or you might not. The up-tempo "Love For Sale" is a lively performance with good solos from Adderley and Evans (Coltrane seems to struggle a bit with the chord changes) and Evans's sparky introduction and prodding accompaniment drive the rhythm forward with remarkable confidence, considering that he was something of a `new boy' with the group. "On Green Dolphin Street" is at a relaxed but well-judged pace and everyone solos well on this piece, with the rhythm section adapting well to each soloist.
The other tracks are from a live session at the Plaza, part of a `function' at which Columbia was showing off some of its top jazz artists. The sound quality is inferior to that on the studio session - although both are in what the liner note describes as `pre-stereo' sound (could they possibly mean `mono'?). Miles and the saxes come across clearly enough, but Paul Chambers' bass and Evans's piano suffer some distortion. The piano sounds as if it is being played in a different, less congenial, acoustic and although it can be heard clearly it suffers from a peculiar echo effect that detracts from the tonal beauty of Evans's playing. This is a pity on the quartet performance of "My Funny Valentine" as Evans is strongly featured here and plays what sounds like a superb solo, which makes me regret that he and Miles never recorded a quartet session. "Straight No Chaser" is taken much faster than on the `Milestones' album and I think it suffers in the process, sounding a bit frantic and lacking that bouncing swing which gives the `Milestones' version its special character. Sonny Rollins's tune, "Oleo", was always intended to be a fast piece but I think it too loses something by being a bit faster than the group as a whole seems comfortable with, although Miles, Evans and Adderley are still able to construct some good lines.
I'd have to call this CD recommendable, partly because it's the only other one which is entirely by the Kind of Blue sextet, but also because the music has its own solid merits. A pity it lacks the quality of `post-mono' recorded sound we get on `KoB', although the sound on the four studio tracks is acceptable enough - clear, well balanced and in a warm acoustic.
A favorite, must have for any Miles Davis fan........2003-11-06
This is another favorite Miles album. If you don't have it, you either should not consider yourself a fan of Miles Davis or you should get it.
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Starlight Express (1984 Original London Cast)
Andrew Lloyd Webber , and Richard Stilgoe Manufacturer: Decca Broadway ProductGroup: Music Binding: Audio CD Movie Scores
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ASIN: B00000742S Release Date: 2000-05-09 |
Tracks:
- Act One: Overture
- Act One: Rolling Stock
- Act One: Call Me Rusty
- Act One: A Lotta Locomotion
- Act One: Pumping Iron
- Act One: Freight
- Act One: AC/DC
- Act One: He Whistled At Me
- Act One: The Race
- Act One: There's Me
- Act One: Poppa's Blues
- Act One: Belle The Sleeping Car
- Act One: Starlight Express
Tracks:
- Act Two: The Rap
- Act Two: U.N.C.O.U.P.L.E.D.
- Act Two: Rolling Stock (Reprise)
- Act Two: C.B.
- Act Two: Right Place, Right Time
- Act Two: I Am The Starlight
- Act Two: He Whistled At Me (Reprise)
- Act Two: Race: The Final
- Act Two: No Comeback
- Act Two: One Rock 'N' Roll Too Many
- Act Two: Only He
- Act Two: Only You
- Act Two: Light At The End Of The Tunnel
Amazon.com
Between his megahits Cats and The Phantom of the Opera, Andrew Lloyd Webber came up with one of his slightest efforts, Starlight Express. The composer admitted it was targeted at kids--centering on a set of trains and the plot of The Little Engine That Could--yet it lacks the charm of his other kids' show, Joseph and the Amazing Technicolor Dreamcoat. While the live staging was exciting, featuring costumed roller skaters racing around, over, and through the audience, the score is one of Lloyd Webber's least subtle demonstrations of his ability to compose in different musical styles--country ("U.N.C.O.U.P.L.E.D."), blues ("Poppa's Blues"), rock ("Rolling Stock"), funk ("C.B."), rap ("The Rap"), and the like. Of course, there are some catchy tunes plus one hit (the title tune), and Richard Stilgoe's lyrics are sometimes cutely clever and sometimes banal ("Starlight Express, you must confess, are you real, yes or no / Starlight Express, please answer 'yes,' I don't want you to go."). The show was revised and revived in 1992, switching some songs, removing the most obvious cold-war references, and adding one pop single ("Next Time You Fall in Love"). --David HoriuchiCustomer Reviews:
Why? Andrew, Why?.......2006-11-06
Hasn't Aged Particularly Well.......2006-08-18
Best Tracks include:
Rolling Stock
A Lotta Locomotion
There's Me
Starlight Express
I Am The Starlight
Only He
Light At The End Of The Tunnel
Definitely not a musical to be taken too seriously, nor in the same league as "Phantom" or "Sunset Boulevard", the score for "Starlight Express" is simply fun..though I prefer the concept album recorded before the show's transfer to Broadway.
This is indeed the best version of the "Starlight Express" CDs.......2005-09-23
But this show, Starlight Express, blew me away. Visually it, like Cats, The Phantom of the Opera, is in the same leagues. But score wise, it is a mixed one.
It is indeed a show, like Cats, and unlike The Phantom of the Opera, for children and, although I am not particularly fond of ALW himself, but it is sweet he wrote this show for his children, who were at the time from his first wife Sarah Hugill. The story is based more or less on the old children's tale of "The Little Engine that Could" and perhaps, not sure on this, on the old "Thomas the Tank Engine" show (I may be incorrect on this). I have not yet seen the show as a whole, but I can fully concur that, although the plot in the original was a bit weak, and at times today, even still, I will say that indeed it holds its own and it is a delightful show.
Of the numbers that are on the Original London Cast Recording; I will say this:)-
"The Overture" - Like all of ALW's shows, with the possible exception of "Joseph and the Amazing Techincolor Dreamcoat" , "Aspects of Love", and some of his later shows; ALW writes very intriguing at time eerie sounding music (The Phantom of the Opera, The Woman in White, Cats, and Evita are no exception) and this certainly fits that league. I would definitely say this deserves, if given 5 stars as the best, it is a 5. I love this number indeed.
"Rolling Stock" - This song, or this version, is really quite good, but I admit not as good as the New London Version. But they are both good. :D The singer who sings this sounds alot, strangely enough, like Gerard Butler who does the Phantom in the filmed version of ALW's stage show of "The Phantom of the Opera". Perhaps if Gerry did a movie version of Starlight and played Electra, he would fit quite well in it. But getting off topic, this is a really powerful number and on stage its really quite fun. Of the characters in the show, Electra is certainly the most heavily made up, and has been since the OLC production in 1984. The beat is a bit slow at best, not as more normally paced as the New London, but definitely both versions get a 5!
"Call Me Rusty" - Not crazy about this number personally, and that is only because its not among my favourite songs, but it is a really good number in of itself. Strong, creepy, almost too dark undertone to the music and the plot really flows through this number. Indeed another 5.
"A Lotta Locomotion" - Having been a fan of Frances Ruffelle (best known, later, for creating the role of Eponine Thenardier in Cameron Mackintosh's (non ALW) production of "Les Miserables") for a while, she really shines in this number and her voice still has all the power, fun, intrigue, and the surprising gentleness to her tone that she is known for. She is, out of all the ladies I have heard play her, is the best Dinah. :D Music wise, this song, on this recording at least, is very 80s and it shows through. The synthesizers and the electric keyboards really are the focal point in the instruments used in this. But with that said, the performers really blended well together and I must say it definitely deserves a 5, as well. :D
"Pumping Iron" - This indeed is another cute number with Greaseball playing an Elvis figure (ALW seems to have a obsession with Elvis having incorpriated alot of him into Joseph and the Amazing Techincolor Dreamcoat and some of his other shows). I like this version very much, the performer, at the moment his name illudes me, is really quite good at portraying the sort of macho, but nice, tough guy part of Greaseball (unlike the macho, but evil, Electra). Again another 5. :P
"Frieght" - Is very child-like and really is quite suitable for children, music wise as, unlike its former numbers, is not as dark or adult in nature. But there again the flow of the music is weak and here is where it needs perhaps a little punch, but that is only my personal opinion. For children this is a good number but even then still weak. I give this a good even (out of 5 stars) 3 and a half.
"AC/DC"
"He Whistled At Me" - This is perhaps when the romance section really comes through. The late Stephanie Lawerence is amazing as Pearl and the song at times switches from child-like to an almost creepy note
"The Race" (or the first race) - This is where, in the show, it becomes quite electrically charged, although the show is already enough exciting visually in the former tracks, but here is when it reaches it's first peak. The race on stage is quite thrilling (although perhaps, maybe, not as thrilling as the Final one) and the track really captures the nerve and fire of this scene and number. Definitely a 5!!
"There's Me" - This song is quite sweetly done, and is definitely well played out and indeed is more in line with ALW's other shows. Quite gently played and suitable for children. The flow of the music is perfect, the cast does excellent, no complaints here! 5 stars!
"Poppa's Blues" - You would think that ALW, being a more classically minded composer, would stick to more classically themed music. But here he as already done rock, 60's style music, his own unique style, children's style, (I want to say goth but that's not the word for it so I will say..) dark, 80's style music. You would think he would switch back to classical, but nope. Here, as one reviewer commented, this show combines all of ALW's taste or attempts
"Belle The Sleeping Car" - This is where I have the harshest criticism. I don't know if its the singer or the music, but it is definitely the first really weak point in the show and I think, personally, when thinking about the plot, slows the show down a bit
"Starlight Express" - I remember when I heard this on the Premiere Recording, I did not know who that singer who sang along with Lon Satton was, I did not know at first if it was Ray or a woman. It said on the track it was Ray and Lon. :P But this really captures the essence of the show, this song is about the show and holds everything. Its a combination of the dark undertone, as I said already in play in the show, and the lightness that is tolerable for children. At the time, being into TPOTO, I was not too crazy with it but I did admit it had a good beat, good lyrics (if the singers were not my fave) and was a bit creepy. But now, I quite like it and it captures the show perfectly. Back to 5 stars!
"The Rap" - This is a really confusing number and indeed, I am not a fan of this at all. Its like a combination of 80's style music and rap. :S I would give this 1 star.
"U.N.C.O.U.P.L.E.D" - ALW has wrote Country?? Yes he has. And once again, although the flow in the music is its one major flaw (not on Frances Ruffelle's part), Frances Ruffelle really shines through and the song itself is lovely. Very sweet and sad in a good way. :) Frances Ruffelle indeed, never fails to incorrectly sing, although perhaps, with the beginning flow a bit distorted as its only fault, she did not do as good as she usually does, could have sung country music, if she lived over in the USA. :D Bravo, Frances!! 5 stars!
"Rolling Stock: rephrise" - Being a girl, I could not sing the former version; but this version is especially written for girls (thank you ALW:D) and, for any female performer wanting to do the show and learn the score, this is at a good slow pace to start with and then slowly increases in the later recordings. But this works well and should have remained as is, in the OLC. :D 5 Stars.
"C.B." - This is really 80's style and it really shows Electra being, as he is in the show, an.. (considering children may read this) a jerk. But nevertheless, its a very confusing style and this, while not as bad as "Belle" or the other poor songs on this, it seems to have some strong points. But my only complaint is the style and crescendos and flow of the piece is confusing. I would give this a 2.
"Right Place, Right Time" - HAHAHA! I had to laugh at that comment, "Rocky 1 and Rocky 2" and the "If I had any brains". :D But with that said, this is a good sturdy number, although not as strong as the others. 4 stars at best. :D
"I am the Starlight" - Ray does not shine here as much as I wished he had, but he really does well nevertheless. Lon does not do as good on this, but the song is the peak of the show in that Rusty realizes he is the "destined" or Starlight :D. The music flows in a very classical, in line with the other classical shows that ALW does, and is brilliantly written (if not cast wise written). So for the music a 5, with the singers a 4.
"He Whistled At Me: Rephrise" - The singer, who sounds alot similar to someone from "My Fair Lady"
"Race: Final" - This is the climax, where Rusty and Electra go head to head and in the stage show, this is incredible to see and the music is just electric for this, literally in style and in emotion. No complaints at all here! Both children and adults would love this number or at least, find it thrilling if they saw the show live. If you ever see the show, this is probebly, if the children are bored with the former songs, this is where they MAY have fun and get a musical theater buzz. 5 stars indeed!!! :D
"No Comeback" - In regards to the singer here, he does really badly. His flow and style of singing is, perhaps, a bit strained in some notes and poorly done (but to his credit, it may be the score for his voice). But the music really comes through and does briliantly.
"One Rock n' Roll Too Many"
"Only He" - I have heard this when it was combined with "Only You", as done by, ironically, Frances Ruffelle
"Only You" - Here Ray Schell does very badly, but while Stephanie shines through. :D This is a good number and it is a tragedy that ALW cut this out. Oh well, seeing as he cut out alot of stuff from the ALW TPOTO Movie version, I am not surprised. 5 stars, btw. :D
"Light At the End of the Tunnel" - Finally we are reaching the end of the show, where the beginning starts out very dark, this is very upbeat and cheerful. Lon, in contrast to when he did badly, he redeems himself here. 5 stars!!
OVERALL, with all that said and done, I would give it indeed 4 stars. :D And indeed, try and see this show if it comes to your city or town, if you live in the USA. Although if you want a really GOOD production; I highly recommend the versions in Bochem (in Germany, where it is the longest running production of the show, having been here when the OLC and OBC
This indeed is one of the rarest of ALW's shows, as its not as well known or popular here in the USA (which is their loss, not mine), and is quite sublte in ALW's various other tastes in music. As a former critic said, this is the best of the recordings.
The best recording of the best musical!.......2005-04-04
Starlight is my favourite musical of all time. I have had this recording on some medium or other since I was 4 (15 yrs ago) and I have managed to wear out every copy I have owned - I love it that much. I think it is probably true to say that you would have had to see the show live on stage to fully appreciate it however. This recording does sound quite dated and is quite blatantly 80s, however some of the tracks (A Lotta Locomotion and He Whistled Me) are so 80s that they would pass as cool/retro nowadays.
In conclusion - the best Starlight recording I own.
BETTER TO WATCH THAN TO LISTEN..........2005-02-28
Most of the show's appeal lies in its visual performance rather than in the score or the lyrics. The plot is even lighter than in Cats: it tells the story of the different trains. Rusty, a steam engine is in love with a glamorous carriage Pearl, but has to compete with other trains by racing them to win her affection. The holes in this simple plot were overshadowed by the grandiose staging that involved vigorous light show and cast members on roller-skates racing through the specially made stage. Because of that, Starlight proved to be a family-oriented show guaranteeing an entertaining evening. It was probably one of the main reasons why the show lasted in the West End until 2002. And yet the fact remains that on Broadway it passed rather unnoticed and didn't cover the basic investment.
This two-disc recording captures much of the original show that opened in March 1984 in London's Apollo Victoria theatre. You should be aware, however, that the score was revised in the early 90-is in order to get a more modern sound. The cast recording here has several problems. First, the orchestrations are full of synthesizers and the disco-beat of the 80-is is more than evident and therefore much dated. The story lacks coherence even more than in the case of Cats, so you don't have the feeling that anything is happening. And the score itself is not among ALW's best, for the most part it's just derivative. That said, some of the songs on this recording are worth noting.
The best of the lot is "Only he", a wonderful love ballad sung by Pearl to Rusty. It's not the music here that matters, it's the lady singing it. The late Stephanie Lawrence had a sweet and tender voice and it will hold you throughout this powerful song. It's amazing that this number was later completely dropped out. Her second big number, "He whistled at me" is a little lighter, but still very pretty. And from the rest of the cast, only Ray Shell's Rusty sticks out. He manages to portray the liveliness of the character in songs such as "Call me Rusty", which has a catching melody. And the other song not to skip is "I am Starlight" on disc 2, sung by Rusty and his father. This is also the only melody that comes close to ALW's symphonic extravaganza, with the perfect blending of the score and the cast. The rest is rather plain and unnoticeable.
The CD package comes with the complete lyrics of the performed songs, but just like in "Aspects of love"; you need a magnifying glass in order to read it. The lyrics are among the most banal I've ever heard in a musical.
This version of "Starlight Express" should therefore be appreciated for its innovative staging and its individual moments rather than its worth as a whole. In this respect, it belongs to the less satisfying scores of Andrew Lloyd Webber and is not at all a must-have, but rather a mere addition to the collection of the composer's work.
Meditation Music:
- Stripped
- Summer Songs
- Sweet Dreams
- Synthpop for a Darkened Room 2
- The Annoying Music Show Presents Songs For People
- The Best of Polka Party [Original recording remastered] [Import]
- The Charming Factor
- The Collection [Import]
- The Reel Me (CD & DVD) [Enhanced] [EP]
- The Spirit Soars
Meditation Music
Bruch: Concerto for violin in Gm; Glazunov: Concerto for violin in Am
Benjamin Frankel: Complete String Quartets
Bihag Kamboji Malkosh Calcutta 1955
Best of Rolf Harris [Enhanced] [Import]
Best of V.2 [Original recording remastered] [Import]
Beethoven: Moonlight, Waldstein, Appassionata / Ashkenazy (Penguin Music Classics Series)