Richard Julian

Richard Julian

Track Listings

1. sick sick love

2. living with ramona

3. you and the roaches and me

4. move you

5. siberia

6. the underground

7. i ain't goin to kansas city

8. young and free

9. fourth of july

10. bottom of the sea

11. charlie lewis

Editorial Reviews
About the Artist
Richard Julian is one of the music industry's best-kept secrets. Highly regarded among peers, he is both a gifted composer and a storyteller with an honest, if ironic point of view. His songs, often confessional, and always cinematic, are likely to leave a lasting impression. As a songwriter, he has been compared to Paul Simon, Beck, and Prince and his 1999 release, Smash Palace, found a welcome home at AAA radio, reaching #16. He has toured throughout the United States and Europe, opening for an array of major recording artists as well as headlining in nightclubs. His most recent effort, 'Good Life,' was released on the web independently January/2002 and has been enjoying rave reviews in the press as well as being added to radio playlists nationally.

Product Description
This New York-based singer-songwriter's debut album shows a complex lyrical sensibility backed up by a strong, soulful voice and pop smarts to spare. Though predominantly acoustic, there is a distinct soul/R&B tinge to the arrangements, accentuated by the presence of the legendary Uptown Horns and by the mid-'70s Al Greenisms of the existential love ballad "Move You."

Julian's songs are energized by the powerhouse drumming of Mike Shapiro and the fluid acoustic bass lines of Dave Richards; they give a solid foundation to Julian's tales of love, hate and misunderstanding in post-Nixon America. Drawing on the dark poetic imagery of Leonard Cohen ("Bottom Of The Sea") and the graveyard humor of John Prine ("Sick Sick Love"), Julian reaches into the seamy world that lies just beneath the daytime TV talk-show mindset, revealing its underlying truths in all their horror and beauty.

Tracks:

Roly Poly
I'll Never Get Out of This World Alive
Love Me
It's Not You It's Me
Best of All Possible Worlds
No Place To Fall
Roll On
Gotta Get Drunk
Streets of Baltimore
Easy As The Rain
Tennessee Stud
Night Life
Lou Reed

Amazon.com

One of the freshest country albums of the year comes not out of Nashville, but rather New York, from a sporadic band with the unlikely (and somewhat suggestive) moniker of the Little Willies. At times, the fivesome (named in homage to Willie Nelson) hearkens to the great historic western-swing bands--crack, loose-limbed musicians fronted by a hypnotically sublime girl singer. If that sleepy female voice (and her distinctive piano) sounds astonishingly like Norah Jones, that's because it is Jones, exploring the country side of the blues. The group--rounded out by Lee Alexander (bass), Jim Campilongo (electric guitar), Richard Julian (guitar, vocals), and Dan Rieser (drums)--formed in 2003 to play the Living Room on New York's Lower East Side and just do the classic American music they grew up enjoying. That's why their low-key labor of love, recorded without commercial expectations and promoted under the radar, includes both originals (including the achingly sweet "Easy as the Rain") and covers of Hank Williams's "I'll Never Get Out of This World Alive"; Nelson's "I Gotta Get Drunk" and "Nightlife"; Kris Kristofferson's "Best of All Possible Worlds"; Townes Van Zandt's "No Place to Fall"; and Leiber & Stoller's "Love Me" (made great by Elvis Presley). Throughout, the record maintains the slightly inebriated, bar-band feel of a live club performance, especially on "Lou Reed," a very funny saga of a cow-tipping incident possibly involving the dark rocker. This is an extraordinary record, not only for its musicianship, but for the infectious joy and exuberance of performers who remember just how fun it is to play music from the inside out. --Alanna Nash

Got the Willies?

New York City
The Peter Malick Group featuring Norah Jones
Jim Campilongo and the 10 Gallon Cats
Jim Campilongo
Slow New York
Richard Julian

Come Away with Me
Norah Jones
Table for One
Jim Campilongo
Feels Like Home
Norah Jones

Album Description

THE LITTLE WILLIES are Lee Alexander, Jim Campilongo, Norah Jones, Richard Julian and Dan Rieser. On their self-titled debut CD they cover a range of songs by Willie Nelson, Kris Kristofferson, Townes Van Zandt and Fred Rose, as well as bandmember originals.

Customer Reviews:

Disappointing.......2007-07-09

A big fan of Norah and country music I was excited by the potential of this album but it is a waste of time. The songs uniformly fail to excite, you get the sense that none of the very talented people involved in the production really cared about putting together a good recording. Not awful, but not good which for me was very disappointing.

Willies disappointment.......2007-05-12

A found this CD disappointing. The tracks seem too raw and a touch unprofessional.

Fun little retreat to the past.......2007-03-23

This is so reminiscent of my childhood. Song styles of the past, very folksy, bluesy and sweet. I really enjoyed her selections and the vocal harmony.

Chilley Willies!.......2007-03-09

This CD was recommended with Norah Jones' new CD by Amazon so I took the advice and purchased it! Wrong!

IT WAS AWFUL!!!!!

Best when Norah sings........2007-03-09

Not a bad album, but clearly best when Norah Jones has the mic. This seems to have been a diversion for her, rather than a serious effort. Still, if you are a NJ fan, this is a must. It does nicely show her affection for the C&W genre.

Average customer rating:

Good but not Great
Patti LuPone owns!!!
Rainbow High, but it's still Patti's show
A New Argentina! (or at least a new Argentinean playing Evita!)
EXCELLENT RECORDING OF THE COLOURFUL NEW PRODUCTION, BUT...

Evita (2006 London Cast)

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B000EYK0ZM
Release Date: 2006-10-24

Tracks:

Requiem For Evita
Oh What A Circus
On This Night Of A Thousand Stars
Eva Beware Of The City
Buenos Aires
Goodnight And Thank You
The Art Of The Possible
I'd Be Surprisingly Good For You
Another Suitcase In Another Hall
A New Argentina
Don't Cry For Me Argentina
High Flying, Adored
Rainbow High
Rainbow Tour
And The Money Kept Rolling In (And Out)
Waltz For Eva And Che
You Must Love Me
She Is A Diamond
Montage
Lament

Album Description

One of the world's greatest musicals, returns to London's West End after 21 years. Directed by the award-winning Michael Grandage and featuring lyrics by Tim Rice and music by Andrew Lloyd Webber, the brand new production of the smash-hit stage show had its Press Night with rave reviews at the Adelphi Theatre on June 21st., 2006. The amazing cast includes the exciting Argentinean discovery Elena Roger as Eva, Philip Quast as Peron and Matt Rawle as Che. Polydor. 2006.

Album Details

2006 Digitally Remastered Edition of the Original Andrew Lloyd Webber/Tim Rice Classic Stage Presentation that Told the Story of Evita Peron and Served as the First Major Pinnacle in the Career of Elaine Paige.

Customer Reviews:

Good but not Great .......2007-03-03

This album is good, but it is not great.
I love the voices and new interpretation of the songs, but
I cannot say I love Eva Peron of this particular album. In my personal
opinion, Madonna sings better for certain songs like 'New Argentina'

It is a great album, but I would rather go for Madonna and Patti LuPone.

Patti LuPone owns!!!.......2007-01-01

I gave this show three stars for one reason: nothing can outshine Patti LuPone flawless performance as Eva Perón! Don't get me wrong Elena Rogers delivers a heartfelt Eva but lacks the suprerior belt power of Ms. LuPone.

Phillip Quast however is a brillant Juan Perón, basically anything with Mr. Quast in it is worth getting!!!

Matt Rawle brings a very new and young Ché to the plate.... maybe not quite vocally powerful as Mandy Patinkin. He's okay but needs some getting used to.

The new orchestrations and musical changes are different but I like the original much better....

If you're already an Evita Fan and really enjoy the original recording then I would reccamend this, but if you haven't yet heard Evita then I'd say start with the Orginal Recording with Patti LuPone and Mandy Patinkin first.

Rainbow High, but it's still Patti's show.......2006-11-02

I've always believed "Evita" was ALW's most intelligent and most important work-- a fully realized (if not arguably biased) exploration of the life of Eva Peron. I know the "Phantom" phans out there will disagree, but I don't think anything else ALW did was as significant or musically brilliant. Add Tim Rice's lyrics, and what you have is a bona fide diamond in the musical theater pantheon. Only Mama Rose is a more coveted female role-- maybe.

First there was Julie Covington in the experimental stage, then Elaine Paige in the original London cast, who seemed to play it with a nudge and wink. Somewhat more recently, Marti Webb-- another ALW alumnus-- did a largely forgettable studio album of songs from the show. As for the movie, I think Madonna did a very respectable job and was largely overlooked. The CD largely holds up as a document of the film, with Madonna's singing effective, and Antononio Banderas a complete surprise as a competent, if not always attached, Che. Such is the problem with soundtracks, the lack of interaction among cast members that is vital to stage.

But this has always been Patti's show, and always will be.

Patti Lupone was uniquely qualified to play Evita when it opened on Broadway in 1978. She had the attitude, the talent, the brass, and those pipes. She will always be the quintissential Evita. Mandy Patinkin was an admirable Che, well before he descended into the manic Broadway hyper-belter that Sondheim undountedly had a hand in creating. The Lupone Evita, on 2 CDs, with most of the inceidental music and an incredible record of star-making performance, will forever be the most important recording of this show.

Now, nearly 30 years later, Evita is being revived on the London stage, at the Adelphi Theatre, and garnering rave revues. I've been waiting months for this CD, and I'm not disappointed. Elena Roger is a stunner of an Evita, vocally directed to shift from a street-wise Spanish accent in the early songs ("Buenos Aires") to a still Spanish but lyrically elegant Evita as she rises to global sainthood. Lupone's brass isn't obvious. This Evita isn't as flawed or damaged as Madonna's interpretation, but definitely handles the demands of the score. The "Don't Cry For Me Argentina" number is exquisite, and she achieves some drama in the "Rainbow High" number that even alluded Lupone. Listen to this woman belt "I'm their savior!" at the key moment in the song-- this probably stops the show every night. The addition of "You Must Love Me," the in-out song that, after Madonna, now seems will be a permanent part of the show, is performed with delicacy and anguish-- I'm not sure Lupone could've pulled off the quiet desperation as perfectly as Elena Roger does.

This Che takes some getting used to. Matt Rawle sings the demanding role with energy and, at points, quite beautifully. He never emulates Patinkin, which is appropriate. He also has a strong Cockney accent at points (particularly in the early numbers) that come off at first as startling. He too refines it by the time "High Flying, Adored" comes around, and he's excellent in the "Waltz for Eva and Che." Elena Roger's Spanish accent works wonders here; Matt Rawle gets a bit distracting, even with his astonishing energy and vigor. At points, he sounds like he should over at the Prince Edward Theatre in "Mary Poppins." Happily, Phillip Quast comes across as a more youthful, vocally strong and beautifully sung Peron-- he may be the best Peron yet. Gary Milner is a respectable Magaldi, the joke of the 1978 version having worn thin by now.

Orchestrations are excellent. Some very interesting dissonance at important points, quieter and more like a chamber group at others. My major regret with this recording is that it's on one CD, so much of the incedental music we've been listening to for years on the Lupone 2-CD version is missing. This hurts, not only because the score is so good, but because this cast is excellent. Still, coming in at an hour and 10 minutes, I'm not complaining (much). A complete recording would have earned it 5 stars.

This is one of the few revivals that honestly stands up to the original-- something you can say for very few shows. It won't replace Lupone and Patinkin (as Faith Prince and Nathan Lane did with the 1992 revival of "Guys and Dolls," for example), but this is an excellent recording, and an absolute must for any fan of this show-- which, I believe, includes anyone who calls themselves a fan of musicals. Great stuff- it'll leave you Rainbow High.

A New Argentina! (or at least a new Argentinean playing Evita!).......2006-09-12

It dawned on me awhile ago that no matter what your opinion of Andrew Lloyd Webber, if he had only written three musicals: "Jesus Christ Superstar," "Evita", and "The Phantom of the Opera," he would still qualify as one of the greatest musical composers of the last forty years. The fact that he has been so prolific and adventurous in his material only elevates him in my mind. I can't help but appreciate his love of musicals, even when he doesn't quite hit the mark. Really-- besides Sondheim (obviously)-- who has been trying out new, even experimental, ideas to such a degree for so long?

Think about it for a second: while most composers take easy approaches (especially these days, when the norm is to adapt recent and well known films), Lloyd Webber has written shows about cats (based entirely on a book of poems, no less!), fading Hollywood movie stars, the Troubles in Ireland, racing trains, and even one about a girl in the bible belt who thinks the convict hiding in her barn is Jesus. Whatever you think of his musical style (Too bombastic! Too many recycled melodies!) or the shortcomings of his lyricists, he takes more chances than most composers and there are memorable tunes in virtually every show he has written. And though the three I mentioned as his best are all pretty early works, I don't think he's lost his touch: "The Woman in White," his latest, was way underrated. I mean, come on, it is SO much better than most scores we get from most ANY musical composer (and David Zippel's lyrics, unlike some of Lloyd Webber's other collaborators, are right there on the same melodramatic wavelength as the material and music).

Anyway, if I sound defensive it's because Lloyd Webber's "Evita" was the musical that hooked me on cast recordings, and it's one I really don't get tired of hearing (especially with so many recordings available to keep it fresh). The music is excellent, Tim Rice's lyrics are superb, and the whole show is innovative in its deliberately nontraditional storytelling. In short, it's one of my all time favorite modern musicals.

So now we have another version to add to the lot: the London 2006 revival recording. First things first: unfortunately, it's a "highlights" version and not the usual 2-discs you expect from "Evita" recordings. So, a disappointment there. Still, most of the important stuff is here, save "Peron's Latest Flame," which was always one of my favorite numbers in the show. To cut that song is almost inexplicable (I hope it's still in the show!). I do, however, like the inclusion of "You Must Love Me," the Oscar-winning number written for the movie version. It's nice to hear it in this theatrical context.

The orchestrations throughout are also really good. Revamped by Lloyd Webber himself, they do add an extra Argentinean flavor, just as the liner notes say the intent was (at least it's what I imagine Argintenean flavor to sound like-- not an expert here on South American song stylings). There are lots of changes from previous recordings-- some quite large, others more subtle. Perhaps the most noticeable changes are a reworking of "The Art of the Possible" that is pretty cool sounding, and an updated version of the "montage" near the end.

Also adding a bit more of that Argentinean flavor is Elena Roger in the title role (she ought to-- she's from Argentina!). She's great in the role, coming across as sort of girlish, yet with a powerful harshness; she lends an authenticity to the proceedings with her conviction and Latin accent (the accent is an asset, not a problem-- she sings the lyrics with amazing clarity). I don't feel up to comparing the various Evitas, as they all have their own good qualities, but probably the best I can say about Roger is she is far from a carbon copy of any previous actress (impressive, given the amount of women who have recorded the role). Matt Rawle as Che and Philip Quast as Peron are both perfectly good, if not quite as distinctive.

So this is a really good recording overall and will get plenty of repeat playing from me. "Evita" will always be "five stars," but for rating purposes, I have to dock one star here for not quite giving us the whole score. I really don't know what they were thinking. It's even packaged to look like a usual 2 disc set! So a minor disappointment in what is otherwise a really worthwhile album.

EXCELLENT RECORDING OF THE COLOURFUL NEW PRODUCTION, BUT..........2006-08-22

... this is only a highlights recording. But before we get to this fact, one has to say a few words about the musical itself.

Over the years Andrew Lloyd Webber has made many musicals, some more successful and appealing to the public than the others. Most people will, however, agree that "Evita" remains one of his most satisfying works to this date. Numerous reasons confirm this statement. Just like in its predecessor "Jesus Christ Superstar", "Evita" is almost entirely sung-through; the lyrics are witty and appropriate; the subject matter is again a personality larger-than-life who rises from obscurity and dies at the peak of its fame, thus becoming a legend; the score is captivating and appealing to the listener, at home or in the theatre. The subject matter is quite well know, but let us repeat the essentials for the ones who are unacquainted with it: We follow the life story of Eva Duarte Peron, wife of post-World war two president of Argentina, Juan Peron. However, the musical is very loosely based on the actual life of the real Evita. The story follows Evita from the day of her death in July 1952, and then we have flashbacks until that moment, covering her coming to Buenos Aires, alleged love affairs, meeting Peron, being the first lady and dying of cancer at 33.

This CD is the cast recording of the newly directed 2006 London production that opened in June in London's Adelphi Theatre. This is the first production that did not use Hal Prince's renowned direction, but instead it has Michael Grandage, one of the best contemporary British theatrical directors. The cast who delivers the glorious score is for the most part, well picked. Elena Roger, a tiny, blue-eyed young Argentinean , brings a welcoming freshness to the role, sung in the past by some of the best female voices in the theatre, such as Patti LuPone and Elaine Paige. Elena seems to understand that the role of Eva Peron needs to be acted as well as sung. She brings a new touch to the songs we've heard performed so many times before and although Patti LuPone's Evita will by all accounts remain unmatched, Elena Roger found both her voice and character, despite the fact that at some points she sounds as if she is struggling to hit the highest of notes. Her rendition of `Buenos Aires' is one of the highlights of this recording, but one must note that the famous `Don't cry for me Argentina' needed a bit more of the vocal range in Elena's take of the refrain reprise.

Matt Rawle's Che gets a mixed review. He can be quite good at times (like in `The money kept rolling in') and yet he has the tendency of singing too much in a high voice, similarly like Mandy Patinkin on the 1979 Broadway Cast Recording. I always felt Che needs to have a deeper voice, as sung by Antonio Banderas, Colm Wilkinson or David Essex. Philip Quast makes a fine Peron, but his presence on this album, due to its highlights nature, is barely noticeable. Lorna Want's Mistress is a gem in her rendition of 'Another suitcase in another hall'.

The new orchestrations sound fresh and have more of a Latin American and tango flavor than the previous ones. `Buenos Aires' has a new lush melody in between the verses and the discreet accordion sound in `I'd be surprisingly good for you' is a nice touch. However, there are some quite unnecessary cuts made in the music. So in the latter song the charming orchestral play of the melody between the refrains is completely cut, which takes a lot from the song's appeal. The same has been done with `You must love me', which is beautifully performed by Roger, but the lack of the orchestral solo is something which is very noticeable and not called for.

The lyrics of Tim Rice, one of the main assets of this show, haven't lost any of their wittiness and one has to mention the fact that the entire second verse of `Lament', which can be only heard on the 1976 Concept Album with Julie Covington, is now fully used for the first time on stage. This is very important, since not only does it gives an important insight into what authors conceived as Eva's motivation (the need to be loved), but also it makes the whole story line more complete. This is certainly the most touching number on the CD: Roger gives a truly moving performance and there is a discreet choral accompaniment here, which gives a moving note to it all.

Finally, to the issue from the beginning of this review. This is, sadly, only a highlights CD of this production, and what's worse, it has less material than the highlights album of the movie soundtrack with Madonna. It remains unclear why the author's didn't go for a full 2 disc edition, even more so, when the last one was done in 1979, with Broadway Cast Recording. No matter what the reasons were, there was 10 more minutes left to fill on this CD and it is just about enough to round off the story. Some of the things missing in the musical numbers on the CD are: `Eva and Magladi', the introduction to `A new Argentina' or the last Eva's lines from `The rainbow tour'. There is also a question of the reason for including `The art of the possible' (which is more of a number to be seen on stage than to listen) and omitting of `Peron's latest flame' altogether. These are the main reasons this CD is not as good as it could have been. Let us hope that this issue will be resolved if this production makes it to Broadway in the near future. The CD itself comes in a nice sleeve case, lyrics, director's notes and a couple of production pictures.

For those of you who are getting acquainted with the story of Eva Peron for the first time I must point out: Bear in mind that this musical is only loosely based on the life of the real Evita. As much as Tim Rice's lyrics are craftily made, they lack a lot of historical accuracy. As a historian I became very interested in Eva Peron's life story so I did some research after seeing the movie. It turned out that the authors based their entire work on a single book called EVITA: THE WOMAN WITH A WHIP by Mary Main. The author belonged to the rich Anglo-Argentinean part of the society that was naturally opposed to Perons. Today's historians concur that this book is based on rumors, lies and myths, written with the single purpose of slandering Eva Peron as much as possible. It contains no footnotes and no bibliography. The authors used it mainly because it was one of the few books available on the subject in the English language during the 70-is. So one should be very careful in making any conclusions based on the musical or the movie alone.

All things considered, this is a nice addition to your existing Evita cast recording collection or a good souvenir from the show. But for the people who want to enjoy Evita completely, I would recommend to go for the more complete recordings: 1976 Concept Album with Julie Covington, 1979 Broadway Cast with a Tony-winning Patti LuPone or 1996 movie soundtrack with Madonna.

Average customer rating:

Nectar of the Gods
So Soothing
An excellent addition to your collection

Vivaldi for Relaxation

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B000059SV2
Release Date: 2001-03-06

Tracks:

Concerto in D, RV 93: Largo
Concerto in G, Op. 10 No. 4: Largo
Concerto in F, RV 544: Largo
Trio in C, RV 82: Larghetto
Concerto in G minor, Op. 10 No. 2: Largo
Concerto in A minor, RV 357: Largo e sempre piano
Concerto in G, RV 413: Largo
Concerto in D minor, RV 535: Largo
Concerto in G, RV 436: Largo
Concerto in C minor, RV 197: Adagio
Concerto in D minor, RV 540: Largo
Concerto in A minor, RV 419: Andante
Concerto in A minor, F.I. No. 61: Largo
Concerto in G, RV 532: Andante
Concerto in D, RV 403: Andante e spiritoso
Concerto in D, RV 429: Andante
Concerto in E flat, RV 408: Largo
The Four Seasons, Op. 8: Winter: Largo

Customer Reviews:

Nectar of the Gods.......2007-05-12

Bought this for my husband who enjoys this type of music for relaxation- He loves it

So Soothing.......2006-12-28

This CD is so soothing that I have yet to hear the entire CD! I turn this CD on before I go to bed at night and am relaxed and sleeping before more than three songs have played. I'm not a musician so I cannot write about melodies or tempos or even the accuracy of the interpretation... I understand none of those, but I do know that I love playing this CD every night as I drift off to sleep.

An excellent addition to your collection.......2001-08-27

I own quite a few of the ".. for relaxtion" CD's, and this is one of my favorites. Mellow strands of Vivaldi are the perfect reading companion, great study music, and provide an excellent conversation background. This soothing compostion of Vivaldi's works is an excellent addition to any collection, as well as a great place to begin one.

Average customer rating:

All in the Family

William Primrose: Viola Transcriptions

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Music for Viola & Piano

ASIN: B000FGGKEY
Release Date: 2006-07-25

Tracks:

Nocturne: Andante
Litany For All Soul's Day: Adagio
Marcia - Allegro
Adagio
Allegretto Alla Polacca
Traume: Lento
Huella: Movido Y Energico
Ao Pe Da Fogueira: Allegro Comodo
La Campanella
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Polo: Allegro Moderato
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Zapateado: Allegro Moderato
None But The Lonely Heart
Wie Melodien Zieht Es Mir, No.105, No.1

Amazon.com

The comparative paucity of the viola repertoire, especially of the romantic period, has made violists expert poachers in the literature of others. William Primrose, one of the greatest violists of his or any other time, was a prolific, skillful transcriber. He said he was motivated by the desire to showcase his instrument's underrated potential and his own prodigious technique, and also by envy - of cellists, singers, and especially violinists: in the transcriptions on this record, much of the writing is so stratospheric that the viola becomes a would-be violin. Diaz is a superb, brilliant violist and negotiates the top register easily, but it still sometimes sounds shrill and unnatural, especially since he tends to become aggressive in the chords and double stops. He is at his best in the slow, singing pieces; they most effectively display his warm, pure, variable tone and expressive eloquence, which never becomes sentimental. The program includes Borodin's "Nocturne" from the string quartet, with the viola playing the cello part, and songs by Schubert, Wagner, Brahms and Tchaikovsky, all played with simplicity and elegance. In Villa-Lobos' Brasileiras, the viola takes the soprano part, leaving the piano to impersonate eight cellos. Only the transcription of Beethoven's "Notturno" Op. 42, arranged from the String Trio Op. 8, doesn't work; the distribution of the music between the instruments is uneven and unbalanced. Among the bravura pieces, Paganini's "La Campanella" seems unsuited to the viola and sounds labored, but two Spanish dances, transcriptions of transcriptions by Heifetz, have a fine idiomatic flavor, as does Efrem Zimbalist's Suite "Sarasateana" - that demonstration of how to make famously difficult virtuoso pieces even more difficult - in his own transcription for Primrose. Pianist Robert Koenig is a splendid partner. --Edith Eisler

Customer Reviews:

All in the Family.......2006-07-31

Although probably not a household name, Roberto Díaz is one of the best violists these days. He was principal violist of the Philadelphia Orchestra until recently and is the newly-appointed head of the Curtis Institute. Part of what makes this CD so interesting are the family connections involved. Díaz's father, the Chilean violist Manuel Díaz, was a one-time viola student of William Primrose, and was Roberto's first teacher (as Primrose's father was HIS teacher!). Further, the viola Díaz is playing on is Primrose's very own primary performing viola, one made by brothers Antonio and Hieronymus Amati in about 1600 and now owned by Díaz.

None of this would matter except for the music contained herein. It is a set of transcriptions for viola and piano made by Primrose for his own use in solo performances. As Amazon has not as of the date of this review listed those contents I will do so:

Borodin: Nocturne: Andante (from String Quartet No. 2)
Schubert: Litany for All Soul's Day: Adagio
Beethoven: Notturno, Op. 42 (arr. from the Serenade, Op. 8)
Wagner: 'Träume' (from the Wesendonck Lieder)
Aguirre/Heifetz: Huella: movido y energico
del Valle/Heifetz: Ao Pé da Fogueira: Allegro comodo
Paganini: La Campanella (fr. Violin Concerto No. 2)
Villa-Lobos: Aria from 'Bachianas Brasileiras No. 5'
Bizet: Adagietto from 'L'Arlesienne Suite No. 1'
Efrem Zimbalist: Sarasateana
Tchaikovsky: None but the Lonely Heart
Brahms: Wie Melodien zieht es mir

The Zimbalist is interesting for a couple of reasons. For one thing, Zimbalist is one of Díaz's predecessors as president of the Curtis Institute; the roster itself includes such distinguished musicians as Josef Hofmann, Randall Thompson, Efrem Zimbalist, Rudolf Serkin, John DeLancie, Gary Graffman. Second, the Zimbalist pieces are not strictly speaking Primrose transcriptions. Violinist Zimbalist had made his arrangement of the Paganini pieces for his own use, but when Primrose was teaching at Curtis he asked Zimbalist to arrange them for viola and that's how they came into being.

Highlights: The first track is an absolutely riveting performance of the justly admired Andante from Borodin's Second String Quartet, familiar to many as the basis of 'This is My Beloved' from 'Kismet.' In the original the ingratiating melody is played by the quartet's cellist, but here it is sung gorgeously by Díaz's viola, almost making one forget the original. The Paganini 'La Campanella' comes across as an almost new piece, with the plangent tones of the viola somehow transforming this familiar piece into something entirely different. Díaz's virtuosity really shines here.

I had a little problem with the transcription of the aria from 'Bachianas Brasileiras No. 5' if only because I can't hear it without wanting, rather, to hear the sound of a soprano and all those cellos in the original. As expert as the marvelous collaborative pianist Robert Koenig is, he can't supersede the sound of the celli, although that's not his fault. Díaz gives it a good performance, but he's no soprano!

If ever there was a song that cried out to be heard in the dusky and melancholy tones of the viola, it is 'None But the Lonely Heart.' My god, this is wonderful! It actually brought tears to my eyes! I also uttered a sigh at the beauty of the soulful rendition of the languorous Bizet 'Adagietto'.

Viola recordings aren't all that numerous and probably don't figure high on most record buyers' Want Lists, but this one qualifies for a strong recommendation. You won't be disappointed.

Scott Morrison

Average customer rating:

If You Love Classical Music, This CD Is For You
Probably Decca's best "Adagios" set
One of the best CDs you'll ever own
Sublime!
GREAT MUSIC

Movie Adagios

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Romantic Adagios
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Violin Adagios

ASIN: B00005OC0D
Release Date: 2001-10-09

Tracks:

Platoon: Adagio For Strings - Baltimore Symphony Orchestra/David Zinman
Elvira Madigan: Piano Concerto No.21 In C Major, K.467 - Radu Lupu/English Chamber Orchestra/Uri Segal
A Room With A View: O Mio Babbino Caro (Gianni Schicchi) - Renata Tebaldi/Orch Del Maggio Musicale Fiorentino/Lamberto Gardelli
Dangerous Moonlight: Warsaw Concerto - Cristina Ortiz/Royal Philharmonic Orchestra/Moshe Atzmon
Dances With Wolves: John Dunbar Theme - Hollywood Bowl Orchestra/John Mauceri
Raging Bull/Godfather III: Intermezzo (Cavalleria Rusticana) - National Philharmonic Orchestra/Gianandrea Gavazzeni
Brief Encounter: Piano Concerto No.2 In C Minor: Adagio Sostenuto (Excerpt) - Jean-Yves Thibaudet/The Cleveland Orchestra/Vladimir Ashkenazy
The Mission: Gabriel's Oboe - Prague Philharmonia/Nick Ingman
The Piano: The Heart Asks Pleasure First - Jean-Yves Thibaudet
The Gadfly: Romance - Alexander Kerr/Royal Concertgebouw Orchestra/Riccardo Chailly
Amadeus: Serenade In B Flat Major, K.361 'Gran Partita': Adagio - Members Of The Academy Of St. Martin In The Fields/Neville Marriner
Sunday, Bloody Sunday: Soave Sia Il Vento (Trio) (Cosi Fan Tutte) - Lucia Popp/Brgitte Fassbaender/Tom Krause/Vienna Haydn Orchestra/Istvan Kertesz
Diva: Ebben?...Ne Andro Lontana (La Wally) - Renee Fleming/London Philharmonic Orchestra/Charles Mackerras
Hannah And Her Sisters: Keyboard Concerto No.5 In F Minor, BWV 1056: Largo - Andras Schiff/Chamber Orchestra Of Europe
Immortal Beloved: Piano Sonata No.14 In C Sharp Minor 'Moonlight': Adagio Sostenuto - Vladimir Ashkenazy
Carrington: String Quintet In C Major, D956: Adagio (Excerpt) - Weller Quartet
Amadeus: Lacrimosa (Requiem) - John Alldis Choir/BBC Symphony Orchestra/Colin Davis

Tracks:

Billy Elliot: Scene (Opening Of Act 2) (Swan Lake) - Orchestre Symphonique De Montreal/Charles Dutoit
Life Is Beautiful (La Vita E Bella): Barcarolle (The Tales Of Hoffmann) - L'Orchestra De La Suisse Romande/Richard Bonynge
Dead Poets Society/Picnic At Hanging Rock: Piano Concerto No.5 In E Flat Major, Op.73 'Emperor'... - Vladimir Ashkenazy/The Cleveland Orchestra
Hilary And Jackie: Cello Concerto, Op.85: Adagio - Moderato (Excerpt) - Julian Lloyd Webber/Royal Philharmonic Orchestra/Yehudi Menuhin
Out Of Africa: Clarinet Concerto In A Major, K.622: Adagio - Jack Brymer/London Symphony Orchestra/Colin Davis
Children Of A Lesser God: Concerto In D Minor For 2 Violins, BWV 1043: Largo, Ma Non Tanto - Henryk Szeryng/Maurice Hasson/Academy Of St. Martin In The Fields/Neville Marriner
Frankie And Johnny: Clair De Lune - Eastman-Rochester Pops Orchestra/Frederick Fennell
Cinema Paradiso: Nuovo Cinema Paradiso - Prague Philharmonia/Nick Ingman
Death In Venice: Symphony No.5: Adagietto - Chicago Symphony Orchestra/Sir Georg Solti
Seven: Suite No.3 In D Major, BWV 1068: Air - Stuttgarter Kammerorchestra/Karl Munchinger
The Shawshank Redemption: Che Soave Seffiretto (Letter Duet) (The Marriage Of Figaro) - Kiri Te Kanawa/Lucia Popp/London Philharmonic Orchestra/Sir Georg Solti
Fatal Attraction: Un Bel Di (Madama Butterfly) - Renee Fleming/London Philharmonic Orchestra/Charles Mackerras
Ordinary People: Canon In D Major - Stuttgarter Kammerorchester/Karl Munchinger
Truly, Madly, Deeply: Cello Sonata In G Minor, BWV 1029: Adagio (Excerpt) - Janos Starker/Gyorgy Sebok
Shine: Prelude In C Sharp Minor, Op.3 No.2 - Vladimir Ashkenazy
On Her Majesty's Secret Service: We Have All The Time In The World - Prague Philharmonia/Nick Ingman

Customer Reviews:

If You Love Classical Music, This CD Is For You .......2007-01-10

This compilation of movie themes is one of the most pleasurable CD's you'll ever own.

Probably Decca's best "Adagios" set.......2006-07-26

I say "probably," since it's hard to outdo its "Beethoven Adagios" set. I've only bought a few of these "Adagios" sets because, looking over the track listings of so many, there's just so much overlap. Here, you get the best single collection of the bunch. Here, I was introduced to Addinsell's "Warsaw Concerto," and for that alone it was worth the price. But let's not forget a significant number of other gorgeous classic adagios: Beethoven's "Emperor" concerto (used in a gorgeous film, "Picnic at Hanging Rock"), Bach's "Air on a G String," Mahler's Adaghietto from Symphony no. 5, some obligatory Mozart, the Barber adagio, Debussy's Claire de lune, and - oh lovely! - Schubert's String Quintet in C. Then there are much-appreciated entries (Cinema Paradiso, Gabriel's Oboe) from a personal favorite composer, Ennio Morricone, one of the actual official film composers (as distinct from long-dead composers whose music was used in film) used for this collection, along with a couple from another personal favorite, John Barry. (You'd really need to get Barry's own set of "adagios," titled "Moviola," to get his best, e.g., the title theme to "Out of Africa" and to "Somewhere in Time." For Morricone, the master of the romantic adagio in the past century, go with "Itinerary of a Genius" or individual soundtracks like "Legend of 1900," "Lolita," "Once Upon a Time in America," "Once Upon a Time in the West," and others.)

A couple drawbacks to this set: (1) The adagio from Rachmaninov's 2nd is truncated to a mere 4 minutes. For this, one is well advised to purchase a CD with the entire concerto, or get a full version of just the adagio elsewhere (Decca does include a full version on its "Romantic Adagios" collection). (2) So much from so many composers is included, that there is too little room for more Beethoven. I'd prefer the adagio from the "Pathetique" sonata to the "Moonlight" one which was included here. For Beethoven adagios, you need the "Beethoven Adagios" set as an accompaniment (where you get, among other things, adagios for the op. 130 string quartet, the 6th symphony, the violin concerto, piano concerto no. 3, the 7th symphony, and the romance for violin no. 2, op. 50). If you're a fan of Mozart music often used in the movies, there's the "Mozart Adagios" set and/or the "Amadeus" soundtrack.

I'm a "purist" as to a few works; I'd rather hear the entirety of the "Emperor" concerto than merely the adagio, for instance. In plenty of other cases, an adagio movement is heard just fine as a stand-alone work; plenty of the most beautiful music is used for adagio movements, as these sets make clear enough.

One of the best CDs you'll ever own.......2003-03-23

This is an excellent selection of music. I listen to it every chance I get. It is great just to put in your CD player on "repeat" and allow it to soothe and inspire you for a few hours, for an evening, or an for entire day.

One reason I chose it was that I was looking for music that could simply be a nice background noise for when I'm working on things that require reading and concentration. I wanted music that would not be a distraction, and this does a good job. It is also great to listen to when doing almost anything, like even cleaning the house or doing laundry. I will admit though, that listening to the selection from Swan Lake might make you want to dance around the living room.

Also, besides the obvious ones that everybody knows (Beethoven's 5th, or Canon in D, etc.) I do not know enough to distinguish specific songs from their composers, which is why I was hesitant to buy a classical CD soley of one artist because once I got it I may not have liked it or been familiar with any of the songs. That is why I picked Movie Adagios because I knew it would be a selection of some of the best classical music from the movies, which it is.

Sublime!.......2002-09-08

Of course, I'm nuts for classical music and classic movies, so this compilation of music featured in some of the most famous movies ever made is an absolutely ideal CD.

Filmmakers have been raiding the classical music files since the days of the silents in order to heighten the mood of a scene and provide a greater emotional impact. Barber's Adagio for Strings has been used not only in "Platoon", as this CD lists, but also in "The Elephant Man". While there's only a small snippet of Rachmininoff's Piano Concerto No. 2 here, it's worth remembering that the entire piece is used throughout the magnificent "Brief Encounter" to heighten the impact of the romance. Mozart's Trio (Cosi fan tutte) was brilliantly used in "Sunday, Bloody Sunday" to comment on a complex romantic triangle.

There are also 5 pieces written directly for the screen, two by Ennio Morricone (the haunting Gabriel's Oboe from "The Mission" and the exquisite Nuovo Cinema Paradiso from "Cinema Paradiso"), two by John Barry (a lovely version of We Have All the Time in the World from the James Bond classic "On Her Majesty's Secret Service" and the elegiac John Dunbar Theme from "Dances With Wolves") and one by Michael Nyman (The heart asks pleasure first from "The Piano").

I love this CD, to relax with, to read with, and just immerse myself in the spectacular sounds of genius.

GREAT MUSIC.......2001-12-03

This is a great classical piece for the lovers of classical, as well as the ones who may hate it. These Adagios CDs get beter and better each time there is a new release. I must warn you there some good as well as some bad ones. There is a certain Adagio flavor for everyones. At the present I have others, but the ones I truly enjoy are Violin Adagios, The Piano Adagios and this one. This compilation is great for reading. Furthermore this CD can be great evening music... for sleeping.

Those of you who have not got on board with the ADAGIOS, please get on board the next time you go to your favorite music store. You may be surprised at how you have enriched yourselves with great music for your listening pleasure.

You may want to check other reviews here at Amazon under my section in the customers reviews.

Thanks

TRIPP

Average customer rating:

Great story

Ravishingly beautiful music and a thrilling story

Beware Amazon fraud

Webber's Best Work Since Phantom! The Woman In White Is A WINNER!

Very Good, but...

The Woman in White

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Musicals | Broadway & Vocalists | Styles | Music
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The Drowsy Chaperone (2006 Original Broadway Cast)

The Light in the Piazza (2005 Original Broadway Cast)

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Grey Gardens - A New Musical (2006 Original Broadway Cast)

ASIN: B000BGR128
Release Date: 2005-11-08

Tracks:

Prologue
I Hope You Like It Here
Perspective
Trying Not To Notice
I Believe My Heart
Lammastide
You See I Am No Ghost
A Gift For Living Well
The Holly and the Ivy
All For Laura
The Document
Act One Finale

Tracks:

If I Could Only Dream This World Away
The Nightmare
Fosco Tells Of Laura's Death/The Funeral/London
Evermore Without You
Lost Souls
If Not For Me For Her
You Can Get Away With Anything
The Seduction
The Asylum
Back To Limmeridge
Finale
You Can Get Away With Anything (BONUS TRACK - Opening night performance)

Amazon.com

The Woman in White, Andrew Lloyd Webber's first musical in four years, debuted in London in September 2004. "Freely adapted" from Wilkie Collins's gothic mystery-romance, it tells the story of a young art teacher, Walter Hartright (Martin Crewes), who encounters a mysterious woman dressed in white desperate to tell a secret. But she disappears, and Walter continues on to his assignment teaching a pair of sisters, Marian Holcombe (Maria Friedman) and Laura Fairlie (Jill Paice). Romance develops, but is threatened by the arrival of some shady characters, Sir Percival Glyde (Oliver Darley) and Count Fosco (Michael Crawford).

The score, featuring lyrics by David Zippel (City of Angels), recalls the composer's Aspects of Love, Phantom of the Opera, and Sunset Boulevard, as well as Victorian-themed shows Sweeney Todd and even The Mystery of Edwin Drood. It has some lovely moments, such as "Trying Not to Notice," "All for Laura," "Evermore without You," and "If Not for Me for Her," though for sheer beauty it's no Light in the Piazza. And as with any ALW nearly through-sung musical, a number of the themes recycle themselves to the point where you'll dread the mere mention of certain characters' names. Friedman and Paice give the strongest performances, while Crawford--in his much-anticipated reunion with Lloyd Webber after Phantom--doesn't have a lot to do other than the muggy showpiece "You Can Get Away with Anything." Note that The Woman in White was recorded before a live audience, but "You Can Get Away with Anything" had to be rerecorded in a studio because it was the only number with an audible audience reaction. Crawford's original live performance, however, is included as a coda at the end of the second disc. It's great to have the complete libretto, except that it specifies scene titles while the CD packaging shows track listings and song titles, which means that figuring out where you are takes some detective work. When The Woman in White opened on Broadway in November 2005, Friedman, Paice, and Angela Christian (Anne Catherick) reprised their roles from the London production, while Michael Ball replaced Crawford. --David Horiuchi

Customer Reviews:

Great story.......2007-05-23

I love this story - I really enjoyed reading the book. I enjoyed some parts of this soundtrack more than others - there are a couple of songs I really loved and a few themes that I got really tired of by the end. I was especially disappointed by the change they made to the "secret." In the book, Sir Percival Glyde's secret is something entirely different from what it is in the play - I understand the need to adapt the book to the play - but I was disappointed in this particular change. Overall, I enjoyed hearing the story through music - there are definitely some songs I will enjoy listening to over and over!

Ravishingly beautiful music and a thrilling story.......2006-07-22

The best story ALW has tackled since "Sunset Boulevard" seems to have inspired him to write his best score since then too. After a couple listens I grew to love the soundtrack, and then when I finally saw the show on Broadway in Feb. '06 it cemented my opinion that this is in the Top 5 of all ALW works. A perplexing encounter, a forboding country manor, two whip-smart sisters and their handsome young tutor, conniving villians: the story is dynamite. Two moments in the show never fail to give me goosebumps to this day.

The way they've decided to divide the score on the CD makes it hard to get a sense of the songs. Those looking for radio-ready 3:30 minute numbers will be frustrated. You must let the score unfold. Instead of cutting the score down microscopically like the 45-track CD of "Aspects of Love," they've left it in large passages. Rest assured there are brilliant songs therein. "Perspective," "Trying Not to Notice," "All for Laura," and "Evermore Without You" are among the best. Ironically the weakest song is the one that seems to have been penned with radio airplay in mind: "I Believe My Heart" was recorded by two British popstars and released as a single in 2004, and as ALW songs go it's just...blah. Nothing special. The show's greatest emotions are elsewhere.

I haven't even mentioned the spectacular video-projection sets, which let the story unfold in numerous colorful, dreamlike settings rather than having to take place all in three or four rooms. Each time I listen to the soundtrack I have the pleasure not only of the ravishing music, thrilling story, and clever lyrics but of remembering the unique look of the production on Broadway.

Beware Amazon fraud.......2006-07-03

Despite the line "It's great to have the complete libretto," in the amazon review of this product, there is no libretto... just a reference to a web site that no longer exists. Shame on you Amazon!

Webber's Best Work Since Phantom! The Woman In White Is A WINNER!.......2006-05-09

"The Woman In White" is Andrew Lyodd Webber's best work since "Phantom Of The Opera" and undoubtablely one of the few good shows still on Broadway. The musical is a mystery, thriller, haunting, heartbreaking, and chilling at times. The music is gothic meets Broadway which adds a scary, serene sense to the music... This has to be some of Andrew Lyodd Webber's best score and songs since "Phantom." I was lucky enough to see this show in its Broadway run.

While the show is often forgotten among some other Broadway shows such as "Hairspray" and "The Lion King" it is one you should definately not miss!

The musical is based upon the classic novel of the same name. It takes place in Victorian England and a mystery occurs when a strange woman in white emerges from the fog one night- claiming to have a seceret she can not reveal to anyone. What is so chilling is she resembles a women in town- the mystery between the two women unravels and shows a secret cover-up that can only be solved by a death, mutual deception, and a lover.

The theme that emerges from the music/musical is "I Believe My Heart"- believeing in your heart when common sense tells you not to. The "Finale", "Evermore Without You", and "All For Laura" also manage to stand on their own as well.

Maria Friedman and Adam Brazier do excellent jobs in their roles- and deserve Tony nominations for their wonderful portrayal of their characters and their lovely singing voices. Brazier the male lead- reminded me somewhat of Michael Ball in his earlier days.

All in all this musical made me miss the Broadway dramatic musical... but, it gave me hope that one day Broadway will return to the days of "Les Miserables", and "The Phantom Of The Opera." This is definately a CD I would buy if I was a Broadway musical fan. Thank you MR. WEBBER- for restoring my faith that Broadway can be SAVED from mindless dribble- hit the buy now button and enjoy!

Very Good, but..........2006-03-06

In my own opinion, I thought this was the best show Lloyd Webber has done to date. The music is fantastic, and I thought the story was really captivating. Now as for the cast, there are some things to be said. Maria Friedman is incredible as Marian Holcombe, plain and simple. Jill Paice was an amazing Laura Fairlie, and Angela Christian was a great Anne Catherick. I'm not too big a fan of Martin Crewes as Walter Hartwright, I much prefer Adam Brazier from the Broadway production. Finally, as for Count Fosco, Michael Ball totally blows Michael Crawford out of the water. Crawford's performance seems like he's afraid to play the character, not to mention he's getting a little to old to be prancing about the stage in a fat suit. His voice seems to be fading as well, even though I never thought he was all that great as the Phantom, but he often gets off-tempo in his big songs and just seems like he's playing on the fact that he's Michael Crawford and people will love him for that, rather than fully playing this incredible role. IMO, they should have made a Broadway Cast Recording and not a London Cast Recording.

Hey Mr. Producer!: The Musical World of Cameron MacKintosh

Average customer rating:

Can't say it enough...
OUTSTANDING RECORDING!
Magnificent!
Wow!
The best!

Hey Mr. Producer!: The Musical World of Cameron MacKintosh

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000AE2Z
Release Date: 1998-08-25

Tracks:

We Said We Wouldn't Look Back
Cats Overture
Food Glorious Food
Wouldn't It be Loverly?
Quit Professor Higgins
The Rain In Spain
Get Me To The Church On Time
I've Grown Accustomed To Her Face
Introduction (Julie Andrews)
One Two Three
Little Shop Of Horrors
Somewhere That's Green
Suddenly Seymour
Day By Day
I Get A Kick Out Of You
Variations
Unexpected Song
Nicer In Nice
I Love A Lassie
Five Guys Named Moe/ Is You Is Or Is You Ain't My Baby?
Pick A Pocket
As Long As He Needs Me
Introduction (Julie Andrews)
I'm Martin Guerre
How Many Tears?
The Heat Is On In Saigon
The Wedding
Last Night Of The World
This Is The Hour
American Dream

Tracks:

The Phantom Of The Opera
Music Of The Night
Broadway Baby
Oh, What A Beautiful Ornin'
Carousel Waltz/Ballet
Porch Scene
You'll Never Walk Alone
Introduction (Ned Sherrin)
Side By Side
You Could Drive A Person Crazy
Send In The Clowns
Losing My Mind
Being Alive
You've Gotta Have A Gimmick
Introduction (Stephen Sondheim)
Duelling Pianos
Poisoning Pigeons In The Park
Jellicle Songs
Memory
At The End Of The Day
Stars
Do You Hear The People Sing ?
On My Own
Bring Him Home
One Day More
We Said We Wouldn't Look Back

Customer Reviews:

Can't say it enough..........2004-10-23

the best musical theater concert in history!

From classic musicals such as My Fair Lady to mega-productions such as The Phantom of the Opera, Les Miserables, and Miss Saigon, this star-studded musical event showacses the best of musical theater history. A definite must-have for lovers of musical theater!

OUTSTANDING RECORDING!.......2004-04-30

Probably the greatest musical theater album ever released! Where else can you find the best and brightest theater stars?

Lea Salonga's voice and Bernadette Peters' presence alone are enough reason to get this recording (but you'll get more!)

Magnificent!.......2004-02-26

This is perhaps the best musical theater CD ever produced! The biggest theater stars of this day are here: Bernadette Peters, Lea Salonga (very beautiful and powerful performances!), Colm Wilkinson, and many, many more.

Get the CD now; better yet, get the video, so you can watch this wonderful extravaganza!

Wow!.......2004-01-30

Where else can you find the most memorable musicals performed on stage in one night? This is probably THE best musical theater album ever recorded. Topnotch performers (esp. Ms. Salonga and Ms. Peters), wonderful songs, brilliant staging -- it's breathtaking!

Get both the video and the CD.

The best!.......2004-01-22

Lea Salonga, Bernadette Peters, Jonathan Price, Ruthie Henshall, and many more brilliant actors performing all the wonderful songs from different musicals in one recording - nothing beats this!

Average customer rating:

A Surprise Gem
Wonderful!!!!
Just So wonderful!
Some good songs, but doesn't have the wow factor I have come to expect!

Just So
The Chichester Festival Theatre Cast
Manufacturer: First Night Records
ProductGroup: Music
Binding: Audio CD

General | Musicals | Broadway & Vocalists | Styles | Music

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[title of show] (2006 Original Off-Broadway Cast)
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ASIN: B000FQJMQC
Release Date: 2006-07-03

Tracks:

Just So/Just So
Just So/There's No Harm in Asking
Just So/Another Tempest
Just So/The Limpopo River
Just So/Living on This Island
Just So/Thick Skin
Just So/The Parsee Cake Cake-Walk
Just So/We Want to Take the Ladies Out
Just So/Pick Up Your Hooves and Trot
Just So/Jungle Light/Just So (Reprise)
Just So/The Argument
Just So/Wait a Bit
Just So/Leaps and Bounds
Just So/Does the Moment Ever Come?
Just So/Please Don't Touch My Stove
Just So/Little One Come Hither
Just So/If - The Crab
Just So/Finale - Just So/The Limpopo (Reprise)

Album Description

Cast recording of this British stage production, which had it's first performance in 1985. Produced by Cameron Mackintosh and written by George Stiles and Anthony Drewe, who were responsible for the Olivier Award winning Honk. First Night. 2006.

Album Details

This Show Has Been around Since It's First Performance in Plymouth in 1985; It is Produced by Cameron Mackintosh.

Customer Reviews:

A Surprise Gem.......2007-04-30

Trying to find new musicals, I recently stumbled on this production of "Just So". I must say, I was really impressed with this show. Every song is catchy and interesting. Few of the songs were really good on their own, without the context of the musical, but altogether, the show as a whole was what impressed me. I would really like to see a production of this someday.

Wonderful!!!!.......2007-03-19

My school did this musical and it was AWESOME!!!! I was a Wallaby and Our group sang Leaps & Bounds, Just So, Limpopo River, Wait a Bit, and Just So Finale. It was a really fun musical to be a part of!!! I also suggest "Honk" Our school did that musical too!!!

Just So wonderful!.......2007-03-17

I recently saw a local production of "Just So", performed by middle school students. Loved the show so much, it prompted me to get the CD. The soundtrack and the show tell great stories based on Rudyard Kipling's "Just So Stories" -- such as how the zebra got its stripes, the rhino got baggy skin, and the kangaroo got its bounce. Almost every song is a winner. I have been listening to it repeatedly for weeks straight, and I'm still as anxious to put it on as when I first got it. My kids have asked to hear it again and again, and we have all memorized the songs. "Just So", "Living on this Island", "We Want to Take the Ladies Out", and "The Parsee Cake Walk" are favorites. If you have the opportunity to see the show, it will really bring the soundtrack to life. This one is a keeper!

Some good songs, but doesn't have the wow factor I have come to expect!.......2006-09-09

I had high expectations of this musical, as I am a huge fan of Honk! And I'll admit, there are some pretty catchy numbers. I particularly like Just So and The Limpopo River. Of course, these numbers became reprised throughout the show with even more heightened melodies and fantastic harmonies. But overall, in a musical, I enjoy listening to the one song that just grabs you and leaves you almost breathless. Unfortunately on this level, 'Just So' fails to deliver. 'Wait a Bit' comes close but just when you think the note of notes will be sung, you are left hanging with an anti-climax. 'Leaps and Bounds' is a fun number but I'm not sure these two or three good numbers will be enough to capture audience attention.
If you have heard of Seussical, with the elephant and the bird, then you will alo recognise the amazing similarities with the 'Just So' Elephant and Bird relationship. And guess what, this bird can't fly for a time either!!
A "nice" musical, but not one I would rave about.

Average customer rating:

Ultra soothing unexpected tender gems of musical beauty

Unexpected Songs

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Preludes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Musicals | Broadway & Vocalists | Styles | Music

General | Easy Listening | Pop | Styles | Music
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Julian Lloyd Webber plays Andrew Lloyd Webber
Gentle Dreams: The Best of Julian Lloyd Webber
Cello Moods
Lullaby
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ASIN: B000FQVY5O
Release Date: 2006-07-18

Tracks:

Lady D'Arbanville
Lenehan Oblivion
Marble Halls
Prelude In E Minor
In Haven
Chant Hindou
Trees
L'Heure Exquise
Kashmiri Love Song
Koyal
Sicilenne
Hushabye Mountain
Music When Soft Voices Die
Serenade
The Lea Ring
African Crib Carol
In Trutina
A Gift Of A Thistle
To A Wild Rose
Unexpected Song

Amazon.com

This is music to dream by. Designed to bring out the singing quality of the cello, the program comprises folk music of many lands, art songs, arias from opera and operetta, and instrumental pieces. All of the 20 numbers except Fauré's "Sicilienne," which the composer himself transcribed for cello, are arrangements. All are slow, lyrical, similar in mood and very repetitious, both motivically and strophically. The dynamics, except for an occasional mild build-up, are subdued; every piece ends in a fade-out. Contrast is limited to instrumental colors, including electronics, and idiomatic rhythms. Julian Lloyd Webber is a fine cellist; his style and temperament seem eminently well suited to this music. His tone is beguilingly sweet and flawlessly pure, but, staying mostly in the middle range of the cello, it lacks nuance and inflection. The intensity of his vibrato varies only in one piece, where he puts swells on all the long notes: Schubert's famous "Serenade," whose simple melody hardly calls for it. He is mightily abetted by some splendid partners, most notably harpist Catrin Finch and pianist John Lenehan, both of whom made several of the arrangements. The record's title comes from the closing number, part of a piece written for the cellist by his brother, Andrew Lloyd Webber, performed here as a song. --Edith Eisler

Album Description

With an overall calming and relaxing theme, and the repertoire ranging from the core classical to interpretations of contemporary writers, Unexpected Songs, his 40th album, will appeal to a wide audience. The title track is composed by his brother, Andrew, and part of the musical Song And Dance and features a special vocal guest appearance by multi-platinum recording artist Michael Ball. Another highlight is the cello arrangement of 'Koyal (Songbird)', originally by producer / songwriter / DJ and orchestral composer Nitin Sawhney, who established himself as one of the UK's leading scorers for film and television. Catrin Finch, the 'Queen of Harps' joins him on several tracks, providing an enchanting accompaniment.

Album Details

Widely Regarded as One of the Most Creative Musicians of his Generation, Julian Lloyd Webber Has Collaborated with an Extraordinary Array of Musicians from Yehudi Menuhin, Lorin Maazel and Neville Marriner to Stephane Grappelli, Elton John and Cleo Laine. On this Release from EMI Classics He Presents an Album of `unexpected Songs', a Collection of Favorites Ranging from Core Classical Works by Chopin, Elgar, Faure to More Contemporary Pieces Such as Cat Stevens' "lady D'arbanville". He is Joined on this Recording by the Harpist Catrin Finch and Pianist John Lenehan. The Title Track is Composed by his Brother, Sir Andrew Lloyd Webber, and is from the Musical `song and Dance' the Dance Numbers from which Originated from an Album He Had Written for Julian. The Song features a Guest Appearance from Britain's Leading Musical Theatre Star, and Multi-platinum Recording Artist, Michael Ball.

Customer Reviews:

Ultra soothing unexpected tender gems of musical beauty.......2007-05-21

The songs in this album are terrific. Nothing can be written to describe how great they are, so I suggest you listen to the samples.

I bought this album for my father's birthday and he tells me that he has to listen to it every single night to go to sleep.

What initially drew me to this album was a remake of "A Gift of Thistle" from the Braveheart soundtrack by James Horner. If you know that piece, listen to Webber's clip and you'll see how this arrangement flows so nicely and succeeds in accentuating the strengths of the piece. I usually don't like remakes of originals but this one is an exception.

All songs are acoustic except the title track "Unexpected Song".

Total of 20 tracks, well worth it.

Average customer rating:

Richard hits a homerun on this one
An urban Lyle Lovett...
It's just alright.
Beautiful and Brilliant
Great cd!

Slow New York
Richard Julian
Manufacturer: Manhattan Records
ProductGroup: Music
Binding: Audio CD

General | Folk | Styles | Music

Singer-Songwriters | Pop | Styles | Music

Pop Rock | Pop | Styles | Music

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The Little Willies
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ASIN: B000CS45TM
Release Date: 2006-01-24

Tracks:

Love Of Mine
Slow New York
If A Heart Breaks
Don't Wait Up
Cold Grey Sky
Cheap Guitar
A Short Biography
Photograph
Making Movies
End Of The Line
Damn
Cheap Guitar (Reprise)
Seven Shades Of Blue
On Your Own

Customer Reviews:

Richard hits a homerun on this one.......2006-03-14

From beginning to end, all the songs on this CD deliver the goods. From wistful to downright funny, each song has a character all its own. The lyrics are splendid...lines like "I want your flu, baby, not just your cough", "Love I'm half mad, I hope that means I'm half sane..." and "...the touch of your lips a lunar eclipse, so soft..." play with language deliver great images...the rest of the lyrics are just plain witty and gritty. The vocals are smooth and the musicians Richard brings on to this project are just outstanding. From beginning to end, an addictive delight.

An urban Lyle Lovett..........2006-03-09

I bought this CD based on a review in the Wall Street Journal--I think it was by Jim Fusilli. (The WSJ reviews tend to be pretty good though I don't know if this bears on the quality of the review or my taste.) The endorsements by Randy Newman and Norah Jones piqued my curiosity as well. Even on the first listen it bypassed my expectations. Perhaps the best description is of an urban Lyle Lovett, whom Julian sounds like at times. The songs have the definite skewed humor of Randy Newman, Lyle Lovett, and even John Prine: "End of the Line" and "Cheap Guitar (reprise)" in particular. Worth the money.

It's just alright........2006-03-05

Perhaps I had higher expectations for this CD because all I can say is that the CD is "ok." Nothing special. The words/singing and the musical tune doesn't connect.

Beautiful and Brilliant.......2006-02-25

I've been anxiously awaiting this CD after being lucky enough to see Richard Julian perform in person a few times. Love his lyrics, music, and voice! A really great CD, highly recommended.

Great cd!.......2006-02-12

I really enjoy listening to this cd - It's full of great, interesting songs. Songs such as "If a heart breaks", and "Damn" are cheeky, quirky songs that are a humourous way of looking at our world. Reconmended cd!

Music Review:

Music Review

music review

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