On My Own

Track Listings

1. Not a Word

2. Mr. Big Mouth

3. That's My I'm Gonna Leave You

4. Sick and Tired of Your Mess

5. Street Woman

6. You've Been Doing Wrong for So Long

7. Take Care of Your Own Business

8. Love Thang

9. Please No More

10. Leave That Fool Alone

11. Whatcha Doing With the Money

12. You Take Away My Blues

On My Own,Barbara Carr,Bar Car Records,Blues,Blues Music,Pop,R&B

On My Own

On My Own

Les Miserables (Highlights from the 1987 Original Broadway Cast)
Average customer rating:

BEST OPERA MUSIC EVER

Time well spent.

Great Score, But Highlights Missing Critical Songs

Buy the full version, please

Argh Matey!

Les Miserables (Highlights from the 1987 Original Broadway Cast)
Alain Boublil , Claude-Michel Schonberg , and Colm Wilkinson
Manufacturer: Decca U.S.
ProductGroup: Music
Binding: Audio CD

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ASIN: B000084TRM
Release Date: 2003-01-28

Tracks:

Overture/Work Song
I Dreamed a Dream
Who Am I?
Castle on a Cloud
Master of the House
Stars
Do You Hear the People Sing?
A Heart Full of Love
One Day More
On My Own
A Little Fall of Rain
Drink with Me
Bring Him Home
Javert's Suicide
Empty Chairs at Empty Tables
Wedding Chorale/Beggars at the Feast
Finale

Amazon.com

While not overly generous at 55 minutes, the highlights album of the 1987 original Broadway cast recording of Les Miserables is intelligently selected and likely to prove satisfying to most fans. It includes the best-loved numbers of Alain Boublil and Claude-Michel Schönberg's score, beautiful ballads ("Bring Him Home," "I Dreamed a Dream") and rousing anthems ("One Day More," "Do You Hear the People Sing?") alike, but eliminates some choral numbers ("Lovely Ladies"), redundancies ("Red and Black"), and connective tissue that propels the plot along ("Valjean Arrested," "Come to Me (Fantine's Death)"). Sure, a more perfect selection could have lasted longer than half of the two-disc set's 104 minutes by adding "At the End of the Day" and "In My Life," among others, but it's still a good representation on a convenient single disc. Of course, those who always want to re-create the theatrical experience will never be satisfied with a highlights album.

Re-creating their roles from the London production, Colm Wilkinson plays the heroic Valjean and Frances Ruffelle is the despondent Eponine. Randy Graff (Fantine), Terrence Mann (Javert), David Bryant (Marius), Judy Kuhn (Cosette), Michael Maguire (Enjolras), and Leo Burmester and Jennifer Butt (the Thénardiers) fill out the cast. --David Horiuchi

Customer Reviews:

BEST OPERA MUSIC EVER.......2006-11-03

This is the BEST!! I would highly recommend this to anyone who likes this kind of music!

Time well spent........2005-09-14

Each member of the Les Miserables cast stands to deliver this musical to its audience. Within moments we are transported to France during their Restoration. We experience sadness, laughter and, indeed, want to join in their crusade. The music and deliverance, in my opinion, is excellent.

Great Score, But Highlights Missing Critical Songs.......2005-08-05

Composers Alain Boublil and Claude-Michel Schönberg's score for "Les Miserables" is simply brilliant and the spectacular Broadway cast, led by Colm Wilkinson, Randy Graff, Terrence Mann, and Frances Ruffelle, help bring this incredible music to life!

While I normally enjoy "highlight" cds, this one clocks in at a mere 55 minutes and could have easily included a couple of additional tunes (thus losing one star). Most notably missing: "At The End Of The Day", "Come To Me", "Red And Black", and "In My Life". The show's most memorable songs, however, are included.

Best tracks:

I Dreamed A Dream
Master Of The House
Stars
Do You Hear The People Sing
On My Own
A Little Fall Of Rain
Bring Him Home
Empty Chairs At Empty Tables

Great cast, great score ... even a good buy. But I would suggest the full double-disc score instead.

Buy the full version, please.......2005-01-20

Highlights are never worth it. You will never get the little in-between songs which make a show complete, montages will be cut together badly instead of being full songs as they should be...so much is left out. This is a fantastic show and deserves to be heard in full.

Argh Matey!.......2004-11-22

"Highlights" albums are not the full show, blah blah blah... THIS TAKES UP ONLY ONE SPACE IN YOUR CD RACK INSTEAD OF TWO LIKE THE FULL RECORDING. I rest my case.

Average customer rating:

a wonderful surprise
What!? How is this possible?
Beauty and grace, charm and wit - Maury's got it all
A perfect marriage of music and lyrics
The Maury Yeston Songbook

The Maury Yeston Songbook
Maury Yeston , Christine Andreas , Brent Barrett , Betty Buckley , Liz Callaway , Alice Ripley , Sutton Foster , Brian d'Arcy James , and Philip Chaffin
Manufacturer: P.S. Classics
ProductGroup: Music
Binding: Audio CD

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December Songs
The Drowsy Chaperone (2006 Original Broadway Cast)
Jule Styne in Hollywood
Grey Gardens - A New Musical (2006 Original Broadway Cast)

ASIN: B00008H2LJ
Release Date: 2003-04-08

Tracks:

Please Let's Not Even Say Hello - Alice Ripley
Only with You - Brent Barrett
I Want to Go to Hollywood - Sutton Foster
Danglin' - Johnny Rodgers
I Had a Dream About You - Betty Buckley
My True Love - Philip Chaffin
A Call from the Vatican - Alice Ripley
Now and Then - Laura Benanti
You're There Too - Christopher Fitzgerald
Is Someone Out There? - Eden Espinosa
New Words - Brent Barrett
My Grandmother's Love Letters - Christine Ebersole
By the River - Christine Andreas
I Am Longing - Philip Chaffin
Home - Laura Benanti & Robert Cuccioli
Another Day in the Modern World - Michael Holland
Simple - Liz Callaway
Unusual Way - Brian d'Arcy James
Be On Your Own - Betty Buckley
No Moon - Howard McGillin

Amazon.com

Despite racking up Tony nominations and/or box-office success with Nine, Grand Hotel, and Titanic, Maury Yeston remains a relatively unknown Broadway auteur. And yet, what a fabulous songwriter he is. Listen to "Home," for instance: This excerpt from Phantom (the other adaptation of Phantom of the Opera) has great melodic hooks, along with natural sweep and unrestrained emotion. Like every song on this CD, it also has such dramatic drive that it easily stands on its own outside of its regular narrative frame. This collection of new recordings provides an excellent overview of Yeston's talent, juxtaposing numbers from his three best-known scores (though there's only one from Titanic) with rarities and a generous selection from his 1991 song cycle December Songs. Christine Ebersole, Liz Callaway, and Betty Buckley turn in expectedly strong performances, but watch also for Laura Benanti (the star of the 2003 revival of Nine), Christine Andreas, and Foster Sutton, who completely make the material theirs. --Elisabeth Vincentelli

Description

The Tony Award-winning composer/lyricist -- who's given us the smash hit musicals Titanic, Phantom and Grand Hotel, and whose first stage show, Nine, is currently being revived in New York with Antonio Banderas -- is celebrated in song by the best stars o

Customer Reviews:

a wonderful surprise.......2007-07-22

Like others, I bought this CD primarily for Sutton Foster's rendition of "I Want to Go to Hollywood." And while that's wonderful, the real surprises here are the songs from Yeston's song cycle "December Songs." Christine Ebersole and Christine Andreas give absolutely lovely, technically proficient, completely heartfelt renditions of "My Grandmother's Love Letters" and "By the River", respectively. I'd heard Andrea Marcovicci's recording of "December Songs" and was seriously underwhelmed. These two tracks just prove that Yeston might have over-estimated Marcovicci's range and technical ability. "By the River" is a revelation in the right hands, and Ms. Andreas's rendition is just four minutes of wonderful. I also want to mention Howard McGillin's "No Moon". This little song from "Titanic" is just so moving. Pulled out of context, it becomes a little jewel of metaphor.

The CD as a whole is beautifully recorded, with an intimacy and clarity that makes you feel like you're in the first row of a very small theatre. If you come across this and you're on the fence, take a chance. I bet that you'll be as pleasantly surprised and deeply moved as I've been.

What!? How is this possible?.......2007-01-20

How could one put together a Maury Yeston Songbook cd without a track from Andrea Marcovicci? He wrote a song cycle for her. Granted there are some great singers here but a grave oversight to not include Ms Marcovicci.

Beauty and grace, charm and wit - Maury's got it all.......2006-11-14

Maury Yeston may be musical theatre's unsung genius to the public at large, but I've heard his praises sung many times. A friend convinced me to buy the original Broadway cast of "Nine", and while there were some fantastic songs and an undeniable melodic gift throughout, it left me lukewarm. The same with "Grand Hotel". And I couldn't stand "Titanic" - too big, too self-important, too reliant on booming low brass and bombastic orchestral swells.

"Phantom" was the only one of his scores that touched something other than distanced admiration in me. It was everything Sir Lloyd Webber's popera travesty could never quite aspire to - epic yet human, beautiful and touching, with songs that showed actual details and emotions. So it was with that in mind that I purchased this, figuring that maybe Maury could prove me wrong, shorn from the restrictions of a book musical format.

And by God, did he prove me right and then some.

Maybe it's the singers. Maybe it's the perfect orchestrations. Maybe it's just the absence of a plot to follow. More than likely, it's all three, but this is one of the most gorgeous, enjoyable, heartbreaking albums I've ever purchased. Yeston has assembled an impressive cast to give voice to his music - such heavy Broadway hitters as Alice Ripley, Brent Barrett, Betty Buckley, Christine Ebersole and Howard McGillin mix with up-and-comers like Eden Espinosa, Sutton Foster, and Brian d'Arcy James. But the most impressive turns are given by people I'd never heard of before - Johnny Rodgers (who?) has a voice spun from gold, and he's absolutely perfect in "Danglin'", a simple and powerful song despite some odd lyric choices by Yeston. Likewise Philip Chaffin in "My True Love" and "I Am Longing", and Michael Holland displays a warm and untrained performance of "Another Day in the Modern World". These three men, who I'd never heard of before, absolutely stole the show. It doesn't hurt that they're given some of the best songs from the album.

Of course, the rest of the ensemble uniformly turns in worthwhile performances. The professionalism of Broadway is gloriously evident here, each singer making their song uniquely theirs. Brent Barrett made me hear "Only With You" as if for the first time. Betty Buckley is surprisingly vulnerable in "I Had A Dream About You". Alice Ripley is her usual bundle of raw emotion in "Please Let's Not Even Say Hello", and turns in a rare comic performance in "Call From The Vatican" to great effect (listen to that surprise high note near the end! Wow, Alice!). Christine Ebersole is heartbroken, elated, vulnerable, and tough all in the course of "Grandmother's Love Letters"' 4 minutes.

There are some weak spots - Eden Espinosa is mostly one-note during her song, and while it's certainly a high note, it's nothing you haven't heard her do better elsewhere. Laura Benanti's "Now and Then" goes by without much notice, which is a shame for this talented actress. And Betty Buckley goes back to her usual high-volume stridence in "Be On Your Own", which despite its chilling music deserves a more nuanced performance than Buckley gives here. But these songs would be standouts on any other album, and it's only the company they keep that prevent them from being excellent.

Oh, and "Unusual Way", possibly Yeston's best-known song, is so beautifully performed here by Brian d'Arcy James and a three-piece band that I nearly cried hearing it. And that's quite a feat for a song that I swore never to listen to again after the seventeenth girl in a day auditioned with it (badly). But the gender swap works perfectly, and d'Arcy James' golden Irish tenor swings through the music effortlessly.

As for the band - there are no missteps here. Each song is given exactly what it needs, from the Romantic-with-a-capital-R string section on "Home", to the jazzy saxophone on "Letter From the Vatican", to "Be On Your Own", which is given a Herrmann-esque string section. Some particular touches stand out - that lovely acoustic guitar on "Danglin'", the simple piano line on "Modern World", and the sublime cello/piano outro in "Unusual Way" really stuck with me after the album stopped playing. And the recording is without fault - crisp, encompassing, personable and expansive as the mood requires. The whole album sounds fantastic.

There is such a wide range of style and substance here that each song would deserve purchasing individually. As a collection? It's bliss. If you're a fan of theater music, appreciate great vocals, or just need something to keep you company on long nights, this is required purchase.

A perfect marriage of music and lyrics.......2006-09-07

I think Yeston must be the most underrated talent in music theatre. And not just music theatre ... for as far as I know, "Danglin'" is not from a show - a jewel of a song ... and a disarmingly honest rendition from Johnny Rogers (what a beautiful voice! Why hasn't he made more CD's?) Some other favourites are "New Words" (not enough parent-child love songs out there ... and I can't imagine it could be sung any better than this), "You're there too" (with a charming and unexpected twist), "Simple" (Callaway is superb), "Only With You" (loveable rogue!) ... to name but a few. Inspired music theatre writing. A must for any musical buff, composer or singer seeking repertoire that will help them stand out from the crowd.

The Maury Yeston Songbook.......2006-08-30

A good album sung by good singers. I have been an admirer of Maury Yeston for a number of years . I am a great fan of "Nine"
which I consider his best work.(If possible try to listen to the
Australian Cast Recording with John Diedrich) I enjoy listening to artists like Alice Ripley, Brent Barrett, Sutton Foster,and my very favourite singer Liz Callaway. All in all a great CD to just sit back ,relax and enjoy Les Breen

Average customer rating:

One of the best CD's out there!
a voice teacher and early music fan
Prelewd to Postlewd
Sounds like they're singing Christmas carols
A sly and rollicksome good time!

The Art of the Bawdy Song

Manufacturer: Dorian Recordings
ProductGroup: Music
Binding: Audio CD

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Customer Reviews:

One of the best CD's out there!.......2007-05-10

All ages and musical backgrounds love this CD. The Baltimore Consort are amazing. One really feels one is in a smoky pub in the 14oo's getting plastered with England's best musicians! Don't miss "Pox on You;" my kids absolutely howl with glee at the "bass fartophone." I haven't heard laughter like that come out of my little boy since he was a toddler. "Sweet Sir Walter" features one of the guys singing in a falsetto that sweeps lustily down into a Tim Curry-esque (think Dr. Frank-n-furter)gutteral guffaw of delight. So outrageously fun one forgets one is listening to Renaissance madrigals.

a voice teacher and early music fan.......2007-03-25

These bawdy catches and ballads take us on a journey to the taverns and other social gathering places of the the real 'Merry Old England'. Some of us may be mildly shocked by the directness and earthiness of the text, but everyday life in the 17th century was much more 'down-to'earth- and forward. These texts-some blatant and other euphemistic-fully explore the spectrum of humor from the sly smirk to the back-slapping guffaw.
The singing of both ballads and catches belongs to a long and venerable tradition in England. The natural habitat of the of the catch was the tavern, while the ballad was known in a wider variety of social settings as well as the stage. By the end of the 17th century, ballads were collected by connoisseurs of popular culture and published in anthologies. The main source for this recording, 'The Catch Club, or 'Merry Companions', was printed in 1762.
A quote from the catch-philosopher (of 'Come, come let us drink') is offered by the Baltimore Consort: "...wine and good cheer will in spite of our fear inspire our hearts with mirth..the time we live, to wine let us give, since we all must turn to earth...."
This is an excellent collection of songs; quite interesting and varied. The instruments are played skillfully, and the voices, for the most part, are good quality. However, as with all 'folk-like' songs, the diction is not always clear, and that is very true of several of these on this disc. The female voices were more difficult to comprehend much of the time. The text is printed out, so ultimately familiararity will make them easier to understand. I do like the disc, and think that it needed to be done.As to a previous criticism concerning the fact that it wasn't 'true' barroom singing. Of course, it's not!!!If it were, you would not understand any of it!!!!!Enough said.

Prelewd to Postlewd.......2005-09-28

The Baltimore Consort, an ensemble of six players, was founded in 1980 with the purpose of performing 'broken consort' pieces of Elizabethan origin. 'Broken' here refers to the instrumentation - treble viol/violin, flue/recorder, lute, cittern, bandore and bass viol. Their repertoire expanded beyond these beginnings to include broader British fare, as well as French and Italian music of the time. This is a happy expansion, as it made this disc of older, bawdy (for its time) music possible.

The Baltimore Consort play with life and vigour, with a good deal of improvisational flair, not being bound to texts and going through the production of notes as if mechanically. This is true to the spirit and nature of the early music, in which performers often had to 'play by ear', neither being able to read music nor having printed music even if they could. This is particularly true of the songs on this disc, where many are derivative of anonymous jokes and stories, and much of the music is likewise folk-tune and anonymously composed.

Some of the songs can be rather shocking. As Mary Anne Ballard writes in the accompanying notes, 'We must remember that in the days before indoor plumbing and pooper-scooper laws, everyday life was of an earthier flavour than it is today.... The men of the singing clubs and the ladies of stage poked fun at themselves and their companions with wit, pleasantry and contrivance.'

The names of many of the composers of these pieces have been lost to history, particularly the more folk-song oriented ones. However, some well-known composers are represented among the pieces here - Purcell, D'Urfey, Aldridge, and others.

The regular players include Mary Anne Ballard (viols), Mark Cudek (cittern, guitar, recorder and bass viol), Custer LaRue (vocalist/soprano), Larry Lipkis (recorder, viols), Ronn McFarlane (lute), Chris Norman (flutes), Webb Wiggins (tambourine and 'virginals'). Some artists are known from other Dorian productions, such as Ronn McFarlane on the lute in the collection 'Greensleeves'.

Added to the regular consort players are the Merry Companions, including Peter Becker (baritone), Alexander Blachly (baritone), Paul Shipper (bass, belch-canto), and James Weaver (baritone).

One more addition includes a guest artist, Lorenzo Labbrobacio, playing of all things, the 'fartophone', a rather mysterious instrument indeed. Labbrobacio defies identification on the internet other than references to this disc, and so the mystery deepens.

This is music that is interesting, truly fun to listen to, entertaining and has a quality about it that makes it a joy both in musical and humourous tones.

Sounds like they're singing Christmas carols.......2004-11-09

This recording is professionally produced - perhaps too much so. I've been in a few taverns and heard my share of bawdy songs. I am used to hearing them sung with gusto, with a wink and a naughty smile, to the raucous and enthusiastic appreciation of the audience. The songs on this CD are performed entirely straight. The results are technically competent but fail utterly in conveying the spirit and fun that make this genre worth listening to.

A sly and rollicksome good time!.......2002-11-29

On this recording, the Baltimore Consort and the Merry Companions are full of fun, both blatant and tongue-in-cheek. Soprano Custer La Rue and the instrumentalists of the Consort are joined by a quartet of classical male singers (Peter Becker, Alexander Blachly, Paul Shipper and James Weaver) with quite a theatrical sense of humor. The two groups take turns presenting ribald tavern songs of merry old England, interspersed by light, catchy instrumentals listed in the credits as the "Prelewd", the "Interlewd" and a "Fresh Ayre". Drinking, sex and other bodily functions are both celebrated and ridiculed in songs that are cleverly worded and enthusiastically sung, and in at least one case, accompanied by a mysterious instrument (reminiscent of P.D.Q. Bach) called a "fartophone". Especially amusing are the "catches" or rounds, and the new meanings that result from the staggering of words when several different verses are all sung together. It sounds silly, and is silly, but that's the point of it all--celebrating the "earthier flavor" of life 17th and 18th century England. My copy came with a parental advisory sticker stuck fast to the case, but my mother didn't seem overly concerned, and in fact enjoyed it too when I played it for her! For more fun Renaissance vocals, both salacious and serious, try "All At Once Well Met: English Madrigals" by the King's Singers, and "The King's Singers' Madrigal History Tour: Italy, England, France, Spain, Germany" by the King's Singers and the Consort of Musicke.

Ah, Sweet Mystery of Life: The Songs of Victor Herbert

Average customer rating:

Some old favourites, and some unfamiliar, enjoyable voices and songs

Ah, Sweet Mystery of Life: The Songs of Victor Herbert

Manufacturer: Asv Living Era
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004U9MZ
Release Date: 2000-08-22

Tracks:

Ah, Sweet Mystery Of Life! - Richard Crooks
Gypsy Love Song - CHARLES KULLMAN
Romany Life - Jeanette MacDonald
March Of The Toys - Victor Young & His Concert Orchestra
Kiss Me Again - Florence Easton
(The Day Is Done...) Moonbeams - Richard Crooks
Italian Street Song - Florence George/The Max Terr Choristers
I'm Falling In Love With Someone - CHARLES KULLMAN
'Neath The Southern Moon - Nelson Eddy
Tramp, Tramp, Tramp! - Nelson Eddy
Paul's Address: (My Commander As Envoy Bids Me Come...) No Country Can My Own Outvie - John McCormack
I List The Trill In Golden Throat - Alma Gluck/Charles Schuetz
The Cricket On The Earth - Christie MacDonald/Reginald Werrenrath/Howard Ratty
Sweethearts - Richard Tauber
To Land Of My Own Romance - John McHugh
When You're Away - Richard Tauber
Neapolitan Love Song - Richard Crooks
Ireland, My Sireland (When Shall I Again See Ireland?) - John McCormick/Dominic Melillo
Eileen Alannah Ashthore - John McCormick/Dominic Melillo
Thine Alone - CHARLES KULLMAN
A Kiss In The Dark - Amelita Galli-Curci
Indian Summer - Richard Tauber
Ah, Sweet Mystery Of Life! - Jeanette Macdonald/Nelson Eddy

Customer Reviews:

Some old favourites, and some unfamiliar, enjoyable voices and songs.......2007-03-11

This compilation has the usual songs that immediately bring the name of composer Victor Herbert to mind - Ah, sweet mystery of life, I'm falling in love with someone and Tramp, tramp, tramp - with such well known voices as those of Macdonald, Eddy and the famous tenors, Richard Crooks, Richard Tauber and Charles Kullmann.

Perhaps of greater interest to many listeners will be the relatively seldom heard artists, such as John McHugh, Florence Easton and Florence George. All three have very pleasant voices and aural personalities.

It is a somewhat mixed delight to hear Amelita Galli-Curci, John McCormack, Alma Gluck and Richard Werrenrath in recordings from the acoustic era. My personal favourite from that group is Galli-Cutci's charming version of A kiss in the dark.

Altogether, a well chosen mixture of the familiar and the out of the way, carefully and well re-recorded.

Average customer rating:

Viva Raul!!!!
9
"Nine" is spectacular!
...Their sound can last a hundred years...
Best Musical - 1982

Nine (1982 Original Broadway Cast)
Maury Yeston , Raul Julia , and Karen Akers
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000996FQ
Release Date: 2003-05-13

Tracks:

Overture D'elle Donne/Spa Music/Not Since Chaplin
Guido's Song
The German's At The Spa
My Husband Makes Movies
A Call From The Vatican
Movie Themes
Only With You
Folies Bergeres
Nine
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Tracks:

A Man Like You/Unusual Way/Duet
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Simple
Be On Your Own
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Customer Reviews:

Viva Raul!!!!.......2007-02-15

Raul Julia ......the grand performer is the main reason to buy this CD ......i was never a fan of "Nine" but you can feel Raul, his magic in every song.....the songs might not stay with you forever , but Raul renditions will...Long live the great Raul Julia Arcelay..the Best of the Best!!!

9.......2006-09-23

"Nine" the brilliant Broadway musical directed by the brilliant Tommy Tune and starring the brilliant Raul Julia and with a brilliant scenic design of glaring white tile including the stage floor, and a brilliant costume design, except for the "Folies Bergere" number, every one was dressed in black, and a brilliant casting coup- 1 man surrounded by 21 women-and a couple of handfuls of brilliant musical numbers and by now you get the picture, the show was brilliant but it was its' brilliance that sabotaged the show and to boot the show was stubbornly not audience-friendly.

This led to moments of awe-inspiring highs surrounded by moments of boredom.

The first high comes about 15 minutes into the show by the entrance of flame-haired Anita Morris. Dressed head to toe in a lacy,skin-tight,see-through outfit that doesn't even try to hide her ample attributes-and she is making a phone call to her lover draped over a white tiled cube(bed) and she slithers, slides, stretches in positions not humanly possible, purring seductively to her boyfriend and having a real good time with herself in what is possibly the hottest and most erotic moment
I have ever witnessed on a Broadway stage and threatened to blister and melt the very tile she played on. Ironically the number was "A Call From the Vatican".

Another high moment came with Liliane Montevecchi as Guidos'(Julia) producer who bemoans the gloom of modern cinema and longs for the days of song, dance and color,,"Folies Bergere"

A pivotal moment in Guidos' life is when at the age of 9,he and a couple of his classmates visit a notorious whore who teaches the young boys how to "Be Italian" This incident so shames Guidos' mother she sends him away to a draconian Catholic school run by cruel nuns who happily beat the devil out of their students. This leads to the beautiful Gregorian Chant-like "The Bells of St Sebastian".

Guido begins his new film of Casanova "The Grand Canal" which is a 15 minute mini-opera.

I have to mention Karen Akers who plays Guidos' wife and I adore her voice which to me sounds like a mix of honey and melted caramels-just listen to her long ago section of "My Husband Makes Movies" and "Be On Your Own".

Raul Julia also has effective numbers "Guidos Song" "Only With You" and he sings the afore-mentioned spine-shivery "Bell of St Sebastian" and he duets with his 9-year old self on the finale "Nine" which ends the show on an effectivly quiet moment.

There are other fine moments to be found "Unusual Way" with Shelly Burch comes to mind.

This CD is a wonderful reminder of just how great a Broadway musical can be and although I enjoyed the entire show warts and all, I only wish the show had been more accessable to a wider audience so everyone could have witnessed the brilliance I had.

"Nine" is spectacular!.......2006-07-24

Based on Fellini's autobiographical film, "8 1\2", "Nine" opened in 1982 with a score by Maury Yeston and a book by Arthur Kopit. It starred Raul Julia, Karen Akers, Anita Morris, Liliane Montevecchi among others. Its direction was by Tommy Tune. All of these individuals (oh yes, Jonathan Tunick, the orchestrator) are responsible for this spectacular original cast album of the spectacular musical, "Nine.
Mr. Yeston has supplied as score that is filled with memorable songs that are tuneful and musically interesting. His lyrics are witty and original. Every song is outstanding. I must single out Ms. Akers' wonderful torch songs, "My Husband Makes Movies" and "Be On Your Own" as being the bests of the score. Ms. Akers performs them so well, which makes them even more enjoyable. I also cannot forget the exceptional "Folies Bergeres" sequence featuing Ms. Montevecchi in her element.
However, Mr. Julia and the other cast memembers give absolutely wonderful performances as well.
This is a nearly complete recording at something like 70 minutes. ("Nine" is not two and a half hours long for those of you who began to question the above statement.) As a bonus, it features Mr. Yeston performing some of his great songs.

...Their sound can last a hundred years..........2006-04-22

I have to admit that when I first listened to this CD I was not favorably impressed. None of the songs captured me instantly and many seemed rather jarring and confusing, particularly as I was not acquainted with the show and no synopis is included. I put it away only to recently pick it up with the guilty feeling that I had not given it any true consideration. This proved to be very true. After forcing myself to listen to it several times, I had to force myself to stop listening! There is something truly magical and mysterious about this show, a quality which sings through the stirring, passionate, indelibly European music and the moving, often bitingly clever and even provocative lyrics. Maury Yeston certainly knew what he was doing. He has created something which is very different from much of the broadway fare that came before it and was to follow it, something which is truly unique, but in such a subtle, elusive way that it is impossible to pinpoint wherein this individuality lies. This is certainly not one of the greatest musicals of all time. It is flawed; there is a disjointed quality to the songs some of which are decidely weaker than others. It is simply distintive.
This is must in great part be attributed to the performances. The cast of 'Nine' is superb and deserves to be remembered as it is. As Guido Contini, Raul Julia gives a performance which perfectly captures the internal struggles and outward charm of this character. While his singing does not match up to his acting,(his voice is rather grating, and occasionally he does things to the high notes that I would prefer not to discuss) he makes an admirable effort in each song and succeeds in most. He nails 'Guido's Song' in which the character's state of mind is so brilliantly outlined and has just the right bravado for 'The Grand Canal.'Nobody, even the worst singer in the world, could ruin the sweetly simple and utterly lovely 'Only With You', though I do not feel that he does justice to 'The Bells of St Sebastian' which is one of my favorite songs; I find the mix of styles and rythms incredably stirring.
It is the women who surround Julia who are responsible for the life and the fantasy that is so palpable on this recording. The women's overture is one of those inspired strokes of genius which serve to bring an entirely new sound to Broadway. As a whole they provide excellent support in 'The Grand Canal' and in the rollicking 'The Germans at the Spa' which is hysterical but also performs the task for which it was written, namely to create atmosphere, much better than many similar songs in other shows. Camille Saviola provides excellent vocals as mama Maddelena. As Yeston comments in the liner notes, hers is only one of many standout performances. This musical is wonderful in its ability to make stars of each of its soloists, each is brilliantly showcased in the respective song/s. Karen Akers(Luisa) may not have the strongest voice, but as another reviewer commented she has a worldly weariness which perfectly suits her character. Her two songs 'My Husband makes Movies'and 'Be on Your Own' are two of the most moving moments in 'Nine', the former raises so many questions about life and love while the latter is almost heartbreaking in its desparation..."go off and live your petty fictions full of blatant contradictions you can't see..." Anita Morris(Carla) does not have what could be described as an attractive voice, but she has just the right brash, steamy powerful belt for 'A Call from the Vatican'. Taina Elg(Guido's mother) and Shelly Burch(Claudia) both provide sweetly pretty renditions of 'Nine' and 'Unusual Way' respectively while Kathi Moss' voice soars in the wonderfully exciting 'Be Italian'. One of the weaker moments is the unconvincing 'Getting Tall'; Cameron Johann does not have the ability or is simply too young to save this song. But all this would still not be worthy of five stars, it is the true showstopper, the glorious 'Follies Bergeres', which catapults this show to the hights of my regard. Brilliantly concieved, it is brilliantly executed here by Julia and Stephanie Cotsirilos but particularly by the extraordinary Liliane Montevecchi. Never was there a performance which was more worthy of a Tony. She soars through this song both as an actress and a singer...and almost evokes Edith Piaf in some of those dizzying climaxes...I could go on raving for some time longer but this review has already become ridiculously long. The one true downside of this recording are Yeston's demo recordings of some of the songs which are quite simply ghastly. Talk about composers butchering their own material! In spite of this I heartily reccomend that any fan of musicals add this to their collection, would I really write such a long, pompous review if I didnt feel it was worth it?

Best Musical - 1982.......2005-06-29

The surprise winner of 1982's Best Musical Tony (beating the equally deserving "Dreamgirls) was "Nine", an intelligent production, with a beautiful score by Maury Yeston.

While arguments can be made about whether this original or the 2003 revival are better, I slightly prefer the revival, only because the orchestrations sound richer. The casts of both are terrific!

Best tracks include:

My Husband Makes Movies
A Call From The Vatican
Only With You
Folies Bergeres
The Bells Of St. Sebastian
Unusual Way
Simple
Be On Your Own
I Can't Make This Movie

Both versions are worthy purchases, but if you have to pick one, pick the revival (single disc, synopsis, lyrics).

Land of My Fathers: 100 Great Welsh Choir Favourites

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Land of My Fathers: 100 Great Welsh Choir Favourites

Manufacturer: Castle Pulse
ProductGroup: Music
Binding: Audio CD

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Favourite Welsh Choirs
Land of Song Welsh Choral Classics
Welsh Choirs: Wonderful Welsh Choirs
Bryn Terfel - We'll Keep a Welcome
Traditional Songs of Wales

ASIN: B0009SOFXG
Release Date: 2005-08-01

Tracks:

Guide Me O Thou Great Redeemer (CWM Rhondda) - Caerphilly Make Voice Choir
Land of My Fathers - Caerphilly Make Voice Choir
Dies Irae
Men of Harlech
You'll Never Walk Alone
Cadwyn O Emyn Donau Cymreig: Joanna (Trad./Elfion Wyn)/Crugybar (Trad.
Old Folks at Home
Il Liza Jane
Faust/Soldier's Chorus - Caerphilly Make Voice Choir
Vergine Degli Angeli
Ballard of Rourke's Drift - Cwt-Y-Collen Choir
My Hero
God Bless the Prince of Wales - Caerphilly Make Voice Choir
German Mass/Gloria
German Mass/Sanctus
Misbles/Master of the House/On My Own/Drink with Me/Empty Chairs at
All Through the Night - Caerphilly Make Voice Choir
Arwelfa
Invictus
Softly as I Leave You

Tracks:

Diolch l'R L
Hine E Hine (Maori Lullaby)
Pererin Wyf (Amazing Grace)
Tribute to the USA: America the Beautiful (Ward/Bates)/God Bless ...
Memories of Martha
I Lombardi/The Crusaders' Chorus - Treorchy Male Choir
Myfanwy - Treorchy Male Choir
Tales of Hoffman/Barcarolle
Creation's Hymn
In the Spirit!
Shall We Gather at the River
Nos a Bore
Very Best Time of Year
Soon Ah Will Be Done
Thanks Be to God
Flower That Shattered the Stone
Rhys - Treorchy Male Choir
Where Shall I Be?
Bywyd y Bugail
Lord's Prayer

Tracks:

Ave Maria
Pearl Fishers/Divine Brahma
She Was Beautiful (Cavatina) - Treorchy Male Choir
Cymru Fach
Nidaros
Jacob's Ladder - Treorchy Male Choir
Watching the Wheat
Pan Ddaw y Saint (When the Saints Go Marching In)
Misbles/Stars
Rachie
Pirates of Penzance/With Cat-Like Tread - Treorchy Male Choir
There Is a Balm in Gilead
Rise Up Shepherd and Foller
My Lord, What a Mornin'
Bryn Myrddin
Jesus Christ Superstar/Medley: Jesus Christ Superstar/Hosanna/The Last
Finnish Forest (Suomen Salossa)
Nabucco/The Glory of Israel
Ride the Chariot
Tydi a Roddaist - Treorchy Male Choir

Tracks:

Y Nefoedd
Phantom of the Opera/Think of Me
Morte Christe (When I Survey the Wondrous Cross)
By Babylon's Wave
I'm Gonna Sing
Where Could I Go But to the Lord?
Holy City - Treorchy Male Choir
Mefistofele: Ave Signor, Degli Angeli
Senzenina (Zulu Chant)
That's All I Want from You
Deep Harmony - Treorchy Male Choir
Give Me Jesus
Just a Closer Walk with Thee
My Wish for You
Jeptha/Waft Her Angels
Mose in Egitto/Prayer
Be Still My Soul (Finlandia Hymn)
God's Choir in the Sky
Floral Dance - Treorchy Male Choir
Smilin' Through

Tracks:

Calon Lan
True Love
Mor Fawr Wyt Ti (How Great Thou Art)
Aberystwyth
Comrades in Arms
Cats/Memory
They Led My Lord Away
State Fair/It's a Grand Night for Singing
When I Fall in Love
Let's Face the Music and Dance
Windmills of Your Mind
How Soon
Non Nobis Domine
Rhythm of Life
Kalinka
Sound an Alarm
Neapolitan Trilogy: It's Now or Never (Di Capua/Schroeder/Gold)/Mo ...
Turandot/Nessun Dorma
Christus Redemptor
Ann Evening's Pastorale

Album Details

Choirs Include the Morriston Orpheus Choir, the Pontadrddulais Male Voice Choir, the Caerphilly Male Voice Choir, the Cwrt-y-gollen Choir, the Treorchy Male Choir and the Lucknow Male Voice Choir.

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What's happened to Debbie?
A Taste of Broadway
OUCH!
(Deborah Gibson ) AT HER BEST!!!!
Deborah delivers deliciously

Colored Lights: The Broadway Album
Debbie Gibson , Jule Styne , Charles Strouse , Michael John LaChiusa , Peter Allen , Claude-Michel Schoenberg , John Harold Kander , George Gershwin , Richard Rodgers , William Finn , Ron Abel , John Krovoza , Ruth Bruegger , and Steve Orich
Manufacturer: Varese Sarabande
ProductGroup: Music
Binding: Audio CD

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What You Want

ASIN: B0000DJYNR
Release Date: 2003-11-04

Tracks:

Let Me Entertain You (Gypsy)
Blame It On The Summer Night (Rags)
Raise The Roof! (The Wild Party)
I'd Rather Leave While I'm In Love (The Boy From Oz)
On My Own (Les Miserables)
Colored Lights (The Rink)
I'm The Greatest Star (Funny Girl)
Who Are You Now? (Funny Girl)
They All Laughed (Shall We Dance?)
Sex (Skirts)
Maybe This Time (Cabaret)
I Enjoy Being A Girl (Flower Drum Song)
Anytime (I Am There) (Elegies: A Song Cycle)

Customer Reviews:

What's happened to Debbie?.......2005-04-15

I am not a staunch Gibson fan like most of the drooling 5-star reviews here. But I loved her in the 80's and think her to be a talented singer-songwriter who puts modern pop moppets to shame. I thought it was awesome when she broke into Broadway and made a steady career of it.
Then I heard 'Colored Lights'.
I ask, Debbie!(sorry, DEBORAH), what has happened to you??
Like others here, I applaud her choice to include lesser-known songs. But in doing so, it really behoves her to SELL them as great songs, not rework them for her own interpretation. I felt like I was listening not to the pure-toned, crystal voice of our favourite teen idol, but someone doing a bad impersonation of her. There is hardly a single line she sings which isn't punctured by bad ennunciation, poor phrasing or a lack of respect for the intent of the composers.
There were no gravelly growls(meant to sound sexy, no doubt, but too overdone to succeed), breathy sighs, uneven tone, lacklustre dynamics, excessive scooping, wavery pitch and lack of top range in the Debbie Gibson I remember. But her voice on this album is such a mere shadow of its youthful self that she resorts to these irritating vocal bandaids to get through the song. Any track that had a 'big finish' invariably caused her to run out of steam long before she got there. A belter, Deb is not.
(and I know what I'm talking about, I'm a trained singer myself. If Deborah has a singing teacher, he/she should be shot).

This album was a huge disappointment for me. I love Broadway, but Deb fails terribly to give these songs the great renditions they deserve.
I should add, I have never had the fortune to see Deb sing live, so for all I know, maybe she COULD have done these songs justice had she avoided the pop slant. But this album shows neither the songs nor any talent she still has to advantage at all.

Listen to some Idina Menzel if you want a pop-feel voice that can also out-Belt them all.

A Taste of Broadway.......2004-10-13

I've been a fan of her since God only knows. I know she's not just talented but she is very passionate of (her) music. Knowing that she moved herself into broadways, it's rather of a challenge for me to listen to the songs especially when I'm too familiar with her pop genre. But after a while, I'm used to it coz Debbie is still Debbie to me. She's not afraid of re-arranging the original song to her style, at least she knows what she's doing and again she's proven it. My most favourite track is "Colored Lights", it's light, cheerful, somewhat witty and, in a way, brings up my imagination of seeing her (and the casts) on stage performing the song. All in all, Debbie still has a class and style for us to share.

OUCH!.......2004-08-23

Deborah Gibson is a talented rock star. With a good musical director, she has proved herself to be a wonderful musical theatre performer. This album, however, is a very uneasy marriage of the two genres. She sings every showtune on the album as if it's a pop tune with horrendous bubble gum arrangements. I have seen Miss Gibson in two musicals and have heard her sing showtunes live on other occasions- she knows how to sing showtunes. On this album, however, she's trying to pander to her pop audience and in the process, she created an album that fails as a pop album and as a showtune album. I can only hope that Miss Gibson finds a better musical director the next time she decides to record showtunes.

(Deborah Gibson ) AT HER BEST!!!!.......2004-04-23

Deborah really sing's her heart out on this cd
and it is a must for all of Deborah's Fan's.
Please take the time out and listen to some clip's
of some of the song's from the album. Thank's.

Love You Deborah!!!!
You are the Best!!!!

Deborah delivers deliciously.......2004-02-13

After more than 15 years in the business, Deborah Gibson has learned many lessons and fulfilled many dreams. After 2001's horrifyingly misguided "M.Y.O.B.," she returns to the adult contemporary sound that landed her two number one hits on the Billboard charts, and turns that up a couple of notches. By selecting 13 showtunes from varying Broadway musicals, Gibson satisfies immensely, and delivers a unique compilation worthy of at least one full listen.

"Colored Lights" is not meant to be a showcase of hit tunes; many of the songs on this opus aren't radio hits. Instead, Gibson puts together a delicious smorgasbord of rhythmic melodies and heartfelt ballads that complement her voice (that, strangely enough, hasn't seemed to change that much after more than a decade in the industry).

What is also important to consider in one's evaluation of "Colored Lights" is that, while comparison with the original works/performers is inevitable, we should also take the time to consider that Gibson's pop sensibilities will always shine through. Perhaps it is for that reason, that Gibson has had the best of both pop stardom and Broadway success, that she gives new dimension to these melodies.

The standouts on this collection include "I'd Rather Leave While I'm in Love," which radio would do well to pick up, as the soothing melody and heartfelt delivery will find AC audiences easily; "On My Own," off "Les Miserables," where Gibson as Eponine sounds both heartbroken yet hopeful; the playful title track, from "The Rink," which features some of the most whimsical lyrics I've heard off Broadway thus far; "Raise the Roof," which is truly enjoyable in its pseudo-Latino reincarnation in Gibson's hands (yes, it does beg for a house remix; Gibson's gay audience will see to its success), and "Anytime (I Am There)," which is heartbreaking in its stark delivery, and is easily one of my top five Gibson tracks of all time.

Admittedly, Gibson can't overcome comparisons to the definitive versions of some of the songs. Let's face it: Debbie ain't no Barbra. Her versions of "I'm the Greatest Star" and "Who Are You Now?," while stellar on their own, just fall flat when compare to Streisand's. "Let Me Entertain You," off "Gypsy," ironically, isn't very entertaining, and "Blame It On The Summer Night" drags on.

All in all, "Colored Lights" puts together a collection of songs that are quite distinct and classy, and is easily one of the more worthy albums in Ms. Gibson's discography. She would do well to continue producing albums along this line instead of trying to fight the Britney's and Christina's, because those fads fade, and only the classics remain. Trust in "Colored Lights" to earn a well-deserved place in that section of your record collection.

Léhar: The Land of Smiles; The Merry Widow; The Count of Luxembourg (Highlights)
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Arguably "The Best" English "Merry Widow "

Léhar: The Land of Smiles; The Merry Widow; The Count of Luxembourg (Highlights)

Manufacturer: Class. for Pleas. Us
ProductGroup: Music
Binding: Audio CD

General | Lehár, Franz | ( L ) | Featured Composers, A-Z | Classical | Styles | Music
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The Merry Widow

ASIN: B00009KHY2
Release Date: 2003-09-02

Customer Reviews:

Arguably "The Best" English "Merry Widow ".......2006-09-12

This is the "Merry Widow" with English translation by Christopher Hassel sung by June Bronhill. I loved this rendition ever since I first heard it in about 1960. What's to love? First the translation is the best I've heard. The language doesn't sound "stilted" as some others. And, you can understand almost every word sung. Plus, the famous song, "Vilja" has some wording that moves me every time I hear it: The soprano sings, "Love me and I'll DIE for you!" with the word "die" somewhat emphasized. I don't know, there's just something "powerful" about someone saying they'd "die" for love! AND, at the end of "Vilja" the chorus and soprano raise to a crescendo hitting a high note together. In many renditions the chorus is heard but not the soprano on the final high note. In THIS version, the soprano, June Bronhill, can be heard rising to the final high note with an incressing crescendo and fortissimo louder than the chorus and holding the final high note---which gives a very thrilling effect as she holds that final note, I assure you!

The "problem" is that this June Bronhill, Reid, and Hassel version is hard to find on CD. For example, this CD is made in Holland and "there is one left" so it says on Amazon. But, if you can find it, I think it would be very much worth a listen. Then, after hearing it, if you think there's a "better" Merry Widow, please let ME know! Thanks. Email:boland7214@aol.