Hosono House [Import] [Original recording remastered]

Hosono House [Import] [Original recording remastered]

Editorial Reviews
Product Description
Remastered Japanese pressing packaged in a limited edition miniature LP sleeve. Details TBA. 2005.

Tracks:

The Orphan
Children of God
Forgiveness
The Graveyard
Sweet Liberty
Secrets of the House
Act One: Perfectly Nice
Act One: As Good As You
Secret Soul
Finer Things
The Pledge
Sirens
Things Beyond This Earth
Painting Her Portrait
In the Light of the Virgin Morning
The Gypsy
The Proposal
Slip of a Girl
Sirens (Reprise)
Farewell, Good Angel
My Maker
Rain
The Voice Across the Moors
Poor Sister
Brave Enough for Love

Amazon.com

Here's another to join the parade of page-to-stage musicals inspired by 19th-century fiction. This ambitious adaptation of Charlotte Brontë's haunting classic Jane Eyre for the musical theater seems to be part of a trend represented most famously by Les Misérables. It also reflects the increasing pressure to schedule an original cast recording release as close as possible to a new show's Broadway opening: in this case, in fact, the CD was both recorded and released prior to the show's opening in December 2000 at the Brooks Atkinson Theatre. But what's most significant for the artistic character of Jane Eyre: The Musical is found in yet another pattern: like a number of his colleagues, composer-lyricist Paul Gordon comes to the project from a pop music industry background (best known for his hit "Friends and Lovers"). And quite a few of the show's numbers benefit from Gordon's catchy craftwork, weaving melodies that are clearly destined to be whistled long past curtain. Yet the effect is sometimes too facile, not diving as deep as we would like into the emotional predicaments of Brontë's characters. You begin to crave a more deftly defined and imagined variety of sound worlds (especially for the darker aspects of Thornfield Hall) than what is hinted at. Gordon doesn't forge any new paths, but his melodic fluency does have its moments of payoff--especially in the moving final duet "Brave Enough for Love," which is also strong enough to stand on its own.

Gordon's predilections as a would-be son of Sondheim are nevertheless clear, and he's telescoped the story into mostly effective lyrics, with some thoughtful juxtapositions of material. Most importantly, he understands that this is more than a Gothic romance, foregrounding the central message of forgiveness that Jane learns as a girl. He attempts to explore the injured sense of self shared by both Jane and Rochester and sets them on a painful, mutual voyage of discovery.

The creative team also includes the veteran duo John Caird (book and direction) and John Napier (scenic design), who have collaborated on such epics as Les Mis and Nicholas Nickleby (not to mention the Las Vegas Siegfried and Roy extravaganza). And the show's creators seem to share a vision geared toward the more operatic end of the spectrum (it was opera composers, after all, who early on claimed 19th-century Gothic fiction for the stage, as in Donizetti's Lucia di Lammermoor), with an actual parody of coloratura in one showstopper ("The Finer Things") given to Blanche Ingram. Fortunately, the two principals have large, richly expressive voices to encompass the large, complicated emotions of these characters. Marla Schaffel singswith unusual beauty and brings dimension to her Jane, while James Barbour (whose resumé includes Beauty and the Beast) is never really threatening as Rochester, but rather a tortured soul who is sweet-voiced even at his most cynical. Mary Stout is a stitch as the blustery Mrs. Fairfax. While the show has already undergone a lengthy evolution from its very first workshops, the viability of its final, fully staged realization has yet to be determined. But this cast recording conveys an authentic sense of the musical's atmosphere and emotional scope. --Thomas May

Customer Reviews:

Great Buy!.......2007-06-08

Not only was this CD super cheap, it also arrived at my house 3 days later!

Perfect Match.......2007-03-16

The music in this album really gave me the feeling of reading the book. I think the songs were well chosen and well written, except of course for the songs sung by Mrs. Fairfax... I could have done without those. Jane and Mr. Rochester's songs carry the story well and they sound lovely. For any musical lover, or romance fan I definitely recommend this album.

Probably the most beautiful musical of all time.......2007-02-16

This is a hidden gem and if you buy it and listen to it, I don't see how you can not love it. I have bought many, many Broadway cast albums but I still am a popster at heart. With all that said, this is a cast album that soars above the crowd.

I bought this several years ago and have listened to it repeatedly since I got it. Why do I love it so much? First of all, the lyrics are full of heart and emotion and tell the story ably. But it is the music and the performances that are truly remarkable here. The melodies are memorable and absolutely exquisite. The orchestration is lush but not sappy. The performances by the two leads are nothing less than stunning.

I never get bored with this wonderful cast album and it is very, very highly recommended.

Beautiful!.......2007-01-28

I listen to this soundtrack all the time and I never get tired of the songs. If Charlotte Bronte story was written as a musical, then this would definitely be it.

A good musical.......2006-07-20

if you like old-fashioned romantic stuff, this one's for you. Some songs are very inspired, the music is,for the most part, quite beautiful, and the story line keeps the essence of the Bronte novel. I heard this right after "Wuthering Heights: the musical", which is quite good, yet this is superior. Give it a try and you might be nicely surprised. I would highly recommend it to the ones who know the novel and to English Literature students: it offers a different and interesting approach to the novel.

The Phantom of the Opera (Highlights from the 1989 Original Canadian Cast)

Average customer rating:

Iffy
Rebecca Caine is what made me buy this album.
Very Nice!!!!
NOT AS GOOD AS THE LONDON CAST RECORDING
I liked Colm Wilkinson better in Les Miz

The Phantom of the Opera (Highlights from the 1989 Original Canadian Cast)

Manufacturer: Decca Broadway
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000072VS
Release Date: 2002-11-26

Tracks:

Prologue-The Stage Of The Paris Opera House, 1911
Overture
The Dress Rehearsal Of Hannibal
Think Of Me
The Mirror... (Angel Of Music)
The Phantom Of The Opera
The Music Of The Night
Notes/Prima Donna
All I Ask Of You
I Gave You My Music...
Entr'acte
Masquerade
The Graveyard
Wishing You Were Somehow Here Again
Wandering Child.../Bravo Monsieur...
The Point Of No Return/Down Once More
The Phantom's Lair

Amazon.com

A few years after The Phantom of the Opera debuted in London, Harold Prince unveiled Andrew Lloyd Webber's gothic musical in Canada, in 1989. It was so good that this recording of highlights from the Canadian cast is--dare we say it?--more enjoyable than the equivalent London cast highlights album. No, it doesn't have the authenticity of London principals Sarah Brightman (for whom then-husband Lloyd Webber wrote the role of Christine) and Michael Crawford, but it doesn't have their idiosyncrasies, either, and it does have the richer voices of Colm Wilkinson and Rebecca Caine (who played Jean Valjean and older Cosette, respectively, in the 1985 London cast of Les Misérables). At 69 minutes, the Canadian album is also 10 minutes longer than the London, allowing inclusion of the prologue and dress rehearsal for Hannibal. Of course, Lloyd Webber's melodies--"Angel of Music," "The Music of the Night," "All I Ask of You," "Wishing You Were Somehow Here Again"--are scrumptious on any continent. --David Horiuchi

Album Description

1990 Polydor release featuring highlights from Andrew Lloyd Webber's epic musical by the Original Canadian Cast, including Colm Wilkinson and Rebecca Caine. Directed by Harold Prince, it features 17 tracks, including 'Think Of Me', 'Notes/ Prima Donna', 'Masquerade' and 'Wishing You Were Somehow Here Again'.

Album Details

Contains highlights from the Andrew Lloyd Webber brainchild performed in Ottawa, Vancouver, Montreal & Calgary during April, 1991 through September, 1992. Stars Colm Wilkinson & Rebecca Caine in leading roles.

Customer Reviews:

Iffy.......2007-01-22

I've only listened to clips here and online, but I personally would not buy this entire album. Why? Well, I would LOVE to have Rebecca Caine's "Think of Me" and "Wishing You Were Somehow Here Again" - she has a beautiful voice, much stronger than either Sarah Brightman or Emmy Rossum, and much better trained. But what I have heard of the Raoul annoys me. He's supposed to be the good guy, not a dork!

And Colm Wilkinson as the Phantom? Whose idea was that??? I really do not like his voice, even as Valjean in Les Miz. I highly doubt he's a strong enough singer to pull of "Music of the Night" the way Michael Crawford or Hugh Panaro (best Phantom EVER) can.

If, however, this was on iTunes, I'd jump at the chance to get Rebecca's songs!

Rebecca Caine is what made me buy this album........2006-12-04

Rebecca Caine is my favorite Christine. I think that she has one of the most amazing voices, and I loved her in the title song.

As for everything else...
Honestly, Colm Wilkinson cannot sing. His voice is just too weak for the role. Like one of the reviewers before me said, he's no Michael Crawford, not even Gerard Butler. Maybe I should hear him sing in Les Miserables to appreciate his voice.
As for Byron Nease, he's okay, but I've easily heard better.

In all, the album's okay, but there are many better recordings.

Very Nice!!!!.......2006-08-25

Although this is a specatcular Disc, I find it very hard to appreciate fully Colm Wilkinson's voice in the role of the Phantom after being so used to Michael Crawford's for that role (and being used to mr. Wilkinson's as Jean Valjean in Les Misérables). Don't get me wrong I very much like Colm wilkinson, but not so much as the phantom.
Apart from that Rebecca Caine is a stunning Christine!!!! And at times seems to me to be...dare I say.... better than (my personal favourite singer) sarah brightman, Ms. Caine's "Think Of Me" blew me away, it was very inspiring....

Overall the rest of the cast is very good as well and if you are a true "phan" this is a must have CD very much worth its price!!!!

NOT AS GOOD AS THE LONDON CAST RECORDING.......2006-07-02

Today, after Phantom of the opera became the longest running musical in history of Broadway, and being one of the most produced of Andrew Lloyd Webber's work around the world, we can only agree with the statement of "The Times" reviewer which appeared on October 10, 1986, a day after the premiere in London, who wrote: "One thing is clear: Gaston Leroux's famous story is God's gift to the musical theatre. It wraps up the legends of Faust, Svengali, and Beauty and the Beast into a grand final death rattle of the romantic agony. It turns a theatre--the Paris Opera--into a replica of the universe, from the Statue of Apollo above the city's rooftops down to the infernal regions with their furnaces and stygian lake. And, musically, not only does it unfold to an accompaniment of the operatic repertoire, but also features a protagonist who is himself a great composer."

Phantom, with its operatic and lush melodies, intensive story and grandiose staging, remains one of the best and most beloved musicals of all time.

The musical is based on the Gaston Leroux's novel of the same title. It is set in the second part of the 19th century Paris and its famous opera house. The young soprano, Christine, is discovered as a talented young opera singer in the opera house. She is noticed by an old childhood friend, Raoul, and they fall in love. However, we find out that a third person, the mysterious Phantom, hiding behind a mask, is a musical genius who had been giving Christine singing lessons and who has developed a mad passion for his young pupil. He hides in the catacombs of the opera house, lurking on the outside world. He is determined to keep Christine for himself and the story evolves from here.

Apart from this interesting plot, the audiences were swept away by Lloyd Webber's tremendous score, which probably remains his best work. It combines the beautiful love songs and sweeping operetta-like arias, with numerous orchestral leads and crescendos. You can't help but being charmed by this beautiful and haunting score. The large numbers, especially, the last one, will probably move you deeply. The most popular numbers are "The phantom of the opera", a vibrating duet between Christine and the Phantom; "All I ask of you", a lovely love duet between Christine and Raul; Phantom's mesmerizing voice will hold you till the end in "The music of the night", Christine in "Wishing you are somehow here again" will evoke sadness, and many more.

One of the main reasons for the early success of this show and this recording was its original London cast. All of the three principals: Sarah Brightman as Christine, Michael Crawford as The Phantom and Steve Barton as Raoul gave the performances of their lives. Michael Crawford's take on the role of The Phantom became stuff legends are made of, due to his amazing vocalisation and the powerful, almost hypnotic attraction in his voice and performance, exactly how the Phantom is supposed to sound.

The lyrics by Richard Stilgoe and Christopher Hampton are the weakest link here, but they manage to convey the basic story.

After the show's success in London and on Broadway, the Canadian production was mounted and it premiered in Toronto's Pantages Theatre in September 1989. This CD captures the highlights of that production. All the important musical numbers are here, however, the problem is the cast, that is, some of them. Colm Wilkinson is a great singer, his interpretation of Jean Valjean being the best example. Unfortunately, he doesn't have what it takes to play the Phantom. His interpretation lacks the depth of Michael Crawford and he struggles to stretch his voice, especially on the high notes. Overall, he sings too deep for the role, sounding as if he is still in Les Miserables. Still, he is much better than the mediocre performance Gerard Butler gave in the 2004 movie version. Rebecca Caine is a fine Christine, her soprano has no problem of getting into the character. Byron Nease, who plays Raoul, also fails to deliver, sounding too old and squeaky. The unwritten rule of the musical theatre, that the miscasting can affect the best of materials, is regrettably evident here. There is also a minor problem with the orchestrations, since some parts have a faster tempo than in the original. The aficionados will notice small lyrical changes in comparison with the original cast recording.

The CD comes with a synopsis (a rear treat in the Andrew Lloyd Webber's cast recordings), the lyrics and production photos.

This recording works best as an addition to the existing Phantom collection. For the first time listeners, I highly recommend the 2-disc 1986 London Cast Recording. Not only does it feature almost the entire musical, but also the cast is much, much better, as well as the orchestrations, which have a more classical touch.

I liked Colm Wilkinson better in Les Miz.......2006-05-12

Not to say that he doesn't do a good job in this role as well, but often times it just sounds like Jean Valjean singing the Phantom. He does have some great moments but I think the Christine is the best thing about this recording. I don't know why, but I find her voice incredibly sexy. It's easy to see why the Phantom would want to seduce her and foster her talent. Raoul's line (and vocal) delivery is a little too "Dudley Do Right" for my tastes. It sounds almost comical at times. I dunno, maybe that's what he was going for. The London Cast recording is probably still the gold standard simply because the actors have become so synonymous with the roles they played, but you should pick this one up if you want a more up-to-date version of the orchestrations and, subsequently, the libretto.

House of Flowers (1954 Original Broadway Cast)

Average customer rating:

Re-Placed, not Re-mastered
Before "Blood" there was "Flowers"
Musically Interesting and Quite Enjoyable
Forgotten flop brought back on CD
A must for both musical theatre and Capote fans.

House of Flowers (1954 Original Broadway Cast)
Harold Arlen , Truman Capote , and Pearl Bailey
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000996FK
Release Date: 2003-05-13

Tracks:

Overture
Waitin' - Dolores Harper, Ada Moore, Enid Mosier
One Man Ain't Quite Enough - Pearl Bailey
A Sleepin' Bee - Diahann Carroll
Bamboo Cage (Smellin' of Vanilla) - Dolores Harper, Ada Moore, Enid Mosier
House of Flowers - - Rawn Spearman, Diahann Carroll
Two Ladies in the Shade - Ada Moore, Enid Mosier, chorus
What Is a Friend For? - Pearl Bailey
Mardi Gras - M. Burton & company
I Never Has Seen Snow - Diahann Carroll
I'm Gonna Leave Off Wearing My Shoes - Diahann Carroll
Has I Let You Down? - Pearl Bailey
Slide, Boy, Slide - Juanita Hall
Don't Like Goodbyes - Pearl Bailey
Turtle Song - Rawn Spearman & Diahann Carroll
Mardi Gras Waltz (bonus) - Percy Faith and His Orchestra
Two Ladies in the Shade (bonus) - Enid Mosier
Otille and the Bee (bonus) - Truman Capote
A Sleepin' Bee (bonus) - Harold Arlen (demo recording to Truman Capote)

Customer Reviews:

Re-Placed, not Re-mastered.......2007-04-28

I am becoming quite irritated by peopel releasing "Original Broaway Cast Recordings" of shows and then substituting different cuts of some songs that never were on the original ALBUM in the first place.

I got this cd because of "Two Ladies in the Shade" and they include two different versions -- neither of them were the version I grew to love from the album. There is also a song mising that was on the album that started out as something silly like "I'll have to tie you to the bamboo tree..." - WHERE IS IT ON THE CD?

The IDIOTS who took the liberities with this musical ruined the few highlights it had going for it. The folks who wrote the notes for the book were equally unprofessional to defame one of the stars by talking about how difficult that person was during the development of the play. Excuse me, the person is no longer living; dissing them NOW is childish and unprofessional.

I'm scrapping this POS, finding a fresh album and recording it digitally.

Diahann Carroll is, quite simply - breath taking beautiful in the majority of her cuts, however.

Before "Blood" there was "Flowers".......2006-02-25

With all the appropriate hype surrounding the film "Capote" it may be hard to imagine the author of "In Cold Blood" writing the book and lyrics to "House of Flowers". This original cast album with bonus tracks sheds light on the multi-faceted author as well as on the talents of the legendary cast album producer Goddard Lieberson. This disc would grace the library of anyone who either appreciates the golden age of Broadway musicals or who aspires to appreciate that special time.

Musically Interesting and Quite Enjoyable.......2005-01-17

In "American Songbook" retrospectives, Harold Arlen is usually given about 20 seconds of due compared to the 10 - 15 minutes given to the likes of the Gershwins, Jerome Kern, or Richard Rodgers. Buy this album and you'll see why that is such an injustice.

Arlen's complex, blues-style melodic phrases add extreme beauty to the title song and "I Never Has Seen Snow". The latter is now one of my all-time favorites. "Have I Let You Down" is a sneaky comic delight, and "A Sleepin' Bee" provides a nice moment of hopefulness.

Pearl Bailey adds her signature tartness to the proceedings, and thereby sometimes undermines your enjoyment. Diahann Carroll goes from girl to woman quite nicely. I'm not so sure Juanita Hall's song ("Slide, Boy Slide") contributes much to the musical but it may appeal to one's prurient side.

I suggest reading the liner notes AFTER you have heard the CD.

Forgotten flop brought back on CD.......2004-05-24

From the start of its unusual Overture (with it's strange transitions) HOUSE OF FLOWERS is something unique. The Harold Arlen score has the proper Carribean flavour, but is still rooted in the Broadway vernacular. Truman Capote's book and lyrics are more variable, and the show has failed twice (1954 and an off-Broadway revival in 1968, recorded by United Artists but not issued on Cd) for the same reason most shows fail: A faulty or unintresting book. Still, its not the book that is showcased on the CD.

Although Columbia's original 1954 LP release was a fairly full record for its day (53 min 55 seconds) this CD offers longer takes of both "Mardi Gras" and "Slide Boy Slide" adding nearly 2 minutes to the album proper. The reissue also includes 12 minutes of bonus tracks making a very attractive mid-priced reissue.

The original LP artwork adorns the CD cover, and there are excellent liner notes and a synopsis. The original LP jacket did not include a synopsis, a rare omission for Columbia records. The LP also juggled some of the songs so the record actually ended with the Mardi Gras number (which actually belongs in the first act!)

Some people here have questioned placing "The Turtle Song" as the last number in the show. This is correct. According to my copy of THE BEST PLAYS OF 1954-55, the song listing indicates that "Don't like Goodbyes" was sung in Act II, Scene 5 with "The Turtle Song" (and the un-recorded Finale) in Act II, Scene 6. What is strange about this song listing (which was taken from the opening night playbill) is that the song "Gonna Leave off Wearing My shoes" is NOT listed at all (although a song called "Husband Cage" is listed at the top of Act II, it is sung by Pansy, Tulip, Gladiola and Ensemble...but not Ottilie!) Even stranger... a 1980 reissue in Time Life's AMERICAN MUSICALS series puts the song in Act One but that placement may be based on the out-of-town try-outs. The song certainly makes a pleasing opening to Act II on the Cd. On this CD reissue it is listed as "Can I Leave off Weaing My Shoes" but Diahann Carroll clearly sings "Gonna..." in the lyric.

The sound quality of this reissue is greatly improved over the muddy sound of the previous Columbia Special Products issue, and restores the original mono mix. (In 1963 Columbia re-released this LP in fake stereo and that was the version in general circulation though to the end of the LP era.)

The performances are unmatchable today. Pearl Bailey's now famous quip at the end of "One Man Ain't Quite Enough" ("Supposed to have an ad-lib filled in here for the record date but we've been so terribly busy over at the theatre we haven't had time!") alludes to the show's tumultuous try-out and preview period, even though Bailey herself was cause of much of the trouble. Despite a cold, Diahann Carroll sounds fine. Juanita Hall is given surprisingly little to do for 3rd billed role.

Richard Rodgers has cited "A Sleepin' Bee" as one of has favoutite songs from the score, and Barbra Streisand has recorded several songs from this show on her early albums, so even if the show spun off few "hit parade" hits, the songs did become standards.

Given Sony's desire to concentrate on re-mastering and re-issueing teh big hit shows from their catalogue (MY FAIR LADY, WEST SIDE STORY etc) it's nice the label has given attention to this forgotten flop.

A must for both musical theatre and Capote fans........2004-05-23

Frankly, this score is not as great as the sum of its parts. However, there are indeed some great numbers in this show. Arlen's music is always wonderful. Capote's lyrics are beautiful (it's hard to believe that he had never written lyrics before or that he never wrote them again - what a waste for musical thaetre fans.) Probably the best known song from this score is "A Sleepin' Bee" sung in the show by Diahann Carroll and included on Barbra Streisand's first Grammy award winning album [Streisand loves this score and has also recorded "Don't Like Goodbyes," "House of Flowers" and "I Never Has Seen Snow" - this last is one of her finest vocal performances ever and can be heard on "Barbra Streisand and Other Musical Instruments"]. Pearl Bailey has a couple of terrific numbers here, especially "One Man Ain't Quite Enough." "Can I Leave Off Wearing My Shoes" is lots of fun. However, what makes this CD an absolute must is the inclusion of Capote reading from his original short story "House of Flowers" and Arlen's demo recording of "A Sleepin Bee" as a work in progress. What a treat.

Average customer rating:

Bookend for Saturday Night
Not One of Sondheim's Best, But A Couple of Nice Songs
Not quite...
awful
The Black Sheep of Sondheim Scores

Bounce (2003 Original Cast)
Stephen Sondheim , Richard Kind , Howard McGillin , Michele Pawk , and Jane Powell
Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

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ASIN: B00011FWWY
Release Date: 2004-05-04

Tracks:

Overture
Bounce
Opportunity
Gold!
Gold! (Part 2)
What's Your Rush
The Game
Next To You
Addison's Trip
The Best Thing That Ever Happened
I Love This Town
Isn't He Something!
Bounce
The Game
Talent
You
Addison's City
Boca Raton Aftermath
Get Out Of My Life
Bounce

Amazon.com

Bounce is a pretty accurate title for this Sondheim show, which receives a cast album after having been seemingly everywhere but Broadway. In a way this is fitting for a musical that's been on Sondheim's mind since 1952, when he first read about the adventures of the two Mizner brothers in The New Yorker. Based on this Fall 2003 Kennedy Center production, figuring out why Bounce doesn't quite click is tricky. Is it the heard-it-before quality of the material? The title track is disappointingly by-the-numbers Sondheim, for instance. Or is it the uneven cast? Howard McGillin lacks the outsize personality needed to infuse life into scheming Wilson Mizner (a part played by Nathan Lane in a 1999 Off-Broadway "workshop" of the show, then titled Wise Guys). But then Michelle Pawk does wonderfully in the sultry ballad "What's Your Rush?" before eclipsing McGillin in their duet, "The Best Thing That Ever Has Happened." Got it! Bounce may not work as a show, but a few of its songs are bound to show up in a cabaret near you sooner rather than later. --Elisabeth Vincentelli

Customer Reviews:

Bookend for Saturday Night.......2007-04-25

This show has the same problem as Boch and Harnick's "Rothschilds" - lots of craft and obvious talent, but who gives a damn that members of a family cornered the market using questionable methods? It's like spending Thanksgiving with those relatives of your own that you'd rather not.

Artistically it's the same level as Sondheim's first show, "Saturday Night" - interesting but you wouldn't pay it much attention if it's author had never written anything else. Which makes his career arc rather like one of Sondheim's better shows - brilliant with stunning passages, but ending a bit clumsy, unresolved or just fizzling. A master artist like Sondheim you'd hope for some kind of epiphany, a "Tempest". "Bounce" isn't a "Tempest".

The recording is a little threadbare - the mother wobbly voiced, sythesizer in lieu of orchestra, bland second lead. In the heightened world of musical theater this just isn't a Sondheim worthy story.

Not One of Sondheim's Best, But A Couple of Nice Songs.......2006-12-19

With so many great musicals written by Mr. Sondheim, efforts such as "Bounce" seem flimsy in comparison. The cast's voices are fine, but most of the songs simply lack the composer's typical magic.

There are, however, a couple noteable tracks, namely the title track, "What's Your Rush", and "The Best Thing That Ever Happened".

Maybe with some revisions, the production will eventually arrive on Broadway - though it may be limping when (if) it does.

Not quite..........2006-10-09

Sonheim is one of the days best composers, but we all have bad days right? This was Sondheims bad day. The music is boring, Listening to the soundtrack doesnt make you want to see the show, no great ballads, basicly NOT WORTH $20. If you see this at a used CD store somewhere its one to for the collection, but not for any one looking for Sondheim. I would suggest this solely for Sondheim collectors, its not one for listening too. Favorite song: "The Best Thing That Has Evere Happened"

awful.......2006-05-07

I caught the Goodman Theatre production in Chicago and enjoyed it immensely, although it was obviously greatly flawed. I was fairly sure that several of the numbers were going to have to be cut before it reached Broadway--and I assumed they'd be cut before it reached the Kennedy Center--and that the name would have to be changed. The book was actually much stronger than the score, which is unusual in a Sondheim production, but the book was entertaining, the staging was effective, and Richard Kind, although he can't sing at all, was great.

Well, here is the score in its likely final form. The show is still called "Bounce!" (joining the not-so-proud tradition of hyperbolic exclamation-point musicals). All the numbers are intact (with the addition of a very lame "bonus track" number that never even made it to Chicago). I've listened to the cast record many times now, and on the whole I can't stand it. I know all of Sondheim's scores, and there's no question in my mind that this is the worst.

The packaging is disproportionately lavish (disproportionate to the lack of content on the disc itself), which to my mind makes the thing even sadder.

The Black Sheep of Sondheim Scores.......2005-03-06

It took Sondheim ten years to follow up his 1994 masterpiece "Passion", and when "Bounce" made its debut in Chicago during the summer of 2003, many didn't know what to make of it. It played later that year at the Kennedy Center in DC, but, lacking the finances, did not come to Broadway. It's too bad, because, although there are quite a few flaws, "Bounce" really is a wonderful score.

"Bounce" tells the story of the Mizner brothers, whose peculiar journey started during the Gold Rush, and took them all the way to Alaska. The brothers, played impeccably by Richard Kind and Howard McGillin, couldn't be more different: Addison (Kind) is a closeted homosexual and sensitive Mama's boy; Wilson (McGillin) is a suave cad who falls hard for Nellie (the always terrific Michele Pawk), a dancer/grifter in Nome.

From there, they go to pretty much everywhere, and many problems ensue: Addy cannot come to terms with his sexuality; Wilson becomes addicted to drugs; and Nellie is an alcoholic. Addy and Willie's beloved mother (Jane Powell) dies towards the end of the first act. Addy falls in love with a rich young rebel, Hollis (Gavin Creel), who returns his affections, but, since this is Sondheim after all, nothing can turn out right.

After seeing this show in previews at the Kennedy Center, I can definitely testify that this show has several problems (mostly the book, and the fact that Gavin Creel was so incredibly underused), but the score is not one of them. It offers traditional Sondheim, with witty, esoteric lyrics and gorgeous voices.

Hopefully, this show will make it to Broadway in the near future. Until then, we can be glad that this lovely cast album was made.

House of the Rising Sun - Original Hit Recordings

Average customer rating:

House of the Rising Sun - Original Hit Recordings
Animals
Manufacturer: Br Music
ProductGroup: Music
Binding: Audio CD

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The Mamas & the Papas - Greatest Hits
Louie Louie: The Very Best of The Kingsmen
The Lovin' Spoonful - Greatest Hits
The Best of the Moody Blues
Best of the Pointer Sisters

ASIN: B000006ZRA
Release Date: 2004-07-20

Tracks:

House Of The Rising Sun
Gonna Send You Back To Walker
I'm Crying
Boom Boom
Don't Let Me Be Misunderstood
Bring It On Home To Me
We Gotta Get Out Of This Place
It's My Life
Baby Let Me Take You Home
Talkin' About You
Take It Easy
Club A Go Go
Roadrunner
Mess Around
Dimples
I'm In Love Again
I Ain't Got You
Bright Lights Big City
Blue Feeling
The Night

Party Girl: Original Motion Picture Soundtrack

Average customer rating:

Ex-Cellent!
the answer to your question
I NEED A SONG TITLE!
While I do love the music on the soundtrack
Need song info

Party Girl: Original Motion Picture Soundtrack
Dawn Penn
Manufacturer: Â© 1995 Relativity Recordings, Inc.
ProductGroup: Music
Binding: Audio CD

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Party Girl
Here We Go...
To Bring You My Love
The House of Yes
Pretty in Pink (Special Collector's Edition)

ASIN: B000003BZH
Release Date: 1995-06-13

Tracks:

Mama Told Me Not To Come - Wolfgang Press
Beautiful - Tom Tom Club
You Don't Love Me - Dawn Penn
Les Ailes - Khaled
I'll Keep Coming Back - Chanelle
Big Apple Boogaloo - Brooklyn Funk Essentials
Anyone Could Happen To Me - Nation Of Abel
Peter Piper - Run DMC
To Be Loved - Basscut
Never Take Your Place - Mr. Fingers
Music Selector Is The Soul Reflector - Deee-Lite
Party Girl (Turn Me Loose) - Ultra Nate

Customer Reviews:

Ex-Cellent! .......2006-08-02

This is a great cd. I own the movie (which is fantastic) and had to get the cd. The music is fun and a great soundtrack for your own home parties.

the answer to your question.......2006-06-17

the track mary and natasha dance to is dajae's 'u got me up' (cajmere's underground goodie mix).

it's hard to find. mostly on 12" vinyl, but there are a couple of
(likely out of print) cd's that have it as well. i have it on this cd,
available on amazon:

http://www.amazon.com/gp/product/B000001ZUO/sr=8-2/qid=1150569755/ref=sr_1_2/002-1937656-7270401?%5Fencoding=UTF8

I NEED A SONG TITLE!.......2006-06-03

What song is playing in the background when Mary is at the bar, dancing with her friend Natasha?

While I do love the music on the soundtrack.......2006-05-28

While I do love the music on this soundtrack, Mr. Hernandez's review is incorrect in stating that Deee-Lite's "Music Selector is the Soul Reflector" does not feature DJ Towa Tei, but rather DJ Ani.

Need song info.......2006-01-04

Does anyone know the name of the song thats playing when she is talking to Leo and the three Hey Hey Hello people walk in to the club?

Les Miserables - The Complete Symphonic Recording

Average customer rating:

Great, definitely go with this and TAC
Awesome
Bought it used - thank God!
magnificent!
Mixed Feelings

Les Miserables - The Complete Symphonic Recording
Claude-Michel Schonberg
Manufacturer: Relativity
ProductGroup: Music
Binding: Audio CD

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Modesty Blaise
Teach Yourself Counselling
Sapphire and Steel - The Complete Series
Target Costing: The Next Frontier in Strategic Cost Management
Understanding Variation: The Key to Managing Chaos (2nd Edition)

ASIN: B000003BVK
Release Date: 1990-05-22

Tracks:

Prologue
Valjean's Soliloquy (What Have I Done?)
At The End Of The Day
I Dreamed A Dream
Lovely Ladies
Fantine's Arrest
The Runaway Cart
Who Am I?-The Trial
Fantine's Death
The Confrontation
Castle On A Cloud
Master Of The House

Tracks:

The Bargain-The Waltz Of Treachery
Look Down
The Robbery-Javert's Intervention (Another Brawl)
Stars
Eponine's Errand
The ABC Cafe-Red And Black
Do You Hear The People Sing?
Rue Plumet-In My LIfe
A Heart Full Of Love
The Attack On Rue Plumet
One Day More!
At The Barricade (Upon These Stones)
On My Own
Building The Barricade
Javert's Arrival
Little People
A Little Fall Of Rain
Night Of Anguish
First Attack

Tracks:

Drink With Me
Bring Him Home
Dawn Of Anguish
The Second Attack (Death Of Gavroche)
The Final Battle
The Sewers-Dog Eats Dog
Javert's Suicide
Turning
Empty Chairs At Empty Tables
Every Day (Marius And Cosette)
Valjean's Confession
The Wedding Chorale- Beggars At The Feast
Epilogue (Finale)
Bonus Track

Customer Reviews:

Great, definitely go with this and TAC.......2005-08-31

Right now, there are four official English-language versions of Les Miserables: the Original London Cast Recording, the Original Broadway Cast Recording, the Complete Symphonic Recording, and the 10th Anniversary Concert Recording. Les Mis' addicts are best served by purchasing all recordings, as they showcase different stages (as in the OLC and the OBC) of the development of this mega-musical, as well as the interesting variations in presentation and performances by the different casts and orchestras.

If you're the average musical-theater listener who can't afford to buy all available English-language recordings, however, my advice would be to get the CSR (due to the fact that it's "complete") and the TAC recording (due to the fact that performer- and performance-wise, it's leaps and bounds better than all of the other recordings). You deserve no less.

Awesome.......2005-07-03

I can't believe all the negative comments about Gary Morris. He is so much better in the role than Colm Wilkinson. I've seen Gary perform the part three times and there is NO better Jean ValJean (seen the play 14 times). It's an international cast and some of the accents do take time getting used to. But the power of the music supercedes it all. Listen with your heart people. It's so incredible.

Bought it used - thank God!.......2005-06-17

"Les Miserables" is a marvelous musical; a stunningly faithful interpretation of Victor Hugo's masterpiece, with an inspiring storyline and unforgettable characters. There are 2 reasons for buying a Les Mis CD - (1) you've seen a performance and want ONE CD to remind you of it or (2) you've become a les Mis junkie (like me) and want multiple versions so you too can hold forth on the rival merits of Andy Warlow vs Michael Maguire, Patty LuPone vs Ruthie Henshaw, Frances Ruffelle vs Kaho Shimada vs Lea Solonga. If you are in the first category, you really want the Tenth Anniversary Concert. The TAC has the complete storyline (albeit slightly abridged), it was recorded live (so there's an unique intensity and chemistry between performers), and from top to bottom it has by far the best cast.

However, if you're a serious Les Mis fan, you should buy this CD (in addition), simply because it does have the complete score. (The trouble with THAT is that it includes practically the only misstep in the whole script - if Jean Valjean has his number branded on his chest, then how is it credible that someone else will be convicted in his place?) I bought it for that reason and to hear other interpretations of the roles (in particular Andy Warlow's). I have all 4 versions, and they have all have their pluses and minuses, but frankly, I'm glad I didn't pay full price for this one. This version has a rather weak cast in general, but that does add to the fun arguing about it. On the plus side, it has Philip Quast ( THE BEST Javert, but he's even better on the TAC), Michael Ball (THE BEST Marius, also on the OLC and TAC versions), and Andy Warlow (a stirring Enjorlas for sure, but not THAT much better than Michael Maguire on the OBC and TAC). The scenes at the barricade are the best part of the CD. Kaho Shimada is an uneven Eponine, OK sometimes, less so at others. Debbie Byrne (Fantine) is OK, but I don't find her as moving as Patty LuPone (OLC) or Ruthie Henshaw (TAC). Tracy Shayne (Cosette) is irratating, not nearly as sweet as Judy Kuhn (OLB and TAC) or even Rebecca Caine (OLC). I find Barry James and especially Gay Soper (M. and Mme. Thenardier) grating as well.

I really miss Colm Wilkinson (OLC, OBC and TAC). OK, he has a unique singing style, but such heart. Not always perfect, but so powerful and emotional. All his solos and "Confrontation" just stop me dead in my tracks. The sweetness and purity of his "Bring Him Home" and "Epilogue" move me to tears. But really, there must be someone else who can do at least an adequate job or the show wouldn't have run so long in so many venues. I am willing to listen to another interpretation, but not this one. This is the central role in the play, it really can't survive without a good performance here. Gary Morris is horrible as Jean Valjean, cringe-provoking at times, merely weak at others. He's totally overmatched by Quast in "Confrontation" and by everyone in "One Day More" and "Epilogue". I haven't tried the recommendation of one reviewer of listening while squinting and shaking my head hard, but I don't see how that will help. Morris's "What have I done?", "Bring Him Home" and "Valjean's Confession" make me cover my ears or send me running for the fast forward button, although "Who am I?" isn't so bad. (I just tried the head shaking trick, it didn't help.)

magnificent!.......2005-06-15

Ok, I admit it. I have long been a fan of musicals, but I was only exposed to Les Mis a few months ago. My roommate loaned me this recording, and I fell in love. I played nothing but this soundtrack for the next several weeks.

As this is the only recording I've heard fully, I cannot give any comparisons between the performers here and those on other versions, but I do wish to give my general impression of the cast.

*Gary Morris (Valjean) - he has a strong, clear voice with which it is hard to find fault. He sings with emotion and passion, and I cannot imagine ever tiring of hearing him as Jean Valjean. If I had to give a complaint, it would be that I could imagine a voice with a little more distinct character...something a little riskier for the part of someone so complex.

*Philip Quast (Javert) - wow, I love deep voices, and his is so rich! I love when he hits the low note near the beginning of "Confrontation" ...I've seriously replayed that part over and over again just because it sends shivers through me...haha, I think you get the idea. This guy is good.

*Debbie Byrne (Fantine) - her voice took some getting used to because at first it seemed to me a little uncontrolled, almost like she could capture the fullness of the sound but not quite hit the notes. However, the more I listen to her, the more I enjoy her. Her voice has a wonderful texture, something you totally miss when listening to the super-clear, trilling sopranos that seem to be found all over most other musicals.

*Kaho Shimada (Eponine) - her voice took a little getting used to as well. I was a little confused until I realized she was Japanese, for though I wouldn't say you hear an accent, her voice does have a very different quality to it. Still, I enjoyed her performance very much. Her voice is trembling with emotion the entire time, almost like she can hardly control it...it is quite moving.

*Tracy Shayne (Cosette) - wow. I'm sorry, is Cosette supposed to be this shrill? Turn it off! While I'm impressed at some of the notes she hits, I don't think it's supposed to make you want to cover your ears.

*Michael Ball (Marius) -Ball makes Marius, a rather annoying character if you ask me, into someone actually likable, if not lovable. He's passionate and romantic, but not vapid. Probably my favorite vocal performance.

*Gay Soper and Barry James (the Thernardiers) - their voices are rather grating, but that's the point, right? Very entertaining performances...particularly in "Master of the House" (which, it's true, somehow manages to be stuck in your head all day).

*Anthony Warlow (Enjorolas) - very appropriate voice...manly and vibrant. If he doesn't make you want to go out and fight, then there's no help for you!

Overall, the performances were wonderful. I highly recommend this CD. A great recording of a great musical!

Mixed Feelings.......2005-04-20

I bought this recently, and it was an object lesson in why I ought to research an item before purchasing it.

For me, it's truly a toss-up as to whether this is a recording worth purchasing. The main benefit-a far from insignificant one-is that it is a complete recording full of much more materiel than can be found on the London or Broadway cast recordings. Basically, I was far from satisfied. The liner notes are error ridden, and the casting was not as good as possible. Gary Morris struck me as too young for the part, and Gay Soper (Mme. Thenardier) has a voice akin to the sound of fingernails on a chalkboard. But, in the absence of a complete Broadway recording, this still may be the best version available to buy. Be sure, however, to supplement it with another version. (The Tenth Anniversary recording might be the best.)

Lost In The Stars (1949 Original Broadway Cast)

Average customer rating:

One of Weill's best American scores!
I love it!!
Can we get someone to put this label back in stock?
Powerful performance,historically significant
"THE MOST MOVING MUSIC AND SACRIFICE OF A NATION

Lost In The Stars (1949 Original Broadway Cast)
Maxwell Anderson , and Alan Paton
Manufacturer: Decca U.S.
ProductGroup: Music
Binding: Audio CD

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Knickerbocker Holiday

ASIN: B000002OGX
Release Date: 2001-05-15

Tracks:

Hills Of Ixopo
Thousands Of Miles
The Train To Johannesburg/Reprise: Thousands Of Miles/The Search
The Little Gray House
Who'll Buy/Trouble Man
Murder In Parkwold/Fear
Lost In The Stars
O Tixo, Tixo, Help Me
Stay Well
Cry, The Beloved Country
Big Mole/Chapel Scene
A Bird Of Passage/Reprise: Thousands Of Miles

Customer Reviews:

One of Weill's best American scores!.......2005-10-16

`Lost in the Stars' and `Johnny Johnson' are two Broadway shows scored by Kurt Weill in collaboration with Maxwell Anderson and Paul Green respectively for the librettos, both in English. Both are distinguished works and both were, I believe, fairly popular when they were first performed. What these two works have in common is that they are both works aimed at our social conscience.

`Johnny Johnson' is a mildly anti-war play dealing with America's entering the First World War, written in the mid 1930s, when Germany was already uncomfortable for Jews, but not yet on the brink of precipitating World War II. What is most interesting to me about the libretto is the reluctance of the principle character, Johnny, to enlist in the army, while his fiancée (contrary to many famous antiwar works of the past), is all in favor of his enlisting and threatens to break their engagement if he does not enlist. As a work of art, I believe the work is more interesting as a milepost in American antiwar sentiments than as an important artistic work for either the composer or the lyricist. To my ear, there is not a single song from this work that finds its way into the repertoire of balladeers. This is from a composer who has given us `September Song', `Speak Low', `Lost in the Stars', `Saga of Jenny', and `Lonely House', not to mention all the great songs from his German works such as `Mack the Knife' and `Pirate Jenny'. On top of this, there is my feeling that much of the instrumental music sounds very similar to earlier German works, especially `Mahagonny'.

`Lost in the Stars' is based on Alan Paton's novel, `Cry, the Beloved Country' and was written after World War II, in 1948-1949, and has much of the musical interest of what is missing from `Johnny Johnson'. Throughout the play, the instrumental music is much less similar to earlier Weill works and all songs seem stronger. At least two of these songs, `Lost in the Stars', `Trouble Man' and `Stay Well' are often performed by Lotte Lenya and other vocalists. While it may be pushing it a bit, this work seems almost as strong as Gershwin's `Porgy and Bess'.

I bought both because I am a big fan of Kurt Weill's music, and I would recommend both recordings to any and all Weill enthusiasts, especially as both have extensive notes and complete librettos. But, to the person mostly interested in Broadway in general, I would recommend only `Lost in the Stars'.

I will say that the performances of both vocalists and orchestra are excellent on both; however the vocalists on `Lost in the Stars' seem to give just a little extra, possibly because their material is just a bit more substantial.

I love it!!.......2002-07-12

It is so easy to get some of these songs in your head...I love this soundtrack..

Can we get someone to put this label back in stock?.......1999-12-28

With great hope in the powerful amazon.com's Jeff Bezos, the person of the year by Time magazine, we wish you can urge someone to put this title back into circulation! I have sung the piece "Lost in the Stars" and was drawn by the wonderful music and intriguing lyrics. Is there a way to locate the music score of the soundtrack?

Powerful performance,historically significant.......1999-06-04

After 50 years the little snippet heard on this site brings back the original emotions.I would love to purchase this recording in any format. The original performance, a life-changing event for me as a young girl, is recaptured.

"THE MOST MOVING MUSIC AND SACRIFICE OF A NATION.......1999-06-01

I saw the oringinal Musical "Lost in the Stars", and have the 33 album. Would love to have a CD to play on my "modern" equipment. When Todd Duncan was asked to do the part of the "Efunsdi", he read the part and broke an existing contract to go into rehearsal. He said "I have to do this for my people." I was enthralled at the libretto and zest of the choreography. So when I hear the music I am taken right back to the Opera stage and see and hear the glorious presentation. Please put it back into circulation, or if someone out there has a copy (cd) I would love to talk to you about it. CT

Average customer rating:

The Ultimate George Gershwin, Vol. 1

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

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Ultimate Cole Porter, Vol. 2
The Ultimate Cole Porter, Vol. 3
Ultimate Cole Porter, Vol. 4
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ASIN: B00005KB57
Release Date: 2001-08-28

Tracks:

Sinbad: Swanee - Al Jolson
George White's Scandals Of 1920: The Songs Of Long Ago - Lester O'Keefe
Mayfair And Montmartre: Please Do It Again - Alice Delysia
George White's Scandals Of 1922: I Found A Four-Leaf Clover - Paul Whitman Orchestra
George White's Scandals Of 1922: I'll Build A Stairway To Paradise - Paul Whitman Orchestra
George White's Scandals Of 1922: I'll Build A Stairway To Paradise - The Original Piano Trio
George White's Scandals Of 1923: The Life Of A Rose - Charles Dornberger Orchestra
Little Miss Bluebeard: I Won't Say I Will - Irene Bordoni
George White's Scandals Of 1924: Somebody Loves Me - Tom Patricola
Primrose: Overture - Winter Garden Theatre Orchestra/John Ansell
Primrose: The Countryside - Percy Hemming
Primrose: When Toby Is Out Of Town - Leslie Henson
Primrose: Some Far-Away Someone - Percy Heming/Margery Hicklin
Primrose: The Mophams - Leslie Henson/Heather Tatcher/Thomas Weguelen
Primrose: I'll Have A House Iin Berkeley Square - Margery Hicklin/Claude Hulbert
Primrose: Boy Wanted - Heather Thatcher
Primrose: Mary, Queen Of Scots - Leslie Henson
Primrose: Wait A Bit, Susie - Percy Heming
Primrose: Naughty Baby - Margery Hicklin
Primrose: Ballet Music - Winter Garden Theatre Orchestra
Primrose: That New-Fangled Mother Of Mine - Leslie Henson
Primrose: I Make Hay When The Moon Shines - Heather Thatcher

Average customer rating:

The Water Gipsies (Original London Cast) with Bonus Tracks

Manufacturer: Sepia
ProductGroup: Music
Binding: Audio CD

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

ASIN: B000CNDXH2
Release Date: 2005-12-26

Tracks:

Overture - Orchestra
Why Did You Call Me Lily? - Dora Bryan
Clip-Clop - Laurie Payne
I Should Worry - Dora Bryan
When I'm Washing Up - Pamela Charles
Jane's Prayer - Pamela Charles
Lily's Tale - Dora Bryan
He Doesn't Care - Peter Graves
Castles And Hearts And Roses - Laurie Payne
Peace And Quiet/Little Boat - Laurie Payne
Why Should Spring Have All The Flowers? - Doris Hare
This Is Our Secret - Peter Graves
It Would Cramp My Style - Dora Bryan
You Never Know With Men - Dora Bryan
Here's Mud In Your Eye - Chorus
I'm Not A Jealous Woman - Joan Sims
Finale - Chorus
I'm So Terribly In Love With You - Robert English
I Never Dreamt (You'd Fall In Love With Me) - Lido Dance Orchestra
My Heart Is Saying - Billy Milton
Selections From 'Little Tommy Tucker' - The Million-Airs
You Looked At Me - Olive Groves
My Heart's A Compass - Olive Groves
You Have That Extra Something - Phyllis Stanley
Three Songs From 'Big Ben' - Vivian Ellis
Three Waltzes From 'Big Ben' - Vivian Ellis
Selections From 'Tough At The Top' Part One - Vivian Ellis
Selections From 'Tough At The Top' Part Two - Vivian Ellis
The Music From 'And So To Bed' Part One - Vivian Ellis
The Music From 'And So To Bed' Part Two - Vivian Ellis

Album Description

English composer Vivian Ellis had a prolific career spanning five decades, during which she wrote nearly 70 West End shows. The Water Gipsies was a 1955 collaboration between Ellis and A.P. Herbert. Contains the cast recording of The Water Gipsies plus bonus tracks including early Ellis compositions, many appearing on CD for the first time!

Music Review:

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