Gold [Original recording remastered]

gold [original recording remastered]

Track Listings
Disc: 1
1. Matthew & Son
2. Here Comes My Baby
3. First Cut Is the Deepest
4. Lady d'Arbanville
5. Trouble
6. Where Do the Children Play?
7. Hard Headed Woman
8. Wild World
9. Sad Lisa
10. Father and Son
See all 17 tracks on this disc
Disc: 2
1. Sitting
2. Silent Sunlight
3. Angelsea
4. Can't Keep It In
5. 18th Avenue (Kansas City Nightmare)
6. Hurt
7. Foreigner Suite
8. Oh Very Young
9. King of Trees
10. Another Saturday Night
See all 15 tracks on this disc

Cat Stevens/Gold,Cat Stevens,A&M,Album Rock,England,Folk-Rock,Pop,Pop/Rock,Rock,Rock/Pop,Singer/Songwriter,Soft Rock

Gold [Original recording remastered]
Gold: The Definitive Hits Collection
Average customer rating: 4.5 out of 5 stars
  • Andrew LLoyd Webber - Gold Hits
  • The Gold By Andrew
  • The best of Webber
  • THE BEST OF LLOYD WEBBER MADE FOR THE AMERICAN AUDIENCES
  • Super good CD
 Gold: The Definitive Hits Collection
Andrew Lloyd Webber
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. The Very Best Of Andrew Lloyd Webber: The Broadway Collection
  2. The Andrew Lloyd Webber Collection
  3. Andrew Lloyd Webber: Now & Forever
  4. Greatest Songs from the Musicals
  5. Best of Andrew Lloyd Webber: Original Soundtracks

ASIN: B0000657XY
Release Date: 2002-05-07

Tracks:

  1. Superstar - Murray Head w/ the Trinidad Singers (Jesus Christ Superstar)
  2. As If We Never Said Goodbye - Barbra Streisand (Sunset Boulevard)
  3. The Phantom Of The Opera - Sarah Brightman & Michael Crawford (The Phantom Of The Opera)
  4. You Must Love Me - Madonna (Evita)
  5. Any Dream Will Do-Donny Osmond (Joseph & The Amazing Technicolor Dreamcoat)
  6. Memory - Betty Buckley (Cats)
  7. Pie Jesus - Charlotte Church (Requiem)
  8. The Music Of The Night - Michael Crawford (The Phantom Of The Opera)
  9. I Don't Know How To Love Him - Yvonne Elliman (Jesus Christ Superstar)
  10. Don't Cry For Me Argentina -Patti Lupone (Evita)
  11. Love Changes Everything - Michael Ball (Aspects Of Love)
  12. All I Ask Of You - Sarah Brightman (The Phantom Of The Opera)
  13. The Perfect Year - Glenn Close & Alan Campbell (Sunset Boulevard)
  14. The Vaults Of Heaven - Tom Jones & Sounds Of Blackness (Whistle Down The Wind)
  15. No Matter What - Boyzone (Whistle Down The Wind)
  16. Oh What A Circus - Mandy Patinkin (Evita)
  17. Whistle Down The Wind - Sarah Brightman (Whistle Down The Wind)
  18. Amigos Para Siempre (Friends For Life) - Sarah Brightman & Jose Carrerras (1992 Olympics Theme)

Amazon.com

The critical debate over Andrew Lloyd Webber's musical legacy will no doubt rage for decades. Is he the shrewd populist composer who almost single-handedly revived the moribund stage musical--or a crass, Barnum-esque showman (who almost single-handedly revived the moribund stage musical)? This 18-track anthology chronicles the high points of Sir Andrew's enduring songcraft and the irrefutable impact it's made across a remarkably disparate swath of tastes and genres, from Broadway to Top 40 radio and even the classical repertoire.

If some have accused Lloyd Webber's songs--like "The Music of the Night" (from Phantom of the Opera) and the title tune from Whistle Down the Wind, included here--of having all the melodic and lyrical sophistication of a children's lullaby, that's likely the very element that's made them so appealing to a mass audience. If nothing else, it's a compelling argument for that old notion about it being "the singer, not the song." Indeed, there are few contemporary composers whose music could entice divas from Streisand ("As If We'd Never Said Goodbye" from Sunset Blvd.) to Madonna (Evita's "You Must Love Me") and Charlotte Church ("Pie Jesu" from Requiem) to cover it, let alone forge the very careers of artists like Sarah Brightman and Michael Crawford. And if there's any substance to that other criticism of Lloyd Webber lifting the melodic ideas of composers from Verdi to John Williams (we swear that's the theme to Jurassic Park bubbling up in Tom Jones's camped-up take on Whistle's "The Vaults of Heaven"), at least, like virtually every major composer, he's stolen--er, borrowed--from the best. --Jerry McCulley

Customer Reviews:

5 out of 5 stars Andrew LLoyd Webber - Gold Hits.......2007-07-13

I sent this CD to my parents and they love it! It is nice to preview the songs on-line instead of with greasy headphones in a music store! The shipping is always speedy and makes sending gifts across the country so much easier.

5 out of 5 stars The Gold By Andrew.......2007-04-23

This cd is a must have for any Webber fan. It has many great songs from his most sucsessful musicals. But something I don't like about this cd is that some of the singer how sings some of the songs arn't the onse that sings the originals. Like "The Phantom Of The Opera" and "Love Changes Everything". Witch is so sad. Couse the original songs are so much better.
But besides that this cd is very good. With manye nice and difficult songs (I've sung some of the myself in siningclass).
So if you like Andrew's music this most sertanly is a most have.

4 out of 5 stars The best of Webber.......2005-09-12

Although I like Andrew Llloyd Webber and his music very much, this collection earns only 4 stars and it's not because of the quality of the music but the level of performers. If a best of collection is made it should contain the best version ever done and this time it's not true. I could write the same review for the European edition (labeled import here) because the blend of the two would be a perfect best of.

Some examples: this version contains Memory sung by Betty Buckley while the Elaine Page version is light years better. Then it contains Patti Lupone's version of Don't Cry For Me Argentina. Even though Madonna wasn't the best Evita, she definitely sung Argentina in a way no-one could before or will ever. Whistle Down The Wind is represented with 3 songs - the place of the Tom Jones song is not here (the same could be said of Tina Arena's song o the European edition). Instead of the TJ song they could have included Take That Look Off Your Face by Marti Webb - one of the best songs by Webber. Pie Jesu from the Requiem is much better sung by Sarah Brightman. These are the faults.

What about the rest? Pure joy and material worth of 6 stars. Superstar, Phantom Of The Opera, Music Of The Night, I Don't Know How To Love Him, All I Ask Of You, No Matter What, Oh What A Circus - wonderful songs and wonderful performers. My all-time favorite from Webber will always be Music Of The Night and the version included here is the mesmerizing adaptation of Michael Crawford.

I don't advise anyone not to buy this album - it's good material, however it's far from being perfect.

4 out of 5 stars THE BEST OF LLOYD WEBBER MADE FOR THE AMERICAN AUDIENCES.......2005-01-31

There are numerous compilations out on the market full of Andrew Lloyd Webber's music. As most people know, Lloyd Webber is the most successful musical composer of all time and many of his songs became standards not only in the theatre history, but also as tops on the charts. Even though he's British, his influence on the shape of the modern musical theatre expanded over the West End boundaries long ago and has thus made an enormous impact on Broadway. Two of his shows ("Cats" and "The phantom of the opera") hold the record as two the longest running shows in the history of Broadway. He has also been the only composer to have three of his shows running at Broadway concurrently. This compilation captures some of the best songs he has ever written, he personally supervised it and it is the best thing to have if you can't afford his five-CD compilation called "Now and forever", which was selected and supervised by him as well. You should bear in mind, however, that there are two compilations called Gold out there: The one made for the European and the British market, and this one, made for the American buyers. Some of the songs on both of them are the same, the others are performed by different artists and some can be found only in one of the two. This one here was issued later and it is digitally remastered. Therefore you should check your favourites and buy accordingly, or, if you can, buy them both, since both of them contain interesting songs and performers.

So here are my thoughts about the tracks in this one:

1. "Superstar" and "I don't know how to love him" are both from the concept album of "Jesus Christ Superstar". They sound wonderful as ever, although the orchestrations may seem a bit dated by now.

2. "Sunset Boulevard" is marked here with two songs. Barbra Streisand's powerful voice shines all the way through in "As if we never said goodbye"; it's a shame she never played Norma Desmond on Broadway, since Patti LuPone wasn't allowed to take her Norma to New York, and Glenn Close butchered the role. Her limited vocal abilities were hardly suited for the material, as it is shown by the second Sunset song, "The perfect year", performed by Close and Alan Campbell. They both lack a decent singing voice, so this is the one song I skip regularly. The song itself sounds much better in its single version with pops orchestration, as can be heard on the European version of this compilation, where it is performed by Dina Carroll. This version here can hardly be considered a gold one.

3. "The Phantom of the Opera" is represented by three songs. Michael Crawford and Sarah Brightman performance in the song of the same title is amazing. They were both born to play their roles in this show and their voices fit together perfectly. Sarah can hit the high notes in the end like no other Christine. Cliff Richard and Sarah sing the lovely ballad "All I ask of you" with passion, and Cliff has a wonderful warmth in his voice. Finally, Michael Crawford gives his unique and mesmerising interpretation in "The music of the night".

4. The 1996 movie version of "Evita" is Madonna's best role to date and it brought an Academy Award for Lloyd Webber and Tim Rice, who wrote "You must love me" especially for the big screen. This is another wonderful ballad with the haunting cello and piano solo. It just proves that Lloyd Webber and Tim Rice were the best collaborators. They really should do another musical together.

5. "The Joseph and his amazing Technicolor dreamcoat" was Webber's first musical and the signature song "Any dream will do" is performed here by Donny Osmond, who also appeared in the video version. I find his rendition even better than London's Jason Donovan, since Donny isn't strictly bound by the notes and so sings it more casually. A wonderful pop piece.

6."Memory" from "Cats" is probably the most famous of all Webber's songs, recorded by numerous artists. This version is sung by Betty Buckley, who was Broadway's Grizabella. Although Betty's performance can't be considered bad, I prefer Elaine Paige, who sung the song first, in the London production. Elaine has a note of sorrow in her at times husky voice, which I found very intriguing. Her performance can be considered definite, as heard on "Cats" DVD or in her latest two-disc compilation, "Centre stage: The very best of Elaine Paige", issued in May 2004. Still, those who prefer Ms. Buckley or who saw her on stage in this role won't be disappointed.

7. "Pie Jesu" is the best known song from Webber's "Requiem", written in 1985 to commemorate the death of his father. I'm not too keen on the version included here, performed by Charlotte Church, because her voice isn't as pretty as Sarah Brightman's on the original recording and the tempo is somewhat faster here.

8. "Don't cry for me Argentina" is among my all-time Lloyd Webber's favourites. I like all the ladies who performed "Evita" on the stage and on the screen (Julie Covington, Elaine Paige, Patti LuPone and Madonna), but on this disc is the version I am most satisfied with, since it is sung by Patti LuPone. Ms. LuPone has a very powerful voice with an amazing range and she deserved her Tony Award for this role. She was able to sound both vulnerable and decisive while singing this, whereas the other leading ladies emphasized one or the other in their interpretation. Mandy Patinkin's "Oh what a circus" is not the best, the orchestration is a little bit weak and his voice sounds thin to me. David Essex on the London cast recording is more suitable.

9. "Aspects of love" boast here with its top song, "Love changes everything", performed wonderfully by Michael Ball. It was his #1 hit and is probably one of the most beautiful love anthems ever written.

10. Three songs come from "Whistle down the wind". The studio release of the same title is one of the reasons I bought this compilation, although I already have the European one. It is performed by Sarah Brightman with Lloyd Webber playing the piano and a symphonic orchestra who nicely takes the lead of the main melody. Sarah voice is angelic; she sings it like a little bird. Very charming. Boyzone's "No matter what" was a huge pop hit in the charts. Again, we have a song with the suitable orchestrations and vocals. And lastly, Tom Jones' deep voice in combination with the back vocals of "The Sounds of Blackness" gives a rocking rendition of the church hymn "The vaults of heaven". It can't be found on the European version and Tom's voice shows it hasn't aged. Way to go.

11. For the 1992 Barcelona Olympics, Webber wrote, together with his long-time lyricist Don Black, this last song, "Amigos para siempre or Friends for life". It's a nice duet between Sarah Brightman and Jose Carreras, their voices sore when bound together. The melody itself is neat, especially when the orchestra takes the lead.

Besides the fact that some of the performers here were not the best for my taste, there is also the fact that some of Lloyd Webber's shows are omitted in this version, most notably, "Tell me on a Sunday". Also, unlike its European counterpart, this compilation isn't aligned chronologically, so we have 1970 Superstar being the first song, 1993 Sunset Blvd comes the second, followed by The Phantom from 1986 and so on. None the less, this CD is excellent as an introduction to Lloyd Webber's music and one can continue with his cast recordings from there. It's also very handy as a single disc compilation for the American fans.

5 out of 5 stars Super good CD.......2004-12-31

The songs on this CD are great. If you also play piano, the book of the same title goes perfectly with the CD. You can following along with the music and learn the songs on the piano.
Bounce (2003 Original Cast)
Average customer rating: 3 out of 5 stars
  • 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:

  1. Overture
  2. Bounce
  3. Opportunity
  4. Gold!
  5. Gold! (Part 2)
  6. What's Your Rush
  7. The Game
  8. Next To You
  9. Addison's Trip
  10. The Best Thing That Ever Happened
  11. I Love This Town
  12. Isn't He Something!
  13. Bounce
  14. The Game
  15. Talent
  16. You
  17. Addison's City
  18. Boca Raton Aftermath
  19. Get Out Of My Life
  20. 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:

4 out of 5 stars 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.

3 out of 5 stars 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.

2 out of 5 stars 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"

1 out of 5 stars 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.

4 out of 5 stars 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.
Herbert L. Clarke: Original Recordings 1907-21
Average customer rating: 4 out of 5 stars
  • Brilliant playing transcending primitive recording technique
  • The Master of the Cornet
  • Clarke is the cornet master!
  • heartbreaking music from a bygone era
  • Be careful
 Herbert L. Clarke: Original Recordings 1907-21

Manufacturer: Crystal Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B000003J4O
Release Date: 1996-10-01

Tracks:

  1. Bride Of The Waves
  2. The Holy City
  3. Sounds From The Hudson (Valse Brilliante)
  4. Killarney
  5. Caprice Brilliante (The Debutante)
  6. Perhaps Love's Dream Will Last Forever
  7. Carnival Of Venice
  8. Ah Cupid
  9. Bride Of The Waves
  10. Once Upon A Time
  11. Rondo Caprice (From The Shores Of The Mighty Pacific)
  12. Aloha Oe (Farewell) (Hawaiian Love Song)
  13. Russian Fantasie
  14. The Palms
  15. La Veta Caprice (Lillian)
  16. Berceuse From Jocelyn
  17. Sounds From The Hudson (Valse Brilliante)
  18. Twilight Dreams Waltz-Intermezzo
  19. Southern Cross
  20. Love's Old Sweet Song
  21. Showers Of Gold Scherzo
  22. Macushla
  23. Caprice Brilliante (The Debutante)
  24. Killarney
  25. Carnival Of Venice
  26. Stars In A Velvety Sky

Amazon.com

These 26 selections, recorded from 1904 to 1922, document the work of an important American player and band composer. Despite the trivial nature of most of the music, one can't help listening to Herbert Clarke's playing with respect and growing affection. He was a most elegant player, with a beautiful tone that comes across even in the earliest of these recordings. The showiest pieces, which can be quite dazzling, are still performed with taste and musicianship. This disc is an important sound document, and the transfers from even the earliest of the recordings are surprisingly listenable. Highly recommended to all brass and nostalgia lovers. --Leslie Gerber

Customer Reviews:

5 out of 5 stars Brilliant playing transcending primitive recording technique.......2001-01-11

Hearing this CD -- despite the distracting surface noise from the primative acoustic recordings from which this CD was remastered -- I appreciate for the first time the greatness of Clarke as a cornet soloist. If he is not the greatest to date, he is surely one of the giants upon whose shoulders modern virtuosi of the trumpet (which has pretty much replaced the cornet) stand.

Clarke's sheer artistry in both composition and performance still dazzle and his interpretive ability brings to life some of the 'tear jerkers' of the golden age of popular brass music in a way no modern performance comes close to.

Although on first hearing one could be very much distracted by the primitive recordings, the brass player soon focuses on Clarke's playing so completely that the the surface noise disappears.

Every trumpet player and cornetist, more, every brass player and lover of band music, should own a copy.

5 out of 5 stars The Master of the Cornet.......2001-01-04

God bless Crystal Records for taking the time to re-issue these extremely rare and valuable recordings from an unfortunately neglected giant in American musical history. Most people today don't realise how famous and influential Mr. Clarke and his peers (Sousa, Pryor et. al.)were on the American musical scene at the beginning of the Twentieth century. It is very important that these recordings (and others from this period, the birth of sound recording) be preserved for future generations.

As for those who could not stand the "hiss" on these recordings, how spoiled can you be? You simply miss the point of all this. We all know that these records were made during the infancy of the recording industry, and that they didn't have the technology we now have. I find it thrilling to listen to them just as they are. Recorded sound is the closest we have to time travel, and I find it fascinating to listen to these recordings as though I was there when they were first made. And most of all, through the marvel of recorded sound (Mr. Sousa notwithstanding) I can listen today to the greatest cornetist who ever lived, even though he passed away over 50 years ago.

Hopefully Crystal Records will someday put out an anthology of original Sousa and Pryor Band recordings.

5 out of 5 stars Clarke is the cornet master!.......2000-08-03

Herbert Clarke is the finest cornetist the planet has ever seen. The technical brilliance on Carnival is just breathtaking. The sound quality of the recording is little hinderance on the true genius behind this man's playing. Don't let the hiss bother you!!!

5 out of 5 stars heartbreaking music from a bygone era.......2000-03-22

These vintage recordings would have been otherwise lost to us--and a great loss at that. Clarke plays so beautifully, esp. those pieces that he wrote. It's notall oom-paa-paa, but music that is deeply affecting and stirring.This is the effect that Wynton Marsalis was going for in his "Carneval." While Marsalis's album is a wonderful tribute, this is the original. A must-have for any serious trumpet player.

1 out of 5 stars Be careful.......1999-09-14

Watch out if you want to buy this cd! It's a good cd with Herbert Clarke playing some of his own pieces the way they should be played...but the recording is TERRIBLE! Naturally, it's a 1904 recording! But the hiss for the first half of the cd is almost painful. It's NOT something you can just ignore, so don't be caught unawares.
On The Town (1995 Studio Cast)
Average customer rating: 4 out of 5 stars
  • IT MAY BE "COMPLETE," BUT . . . . .
  • great cd
  • A superb recording of this great score
  • A poor imitation of the original recording
  • A great recording of a great show
 On The Town (1995 Studio Cast)
Betty Comden , and Adolph Green
Manufacturer: Jay Records
ProductGroup: Music
Binding: Audio CD

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  1. On the Town
  2. On the Town
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ASIN: B000005BGI
Release Date: 1996-10-29

Tracks:

  1. On The Town: Act One: Overture
  2. On The Town: Act One: Opening - New York! New York!
  3. On The Town: Act One: Miss Turnstiles
  4. On The Town: Act One: Come Up To My Place
  5. On The Town: Act One: Carried Away
  6. On The Town: Act One: Lonely Town
  7. On The Town: Act One: High School Girls
  8. On The Town: Act One: Lonely Town (Chorale)
  9. On The Town: Act One: Carnegie Hall Pavane
  10. On The Town: Act One: I Can Cook Too
  11. On The Town: Act One: Lucky To Be Me
  12. On The Town: Act One: Times Square, Finale Act 1

Tracks:

  1. On The Town: Act Two: Entr'acte
  2. On The Town: Act Two: So Long Baby
  3. On The Town: Act Two: I Wish I Was Dead
  4. On The Town: Act Two: Ya Got Me
  5. On The Town: Act Two: Slam Bang Blues
  6. On The Town: Act Two: Pitkin's Song
  7. On The Town: Act Two: Subway Ride
  8. On The Town: Act Two: The Great Lover Displays Himself
  9. On The Town: Act Two: Some Other Time
  10. On The Town: Act Two: The Real Coney
  11. On The Town: Act Two: Finale Act II
  12. On The Town: Act Two: Ext. Music
  13. On The Town: Act Two: Gabey's Coming

Album Description

With a fluid integration of drama, comedy, jazz, classical and popular ballads, "On the Town" stands as one of the great innovative works in the history of musical theatre.

Bringing the recording up-to-date with the best that modern recording has to offer, producer John Yap has used the original orchestrations with a full symphony orchestra and an all-star cast drawn from stage, screen and television - including Kim Criswell, Judy Kaye, Gregg Edelman, Tim Flavin, Ethan Freeman, Valerie Masterson and Tinuke Olafimihan.

Customer Reviews:

3 out of 5 stars IT MAY BE "COMPLETE," BUT . . . . . .......2006-07-19

First off: There should be a special award for John Yap, Executive Producer of Jay Productions LTD for giving us "complete" recordings of classic Broadway musicals. Before the advent of the compact disc, musical scores had to be truncated to fit the time constraints of a double-sided LP record. (Record companies believed, and possibly correctly, that record buyers would reject a recording that stretched over four sides.) And prior to the LP, original cast recordings were often limited to 8 or 10 tracks.

All this by way of saying how grateful I am to have all of Bernstein's wonderful score, including dance & incidental music, included on this recording, and, along with Sony's 1960 studio recording, consider it an essential recording.

But it's the 1960 recording that I will keep returning to, even though I admire both Kim Criswell (a fine Reno Sweeney on EMI Classic's ANYTHING GOES) & the incredible Judy Kaye. Their performances just can't measure up to Nancy Walker's "Hildy" & Betty Comden's "Claire DeLoone." And Ethan Freeman pales next to John Reardon's gorgeous, classically-trained dramatic baritone. Having Leonard Bernstein, himself, conducting doesn't hurt either.

Even though I consider this recording essential to your library (okay, at least to my library), I'm sorry that I can't rate it any higher because of the superior, vastly more exiting, Sony recording.

(I'm just beginning to collect the Jay "complete" recordings, and I assure you that some of them are truly fine. Good work, Mr. Yap.)

5 out of 5 stars great cd.......2003-06-30

this show is amazing......my advice is to buy the cd.....it is well worth the money!!!! u'll love it too!!

5 out of 5 stars A superb recording of this great score.......2000-04-13

"On the Town" has one of the greatest scores of any American musical. Of the three currently available, this can stand on an equal level with the great 1960 recording conducted by Bernstein and featuring most of the original principals, and a bit ahead of the Michael Tilson Thomas recording. This recording does suffer a bit from the fact that most of the singers have never played their roles on stage, but they are all such good theatre singers that they make up for it. And although occasionally John Owen Edwards's tempi choices are just too slow, for the most part his slowish tempi pay off. The ballet music, in particular, has perhaps never been recorded so powerfully. This recording captures the sadness underlying the piece far more than the other recordings do. The Bernstein recording may be first choice in many ways, but in the end I have to say I like this one rather more. And it's nice to have every bit of music that was included in the original production, especially the beautiful entr'acte, although the Tilson Thomas recording contains more of the music that was cut from the original production than this recording does.

3 out of 5 stars A poor imitation of the original recording.......2000-01-01

Most people know On the Town only from the extremely silly movie version, which eliminated virtually all of Leonard Bernstein's amazing work (Harold Clurman, of all people, said that Bernstein's score "IS music.") These people do not know what they are missing - there are few musicals in the annals of the theater with better scores than this one. And this is NOT the CD to buy if you want to hear it. Every song is in some way mishandled, with poor acting, far-too-slow tempos, and annoying vamps. If you really want to hear this score, get the one made with (most of) the original cast; Comden and Green, the fantastic Nancy Walker (a show all by herself), and the whole company are wonderful, as is the music - you actually feel the excitement intended! This recording was utterly pointless; such studio albums should only be done of shows with flawed or absent originals, and not mislead people into thinking that truly great recordings somehow weren't good enough.

5 out of 5 stars A great recording of a great show.......1999-09-24

Although not nearly as well known as much of his later work, this is early Leonard Bernstein at his best. I think (I'm not positive) that this was a revival rather than truly the original cast, but in any event if you know the show you won't be disapointed by this cast and treatment, and if you don't know the show you're in a for a treat. A lot of great songs, almost all of which are done very well. It sounds like it either is or is nearly out of print, so don't wait.
Original Masters: Leopold Stokowski: Decca Recordings 1964-1975 [BOX SET]
Average customer rating: 4.5 out of 5 stars
  • My own life is behind these recordings
  • Don't go for broke unless you're a die-hard Stokowski fan
  • More Sensational Stokowski
 Original Masters: Leopold Stokowski: Decca Recordings 1964-1975 [BOX SET]

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

All Works by BeethovenAll Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
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GeneralGeneral | Classical | Styles | Music
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Romantic (c.1820-1910)Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music
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Similar Items:
  1. Decca Recordings, 1965-1972 (Limited Edition)
  2. CARL SCHURICHT Decca Recordings 1949-1956
  3. George Szell: Decca & Philips Recordings 1951-1969
  4. Ernest Ansermet: Decca Recordings 1953-1967
  5. Pierre Monteux Decca & Philips Recordings, 1956-1964

ASIN: B00067R3BQ
Release Date: 2005-02-08

Customer Reviews:

5 out of 5 stars My own life is behind these recordings.......2007-06-10

I can assure that one of the reason I love music is due to these recordings of Mr. Stokowsky. My father had the record of Scherezade and, though my father was an ignorant about cultivated music, he knew very well what to appreciate. We never argued when I played Beethoven's first symphony so loud, however, he always did when I played Rolling Stones so loud. I adore that he taught me to appreciate Rimsky-korsakov's music as well as Tchaikovsky's Capriccio Spagnolo so young. He was wise, on his way. I can't help to cry for him, listening to Borodin's Palatsovian dances, because, it is great music, and, having into account that I used to love it by Mr. Stokowsky's work, it doubles my crying and my remembrance. He loved the record so much. I love you, daddy.

4 out of 5 stars Don't go for broke unless you're a die-hard Stokowski fan.......2006-09-22

When Stokowski began to make Phase 4 recordings for Decca in 1964, he was already 82, but he hadn't lost his energy or his tendency to shape music in outlandish ways. I mostly love him, but this box set duplicates recordings that can be found on the Cala label, which has been releasing everything Stokowski in the world, and on Decca single CDs if you go to the used market.

I mention this because the whole box set, Vol. 2 in the Original Masters series, continas some forgettable performances, in particular the rhythmically slack Beethoven Sym. 5 and 7, the over-highlighted Schubert 'Unfinished,' and a live Brahms First that seems manic and forced too much of the time. However, if you think of Stokowski having little to offer in the German classics, here is an exceptional Beethoven Ninth, one of the best things from his late career and wonderful in every way.

Decca knows that the crowd-pleasers are the gaudy, multi-miked Phase 4 versions of Scheherazade, as bombastic as you could imagine, and lots of Russian fare, including Stoki's signature synthesis from Boris Godunov. The 1812 Over., by the way, isn't over the top and yet needed to be. Finally, this German-Russian collection contains a thrilling disc of Wagner excerpts, much of it grossly over-miked, but at its core containing very impressive, vital interpretations.

In all, I'd select the Wagner, the Beethoven Ninth, and the legendary Scheherazade as the best things here. Buy them separately or take the plunge for this whole box, your choice.

5 out of 5 stars More Sensational Stokowski.......2005-06-08

It took me a while to purchase this six-disc set in UNI's "Original Masters" series, but I finally did this past weekend. Classical music fans seem to either love or hate Leopold Stokowski (I, of course, love him), and unfortunately much of "Decca Recordings 1964-75, Volume 2" will be old news to serious devotees of the conductor. While I'm not familiar with the complete Decca back-catalog, at least three full discs worth of material have been previously available in the old "Weekend Classics" series -- Beethoven's 5th & 7th, Beethoven's 9th, and the Wagner selections. (I'm pretty sure the Rimsky-Korsakov material on disc five, and the Tchaikovsky and Mussorgsky pieces on disc six have been issued prior too.) This is good news for those who came to collecting classical CDs late (like me) because while the Wagner is still available individually, the Beethovens have been fetching absurd prices in the Amazon Marketplace. The only material receiving its first international release is contained on disc 3 -- a Schubert "Unfinished" with the London Philharmonic from 1969 and a rousing live performance of the Brahms 1st with the London Symphony on the occasion of the conductor's 60th anniversary leading that body. The original instruments crowd will surely turn up their noses at these legendary performances, but me, I'll just sit back and listen to some more sensational sounding Stokowski.
Beachcomber
Average customer rating: 5 out of 5 stars
  • Fennell's masterpieces extend beyond Tokyo
  • Fennell Finds Gold on the Beach
 Beachcomber

Manufacturer: Reference Recordings
ProductGroup: Music
Binding: Audio CD

BalletsBallets | Ballets & Dances | Classical | Styles | Music
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  1. Trittico
  2. Fennell Favorites!
  3. Pomp & Pipes
  4. Blazing Redheads
  5. In Formation

ASIN: B00000159W
Release Date: 1995-01-20

Tracks:

  1. Belle Of The Ball
  2. Russian Sailors' Dance
  3. Beguine For Band
  4. Tico Tico
  5. Lassus Trombone
  6. Slava!
  7. A Chorus Line
  8. Beachcomber
  9. 76 Trombones
  10. Estancia: Malambo
  11. Ye Banks And Braes O' Bonnie Doon
  12. The Age Of Gold Polka
  13. Tamboo
  14. Pavanne
  15. Blues for a Killed Kat
  16. Yagi Bushi
  17. Lullaby
  18. America, The Beautiful

Customer Reviews:

5 out of 5 stars Fennell's masterpieces extend beyond Tokyo.......2004-08-05

Fennell has produced the most extraordinary recordings with the Tokyo Kosei winds and this cd is no exception. I purchased this cd to get a wider view of his conducting brilliance. Every song is played with perfection (besides a few trumpet blips on A Chorus Line Medley). If you have never heard Carmen Dragon's version of America the Beautiful you must. Having played it several times it is a wonderfully composed piece. The Dallas brass ring triumphant throughout this cd. And the woodwinds are exceptional. This is a great value and you must purchase it if you are a fan of wind ensemble music. The disc is full of energetic pieces typical of Fennell's music selections.

5 out of 5 stars Fennell Finds Gold on the Beach.......2000-07-02

This 1994 recording of Frederick Fennell and the Dallas Wind Symphony is nothing short of outstanding. It combines Broadway and classical pieces with a wide variety of just plain entertaining fare. Beguine for Band highlights the mellow sounds of woodwinds sprinkled with the excitement of brass and percussion. The Chorus Line medley is Broadway all the way. Numerous seldom heard but utterly enjoyable pieces round out the album. It is sure to delight anyone who has played in a high school or college band. But its entertainment value is not limited to those folks. It's a good choice for everyone who wants to add fun to their music listening.
Merrily We Roll Along (1993 Leicester Cast)
Average customer rating: 4.5 out of 5 stars
  • How does the revised MERRILY compare with the original?
  • The most comprehensive recording
  • This is the recording of MERRILY to purchase!
  • The Definitive "Merrily"
  • Best interpretation of the show and score
 Merrily We Roll Along (1993 Leicester Cast)

Manufacturer: Jay Records
ProductGroup: Music
Binding: Audio CD

Sondheim, StephenSondheim, Stephen | ( S ) | Featured Composers, A-Z | Classical | Styles | Music
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  5. Curtains (2007 Original Broadway Cast)

ASIN: B000005BGV
Release Date: 1997-03-11

Tracks:

  1. Overture
  2. The Hills of Tomorrow Merrily
  3. Merrily (1979-75) Old Friends Like It Was
  4. Merrily (1974-73) Franklin Shepard, Inc.
  5. Old Friends
  6. Not A Day Goes By
  7. Now You Know
  8. It's A Hit!
  9. Merrily (1964-62) Good Thing Going
  10. Merrily (1961-60); Bobby and Jackie and Jack
  11. Not A Day Goes By
  12. Opening Doors
  13. Our Time
  14. The Hills

Customer Reviews:

4 out of 5 stars How does the revised MERRILY compare with the original?.......2005-04-10

The original 1981 production played 6 weeks of previews before opening to crushingly bad reviews. Two weeks later it closed. The day after the final performance the cast assembled at RCA's New York studios to record the cast album. In 1985 a revised production directed by James Lapine opened at the LaJolla playhouse and received encouraging reviews. More revisions lead to other productions and 1992 it was given a production at the Haymarket Theatre in Leicester and that production was given a lavish 2 CD recording by John Yap and issued on TER in England and later on JAY in the U.S. This was followed in May 1994 -just a few weeks after PASSION opened on Broadway - by an off-off-Broadway York Theatre Company revival that received generally better reviews than the original received. It was recorded by Varese-Sarabande. Both the Leicester cast and York casts use the revised version with an altered tune stack.

1. OVERTURE - In 1981 the Overture was a complete piece. In the revised version it cuts off midpoint and segues into the title song.

2. MERRILY WE ROLL ALONG - The original production began with Frank coming back to his former high school to mark 25 years since his graduation. His speech - a caution to the students to be prepared for compromise and frustration was challenged by the students who launched into the title song. As noted above, the revised version begins with the cast singing the song but without any context.

3. THAT FRANK/RICH AND HAPPY - The party scene. In the original Frank's new movie was terrible though none of the guests would tell him to his face. In the revised version the movie is a success. In THAT FRANK the party guests, Mary excepted, sing of Frank's seemingly endless talents. RICH AND HAPPY drew the conclusion that since Frank was rich and successful he must therefore be happy as well. Both songs use the same accompaniment.

4. OLD FRIENDS/LIKE IT WAS - originally in a separate scene in 1975 at a restaurant where Mary hopes to encourage reconciliation between Charley and Frank. In the revised version this number was placed as a lead in to the 3rd scene, tightening the narrative.

5. FRANKLIN SHEPARD, INC. - this song remains virtually unchanged. In the original Frank walked off the stage of the TV talk show at the end of the song ending his and Charley's partnership. In the revised version, borrowing some dialogue from the deleted restaurant scene, Frank makes it very clear that he is furious with Charley and that their friendship is finished.

6. OLD FRIENDS - though the dialogue scene leading into this song was changed for the revised version, the song remains the same.

7. GROWING UP - added to the revised version. The OLD FRIENDS scene continues after everyone leaves Frank alone in his new apartment and he muses on his friendship with Mary and Charley. Later Gussie arrives having left her husband - Frank and Charley's producer - and intent on moving in with Frank.

8. NOT A DAY GOES BY - this song changed hands a lot. Originally - in previews - Frank's soon-to-be ex-wife Beth sang it on the steps outside the courthouse. The actress playing Beth could not sing it so they re-assigned the song to Frank with a modified lyric. In the revised version it was restored to Beth and the original lyric is used.

9. NOW YOU KNOW - some lyric changes but essentially the same song. The original Broadway production incorporated a dance section that recapped the first act score (in forward sequence) using NOW YOU KNOW, OLD FRIENDS, FRANKLIN SHEPARD INC and RICH AND HAPPY. The dance segment was not recorded and was dropped from the revised version.

10. ENTR'ACTE/ACT TWO OPENING - in the revised version Act Two opens with Gussie onstage performing GOOD THING GOING. The original began Act Two with the scene outside the theatre as the friends listened to the audience reaction.

11. IT'S A HIT! - Essentially the same but loses a clever short section about selling out (Charley: Even if (the show) is a smash, doesn't that mean we sell out? Producer: Well, I hope we sell out! Charley: What I mean is sell out. Well you know...")

12. THE BLOB/GOOD THING GOING - THE BLOB was cut in previews and not included on the OCR. It was restored for the revised version. Note the main melody is the same tune used for GROWING UP. GOOD THING GOING is essentially the same.

13. BOBBY AND JACKIE AND JACK - the revised version slightly trims the number.

14. NOT A DAY GOES BY - Originally a trio for Mary, Frank and Beth at the wedding of the latter two. When Beth lost the song in Act One she was cut out of the Act Two version as well. Frank sang it to Beth as his wedding vow while Mary quietly, sadly duetted from the sidelines. The trio version is restored to the revised version.

15. OPENING DOORS

16. OUR TIME

These two remain essentially the same.

17. THE HILLS OF TOMORROW - The revised version ends with OUR TIME. The original version had a short final scene in 1955 as Frank finishes his valedictory speech to the class. They then sing a song he and his friend Charley have written. The classmates smile, there is a flash as their class picture is taken and the curtain slowly falls on these smiling faces. It was a fine ending to the show and I wish this (and the opening graduation scene) would be restored. Otherwise the revised script is in every way superior.

Sound-wise the newer recordings have a crisp, clean sound though the orchestra is roughly half the size of the original. The first cast is pretty hard to beat. If you are doing the show only the revised script is available, so you will want one of the new recordings. Jay's 2 CD set is most complete and includes some of the dialogue. V/S has the wonderful Malcolm Gets as Franklin.

5 out of 5 stars The most comprehensive recording.......2002-09-19

I've never seen the show, which has had a mixed history (initially a flop, recently much more successful), so I can only rate the music, which is just fabulous. The score features everything from sophiticated ballads -- Not A Day Goes By -- to lovely pop tunes such as Our Time. Sondheim's trademark lyrical cleverness is ever present. At one point he has the characters perform a political comedy song in 1960, so Sondheim had to write a piece using sophisticated 1960 political humor. I doubt anyone at the time did it half as well.

Note that this is a double CD, and I think it is the only one available. In many cases this means that the recording has two versions of certain songs if they are sung twice in the show. I thought this a big plus because the songs are sung at different times in the show and given different interpretations. Indeed, because the show it told chronologically backwards, you see how Sondheim gives you what is really a reprise before the song is initially sung. On the other recordings of this show they have only one version and you miss this whole layer of Sondheim.

The cast is great. The orchestra is great. All in all, just great Sondheim.

5 out of 5 stars This is the recording of MERRILY to purchase!.......2002-06-08

MERRILY WE ROLL ALONG was one of Sondheim's biggest flops when it first opened on Broadway in 1981. It suffered from a variety of problems, probably the biggest being that the fascinating concept of the show - relating a story in reverse chronological order - led to a host of difficulties that required more time to solve than the tryout period allowed. Over the next dozen years, Sondheim and book-writer George Furth (along with assistance from a new director, James Lapine), modified the show. The show is drastically improved by the revisions.

While Sondheim and Furth have made a few minor revisions since the Leicester Haymarket production (mostly in shortening a few rhythms in the transitions, changing some introductory dialogue, and axing some dialogue in "It's a Hit!"), the Leicester recording is far superior to the recording of the final version of the show produced by Varese Sarabande.

CHANGES FROM THE ORIGINAL BROADWAY PRODUCTION:
Some neat concepts from the original production have been left by the wayside to improve the overall structure. Gone is the opening scene at the 1980 Lake Forest Academy graduation ceremony and the accompanying "The Hills of Tomorrow." The title song is now presented as a prologue so that the audience can concentrate on the lyrics' message. The music of the 1979 (now 1976) scene has been heavily revised (including a new melody called "That Frank") to integrate more plot into the lyrics. The 1975 scene has been eliminated, although Mary's music survives intact as the first part of an expanded 1973 scene. A great new song, "Growing Up," Frank's rationalizations for changing his goals and values, has been added to the 1968 scene. Beth now sings "Not a Day Goes By" in the 1966 (now 1967) scene instead of Frank. Lyrics have been revised in "Now You Know" to be about encouraging Frank to take a vacation, not to go back to work.

Act II has required less modifications. Gussie opens the act by singing a brassy rendition of the beginning of "Good Thing Going" as her eleven-o'clock number in Frank and Charley's 1964 show. "It's a Hit!" has been shortened a bit, but Beth is now included in the backstage celebration. The 1962 scene includes a song about the New York elite, "The Blob," which had been cut from the original production, plus a reprise of "Growing Up." The scenes from 1960-1957 remain relatively unchanged, although Beth sings lead in the reprise of "Not a Day Goes By." The show now ends with "Our Time," since the 1955 graduation scene has been eliminated.

THE RECORDING:
Of the three recordings I know of this show, this is by far the best. Michael Cantwell (who I truly thought I would hate after hearing him in STARTING HERE, STARTING NOW) is a great Frank, both as a successful Hollywood executive and as an idealistic music student. Maria Friedman is almost perfect as Mary, with gravelly singing as an alcoholic in Act I and a youthful exuberance in the "Our Time" dialogue. Evan Pappas has the dramatic range to play Charley, and his enunciation in the difficult "Franklin Shepard, Inc." is admirable. Louise Gold brings the proper degrees of brassiness and insincerity to Gussie, one of musical theater's greatest "dragon lady" roles. (Jason Alexander in the original 1981 cast recording is the best Joe, and Anne Bobby in the 1994 Varese Sarabande recording is the best Beth.) The actors are young enough to convey the youthful ideals of the second act (and hit the high notes) but old enough to convincingly portray 30- and 40-somethings in the first act. The inclusion of key dialogue helps the listener put the songs into their proper context.

5 out of 5 stars The Definitive "Merrily".......2001-11-20

Having listened extensively to all recordings of "Merrily We Roll Along," I say with confidence that this is by far the best, most complete recording.

The performances are all wonderful. I enjoy Maria Friedman's work on here most of all. I can clearly hear her transformation from a depressed drunkard back to a hopeful youth through the recording. Her expressive voice and striking acting choices always make her a joy to even listen to.

This CD has the best orchestrations I have heard. The underscore to "Franklin Shepherd Inc" has finally been cleaned up to the point where it sounds like an actual song, and the overall feel of the show has a real edge.

The tempos are up and the performers sound like they don't have guns being held to their heads in the recording studio. The performances a lucid and dynamic. The overall feel of the show, for the first time, has a smooth and consistent feel just from listening to the recording.

This may not be my favorite piece of Sondheim, but it is his brassiest score. This quality, lost in the off-broadway recording, is really restored here.

This CD is personal treasure and a must for Sondheim fanatics. However, this recording is by far the most accesible recording of this most difficult show.

5 out of 5 stars Best interpretation of the show and score.......2000-07-21

This recording only helps to prove that Maria Friedman is the no. 1 British interpreter (if not the no. 1 international interpreter of all-time) of the music of Stephen Sondheim. Her comic timing is immpeccible, and she is larger than life in her singing (especially in "Now You Know"). Louise Gold has an Ethel Merman-y quality to her voice, and this is a great new reading of the character of Guessie (she is, after all, a Broadway head-liner), as opposed to the purring sex-kitten of all of the other Guessies out there. And her rage in the dialgoue excerpt on the first disc is clear. This woman is one heavy-duty actress. We see that Guessie isn't really the only one out of the main characters to become bitter and disilliusioned, as many people make the mistake of believing. Jacqueline Dankworth does not just sing the heart-wrenching "Not a Day Goes By," she acts it. And she acts and sings the hell out of it. She has definately inherited her mother's talent (but is decidedly different in her performance style). As you can see, all of the women on this recording are effervescent, and the men rise up to the challenge (particularly the Joe Josephson of Gareth Snook and the Charlie of Evan Pappas). And there is Frank, menacing as always. This CD is the best out there, with a large amount of dialogue, and all of the score. Here is the definitive, no-questions-asked, no-holds-barred version of MERILLY WE ROLL ALONG on CD. Buy it today!
Jesus Christ Superstar (Original London Concept Recording)
Average customer rating: 5 out of 5 stars
  • It would be sacrilege for me to criticize this I suppose ...
  • The Best Webber Ever
  • My God... !!!!
  • What's the Buzz? I'll tell you what's happening...
  • Whats the buzz
 Jesus Christ Superstar (Original London Concept Recording)
Andrew Lloyd Webber , and Tim Rice
Manufacturer: Decca U.S.
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Jesus Christ Superstar (Special Edition)
  2. Godspell (1971 Original Off-Off-Broadway Cast)
  3. Evita (1978 Original Broadway Cast)
  4. Godspell: Original Motion Picture Soundtrack
  5. Hair - The American Tribal Love Rock Musical (1968 Original Broadway Cast)

ASIN: B000002OQP
Release Date: 1993-12-07

Tracks:

  1. Overture
  2. Heaven On Their Minds
  3. What's The Bozz / Strange Thing Mystifying
  4. Everything Alright
  5. This Jesus Must Die
  6. Hosanna
  7. Simon Zealotes / Poor Jerusalem
  8. Pilate's Dream
  9. The Temple
  10. Everything's Alright
  11. I Don't Know How To Love Him
  12. Damned For All Time / Blood Money

Tracks:

  1. The Last Supper
  2. Gethsemane
  3. The Arrest
  4. Peter's Denial
  5. Pilate And Christ
  6. King Herod's Song
  7. Juda's Death
  8. Trial Before Pilate
  9. Superstar
  10. Crusifixion
  11. John Nineteen Fourty-One

Customer Reviews:

5 out of 5 stars It would be sacrilege for me to criticize this I suppose ..........2007-02-06

Written and first performed in the time of Andy Warhol and Coca Cola's "I'd like to teach the world to sing" advertisement, Sir Andrew Lloyd Weber's perhaps greatest work was more than just a musical story of the life of Jesus, although we can easily forget that now. It was, much like a Warhol, a way of speaking to that very vanilla heart of whitebread America. It was taking our most sacred myth and rendering it in the language of the people, and bringing it out of the refuge of the church and placing it on display right along with Coke, Pepsi, Rolling Stones, Marilyn Monroe, and all the great icons of the Western World, and subjecting it to the same overexposure and banality.

Sir Weber smashed that boundary between sacred and profane with this work portraying Jesus and the 12 disciples as a bunch of squabbling hippies, which were not in short supply in those days; the days when John Lennon made the famous remark that the Beatles were now "bigger than Jesus." Read the libretto of this work, and then read Tom Wolf's "Electric Kool-Aid Acid Tests" if you disagree.

But perhaps the story of Jesus deserved and needed to be placed in the same marketplace of ideas that Coca Cola and Led Zeppelin lived in. Whether this was right or wrong, whether the story of Jesus deserved to be subjected to the same appreciation as a Dr. Pepper ad is not something I will debate -- much. I just know that's what happened. Jesus went Platinum, just like Kiss, just like the Beatles, and Jesus Christ complaining to the Lord that "You're far too keen on where and how but not so hot on why" has been forever burned onto my consciousness. I grew up with JCS, and I've known every word and note by heart and have ever since I was 12 or so.

So JCS, like The Lord of The Rings, The Beatles or "Stairway to Heaven," is yet another culture phenomenon I can't stand any more due to overexposure. Also because as I've grown older the general shallowness of it has become offensive. But such is the fate of all Warhol-style "pop" icons. To properly appreciate Jesus, however you approach him, within your own heart or through study, you have to reach deeper than this cliche-ridden rock opera.

And cliche-ridden as it is, it remains an absolutely brilliant work of composition in both the music and lyrics, and also a telling portrait of late 20th C America; Americans who only went to church on Christmas Eve or Easter Morning were grooving to JCS in the millions. The real religion for many of us was the Rock and Roll, and JCS was missionary work for a profane age; a way of reaching out to us. And Sir Weber was very much a product of his era, and indeed a brilliant composer.

I cannot stand JCS now, any more than I can tolerate "Cats." But I can acknowledge the cultural icon that it is, just as I can appreciate a print of Marilyn Monroe at the dentist's office. That is what Sir Weber hath wrought ultimately. But the fact that you have to look deeper for the real living spirit, that has always been and will always be true.

5 out of 5 stars The Best Webber Ever.......2006-10-01

I loved the recent review about Jesus Christ Superstar. From the reading of Judas' fate to the chill down the spine. I heard this music for the first time when I was only 13 (back in Bulgaria) and it stayed with me ever since. I still get the chill down my spine when I hear Pilate's Dream. Like most Europeans, I am an atheist of course, however, I adore the biblical stories and their philosophical depth. I find Webber's genius to be just incredible. Nothing in his later works compares to JCS. I would recommend to everyone to SEE the fantastic Australian production of JCS on DVD, which Webber thought is the closest to his vision. I liked the slightly slower pace of music there. The choreography is most amazing, no less amazing than Ian Gillan's famous performance of I Only Want To Say. The look of everyone on this DVD is just incredible. Perhaps only Jesus is somewhat weaker, especially in comparison to Judas and everyone else. It is fascinating to see how Webber's music affects people the same way across different cultures. (vgarkov@mbc.edu)

5 out of 5 stars My God... !!!!.......2006-03-29

If I could give this 10 stars, it still would not be able to describe how amazing, moving and powerful this recording is. Ian Gillan is the ONLY Jesus; do not even attempt to put Ted Neeley in the same galaxy as Ian. As everyone before me has agreed, noone has EVER equaled his performance in Gethsemane. Murray Head's Judas is a complex and tragic character; a victim of God and of fate. I realise that this will rub some of you the wrong way, so I will bring up something in this review that has really stayed with me since I was able to comprehend the sick idea of fate and "God's will". The last words of Judas and Pilate's dream.
Judas' last words:

"My mind is in darkness now! My God... I am sick, I've been used... and you knew all the time!!! My God, I'll never, ever know why you chose me for your crime?! Your foul, bloody crime! You have murdered me! You have murdered me, murdered me, murdered me, murdered me, murdered me, murdered me, murdered me!!!"

In his last moments on Earth, Judas realises that his sole reason for existance, the reason he was born was to betray a man whom he really did love. The same fate with Barry Dennen's Pontius Pilate. If you listen to the last verse of "Pilate's Dream" it sends a chill down your spine:

"Then I saw thousands of millions crying for this man; and then I heard them mentioning my name and leaving me the blame..."

Pilate DID NOT WANT to have Jesus die. He saw that He was innocent; but, God intended Pilate to sentence Jesus to death and even a dream could not change God's will and so, now and forever, Pontius Pilate will be considered the man who killed Jesus. Pretty disturbing if you ask me. I realise that I have probably ruffled alot of feathers or gotten a few proverbial goats. If any one would like to discuss this with me, I'd be happy to talk and philosophise with you. My email address is above and I welcome all people for a friendly discussion. Thank you.


P.S. I am anything but religious; however, from Ash Wednesday through Ascension Day, the only music that gets played in my car is this CD.

5 out of 5 stars What's the Buzz? I'll tell you what's happening..........2005-08-14

The 70's version is absolutely the best. Murray Head and Ian Gillen's powerful vocals and emotional performance are fantastic and simply cannot be matched by Ted Neeley's somewhat whiny vocals. Although Carl Anderson made the Judas role his own. I think this musical is one of the best representations of what the 70's had to offer. Try it out...you are going to love it!

5 out of 5 stars Whats the buzz.......2005-04-16

I'll tell you what the buzz is, it the greatest "Rock Opera" of all time. Its not the greatest show of all time, and it is not my all time favorite, but its in the top three, right up there with Godspell and Hair. What seperates JCS from those two is its epic fell to it. Its grand scope, as only a Webber/Rice musical can be. It was in my opinion the team's best musical and arguebly Webber's best of his career( no offense to Cats, Evita, Jospeh and Phantom fan's, i love these shows too). It was the musical that put Webber and Rice on the map. The stars of the show are Murray Head as Judas, Ian Gilliam as Jesus, Yvonne Elliman as Mary Magdalene and one of my heros of the performing arts, Barry Dennen as Pilate. I know almost all songs by heart. THe overture is one of the best I heard, Heaven On Their Minds is a good tone setter, This Jesus Must Die, sung by Caiaphas, you gotta love the bass in his voice, and as contrast you have a winey Annas, a very high tenor. The first showstopper is Simon Zealotes a plea to Jesus to help the jews rise up against the Romans, but Jesus won't do it. Pilate's Dream is a good development song for Pilate, letting the listiner know that his decison to kill Jesus was not entirley his. Of course the big hit song is I Don't Know How To Love Him, sung wonderfully by Elliman. At first I didn't like this song, but know it is starting to grow on me. The last number of the first act, Damned For All Time, is the song where Judas decides to betray Jesus. The last lines always give me goosebumps. The second act is also very powerful, the Last Supper was moving with great performances by Head and Gilliam, the only problem, and it has been a problem in most JCS shows, is the horrid screeching. If you never heard the show before it goes very high, its a rock opera, but there are always screeching. Gethsemane is my favorite song in the whole show, Gilliam sings well, but if you want to hear a better version of it, listin to Ted Neely on the movie soundtrack, he can hit those notes better.The funnist song is Herod's Song, the only romp of the show. The last and greatest song in this show is the hit Superstar,an amazing piece sung by Judas, taunting Jesus after he is sent to die. I never listin to the Crucifixion song, its really painful and sad. John Nineteen:Forty one instrmental is beautiful. This is a great album and it if you like this show, see the movie and buy its album.
West Side Story
Average customer rating: Not rated
    		West Side Story
    Original Broadway Cast Recording
    Manufacturer: Sony
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B000008169
    Release Date: 1994-10-04

    Tracks:

    1. Prologue
    2. Jet Song
    3. Something's Coming
    4. The Dance At The Gym
    5. Maria
    6. Tonight
    7. America
    8. Cool
    9. One Hand, One Heart
    10. Tonight
    11. The Rumble
    12. I Feel Pretty
    13. Somewhere (Ballet)
    14. Gee, Officer Krupke!
    15. A Boy Like That/I Have A Love
    16. Finale
    My Fair Lady: Original Broadway Cast Recording
    Average customer rating: Not rated
      		My Fair Lady: Original Broadway Cast Recording
      Rex Harrison , and Julie Andrews
      Manufacturer: Sony
      ProductGroup: Music
      Binding: Audio CD

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      ASIN: B000002AMX
      Release Date: 1994-09-27

      Tracks:

      1. Overture - Franz Allers
      2. Why Can't The English? - Rex Harrison
      3. Wouldn't It Be Loverly - Julie Andrews/Franz Allers
      4. With A Little Bit Of Luck - Stanley HollowayGordon Dilworth/Rod McLennan
      5. I'm An Ordinary Man - Rex Harrison
      6. Just You Wait - Julie Andrews
      7. The Rain In Spain - Rex Harrison/Julie Andrews/Robert Coote
      8. I Could Have Danced All Night - Julie Andrews/Philippa Bevans
      9. Ascot Gavotte - Franz Allers
      10. On The Street Where You Live - John Michael King
      11. You Did It - Rex Harrison/Robert Coote/Philippa Bevans
      12. Show Me - Julie Andrews/John Michael King
      13. Get Me To The Church On Time - Stanley Holloway/Franz Allers
      14. A Hymn To Him - Rex Harrison
      15. Without You - Julie Andrews
      16. I've Grown Accustomed To Her Face - Rex Harrison
      17. A Post-Recording Conversation - Goddard Lieberson/Rex Harrison/Julie Andrews/Franz Allers/Alan Jay Lerner

      Rock Music:

      1. Goodbye [Import]
      2. Good Day Sunshine Singles a & B [Import]
      3. Good Luck, Good Friends, Good Rockin
      4. Good N Cheap [Import]
      5. Goodnight Goodnight Pt.2 [CD-single] [Enhanced] [Import]
      6. Goodnight Nobody
      7. Good Souls [Import]
      8. Good Thoughts
      9. Good Time 60's
      10. Good Times

      Rock Music

      rock music