Nine - The Musical (2003 Broadway Revival Cast)
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Audio CD (17 June, 2003)
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Editorial Review

This version of Maury Yeston's Nine is so finely wrought that it deservedly won the 2003 Tony for Best Revival. While not a blockbuster, the original 1982 production, staged by Tommy Tune, was a nice success and allowed Raul Julia to make a splash as the only man in an otherwise entirely feminine cast. Inspired by Fellini's film 8 1/2,Nine succeeds in creating a strong male lead while parcelling out great songs to several different women. The mere fact that Antonio Banderas doesn't get eaten alive by the power cast around him (Chita Rivera, Mary Stuart Masterson, Jane Krakowski, and Laura Benanti) testifies to his charisma; even better, his singing is surprisingly confident ("Only with You" is downright sweet). And leave it to the Broadway pros to shine like diamonds: Listen, in particular, as Jane Krakowski steals the show with her sassy delivery of "A Call from the Vatican." You may need a cold shower after that one. --Elisabeth Vincentelli ... Read more

Reviews (38)

A stellar version of "Nine"
This revival recording of "Nine" is superb.I actually prefer it to the original Broadway recording and the London concert version (which are both fine). Maury Yeston's music and lyrics are among the best for any modern musical, and the cast here is ideal.

The performances are exemplary, from Antonio Banderas as womanizing film director Guido Contini and Mary Stuart Masterson as his long-suffering wife Luisa, to Laura Benanti, Jane Krakowski, and the rest.Their singing easily matches or surpasses the previous casts, and their acting on the whole is stronger.They just feel more assured to me.Banderas also sounds more feasibly Italian than previous Guidos, which is useful in terms of the character. For their part, the women put on fake accents, which has the potential to be a distraction, but here didn't bother me at all.

Highlights from the score and this album include Banderas's charismatic rendition of "Guido's Song," Krakowski's sexy "A Call from the Vatican," Benanti's almost impossibly-beautiful version of "Unusual Way," and Masterson's bitter and expertly acted "Be On Your Own." The orchestra here is smaller than previous versions, but this doesn't detract in any significant way. The strength of the music and the performances comes through just fine.

I love this!
I loved this recording. Antonio Banderas isn't too good, but the rest of the cast sounds great to me. the music is beautiful and it all fits well in my range (random tidbit.) I would definitely reccommend buying this.

This is not NINE
Nine is a beautiful show... one of the most amazing shows I've ever had the pleasure of seeing. I did not see the revival, and this recording does not in anyway make me wish I had. Antonio's performance is extremely flat. It all seems so calculated and rehearsed, which is not at all Guido's character. Guido Contini is charming, smooth, and a con-artist in many ways. Antonio missed that completely. I saw his performance on the Tony Awards show, and it made me want to cry. There was none of the character I loved so much there.

The other performances were, for the most part, ok to good. None surpassingly great, except Chita Rivera, who, sadly, does not have enough to do to save the show.

Get the original! ... Read more

Asin: B00008Z1NB
Subjects:  1. Cast Recordings    2. Music Theater    3. Musicals    4. Musicals & Cast Recordings    5. Pop    6. Show Tunes   

Baz Luhrmann's La Boheme (Highlights from the 2002 Original Broadway Cast)
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Audio CD (10 December, 2002)
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Editorial Review

With the visually dazzling efforts of his "Red Curtain" film trilogy behind him (Strictly Ballroom, Romeo + Juliet, Moulin Rouge), director Baz Luhrmann set his sights on Broadway and a reworking of his triumphant, career-forging 1990 Australian Opera production of Giacomo Puccini's evergreen tearjerker, La Boheme. With it now set in 1957, six young voices alternate in bringing the tale of the doomed love affair between the seamstress Mimi (Lisa Hopkins, Wei Huang, Ekaterina Solovyeva) and the writer Rodolfo (Alfred Boe, Jesus Garcia, David Miller) to life in its original Italian on this cast album. Other than using the vocal dream-team gambit, Luhrmann has played Puccini's music surprisingly straight in this production, a sharp contrast to the dizzying musical cut-and-paste of Moulin or his tellingly titled pop album, Something for Everybody. It's a wise tack, and wholly in step with the director's stated goal of emphasizing the story's timeless drama while keeping the operatic masterpiece true to itself for a new audience. The staging may showcase Luhrmann's dazzling production, but the music here is still pure Puccini. --Jerry McCulley ... Read more

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• Cast Recording

Reviews (14)

great to see, okay to hear
Of course this recording of La Boheme will not come near, let alone surpass, the likes of Callas or Pavarotti. But that's not a fair comparison anyway, because we must remind ourselves that this recording is a modern(ish) day take, a'la Baz Luhrmann musical panache. To have seen the live performance I must say it was quite a treat. But as for listening to this recording, I am impressed upon only with the youth and novelty. If you are interested in La Boheme in the traditional tried and true Puccini way, then look elsewhere at the deluge of excellent recordings of this great classic. (My favorite is the one by Berlin Philharmonic, Pavarotti and Frenni.) If you are looking for a different take, something different, something of the musical genre--remember operatic singing is very different from musical singing--then I would heartily recommend giving this one a try, but keep in mind that seeing it is the true delight with this production, in all its vivacious splendor. (Hint: Baz Lurhmann's Moulin Rouge was also either a hit or miss.)

Enjoyable when viewed live
I saw the show a week after its Broadway opening, and I have to admit, it is visually rather stunning, especially the L'Amour sign on stage. The cast is refreshingly young, and rather good looking... which hence may explain the rawness of their voices in the recording versus Pavarotti's. Still remember Pavarotti played the role later in his life than some of the cast members in this recording.

Enjoy it for what it's worth but don't take it too seriously. Opera is an art, not a science.

WHOOPS........!
More than five stars for the CD cover and the tiny, tiny, tiny libretto with dy-no-mite photos circa 1957 ..... but in all fairness to the Young, Young Young cast ... this one's quite terrible.

One has to in all fairness {or unfairness} compare this version to the original 1993 Australian version WITH SINGERS, and there really is no comparision. David Hobson set the bar way, way high for any future Rodolfo as did Cheryl Barker's unforgettable Mimi. This present version just does not work on CD due to the confusion of the mixed cast - especially the highly 'indicated' theatricality of one of the Mimis - great in the looks department - but the emoting .....!

The original version tends to be a 'Method' Puccini - AND it works.

Try to get that [imported] CD instead - besides the original was recorded 'live' so the stakes were higher ..... ... Read more

Asin: B00006LLQ1
Subjects:  1. Cast Recordings    2. Opera    3. Pop    4. Showtunes / B'way   

Thoroughly Modern Millie (2002 Original Broadway Cast)
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Audio CD (11 June, 2002)
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Editorial Review

Although it's based on the 1967 movie of the same name, Thoroughly Modern Millie is almost thoroughly new. Composer Jeanine Tesori (Violet) and lyricist Dick Scanlan wrote a whole batch of songs, while retaining a couple from the movie--including the Jimmy van Heusen-Sammy Cahn title tune--and recycling even older material (look for Victor Herbert's "I'm Falling in Love with Someone" and the inventively arranged "Nuttycracker Suite"). Miraculously, the show, set during the jazz age, doesn't feel stitched together, and Tesori does a great job cranking out swinging melodies. Sutton Foster is appropriately brassy as Millie, but she can also tone it down, as in the beginning of "Gimme Gimme" (of course, she then proceeds to project up to the last rafters as the song builds to its climax). Harriet Harris, as nasty Mrs. Meers, steals the show with "They Don't Know." Close your eyes, listen to her, and you'll be back in Broadway's golden age. --Elisabeth Vincentelli ... Read more

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• Cast Recording

Reviews (90)

Fantastic!
This is wonderful soundtrack. It is different from the film with Julie Andrews but exactly like the Broadway production. The characters are animated and their voices are perfect "broadway" style. I love this soundtrack - it is so uplifting, perfect for a bad mood or a sour day.

A Great Cast Album
This CD is a great purchase!Sutton Foster's vocals are powerful and emotional while maintaining a very fresh and spontaneous attitude.Jeanine Tesori's orchestrations create a beautful atmosphere to the jolly tunes that flatter, but never overuse, their 1920's inspiration. A great recording with memorable songs that will keep you humming.

Better than movie
The Broadway version was better than the movie due to the fact the songs were much improved and better.I still think this show lacks something in the music though.it is just not up there with the likes of "The Sound of Music", "The Lion King", "The Phantom of the Opera" and "Singin' in the Rain".The songs are to repetitive and don't touch you like some others in other musicals. The theme song is wonderful, but it is not a musical where every song can get stuck in your head. ... Read more

Asin: B000066B4Y
Subjects:  1. Cast Recordings    2. Music Theater    3. Pop    4. Showtunes / B'way    5. Vocal   

Urinetown (2001 Original Off-Broadway Cast)
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Audio CD (07 August, 2001)
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Editorial Review

"How about a bad title?" wonders Spencer Kayden's Little Sally in "Too Much Exposition." "That could kill a show pretty good." It's a tribute to the skill deployed by the Urinetown creative team (Mark Hollman, music and lyrics; Greg Kotis, book and lyrics) that its title doesn't kill the show. Set in a near-future in which water depletion has led to a ban on private toilets, this may be the only musical in history in which one of the leads makes a fortune on pee. But the show (which originated Off-Broadway before graduating to the big league) limits its subversive intent to subject matter and is refreshingly classic in approach and structure--think Weill-meets-Lewis Carroll. Backed by a small ensemble, the cast (with John Cullum in a turn nothing short of brilliant as the evil urinal magnate) has a field day with Kotis and Hollman's frequently hilarious score.--Elisabeth Vincentelli ... Read more

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• Cast Recording

Reviews (72)

I loved it
It's funny, it's meaningful, it's full of symbolic...things, AND it's toe tappin' good.

Not as good as I thought it would be
I guess, like Hairspray and other such musicals, this is one of those musicals that you must SEE ON STAGE in order to enjoy it.I don't doubt that it was wonderful to see live, but I have never seen it live and don't really enjoy the humor as much as those who have seen it live.The story is a creative and interesting one- it is about a place in which you now have to pay to pee because private toilets are illegal since there is a shortage of water, and it is illegal to pee outside or in jars in your own house.The police keep tabs on when you go to the public restroom, and you must pay for it.The poor people are angry about this and start a revolution, but it doesn't work out.It has a couple of enjoyable songs, but most of the songs are more annoying than enjoyable.This is one of those things that you must see live, so unless you have seen this live, you can pass this one up.I would actually like to get the ten dollars back that I paid for it on i Tunes, but alas, no returns obviously.For true fans only!

Eh...
I can't believe this moved up to Broadway while [the far superior] Bat Boy never made it! Urinetown is, like it's obnoxious title, pretty awful. Usually, I enjoy a musical that dares to be different, so when I heard of Urinetown, I bought a copy of the cast recording without having seen the show before.

Here's what I thought:

As with most musicals, there are a couple of winning songs (Look At The Sky, Act One Finale) but the majority are barely listenable. I'm sorry but for me, a musical needs at least nine good songs in order to redeem itself, not just two or three. Now, it has an interesting plot but that doesn't make up for the BAD singing (with the exception of Hunter Foster), annoying voices (Jennifer Laura Thompson, John Cullum), horrible lyrics, and true let-down of an ending. I give this original cast album two stars for effort.

Check out Wicked, Aida, or even Seussical if you want a musical that delivers. ... Read more

Asin: B00005LZR8
Subjects:  1. Cast Recordings    2. Music Theater    3. Pop    4. Showtunes / B'way   

Little Shop of Horrors (2003 Broadway Revival Cast)
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Audio CD (21 October, 2003)
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Editorial Review

Does this score kick butt or what? While the staging of the 2003 Little Shop of Horrors revival is entertaining enough, the recording is even more rewarding. Since you're not distracted by the sight of a huge plant devouring one cast member after another, you can focus on Howard Ashman and Alan Menken's ace songs. No wonder the show is a high-school and summer-stock fave, packed as it is with appealing characters and catchy 1960s-flavored tunes. As Audrey, Kerry Butler won't make anybody forget Ellen Greene, but she certainly is lovely. Hunter Foster's Seymour strikes a perfect balance of sweetness and klutzy desperation as he delivers perfect interpretations of all his songs. Even better, this cast album is a complete rendition of the show, unlike the recording of the 1982 Off-Broadway production ("Call Back in the Morning" is now included for instance), and comes with a glossy booklet. Cherry on top: Five previously unreleased songs are included in demo versions performed by the show's authors. --Elisabeth Vincentelli ... Read more

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• Cast Recording

Reviews (50)

Wonderful!
I do respect the original recording, but frankly I found that Audrey's voice ANNOYING.I think she could have got the message through that she was a blonde bimbo from New York without making her voice painful to listen to.On this recording, however, I absolutely love the song "Somewhere that's Green."It's heart-wrenching without being ear-splitting. I also found all of the songs with the trio in them utterly delightful.This CD is SO well done, and a pleasure to listen to. I loved the slightly more Jewish twist to "Mushnick and Son,"while all the additional tracks are fun, if unpolished. All in all, if you are a Broadway fan, this is a great recording to get.

Ellen Green/Kerry Butley/Jackie Joseph Audrey's a character.
I was not able to see the broadway version, but did see the touring company in Los Angeles. I loved the show (previously I had only seen the movie and a couple high school productions), despite what is percieved here as "disney-fying" it, and in the lobby I bought the soundtrack. Yes, Foster's Seymour is lacking, and Mushnik isn't perfect. Douglas Stills is great as are the girls (all of this has been stated in other reviews).

My main comment is on Ms. Butler as Audrey. I think we can all agree that Ellen Green played the part to perfection. Unfortunately Ms. Green is likely getting too old to play Audrey and either way I'm sure the Broadway producers wanted a fresh face/ voice in the role. It's just silly to say "only Ellen Green can play Audrey" Remember folks the role wasn't even originated by her, but Jackie Joseph in the 1962 Corman film of the same name. Musically yes, Ms. Green was untouchable, but Kerry Butler does some WONDERFUL things with the role (musically, of course. I didn't see her act the part). She's got some beautiful touches on "Suddenly Seymour" that I have to listen to over and over, and she is far more than servicable in her other songs.



[SPOILER]



Her death scene is absolutely riveting



[/SPOILER].

So to anyone that hasn't heard this CD, I HIGHLY reccomend buying it and making up your own mind about Audrey. The bottom line is that if you put aside your prejudices about Ellen Green's obvious superiority, you might actually enjoy Ms. Butler's fantastic performance.

From listening to acting
I first bought this CD after I learned my high school choir would be performing 'Little Shop of Horrors' for our spring musical. I was trying out for the role of Seymour (which I later won), so I would only listen to the songs he was in. However, after hearing the overture, I simply couldn't skip over one song just because my character wasn't in it. LSOH is a great alternative to the typical happy ending glossy musical that Broadway is over-croweded with. This new, updated version of LSOH has a modern feel, while still managing to stick to the roots Alan Menken intended for it to have. It's packed with comedy that, some of which, is likely to go over most peoples' heads, but it always comes back to tell the story of what Seymour must do in order to reach fame.

Hunter Foster does a superb job as Seymour, the nerdy, down-on-his-luck Skid Row floral assistant who discovers the talking plant Audrey II. His tenor voice is a true gift to Broadway that definitely needs more recognition than he is given in today's theatre community. Kerry Butler, however, leaves more to be desired from the character of Audrey. A common mistake that many critics make is comparing her to the great Ellen Greene, who played Audrey in the very first off-Broadway production of LSOH. She doesn't quite deliver the heart and good nature that is Audrey and she is, unfortunately, aware of this problem. Trying to correct it, Butler makes many efforts to pull off something she is not. It takes a gifted actress to pull of the part of Audrey. However, what she lacks in acting skills, she pulls off in some of her songs. 'Somewhere That's Green' isn't her best, but she makes up for it in 'Suddenly Seymour.' Other cast members, such as Douglass Sills, who plays the sadistic dentist Orin, is absolutely hilarious in the song 'Now (It's the Gas)'.

And then there's Audrey II- the man-eating, trash-talking carnivorous plant ready to take over the world. Michael Leon-Wooley does an outstanding job playing the plant's voice. In the show-stopping song 'Feed Me', Wooley and Foster deliver a rock-esque performance that needs the push of the 'repeat' button on your stereo afer you hear it for the first time.

I'm not going to give away the ending, but be prepared, it's not what you would normally expect in a boy-meets-girl musical. The show's message is ultimately 'All that glitters is not gold.' Seymour and the rest of the victims on Skid Row must learn this the hard way, but not before some definite powerhouse performances knock you off your feet. It's sad that the most recent 2003 revival only lasted one year on Broadway. However, many high schools and theatres across America continue to perform it. This musical isn't likely to die anytime soon. ... Read more

Asin: B0000CEROJ
Subjects:  1. Cast Recordings    2. Music Theater    3. Pop    4. Soundtracks & Film Scores   

Bat Boy (2001 Original Off-Broadway Cast)
Average Customer Review:
Audio CD (05 June, 2001)
list price: $17.98 -- our price: $13.99
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Editorial Review

As far as we know, Bat Boy is the only musical to have been inspired by a headline in the Weekly World News tabloid. It tells the story of, well, a bat boy (complete with pointy ears) found in a West Virginia cave. Adopted by the family of the town's vet, Edgar--as he comes to be known--actually goes on to acquire an education and even falls in love with the vet's daughter, all the while struggling to keep his blood thirst under control. Things end tragically--unsurprisingly, interspecies romance is still battling considerable prejudice in this country. Composer-lyricist Laurence O'Keefe came up with catchy songs that owe a lot to late 1960s and early '70s rock musicals such as Godspell and even The Rocky Horror Show. Skillfully walking the thin line between over-the-top camp and actual emotion, O'Keefe has written a wonderful little musical that cleverly deals with issues of difference and community values. As weird as it sounds, we foresee quite a future for Bat Boy in amateur productions. --Elisabeth Vincentelli ... Read more

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• Cast Recording

Reviews (65)

Wow!
I thought that "Bat Boy" was a very funny musical.It was hilarious, though a bit depressing at the same time at the end.Anyway, I only saw it done by a high school, but it was quite exeptional and it's definitely a musical to go see, especially if you like the strange and quarky side of things!

A Mountain's No Place To Raise Cows...
I was fortunate enough to see "Bat Boy" live in Minneapolis, and just had to buy this delightful soundtrack featuring the New York company as a keepsake. The story, based on a character from the "Weekly World News," dramatizes the life of a bat-human hybrid in a story equal parts "My Fair Lady" and "Tommy." The musical numbers are universally well written, extremely witty, and the performers on the CD have excellent vocal range and intonation.

The plot of the play will reveal itself quickly by listening to the songs, several of which are real standouts. "Hold Me, Bat Boy" (and its reprise) is so catchy that you will not be able to get it out of your head for weeks. "Mrs. Taylor's Lullaby" is perhaps the most amusing song on the CD, while "A Home For You", "Comfort And Joy", and "Inside Your Heart" are great classical musical vehicles designed to show off vocal talent to excellent effect.

To my knowledge this is the only musical that is based on a recurring tabloid character (still featured in the "Weekly World News") and touches on themes of evil veterinarians and bovine plagues all the while maintaining a tongue-in-cheek ambience alongside excellent (yet austere) production values.

The music from "Bat Boy" is great, the cast is excellent, and the plot is a one of a kind. "Bat Boy" is a wonderful show to see live, and I recommend it and this CD to anyone, especially those with an offbeat sense of humor.

This Bat Boy can fly!
My first exposure to this musical was actually performing it at Portsmouth, NHs' Seacoast Repertory Theater.I was playing (drums) for a production of theirs (42nd Street) and was asked if I'd like to play Bat Boy.Not knowing what to expect, I picked up the CD and was blown away by the music therein. Needless to say, I accepted right away! O'Keefe runs the gamut of musical styles, and the play has never a dull moment.Oh, *ping* "nevermindplease" - Deven May was a great Bat Boy, but Billy Butler, who played him at the Rep, was BORN for the role and IMHO is better than May, which IS hard to do...;-)BUY THIS CD!!!!!!!Better yet, see the show and buy the CD!!!!!! ... Read more

Asin: B00005JXS7
Subjects:  1. Music Theater    2. Pop    3. Showtunes / B'way   

1776: The New Broadway Cast Recording (1997)
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Audio CD (16 December, 1997)
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• Cast Recording

Reviews (48)

Better in some ways than the original, less in others...
I am a huge fan of the original play. Rather than review the play, I would like to compare the 2 recordings strengths and weaknesses.

The strength of the new cast recording is the quality of the singing. Every single performance is phenomenal and strong.There really isn't a weak or bad voice in the bunch. Brent Spiner suprisingly does a fine job as Adams.

Yet it's weakness is the very thing that makes this recording strong. Much of the charm of the original cast was that it was as much the performance behind the singing as the singing itself. Perhaps it's my bias from what I grew up to and am use to hearing, but I still prefer the original.

Still, I think more people may find this recording more enjoyable, especially if they haven't seen the play. I guess it's personal preference which you would choose. So if you prefer better singing, this is the album for you.

can i give it no stars? no? darn. . .
Okay, I saw this musical with my school, at Ford's Theater of all places. A review I read there said that the reviewer was "enraptured" and "could hardly breathe." Me, I could hardly breathe for laughing so hard at the sheer stupidity of the songs. As for being enraptured, i DID have to stare hard at the stage a lot, simply because i forgot my glasses. . . Anyway, this music is pathetic, though it was fun to imitate afterwards. It's not worth seeing or listening to. It IS hard to write a musical about the signing of the Declaration of Independence. Why did they bother? In more simple terms, IT SUCKS!!!

Wow, what a show!
I have been listening to musicals for years and I must say that 1776 is one of the best.It is certainly not Stephen Sondheim or Andrew Lloyd Webber but it has charm.

The script is incredible and some argue that the music isn't even needed but there is a great emotional journey that one can take if they allow themselves to really be there with the show. It is worth the money, if for no other reason than to explore this magnificent musical that not only reminds us of, but creates American history.

The performances by Brent Spiner, Linda Emond, Gregg Edelman, and Michael Cumptsy are superb.Though Spiner as Adams doesn't have the same vocal quality as the original Adams (William Daniels) he shines a new light on Adams and really brings the character to life. ... Read more

Asin: B000000GU0
Sales Rank: 22165
Subjects:  1. Music Theater    2. Pop    3. Showtunes / B'way   

Titanic (1997 Original Broadway Cast)
Average Customer Review:
Audio CD (01 July, 1997)
list price: $17.98 -- our price: $14.99
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Editorial Review

Unlike the boat it's named after, this show truly rose from the bottom. Despite detractors predicting doom before it had even opened, Titanic overcame hectic previews and endless technical problems to win a Tony for best musical and turn into a commercial success. Despite the fact that favorite performers like Judith Blazer or Victoria Clark disappear in the crowd and don't get solos of note, the show still manages to bring to life affecting characters. Maury Yeston's (Grand Hotel) score has the required majesty without ever being turgid, and the choral work he coaxes from his ensemble is eminently powerful. Though it requires a fair amount of attention on the listener's part, Titanic is also surprisingly emotional--its majestic finale packs more punch than 3 hours of Leonardo DiCaprio. --Elisabeth Vincentelli ... Read more

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• Cast Recording

Reviews (107)

'TIL YOUR PORT IS FOUND
No kidding. The whole cast sings a Broadway song as the entire ship goes under in this outrageous, incredibly dramatic and stirring Broadway show that succeeds in treating the sinking of the Titanic with respect, without plunging to the depths of creative and real despair. The best musical sections concern communication among the ship's officers; an officer reporting on the ocean's temperment - "No sir, it appears to be a flat calm" ("No Moon") is delivered in a lifeless monotone like a sigh of relief before the iceberg takes their breaths; the frenzied and violent arguing among the ship's commanders and builder as the ship sinks, ("The Blame"), soars in intensity to operatic-like levels of tragedy. The musical also conveys a sense of time and regard for the generation of the Titanic; their hopes, fears, and understanding of their modern world, notably in "Barrett's Song", which delivers a life long passion of a young telegraph operator to the fateful journey. There's a rousing and emotion packed musical theme near the beginning and the end; "Godspeed, Titanic", and "Finale", and a song, "Autumn", taken from a song sheet actually found among the surviving artifacts of the ship, which fits securely and adds a haunting touch of authenticity. In the epilogue finale, the "Autumn" theme plays again in a moving musical interlude paying tribute to the lives lost. One can excuse the few imperfect moments; "Doing The Latest Rag", is a dull and obvious rag dance craze, typical of the 1910s, and particularly uninspired, and "Lady's Maid" is a touching but superficial and cliched 'immigrants coming to America' routine. All in all, it's a remarkable achievement. The CD includes a 43 page booklet with lyrics, pictures, cast and Titanic statistics. "A Night To Remember" the classic 1955 book by Walter Lord, remains the best source of the Titanic story, but this Broadway musical is a Titanic of a different color; a heart-felt, joyfull and tragic plunge to the ocean floor.

Interesting, not for everyone.
This isn't for everyone. In fact, in my opinion, you have to WANT to hear this before you buy it. It isn't the type of musical where you can, say, pick it up and random and marvel at it. Or maybe you can. It really depends...

It has good, bad, and weird points. I tried to give you the songs that stuck out to me.

NOTEABLE SONGS

(4)I Must Get On That Ship: I like it. It sets the stage for a few of the characters, mainly the "Three Kates." One of the melodies used in this song is later used for a darker purpose later in the show - haunting reminder of what had been of the characters.

-Sample Lyrics-
Get me aboard
Call out my name
It's to America we aim
To find a better life
We prayed to make this trip
Let all our children's children know
That this day long ago
We dreamt of them
and came aboard this ship.

~

(7) Barrett's Song: One of my favorites. The tune is captivating. It gives you a sense of the hopelessness the character feels, and the wariness he has of Titanic's ever-increasing speed. The sound of shovels clanging is used during the song, you can almost feel yourself seeing Barrett all... dirty and hot. Purr.

-Sample Lyrics-
It became my dream to go out to sea
Further out from the mine you couldn't be
But, born to the coal, there's no place for you elsewhere
You trade a life of dank and gloom
To shovel in the boiler room
But now you're seven decks below
A lady's dainty feet

~

(11) The Proposal/The Night Was Alive: Easily one of the best songs on the CD. Beautiful lyrics, beautiful melodies. As with other songs, these lyrics are used later in the show in a darker way. Haunting. There is a semi-duet between Harold Bride & Barrett at the end.

-Sample Lyrics-
(Barrett)
Be thee well
May the Lord who watches all
Watch over thee
May God's heaven be your blanket
As you softly sleep
Marry me
When you're finally in my arms
You'll plainly see
This devoted sailor's heart and soul
Are yours to keep

(Bride)
And the night was alive
With a thousand voices
Fighting to be heard
And each and every one of them
Connected to me
And my life came alive
With a thousand voices
Tapping out each word
Like a thousand people
Joined with a single heartbeat

~

(15) Autumn/Finale: Cheery and dark in the same song? It starts with the lighthearted song "Autumn," leading into the lyrics from "No Moon," into both lyrics being mingled together. It ends with the striking of the iceberg. Autumn is used later in the show for a brief second.

-Sample Lyrics-
(autumn)
Autumn
Shall we all meet in the Autumn?
Golden and glowing
By Autumn
Shall we still be best of friends?
Best of friends

(no moon)
No Moon
No wind
Nothing to spy things by
No wake
No swell
No line where sea meets sky

~

(18)To The Lifeboats: Not a favorite of most people, but I find it haunting. It's full of humanity. A father convinces his wife and son to leave in a lifeboat without him. The Straus' decide to stick together.Barrett feels hopeless, and sings in despair to a picture of his lover. The "Proposal" lyrics are used here, at the end. The tune from "I Must Get On That Ship" is used on the lyrics below.

-Sample Lyrics-
You must get in
Please step this way
There is no time
Please don't delay
This is the last to leave
It must be lowered
Now

~

(19)We'll Meet Tomorrow: Heartbreaking. Truly heartbreaking. Solos from Barrett & another man. The song hopes that those who are leaving their loves, their husbands, their families, will meet again.

-Sample Lyrics-
We'll meet tomorrow
We will find a path
And reach tomorrow
Past this day of wrath
We'll be together once again
Cling to your hope and prayers
Till then

~

(22)Mr. Andrew's Vision: I'm guessing this was the substitute to showing the "sinking" happen. Mr. Andrews scribbles on his designs for Titanic, desperate to find a way to prevent the disaster that is happening... in the final lyrics of the song, he realises what the fate of all of those left on board will be. Kind of scary. Autumn is used for a brief second at the end, almost whispered.

-Sample Lyrics-
A thousand strong, they'll climb up
toward the aft deck
They'll cling there desperately
Like bees to a hive
There they'll hold fast
Doomed to the last
Lost and abandoned
And all still alive
A few of them will hang there
From the railings
As one by one, they'll drop away
More than two-hundred-fifty feet
They will fall
And after that
I cannot say
I will not say

-----

All in all... it is a good CD. But you have to be openminded, and prepared for many boring songs... x.O

I recommend it to those curious about the story.

A musical marvel!
The musical Titanic may not have the best writing in terms of dialogue and staging, etc. But in terms of musical writing, scoring, and arraging, this production has some amazing high notes! I've been in the orchestra playing Titanic before. I have played so many things before, but this experience was one that truly stuck with me. There is so much complexity and character in the music that it makes touches your heart in an amazing way. I would recommend this musical to anyone solely for the reason that the songs have some of the most brilliant orchestrations in musical theater. ... Read more

Asin: B000003GA5

Avenue Q (2003 Original Broadway Cast)
Average Customer Review:
Audio CD (07 October, 2003)
list price: $18.98 -- our price: $13.49
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Editorial Review

Avenue Q will only fuel the frustration of those who think that Broadway has given up on sophisticated entertainment geared to adults. "Whatever happened to Cole Porter's witty rhymes and mature subject matter?" they'll say. Well, it's hard to deny that Avenue Q's main frame of reference is Sesame Street and that its humor can be very broad--yes, there's profanity and puppet sex. But the show also displays heart("The More You Ruv Someone" typically begins with "Why can't people get along?") and a pretty satisfying zany streak. Musically, the score is rooted in 1970s pop, with nods to the aforementioned Sesame Street. The excellent cast, dominated by John Tartaglia and Stephanie D'Abruzzo, does it justice, milking the humorous numbers for all they're worth and finding pathos in the more straightforward ones. Not bad for a childish show.--Elisabeth Vincentelli ... Read more

Features

• Cast Recording
• Explicit Lyrics

Reviews (141)

to the person below who said it's "horrible & disgusting"-
"horrible and disgusting"?!this has got to be the funniest thing I've ever heard! Avenue Q is a riot.if you've ever seen this musical on Broadway, you've seen 850 people all around you laughing their heads off and falling out of their seats laughing.There's a reason this cd has an average (AVERAGE!) Amazon customer review of 4-1/2 stars, and there's an extremely good reason it won the 2004 Tony Award for Best Musical (!!!), the 2004 Tony Award for best Score, and the 2004 Tony Award for Best Book of a musical.The person who said "(excuse me, I don't even consider it a musical)" is obviously just a moron.Is that why it's sold out on Broadway so much that you can't even get a ticket?Almost everyone I know loves Avenue Q and has the album on their ipods because it's hilarious and touching and very human (despite the puppets) all at the same time.Perhaps as you say, "any civilized person would not listen to such garbage" but then I guess I'd never want to be one of those civilized people you're referring to.Boy am I glad I'm not living in your world.You're missing the joke that the rest of us are having a great time enjoying...It sucks to be you.:)Avenue Q rocks.

Horrible. Disgusting
This is the trashiest musical (excuse me, I don't even consider it a musical) that has ever been put out. It should be destroyed and burned. It is downright disgusting and horrible and any civilized person would not listen to such garbage. I would have given it -5 stars, but it wouldn't let me give below a one (and it doesn't deserve it.)

Eh...good for a chuckle...
I bought it because it won at the Tony Awards.I figured it had to be wonderful.And it's alright.Definitely very juvenile humor.Which isn't a slam.I chuckled.It was probably worth the purchase just for the song "What do you do with a BA in English."If that's not the actual title, it's close enough.As an English major who struggled to "find myself" after college, I appreciated the sentiment.

I can't say it blew me away.I think I enjoy a more serious and adult musical.Even that comes out wrong because this one is very much "adult."This is the only CD in my entire collection that I will hide from my young nieces.Heh.Maybe I should say I enjoy a more serious and dramatic musical.

This one will give you a chuckle if you don't mind the irreverent and often off-color humor.In the right mood, I enjoy it. ... Read more

Asin: B0000BZK1R
Subjects:  1. Cast Recordings    2. Pop    3. Show Tunes    4. Showtunes / B'way   

The Last 5 Years (2002 Off-Broadway Cast)
Average Customer Review:
Audio CD (16 April, 2002)
list price: $18.98 -- our price: $13.99
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Editorial Review

Jason Robert Brown burst on the musical-theater scene with a bang when his first Broadway show, Parade, won the Tony for original score in 1999. This new offering is more modest in scale than Parade, but it allows Brown to refine his skills. A two-character, one-act play, The Last 5 Years retraces a relationship through a complex structure that involves varying viewpoints and a chronology that unfurls backward and forward. Brown himself plays the piano and leads a small ensemble, while Norbert Leo Butz (Thou Shalt Not) and Sherie René Scott (Aida) sing the composer's heartbreaking melodies. Brown's lyrics need a bit of work (he can be oddly crass at unexpected moments), but he knows how to write songs that incorporate a pop sensibility and a distinctly theatrical narrative drive. That in itself is quite an achievement. --Elisabeth Vincentelli ... Read more

Features

• Cast Recording

Reviews (83)

"The Last Five Years" is JUST RIGHT!
Though it's not the best musical ever, "The Last Five Years" definately comes close, ranking high in the wide world of Broadway. Just a two person show-if you don't like Sherie Rene Scott (Aida), Norbert Leo Butz (Wicked), this isn't for you-you become aquainted with the characters quickly, and you'll love them. Songs range from some of the most creative since Sondheim to heartwrenching ballads like "Still Hurting". You'll cry, you'll laugh, you WILL become addicted. Make sure you have a weekend to listen to it over and over and over again, plus an extra copy for when you wear your first one out!

Musical Genius in Action
When it comes to any musical, there are two key componenents that will either make or break a show.There is the guy writing the music, and there are the folks singing the music.I have met Jason Robert Brown many times, and had the honor of hearing him play and sing his music many times, and I can tell you that his music his dynamite.When you stick two incredibly talented performers like Norbert and Sherie in front of JRB's notes and words, it is pure magic, which is proved in The Last Five Years.
The only two characters in the show play a couple in the five years of their relationship.The catch?The play opens with the man when he sees her for the first time, and the woman, when she finally leaves him.Thus, the two characters work towards each other in time, and the only time they share the stage is when their histories coincide- at their wedding.For people looking to buy this, that is the one concept that you really miss without seeing the show, and the only small problem you could ever find in this soundtrack.
Norbert's character is based on Jason Robert Brown, and while it is vocally nearly impossible, Mr. Leo Butz does it in style.Sherie's character does not have as many good songs, but she manages to equally impress us with beautiful sounds.One would think that the complexity of the music would confuse any listener, but it is very very accessable to listeners everywhere.Funny and sad, moving and groovin (yes, I did just say that), Jason Robert Brown's show shines, and I would recommend it as a stable to any true listener's library.

Definitive but still lacking
Many people have touched on the important aspects of this show and the recording already, so I'm just going to highlight a few points and leave it at that.

1. Why does the structure work?

The opening number does not stand up well on its own, but when contrasted with the subsequent "Shiksa Goddess," it brings up the question of "What went wrong here?" which is then answered throughout the play.This contrast is then highlighted again in the final number of the play when the tension and poignancy is brought to a head.Anyone who has ever gone through a difficult breakup can understand the ironic juxtaposition of Cathy's youthful idealistic exuberance in the beginning of the relationship, and Jamie's cold practicality at the end.The structure of the show allows Jason Robert Brown to really drive this point home at the end, and the result is incredibly poignant and chilling.

2. The performances on this CD are definitive but lacking.

Both performers seem more concerned with getting the notes "right" than emoting.It is almost as if this were more of a practice tape for someone who might want to do the show later.I have seen two productions of this show and they both almost left me in tears.This is a show that really needs to be seen and experienced, not just heard.Don't judge the show by this recording, but consider it an excellent reference point.

3. Musically simple?Perhaps deceptively so.

Some other reviewers mentioned the simplicity of the songs themselves.I have to differ on that point.Try singing along with "The Schmuel Song" some time.Some of these songs are HARD,so give these performers some credit.The arrangement has very few pieces which also helps to create that illusion of simplicity. ... Read more

Asin: B000065CXP
Subjects:  1. Cast Recordings    2. Musicals    3. Pop    4. Show Tunes    5. Showtunes / B'way   

Kiss Of The Spider Woman: The Musical - Original Cast Recording (Original London Cast)
Average Customer Review:
Audio CD (06 April, 1993)
list price: $16.98 -- our price: $16.98
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Features

• Cast Recording

Reviews (16)

Chita Rivera in a sublime performance
KISS OF THE SPIDER WOMAN is a fabulous musical version of the Manuel Puig novel.The musical originally opened in London following a season in Toronto, before opening on Broadway.Chita Rivera originated the role of Aurora, the spider woman, who haunts the dreams of Molina (Brent Carver), a convicted sex-offender.Sharing Molina's prison-cell is Valentin (Anthony Crivello), and together they form a friendship.Aurora remains a spectre in their complicated relationship, which is tested to its limits when Molina comes up for parole and Valentin asks him to deliver some messages, which might endanger Molina's freedom.Chita Rivera gives a galvanising performance as Aurora, the Kander-Ebb score suits her voice to a tee, especially the seductively-catchy "Where You Are".Brent Carver gives Molina a frailty and strength which is heartbreaking.Anthony Crivello is heartstopping in the role of the manipulative Valentin.Also check out the `New Broadway Cast Recording' which was made after Vanessa Williams, Howard McGillin and Brian Stokes Mitchell took over the lead roles.

Original Toronto / London / Broadway cast
This production of KISS OF THE SPIDER WOMAN premiered in Toronto in June 1992.As a theatre reviewer I atteneded the opening night performance.It is rare that a show is so near perfect at this early stage in its life.The first act needed some trimming and the pacing was uneven, but the score and performances were nothing short of dazzling.The production played Toronto through the summer of 1992 the opened in London for a six month run, then the cast moved to Broadway where the show deservedly won the 1993 Tony for Best Musical and Tonys were won by the three stars.

This CD was made during the show's London run and is billed the "original cast recording" leaving the location subject to debate. Local pride makes me think of this as the original Toronto cast.Since it was recorded in London, I suppose technically it s the original London cast, and since the same cast opened it on Broadway it is also the original Broadway cast!

Whatever label you use, it is a fine recording.Chita Rivera may have been too old for Aurora but the character is ageless...a memory frozen in Molina's mind.And she acted, sang and danced the hell out of the part! The huskiness in her voice only adds to the enigma.Brent Carver and Antony Crivello were both perfect choices for the mis-matched cell mates - each man using the other to advance his own cause.This is not a true romantic piece...Even when Valentin gives himself to Molina it is part of a plot to manipulate him.

Still, Kander and Ebb have found so much heart in this story: "Dear One" is one of the most beautiful songs the partners have ever written. (In an interview, John Kander told me this was his favourite number in the score.Fred Ebb's favourite was the song "Dressing Them Up" where he got to show off his lyric writing abilities.) "You Could Never Shame Me" has become an anthem that every closeted gay man wishes to hear from his own parents. Listen to the longing that comes through in Carver's sensitive reading of "She's a Woman." The score sometimes goes off the rails..the "Morphne Tango" was one number that Toronto critics expected to be dropped and yet it's still there. Overall it's another first rate show from Kander and Ebb (and Terrence McNally who adapted Manuel Puig's novel.)

The recording includes most of the major musical material and a few lines of dialogue. The packaging includes background notes, a detailed synopsis and libretto packed with many color photos of the production.

As the musical enetered its second year in New York the original cast members departed and Vanessa Williams was signed to play Aurora (A younger more sensual Aurora) with Howard McGillan and Brian Stokes Mitchell.A new "Broadway" cast recording was made by Mercury which included more of the score as well as several key dialogue seuqnces (very abridged) so the recording gave the listener a sense of hearing the full show.Because it communicates more of the drama of the piece, the second recording is slightly preferable but the performances of the original cast remain unbeatable!

All Dressed Up!
Kander and Ebb's breathtaking score explores the depth of human longing in a tender and subtle way.This ingenious, masterfully written work intricately dissects the power of human exclusion without being overtly schmaltzy.This haunting work is known to evoke the most dramatic human reactions. ... Read more

Asin: B000003FFR
Sales Rank: 28075
Subjects:  1. Pop    2. Show Tunes    3. Showtunes / B'way    4. Soundtrack   

Tick, Tick... Boom! (2001 Original Off-Broadway Cast)
Average Customer Review:
Audio CD (11 September, 2001)
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Editorial Review

Rent is usually treated as Jonathan Larson's one and only show, but the truth is that he had a career--albeit a hitless one--before that blockbuster. There was a musical titled JP Morgan Saves the Nation with lyrics by Jeffrey M. Jones and music by Larson. And there was Tick, Tick... Boom!, an autobiographical piece that Larson workshopped for a while before setting it aside and finishing Rent.

In 2001, Tick, Tick is getting a full off-Broadway production, and it's a rather endearing one. Lyrics have never been Larson's strong point, but he was a hell of a melodic composer--and the score here is even poppier than that of Rent (think Top 40 rather than Sondheim). It's hard to pick favorite songs: "Green Green Dress" is built on a rollicking piano boogie, for instance, and "Real Life" and "See Her Smile" are the kind of elegiac ballad that Larson would later perfect with "Seasons of Love." Luckily, this show has a lot more to offer than mere youthful musings. --Elisabeth Vincentelli ... Read more

Features

• Cast Recording

Reviews (67)

Not impressed
The first song I heard from the album was "Actions Speak Louder than Words." Upon hearing this, I was intrigued and wanted to listen to entire album. I was sorely disappointed to find that the other pieces of the album just didn't compare to "Actions Speak Louder than Words."

Despite my disappointment, I believe that this album is something every soundtrack junkie should explore for themselves.

A Must Have for Broadway Fans
The music is the prototype to RENT, and the arrangements will amaze you - they are what make this such an amazing album. Raul Esperaza gives a perfect delivery as the centeral, Jonathan Larson-inspired character. The bonus track at the end featuring the late Jonathan Larson performing his own material is touching.

Tick, Tick...BOOM! best musical soundtrack of our time?
I'm a huge musical buff and have over 90 cast albums.When I look through all of my CDs, I see some of my favorites, Rent, Pippin, Assassins, Songs For A New World, Tick, Tick...BOOM, etc.But of all 90, there is only one that I play through every single time.Only one album where I enjoy every single song on the CD.That is Tick, Tick...BOOM.
Johnathan Larson wrote three shows in his life time.Superbia, which has little known about it, Tick, tick BOOM, which flopped when first written, and of course Rent, the revolutionary musical that made him a star, despite his unfortunate death. After Rent became a hit, Tick, Tick...BOOM was put off-Broadway to see how it would do.It wasn't a great hit, but it toured and had sell-out audiences for Larson's name alone.One would naturally think that means the show is bad.I saw it when it toured, and it was amazing.It's so introspective and meaningful that I can't get enough of it now.
Tick, tick...BOOM is about one week in Larson's life.The week of his 30th birthday (in 1990,) the week his show Superbia first is performed for an audience, and the week when he finds out about his best friend's deathly illness.It makes for a great plot and plenty of amazing monologues.There are three characters in the show.Jonathan himself, his girlfriend Susan, and his best friend Michael.Only three performers are in the show and occasionally they are called on to play other roles.All this accumulates to the audience personally knowing every actor and being very intimate with the show.
As for the album, it has better harmonies than Rent, and since it isn't sung-through, every song is big and meaningful, ranging from fun to chilling.Even the songs that don't catch you the first time through will get you the next 5 times you play the album (it took me a bit to get used to Come To Your Senses).Raul Esparza (Rocky Horror Revival, Taboo,) has the perfect voice to play Jonathan and he blasts the hell out of every single song.I couldn't see it played by anyone better.Amy Spanger (Kiss Me Kate Revival,) sings everything she has well too.Once again, she has the perfect voice for the role and nails all the songs.Jerry Dixon (Once On This Island, Five Guys Named Moe,) puts plenty of nuance into his character and his voice fits the part.With these three, you can't go wrong.
I urge you to get this album if you are into any contemporary Broadway shows ranging from Rent to Avenue Q and Wicked.This could indeed become your favorite album just because of it's wonderous melodies and harmonies.As an added bonus, Jonathan himself is at the end of the album singing a song cut from the show.Hearing his voice is very refreshing and is a real tribute to him.He has done so much for theater, it's a shame the world didn't let him do more.
... Read more

Asin: B00005NQK5
Subjects:  1. Cast Recordings    2. Music Theater    3. Pop    4. Showtunes / B'way   

Assassins (1991 Original Off-Broadway Cast)
Average Customer Review:
Audio CD (13 August, 1991)
list price: $18.98 -- our price: $18.98
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Editorial Review

Leave it to Stephen Sondheim to make things difficult for himself. After writing his most accessible mature musical, Into the Woods, in 1987, he collaborated with author John Weidman on an extremely disturbing topic: Assassins, which depicts the various people who tried--with or without success--to kill a United States president. The characters, ranging from John Wilkes Booth to John Hinckley Jr., all express different motivations--love, fame, freedom from tyranny, stomach pain--but are united in their frustration with the idea of the American dream and believe that killing a president is the only way to achieve it. The songs the assassins sing cover a similarly wide range of Americana, including numbers in the style of Stephen Foster and Sousa, and as is common with Sondheim's music, many of the songs could pass for enjoyable casual listening out of context. (Best example: the lovely ballad "Unworthy of Your Love" could have been a hit for the Carpenters, but it's sung by Hinckley to Jodie Foster and by Lynne "Squeaky" Fromme to Charles Manson.) Careful attention, however, reveals a work of penetrating power. In addition to the musical numbers, this original cast recording includes an 11-minute nonmusical scene in which the older assassins confront and goad Lee Harvey Oswald in the Texas School Book Depository as JFK's car approaches. Not surprisingly, the original 1991 production of Assassins ran only 73 performances and the show didn't make it to Broadway until 2004.The booklet includes production photos and full lyrics. --David Horiuchi ... Read more

Features

• Cast Recording

Reviews (78)

One of the Best Shows Ever
As an actor/singer, there is no composer/lyricist I give more respect to in the world of musical theatre than Stephen Sondheim. His songs may not always catch your ear, and his shows may not always leave you humming as you walk out of the theatre, but who else out there takes the chances he takes?

Having said that, who but Stephen Sondheim could have taken the actions of these 9 men and women who assassinated or attempted to assassinate US Presidents, and make a musical out of it? My answer is simple...no one. When I first heard the music from this show, I was spellbound. It is by far my favorite Sondheim score, and, in my opinion, the highlight of his lyric writing. My introduction to this wonderful show came in the form of the original cast recording.

The cast that opened the show at the Playwright's Horizons theatre still holds up well against the new recording that was released featuring the Broadway cast.Victor Garber's John Wilkes Booth is one of my favorite cast recording performances.The rest of the cast is very good, although no one necessarily stands out...except maybe Lee Wilkoff who plays Sam Byck.His voice is instantly recognizable if you've ever listened to the original off-Broadway recording of Little Shop of Horrors (he played Seymour).

Overall, this is an exceptional recording, which features one of the most moving scenes, in my opinion, in musical theatre history.When John Wilkes Booth stops by the Texas Book Depository on Nov. 22, 1963 and, along with all the other assassins, convinces a suicidal Lee Harvey Oswald to kill Kennedy, chills go up my back.You almost feel for Oswald when, while struggling with his demons says, "People will hate me."It's an amazing thing that this show does.This show gives personality, not to mention pathos to people who have been painted in the history books as one dimensional monsters, if they've ever been put there at all.

Explaining the inexplicable; fathoming the unfathomable
Listening to this recording of Assassins again for the first time in nearly a decade, I was struck by what a rationalist Stephen Sondheim is.(Okay, I've always known that, but this recording made it really hit home.)The thread that runs throughout this show--often missed by critics--is the attempt to understand and explain acts of madness and futility.We know the reasons Booth, Guiteau, Czolgosz, Hinckley, Byck, Squeaky and Sarah Jane Moore killed or attempted to kill their targets, because they have told us in confessions, notes, etc.But Sondheim the artist is such a rationalist that he must find an explanation for the actions of Lee Harvey Oswald.In real life we'll never know why Oswald killed Kennedy, or whether he acted alone or as part of a conspiracy.But here the reason, or at least *a* reason, a rationale, is provided, because--I have a feeling--Sondheim could not write this musical without providing a rationale for Oswald, because getting under the skin of his characters is what Sondheim's art has been about from the beginning.To me, the whole "missing out on the American Dream" subtext is just too easy, a cop-out, and for years this prevented me from fully appreciating this work.I found it lightweight when I first heard it, and while I still don't consider it top-drawer Sondheim, I am a lot more receptive to it now.

Still, there's something structural that doesn't work for me.The numbers are somehow largely stilted, small.I don't mean intimate and intricate.I mean not fleshed out as much as I think they need to be.There needs to be some sort of big anchor number.By "big" I don't mean a chorus line singing and dancing in sequins and tights.Rather I mean a big big thought that ties it all together, a la "Move On" from Sunday in the Park With George, or "Our Time" from Merrily We Roll Along, or the whole last 15 minutes of Sweeney Todd.It isn't here, at least musically."Everybody's Got The Right" is just too small-concept a song to hang your hat on.I think there are the makings of a great work here, but I also feel like I'm experiencing a first draft; a very good first draft to be sure, but a first draft.(Note: I have not seen the recent Broadway revival and thus don't know if any of my objections have been answered.However, one new song "Something Just Broke," which I have heard, sounds a lot, both musically and conceptually, like "Four Black Dragons" from Pacific Overtures, and this, as well as hearing Bounce recently, is leading me to believe that Sondheim is starting to repeat himself as an artist.)

The recording is fine, but sterile; I wish a bigger and *livelier* orchestra were used.I don't a credit for Paul Gemignani as conductor here--though many of the musicians are the same ones in other Sondheim shows--and I think they could use him.As someone else mentioned, the music just sounds *cold* here.It's funcitonal, but never once rises above something we'd hear in a modern museum's high-tech interactive exhibit on the American experience.It sounds canned, in other words.The performances are good, but none is great, and some are just too hammy and broad for the dark material.Sometimes the justaposition works well, in pieces such as "The Gun Song" and "How I Saved Roosevelt," both of which contain the types of ironies and observations we look for in Sondheim.I'd recommend this CD for its interesting perspective and daring and unusual subject matter (how many people today know about Sam Byck, after all?), but I'd like to see a rethinking and rewriting of this work.It's fascinating and rewarding, but to my mind not quite finished...

Assassins is not about Assassins
If you were paying attention at all throughout the music (or book, if the case may be) there are huge gaps in fact, not to mention blatant distortions of reality, throughout the entire show. John Wilkes Booth didn't shoot himself, he burned to death in the barn. The characters of Lynette Fromme and John Hinckley never met. John Wilkes Booth was not in the Texas School Book Depository. Do you see where I am going with this? Assassins is not about the individual, the very message that JWB "preaches" in the end is; without all of them, they are nothing. There is no individual. The show is about the whole state and nature of the Unhappy American. Or as I like to say, a metaphor. ... Read more

Asin: B000003F3N
Subjects:  1. Musicals    2. Pop    3. Show Tunes    4. Showtunes / B'way   

West Side Story [Original Broadway Cast]
Average Customer Review:
Audio CD (15 September, 1998)
list price: $11.98 -- our price: $7.99
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Editorial Review

What is there left to say about this musical, deservedly one of the most famous in the canon? Created by what lyricist Stephen Sondheim described as "a unique concatenation of people" (Leonard Bernstein, Sondheim, Arthur Laurents, Jerome Robbins), the show remains as explosively vibrant, daring, and modern as it was decades ago. Bernstein integrated Latin percussion and jazz into his electrifying score, dazzlingly translating New York's unique vitality into a musical idiom. West Side Story has been adapted for jazz and interpreted by pop and opera singers, but you owe it to yourself to check out the original version to see what the fuss was all about. This new reissue adds over 20 minutes of "symphonic dances" as well as liner notes and production photos. --Elisabeth Vincentelli ... Read more

Features

• Cast Recording
• Original recording remastered

Reviews (26)

One of Broadway's finest scores...but not the best recording
Leonard Bernstein and Stephen Sondheim's "West Side Story" ranks among my top 3 favorite Broadway scores ever.The beautiful, soaring music beautifully captures the passion and emotion of the simple, somewhat-dated, but ultimately compelling update of Shakespeare's "Romeo and Juliet."Somewhat unusually for me, however (since I usually prefer the original cast recordings over others), this is not my favorite recording of the score--there's nothing particularly wrong with any of the performances, but the production just seems to rob the music of its energy.The "Tonight" quintet, for example, is one of the most exciting and tension-filled moments in the show, but here it just comes across as flat and lifeless.Overall however if one is able to find a better recording or, ideally, see a live performance, they will experience first-hand the beauty, the passion, the energy of "West Side Story."

Romeo and Juliet on the West Side
Although the idea of a modern ROMEO AND JULIET, set as a conflict between two gangs, one American and one Puerto Rican, is itself inspired, it is really Leonard Bernstein's score, enhanced by young Stephen Sondheim's lyrics, that makes WEST SIDE STORY special.In his excellent liner notes, Ken Mendelbaum suggests that the original 1957 cast of WEST SIDE STORY will never be surpassed, and listening to the original cast recording I am tempted to agree.What makes these singer-actors so ideal is the fact that their youthful vitality goes with voices that do full justice to Bernstein's brilliantly integrated and complex score, which, though sometimes "jazzy," is classically based and often operatic (the conflict in the score between jazz and opera represents the conflict in the story between violence and love).Larry Kert as Tony, for example, has a boyish yet wide-ranging tenor that deals effortlessly with the tricky rhythms of "Something's Coming" and the long lines of "Maria" (what a beautiful pianissimo at the close of this song!), "Tonight" (ditto), and the Bellini-esque "One Hand, One Heart."His sound is complemented by the perfect purity of Carol Lawrence's (Maria) soprano.As the been-around Anita, Chita Rivera (who became a star with this role) makes a strong impression in "(I Like to Be in) America" and "A Boy Like That," which is set against Maria's "aria," "I Have a Love," with potent results.Not only are the two "fight scenes" electrifying to hear, but the entire recording has a theatrical energy typical of all the cast albums produced for Columbia by Goddard Lieberson (GYPSY, starring Ethel Merman, is another that I'd highly recommend).And it is wonderful to have, as bonus tracks, Bernstein's own symphonic suite based on the show's dance music.This CD is a priority for any musical theatre-lover.

An Essential Original cast Album!
Recorded just days after WEST SIDE STORY opened on Broadway this original cast disc is one of the best from the golden days of Goddard Lieberson at Columbia Records.He knew exactly how to translate a stage musical to records.The prologue needed more excitement so he added the sonds of the gang members and had the orchestra increase the tempo.Not every note would fit (the Lp was very long for its day: 57 minutes!) so some trims were made here and there but done with such skill that they are hardly noticed.On the other hand, the entire "Somewhere" Ballet is heard here. It was not used in the movie.

Some people prefer the movie soundtrack for its beefier orchestrations. It too is a very fine recording of the score. But this is the first, the original. The way WEST SIDE STORY sounded when it premiered.

Sony's reissue sounds sensational: crisp, and clear with every orchestral texture.The bonus tracks are a symphonic suite of dances that Bernstein extracted for concert performances. ... Read more

Asin: B000056TB2
Subjects:  1. Cast Recordings    2. Classical    3. Film Music    4. Musicals    5. Original Score    6. Show Tunes    7. Showtunes / B'way   

The Nightmare Before Christmas: Original Motion Picture Soundtrack
Average Customer Review:
Audio CD (12 October, 1993)
list price: $11.98 -- our price: $10.99
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Features

• Soundtrack

Reviews (92)

Amazing!!!!!
The Nightmare Before Christmas Soundtrack is the best movie score i have ever heard (maybe even the greatest cd......)!!!!!! This cd is not just a movie score, it is also a musical with feeling!!!!! Here is what i thought of each track:
1.Overture: this is just all the songs mixed into one, which is cool!!
2.Opening: the narration by Patirc Stewart is just what was needed to keep the listener/vewier interested.
3.This is halloween: this song is exactly what Halloween is!!!!!
4.Jack's Lament:my personal favorite, sang by Danny Elfman himself, explains Jack Skellington's problem in a song form.
5.docter finklestein/in the forest:if you haven't seen the movie,you might not understand this track.
6.What's this?:another song sang by Danny Elfman, this shows Jack's excitement when he is in christmas town.
7.Town meeting song:if are at the age when you know Santa is not real, this song can make you laugh. But if you are planning on buying this for a kid, this might scare him or her becuase this song explains santa as "sandy claws" and "like a red lobster, huge and red".
8.Jack and Sally montage:again, this song will not make any scense if you have not seen the movie yet.
9.Jack's Obsession: another song sang by Danny Elfman, this song helps jack realise what he should do with his new discovery about christmas....
10.Kidnap the sandy claws: this funny yet horrible song is performed by Paul Rebens, Catherine O'hara and Danny Elfman. It is about how Lock, Shock and Barrel will capture "sandy claws". again, this is another song that will most likely scare childeren.
11.Making christmas: this song explains how the citizens of Halloween town are getting ready for christmas, the wrong way.
12. Nabbed: this is another song that will make no scense if you have seen the movie.
13.Oogie Boogie's song: this bluesy song is performed by Ken Page (Oogie Boogie) and Ed Ivory (Santa or "sandy Claws"). This song is preety cool.
14.sally's Song; this is another song performed by Catherine O'hara. this song explains how Sally feels about this christmas disaster and Jack.
15.Christmas eve montage: even though this has no singing I think this is one of the best instrumental tracks on this cd.
16.Poor Jack: This song is performed by....well, I think you get the point. This song explains how Jack feels after his plan of spreading joy did not go as planed.
17.to the reascue: this score is durring the time Jack saves Santa and when Sally tells Jack how she feels about him.
18.Final/reprise: this song is performed by Danny Elfman, Catherine O'hara and the citizens of Halloween town. this has a mix of the songs and at the end it has Jack and Sally sing a romantic song .
19.Closing:this song has Patrick Stewart tells us what happeneds after.....not included in the movie!!!!!
20.End title:this is durring the end credits when most people leave the theater or shut off their DVD or VCR players.
21.Bonus track:this is the second part of the credits when everyone is usally gone....except me if I am with my dad.....

So I give the Nightmare Before Christmas 5 stars. One of the best scores i have ever herd of Danny Elfman or anyone else. If you liked this score or a Danny Elfman fan, I would recommend looking at "Music For A Dark Theater" 1 and 2, which has Scores that Danny Elfman did for movies and t.v.

Danny Elfman makes life worth living
You might think that you can only enjoy this CD if you're in preschool...you are very mistaken. This is probably my most listened to album...Danny Elfman's orchestration and use of the wind section(which is often neglected by film composers) is just amazing...Sally's Song is my personal favorite...you might be skeptical kinda wierded out the first time you listen to it...but just give it a chance because it is amazing!!!!

Haunting, beautiful, and spirited
This soundtrack is wonderful!The music is dark and haunting-- typical Elfman--and so beautiful.It's also catchy; I found myself wandering around humming the tunes when I first got it.Danny Elfman himself provides the singing voice of Jack, and he does a great job of infusing emotion into the songs.You feel Jack's pain and excitement and disappointment.The lyrics, which may feel very simple at first, actually fit quite appropriately with the style of the movie: kind of Dr. Seuss-ish with a twist.
As the movie is almost entirely songs, if you enjoyed it you will enjoy this soundtrack.Listening to this CD is almost like listening to the movie itself--the score that plays during dialogue is also included, and it's easy to recognize scenes by only their background music.
Of the tracks, my favorites were probably "Jack's Lament" and "This is Halloween," though there are no tracks I particularly dislike.Overall, this soundtrack is one of Elfman's best.It is more colorful and creative than most of today's soundtracks tend to be, and more haunting and artistic than the music you hear on most children's movies.Well worth the money, whether you are a fan of the movie or Elfman.Highly recommended. ... Read more

Asin: B000001M1W
Sales Rank: 1965
Subjects:  1. Christmas / Chanukkah    2. Pop    3. Soundtracks & Film Scores   

Buffy the Vampire Slayer - Once More, with Feeling
Average Customer Review:
Audio CD (24 September, 2002)
list price: $18.98 -- our price: $13.49
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Editorial Review

While the idea of infusing a weekly TV series with a Broadway musical ethos isn't exactly a new one--think Randy Newman's ambitious Cop Rock--it became something of a turn-of the-century television mini-trend. But few have reached as far--or succeeded--like this November 2001 episode of Fox Network's Buffy the Vampire Slayer. Penned by series creator-producer Joss Whedon and performed by Sarah Michelle Gellar and cast, it's a loving, loopy musical pastiche that takes potshots at everything from Andrew Lloyd Webber to alt-rock. Paralleling the show's lovable pop culture tweaking, the musical styles here (the episode's musical conceit is a curse visited upon Buffy's hometown of Sunnydale) range from a patent footlight chorus of demons being interrupted by Gellar's hard-rocking stake thrusts on "Going Through the Motions" to Spike the Vampire's goth-metal complaint "Rest in Peace," with everything from parking tickets and mustard stain removal to climactic duels with the supernatural getting the Broadway send-up. Also includes strong orchestral score-suites from three other episodes, as well as Whedon and wife Kai Cole's demo for "Something to Sing About." --Jerry McCulley ... Read more

Features

• Cast Recording
• Soundtrack

Reviews (248)

The BtVS musical episode soundtrack
I love this soundtrack!!

"Once more, with feeling" was one of the true highlights of the BtVSsaga. Magnificent!


These are my favourite tracks:

- Great and very funny start with track 1 "Going through the motions", Sarah Michelle Gellar can sing!

- I absolutely adore Amber Benson in no. 5, "Under your spell". Absolute Bliss! Brings tears to my eyes every time... Amber's quite simply the greatest multi-talent I know of. She can do pretty much whatever she wants, and does it; acting, singing, directing, writing, anything really. Look up her site: http://www.efanguide.com/~amber/

- James Marsters did a darn great job in no. 7 "Rest in Peace".
He rocks!

- No. 11 "Standing" with Tony Head is another excellent part of this soundtrack. I also recommend Tony's own record "Music for Elevators". This man is brilliant! Check him out in one of the many British tv series he's participating in these days.

- Amber Benson and Tony Head comes together in the heart-wrenching duet "Under your spell/Standing Reprise.
No. 12 is very sad and wonderful.

- No. 14 "Walk through the fire" is a real power song. Grand job, Sarah!

Those are my personal favourites, but the whole thing is down right smashing, so if you're a hardcore BtVS fan too, buy it. A must-have.


Forever tarafied...

I can't stop singing the music!
I loved the show and now I can sing the songs anytime I want to. A must for any Buffy fan. My favorites are "I'll Never Tell" and "Rest in Peace". Both Anya and Spike have great voices. As does Tony Head who plays Giles and Tara. Very catchy!

An unforgettable experience!!
If you're a Buffy fan, this is essential. If you're not a Buffy fan and by any chance happens to buy this album, be sure that you will be going into one of the most revigorating experiences of your whole life!

This is a breathtaking musical without one single weak moment. The songs flow in an amazing diversity of styles, and all of them are pleasant. You will have them in your head for weeks and months to come!

As curiosity, this CD has a demo of one of the songs (SOMETHING TO SING ABOUT)at the end, sung by Joss's wife and Joss himself playing the piano. It's very funny to listen.

It's a very, extremely good musical, and owning this CD will only make your collection far richier.

... Read more

Asin: B00006J3WH
Subjects:  1. Pop    2. Show Tunes    3. Soundtracks    4. Soundtracks & Film Scores    5. Television Music    6. Television Soundtracks   

Sweeney Todd, the Demon Barber of Fleet Street (1979 Original Broadway Cast)
Average Customer Review:
Audio CD (25 October, 1990)
list price: $24.98
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Editorial Review

Despite being known for her televised sleuthing these days, Angela Lansbury once managed to both spook and delight Broadway audiences as the maker of very particular delicacies in Victorian London. In this macabre extravaganza, Lansbury's Nellie Lovett is the accomplice of Len Cariou's Sweeney Todd: The Demon Barber of Fleet Street. After he slashes his victims, she turns them into her meat pies' main ingredient. For this most ghoulish of shows, Sondheim looked for inspiration in the way the music is used in horror and suspense movies, particularly in the soundtracks of Bernard Herrmann. The winner of nine Tony Awards in 1979, Sweeney Todd may not be Sondheim's most accessible score, but its operatic complexity (it is almost entirely sung-through) makes it darkly spellbinding. --Elisabeth Vincentelli ... Read more

Features

• Cast Recording

Reviews (79)

Odd,Like Sondheim's Work Is,But Excellent
I recently rented this CD at my local library. Being a fan of Assassins and having a person I know play the title character, I loved it! It was a little odd, but hey, what do you expect with Mr. Sondheim?

GREAT SWEENEY!!!
When I firstr saw this musical it was being done by a local theatre group; you know, community theatre.I thought it was the weirdest show I had ever seen, what with all the slashing and cannibalism, but I loved it and walked away with it permanetly emmbedded in my mind.When I saw it offered for sale I promtly purchased it and have fallen in love with it all over again.George Hearn is probably the finest actor on Broadway.His execution (no pun intended) of Sweeney is flawless.Hearn does not overact, but delivers his lines naturally, deviating only during his fits of maddness.His rich baritone voice only adds to the cleverness of Sondheim's musical score.Angela Landsbury is the only actress who can play the crazed Mrs. Lovett and creates very big shoes for other actresses to fill when they take their turn at this role.Though this production was shot with 1985 technology, the sound is rich and the color exceptional.GET IT!

Sweeney Todd : A Tale Worth Attending
Let me start out by saying, this musical is not for everyone.It is at times macabre, and darkly humored, and then touching, and thought provoking.You would do yourself a favor to buy this CD, but please, keep that in mind.

"Sweeney Todd" is the story of a barber who seeks vengence on those who sent him to prison on a trumped up charge, raped his wife, and ultimatly ruined his life.Once in London, returning from prison, he goes on a killing spree, slaughtering customers in his Barber shop, assited by his landlady, Mrs. Lovett, who then turns the corpses into meat pies.

The leads are suitable for their roles, especially Angela Lansbury as Mrs. Lovett.Len Cariou's Sweeney is also choice.

The Musicals only flaw is one evident in most of Sondheims works; A completely brilliant first act, followed by a somewhat lackluster second act.But, that aside, this is a cd not to be missed.

A few of the best tracks (in my oppinion)...

1.Prelude

2. Epiphany

3. A Little Priest

4. The Worst Pies in London

5. The Contest

... Read more

Asin: B000002W4L
Subjects:  1. Cast Recordings    2. Music Theater    3. Musicals    4. Pop    5. Show Tunes    6. Showtunes / B'way    7. Soundtrack