Anything Goes (1987 Broadway Revival Cast)
Average Customer Review:
Audio CD (25 October, 1990)
list price: $13.98 -- our price: $13.98
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Editorial Review

One of the leaders in the trend of big splashy revivals in the late 1980s and early '90s, Lincoln Center's 1987 production of Anything Goes was the perfect evocation of the 1930s, from the period pit band to James McMullan's striking poster art to the large photograph of Cole Porter that smiled over the stage like an approving spirit. While the score earns its share of authenticity by resurrecting numerous songs from the original score, it also tosses in a few ringers such as "Friendship" and "It's De-Lovely." (Porter himself did not mind when people staging his shows borrowed songs from his other shows.) Then-rising star Howard McGillin sings sweet ballads and the ensemble numbers are excellent, but the show belongs to Patti LuPone, who in the role of Reno Sweeney grabs the baton from Ethel Merman and never lets go. Her "I Get a Kick Out of You" is one of the great performances of her generation, and the title tune and "Blow, Gabriel, Blow" make almost every other song sound like filler. LuPone was upset in the Tony race by Joanna Gleason, but the show did win for Best Revival. The booklet includes full lyrics, synopsis, production notes, and photos.--David Horiuchi ... Read more

Features

• Cast Recording

Reviews (32)

Decent Revival, But It Lacks Spark.
I played Moonface Martin in my high school production of ANYTHING GOES and since that time it has remained as one of my favorite musicals of all time (2nd only to BLOOD BROTHERS).The show takes places aboard the ocean liner U.S.S. AMERICAN as it travels to England. On the course of the trip, a six person love triangle develops and a wanted criminal, Public Enemy #13, gets a little bit of limelight. The songs are fresh and original and other than a few cultural references here and there, seem timeless. That's probably one of the reasons that the title song, "Anything Goes," opens INDIANA JONES AND THE TEMPLE OF DOOM.It's hard to believe that the show first opened way back in 1934.

My favorite songs on the album include:

"I Get a Kick Out of You"

"You're the Top"

"Friendship"

"It's De-Lovely"

"Anything Goes"

"Blow, Gabriel, Blow"

"Be Like the Bluebird"

Though this 1987 revival edition of the original show did a decent job of freshening up this classic show and presenting it to a new generation, it does have some flaws.The wonderful song sung by Reno Sweeney, "Take Me Back to Manhattan," has been totally deleted.Also, "Be Like the Bluebird" just isn't the same on this album--the over-the-top rendition that is a Moonface staple is completely lacking; instead of the bullish, yet lovable man making a full of himself singing this song of happiness, we get an old man whimpering away with hardly any air left in his lungs.That omission and change might be slight, but they are enough to offset the other positive changes made on the album.Though the revival is decent, it just doesn't quite meet the standards of a Reno Sweeney show and for fands of ANYTHING GOES, I recommend the 1962 cast album instead.

really wonderful cast album
"Anything Goes," is a great musical and this version is updated and really in tune.I'd reocmmend it to any musical theatre fan.Howard McGillan has a great voice really, strong and perfect for broadway.The rest of the cast is good too.
It feature some great Cole Porter songs, and really a vibrent and beautiful score.

A Knock-Out In Every Possible Way
Although the 1987 revival of Cole Porter's legendary ANYTHING GOES plays fast and loose with both the original score and book, it's hard to be anything but enchanted with the show or the this cast recording--particularly when it includes the talents of Patti LuPone, Bill McCutcheon, Anne Francine, and many other Broadway notables.

The story of romantic follies aboard a transatlantic liner, the show opens with a scratchy recording of Cole Porter himself singing the title tune before the soundtrack segues into a dazzling overture by an excellent orchestra--and then proceeds to bounce out one great Porter tune after another: "I Get A Kick Out of You," "You're The Top," "Easy to Love," "Friendship," "It's De-Lovely," the title cut, "Blow Gabriel Blow," and "All Through the Night," to name but the most obvious titles.

While the entire cast is nothing short of brilliant, the show clearly belongs to Patti LuPone in the role of Reno Sweeney, an evangelist who does a little nightclub act on the side.LuPone hasn't been in better form since she dazzled New York audiences in EVITA, and her knock-you-flat vocal style is perfectly suited to both the role and the complex Porter tunes originally written for Broadway powerhouse Ethel Merman... and indeed, even Merman's memorable renditions seem to pale a bit in comparison.

Purists may complain about fiddling with the score, and it is true that this revival drops as many Porter classics from the original score as it adds from other sources; "Let's Misbehave" is particularly missed.But it's hard to argue with the addition of "De-Lovely" and "Easy to Love" (the latter of which Porter originally gave to Jimmy Stewart, of all people, to perform in the memorable 1936 film BORN TO DANCE.)And when Patti LuPone launches into "Anything Goes," you'll know it really does.Recommended as a knock-out in every possible way!

GFT, Amazon Reviewer ... Read more

Asin: B000002WBK
Subjects:  1. Pop    2. Showtunes / B'way   

Anything Goes (1962 Off-Broadway Cast)
Average Customer Review:
Audio CD (25 October, 1990)
list price: $11.98 -- our price: $10.99
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Features

• Cast Recording
• Cast Recording

Reviews (23)

Brilliant and flawless casting
Eileen Rodgers absolutely OWNS Reno Sweeney in this 1962 Off-Broadway revival, boasting a sexy and smoky voice that comes across as natural, sounding like a woman who's had her share of cigarettes, smokes, and men and lives to tell about it.Her rousing renditions of "I Get A Kick Out Of You" and "Anything Goes" are sheer joy and transport the listener to a cabaret lounge in Manhattan.The production is thankfully simple, with bare-bones orchestration, making it very different from jazzy and polished recording from the 1988 Patti Lupone revival (which is equally brilliant in its own right).

Porter at his best!
Many people consider Kiss Me Kate(1948) to be Cole Porter's greatest musical, but in my opinion this piece, written 14 years before in 1934 and as such from a period in musical theater that has not turned out as many enduring hits as the decades that follow, is far superior, as it contains many more hit songs and is genuinly funny when seen on the stage. Indeed, this is one of the few musicals i know where the script could stand on its own and where the songs only serve to enhance the overall effect. I find it hard to believe that anything that has delighted audiences countless times in the years since its original opening, through many successful revivals and amateur productions could ever have been anything less then the result of long meticulous labour; it is mind boggling to think that it was in fact put together at short notice out of a completely different idea about a ship wreck. The original production must have been wonderful; I mean can you think of anyone who seems more suited to the part of Reno Sweeney than Ethel Merman. Yes, Eileen Rodgers. I have not had the privalige of hearing the 1987 recording so I cannot judge Patti LuPone's performance, but I can safely say to any prospetive buyer that the cast of this recording are of such a superior quality that one can overlook the fact that several of the songs have been ommited and others have been put in their place. The wonderful, Portery feel of the piece is not lost, as all the new additions are classic examples of his style that suit the piece perfectly. I simply cannot imagine Anything Goes without It's Delovely, Friendship and Take Me Back To Manhattan, and what would there be for the classic character of Bonnie if Heaven Hop and Let's Step Out were omitted? I love all the songs on this recording,(especially Blow, Gabriel, Blow and the title song) but my all time favorite has to be You're The Top. I believe I heard it at least 15 times in the week after I got the CD. Eileen Rodgers is of course wonderful, and I have a sneaking suspition that Hal Linden may have talent! Oh come on just buy it, it's glorious!

Anything Goes is so fun!!!
Hello! I would just like to take a moment to point out that Anything Goes is a great musical! My friends from Chittenango High School just did it for their spring musical and they were awesome! Sam, Chris, and Jiggs, you guys were awesome! So, I bought them this CD as a gift for doing such a great job. I also bought myself one too. And I have to tell you, I have listened to it everyday since I bought it. It really is that good. At first you might think that some of the main character's voices are annoying (like Bonnie and Moon) but they really grow on you after awhile. I have really come to love this CD and now I'll always think of how much fun it was to see my friends put on their version. And they will always have something to remember how much fun it was to do. So, I recommend this CD to anyone who likes Anything Goes or similar musicals and, if you haven't seen the show find out how you can see it because its just great. Its extremely funny. And I'm giving one last shout out to my Nango pals...you guys were the best! Chris...wonderful job playing Moonface Martin. Sam...the best singing and dancing I've ever seen. Love you to death! Jiggs...like I have told you, no one will ever play the bum better than you. Love you guys! I hope this was helpful and fun to read. ... Read more

Asin: B0000024VD
Sales Rank: 30589
Subjects:  1. Cast Recordings    2. Musicals    3. Pop    4. Show Tunes    5. Showtunes / B'way   

Anything Goes: The Songs of Cole Porter
Average Customer Review:
Audio CD (28 November, 2000)
list price: $11.98 -- our price: $11.98
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Reviews (1)

JUST ONE OF THOSE COLLECTIONS?
Several of the songs included in that collection are also available elsewhere.The problem is when you are looking for certain renditions,you are forced to buy some of those that you can't find in other packages.Such is the problem that encounters a music maniac is the question:should i buy that one?Is it worth it?In our time,there are what i call a great nostalgia market that some companies share with the collectors.I'M IN LOVE AGAIN is perhaps the earliest version of a PORTER song;LET'S DO IT,LET'S FALL IN LOVE is interesting to compare with the RUDY VALEE version;I GET A KICK OUT OF YOU is the original of 1934 and so is FRED ASTAIRE's NIGHT AND DAY.My personal favorites are WHAT IS THIS THING CALLED LOVE(also available in the BUT IN THE MORNING NO(NAXOS NOSTALGIA) and YOU'D BE SO NICE TO COME HOME TO sung by the wonderful DINAH SHORE. ... Read more

Asin: B00004Z1C8
Sales Rank: 21633
Subjects:  1. Big Band    2. Nostalgia    3. Pop    4. Show Tunes    5. Showtunes / B'way    6. Standards    7. Sweet Bands    8. Swing    9. Tin Pan Alley Pop    10. Traditional Pop    11. V/a Compilations    12. Vocal Jazz    13. Vocal Pop   

Capitol Sings Cole Porter: Anything Goes
Average Customer Review:
Audio CD (13 August, 1991)
list price: $11.98 -- our price: $10.99
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Reviews (8)

~"You'reTheTop"ColePorter~AwesomeSelections!!!~
Romantic, rhythmic, sophisicated and incredibly brilliant are the classic works of 20th Century legendary composer Cole Porter who is represented here by an impressive array of Capitol recordings artists.The smooth sophisicated swing of "All Of You" kick off a program of greatly diverse and fascinating performances and always true to her legendary fashion is a superb Peggy Lee while Tony Bennett does a stunning "Anything Goes" with Count Basie."I Happen To Like New York" smolders and soars with the haunting intensity of a soulful Judy Garland vocal that is a truly stunning masterpiece!!!A mesmerizing Nancy Wilson vocal make "You'd Be So Nice To Come Home To" a memorable listening experience and this collection is a keeper for those who love the finest songs and singers that music has to offer.Thanks to Cole Porter and all those great Capitol Recording Artists for making this great collection possible...highly recommended!!!!!!!

What fun these artists had!
Most of the recordings of Porter's songs on this CD were cut in the 1950s and 1960s, and are vintage Capitol of that time.That means that most of them have jazzy background music that almost always accentuates rather than detracts from the songs.Whether or not one likes all the recordings, one thing comes across clearly: the singers are having a great time.Their sheer fun really is infectious.

For my money, the single best number on the CD is Peggy Lee's "Always True to You in My Fashion."Dinah Shore sings an incredibly sultry "It's All Right with Me," and Louis Prima and Keely Smith are fantastic in their own idiosyncratic version of "I've Got You Under My Skin."Tony Bennett's classic version of "Anything Goes" will never grow old, and it's wonderful to have it included on this CD.Judy Garland's "I Happen to Like New York City" is awful, as is Dean Martin's "True Love," but they're awful in the wonderfully kitschy way of 1950s overdone tunes.Trudy Richards can't be beat when it comes to "Let's Do It," and the great Nancy Wilson croons a "You'd Be So Nice to Come Home To" that you won't forget.

Like an earlier reviewer, I was surprised that Sinatra isn't one of the featured artists here.But there are plenty of other places to hear him sing Porter.

All in all, a great CD.It'll put you in a different place and time.

The world has gone mad today
Cole Porter was one of the greatest songwriters of the 20th Century.This CD features Capitol Records artists singing his songs.All of the singers here are good, although some are better than others.And some of the arrangements are a bit on the dull side.It's noteworthy that one of Capitol's biggest stars, Frank Sinatra, is not included here.Most of the singers here are women, but you can't complain about the likes of Annie Ross, Peggy Lee and Judy Garland.Highly recommended. ... Read more

Asin: B00000DRCN
Sales Rank: 10107
Subjects:  1. 40's    2. 50's    3. Ballads    4. Big Band    5. Bop    6. Cool    7. Instrumental Pop    8. Jump Blues    9. Orchestral Pop    10. Pop    11. Show Tunes    12. Showtunes / B'way    13. Standards    14. Swing    15. Torch Songs    16. Traditional Pop    17. V/a Compilations    18. Vocal    19. Vocal Jazz    20. Vocal Pop   

Ella Fitzgerald Sings The Cole Porter Songbook
Average Customer Review:
Audio CD (24 June, 1997)
list price: $33.98 -- our price: $30.49
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Editorial Review

Long considered a jewel in Verve Records' very impressive crown, Fitzgerald's songbook collections of various composers--a series that was started by the success of this set--are all wonderful, but her natural wit and intelligence was at its most perfect with Cole Porter's erudite, urbane songs. While not as scat-oriented as her small group outings, these Porter sets offer her most realized pop performances.Also, the gold remastering does a fine job of bringing out the nuances in the arrangements, making this a treasure for the serious collector and the casual listener alike. A true American music gem. --Skip Heller ... Read more

Reviews (28)

Generally glorious Cole Porter collection from Fitzgerald
Though Irwin Winkler's 2004 Cole Porter biopic DE-LOVELY was a near-disaster in trying to explain what made Porter and his songs so special, it at least made me interested in hearing more of his music. It was in that spirit of adventure that I came upon this 2-disc collection of Cole Porter songs sung by the much-celebrated Ella Fitzgerald. The experience of hearing such great, unflashy singing and Porter's witty, sophisticated, and even sometimes touching music and lyrics (in some stellar orchestral arrangements) turned out to be quite memorable.

The booklet that accompanies this set has an essay from Fred Lounsberry, supposedly an expert on Cole Porter. He does an intriguing (if maybe overly academic) job of articulating what makes Porter's music so appealing. Read his essay to perhaps get the larger picture. For me, though...I just love the way that Porter writes all these songs about romance and love, and writes about it with such intelligence. In light of all the cheesy, cliched love ballads that seem to be proliferating on the radio airwaves (Hoobastank's power ballad "The Reason" is a nauseating recent example), who couldn't treasure words like "What is this thing called love? / This funny thing called love? / Just who can solve its mystery? / Why should it make a fool of me?" It was the mystery---and the pain---of love that Cole Porter so eloquently portrayed in many of his songs, and very few songwriters have done it better.

And very few artists have sung Porter's songs better than Ella Fitzgerald. Or, at least, I can hardly imagine many other artists (other than, maybe, Frank Sinatra) singing such a wide range of Porter with such consistency, versatility, and sheer polish. Listening to these recordings, you hardly doubt that both she and Porter were made for each other. Both bring wit and sophistication to their art without making a big show of themselves. Okay, I could imagine some listeners perhaps feeling that Fitzgerald's singing is slightly too aloof when a particular song demands something a little more emotionally intense. But, for me, I found her singing often thrilling anyway. In song after song, she shows a real sense of style, and certainly her diction is beyond reproach. You can understand every word she sings, and sometimes you can even feel those words, too. (Listen to the poignant "Miss Otis Regrets", Track 3 of Disc 1; you'll see what I mean.) Such clarity, style, and breathtaking control count for a lot with these multi-layered tunes; with Fitzgerald, you feel like you're listening to Cole Porter rather than hearing Ella Fitzgerald flashily dominating the substance of these wonderful songs. In a time when grotesque belting seems to pass for great singing (thank you, "American Idol," for making tastelessness in singing acceptable), it's almost refreshing to hear Ella Fitzgerald's stylish, un-pretentious, ego-free interpretations of these classic American songbook staples.

On a whole, "Ella Fitzgerald Sings the Cole Porter Songbook" offers nearly 2 hours of unadulterated pleasure. With so many songs offered here, it's amazing how consistently good these performances are; it's hard to pick a favorite, because they're almost all worthwhile. Almost. The only real dud I can find in this collection is "Let's Do It (Let's Fall in Love)" (Track 9, Disc 1); it is simply too slow for my taste. Fitzgerald and arranger Buddy Bregman seem to be trying to emphasize slow, sexy sultriness over the youthful impetuosity the lyrics imply; but, despite Fitzgerald's best efforts, the result simply sounds leaden. (Alanis Morrissette might have massacred the song in DE-LOVELY, but at least the much-faster tempo sounded more convincing there than the slow tempo does here.)

That, though, is the only real failure in a set that steps right much more often than it steps wrong. Perhaps you shouldn't restrict yourself to hearing only Ella Fitzgerald's take on these classic songs. Still, if you're interested in Cole Porter, you certainly can't go wrong with this set. At her best, Fitzgerald will help you understand what is so entrancing about Porter and his uniquely witty take on being in love in this world. Highly recommended.

Almost Perfect
Ella Fitzgerald's voice is flawless, without peer.That goes without saying.And these CDs showcase the beauty of her sound.I took off one star because I'm just a bit disappointed because some of these songs were written as exuberant show tunes (I think, I'm no expert), and Ms. Fitzgerald's voice is more suited to slow, sexy jazz numbers.For example, in my opinion, "Let's Do It" is a very funny ("sentimental centipedes do it!"), witty tune encouraging us all to have a little fun and fall in love.The version on this CD sounds like it's moving through molassas -- all the wit is drowned away in drowsy, hypnotic vocals.Ms. Fitzgerald's voice is pitch-perfect, her diction is technically flawless, but... I guess I wish she'd just cut loose once in awhile and give voice to the joy and sparkle of Mr. Porter's songs.That said, her voice is just too delicious to give less than 4 stars.Enjoy!

Unforgettable moment
This CD is a masterpiece, and Ella Fitzgerald's voice is like a dream. When she sings "Ev'ry Time We Say Good-Bye" it's a very moving moment -- very sad, but unforgettable... ... Read more

Asin: B0000047EG
Subjects:  1. Ballads    2. Jazz    3. Pop    4. Standards    5. Swing    6. Tin Pan Alley Pop    7. Traditional Pop    8. Vocal Jazz   

You're the Top: The Love Songs of Cole Porter
Average Customer Review:
Audio CD (22 June, 1999)
list price: $18.98 -- our price: $14.99
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Editorial Review

Cole Porter's songs have long enjoyed a special place in Bobby Short's repertoire, but this set gives additional luster with fine fresh arrangements by Short, guitarist Howard Alden, and tenor saxophonist-conductor Loren Schoenberg, among others. Short is the ideal artist for Porter's songs, and it's more than mere respect for lyrics and his meticulous diction and musicality. He seems to live inside Porter's world, with its archly comic sophistication, its ambiguities, and its suddenly pointed insights. Above all, Short is able to find the subtle emotional tones that these songs require to be fully realized, the celebratory with hints of losses past and to come, the wistful knowledge that experience must be seized to be savored. The accompaniments range from Short's piano through duets with Alden or bassist Frank Tate to a fine small group and a big band, and along the way there are particularly good solo contributions by Alden and trumpeter Virgil Jones. Amid the sentiment there are two of Porter's witty list songs. "You're the Top," with its manic inventory of all things good and beautiful--Mahatma Gandhi, Mickey Mouse, Pepsodent, Jimmy Durante's nose--is spirited, while "Can-Can," another inventive inventory--"If an elm and an oak and an ash can, Baby, you can cancan too"--is delivered with broad humor and sly insinuation. Short is the ultimate cabaret singer; his art is timeless rather than nostalgic. --Stuart Broomer ... Read more

Reviews (2)

For everyone who deserves to hear Cole Porter done right
I have no experience with the nightlife of Gotham let alone hearing Bobby Short perform Cole Porter songs at New York City's Cafe Carlyle during the last half-century, but I certainly remember the impression the man made in Woody Allen's "Hannah and Her Sisters."I remember Allen's character bitterly informing his disastrous date "You don't deserve, Cole Porter," and certainly the exact opposite is the case with Bobby Short.It is hard to find a lyricist who can compete with Porter, whether it is the simple lyricism of "You'd Be So Nice To Come Home To" or when he literally floods a song with sophisticated and witty rhymes like in "Can-Can."Clearly words to Porter are playthings, albeit sophisticated toys of the highest order.Listen to this album and it is no wonder Short is considered by many to be Porter's foremost interpreter.Just compare the intimacy of Short's rendition of "I've Got You Under My Skin" with Frank Sinatra's brassier version and see if you do not exhibit a preference for the former.The arrangements of these songs offer some nice changes of pace, where a trumpet might be featured on "I Love You, Samantha," or a guitar on "You're Sensational," and then "You'd Be So Nice To Come Home To" is basically short on piano with the bass player, not exactly an obvious pairing on instruments on that particular song.Whether you come to this album from an affection for the smooth vocal stylings Bobby Short or a love of Cole Porter, please cross-pollinate accordingly and continue to let your love of sophisticated music grow.

NOTHING BEATS SHORT SINGING PORTER
Bobby Short has to be the leading Cole Porter interpreter today. It's hard not to think of Short and not picture him singing Porter. As for Cole Porter he is simplely the GREATEST composer that ever lived. In my opinion.I never heard Short sing some of the songs on this album and was wonderingwhen he would record them. For instance "What Is This Thing CalledLove" which is a or should I say WAS a very popular song. There'ssomething extra here in this album,Short now works with a orchestra. Alsohe has Howard Alden playing his great guitar. I happened to hear Alden inthe movie "Sweet and Lowdown". Short once again makes a greatalbum. If your a fan of Cole Porter's music or Bobby Short...YOU HAVE TOGET THIS! ... Read more

Asin: B00000JDBY
Subjects:  1. Ballads    2. Cabaret    3. Jazz    4. Jazz Blues    5. Pop    6. Show Tunes    7. Swing    8. Traditional Pop    9. Vocal Pop   

Red Hot & Blue: Cole Porter Tribute
Average Customer Review:
Audio CD (25 September, 1990)
list price: $11.98 -- our price: $10.99
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Editorial Review

There's a long tradition of artists banding together for a noble cause, but--needless to say--good intentions are no guarantee of good art. Fortunately, the twain do meet and the project even succeeds with creative flair in this compilation. It kicked off the Red Hot AIDS Benefit series back in 1990 and in fact launched its own sort of minigenre, including theme albums devoted to George Gershwin and Duke Ellington. In fact, this eclectic mix of Cole Porter covers interpreted by a wide swath of contemporary artists unfurls a pretty ambitious agenda in addition to its message of AIDS awareness and compassion. Here, the legacy of this ultra-sophisticated, closeted master of the popular song from the era of the "lost generation" is presented as a source of rejuvenating inspiration. Porter's craft seems validated by the very flexibility of the original songs as they get retrofitted to encompass styles ranging from U2 and Tom Waits to Jungle Brothers. There's an occasional miscalculation (Debbie Harry and Iggy Pop's didactic "updating" of Porter's bon vivant wit doesn't compare well with the original), but moments of stunning fusion abound (Sinéad O'Connor and Annie Lenox contribute especially memorable gems). Instead of getting lost in translation, Red Hot + Blue adds a whole new dimension to the art of swellegance. --Thomas May ... Read more

Reviews (26)

What a Wild Cole Porter Ride!
A tribute album of Cole Porter tunes as performed by some of the best musicians to come out of the 1980s. David Byrne of the Talking Heads, the Pogues, Tom Waits, U2, The Fine Young Cannibals, Annie Lennox, Jimmy Somerville of Bronski Beat, The Thompson Twins, Sinead O'Connor. There are three fantastic reasons to purchase this album: 1) It's 20 Cole Porter standards, 2) The album was produced in 1990 to benefit AIDS research, 3) The incomparable lineup of the musicians, mentioned above, plus Neneh Cherry, the Neville Brothers, Debbie Harry of Blondie and Iggy Pop, KD Lang, Erasure, Jody Watley, Aztec Camera and more.

Any one of these three reasons should be reason enough to buy this album, and if you score with all three on your list, then you will be overwhelmingly pleased. If you are simply a Cole Porter fan, have never heard of these bands and don't care to support AIDS research, then you will likely be unhappy with this album. But if you are even a fan of just one or two of these artists, the rest of the album will surprise and seduce you.

Perhaps the best track on the whole album is The Neville Brothers' "In the Still of the Night." Simply enchanting. David Byrne shines with the best of the best work from the Talking Heads era, African drumming and rhythms, on "Don't Fence Me In." Kirsty MacColl sings with the Pogues in a medley of "Miss Otis Regrets" and "Just One of Those Things," and for this long-time Pogues fan, it was surprising to find this musically rich track a full decade after the Pogues had split up. Wish I had known about this album in 1990 rather than finding it in 2004. Tom Waits takes some heat with other reviewers with his cover of "It's All Right With Me," but those reviewers obviously wouldn't like ANY Tom Waits tunes. I think it's a fantastic layer to this already rich hued album, and Waits fills his portion with gusto and relish. It is truly the tune I love to listen to the most, partly because it follows Byrne's cut and mostly because it just sucks me into another world, that Tom Waits World, and repeatedly sucks the breath out of me. I especially love the part where it seems like the song is over and then Waits comes back in for a reprise, doubly so after reading how much is pisses off some of the other reviewers. :-)

Neneh Cherry offers a prologue to the album that melds directly into her cover of "I've Got You Under My Skin" and the Fine Young Cannibals wail into "Love For Sale" with Roland Gift's voice nearly being mistaken for a muted trumpet. How did he do that? Iggy Pop and Debby Harry have too much fun with "Well Did You Evah" and until I looked at the credits I actually thought it was John Doe and Exene Cervenka from X. They should have been asked to contribute to this album. And Screamin' Jay Hawkins, he has a cut of "I Love Paris" that while is a bit more traditional than Les Negresses Vertes' version which is pure fun, Hawkins covering another Porter tune would have added more layers of spice to this CD. The Thompson Twins and Erasure shine with two songs I would never expect to hear from them, "Who Wants to Be a Millionaire" and "Too Darn Hot," respectively. U2, Annie Lennox, KD Lang, Jody Watley, Sinead O'Connor and Aztec Camera all provide the solid stability of their talents to flesh out the core of the album, with the color added by the previously mentioned artists. The two tracks that could easily be lost and replaced by better artists are Salif Keita with "Begin the Beguine" and the Jungle Brothers with "I Get a Kick."

Purchase this album. It's a great tribute to Cole Porter and an even better contribution to supporting AIDS research. Get it to honor rare work of these excellent artists. All thumbs up! Five stars and more!

diversity rules
I have been listening to this album for 14 years now and it has aged well.While there are a couple of songs I routinely skip (neneh cherry and debbie harry with iggy pop), it is one CD that I find myself coming back to over and over.The majority of the videos that were created for these songs carried an AIDS theme that the songs could not.For those that think kd lang's version of "so in love" is haunting, should see the video that was produced to go along with it, heartbreaking is the word.les negresses vertes eccentric version of "i love paris" is great and the memory of the video only makes it better.The women seem to play it closer to the original and some of the most memorable songs come from sinead o connor, annie lennox, kd lang, lisa stansfield and jody watley.I love the neville brothers version of "in the still of the night" and u2's "night and day" and everytime that the drums start on david byrne's "don't fence me in", I turn it up until the windows shake.The video for "don't fence me in" is also one of the better ones.As a bonus, the CD comes with the lyrics as originally written by Cole Porter, so that you can compare them to how the artists interpreted them for their songs.I would recommend this CD to anyone.

Red Red Hot!!!!
This is truly a sublime album... The lyrics are still au courant! ... Read more

Asin: B000008JUM
Subjects:  1. Pop    2. Rock    3. V/a Compilations   

Anything Goes [Expanded]
Average Customer Review:
Audio CD (06 November, 2001)
list price: $13.98 -- our price: $13.98
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Reviews (3)

great overlooked sixties group
Harper's Bizarre combined many of the best qualities of the Beach Boys and the Beatles, and it's a shame they aren't more appreciated.The intricacies of the production and vocal harmonies on this album rival those of Pet Sounds.The wistfulness and beauty of the songs resonate with songs such as Fool on the Hill and Eleanor Rigby.Like the Beatles (Your Mother Should Know, Honey Pie), HB liked to juxtapose retro-sounding songs with more modern fare.They share Randy Newman's sly sense of humor and observation.This album was in constant rotation with Simon and Garfunkel's Bookends album on my record player when it came out.This is a highly recommended artifact from a more innocent (but not as innocent as they sound) age.

bizarre harper's
Well I won't go on too much about this album the reviewer before me did a very good job covering it. this collection of songs is a strange echo of much earlier decades, yet its all done with a 1960's syles. One of the most interesting songs is definitly "Louisiana Man," a blue grass type folk song which was also recorded excellently by The Seekers.

The Best of Pure '60s Pop
Harpers Bizarre's second album, released in 1967, is a joy for pop music lovers, and the best of their four Warner Brothers releases. The opening, "This is Only the Beginning," establishes a faux radio broadcast typical of the 1940's, leading directly into the opening verse of "Anything Goes," sung by Cole Porter himself! This segues into the group's performance of the song (featuring Van Dyke Parks on piano; check out his later work, both solo and with the Beach Boys' Brian Wilson), and is followed by another Cole Porter tune, "Two Little Babes In the Wood," again featuring Porter's own voice on the intro. Naturally, these two songs sport some of the cleverest lyrics ever written. These are followed by the first of two songs by one of the 20th century's greatest songwriters, Randy Newman, "The Biggest Night of her Life," a sweet, uptempo song with an instrumental break the flapper set will love. Sammy Cahn and Jimmy Van Heusen's title song from the movie "Pocketful of Miracles" is a pure joy, and is followed by another Randy Newman song, "Snow," a beautiful, moody, emotional piece. This is followed by a cover of the big band-era classic, Glenn Miller's "Chattanooga Choo Choo," in a sparkling arrangenment that pays homage to the original. "Hey You In the Crowd," an original by Ted Templeman and Dick Scoppettone of the group, is an unptempo charmer presented in a faux-live-on-stage style. Doug Kershaw's classic "Louisiana Man" and the Edith Piaf classic "Milord" both get top-flight treatments here, followed by another Templeman/Scoppettone original, "Virginia City". "Jessie" by Jimmy Griffin (later to be a member of Bread, and to win an Oscar for co-writing "For All We Know" from the movie "Lovers and Other Strangers") is an urban mood piece with a melody that owes a lot to George Gershwin. David Blue's "You Need A Change" is a lost gem, and makes you wonder why Blue never won wider acceptance. The original album closes with "High Coin," by the brilliant Van Dyke Parks. It's unusual, as you would expect from Parks, but the Harpers handle it with aplomb. This new Sundazed reissue of the album adds two bonus tracks, "Malibu U," by Don and Dick Addrisi (of "Never My Love" fame), the theme from a frothy little TV series of the day; and the 45rpm version of Kenny Rankin's "Cotton Candy Sandman," a different version of which would appear on the LP "Harpers Bizarre 4". (Neither of these bonus tracks has appeared on LP or CD before.) The arrangements on this album are absolutely top-notch, and much credit goes to Perry Botkin, Jr., Nick de Caro, Bob Thompson, and Van Dyke Parks, as well as Ron Elliott of the Beau Brummels, a group which also spawned the Harpers' own John Petersen.

The group hardly ever sings much above a whisper, and won't be to everyone's taste. But I find this to be fun pop music at its best. Give it a try. ... Read more

Asin: B00005QZ77
Sales Rank: 71364
Subjects:  1. Baroque Pop    2. Pop    3. Rock    4. Sunshine Pop    5. Vocal Pop   

The Cole Porter Songbook: Instrumentals-Anything Goes
Average Customer Review:
Audio CD (20 October, 1992)
list price: $14.98 -- our price: $14.98
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Reviews (1)

Not too good
There are a few nice tracks on this album but it was largely a disappointing experience.It seems like most of the tracks were experiments by the artists in their own styles, styles remote from that originally intended by Porter. ... Read more

Asin: B0000046OF
Sales Rank: 223106
Subjects:  1. 40's    2. 50's    3. 60's    4. Avant-Garde Jazz    5. Big Band    6. Bop    7. Cool    8. Hard Bop    9. Jazz    10. Jump Blues    11. Mainstream Jazz    12. Pop    13. Post-Bop    14. Soul-Jazz    15. Swing    16. Traditional Pop    17. Vocal Jazz   

I Get A Kick Out Of You: Cole Porter Songbook Vol. 2
Average Customer Review:
Audio CD (22 October, 1991)
list price: $11.98 -- our price: $11.98
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Reviews (3)

SUPER PORTER RENDITIONS
Volume 2 of the complete COLE PORTER songbooks on VERVE is a clinger all the way.Songs like EVERYTHING I LOVE,GIVE HIM THE OOH-LA-LA and MOST GENTLEMEN DON'T LIKE LOVE are not often recorded.ANITA gives us a typical treatment of MY HEART BELONGS TO DADDY which means her way;The ELLA renditions are not from the songbooks of 1956;i personnaly enjoy AFTER YOU,WHO from the magical voice of HELEN MERRILL and SO IN LOVE done in cha-cha by that maneater par excellence DINAH WASHINGTON.This is an excellent tibute to COLE PORTER,well worth buying.

Excellent compilation!
Terrific versions of classic Porter songs recorded by jazz's greatest vocalists... It's hard to go wrong with this CD.This is the second volume of the Cole Porter's songbook and it is appreciably better than the first volume, which was titled "Night & Day"

I get a kick out of Cole Porter
This is an excellent compilation of Cole Porter's famous and not-so famous but nonetheless excellent songs.A wonderful tribute to a wonderful man. ... Read more

Asin: B0000046K4
Sales Rank: 30964
Subjects:  1. Jazz    2. Pop    3. Standards   

Night and Day: The Cole Porter Songbook
Average Customer Review:
Audio CD (05 October, 1990)
list price: $11.98 -- our price: $10.99
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Editorial Review

Cole Porter's songs have a unique charm. Whether conveying the bantering, urbane wit of "I Get a Kick out of You" or the affecting depths of sentiment in "Every Time We Say Goodbye," his lyrics are matched to his melodies with a conversational ease. No matter how hard Porter might have worked at those effects, his efforts are invisible. That seeming nonchalance is conveyed magnificently here by a complement of wonderful singers, including Sarah Vaughan, Betty Carter, and Shirley Horn. Drawn largely from Verve's immense store of 1950s and 1960s recordings, the CD presents some ideal matches of singer and song, from the rhythmic vitality of Louis Armstrong's "Let's Do It" to the glorious depths of Billy Eckstine's "In the Still of the Night." --Stuart Broomer ... Read more

Reviews (12)

Simply a must...
This is simply a must for any anthology of Cole Porter.Excellent, if not the best recordings of each song in the collection.

Cole Porter Gets The Jazz Treatment
As originally written, Cole Porter's works tend to have very strict and intricate presentations that would not seem to lend them to jazz interpretations--but as is the case with any great composer, Porter's songs bear more than a single interpretation, and this collection of jazz versions is remarkable from start to finish.

Dinah Washington's live "I've Got You Under My Skin" opens the collection and is, I think, one of the two or three best things the legendary Washington ever recorded: a startling arrangement that emphasizes percussion and finds the singer weaving words and music over the throb of drums to extraordinary effect.Louis Armstrong's slow and sexy "Let's Do It" also ranks in the same league, teasing the listener with slurs and hesitations that highlight the wickedly funny double entendre lyrics.Blossom Dearie's catlike "Always True to You In My Fashion" and Billie Holiday's "Easy to Love" are also equally memorable.

But these are merely my own favorites from this collection: be it the hummingbird-like vocals of Ella Fitzgerald, the brilliant sheen of Sarah Vaughn, or the sophisticated stylings of Anita O'Day, this is truly a collection to treasure.The ideal selection for someone with a taste for both classic jazz and the dazzling Porter sensibility.Strongly recommended.

GFT, Amazon Reviewer

Fabulous CD!
I really enjoyed this CD and would recommend it to any modern jazz fan as a neccessary addition. Great renditions of Cole Porter classics, fine recording, really essential "Bombshell" classics contained here. Just an all-around fun and great CD. ... Read more

Asin: B0000047BH
Subjects:  1. 50's    2. 60's    3. 70's    4. 80's    5. Ballads    6. Big Band    7. Bop    8. Cool    9. Crossover Jazz    10. Hard Bop    11. Jazz    12. Pop    13. Post-Bop    14. Standards    15. Swing    16. Traditional Pop    17. Vocal    18. Vocal Jazz    19. West Coast Jazz   

Anything Goes - Rebecca Luker Sings Cole Porter
Average Customer Review:
Audio CD (09 October, 2001)
list price: $18.98 -- our price: $18.98
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Editorial Review

This disc isn't nearly as prim and proper as its opening. Accompanied by a ragtime orchestra, Rebecca Luker begins the title tune with the air that she'd actually find a glimpse of stocking shocking, before Patrick Brady's arrangement breaks into full swing. Luker's pure soprano (best known for leading-lady roles in The Secret Garden, the Sound of Music revival, and Hal Prince's Show Boat) never regresses into true bawdiness in that song, but she sounds absolutely lovely on the 14 Cole Porter gems included on this album. She's ably assisted by guests Emily Loesser, Sally Mayes, and Brent Barrett. "In the Still of the Night" causes time to stand in place, and "Dream Dancing" will transport you away.... --David Horiuchi ... Read more

Features

• Soundtrack

Reviews (15)

Great, but not perfect
Rebecca Luker is one of the greatest singers of the current generation gracing the Broadway theaters. Her liquid soprano voice floats along on two of the best musical recordings ever made, EMI's BRIGADOON and the original cast of THE SECRET GARDEN. Here's an entire CD of Ms. Luker singing the best of Cole Porter. She's backed up by some other people whose work I enjoy: musical director and arranger Patrick Brady, singers Brent Barrett and Sally Mayes, and producer Bruce Kimmel. Two of the theater's greatest directors also play small parts: John McGlinn is listed in the "Thanks" section, and Hal Prince wrote the (extremely sparse) liner notes.

Five of these tracks are absolutely wonderful: "I Am Loved," an up-tempo duet with Barrett; "True Love," the famous ballad from HIGH SOCIETY; the comical combination of "I Like Pretty Things" and "Where Oh Where?"; an authentic-sounding country-western rendition of "Don't Fence Me In;" and the heart-breakingly beautiful "Every Time We Say Goodbye."

As in other recordings (such as some Varèse Sarabande Broadway anthologies and Encore's THE BOYS FROM SYRACUSE), Ms. Luker occasionally breaks into a slightly more nasal voice and over-emphasizes her R's. While I'm sure the effect is intentional, I wish she'd use this technique more sparingly. Don't get me wrong: all the tracks are beautiful, and most lovers of Porter and/or Ms. Luker will be more than satisfied with every selection. It's just that since I have such high expectations for anything involving Rebecca Luker, I am slightly disappointed with a few of the tracks.

i listen to this night and day!
Rebecca Luker has shone onstage ever since her Broadway debut as Christine in Andrew Lloyd Webber's The Phantom of the Opera. Since then, she has gone on to play Maria in The Sound of Music and is currently starring as Marian Paroo in The Music Man. She is famous for her clear, beautiful soprano, and her vocal talent is fully exhibited on this recording. Rebecca shines on "After You, Who?", "Night and Day", "Ridin' High", "Everytime We Say Goodbye", and the title track. Backed by creative orchestral arrangements on such classic tunes as "You Do Something To Me" and with the help of such talent as Emily Loesser, Sally Mayes, and Brett Barret. Rebecca has chosen a fine arrayment of songs to flatter her beautiful voice. This CD is recommended to Luker, Porter, and jazz fans alike, but also those with an appreciation for outstanding vocal talent.

Rebecca Luker - Anything Goes
For those who enjoy real singing,there is no better example of how it is supposed to be done than Rebecca Luker's collection of Cole Porter songs, Anything Goes. She is, without question, one of the best singers in the world today, and this CD is evidence of that. ... Read more

Asin: B00005PJ9A
Subjects:  1. Pop    2. Pop Vocals    3. Show Tunes   

The Cole Porter Songbook
Average Customer Review:
Audio CD (16 April, 1991)
list price: $11.98 -- our price: $11.98
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Reviews (1)

Outstanding Introduction to Parker's and/or Porter's Music
With the release of this songbook collection, Charlie Parker achieves instrumentally what labelmate Ella Fitzgerald (and, of course, Frank Sinatra) did vocally: join an elite group of first-rate Cole Porterinterpreters.

It helps having fine support (including drummers BuddyRich, Max Roach, and Art Porter, bassist Teddy Kulick and pianist OscarPeterson). It also helps to overcome obstacles (some fussy big-band/stringarrangements and an dissapointing pop rendition by Gil Evans on the first"In The Still Of The Night.") Highlights include a blues-based"I Love Paris" (featuring bass/drum interplay sounding like afunereal rumba), Parker floating sheets of jazz like a magic carpet abovethe sweet strings of "Easy to Love," and an unusually somberversion of the wistful "Just One Of Those Things." This providesan outstanding first step in appreciating Parker; to know the lyricalmaster Porter better, check out "Frank Sinatra Sings The Classic ColePorter" on Capitol, or Ella Fitzgerald's legendary "Cole PorterSongbook" on Verve. ... Read more

Asin: B0000046VH
Sales Rank: 108097
Subjects:  1. Big Band    2. Bop    3. Jazz    4. Leader    5. Pop   

Kiss Me, Kate (1999 Broadway Revival Cast)
Average Customer Review:
Audio CD (25 January, 2000)
list price: $16.98 -- our price: $14.99
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Editorial Review

This terrific new recording of Cole Porter's greatest show grabs you from the beginning: shimmering strings lead straight into "Another Op'nin', Another Show" before the orchestra takes over. Then it's on to many of Porter's best-loved melodies and wittiest lyrics, including "Wunderbar," "So in Love," "Always True to You (In My Fashion)," and "Why Can't You Behave?" Art imitates life in this story of a troupe's performance of Shakespeare's The Taming of the Shrew, as the stars quarrel as much offstage as they do onstage, and Porter's score reflects this with both contemporary '40s songs ("Too Darn Hot") and Bard-inspired stage songs ("I've Come to Wive It Wealthily in Padua"). Similarly, Don Sebesky's marvelous new orchestrations alternate a jazzy band with Elizabethan-period drums and recorders. Brian Stokes Mitchell and Marin Mazzie (both alums of Ragtime) are in glorious voice as the feuding stars, while Amy Spanger and Michael Berresse shine as the secondary couple. Surprisingly, when this production debuted on Broadway in the fall of 1999, it was the show's first-ever major revival. The original 1948 cast recording is still great listening, but this is a Kiss Me, Kate for the new century. --David Horiuchi ... Read more

Features

• Cast Recording

Reviews (67)

zesty new revival of the Cole Porter classic
The 1999 Broadway revival of KISS ME KATE was a big success, running nearly 3 years and spawning a national tour as well as a London production (which was taped for DVD release).The cast album is a real delight.Brian Stokes Mitchell (KISS OF THE SPIDER WOMAN, MAN OF LA MANCHA) is a grand Fred Graham, and Marin Mazzie is a thrilling Lilli Vanessi, the feuding ex-spouses starring in a musical version of Shakespeare's "Taming of the Shrew".Michael Berresse and Amy Spanger add a playful sexiness to their performamces as Bill Calhoun and Lois Lane, with Adriane Lenox as a perfectly-belted Hattie.The orchestrations by Don Sebesky are bright and full of bounce; I especially love the bluesy arrangement of "So in Love".This cast album is highly-recommended if you already own the OBC with Alfred Drake, Patricia Morison and Lisa Kirk.

New orchestrations are revival cast album's undoing
The 1999 Tony award winning revival of KISS ME KATE managed to show there was still life in this 50-year old show. Brian Stokes Mitchell and Marin Mazzie are ideal as a modern day Fred and Lilli. Amy Spangler has the proper saucy style for Lois. There was some (needless, though minor) tinkering with the book and the show's famous Overture was dropped. (That Overture must be jinxed: on both the Columbia and Capitol cast albums it was replaced by the Entr'acte. The 1987 London cast uses a new Overture.)The "updated" arrangements by Don Sebesky are no improvement on the originals, although the use of Elizabethan styled music for the Shrew sections is appropriate. The new recording includes more dialogue than previous releases.The production moved to London after its Broadway run and that edition was taped and has been released on DVD and is well worth checking out.

great revival recording of the classic show!
I saw this musical in New York a few years ago, and completely loved it!the actors/singers are excellent, in particular Marin Mazzie.she does a terrific rendition of "I hate men!".truly a classic! ... Read more

Asin: B00003OP0U
Subjects:  1. Pop    2. Showtunes / B'way   

Kiss Me Kate (1953 Film Soundtrack)
Average Customer Review:
Audio CD (19 November, 1996)
list price: $11.98 -- our price: $11.98
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Features

• Original recording remastered
• Soundtrack

Reviews (6)

DEFINITELY THE BEST
I wholeheartedly agree with every comment already posted. This recording is astonishing in its completeness. The audio quality is as superb as already mentioned. I agree that Howard Keel gives a definitive performance, and that Kathryn Grayson is heard to best advantage. Ann Miller is beyond compare in her bravura performance. The spirit of the MGM studio orchestra is also heard at the top of its game. I was lucky to see a 3D screening of this movie around 1979 or 1980. It was well worth it then, and this recording captures everything about the film that anyone could ever want.

Fabulous STEREO recording of classic Cole Porter score
The MGM film version of Cole Porter's KISS ME KATE was released in 1953.It was filmed in 3D but was not widely released in that format as it required special projection equipment and required the audience to wear eye-straining glasses.It was successful both in the 3D version, as well as the conventional "flat" version that was more widely released.It was also one of the very first films released in stereo.The cast included some of the greatest musical talents in Hollywood at the time: Howard Keel, Kathryn Grayson, and Ann Miller.All are in top vocal form.

This soundtrack unquestionably surpasses any other recordings of the score, although the two original cast recordings come close.All tracks are taken directly from the original recording session masters and have been remixed for stereo (the original soundtrack album of 1953 contained only a handful of songs - compared to this - and was heard only in monaural).Not only are all cuts from the original vinyl release included here (you wouldn't expect the CD to not include them, would you?), but a HUGE amount of instrumental underscoring and additional material is here as well.The sound quality (in glorious STEREO) is fabulous.The BEST recording of the score, hands down.I also recommend, though, the 1959 stereo recording with the original cast.Fabulous.

HIGHLY RECOMMENDED

A tour de force
Although I tend to prefer Broadway to film scores, this is a notable exception.Howard Keel is a one man tour de force, dashing off number after number with machismo, panache, and wit, Ann Miller is splendid, and even Kathryn Grayson is much better than her usual cloying self.Porter's lyrics are the stuff of genius (how many people in the history of the world could have written Brush Up Your Shakespeare?), the melodies are uplifting and catchy, the plot is hysterical, but above all this is Howard Keel's show, perhaps his greatest performance along with Showboat. ... Read more

Asin: B0000033MR
Sales Rank: 24416
Subjects:  1. Pop    2. Soundtracks & Film Scores   

High Society: Original Cast Recording (1998 Broadway Cast)
Average Customer Review:
Audio CD (20 April, 1999)
list price: $13.98 -- our price: $13.98
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Features

• Cast Recording

Reviews (12)

Wonderful Cast Recording
This is such a wonderful musical - Cole Porter at his best - I listen toit over and over and over. I'm very proud to be producing it for a NorthernCalifornia Community Theater group - a "Silicon Valley Premiere"since only A.C.T. has done it before my group.Wondeful melodies, music,lyrics - everything.I can picture the show unfolding and the love that istruly evident between Tracy and Dexter, though she has to learn a fewthings 'bout life first - and come off her "holier than thou"cloud.A wonderful theater experience!

Very pleasant but not absolutely top drawer
In 1939 there was "The Philadelphia Story" as a stage smash. In 1940 it was a screen smash. In 1956 it was a film musical of some note. Finally in 1997 there opened on a San Francisco stage and the next year in New York amusical based on the second film and on the original play-- therebycompleting the cycle. And thank you, DRG, for issuing a CD version of thislatest incarnation, High Society (drg 19011). Of course as was done twicebefore with Gershwin, many other Cole Porter songs are added to those usedin the film; so we have "True Love" here and "I Love Paris" there, with theperhaps or perhaps not excusable "additional lyrics" (I hope not an attemptto "improve" on Porter!)-all of which is sung with verve by an energeticcast that are not the cat's meow vocally but are winning nevertheless,headed by Melissa Errico, Daniel McDonald, Randy Graff, Stephen Bogardus,and John McMartin.So if you love Cole Porter-and who honestly doesnot?-you will enjoy this offering very much indeed.

Musically fine adaptation of classic musical movie.
This CD was a thoroughly pleasant surprise.The 1950s MGM musical, 'High Society', is fondly remembered by many.However, I've always thought its score and the performances of the songs, especially by Frank Sinatra, LouisArmstrong (ironic, kindly), Celeste Holm and Bing Crosby were its bestfeatures.The book seems dated and irrelevant.Earlier attempts have beenmade to bring 'High Society' to the stage and they, like this version, haveraided the Cole Porter songbook to flesh out a fairly short film score. Oddly they, like this version, have omitted my personal fave song from themovie, 'Mind If I Make Love to You', a sensuous piece of sophisticated '50sshow music.Am I the only person who likes it?Why is it left out byrevivalists?This version, unlike in particular a very disappointingLondon cast recording from the '80s, strikes me as a fine Cole Portermusical.The interpolated songs generally work very well.While 'HighSociety' (the song) loses something when not delivered by Louis Armstrong,the Greek chorus of singers who present it here are a valid alternative. Best thing about the disc is that the vocal qualities are even throughoutand invariably impressive.Additionally it offers snatches of dialoguewhich are convincing and give the songs context.While the Capitol 'HighSociety' soundtrack recording is a must for fans and is irreplaceable thisversion is utterly different and totally valid on its own terms.It's alsoa thoroughly enjoyable hour of classy music.If in doubt - buy! ... Read more

Asin: B00000IISW
Sales Rank: 47173
Subjects:  1. Cast Recordings    2. Pop    3. Showtunes / B'way   

Out Of This World (1995 New York Revival Cast)
Average Customer Review:
Audio CD (20 February, 1996)
list price: $11.98 -- our price: $11.98
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Features

• Cast Recording

Reviews (2)

Great!!BUT GET THE ORIGINAL IF YOU CAN!!
'OUT OF THS WORLD' without doubt has one of the very best Musical Scores Ever!
This production, though very enjoyable, sadly does not compete with the very original.
Try if you possibly can and obtain the CLASSIC ORIGINAL RECORDING, and discover what the Real Broadway Musical sounded like - 'Pure Magic'.
Should you not succeed, then this recording will suffice.

an encores recording that even outdoes the original
having been privileged enuf to attend the live performance of "out of this world" a few years back, i can attest to all the flaws inherent in this show.BUT the original album is brilliant, and this recording is-- if anything -- even better.

all of the performers are at least theequals of their predecessors, and some (like andrea martin) manage to evensurpass: not an easy task in view of the brilliance of greenwood'soriginal.

add to this the improved sound, the inclusion of a few numbersleft off the original, and especially the inclusion of the show's one hitsong "from this moment on" -- originally deleted pre-broadway,and this is the one of the two recordings to have; however, you will betruly happy only if you have both.

why oh why do some shows get two greatrecordings while we still wait for the perfect "follies","carousel", etc.? ... Read more

Asin: B000000PL3
Sales Rank: 66738
Subjects:  1. Pop    2. Showtunes / B'way   

Kiss Me Kate (Broadway Revival - PBS Great Performances)
Director: Michael Blakemore
Average Customer Review:
DVD (13 May, 2003)
list price: $24.99 -- our price: $22.49
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Editorial Review

Cole Porter's masterwork Kiss Me, Kate was revived in a splashy production that played on Broadway in 1999 then in London, where this version was filmed in front of a live audience in 2002.Broadway veterans Brent Barrett and Rachel York play pompous Fred Graham and feisty Lilli Vanessi, respectively, the couple whose roles in Shakespeare's The Taming of the Shrew mirror their offstage feud. The play-within-a-play format is reflected in a score that has both contemporary '50s songs ("Too Darn Hot") and Bard-inspired stage songs ("I've Come to Wive It Wealthily in Padua").Other songs such as "Wunderbar," "So in Love," "Why Can't You Behave?," "Always True to You (In My Fashion)," and "Brush Up Your Shakespeare" are among Porter's best-loved melodies and wittiest lyrics.Nancy Anderson and Michael Berresse (the lone principal still remaining from the original Broadway cast) sing and dance up a storm as the secondary couple Lois and Bill, and Teddy Kempner and Jack Chissick steal scenes as the gangsters.Recommended for fans of musicals, though it's not the most family-friendly choice due to gender conflicts and stereotyping. --David Horiuchi ... Read more

Features

• Color
• Widescreen
• Dolby
• DTS Surround Sound

Reviews (34)

Misguided concept of a great musical
My enjoyment of the PBS telecast was just fitful.The production itself
was just breathtaking - faithful to the time period, expensive, detailed and
colorful. The costumes were of a quality one rarely sees anymore -
imaginative designs, the attention to detail, and color coordination was all
beautifully done.
The two stars, Brent Barrett as Fred/Petruchio and Rachel York as
Lilli/Kate, are both movie-star handsome, exceptional in this regard, and
looked their parts to the hilt. York especially looked like a 1940s lady of
the theatre, while Barrett really does look like a matinee idol.
I was far less pleased with their performances and singing.It's not
that I don't doubt their talents; they obviously have star quality.But
whose idea was it to have Fred and Lilli behave like spoiled, bratty, whiny
children?The kind you see on TV sitcoms - immature, silly, and really,
really dumb-acting.These two were quite unsavory, ridiculous, even
unsympathetic characters. Everything was way over-the-top.Furthermore, all
of the constant mugging, overacting, eye-rolling, excessive broadness and
exaggeration of expressions wore thin after a short while.Rachel York
repeatedly screamed, shrieked, yelled, caterwauled and went beyond behaving
like a mere shrew: the show turned into The Screaming of the Shrew.This
Lilli had no sophistication, class, dignity, warmth, irony or even
wit...even her sarcasms and irascibilities were all wrong, too
teenage-princessy...she was a high-decibel harpy and little else.
Brent Barrett was a little better, but he still came across like an
excitable high school kid.Fredric Graham should be a aspiring-classical
actor type - albeit vain, hammy,insecure and prone to an inflated sense of
his own-alleged greatness; but a child he's not. Fred should reek of
Martini and Rossi-smoking-jacket-cigar savvy and larger-than-life
sophistication, yet edgy, rattled in a way only overambitious actors can be.
It's strange, seeing Barrett, this tall, athletically built,
distinguished-looking actor, made to behave like an overgrown teenager...
sort of like one of those men depicted in sitcoms...childish, foolish-acting
and an irritating air-head.Even his speaking voice (as used here), when
under pressure, cracks and acquires that puberty-falsetto (think Tom Cruise
when he yells). He's not anywhere believable as an aspiring classical
actor.
I had even more misgivings about York's and Barrett's singing.Yet I
can't blame them exactly; very few people on Broadway nowadays exhibit the
kind of fundamental classical training that was obligatory at one point. I
couldn't tell whether York knew what she was doing; her singing displayed a
combination of pop vocal crooning, along with some jazzy inflections - yet
there were hints here and there of some operatic leanings. As a result, none
of her songs coalesced properly; it seemed as if each register, wherever the
song in question took her, revealed a different kind of stylistic realm.
Barrett, again, was a little better, but he too lacks a truly fundamental
technique.The middle part of his range seems natural and easy, but the
higher he goes the tone spreads and sounds constricted all at once; you
can't take a pop voice production of tone and expect it to bloom properly.
Moreover, Barrett was often afflicted with a troubling vibrato. From what I
can hear, when he speaks properly, there is quite a beautiful, resonant
voice in there somewhere, but he's misusing it at practically every turn.
A digression: watching Howard Keel in the film version, I'm more
convinced than ever that his performance as Fred/Petruchio is THE classic
embodiment of the role in every way.Keel was among singers, an
outstanding, instinctive actor, and brought to the role the kind of
distinction it required.It did not hurt that he was tall, distinguished
and imposing (he looked great as Petruchio, so Shakespeareanly dashing).
Keel's Fred Graham was ultra-masculine, exaggeratedly vain, ambitious and
yet somehow mature and imbued with depth; Barrett didn't even begin to
convey these latter qualities.And Keel's voice - deep, vibrant, correctly
produced and gorgeous in tone quality,was one of the best of its kind for
the baritone leading-man roles to be had. His accounts of the songs are
matchless.

More troublesome though, was how York and Barrett interpreted their
songs.Even the simplest melodies were tugged, pulled, underlined and bent
out of shape, as though to make the audience understand every little
inflection, and bring across the mood with all these exaggerated
"espressivo" effects... but all these gimmicks and schticky touches ruin the
songs."I Hate Men" was the most idiotically overacted spectacle I've ever
witnessed."Wunderbar" is a beautiful melody whose words are parodical: yet
the tune in its beauty should be retained and preserved.York and Barrett
tried to make the song the magical moment it can be, but their voices did
not blend, and the song failed to surge as it should (as Alfred Drake and
Patricia Morison made it so). Ditto for "So in Love," (still a bit
overemotive and swoony by York) though it was mercifully spared from being
mangled in this production (Barrett came closest to producing the most
moving moment near the end in this tune). For the most part though, most
of the songs as performed here didn't work for me...Porter's music was
poorly represented (the voices didn't serve the score) and Porter's lyrics
were banged up and slammed in every which way AND loose.
One of the pleasures of the two original cast albums (the first in Mono,
the second done especially for the then-new Stereo era) was Lisa Kirk's Lois
Lane/Bianca.Kirk brought a special brand of street smart babe-sexy
sultriness to the role, helped by that deep, knowingly sensual timbre she
owned.Her renditions of Lois's songs are dynamite, are Broadway classics,
and what's more, made the role into a real character, not just the secondary
comedy lead.It made for a terrific contrast to Patricia Morison's
high-minded lady of the theatre voice and personality.
Nancy Anderson in the PBS telecast was made to embody a completely
different Lois altogether...and I hated it.Lois was here into a
nasal-voiced, dimwitted kewpie doll.She spoke and sang in a pinched,
"dum-dum girl" tone, and so the songs failed to come to life.
The rest of the cast did fine...the "Too Darn Hot" number was
wonderful, spicy, insinuating and catchy. But it serves little point in
analysing the other factors, because the main elements were too compromised
for me to enjoy the show as a whole.

truly wunderbar!
I can't even begin to describe how excellent this show is!!!!!!! The performances are soooo incredible. Brent Barrett and Rachel York are, as always just superb. Ms York as we all know is one of the most versatile performers toay, and this I believe is her best performance. She was bron to play Lilli, as was Mr. Barrett to play Fred. The singing is deffinately some of the best. Of course, nothing can beat the original with Patty Morison and the late Alfred Drake, but this is my second favorite. I prefer it to the Mazzie/Stokes Mitchell recording. I don't know, the singing seema stronger here. Also, you can see them as opposed to just hearing them. Brent is be-ootiful and taked hold of his character exceptionally well!!!!!!!! And Rachel is gorgeous, especially in the Wunderbar scene. She really has a demanding role, she must sing beautifully (which she REALLY does) scream her head off like a mad women (which she does EXCEPTIONALLY well) she must seem bossy, tyranical, tempermental, bossy, harsh, while also seeming vulnerable, wounded, and a bit frightened, and sad at times. I LOVE THIS SHOW!!!!!!!!!!!!!!!

Rachel is worth it
I was very excited to see this, having seen the original cast (lead by Marin Mazzie and Brian Stokes Mitchell) on broadway. For some reason the energy of this cast does not transfer into the audience. Brent Barrett, I'm sorry to say, is a sad replacement for Stokes. Nancy Anderson (who has been wonderful in other roles) is squeaky and annoying in this one.

The one reason I'd give to watch this is Rachel York, who seems to be perfect in just about every role she takes on. I saw and loved Marin Mazzie, but Rachel York can certainly hold her own. She has a wonderful voice, amazing comic timing, and is quite beautiful on top of it all. She embodies Lily Vanessi brilliantly in this production. It's just a shame that her fellow cast-members can't do the same. ... Read more

Asin: B00008NFR6
Subjects:  1. Performing Arts - Theater   

Kiss Me Kate
by Kathryn Grayson Howard Keel
Director: George Sidney (II)
Average Customer Review:
DVD (22 April, 2003)
list price: $19.98 -- our price: $17.98
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Editorial Review

Cole Porter, Shakespeare, and 3-D:Not the usual recipe for an MGMmusical, but hey--it works. Although it runs hot and cold, this 1953 take on Porter's delightful Broadway smashlets a chewy cast gorge on some terrific songs and show-biz in-jokes. Think ofthe plot as His Girl Friday in greasepaint:vain star Howard Keel wantsto lure ex-wife Kathryn Grayson back to the boards with a musical version ofThe Taming of the Shrew. The movie's weakness is too much Shakespeare,not enough backstage backbiting (and why are two of the best numbers, "So inLove" and Ann Miller's zippy "Too Darn Hot," confined to a prologue?). Thenthere's the tendency to throw things at the camera--3-D, what hath you wrought?The candy-store color design is great fun, and Tommy Rall and future dance titanBob Fosse are turned loose for some sensational leaps. Now that's "Wunderbar."--Robert Horton ... Read more

Features

• Color
• Closed-captioned
• Dolby

Reviews (43)

Absolutely fantastic musical, deplorable DVD case
I'm giving this item five stars simply because the disc itself is grand - you receive one of the greatest MGM musicals ever conceived and it's bolstered by quite nice extras. That much you can be assured of.

I'm writing this particular review because of Warner Bros. insistance on using fragile, cheaply made cardboard sleeves rather than the standard plastic dvd cases.

The problem with these Warner cases is that the pins holding the disc can break if even the slightest pressure is applied to the case, rendering it's capability the actually hold the disc useless. And unlike the plastic cases, the Warner ones cannot be replaced save for returning the disc to the original purchase place or attempting to contact the manufacturer (good luck with that, by the way).

Another problem lies with the fact that it's made out of cardboard - when you remove the anti-theft stickers almost invariably the sticker will peel some of the artwork off the cover. This can occur even when you're carefully attempting to slowly peel the sticker off.

The reason I feel the need to mention this is I own dozens of Warner movies, and well over half of them are damaged in this manner and irreplaceable outside of purchasing a new one (not likely, Greedy Bros.)

To be fair, Warner has finally began producing plastic cases with some of their newest releases - the top-notch Film Noir and Gangster collections offer the films in splendid little plastic cases. But titles like "Kiss Me Kate", "Rebel Without A Cause", "Broadway Melody of 1940", and even "Wizard of Oz" are still only available in these sad cardboard cases.

GRAYSON & KEEL AT THEIR ZENITH
This is by far one of the very best musicals ever made. Kathryn Grayson and Howard Keel displays Oscar worthy performances as Lilli and Fred. Sadly, this was Grayson`s last MGM film and she did only 1 more(at Paramount - The Vagabond King with Oreste).

In KISS ME KATE she shows us a depth and nuance and is right on target the whole picture through. Audrey Hepburn won that year`s Oscar for Roman Holiday - but Miss Grayson should deservedly have won it.
The same goes for Howard Keel. True, he is hammy at times - but it is a remarkable performance he gives(Mind u - he was a musical star). William Wolden`s Oscar for Stalag 17 should have gone to Mr Keel.

That`s Entertainment and its sequels payed deservedly homage to producer Arthur Freed and his genius in selecting and delegating crew and performers to the right project were uncanny.
Yet you shouldn`t negletct Jack Cummings who produced this film, Seven Brides For Seven Brothers and Three Little Words(to name but a few). It seems to me that MGM had an "MGM-look!" Can u really tell the MGM films from 1930-1960 apart and say which 1 was the director? Not really, unless u are Hitchcock or Fritz Lang.

What I mean to say that it`s high time Cummings, Joe Pasternak og Sol C. Sigel comes out of the cold and are giving honours for their splendid musical efforts(Bathing Beauty, Anchors Aweigh, In the Good Old Summertime, Summer Stock, The Great Caruso, Hit The Deck and High Society etc).

I must also pay may respects to Tommy Rall(soon 2 be one of the brothers in Seven Brides for Seven Brothers); he is a dancer`s dream come true:-)

Should have included a Field Sequential 3-Dversion!
Not that many people are aware of the Field Field Sequential 3-D .
This is a 3-D TV system that uses special shutter glasses that can be purchased here through Amazon in a set that includes 3 DVD's using this process. This system Is the only way to view a 3-D film effectively on TV to date. The result is about 90% close to the effect you will see in a theatre showing.. like IMAX and Disney and Universal.
These glasses are made of sturdy plastic and clear not these cardboard red and blue pieces of garbage, so you can view the film without constricted to seeing red and blue colors and with this system you will see more actual 3-D depth with the films true colors.. It's really amazing!
For some odd reason the big studios haven't adapted to include a separate version of a 3-D title in this great format.
Films like:
"House of Wax","Kiss Me Kate","Friday the 13th Part 3", "Robot Monster, "Cat Woman on the Moon", "Creature from the Black Lagoon" and "Jaws 3" are all now in 2-D DVD, but were originally shown in 3-D and could have been included using the Field Seqential 3-D system on the same disc with the 2-D version.
In Japan in the late 80's there were a few 3-D titles released using Field Sequential 3-Dand can be found on e-bay converted to DVD and VHS.
Why aren't the studios producing these now!
I boycott any film DVD release that was originally intended to be seen in 3-D that's only presented in a 2-D version or anaglyph (Red and Blue Glasses).

The studios should really be awaken to this great 3-D system. ... Read more

Asin: B00008AOWI
Subjects:  1. Musical   

Can-Can (1953 Original Broadway Cast)
Average Customer Review:
Audio CD (17 November, 1992)
list price: $11.98 -- our price: $10.99
(price subject to change: see help)
US | Canada | United Kingdom | Germany | France

Editorial Review

As Cole Porter was emerging from a severe depression in 1951, he threw himself into this story set in the Montmartre of the 1890s, turning it into a tribute to a world immortalized in the artwork of Toulouse-Lautrec. To be sure, this isn't top-shelf Porter. Too many of the songs sound like self-parodies, especially "C'est Magnifique" and "Every Man Is a Stupid Man" ("Every man is an awful fool / Every man is a nincompoop."). You also get the feeling that Lilo, who plays the lead, doesn't have much affinity for what she sings, which of course makes sense since the German-born French actress didn't speak English when she was hired and had to learn her songs phonetically. Despite all that, songs like "It's All Right with Me," "I Love Paris in the Spring," and the Gwen Verdon/Peter Cookson duet "If You Loved Me Truly" make you realize that even second-rate Porter is still vastly entertaining. --Elisabeth Vincentelli ... Read more

Features

• Cast Recording

Reviews (8)

Porter Never Fails To Entertain!!
It would be easy to say, as many critics did, that Porter was not up to his usual standards. I have to disagree. "Can Can" is a wonderful score that never has been given it's due. Many popular songs came from this, but the best ones are overlooked.


The performers are all top notch. Lilo takes her material and belts it to perfection. Being a Gwen Verdon fan, I found her numbers thorougly enjoyable.


The sound quality is great considering the age of the material. Angel supplied wonderful liner notes, and the synopsis is very helpful. I can recommend this to Porter fans, and those who enjoy great music. Also for Porter fans, "Mexican Hayride" is now available from Decca Broadway.

Porter Loves Paris
Capitol Records gave the score of CAN-CAN a lively cast album in 1953.Of necessity some music had to be cut: The Garden of Eden Ballet, The Apache Dance, The Overture. Lilo has a brassy Broadway belt voice and makes the most of her songs. Peter Cookson sounds dull, though in a way that does fit in with his stuffy character. The remaster is well done and as with others in this series the liner notes are fascinating and well written. The movie sountrack version of "It's All right With Me" by Sinatra is much better but that CD is now out-of-print. Given the number of hits this score yielded plus other shows set in Paris (SILK STOCKINGS, PARIS, FIFTY MILLION FRENCHMEN) it's clear that the city served as Porter's greatest inspiration.

A not really spectacular entry in the Cole Porter canon
When "Can-Can" opened on Broadway in 1953, critics roared with approval for Michael Kidd's choreography and his fetching lead dancer, Gwen Verdon, who became a star overnight.They dismissed Cole Porter's score, for this show about the bohemian Montmarte culture of 1890s Paris, as "not up to his usual standard."Even though the score ended up producing five hits-"I Love Paris," "It's All Right With Me," "C'est Magnifique," "I Am In Love," and "Allez-Vous En, Go Away"-time and this original cast recording seem to agree with the critics of 1953.This is a rather hum-drum Porter score, most of which is not particularly memorable.Even the naughtiness of his lyrics seems to be there as a cheap shock rather than the usual sly wink.The hit songs aren't bad, but that's about it-even the best of these songs, "It's All Right With Me," is given a too-fast and not really well-sung rendition by Peter Cookson, a dramatic actor in, as far as I know, his only musical.

Thus, there isn't much to recommend this recording, except maybe its star.Not Verdon, who only appears in one song in which her trademark throaty quiver is virtually unrecognizeable (If only her spectacular dances had been preserved on film!), but Lilo, the French chanteuse for whom this show was supposed to provide a smashing American debut.Lilo actually does a pretty enjoyable job of belting out the standards and other songs she is given, but even s