Elton John And Tim Rice's Aida (1999 Concept Album) Review

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(More customer reviews)I have to be honest... I bought this CD with the high hopes that it might come across more as a *cast album* that just happens to feature popular artists, as opposed to a soundtrack-ish hodgepodge of musical artists performing songs. While--to my personal disappointment--it was more the latter than the former, I have to give much credit to the CD as an album. Great Elton John songs are captured on the disc with an impressive list of pop genre performers (including Sting, Janet Jackson, James Taylor, and Boyz II Men) and a couple of singers from the actual stage show run (Heather Headley and Sherie Scott).
My main gripes have to do with my wish for an actual cast recording. While I knew that this wasn't going to be anything near a cast recording, I still hoped it wouldn't come across too "pop-ish". So, if you're like me and prefer pure Cast Recordings, you might want to wait until the cast recording is actually released. But if you're curious about the material in this coming-soon-to-Broadway stage show, then buy this CD. Great performances abound, that's for sure.

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West Side Story Review

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(More customer reviews)West Side Story is one of my favorite Broadway musical scores, and I was looking forward to listening to this recording. What a disappointment! The Prologue starts off wrong by omitting the signature whistle signal of the Jets that is so captivating. The Jet Song is horrid, with an insertion by the Jets gang that sounds like chorus boys from The Producers doing a gig in Las Vegas. The two principals have fine voices, but the casting is totally mixed up. Hayley Westenra as Maria has a lovely American accent, while Vittorio Grigolo as Tony has an operatic Italian accent. So in listening to the recording, you basically have to pretend that Maria (or should I say Mary) is the native-born, and Tony (short for Anton, or should I say Antonio) is the immigrant. Thankfully Anita and the Sharks gang carry themselves well enough. If you want to enjoy a recording of West Side Story, I guess you need to stick to the original cast. Listening to this makes me want to move to the East Side!

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To mark the 50th Anniversary of WEST SIDE STORY, some of the biggest classical crossover stars have gathered to record a brand new version. One of the most lauded musicals ever written, WEST SIDE STORY, with music by Leonard Bernstein and lyrics by Stephen Sondheim, is a timeless classic. The famous 1984 recording included Kiri Te Kanawa - here the part of Maria is passed to fellow New Zealander, Hayley Westenra, paired up with Italian tenor Vittorio Grigolo as Tony. With a bright young cast and legendary standards, this recording is set to become the choice for WEST SIDE STORY lovers. Release coincides with the 50th Anniversary of the Broadway opening of WEST SIDE STORY - September 26, 1957. This is the first major recording of the work since the 1984 version, which featured Leonard Bernstein conducting. The recordings of Hayley Westenra and Vittorio Grigolo have exceeded 2.5 million copies worldwide. Recording includes new essay by Leonard Bernstein's daughter, Jamie.

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Les Miserables (Highlights from the Complete Symphonic International Cast Recording) Review

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(More customer reviews)I own this recording, plus the full cast 10th anniversary CD, and this one is my favorite by far. Gary Morris as Valjean does a superb job and puts more emotion into his singing than Wilkinson. His range is amazing, and his passion for this role is obvious. I also enjoyed Debbie Byrne as Fantine, and thought she did a great job. Aside from the fact that this is a "highlights" cd, this is my favorite recording of Les Miserables.

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Tarzan - The Broadway Musical (Original Broadway Cast) Review

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(More customer reviews)First of all, I have to say that I love the movie soundtrack. Ironically, the movie songs here are by far the best ones. And, surprisingly enough, Tarzan's singing (Josh Strickland) is the strongest. Kerchak's (sp?) voice is plain annoying and Jane sounds like a past-her-prime Julie Andrews. Frankly, I'm disappointed with the voices of the cast.

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Timeless: Live in Concert Review

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(More customer reviews)Face it, either you like Barbra Streisand or you don't. There isn't much of a gray area here; this passionate woman has always aroused passion in other people, be it positive or negative. This review is for those of you who like, love, adore, WORSHIP Miss Babs. The rest of you can stop here and go back to your Kid Rock CDs, heaven help you.
This wonderful 2 CD set was recorded last December 31/January 1st at the arrival of the New Millennium. Sounding more "live" than most live CD's you hear these days, it finds our Mrs. Brolin in wonderful voice and spirits, breezing her way through a program of hits and less familiar chestnuts. The audience response is rapturous, as would be expected. (I mean, who would spend all that money on tickets and sit on their hands?) And Barbra gives them what they came for, and much more. Alongside such evergreens (sorry) as "The Way We Were", "Papa Can You Hear Me" and "Happy Days Are Here Again" are absolutely
gorgeous versions of "Alfie", "I've Got A Crush On You" (sung with a tape of Frank Sinatra), and some songs which longtime fans will remember from her earliest, pre-"Funny Girl" days. These numbers will prove to be the high points of the CD for many. There is a smoldering "Cry Me A River", a jazzy "Lover Come Back To Me", a still funny (though truncated) version of her showstopper "Miss Marmelstein", and best of all, a beautiful rendition of Harold Arlen and Truman Capote's "A Sleepin Bee", the song which won Barbra her first ever singing engagement at The Lion in Greenwich Village some 40 years ago. This version, complete with the verse, is worth the price of the CD alone. Here you hear all the warmth and beauty of this legendary voice, along with the exquisite phrasing that is hers alone.
Some may quibble that there is too much between songs patter (and this writer wouldn't disagree), and that a few more songs could have been added to the show, but that's a minor complaint at best. When was the last time you put on a CD and were truly moved by what you heard? From the "Funny Girl" medley to the poignant new song "Every Time You Hear Auld Lang Syne", this is the absolute best from an artist whose best is sublime. So pick up this CD, turn off your phone, pour yourself a glass of wine, and spend an intimate evening with Barbra. She is truly ageless and evergreen.

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Fame the Musical (1999 Original American Cast Recording) Review

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(More customer reviews)This Cd is pretty good, but I do need to compare it to the Original London Cast Recording (which is hard to find.) The new Cd certainly has its high points but it also has many weak spots, namely the vocals of the character Carmen (Natasha Rennalls)and Tyrone (Dwayne Chattman). Just for the record, I saw Natasha Rennalls (now Natasha Neary) play the part of Carmen in Los Angeles. She was PHENOMENAL. But this recording does not do her justice. The vocal director has her sing it too bubble gum pop. When I saw her live she didn't sing like that. Also, her dancing was AMAZING, and her stage presence was very commanding. But I do have to complain about the song "In LA" when she takes the key higher to sing, "oh, they know how to do it in L awww." Not LA. L AWWW. What were they thinking? I was so disapointed. If you wanna hear the definitive version of "In LA" get the London Cast sung by unknown DIVA Loraine Velez who belts the song like there's NO tomorrow!
On the plus side there are a lot of great singers on this CD. Miss Sherman (Regina Le Vert) and Miss Bell (Kim Cea) belt their way through "The Teacher's Argument" like it's some kind of singing contest. It's amazing and sung better here than the London Cast. Also Le Vert belting her soulful rendition of "These Are My Children" is wonderful too.
Serena and Nick are great too played by Jennifer Gambatese (Tarzan & All Shook Up) and Gavin Creel (Millie, Mary Poppins). "I Wanna Make Magic" definitely sounds better sung by Creel. His voice is strong and smooth. Gambatese does well with the bulk of the songs "Let's Play A Love Scene" & (reprise), "Think Of Meryl Streep". Although I am partial to the London Cast sung by Gemma Wardle.
One of the roles in this show that always gets the audiences attention is the lovable Mabel, the girl who can't stop eating! Dioni Michelle Collins (Little Shop of Horrors) does well with her one hilarious song "Mabel's Prayer". But if you wanna hear it belted out of this universe, definitely get the London Cast. It's sung by now Sonia Swaby (Gigi MISS SAIGON COMPLETE RECORDING, Nancy "As Long As He Needs ME" from OLIVER in HEY MR PRODUCER! VIDEO) She really knocks it out of the park.
As a whole the Cast works well together to produce a fun filled album but it's too bubble gum, and not dark enough for my liking. Lots and lotsa of energy but maybe too much. Once again, since the London Cast was the first to perform the show, that's the way it was originally intended to be. It's sounds darker.
But on the other hand, a notable plus is that this album features the song when Carmen and Schlomo are rehearsing "Bring On Tomorrow" which is NOT on the London Cast.
I'd give this CD 3 1/2 stars if I could. So there are good and bad, now it's time for you to decide. Now, there is also FAME on 42nd Street. I say get them all to compare, and to enjoy!

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Annie: The 30th Anniversary Cast Recordings Review

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(More customer reviews)I bought this recording the first day it was released in New York City and was fortunate enough to attend the CD signing with some of the cast members who are heard on this album. Upon first listening to it, I was thoroughly impressed by how full the orchestra sounded. While no one is able to replace Andrea McArdle as Annie and Dorothy Loudon as Miss Hannigan, the performers on this disc still do a great job. I love the fact that the first disc has all the reprises and is as complete a recording of ANNIE as it can possibly be.
As a huge fan of flop musicals, when I heard that this recording was also going to include songs from ANNIE 2; MISS HANNIGAN'S REVENGE, I couldn't wait for it to be released. Well, some of these songs are fantastic. I am thrilled that they were recorded, and they all sound wonderful. I also love the commentary in between songs made by Carol Burnett and Martin Charnin...priceless.
Thank you so much to Time Life records for giving us this 30th anniversary recording of ANNIE. It is defintiely worth buying.

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Leapin'Lizards it is the World Premiere Complete Recording of Annie -the Broadway Musical the 30th Anniversary.To commemorate the 30th anniversary of one of the longest running and most beloved Broadway productions, Time Life is proud to release "Annie: The Broadway Muscial 30th Anniversary Production." Disc 1 contains a full recording of "Annie," the 1st time the entire score has been available. Disc 2 features a fully orchestrated collection of songs from "Annie 2" as well as three additional bonus tracks.

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

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(More customer reviews)I'm a Sarah Brightman fan(atic), but I owe it all to the original cast recording. My love for Sarah began with the Phantom of the Opera, which I first listened to as a child. Now an adult more than a decade later, I'm still not tired of those songs.
I'll assume that if you're interested in this recording, you're already familiar with the songs and are interested in knowing how this holds up to the OLC (original London cast) recording and/or the new movie soundtrack.
Rebecca Caine is a terrific Christine. It took a little getting used to her, but her vocal prowess is commendable. She also comes from a more classical background and her voice sounds much more operatic than either Sarah or Emmy Rossum, so perhaps that is why a lot of reviewers have accused her of sounding 'old.' Sarah Brightman's strength is her tone color. Her voice has a pure, crystalline tone, which was the greatest thing she brought to the role of Christine, because just the sound of her voice could convince you she was Christine. Emmy Rossum, being a teenager, had no problem sounding like one convincingly (not to mention that she did a fine job of acting). What Rebecca Caine brings is fantastic vocal agility and control. Caine's Christine is one who could easily, easily, easily have unseated Carlotta. Whereas Sarah slides into her notes, Rebecca hits them. It's also a delight to hear the emotional 'oomph' she puts behind her performance.
I actually liked Colm Wilkinson. Colm Wilkinson is no Michael Crawford. Heck, he's no Gerard Butler. I would have to agree with other reviewers that at times, he falls behind both Michael and Gerard. Michael's a terrific lyric tenor, Gerard's got a great rock tenor thing going on, and Colm's got a nice enough voice, but. he. tends. to. sing. like. this. and. it. gets. annoying. after. a. while. Unfortunately, he over-pronounces his words, too. So why did I start off this paragraph saying that I liked Colm then proceed to bash him? Well, it's all true, but I still appreciated that he brought something new to the table. Note that I said he falls behind Michael and Gerard "at times." This isn't the case during all the other times. Both Michael Crawford's and Colm Wilkinson's phantoms have a lilting quality to their singing which is both charming and haunting. I'm listening to Colm Wilkinson's 'Music of the Night' right now and it holds its own to other versions. Why? His style of singing fits the song. It may not work for some of the other songs, but it works for Music of the Night. Basically, Colm has the goods, but his performances are hit-and-misses because of his very distinct singing style. When he's good, the man is terrific... perhaps *gasp* better than Michael Crawford! When he's a little off, however, he's still enjoyable, which is much more than I can say for the next one...
Byron Nease. He overacts, and it's downright distracting and annoying. All my criticisms for Colm are overlookable and forgivable, because all his problems are mild. I wish I could say that about Byron Nease's performance. I honestly do not know why he was chosen to play Raoul. First off, his voice is too harsh and a bit boorish. If you've seen Disney's Beauty and the Beast, imagine the character Gaston singing opera. If they had a good Raoul for this recording, I could very well see the Canadian cast being on par with the OLC cast. The two recordings would be toe-to-toe, however, without a decent Raoul, the OLC version still wins out. The biggest problem with Byron's performance is his Raoul is devoid of the earnesty, gentility, and refinement we expect from Raoul. All Byron's Raoul has is enthusiasm, and too much of it! I had to keep from laughing from his exclamations during Think of Me. His sound is also more operatic, but where it works for Rebecca, it's a hit against Byron because he needed to tone down his acting. Add overacting on top of an operatic tenor and you have an overdone character. However, when he does tone it down for All I Ask of You, he does well. Regardless, he can't compare with Steve Barton or Patrick Wilson even when he's 'on.' What you basically have is a miscast actor in the case of Byron Nease. He just wasn't Raoul material to begin with.
I'm glad I purchased this soundtrack. It was delightful to get another taste of POTO from a different perspective with different voices. Colm Wilkinson's "Music of the Night" is spellbinding and Rebecca Caine's operatic soprano and vocal control is breathtaking. I just wish Angel of Music was included on this CD, but this was still fun to listen to. While the OLC recording still ranks as my favorite (everything just came together more successfully), the Canadian cast recording is still an achievement. Though it has its hit-and-miss moments, when it shines, it shines brightly.

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

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The Wedding Singer (2006 Original Broadway Cast) Review

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(More customer reviews)As far as musical comedy scores go, "The Wedding Singer" is the best since "Dirty Rotten Scoundrels." It's instantly tuneful, witty, and more enjoyable than I really expected it to be. Firmly grounded in the pop styles of the 80's, writers Matthew Sklar (music) and Chad Beguelin (lyrics) have a lot of fun both mocking and honoring the decade (the obligatory synthesizer corniness recalls last year's "Altar Boyz"). They've done a good job crafting a score that works theatrically in its own right, and not just as a string of parodies. The cast-- which includes Tony-nominee Stephen Lynch, Laura Benanti, and Amy Spanger-- is solid, and they bring great vocals and energy to the score's numerous catchy songs (highlights include "It's Your Wedding Day," "Casualty of Love," "Not That Kind of Thing," and "If I Told You"). I suppose how much you like it might depend on your predilection for all things 80's, but this is one of the most downright likable of recent cast recordings. (Listen, too, for what has got to be an intentional shout-out to another 80's themed musical, "Taboo.")

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9 To 5: The Musical (Original Broadway Cast Recording) Review

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(More customer reviews)A great story with fantastic music, "9 to 5: The Musical" is based on the 1980 film "9 to 5" in which three secretaries get back at their egotistical boss with superb results. I was really surprised at how good the music is although I have always known Dolly Parton is an amazing songwriter. She was asked by the producers to write all the music and lyrics and what we have are 18 amazing show stopping songs. The only song that has a country feel to it is "Backwoods Barbie" (performed my Megan Hiltey) that Dolly had out last year. The other songs are pure Broadway and its great to hear the orchestra and musicians bringing life to these amazing songs. The vocals are also superb by the cast. The highlights are "Shine Like The Sun", "I Just Might", and "Get Out and Stay Out". I also love the new lines that Dolly has added to the song "9 to 5" and hearing it sung by the entire cast brings new life to it. Stephanie J. Block, Allison Janney, and Megan Hiltey have voices that were made for the stage and that is evident in these recordings. Dolly would receive a Tony nomination for Best Score for this work, but ultimately didn't win. Nevertheless, a great cast recording in which the songs and lyrics will haunt your mind for days to come.
Dolly has recorded "Change It" that will soon be her next single on I Tunes, and it will be added as a bonus track to the second pressing of this album.
This CD, which is available on Dolly Parton's own record label called Dolly Records, comes with a 24 page booklet that is very informative on both the Broadway show and cast album.
Sadly, "9 to 5-The Musical" closed on Broadway September 6th, 2009. However, it opens in Nashville, September, 2010, in a national tour with a different cast. Grammy nominated for Outstanding Broadway Cast Album.


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2009 release, the Original Cast Recording of 9 To 5: The Musical, written by Miss Dolly Parton herself. 9 To 5 was produced by Stephen Oremus and Dolly. Alex Lacamoire (music director and co-orchestrator for the Grammy winning original cast recording of In The Heights) co-produced and the album was recorded and mixed by Frank Filipetti. Features 18 tracks.

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Disney's The Little Mermaid (2008 Original Broadway Cast) Review

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(More customer reviews)To everyone considering buying the Original Cast Album of Disney's newest Broadway musical, DO NOT HESITATE. The New York critics have labeled the show as being "too stylized" and "lacking in appeal" and even "more parade than theatre." To be perfectly honest, the critics these days favor small, low budget shows like SPRING AWAKENING and XANADU that are not of the caliber of the classic Broadway musical; true, these shows are very good, but are more in the Off-Broadway vein. So, it is not surprising that when a piece of Broadway magic hits the stage the critics label it as too spectacular or too sachrine. THE LIITLE MERMAID, despite New York critics' uneccessary harpooing of it, has been hailed by TIME as "the most ravishing show (I have) ever seen on a Broadway stage." Well, at least the folks at TIME get it, even if the cynical New York critics don't. The songs from the original film are all here, and in the case of some of them, mainly the serenading "Kiss the Girl," are actually beeter onstage than on film. The new songs, with music by the film's original composer Alan Menken, and new comer lyricist Glenn Slater are far from what the critics have called "syrupy;" the new material is actually very much up to par with the originals. True, they feel different because we aren't used to hearing them and haven't had them etched into onto our ear drums from repeated exposure, but they are wonderful nonetheless. In fact, some of them, such as the lovely "If Only" quartet, the mersisters' delightful ditty "She's in Love", and Ariel's sweet "Beyond My Wildest Dreams" could easily have been in the original film because they add music to moments from the film that made us want to sing with delight and wonder. Ursula's new material, "I Want the Good Times Back" and Eric's "Her Voice", along with the aforementioned "If Only" quartet are more adult in tone and may not completely make sense to very young audience members, but adults will love them, especially Ursula's deliciously sardonic "I Want the Good Times Back" (parents be warned that Ursula swears in this song: "...the whole damn works"). Sherie Rene Scott's Ursula is more Broadway diva than the dumpy, drag queen-esque witch of the original (don't get me wrong-I love Pat Carroll's original! She made the only Diney villaness that ever completely terrified me as a toddler), but Sherie's portrayl is delightful and refreshing, and with a little tongue-in-cheek homage to such fictional divas as SUNSET BOULEVARD's Norma Desmond. Sierra Boggess, to put it simply, IS Ariel. She brings the character that Jodi Benson originally created to delightful life, giving Ariel enough of "Sierra-ness" to make her more than a mere copy of what we saw on the screen. Norm Lewis, Titus Burgess, Sean Palmer, and Eddie Korbich are also wonderful, Titus giving his Sebastian delightful vocals, here high and lilting rather that low and rumbling as in the film, although the original voice, Samuel Wright, is wonderful as well. Also, the conclusion of the show is actually, to me, more logical and intimate than the monster movie-esque larger-than-life demise of Ursula that exists in the film. In the stage version, Ariel dispatches Ursula, which girls will love for it's "girl power" punch, by smashing her magic shell, the rather unstable source of all of her dark, black magic that she inherited from her and Triton's father (yes, Ursula is Ariel's aunt!). Also, Doug Wright has improved on two points only hinted at in the original script: Ursula's motives and the romance between Ariel and Eric. Rather than being a rather superficial and quick romance in the film, Ariel and Eric are given SOME TIME to fall in love here, and it is as Disney-cute as can be. To close, buy this album, go see the show if you are able, and ignore the critics, especially those at the New York Times, who are only lampooning the show because it is "another Disney show" and very modern in its costumes, set design, and lighting. Also, the show is optimistic and has a heart, unlike such musicals as SPRING AWAKENING that are pessimistic and end with warped and unhealthy parent-child relationships and despair - the complete opposite happens here. MERMAID goes against the grain of our pessimistic society and gives us permission to have hope, to have dreams, and to find our own "voices" when it comes to what is important to us.

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Bring home BROADWAY'S NEWEST HIT, LITTLE MERMAID! The Brand-New Cast Recording of Broadway's Sparkling New Musical featuring the beloved hits from the film PLUS 10 ALL-NEW SONGS from the Broadway Show!

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I Stand Review

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(More customer reviews)Famous for creating the role of bisexual performance artist Maureen Johnson in "Rent" as well as for her Tony Award winning triumph in "Wicked," Idina Menzel has been principally known as a performer of the stage and screen. However, she has been active as a singer/songwriter since those early "Rent" days and has three albums of her own material. "I Stand," however, provides her first real chance of gaining vast exposure as a solo artist. The album debuted at #58 on the Billboard top 200 albums chart.
Those who cherish Menzel for her glass-shattering vocal range will find much to appreciate here with the chugging, widescreen title track, replete with powerful lyrics and a life-affirming message, or "Better To Have Loved," a passionate ode to lack of regret in an unpredictable world. Producer and co-writer Glen Ballard, best known for helping Alanis Morissette unleash her inner warrior woman on 1995's landmark "Jagged Little Pill," however, hands Menzel a double-edged sword - her sound here is sweetened and ripe for mainstream audiences, but some of her unique, quirky personality that informed 1998's "Still I Can't Be Still" and 2004's lo-fi "Here" EP is lost in the shuffle. Granted, the former album had some oddball lyrics and embarrassingly dated production for a late '90s effort, but Menzel sounded like herself and no one else. Nevertheless, that album made no dent in the marketplace, so it's hard to fault Ballard for helping Menzel channel her creativity in a more marketable fashion, and the results, if not revolutionary, are rich, vibrant and entertaining.
"Gorgeous" yields a joyous, effervescent melody and pearls of wisdom in its philosophic sentiments, and "Brave," like the title track, is wholly inspiring without stooping to hackneyed, maudlin sentiments. James Blunt contributes the stirring "Don't Let Me Down," while the bittersweet "Forever," by far one of the album's strongest moments, was written entirely by Menzel. She also digs deep to unearth inner torment in the haunting "My Own Worst Enemy."
With "I Stand" Menzel succeeds in proving she is just as viable a singer/songwriter as musical performer. It's not every day that someone with such a dynamic vocal talent is also a gifted writer, making the results particularly impressive. Admirers of her stage work will agree.

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Amazon.com Already a star on Broadway, the charismatic Idina Menzel ("Rent," "Wicked") is ready to star on album. To make that happen, she has enlisted the man responsible for launching, or continuing the phenomenal careers of other recent major female artists. Glen Ballard, best known for Alanis Morissette’s 16-times-platinum Jagged Little Pill and who has worked with Shakira, Christina Aguilera, Annie Lennox and Celine Dion, produced and co-wrote all but one of the songs on I Stand with Menzel.
Idina Menzel Photos

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Monty Python's Spamalot (2005 Original Broadway Cast) Review

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(More customer reviews)MONTY PYTHON'S SPAMALOT
When I first bought this CD, I thought that the jokes were "amused smile" funny, not "ha-ha" funny. Then I saw the show on 4th of July weekend and it's a miracle that I left with my pants still dry. That's how funny the show itself is.
And now a critical analysis of this 'ere CD.
The songs:
1. Tuning: Not in the show but still funny. Is that Eric Idle talking?
2. Overture: Very nice.
3. Historian's Introduction: Very funny, very Pythonesque in its offhand remarks (To the North, the Anglo-Saxons, to the South, the French, to the East, nothing but Celts and some people from Scotland.)
4. Finland: In reality, a song written many years ago by the Pythons. The closest the show's gonna get to the Swedish subtitles gag. Missing from this track is the "fish slap" section. Oh, well, gotta get to the singing, right?
5. I Am Not Yet Dead: A lovely musicalization of the classic scene from the movie starting off with the Latin chant and the banging of the heads.
6. Come With Me: A perfect introduction to the show's leading lady, Sara Ramirez, who has what I consider the biggest kick-ass voice on Broadway. I haven't heard a belter like that before in my life. More on her later.
7. The Laker Girls Cheer: Eh. It's pretty good.
8. The Song That Goes Like This: An excellent, hilarious send up of the cheesy pop love duets that exist in musicals today, particularly those of Andrew Lloyd Webber. In the show, this is a spoof of "Phantom" complete with the laker girls as the candelabra statues, a boat, and a chandelier that breaks at the end.
9. He Is Not Dead Yet (Playoff): Actually occurs at the end of "I Am Not Dead Yet". Yay, they snuck in a bit from the Lumberjack Song.
10. All For One: The cheesy buddy ballad. Very good. In the show, Sir Not Appearing in this Show is a representation of Don Quixote. So it's obvious why he's not appearing in this show. 'Cause he's in the wrong one.
11. Knights of the Round Table/The Song that Goes Like This (reprise): One of my favorite songs combined with another song that goes like this. Incidentally, some lines in "Knights of the Round Table" were part of the original lyrics for the song. The reprise of "The Song That Goes Like This" is an excellent spoof of the cheesy cabaret lounge number in musicals complete with a nun and monk doing a pas de deux. Ramirez exhibits an excellent blend of Merman, Minelli, and Streisand, and maybe a little Eder (as in Linda).
12. Find Your Grail: A spoof of the cheesy inspirational pop ballads present in musicals today complete with corny vocal ad-libs (that's what I call them.)
13. Run Away: This song was severely cut down when I saw it on Broadway. All that's left is the French Taunter's verse, a jazz section replacing the Can-Can dance, and the last verse which was brought down several octaves. It was not a settling end of Act 1 for me. Pity, I liked the song. There's even an Eponine look-a-like at one point. The girl who was dressed up like her looked like Idina Menzel (obviously it wasn't)
14. The Intermission: Delivered like a true Gumby. Not in the show.
15. Historian's Introduction: Not as funny.
16. Always Look on the Bright Side of Life: a send up of the old fashioned cheer up eternal optimist ballads even if it was a song that was written back in the 70s for Life of Brian, another great Python film.
17. Brave Sir Robin: Another hilarious song from the film. They even managed to sing the last line which is cut off by Eric Idle in the movie. There are many reprises of the song as well.
18. You Won't Succeed on Broadway: A send up of the ol' showbiz songs (There's No Business...Another Op'nin'...) complete with a Fiddler on the Roof parody.
19. Diva's Lament: Spoofs the part of the show where the leading lady comes on totally randomly after having diddly squat to do for half of Act Two. Sara Ramirez blew me out of the water. Just to warn anyone who hasn't seen the show, they changed the lyric "I've no Grammys, no rewards/I've no Tony Awards" to "My Tony Awards/Won't keep me out of Betty Ford's" 'cause Sara Ramirez did win the Tony for her part.
20. Where Are You: the cliched searching for love ballad. At one point in the scene, Herbert sings "And another hundred people just contracted the plague". Bet you can guess what that's from.
21. His Name Is Lancelot: Not spoofing any particular type of song in a Broadway show but spoofing The Boy From Oz definitely.
22. I'm All Alone: Another spoof. Loneliness ballad obviously. Very hilarious.
23. Twice In Every Show: A spoof of the rousing reprises of the cheesy love ballads complete with some cliched dialogue.
24. The Finale: A spoof of how the cheesy inspirational pop number is spoofed through different forms then going into pop at the end. Very rousing.
25. Always Look On the Bright Side of Life: Maybe not a spoof of how they try to get one last song stuck in your head before you leave the theatre but good nonetheless.
The Performers:
Tim Curry: Very hilarious. Excellent timing. Love the singing.
Sara Ramirez: What a voice! Not even Idina Menzel can belt one out like that.
Christian Borle: Very nice voice.
Christopher Seiber: Saw him in Into the Woods. Very good voice as well.
Hank Azaria: Not the best singer in the world but still funny. Did not see him when I saw the show. Stupid Huff.
David Hyde Pierce: He looked like the type with a hidden singing voice. It's a very good one.
Michael McGrath: Very good voice. He's got the ol' crooner voice which is perfect for Always Look on the Bright Side of Life.
Steve Rosen: Must have an excellent voice. Just doesn't have a very good time to shine with it. Does do a great imitation of Terry Jones though.
All in all, it's great music but an even better show with some phenomenal talent. There are two songs left off the CD; King Arthur's song (which is really the theme sung in the Laker Girls' Cheer) and The Holy Grail which is sung after the Holy Grail is found in Row C Seat 101 and they bring up the "peasant" sitting in the seat. There's a lyric involving the person's name (at the show I saw, his name was Harvey Lucas) which obviously changes and would be difficult to record unless you sang, "Please insert name here".
Get Spamalot.
Ni! Peng! Nee-womp! Ecky-ecky-ecky-p'tang-zoop-boing-ole-biscuit barrel-naro-naro.


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Monty Python's Spamalot (2005 Original Broadway Cast Recording)

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Aida (2000 Original Broadway Cast) Review

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(More customer reviews)"What is this Rubbish?!", I thought to myself when I first listened to 'Aida'. I thought that Elton John's music was ordinary, and Tim Rice's lyrics were nothing special. I had heard Adam Pascal in 'Rent', and not being a big fan of 'Rent', I was not thrilled with his voice. I thought Sherie Rene Scott's voice was more like a screech, and, well I didn't mind Heather Headley's voice that much. That was my first listen, and after that I just put it away for a couple of months.
After a few more listens I actually came to enjoy 'Aida' more and more, and now I just cannot stop listening to it. Based on the opera, by Verdi, 'Aida' follows the love-story of Nubian Princess, Aida (Heather Headley), and her nation's enemy, the Captain of the Egyptian Army, Radames (Adam Pascal). Yet, Radames is betrothed to Princess Amneris (Sherie Rene Scott), Pharaoh's daughter. Radames must chose love or power, and his choice of love leads to tragic circumstances.
Husky, yet versatile in range, Pascal's voice grew on me, and I believe that he portrays Radames very well. Listeners are first introduced to Radames in the song, "Fortune Favours the Brave". This fast-paced rock song is sheer brilliance on the part of John and Rice. Pascal's voice fits into this type of song perfectly. But as I listened more I discovered that his voice fitted into most of the songs on this album. He develops his character from a follower of his father's commands, to a man who decides his own fate.
Heather Headley's portrayal of the proud, majestic Aida is brilliant. Headley adds so many dimensions to her character; she is a lover, she is passionate and strong-willed, and she is loyal to her nation and her people. Headley has great range in her voice, especially in "Dance of the Robe", the gospel-like "The Gods Love Nubia", and the sombre "The Past is Another Land". She performs all of these songs with great passion and precision, and one can not help but admire her.
"My Strongest Suit", what a song!!!! Sherie Rene Scott's performs this song with great enthusiasm, and I think she is just brilliant. She plays the part of the superficial Princess Amneris. Listeners observe great contrasts between the princesses; Aida being strong-willed, proud, and magestic, and Amneris being shallow and materialistic. Yet, listeners observe an inner-emotional dimension to Amneris when she sings the song "I Know The Truth", as she realises that Radames loves Aida and not her.
Pascal, Headley and Scott all perform absolutely brilliantly, and I am sorry that I doubted them in my first listening of 'Aida'.
However, the best songs in 'Aida' are when the three leads collaborate together. The duet between Pascal and Headley in "Enchantment Passing Through" creates an inspiring beauty, as with the lovely "Written in the Stars". But listeners are in for an even bigger treat when Pascal, Headley and Scott combine to sing the compelling songs of "Not Me", "Elaborate Lives", and "A Step Too Far". These songs are truly brilliant!!!
I urge potential buyers of 'Aida' to listen to the album more than once if you don't like it the first time, because it contains some fantastic music; Elton John should be commended, as he has created a musical with period as well as contemporary music. All too often lyricists are forgotten, but Tim Rice's lyrics are just as good they have ever been, they can compare to some of his earlier musicals, such as 'Evita' or even 'Chess'. 'Aida' is truly an album to purchase if not for the score, for the incredible vocal talents of Pascal, Headley and Scott. Buy this and be enchanted!

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No Description AvailableNo Track Information AvailableMedia Type: CDArtist: AIDATitle: ORIGINAL BROADWAY CASTStreet Release Date: 06/06/2000

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Jekyll & Hyde - The Musical (1997 Original Broadway Cast) Review

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(More customer reviews)To those who want to listen to a VERY captivating interpretation of "Someone Like You," get a copy of Miss Saigon star Lea Salonga's "The Broadway Concert" album. I've never heard anyone sing that song as beautifully as she does!

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Hair (The New Broadway Cast Recording) Review

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(More customer reviews)The success of this revival of HAIR comes as no surprise. HAIR has never struck me as a period piece ... and even if it were, a well-conceived period piece can make for convincing art. The heart of any musical has to be original music that speaks the souls of its characters, and HAIR has always been secure in that strength.
I haven't seen the show and probably won't have the opportunity to. This vigorous recording amply compensates. It seems to be the first musical in ages where the vocalism isn't infected by American Idolitis -- You know what I mean: that insidious combination of Mariah-like fluttering, Celine-like caterwauling, premature and overworked climaxes, and general lack of subtlety that provides a virtuosic but hollow gloss.
The singing here is joyous and lively. The recording team -- performers, arrangers, engineers -- catches all the energy of the show but contains the chaos. One advantage over the 1967 OCR of the original production is certainly that you can here the orchestration, the Tribal chorus, and individual vocal lines a lot better. Shining the spotlight on the band in the first curtain call was a welcome inspiration.
One of the best things about HAIR is that it has always been its own creature. Its plot structure and its musical language were not of the theater, its themes put the concerns of the day before theatrical tropes. These qualities give the show a compelling integrity that shines through even though in 2009 the concerns of today may be different (but not terribly). It's a show that demands to be heard on its own terms, and either you get it or you don't.
I have the occasional nit to pick here and there, but that's part of the pleasure of having a worthy successor to the original. As with the "Actors Fund Benefit" disc, the reading of "My Conviction" is impossibly arch -- the song should make its point without such an exaggerated characterization. Every once in a while a reading sounds off the mark but overall the aim is true. The main performers (Sasha Allen, Gavin Creel, Caissie Levy) are all vibrant and strong ... Once in a while their performances sound a little underpowered, especially Creel in "I Got Life", which pales in comparison to the James Rado original and Treat Williams on screen -- the number should raise the roof (as the title song effectively does). Also, I didn't really care for the "soft jazz" take on "Easy to Be Hard" (synth, sax) ... this is a soul-baring torch song. On the other hand, the rockabilly twist on "Don't Put It Down" is a success. Overall, there is a greater emphasis on the ensemble, which certainly enhances the overall experience and makes the sequence "Black Boys" / "White Boys" / "Walking in Space" a real standout.
It's marvelous to have the full score here on disc, including some fragments that I hadn't heard before like the funky guitar riff that ushers in the reprise of "Ain't Got No (Grass)."
Forty-two years on, it's hard to recognize the revolutionary qualities of HAIR ... Other musicals have followed where it goes, though few as boldly and with as much raw energy and grace.
The new recording allows us to hear this remarkable score with fresh ears. Resoundingly recommended.


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HAIR, featuring book and lyrics by the late Gerome Ragni and James Rado and music by Galt MacDermot, opened to rave reviews on Broadway March 31, 2009 at the Al Hirschfeld Theatre. Under the direction of Diane Paulus, Hair arrives on Broadway after a run as part of the Public Theater's Shakespeare in the Park 2008. The cast of the Broadway revival of Hair features Will Swenson as Berger, Tony nominee Gavin Creel as Claude, Sasha Allen as Dionne, Caissie Levy as Sheila, Allison Case as Crissy, Kacie Sheik as Jeanie, Bryce Ryness as Woof, Darius Nichols as Hud, Megan Lawrence as Mother and Andrew Kober as Margaret Mead/Dad. With a score including such enduring musical numbers as "Let the Sun Shine In," "Aquarius," "Hair" and "Good Morning Starshine," Hair depicts the birth of a cultural movement in the `60s and `70s that changed America forever: the musical follows a group of hopeful, free-spirited young people who advocate a lifestyle of pacifism and free-love in a society riddled with intolerance and brutality during the Vietnam War. As they explore sexual identity, challenge racism, experiment with drugs and burn draft cards, the "tribe" in Hair creates an irresistible message of hope, peace and change that continues to resonate with audiences 40 years later.

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Spring Awakening (2006 Original Broadway Cast) Review

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(More customer reviews)I saw this on Broadway without having heard this recording. In this particular case I'm glad I didn't as my experience of total shock and surprise and wonderment may somehow have been diminished. As I sat in my seat at The Eugene O'Neill Theatre I was held spellbound by the energy, talent and beauty of this cast (which features multiple Tony winner Stephen Spinella). However, as great as the cast is (and they are indeed great), the stars of the night were director Michael Mayer, choreographer Bill Jones and the composing team of Duncan Sheik and Steven Sater.

A teenage angst musical set in Germany circa 1890 and featuring a rock n roll score didn't actually sound like something that would interest me. Yet, in the hands of these grossly talented people, this material has been reanimated into a work of fabulous art, rooted in tradition and yet wholly original.
I picked up this CD after I returned home and have listened to it several times - and still cry. The music and lyrics are top drawer. The cast in dynamic. This is quality rock and roll - the high energy numbers are terrific, but the ballads (and they are plentiful) are what keep me listening again and again. Buy this CD (see this show).

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Decca Broadway presents the cast recording for the acclaimed new Broadway production, SPRING AWAKENING. Written by pop music composer Duncan Sheik and playwright/lyricist Steven Sater, the musical explores emotional earthquakes in the lives of teenagers. SPRING AWAKENING is based on Frank Wedekind's controversial 1891 drama, which was scandalous in its day for addressing sex violence and suicide. The story, dialogue and costumes suggest the 19th Century, and are perfectly wedded to a beautiful alternative pop music score by Grammy® nominated singer/songwriter Duncan Sheik. The creative team also includes Tony® Award Winning director Michael Mayer (Thoroughly Modern Millie) and legendary choreographer Bill T. Jones.

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