Can't Stay Away [Clean]

1. Can't Stay Away

2. Ain't No

3. Don't Stop Rappin' - Eightball & MJG, Too Short

4. Here We Go [Jermaine Dupri Remix] - Jay-Z, Too Short

5. More Freaky Tales

6. You Might Get G'eed - Daz, E-40, , Too Short

7. Good Life

8. Longevity - Scarface, Too Short

9. How Does It Feel - Too Short, D'Wayne Wiggins

10. What Happened to the Groupies - B-Legit, Too Short

11. Invasion of the Flat Booty B*****s

12. Can't Stay Away (Outro)

13. Here We Go [Lil' Jon Remix][*]

Editorial Reviews

Amazon.com
With Can't Stay Away, his first album since his self-imposed retirement, X-rated rapper Too Short (a.k.a. Todd Shaw) picks up where he left off with his last release, 1996's Gettin' It. Born in Los Angeles, raised in Oakland, and now living in Atlanta, Too Short is famous for yowling "biiitch" with a distinct sneer, and he's changed little over the years. The fellatio-obsessed rapper still knows how to lay down a slow, funky groove, but his lyrics are nothing short of offensive. With the exception of self-reflexive songs like "Divide and Conquer" and "Still Strugglin'," Short keeps to the usual playa themes, boasting about his sexual prowess ("Don't Stop Rappin'") and complaining about the girls who don't got back ("Invasion of the Flat Booty Bitches"). Cameos by Eightball and MJG, Jay-Z, Shabba Ranks, Daz, Scarface, and Lil' Kim suggest that a short-lived hiatus hasn't hurt Too Short's popularity. --Jeff Niesel

Can't Stay Away,Too $hort,Jive,Gangsta Rap,Hip-Hop,Pop,Rap & Hip-Hop,Soul/Reggae/Rhythm & Blues,West Coast Rap

Can't Stay Away [Clean]

Average customer rating:

you cant beat an Ira lyric.
A Wonderful CD
Quiet and elegant
Disappointed
they can't take that album away from me

Pure Gershwin
Michael Feinstein
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

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Isn't It Romantic
Nice Work If You Can Get It: Songs by the Gershwins
Remember: Michael Feinstein Sings Irving Berlin
Michael & George (Feinstein Sings Gershwin)
Romance on Film/Romance on Broadway

ASIN: B000002H4W
Release Date: 1990-10-25

Tracks:

S' Wonderful
Our Love Is Here To Stay
Liza
The World Is Mine
They Can't Take That Away From Me
Isn't It A Pity?
Let's Call The Whole Thing Off
Embraceable You
What Causes That?
He Loves And She Loves/How Long Has This Been Going On
They All Laughed
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Amazon.com

Pure Gershwin was Michael Feinstein's first album, and it remains one of his best. It may not have the production values of his later Gershwin tributes, Nice Work if You Can Get It (1996) and Michael & George (1998), but it simply and directly presents Feinstein in his piano-bar days, singing to his own tasteful accompaniments with occasional contributions from bass and drums and a second piano. Establishing the patterns for his later albums, he sings unjustly neglected verses to familiar songs, uncovers some never-before-recorded gems ("The World Is Mine," "What Causes That"), and provides song-by-song notes. Longtime friend Rosemary Clooney guests on "Isn't It a Pity?" --David Horiuchi

Customer Reviews:

you cant beat an Ira lyric........2007-01-05

this is good...and just to hear a REALLY GREAT "Isn't A Pity" duet with Rosie is well worth the price of admission. I REPEAT: just to hear a REALLY GREAT "Isn't A Pity" duet with Rosie is well worth the price of admission. listen & enjoy some great american music. you cant beat an Ira lyric.

A Wonderful CD.......2005-05-19

PURE GERSHWIN is just that, pure!. Feinstein interprets Gershwin the way it was meant to be performed. This is pure delight!

Quiet and elegant.......2003-04-20

Michael Feinstein's thin voice is compensated by his apparent enthusiasm for the material and a spare arrangement of piano, bass, and drum that gives this recording the ambiance of an intimate piano bar. Before hearing this disc, I knew only Gershwin's biggest hits, so many of the numbers here were new to me and increase my appreciation of that great American composer.

Disappointed.......2003-04-10

I bought this cd because I am a huge Gershwin enthusiast and am always on the lookout for versions of one of my favorite pieces, "Liza". I'd heard a lot of buzz about Feinstein and the supposed wonderfulness of his Gershwin interpretations, so I thought I would give this album a shot.

I was extremely disappointed. Feinstein seems to suck the life out of Gershwin's compositions, a feat I would have previously thought impossible. Though I concede that vocalists are free to reinterpret songs (many to a great success, as in Louis Armstrong's and Ella Fitzgerals's enjoyable versions of Gershwin), I think Feinstein's lazy tempos "loungy" voice make the tracks on this album boring and annoying.

I have loved to listen to and sing these songs my entire life. I just wanted to warn listeners who perhaps, like myself, enjoy George Gershwin's music for its beautiful clarity and energy (as easily experienced through Gershwin's own recordings, early interpretations by artists such as the Astaires, and even recent broadway "Crazy For You") that they will not experience any feeling of the sort from Michael Feinstein.

Amidst all the gushing that has recently been done over him, I found Michael Feinstein to have attempted to murder "Liza" and the other songs on this album. He merely displays a very unexceptional voice and poor interpretive taste. Fans beware, Feinstein proves that it is possible to make a bad cd of Gershwin songs. I'd recommend listening elsewhere.

they can't take that album away from me.......2002-05-09

they say the third time's a charm, but in this instance, it is the first time -- michael feinstein's first gershwin album -- that is the charm. this album is by far better and more listenable than the next two -- "feinstein sings gershwin" and "nice work if you can get it".

the listenability of this album may stem from the fact that it is a bare-bones arrangement, with two pianos, a bass and drums, a la a jazz trio, with no embellishment, so michael feinstein's then sincere and unsophisticated voice is the featured instrument.

i heartily recommend this album, as every song on it is a gem and feinstein's voice is more appealing than on the two later albums, when he jazzed it up with what sounds like an echo chamber and other electronic enhancements and he seems to be doing the songs by the numbers.

feinstein's version of "liza," slowed down to ballad form and plaintively phrased, is the best i have ever heard. the duet with rosemary clooney on "isn't it a pity," again brings out the best of feinstein's then-new voice and shows why george's (clooney) aunt is rightfully considered a jazz legend.

the combined "he loves and she loves/how long has this been going on" is another melodic/poignant highlight, while the album's finale, "someone to watch over me," is a stirring anthem to wanting and needing someone and is done with vocal and instrumental passion; it brings this collection of songs to a fitting crescendo.

for a lawyer's kid from columbus, ohio who started out cataloguing gershwin estate material for the reclusive ira and then began singing the songs for family and friends, michael feinstein has done all right for himself. he has become the recognized interpreter of the gershwin legacy, sort of the same way his pseudo-cousin, john, jr. feinstein, has become the recognized interpreter of the bob knight legacy... .

michael feinstein may have hit a home run his first time up with this album, and it may be his best, as it is the purest and most joyful celebration of gershwin tunes, while the others are fancier, more jazzed up and ponderous and less appealing.

Tracks:

Nice Work If You Can Get It
Isn't It Romantic
Swinging On A Star
Ask Me Again
Rhode Island Is Famous For You
'S Wonderful
Wonder Why
Too Marvelous For Words
Where Do You Start
Theme From The Bad And The Beautiful
Easy To Love
Alexander's Ragtime Band
Who Are You Now?
You're An Education
You Are There
Sophisticated Swing
Love Can Change The Stars
Come Out, Come Out Wherever You Are
Half Of April (Most Of May)
Marianne
They Can't Take That Away From Me
I Love A Piano

Tracks:

That's Entertainment
My Favorite Year
Ten Feet Off The Ground (With Rosemary Clooney)
I Never Felt Better
Someone To Watch Over Me
Kiss Her Now
The Ugly Bug Ball
For You, For Me, Forever More
The Mole People
And So To Bed
You're All The World To Me
Old Friend
Isn't It A Pity (with Rosemary Clooney)
Pattisserie
Open Your Eyes
For Love Alone
I Won't Send Roses/Time Heals Everything
Get Out And Get Under The Moon (with Page Cavanaugh)
My Romance
Love Is Here To Stay
Violin (with Liza Minnelli)

Amazon.com

The line between evangelist and entertainer has always been somewhat indistinct. But as showcased on this 43-track, double-disc collection culled from his '87-'96 recordings for Elektra/Nonesuch/Atlantic, Michael Feinstein's dedication to spreading the gospel of the American song often blurs it beyond recognition. While the singer's pedigree for the task is impeccable (a long-term stint as Ira Gershwin's assistant and early career sponsorship by Liza Minnelli), his interpretations often succeed by playing off a tense axis of fervent emotionalism and a joyous sense of irreverence.

If his readings of romantic standards can sometimes tend toward the precious, they're often balanced here by sheer dramatic power and telling insights ("Isn't It Romantic" fairly bristles with ironic chauvinism) and a few loopy curves ("The Mole People," the Sherman Brothers' "The Ugly Bug Ball," and the previously unreleased "Rhode Island Is Famous for You"). Feinstein's dedicated song archaeology is also showcased on several gems: "Violin," a duet with Liza Minnelli; "My Favorite Year," a rejected ballad for the film of that name; the sublime "lost" Gershwin classic "Ask Me Again."

Sprinkled with live performances (the forum where Feinstein's talents seem most energized) and studio outtakes and featuring a lengthy print interview with the singer, the set chronicles both the pioneering efforts of one of pop music's most successful revivalists and, crucially, the cream of his beloved American songwriters, from stalwarts Gershwin, Berlin, and Porter to later legends like Herman, Styne, Lane, Martin, and Mercer. --Jerry McCulley

Album Description

The definitive collection of performances by the Grammy nominated singer features 43 tracks from 14 albums released by Elektra, Elektra Nonesuch, and Atlantic labels from 1987-1996. Plus 8 previously unreleased live tracks only available here 'Rhode Island is Famous For You', 'S Wonderful', 'Alexander's Ragtime Band', 'I Love A Piano', 'Patisserie', 'Get Out And Get Under The Moon' (with Page Cavanaugh), 'Love Is Here To Stay' & 'Violin' (with Liza Minnelli). 2 Digipacks housed in a slipcase with a booklet. Rhino Records. 2002.

Customer Reviews:

Mixed feelings.......2005-10-05

This album has some GREAT songs on it; sophisticated swing being one of my favorites. However many of the other songs are too operatic and lame. I give three stars but this album is definatly worth it just for some of the better songs.

Your love for this superb collection will be here to stay..........2002-07-18

The magnificently talented Michael Feinstein has made one wonderful album after another for nearly two decades. Now that Elektra and Rhino have put together this anthology, I am blown away by the versatility and diversity in Feinstein's recorded output. Such amazing rare gems, combined with the most beloved favorites in the history of American Popular Song. Assembled with wit, intelligence, and obvious affection on the part of the record company, this set is a keeper. You'll love it!

He's done it again.......2002-07-15

Is there anything this man can't sing? This collection is so varied as to be the definitive collection of songs for any occassion.

This is perfect background music for a dinner party for a whole group but especially for two. Light, romantic and just gorgeous. You just can't go wrong when Michael Feinstein is your musical choice.

Way to go Michael, you've done it again!

Absolutely 'S WONDERFUL!.......2002-06-10

There are very few contemporary performers who can hold their own with the truly great interpreters of American popular song. Michael Feinstein is truly the ONLY performer of the "younger" generation who really understands what these songs are all about. His incredible knowledge of this music, and his enthusiasm and passion for it have fueled his career. Rhino Records has done a truly outstanding job of putting together an anthology that exemplifies why Mr. Feinstein has become so beloved by audiences around the world. The packaging is excellent, and filled with interesting photos and background information about many of the selections.

This collection not only contains all the favorites one would expect, but a neat group of surprises too. I especially love the duets with people like Liza Minnelli and Rosemary Clooney, and the various collaborative efforts with songwriters like Jule Styne and Burton Lane accompanying Michael at the piano.

This collection is a classic to be treasured. Bravo Michael!
Bravo Rhino!

A beautiful 2 disc CD-another hit for Michael.......2002-06-09

I have every CD Michael has ever made and this is by far one of the best ones because of Michael's range in singing and his wonderful singing voice. I love his duets with Rosemary Clooney and Liza Minelli. He is a wonderful performer on this double CD and am looking foward to the next CD.

Average customer rating:

Can't Stay Away
Album #"11" get's 4.5 stars -- another great $hort album
Album Number 11
Don't Stop Rappin' !
pretty good

Can't Stay Away
Too Short
Manufacturer: Jive
ProductGroup: Music
Binding: Audio CD

General | Soul | R&B | Styles | Music

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Gettin' It (Album Number Ten)
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ASIN: B00000I0OT
Release Date: 1999-07-13

Tracks:

Can't Stay Away
Ain't No Bitches
Don't Stop Rappin'
Here We Go (Jermaine Dupri Remix)
More Freaky Tales
You Might Get G'eed
Good Life
Longevity
How Does It Feel
What Happened To The Groupies
Invasion Of The Flat Booty Bitches
Can't Stay Away (Outro)
It's About That Money
Nation Riders - Slink Capone
G-2000 - Badwayz
Don't Trust Her - Badwayz
In The Studio - Quint Black

Amazon.com

With Can't Stay Away, his first album since his self-imposed retirement, X-rated rapper Too Short (a.k.a. Todd Shaw) picks up where he left off with his last release, 1996's Gettin' It. Born in Los Angeles, raised in Oakland, and now living in Atlanta, Too Short is famous for yowling "biiitch" with a distinct sneer, and he's changed little over the years. The fellatio-obsessed rapper still knows how to lay down a slow, funky groove, but his lyrics are nothing short of offensive. With the exception of self-reflexive songs like "Divide and Conquer" and "Still Strugglin'," Short keeps to the usual playa themes, boasting about his sexual prowess ("Don't Stop Rappin'") and complaining about the girls who don't got back ("Invasion of the Flat Booty Bitches"). Cameos by Eightball and MJG, Jay-Z, Shabba Ranks, Daz, Scarface, and Lil' Kim suggest that a short-lived hiatus hasn't hurt Too Short's popularity. --Jeff Niesel

Customer Reviews:

Can't Stay Away.......2006-09-30

Overall if you're a fan of $hort you'll probably be into this. The production is just as promising here as other records. My problem w/this is all the GUESTS. Way too many guests artists and the whole time I'm wantin $hort to step up to the MIC and kick his Shh... & sometimes it doesn't even happen. A better rating would be 3 and half because like I said earlier the production is solid.

Album #"11" get's 4.5 stars -- another great $hort album.......2005-11-12

3 years after he tied up his boots with his "retirement" $hort is finally back with album 11 and lives true to his famous words "Don't Stop Rappin'", one of his better of the 9 $hort albums I own (he has 1 - 5 star classic, 4 - 4.5 star near classics, 2 - 4 star good albums and 2 - 3.5 star decent albums). With 16 songs, 4 are songs that $hort isn't on (the only bad ones on here) as he tries to showcase some "talent" on his return album. Of the 12 he's on, 1 is a classic, 3 are near classics, the other 8 are good or great songs. Of the 4 he isn't on, 1 is good, 2 are ok, 1 I Skip. Guests are on 6 of the 12 with $hort Dog and doing hooks on a few more so you don't get a great deal of the Oaktown Pimp but enough to satisfy his fans. Production is good. Quint Black does 4 songs, Mike D & Sonny B as well as Jazze Pha each do 2, and Jay Mac, Mo-Suave, Jermaine Dupri, Ant Banks, Lil Jon (who $hort discovered in Atlanta), Erick Sermon, Taj Tilgham and Oxygen all do 1 song. A great rap album for his fans or fans of old-school funky rap to have.

#1 - 10 (CLASSIC -- $hort goes for about 4+ minutes straight and gets some $h!+ off his chest -- f/ Jazze Pha -- tight beat))
#2 - 9.5 (great dirty song -- f/ Jazze Pha -- tight beat)
#3 - 8 (f/ Eightball & MJG)
#4 - 8.5 (f/ Jermaine Dupri, Jay-Z -- about pimps)
#5 - 9 (another dirty remake of his great Freaky Tales -- tight beat)
#6 - 8 (dirty song -- f/ Daz Dillinger, Soopafly, E-40)
#7 - 8 (f/ Jazze Pha)
#8 - 9 (f/ Scrface & KB -- about longevity in the game -- not many better people to get on here with him)
#9 - 8.5 (f/ Dwayne Wiggins of Tony Toni Tone)
#10 - 9.5 (dirty song -- f/ B-Legit -- another great beat from Ant Banks)
#11 - 9.5 (great dirty song he wrote in 1984 -- about flat booty girls)
#13 - 9 (remix of #4 -- tight beat -- f/ Jay-Z, Lil Jon)

THE REST HAVE NO $HORT ON THEM

#14 - 8
#15 - 5
#16 - 6
#17 - 6

Todd Shaw -- b. 4/29/66 -- b. Los Angeles, CA moved to Oakland, CA
Check all my reviews

Album Number 11.......2005-09-01

Too Short sharpened his game even more after a short 'retirement' and a come back like Michael Jordan to prove he still got it. As consistent as the prior ten albums, Can't Stay Away has all the same ingredients to keep fans addicted to this Oakland funk. He starts off the album with the title track that solidifies why he's been here for so long. The quote, "Don't Stop Rappin'" has been words Short has lived by since he's been signed to Jive and this song featuring Eightball & MJG has come to life. Exploiting sex and pimping as Sir Too Short continually does over tracks "More Freaky Tales" and "What Happened To The Groupies" featuring B-Legit. "You Might Get G'eed" featuring Soopafly, Daz Dillinger & E-40 is a solid song where everyone added their perspective and expertise to Short's simple lyrics. The more comedic "Invasion Of The Flat Booty Bitches" is supposed to be a song back from 1983 and still have enough strength to hold it down on this LP. As an all around game spitter, there's more than meets the eye with him. He tackles other subjects just as well as the usual on "Longevity" featuring Scarface and "How Does It Feel". Track number 13 is actually "It's About That Money" featuring Puff Daddy that has a more mainstream feel to it. With a strong close the featured artists added more substance to this album that ended on a good note...beeitch!

Don't Stop Rappin' !.......2005-07-24

I couldn't agree less with the haters saying Too $hort fell off with this album. What have they been smoking??... This albums is another masterpiece by Too $hort, a remarkable comeback, much needed in times where the West has lost it's power in the rap game. Many of us thought that with "Gettin' It" Short Dog was callin' it quits, but it turns out he wasn't ready to give up rapping just yet! He came back as tight as ever, like he never really quit. Nothing has changed with his style. It's still that Oakland funk, noone else is capable up. Too $hort comes back with his trademark sexually explicit rhymes, with the relaxed, laid-back delivery over melodic, sleek production that reminds you of the funk and soul music of the 70's. The bass-lines are some the sickest and thickest you'll get to hear (just take a listen to the title track, the bass his so hard, windows will start breaking!). All over the album you get those infectious, catchy grooves. Too Sheezy stills has one of the best flows in the game, a sense of humour, and his usual "I-don't-give-a-fu**" attitude. He's the original pimp, a real mack in this game, unlike all those wanna-be's these days. Guest appearences are all top notch - you get Eightball and MJG (on a pimp collaboration track), E-40, Daz, Jazze Pha, Soopafly (all on the same song - one of the best Too Short songs ever - "You might get geed". You won't be able to stop listening to this one!), Jazze Pha (the VERY underrated singer and awesome producer), B-Legit, Jermaine Dupri and Jay Z (both of the last to are outshined and put to shame by Too Short on the song they're on), Scarface, Puff Daddy (I can't believe I am saying this but even the song he's on was tight) and a few others. The production is just like it used to be, that Dangerous Music funk I already mentioned - producers include: Quint Black, Jay Mac, Jazze Pha, Ant Banks (he produced just one song, but mixed most of the album), Jermaine Dupri (who came out with a very dissapointing beat), Mo-Suave-A productions and a few others.

I think one of the reasons reviewers dissed this album is the last 4 songs, which aren't actually a part of the Too Short album itself. It's just 4 songs where Too Short presents some of his own artists. The songs aren't anything special, and it's good Short had the decency to put them at the end, after HIS album is done. So, I don't listen to them - I just stop listening after track 13 is over. Songs 1 - 13, THAT's the real Too Short album. The final 4 songs are just a "bonus", and they shouldn't take from this brilliant album. Too Short hasn't gone anywhere, he's back with his pimp-that-ho** rhymes over those infectious, catchy grooves we all love. It's all love, Short, just DON'T STOP RAPPIN'!

pretty good.......2005-06-27

pretty good. best songs are here we go f/jay-z and jermaine dupri,logevity f/scarface,you might get g'd f/e-40, daz and soopafly and what happened to tha groopies f/b-legit,and it's about that money f/p.diddy. i wish my coppy of this cd still worked but it's too scratched

Average customer rating:

Most beautiful music

Menuhin & Grappelli Play...

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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Jazz in Paris: Oscar Peterson-Stephanie Grapelli Quartet, Vol. 1

ASIN: B0002Z83LG
Release Date: 2005-02-15

Tracks:

Fascinatin' Rhythm
Soon
Summertime
Embraceable You
Liza
A Foggy Day
'S Wonderful
The Man I Love
I Got Rhythm
He Loves And She Loves
They Can't Take That Away From Me
They All Laughed
Funny Face
Our Love Is Here To Stay
Lady Be Good
These Foolish Things
Laura
April In Paris
Autumn Leaves
Autumn In New York

Tracks:

Cheek To Cheek
Isn't This A Lovely Day?
Change Partners
Top Hat, White Tie And Tails
I've Got My Love To Keep Me Warm
Heat Wave
The Way You Look Tonight
Pick Yourself Up
A Fine Romance
All The Things You Are
Why Do I Love You?
I Get A Kick Out Of You
Night And Day
Looking At You
Just One Of Those Things
My Funny Valentine
Thou Swell
The Lady Is A Tramp
Blue Room
Jealousy
Skylark

Customer Reviews:

Most beautiful music.......2005-08-17

This is happy music.
Just plain happy, instrumental music.
Highly recommend to everyone.

Average customer rating:

Excellent performer
A unique project
Gershwin historical, manic, perfect, archival
Definative

Authentic George Gershwin, Vol. 1-4

Manufacturer: Asv Living Era
ProductGroup: Music
Binding: Audio CD

Preludes | Forms & Genres | Classical | Styles | Music

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George Gershwin: His Life and Work

ASIN: B0001Z2RSC
Release Date: 2004-08-24

Tracks:

Swanee
Come To the Moon
I Was So Young (You Were So Beautiful)
Tee-Oodle-Um-bum-Bo
Nobody But You
Limehouse Nights
Drifting Along With The Tide
Rhapsody In Blue
Oh Lady Be Good!
Fascinating Rhythm
Hang On To Me
I'd Rather Charleston
The Man I Love
The Half Of It, Dearie, Blues
So Am I
Kickin' The Clouds Away
Concerto In F

Tracks:

Sweet And Low-Down (I)
That Certain Feeling (I)
Looking For A Boy
When Do We Dance?
Sweet And Low-Down (II)
That Certain Feeling (II)
Irish Waltz
Do, Do, Do
Someone To Watch Over Me
Clap Yo' Hands
Maybe
Three Preludes: I. No.1: Allegro Ben Ritmato E Deciso / II. No.2: Andante Con Moto / III No.3: Allegro Ben Ritmato E Deciso
Meadow Serenade
My One And Only
'S Wonderful/Funny Face
He Loves And She Loves
An American In Paris
Liza
Strike Up The Band
Embraceable You
I Got Rhythm (I)
I Got Rhythm (II)

Tracks:

Of Thee I Sing
Jilted
Second Rhapsody
For You, For Me, For Evermore
Cuban Overture
Isn't It A Pity?
Variations On 'I Got Rhythm'
I. Catfish Row: Introduction - Jazzbo Brown - First Chorus, 'Summertime'
II. Porgy Sings: 'I got Plenty O' Nuthin' - 'Bess, You Is My Woman Now'
III. Fugue: Murder Of Crown, Act III Scene 1
IV. Hurricane: Introduction, Act II Scene 3 - Hurricane, Act II Scene 3
V. Good Morning, Brother: Occupational Humoresque, Act III Scene 3 - 'Good Morning, Brother' - Children's Song 'Sure To Go To Heaven' - 'I'm On My Way' (Finale)
They Can't Take That Away From Me
Let's Call The Whole Thing Off
Our Love Is Here To Stay

Tracks:

Girl Crazy Overture
French Ballet Class
Dance Of The Waves
Slap That Bass
Walking The Dog
I've Got Beginner's Luck
They All Laughed
They Can't Take That Away From Me
Shall We Dance
By Strauss
I Can't Be Bothered Now
The Jolly Tar And The Milkmaid (1st Version)
Put Me To The Test
The Jolly Tar And The Milkmaid (2nd Version)
Stiff Upper Lip
A Foggy day (In London Town)
Nice Work If You Can Get It
Things Are Looking Up
I Was Doing All Right
Love Walked In

Customer Reviews:

Excellent performer.......2007-03-09

This plates are wonderful. I was charmed, and when I close my eyes now, I see scenes with American in Paris or Porgy and Bess but my favorite piece of music is Rhapsody in Blue. It's more than excellent is fantastic. Jack Gibbons perfectly feels the unique tone Gershwin's music, the mixture rythms of jazz with influences of impressionists and clear and beauty melodies.
I'm fascinating.

A unique project.......2006-11-23

Gibbons' undertaking is unique: to reconstruct and then execute and record the note-for-note playing of Gershwin as documented on the composers' piano rolls, sound recordings and certain published arrangements. I agree with the reviewer who points out that the result is like a library and not a recital you sit back and listen to (or get up and dance to). In fact Gibbons does some editing of his "library" now and then, and clearly documents it in his liner notes: in some reconstructions he augments accompaniment effects and even the melodic line itself. I don't mind that at all, especially as Gibbons scrupulously accounts for such tampering in his liner notes; but it seems to me that it is in this area of "tampering" that Gibbons the artist is asserting himself...which of course undermines the "library", the "historical archive": you have to search and read a bit to find out when you're hearing only Gershwin and when you're hearing some added Gibbons. I don't mind; Gibbons is a remarkable artist in his own right, not merely an impeccable documentarian. For sheer generosity of production Gibbons' Gershwin must also be unique: 4 cd's, scholar-level liner notes (yes, you need a magnifying glass to read them), and rock-bottom bargain price.

Gershwin historical, manic, perfect, archival.......2006-06-12

First: this is 4 high-end produced cd's (in low-end jewel cases) for the price of 2. The liner notes of all 4 cd's are condensed in a booklet of microscopic print, so you may need to spend the savings on a magnifying glass. MONEY WELL SPENT.
Second: Jack Gibbons plays (and has recorded) the Alkan op 39 etudes (he probably plays a lot more Alkan than that). For those of you not in the know, this is to say he has world-class chops, indeed history-class (Liszt, who never played his friend Alkan, at least in public). But it's also to say that Gibbons knows how to interpret and personalize fantastically difficult piano music. For me, his Alkan op 39 is personal and passionate and real (contrast the facile and over-pedalled Hamelin and the just-the-notes-ma'me Ringeissen). An appreciation of Gibbons' Alkan is important here because while his Alkan is uniquely personal (as such music must be, no matter how hard it is to play) his Gershwin is deliberately impersonal...which is to say: no pianist, no singer would want to reproduce what Gibbons has given us in these 4 cd's, and in fact few listeners will be able to listen for long to these 4 cd's without a respite, a break , some silence, some minimal styling from somebody (anybody) else...which brings me to
Third: This is an archive, not a recital. This is a library, not a program. There is no track-by-track contrast of moods here, no track-by-track concession to easy listening, varied delight, any more than a library shelf of novels is alphabetized by authors' last names as a concession to mood or fancy or taste of the searching patron. This is the documented Gershwin in his recording mode: manic, notey, clever, "on", and never, as generations of stylists found in him, ravishing, tender, longing, sweet, glad, hopeful...person-to-person, in a word. I can listen to these cd's about half an hour at a time, max. This is Gerwhsin, not Gibbons. And this is just one side of Gershwin. He died at 38, in the summer. Brain tumor. A lot of pain.
Finally, Jack Gibbons has given the world a uniquely valuable and easily available resource. Gibbons could now do us a service by playing us some Gershwin as he feels it, as it hits him and makes him sing (as Gershwin, our American Schubert, does to all of us, and as I think Alkan has done to Gibbons). I would love to see a Gershwin stylings by Gibbons now that Gibbons himself has made sure Gershwin in his authenticity is safe and sound.

Definative.......2005-07-23

Here's the whole Gershwin catalog at a great price... Five plus hours of bliss. Definately five stars!

Gibbons, according to a family friend and biographer Edward jablonski "recreates Gershwin's style." I'll never know. I can say this is a lively recording and has the perfect balance. It's neither stuffy and plodding or cute.

Average customer rating:

Essential Gershwin

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Jazz | Styles | Music

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

The Decca Records Store | Specialty Stores | Music
ASIN: B000088E4C
Release Date: 2003-02-11

Tracks:

Rhapsody In Blue - Andre Previn
Symphonic Portrait Of Porgy & Bess - Robert Russell Bennett
Cuban Overture - Howard Hanson
An American In Paris - Lorin Maazel

Tracks:

3 Preludes For Piano Solo - Werner Haas
3 Preludes For Piano Solo - Werner Haas
3 Preludes For Piano Solo - Werner Haas
Lullaby - Riccardo Chailly
Variations On I Got Rhythm - Bernard Herrmann
The Man I Love - Barbara Hendricks
Oh Kay! - Overture - Arthur Fiedler
Walking The Dog From Shall We Dance - John Mauceri
They All Laughed From Shall We Dance - John Mauceri
Let's Call The Whole Thing Off From Shall We Dance - John Mauceri
They Can't Take That Away From Me From Shall We Dance - Barbara Hendricks
A Foggy Day From A Damsel In Distress - John Mauceri
Nice Work If You Can Get It From A Damsel In Distress - Barbara Hendricks
Love Walked In From The Goldwyn Follies - John Mauceri
Love Is Here To Stay From The Goldwyn Follies - Barbara Hendricks

Average customer rating:

mediocrity rules
FIVE STARS

Happy Birthday George Gershwin

Manufacturer: Valley
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

General | Musicals | Broadway & Vocalists | Styles | Music

Classical | Indie Music | Stores | Music

Broadway & Vocalists | Indie Music | Stores | Music
Similar Items:

Jubilation
Wait for Me
Jubilant
Call Me Irresponsible

ASIN: B000005BWM
Release Date: 1997-10-07

Tracks:

Strike Up The Band
An American In Paris
Stiff Upper Lip
Love Walked In
Embraceable You
By Strauss
Fascinatin' Rhythm
'Swonderful
They Can't Take That Away From Me
Summertime
Bess
Things Are Looking Up
Beginners Luck
Let's Call The Whole Thing Off
I Got Rhythm
Our Love Is Here To Stay

Customer Reviews:

mediocrity rules.......2000-06-03

Unless you went to this concert and want a reason to remember the evening, I can't imagine why you'd want to own the CD. It has all the disadvantages of a live concert (acoustics are poor), and applause occurs on top of the performances. The interpretations of the music by the vocalists Tune and McGovern are poor. Save yourself the money....

FIVE STARS.......1999-04-10

FIVE STARS FIVE STARS FIVE STARS FIVE STARS FIVE STARS FIVE STARS FIVE STARS FIVE STARS FIVE STARS FIVE STARS FIVE STARS FIVE STARSFIVE STARS FIVE STARS FIVE STARSFIVE STARS FIVE STARS FIVE STARS FIVE STARS FIVE STAR FIVE STARS

Average customer rating:

In a class of her own
CELEBRATE Marian Anderson's powerful, liberated voice with JOY!
Timeless performances
My favorite singer
Honest Transfer of Great Material from 78s

Prima Voce - Marian Anderson / Shaw

Manufacturer: Nimbus Records
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Passions | Vocal Non-Opera | Opera & Vocal | Styles | Music

Sopranos | Voices | Opera & Vocal | Styles | Music

Marian Anderson
Spirituals
Marian Anderson Rare and Unpublished Recordings, 1936 - 1952
Marian Anderson 1897 - 1993
He's Got the Whole World in His Hands

ASIN: B0000037L2
Release Date: 1997-01-07

Tracks:

Cantata No. 81: Jesus schlaft, was soll ich hoffen
Cantata No. 112: Zum reiner wasser
St. Matthew Passion: Erbarme dich, mein gott
Cantata No. 12: Kreuz und krone
Messiah: He Shall Feed His Flock
St. John Passion: Es Ist Vollbracht (English)
Christmas Oratorio: Bereite dich, zion
City Called Heaven
Lord, I Can't Stay Away
Heaven, Heaven
Trampin
Oh What A Beautiful City
Were You There?
Sometimes I Feel Like A Motherless Child
I Don't Feel No-Ways Tired
Deep River
Go Down Moses
My Soul's Been Anchored In The Lord

Amazon.com

Marian Anderson's rich contralto tinged with sadness touched the hearts of many and made her one of the most-loved American singers. She's probably best known for her spirituals on recordings made in the twilight of her career. In these good transfers, she sings an ample selection of those favorites made in her prime, the late 1930s; they're no less touching and made even more compelling by the freshness of her voice, which is just as fresh in the Handel and Bach arias from the Messiah, St. Matthew Passion, and more. - -Dan Davis

Customer Reviews:

In a class of her own.......2007-07-21

Dignified,lovable and instantly recognisable Marian Anderson is much beloved first afro-american singer to achieve world-wide recognition,together with Paul Robeson she represents almost biblical royal couple from whom later generations sprung and followed.True,she certainly had to fight with unjustice,prejudice and obstacles (curiously enough,she was instantly recognised as artist of highest calibre in Europe while they troubled her back home) but all those events are far now,as I am writting this in Summer 2007 and what is the most important is her musical legacy.Contrary to liner notes on this CD where they suggest her singing might be old fashioned by todays standards,I found her singing simply stunning,serious,deeply moving and sincere.In fact,of all "Prima Voce" compilations,this is the one I believe has not aged or became museum relic,this is a pure masterpiece that can be cherished forever and time cannot erase or diminish art like this.

CELEBRATE Marian Anderson's powerful, liberated voice with JOY!.......2006-03-25

On April 9, 1939, the voice of Marian Anderson shook my whole being unforgettably. She began her concert by singing our nation's hymn, "Our Country 'Tis of Thee, Sweet Land of Liberty,"
a prayer for all to give voice to.

Two events that took place on the steps of the Lincoln Memorial in Washington, D.C., had a profound effect on my life. In a minister's family any political discussion was usually 'careful'. But when the Daughters of the American Revolution ruled that Marian Anderson could not give a concert in their Constitution Hall my parents spoke passionately about Anderson's rebuff, and then praised First Lady Eleanor Roosevelt to the skies for her immediate response which was to invite Marian Anderson to sing at the Lincoln Memorial.

What happened had charged the air with electricity. The hush was palpable. To listen we were limited to the radio, but we would see the newsreel before many days.

All this is an introduction to this CD which shows the power and range of Marian Anderson's talents. Among these offerings are several from cantatas, and some 'spirituals' - - and I mention the familiar because they make me feel as though I am truly in her presence once more: The 23rd Psalm; "He shall feed his flock like a shepherd"; "Sometimes I feel like a motherless child"; "Deep River"; and "My soul's been anchored in the Lord."

The latter could be said to describe both Marian Anderson and Martin Luther King. I have felt the unshakeable presence of each, Marian with her glorious contralto, Martin with his baritone. Noone could miss the reality of justice & faith overcoming hate & ignorance. Reviewer mcHAIKU can still feel the impact, and their influences on my life have been part of me for decades.

Timeless performances.......2005-12-08

Marian Anderson suffered from several circumstances, but always endured them, it appeared, with grace and dignity. She suffered from being black at a time when black persons were not taken seriously as classical artists, and she was simply not allowed to sing in many venues. She was forbidden the stage of the Metropolitan Opera until past her prime (1955). After she became an icon of the civil rights movement, her reputation as a singer became overshadowed. Miss Anderson's treatment by her own countrymen for much of her life was an abomination, but it had nothing to do with music. Modest as she was about all aspects of her life, I don't think she would want her artistry relegated to a footnote in social history!

This is a fine collection of Marian Anderson's singing in oratorio and spirituals. None of her wonderful opera arias or lieder are here, and those call for a separate volume. Miss Anderson stood out from many great singers in her fine understanding of the subtle differences among all of these genres. She used different tone colors and types of vocal production for each of them, as appropriate, a nicety seldom enough observed today. In other words, she was no "belter." We have singers nowadays making millions for yelling at the top of their lungs, and sometimes making multi-millions for trying to out-yell their colleagues in giant arena events closely simulating cattle-call competitions. Perhaps one needs to meditate quietly for an hour or so before attempting to share the more inward and spiritual artistry of Marian Anderson.

From the first selection here (out of over 72 minutes of music included), "Jesus schläft, was soll ich hoffen" from Bach's Cantata No. 81, one can only marvel at the tonal beauty, depth of feeling, immediacy of communication, and technical accomplishment of the great contralto. In this aria, the long-held word "schläft" is not just thrilling as a piece of vocalism, but does just what Bach meant it to: express the gentle, timeless, cosmic-yet in this case ominous-slumber of the Savior. Seldom, outside of Miss Anderson's singing, have these Bach arias so risen above the "sewing-machine" school of performance. Her style is freer and warmer in the spirituals, which no one but Paul Robeson sang as impressively. There are eleven of them here, though not her most famous, "He's got the whole world in his hands." That too must be acquired elsewhere, as is easily done. There are no cheap shots in this anthology, just great performances of great music with no playing to the grandstands.

My favorite singer.......2005-09-27

This is a great CD. Despite the obvious technical limitations at the time of original recording, the sound quality on this CD is really good. I love Marian Anderson (as a contralto myself,I strive to be like her)and I think this CD does her justice. It's great to hear the range of her vocal talent. The combination of opera and spirituals is wonderful. The songs also vary in vocal range. I was happy to hear a collection of songs that showcased the strength of her voice at its lower and upper ends. Overall, I'd say this was an excellent CD.

Honest Transfer of Great Material from 78s.......2001-03-24

There are eleven spirituals on this CD, but it opens with a stunning traversal of seven sacred selections from the Baroque era, six selections of Bach and one of Handel. Ms. Anderson's sweetness, sincerity and artistry are complemented nicely by a young Robert Shaw conducting the RCA Symphony Orchestra (you can clearly hear the later Shaw of the Bach B Minor Mass in places, and the selection from the St. Matthew Passion is a haunting reminder that Shaw was never able to commit a complete Matthew to disc for posterity, though it was his favorite work and its recording a goal in his life - but I stray). What the Baroque selections lack in the latest in musicological authenticity they more than make up for in heartfelt simplicity and directness. It's Baroque music for the ages, and it may move you to tears.