| 1. Intro |
| 2. JNPT |
| 3. Down From Iona |
| 4. They Tried To Kill Us, We Survived (Let's Eat) |
| 5. Police Dog Blues |
| 6. Monkey Pants |
| 7. Hesitation Blues |
| 8. Brundlefly |
| 9. Been Around |
| 10. Saltflat Rhapsody |
| 11. Last Steam Engine Train |
| 12. Bright Place |
| 13. Swallowtail / Rights of Man Hornpipe |
Editorial Reviews
Dave Royko, Chicago Tribune, April 2003
...as a live act and as recording artists, (The Waybacks) engage on equal terms both our hearts and our minds.
Product Description
By popular demand!! A live recording by one of the hottest string bands in America! This third release by the popular San Francisco group captures the energy, enthusiasm, musical virtuosity and irreverent humor that have come to be the hallmarks of a Waybacks performance. Die-hard fans and virgin Backaroos alike will enjoy the mix of new originals (Let’s Eat, Monkey Pants), live versions of tunes from the first two CDs (Been Around, JNPT, Bright Place, Saltflat Rhapsody), and a few tunes that just need to be heard in a live setting (Hesitation, Swallowtail).
and hip-hop, heard me playing this disc and begged me to buy her
one........and I did, and she plays it all the time, and to her
friends. Linda Eder exceeds the Streisand mystique by far.
musical in 1960. over the years i have had the honor to see
almost all of the giants of american song, garland, streisand,
patti lupone, lena horne, betty buckley, barbaracook etc. in
"broadway, my way" linda eder cements her place as the best of the best. from an anthem like "i am what i am" to the lovely
"on the street where you live" captures you body and soul.
i loved this album, and don't ever miss a chance to see her live. JOHN POWER
You certainly can't beat the price!
Among the traditional songs, I especially liked the patriotic "Down Where The River Bends" and the old gospel tune "Drifting Too Far From The Shore". It's ironic because the lyrics of these songs are so different from my personal experience and yet they manage to move me deeply. It's funny how music can do that to you. In any case, this is a fine album and I recommend it highly to both straight-up bluegrass lovers and rock fans drawn to it by Jerry Garcia. Good stuff!
I'm not trying to disparage Garcia's playing--he definitely holds it together, and considering his G.D. history, I was surprised by his abilities.
The group excells at making the songs accessible, both in the choice of songs and in the playing.
Some particularly enjoyable songs:
Kissimmee Kid (Clements and Grisman shine)
Wild Horses
Midnight Moonlight
The Hobo Song
Buy this album immediately. It's certainly worth it; when I first bought it, it didn't leave my car stereo for about 2 weeks.
I saw this show done by my high school years ago, so maybe it holds a bit of nostalgia for me, but it is definitely worth checking out.
I prefer these versions to the original ones. The sound is pretty good for a live release. That's All folks !
Yes, I admit that I'm no fan of their earlier stuff. Matter of taste, surely. Also, it was just before my time. Anyhow, what I liked most about "The Way We Walk Vol. 1 - The Shorts" was the absence of all those older, overly lengthy, artistic songs that don't really mean anything to me. Precisely what other reviewers here lamented -- that everything on this record comes from just three albums, namely "Genesis", "Invisible Touch", and "We Can't Dance" -- makes it so great for me; for as far as I'm concerned, Genesis before those is rather uninspiring.
The performances are just as great as could righteously be expected. I think that the energy from the (quite audible) audience really adds nicely to the band's, especially of course in the Phil Collins trademark back-and-forth singing contest with the audience at the beginning of "Throwing It All Away", but also quite notably at the beginning of "I Can't Dance" (watch out for the audience's reaction to the "boing" sound!). Subtly altered lyrics, mostly a little naughtier than the originals, add to the personal feeling -- it feels like being there. And that "I Can't Dance" was recorded before a German audience, as becomes clear from the shouts of "Zugabe! Zugabe!" (encore) at the end, just means the last bit of delight for me. Hey, I might have been there after all!
If you insist that something negative must be said about this record, I'll admit that I didn't care for the long-winded endings of "No Son of Mine", and especially "I Can't Dance". I keep thinking, "come on, man, that's enough", but on and on he goes. But that's a really minor nuisance. No reason to cut down the five star rating.
If you're from the same generation as I am -- us who grew up with the sinister "Ha ha! Ha! *rowr*" from "Mama", the Spitting Image puppets from "Land of Confusion", and the Levis spots that got so brilliantly defaced in "I Can't Dance" -- this is The Essential Genesis Record. If not, kindly disregard this review.
When I look at Genesis as band, I see four distinct phases the band has gone through. Phase 1 is the Peter Gabriel Era. This spans from 1969 ("From Genesis to Revelation") to 1974 ("The Lamb Lies Down on Broadway"). It was during Phase 1 that Peter Gabriel was the lead vocalist and Genesis could easily be categorized as a progressive Rock band. Phase 2 is the Early Phil Collins Era spanning from 1976 ("A Trick of the Tail") to 1982 ("Three Sides Live"). In this era, Phil Collins took over as lead singer. The band was still very much a progressive rock band, but as the progressive rock landscape would change - so would Genesis. This might indirectly have led to Phase 3 which is the Late Phil Collins Era from 1983 ("Genesis") to 1993 ("The Way We Walk Volume 2: The Longs"). This is the commercial/pop era that I referred to earlier. At this point, there would be a lot less progressive rock flavor to Genesis' music. The fourth phase, Phase 4 is the Ray Wilson Era. This was when Ray Wilson took over as lead vocalist for Phil Collins. There would only be one album in this era - 1997's "Calling All Stations" and it seemed like Genesis tried to recapture some of their progressive rock roots - but 90s style. "Calling All Stations" would do poor commercially and Ray Wilson would take the fall and be asked to leave the band.
In Phase 3, Genesis would grow more and more successful commercially with each album release. Some of this probably would do to the fact that Phil Collins' solo career was also taking off. The last studio album that Phil Collins would do with Genesis was "We Can't Dance". It was a huge commercial success and resulted in a hugely successful World Tour. Naturally, the band decided to capitalize on the success of that World Tour by releasing a live album and video. Genesis had done live albums before ("Three Sides Live", "Seconds Out", "Genesis Live"). On each live album, the focus of the live material would on the studio releases that had not been done live up until that point. Genesis had not done a live release for Phase 3, thus "The Way We Walk" would have a focus on this material. For this live release, Genesis would employ a unique formula - they would release the material in a two volume set called "The Way We Walk". Volume 1 would focus on the shorter (normal) length songs. Volume 2 would focus on Genesis' trademark longer songs. For the purposes of this review, I'll focus on Volume 1.
Normally when there is a live release, I prefer the album to be a live recording from a single concert performance. I prefer it to be delivered in the order in which the songs were actually delivered. By having things from a single night and in order - I feel there is continuity and the magic of the concert is captured perfectly. Since Genesis took this unique approach to the way they were presenting this live material, this was going to be very hard to do. However, the material was strong enough to overcome this. Yes, I still would have preferred a two volume CD that contained a night from the 1992 "We Can't Dance" Tour in its entirety, but the production and engineering isn't bad and it does a nice job at ordering the songs and giving the "quasi appearance" that this may be from one night (even though the ordering is shuffled). I also like the two volume approach - I find it very convienient to listen to either the "short" songs or "long" songs (depending on my mood)".
The most interesting song is "Invisible Touch". I always thought this was an "average" song for Genesis, but there is something about hearing this song live that blows me away. I love the way they end the song. I also love how they segue from "Tonight Tonight Tonight" into "Invisible Touch". Yes they made "Tonight Tonight Tonight" from a long song to a short one, but it works the way they performed this song and the segue. Similar to "Invisible Touch", I love Genesis' spin on "Throwing It All Away" - featuring Phil leading the crowd in a participatory "It away!" chant and Mike Rutherford's guitar is awesome in it. Two strong songs from "We Can't Dance" are "No Son of Mine" and "Jesus He Knows Me". Phil's performance of "Jesus He Knows Me" was very theatrical in concert when I saw him and on this recording it translates very nicely to audio. Not forgetting Tony Banks, his keyboards are spellbinding on "Mama" - as are Phil's vocals.
The liner notes are weak. There are no lyrics and nothing to provide insight into the Tour - or when and where these songs were recorded. The production credits are pretty light as well. There are some decent photos from the Tour included. Although this may be Genesis' "pop" era - there still is some excellent music and this excellent music translates very well to the live setting. There may be some "old-time" fans who don't like this material, but I think this will still appeal to the majority of end to end Genesis fans.
BY THE STARS ON STAGE. A "MUST" FOR ANYONE WHO CARES FOR THIS GREAT MUSICAL.
The premise is pretty basic: six songs exceeding the 6-minute mark (in fact, five of them go over the 10-minute mark), showing off some of the band's most ellaborate work, to balance off volume one, which focused more on the singles and short songs. Starting off the album, standing tall at almost 20 minutes of duration, is a medley of reaaaaaaaly old Genesis, where 1975's "Dance on a Volcano", 1974's "Lamb Lies Down on Broadway", 1971's "Musical Box" and 1973's "Firth of Fifth" and "I Know What I Like" all are brought back to life, if at least for minutes at a time each... reviving the spirit of one of the world's best progressive rock bands ever.
Following the opening track come two tracks from their "We Can Dance" production, along with the "Domino" bundle (from their "Invisible Touch" album) and the "Home By the Sea" bundle (from their self-titled 1983 album). Taking it all home is their classic Drum Duet, featuring Phil alongside Chester Thompson, delivering a massive drum discharge that will electrify you.
If you ask me, this last glimpse at their great work is a good as it gets... I am thankful I had an opportunity of catching them during this tour, back in Knebworth, in 1992. They don't do them like this any more. ;)
When I look at Genesis as band, I see four distinct phases the band has gone through. Phase 1 is the Peter Gabriel Era. This spans from 1969 ("From Genesis to Revelation") to 1974 ("The Lamb Lies Down on Broadway"). It was during Phase 1 that Peter Gabriel was the lead vocalist and Genesis could easily be categorized as a progressive Rock band. Phase 2 is the Early Phil Collins Era spanning from 1976 ("A Trick of the Tail") to 1982 ("Three Sides Live"). In this era, Phil Collins took over as lead singer. The band was still very much a progressive rock band, but as the progressive rock landscape would change - so would Genesis. This might indirectly have led to Phase 3 which is the Late Phil Collins Era from 1983 ("Genesis") to 1993 ("The Way We Walk Volume 2: The Longs"). This is the commercial/pop era that I referred to earlier. At this point, there would be a lot less progressive rock flavor to Genesis' music. The fourth phase, Phase 4 is the Ray Wilson Era. This was when Ray Wilson took over as lead vocalist for Phil Collins. There would only be one album in this era - 1997's "Calling All Stations" and it seemed like Genesis tried to recapture some of their progressive rock roots - but 90s style. "Calling All Stations" would do poor commercially and Ray Wilson would take the fall and be asked to leave the band.
In Phase 3, Genesis would grow more and more successful commercially with each album release. Some of this probably would do to the fact that Phil Collins' solo career was also taking off. The last studio album that Phil Collins would do with Genesis was "We Can't Dance". It was a huge commercial success and resulted in a hugely successful World Tour. Naturally, the band decided to capitalize on the success of that World Tour by releasing a live album and video. Genesis had done live albums before ("Three Sides Live", "Seconds Out", "Genesis Live"). On each live album, the focus of the live material would on the studio releases that had not been done live up until that point. Genesis had not done a live release for Phase 3, thus "The Way We Walk" would have a focus on this material. For this live release, Genesis would employ a unique formula - they would release the material in a two volume set called "The Way We Walk". Volume 1 would focus on the shorter (normal) length songs. Volume 2 would focus on Genesis' trademark longer songs. This review focuses on Volume 2.
Normally when there is a live release, I prefer the album to be a live recording from a single concert performance. I prefer it to be delivered in the order in which the songs were actually delivered. By having things from a single night and in order - I feel there is continuity and the magic of the concert is captured perfectly. Since Genesis took this unique approach to the way they were presenting this live material, this was going to be very hard to do. However, the material was strong enough to overcome this. Yes, I still would have preferred a two volume CD that contained a night from the 1992 "We Can't Dance" Tour in its entirety, but I do like the unique two volume approach. I find it very convienient to listen to either the "short" songs or "long" songs (depending on my mood)".
Four of the six songs come from Phase 3. The first song is a 19+ minute medley of songs from Phases 1 and 2 called "Old Medley". A unique thing about "Old Medley" is that it features a medley within a medley - namely "I Know What I Like" also has a mini medley of "That's All", "Illegal Alien", and "Follow You Follow Me". This medley will help the new Genesis fan appreciate the older material. The band does a terrific job delivering emotional performances of the newer classics - "Domino" (from "Invisible Touch") and "Driving the Last Spike" (from "We Can't Dance"). There is a terrific version of "Home By the Sea" which includes "Second Home By the Sea". (I always prefer listening to "Home By the Sea" and Second Home By the Sea" together - so this works). "Fading Lights", a song from "We Can't Dance" is also included. I think this isn't the strongest Genesis tune, but the band does a nice instrumental which gives the song a boost. Finally there is a terrific "Drum Duet" featuring Phil Collins and Chester Thompson in a double drum "solo" performance. Because of the copyright date listed for "Drum Duet" (1989), I wonder if this was actually recorded on the "We Can't Dance" tour or if this was when it was written?
The liner notes are weak. There are no lyrics and nothing to provide insight into the Tour - or when and where these songs were recorded. The production credits are pretty light as well. There are some decent photos from the Tour included. There may be some "old-time" fans who don't like the newer material by Genesis, but these longer performances still show that Genesis hasn't completely morphed into a pop band. These performances will appeal to the old Genesis fan as well as the newer fan.
In a compilation of songs like this you're always going to have tracks that you prefer over others, but the majority of the renditions in this CD are great. This is simply one of the best collections of Sondheim out there. You get interpretations that span from "classical" (Green Finch), to bordering on insane (Anything Twice). This is to demonstrate how versatile this composer really is.
In my opinion, some of the best renditions are "Not a Day Goes By," "Anyone Can Whistle", "Girls Upstairs Medley," "Losing My Mind/Drive a Person Crazy," and "Weekend inthe Country." Makes me wish I had been there to witness it first hand.
If you love Sondheim and enjoy hearing Broadway performers, get this CD. A great recording.
...as a live act and as recording artists, (The Waybacks) engage on equal terms both our hearts and our minds.
Product Description
By popular demand!! A live recording by one of the hottest string bands in America! This third release by the popular San Francisco group captures the energy, enthusiasm, musical virtuosity and irreverent humor that have come to be the hallmarks of a Waybacks performance. Die-hard fans and virgin Backaroos alike will enjoy the mix of new originals (Let’s Eat, Monkey Pants), live versions of tunes from the first two CDs (Been Around, JNPT, Bright Place, Saltflat Rhapsody), and a few tunes that just need to be heard in a live setting (Hesitation, Swallowtail).
On-fire fiddling, jaw-dropping flatpicking, vocals your mother could love, classic flat-picked guitar, wonderfully unpredictable bass solos, and drumming that even the drum Nazis can appreciate – all this and more on a CD that will provide literally minutes of entertainment
Way Live,Waybacks,Rock/Pop
Way Live
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Broadway, My Way
Linda Eder Manufacturer: Atlantic / Wea ProductGroup: Music Binding: Audio CD  General
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ASIN: B000088E4T Release Date: 2003-02-18 |
Tracks:
- I Am What I Am (from "La Cage aux Folles")
- Anthem (from "Chess")
- On The Street Where You Live (from "My Fair Lady")
- What Kind of Fool (from "Stop The World I Want to Get Off")
- Some People (from "Gypsy")
- I'll Be Seeing You (from "Right This Way")
- Gold (from "Camille Claudel")
- Don't Rain On My Parade (from "Funny Girl")
- The Impossible Dream (from "Man of La Mancha")
- A New Life (from "Jekyll & Hyde")
- Edelweiss (from "The Sound of Music")
- Unusual Way (from "Nine")
- Man of La Mancha (from "Man of La Mancha")
Amazon.com
The people who felt betrayed when Linda Eder covered several pop songs on 2002's Gold will be relieved that her follow-up, Broadway My Way, is a return to the Great White Way. As if to prove that she isn't limited to either the songs of Frank Wildhorn or ballads, Eder tackles some well-known show tunes. The ballads tend to be overwrought, so it's best to look for the uptempo numbers. The singer's take on "Some People" is technically fine but so va-va-voom showbiz that it lacks the deranged edge that makes the song so compellingly dramatic. Things work a lot better on "I Am What I Am": while Eder doesn't take it to the top (or rather over the top), this is as close as she gets to Mermanizing a number. Elsewhere, "Don't Rain on My Parade" (immortalized by Streisand) and "Man of La Mancha" are appropriately brassy and triumphant, with Eder roaring her way through both songs. Fans of both Eder and Wildhorn should note that the singer reprises her Svengali's "Gold," the title track from her previous album, and an excerpt from his long-in-the-works Camille Claudel. --Elisabeth VincentelliAlbum Description
On the eagerly awaited Broadway My Way, Atlantic recording artist and acclaimed Broadway sensation Linda Eder performs classics including 'On the Street Where You Live' (from My Fair Lady), 'Edelweiss' (from The Sound of Music), 'Don't Rain On My Parade' (from Funny Girl) and 10 other great broadway songs performed in a whole new voice. 2003.Customer Reviews:
Linda Eder - Great Voice.......2007-07-06
Not a voice.......an instrument.......2007-02-17
and hip-hop, heard me playing this disc and begged me to buy her
one........and I did, and she plays it all the time, and to her
friends. Linda Eder exceeds the Streisand mystique by far.
the best female singer of the great american standards........2006-07-24
musical in 1960. over the years i have had the honor to see
almost all of the giants of american song, garland, streisand,
patti lupone, lena horne, betty buckley, barbaracook etc. in
"broadway, my way" linda eder cements her place as the best of the best. from an anthem like "i am what i am" to the lovely
"on the street where you live" captures you body and soul.
i loved this album, and don't ever miss a chance to see her live. JOHN POWER
The powerful and beautiful voice of Linda Elder.......2006-02-23
Linda Eder shines with her Broadway album.......2006-02-18
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Greatest Hits: Broadway
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ASIN: B0000029PM Release Date: 1996-10-29 |
Tracks:
- Oklahoma!: Oh, What A Beautiful Mornin' - John Raitt/Franz Allers
- On The Town: New York, New York - Michael Kermoyan/Adolph Green/John Reardon/Cris Alexander & Chorus/Leonard Bernstein
- Annie Get Your Gun: I Got The Sun In The Morning - Doris Day/Franz Allers
- Fiddler On The Roof: If I Were A Rich Man - Topol/Gareth Davies
- West Side Story: Tonight - Larry Kert/Carol Lawrence/Max Goberman
- The Sound Of Music: The Sound Of Music - Mary Martin/Frederick Dvonch
- My Fair Lady: On The Street Where You Live - Jerry Lanning/Theodore Saidenberg
- Annie: Tomorrow - Andrea McArdle/Peter Howard
- The Music Man: Seventy-Six Trombones - The Boston Pops Orchestra/John Williams
- Anything Goes: You're The Top - Eileen Rodgers/Hal Linden/Julian Stein
- Bye Bye Birdie: Put On A Happy Face - Dick Van Dyke/Elliot Lawrence
- Mame: Open A New Window - Angela Lansbury & Cast/Don Pippin
- Strike Up The Band: Strike Up The Band - The Chestnut Brass Co.
- Sweet Charity: Hey, Big Spender - Helen Gallagher/Thelma Oliver/Fan-Dango Girls/Fred Werner
- Bells Are Ringing: Just In Time - Judy Holliday/Sydney Chaplin/Milton Rosenstock
- Gypst: Together, Wherever We Go - Ethel Merman/Jack Klugman/Sandra Church/Milton Rosenstock
- Cabaret: Cabaret - Jill Haworth/Harold Hastings
- Phantom Of The Opera: The Music Of The Night - The Boston Pops Orchestra/John Williams
- Show Boat: Ol' Man River - William Warfield/Franz Allers
- A Chorus Line: What I Did For Love - Priscilla Lopez & Cast/Don Pippin
- A Little Night Music: Send In The Clowns - Glynis Johns/Harold Hastings
Customer Reviews:
Great to Hear All those great Voices from the Past.......2007-07-05
You certainly can't beat the price!
A Good One!.......2006-11-10
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Breakdown: Live Recordings 1973
Old & in the Way , Jerry Garcia , and David Grisman Manufacturer: Acoustic Disc ProductGroup: Music Binding: Audio CD General
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ASIN: B00000391Q Release Date: 1997-11-18 |
Tracks:
- Introduction-Peter Rowan
- Home Is Where The Heart Is
- Down Where The River Bends
- On And On
- The Hobo Song
- Old & In The Way Breakdown
- 'Til The End Of The World Rolls 'Round
- Panama Red
- You'll Find Her Name Written There
- Kissimee Kid
- Goin' To The Races
- Midnight Moonlight
- Working On a Building
- Muleskinner Blues
- Pig In A Pen
- Drifting Too Far From Shore
- Jerry's Breakdown
- Wild Horses
- Blue Mule
Amazon.com
Short-lived and with only a limited output, this five-piece bluegrass band nevertheless helped spread the gospel of this extraordinary genre via the famous coattails of its most notorious member: Jerry Garcia. However, they were no novelty act. Breakdown is the second posthumous release culled from a series of 1973 concerts in San Francisco. At a robust 70 minutes, the album flows like a complete live set, featuring scrumptious musicianship and harmonious camaraderie. Much better than the eponymous debut from 1975--and a perfect second volume companion to 1996's equally worthy That High Lonesome Sound--Breakdown features covers of greats Bill Monroe and Flatt & Scruggs, originals by the band's guitarist Peter Rowan, fiddler Vassar Clements and banjoist Garcia. A must own for any fan of acoustic music and a great primer for bluegrass neophytes. --Greg EmmanuelCustomer Reviews:
Breakdown: Live Recordings.......2007-05-12
Real Bluegrass But With An Innovative Approach.......2006-01-20
Among the traditional songs, I especially liked the patriotic "Down Where The River Bends" and the old gospel tune "Drifting Too Far From The Shore". It's ironic because the lyrics of these songs are so different from my personal experience and yet they manage to move me deeply. It's funny how music can do that to you. In any case, this is a fine album and I recommend it highly to both straight-up bluegrass lovers and rock fans drawn to it by Jerry Garcia. Good stuff!
Just Excellent!!.......2005-09-15
Vassar--Goodbye and Hello.......2005-08-19
Fantastic album.......2005-08-15
I'm not trying to disparage Garcia's playing--he definitely holds it together, and considering his G.D. history, I was surprised by his abilities.
The group excells at making the songs accessible, both in the choice of songs and in the playing.
Some particularly enjoyable songs:
Kissimmee Kid (Clements and Grisman shine)
Wild Horses
Midnight Moonlight
The Hobo Song
Buy this album immediately. It's certainly worth it; when I first bought it, it didn't leave my car stereo for about 2 weeks.
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Working (Original 1978 Broadway Cast)
Manufacturer: Varese Sarabande ProductGroup: Music Binding: Audio CD Singer-Songwriters
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ASIN: B00005LZSR Release Date: 2001-07-10 |
Tracks:
- All The Livelong Day (Schwartz)
- Lovin' Al (Grant)
- The Mason (Carnelia)
- Neat to Be a Newsboy (Schwarz)
- Nobody Tells Me How (Rodgers-Birkenhead)
- Un mejor Dia Vendra (Taylor-Daniele-Landers)
- Just A Housewife (Carnelia)
- Millwork (Taylor)
- If I Could've Been (Grant)
- Joe (Carnelia)
- It's an Art (Schwartz)
- Brother Trucker (Taylor)
- Fathers & Sons (Schwartz)
- Cleanin' Women (Grant)
- Something to Point To (Carnelia)
- I'm Just Movin' (Schwartz) (from the L.A. Theatre Works complete recording of the 1999 revised version)
- Hots Michael at the Piano (Carnelia) (previously unreleased demo recording performed by the composer)
- The Mason (Carnelia) (previously unreleased demo recording performed by the composer)
- Joe (Carnelia) (previously unreleased demo recording performed by the composer)
- Lovin' Al (Grant) (previously unreleased demo recording performed by the composer)
- Fathers & Sons (Schwartz) (performed by the composer)
Amazon.com
The original 1978 Broadway cast recording of Stephen Schwartz's Working has long been awaited on CD, and this great-sounding 2001 release proves it was worth the wait. Surely one of the more unlikely sources for a musical was Studs Terkel's 1972 book that compiled interviews of American working people discussing their jobs and what they liked and disliked about them. Schwartz transformed these interviews into a series of songs written by himself, Craig Carnelia, Mary Rodgers and Susan Birkenhead, Micki Grant, and pop singer James Taylor, and accordingly the variety of songs is as great as the variety of the workers featured. There's the lyric beauty of "The Mason," the rueful "Just a Housewife," the retiree's wry "Joe," the waitress's lilting "It's an Art," Taylor's pop-country "Brother Trucker," and the powerful emotion of "Fathers and Sons," realized by a compelling cast that features David Patrick Kelly, Joe Mantegna, Bob Gunton, and Lynne Thigpen, among others.Six bonus tracks include a new version of the grocery checker song written for the 1999 L.A. Theatreworks production, Carnelia and Grant performing their own songs (unfortunately, Grant's track comes from a poor-quality audio source), and Schwartz's moving performance of "Fathers and Sons" from 1999's The Stephen Schwartz Album. Also welcome are 2001 notes from Schwartz paired with 1978 notes from Terkel, and a detailed listing of the composers and performers of each song. Working was filmed for American Playhouse in 1982. --David Horiuchi
Customer Reviews:
An underrated musical.......2006-03-16
I saw this show done by my high school years ago, so maybe it holds a bit of nostalgia for me, but it is definitely worth checking out.
Wonderful Lesser Known Gem.......2005-12-26
Keep Working!!!.......2004-06-12
What makes Working so special is that anyone can relate to the lyrics, they are powerful, beautiful, touching, and extremely real. Anyone who has ever worked a day in their life will feel the lyrics hit close to home. Whether you're a housewife, a valet parker, a fireman, a millworker, a teacher, a cleaning woman, or even a hooker, this musical has a place for you, no matter what job you do.The emotion, sincerity, and love expressed in the songs are amazing, and they are all extremely unique and a pure joy to listen to.
All the songs are fantastic but the stand-outs have to be "All the Live Long Day," "Just a Housewife," "If I Could've Been," "It's An Art," "Father's and Sons," "Cleaning Women," and "Something to Point to." I also have a soft spot for "Brother Trucker" and "I'm Just Movin" from the 1999 revival, which I am so grateful is included in this CD. This is a terrific, feel-great album everyone should listen to. Give Working a chance, it's worth it.
a good, if obscure CD.......2003-09-26
off the beaten path.......2003-07-10
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Genesis Live: The Way We Walk, Vol. 1 (The Shorts)
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ASIN: B000002IUU Release Date: 1992-11-17 |
Tracks:
- Land Of Confusion
- No Son Of Mine
- Jesus He Knows Me
- Throwing It All Away
- I Can't Dance
- Mama
- Hold On My Heart
- That's All
- In Too Deep
- Tonight, Tonight, Tonight
- Invisible Touch
Customer Reviews:
A collection of hits, that I am a bit tired of..........2007-02-18
I prefer these versions to the original ones. The sound is pretty good for a live release. That's All folks !
SLOPPY, BUT GOOD++.......2006-05-21
Better than being there.......2005-02-23
Yes, I admit that I'm no fan of their earlier stuff. Matter of taste, surely. Also, it was just before my time. Anyhow, what I liked most about "The Way We Walk Vol. 1 - The Shorts" was the absence of all those older, overly lengthy, artistic songs that don't really mean anything to me. Precisely what other reviewers here lamented -- that everything on this record comes from just three albums, namely "Genesis", "Invisible Touch", and "We Can't Dance" -- makes it so great for me; for as far as I'm concerned, Genesis before those is rather uninspiring.
The performances are just as great as could righteously be expected. I think that the energy from the (quite audible) audience really adds nicely to the band's, especially of course in the Phil Collins trademark back-and-forth singing contest with the audience at the beginning of "Throwing It All Away", but also quite notably at the beginning of "I Can't Dance" (watch out for the audience's reaction to the "boing" sound!). Subtly altered lyrics, mostly a little naughtier than the originals, add to the personal feeling -- it feels like being there. And that "I Can't Dance" was recorded before a German audience, as becomes clear from the shouts of "Zugabe! Zugabe!" (encore) at the end, just means the last bit of delight for me. Hey, I might have been there after all!
If you insist that something negative must be said about this record, I'll admit that I didn't care for the long-winded endings of "No Son of Mine", and especially "I Can't Dance". I keep thinking, "come on, man, that's enough", but on and on he goes. But that's a really minor nuisance. No reason to cut down the five star rating.
If you're from the same generation as I am -- us who grew up with the sinister "Ha ha! Ha! *rowr*" from "Mama", the Spitting Image puppets from "Land of Confusion", and the Levis spots that got so brilliantly defaced in "I Can't Dance" -- this is The Essential Genesis Record. If not, kindly disregard this review.
Yes it's more Commercial than Old Genesis, but its very good.......2004-11-02
When I look at Genesis as band, I see four distinct phases the band has gone through. Phase 1 is the Peter Gabriel Era. This spans from 1969 ("From Genesis to Revelation") to 1974 ("The Lamb Lies Down on Broadway"). It was during Phase 1 that Peter Gabriel was the lead vocalist and Genesis could easily be categorized as a progressive Rock band. Phase 2 is the Early Phil Collins Era spanning from 1976 ("A Trick of the Tail") to 1982 ("Three Sides Live"). In this era, Phil Collins took over as lead singer. The band was still very much a progressive rock band, but as the progressive rock landscape would change - so would Genesis. This might indirectly have led to Phase 3 which is the Late Phil Collins Era from 1983 ("Genesis") to 1993 ("The Way We Walk Volume 2: The Longs"). This is the commercial/pop era that I referred to earlier. At this point, there would be a lot less progressive rock flavor to Genesis' music. The fourth phase, Phase 4 is the Ray Wilson Era. This was when Ray Wilson took over as lead vocalist for Phil Collins. There would only be one album in this era - 1997's "Calling All Stations" and it seemed like Genesis tried to recapture some of their progressive rock roots - but 90s style. "Calling All Stations" would do poor commercially and Ray Wilson would take the fall and be asked to leave the band.
In Phase 3, Genesis would grow more and more successful commercially with each album release. Some of this probably would do to the fact that Phil Collins' solo career was also taking off. The last studio album that Phil Collins would do with Genesis was "We Can't Dance". It was a huge commercial success and resulted in a hugely successful World Tour. Naturally, the band decided to capitalize on the success of that World Tour by releasing a live album and video. Genesis had done live albums before ("Three Sides Live", "Seconds Out", "Genesis Live"). On each live album, the focus of the live material would on the studio releases that had not been done live up until that point. Genesis had not done a live release for Phase 3, thus "The Way We Walk" would have a focus on this material. For this live release, Genesis would employ a unique formula - they would release the material in a two volume set called "The Way We Walk". Volume 1 would focus on the shorter (normal) length songs. Volume 2 would focus on Genesis' trademark longer songs. For the purposes of this review, I'll focus on Volume 1.
Normally when there is a live release, I prefer the album to be a live recording from a single concert performance. I prefer it to be delivered in the order in which the songs were actually delivered. By having things from a single night and in order - I feel there is continuity and the magic of the concert is captured perfectly. Since Genesis took this unique approach to the way they were presenting this live material, this was going to be very hard to do. However, the material was strong enough to overcome this. Yes, I still would have preferred a two volume CD that contained a night from the 1992 "We Can't Dance" Tour in its entirety, but the production and engineering isn't bad and it does a nice job at ordering the songs and giving the "quasi appearance" that this may be from one night (even though the ordering is shuffled). I also like the two volume approach - I find it very convienient to listen to either the "short" songs or "long" songs (depending on my mood)".
The most interesting song is "Invisible Touch". I always thought this was an "average" song for Genesis, but there is something about hearing this song live that blows me away. I love the way they end the song. I also love how they segue from "Tonight Tonight Tonight" into "Invisible Touch". Yes they made "Tonight Tonight Tonight" from a long song to a short one, but it works the way they performed this song and the segue. Similar to "Invisible Touch", I love Genesis' spin on "Throwing It All Away" - featuring Phil leading the crowd in a participatory "It away!" chant and Mike Rutherford's guitar is awesome in it. Two strong songs from "We Can't Dance" are "No Son of Mine" and "Jesus He Knows Me". Phil's performance of "Jesus He Knows Me" was very theatrical in concert when I saw him and on this recording it translates very nicely to audio. Not forgetting Tony Banks, his keyboards are spellbinding on "Mama" - as are Phil's vocals.
The liner notes are weak. There are no lyrics and nothing to provide insight into the Tour - or when and where these songs were recorded. The production credits are pretty light as well. There are some decent photos from the Tour included. Although this may be Genesis' "pop" era - there still is some excellent music and this excellent music translates very well to the live setting. There may be some "old-time" fans who don't like this material, but I think this will still appeal to the majority of end to end Genesis fans.
Bad live cd.......2004-06-29
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Follies in Concert (1985 Live Performance) + Stavisky Film Score
Manufacturer: RCA Victor Broadway ProductGroup: Music Binding: Audio CD Movie Scores
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ASIN: B000002WB6 Release Date: 1990-10-25 |
Tracks:
- Overture
- Beautiful Girls
- Don't Look At Me
- Waiting For The Girls Upstairs
- Rain On The Roof
- Ah, Paree!
- Broadway Baby
- The Road You Didn't Take
- In Buddy's Eyes
- Who's That Woman
- I'm Still Here
- Too Many Mornings
- The Right Girl
- One More Kiss
- Could I Leave You?
- Loveland
- You're Gonna Love Tomorrow/Love Will See Us Through
Tracks:
- Buddy's Blues
- Losing My Mind
- The Story of Lucy and Jessie
- Live, Laugh, Love
- Finale: Waiting for the Girls Upstairs and Beautiful Girls (reprises)
- Stavisky: Theme from "Stavisky"
- Salon at the Claridge #1
- Arlette by Day
- Auto Show
- Easy Life
- Secret of Night
- Erna
- Distant Past
- Arlette by Night
- Airport at Biarritz
- Trotsky at Saint-Palais
- Montalvo at Biarritz
- Operetta
- Arlette and Stavisky
- Recent Past
- Salon at the Claridge #2
- Suite at the Claridge
- Old House
- Goodbye Arlette
- Hideout at Chamonix
- Erna Remembered
- The Future
- Women and Death
- Theme from "Stavisky"
Amazon.com
Since the original Broadway cast recording of Stephen Sondheim's Follies was a truncated affair that turned out to be both a disappointment and a disservice to a brilliant show with a brilliant cast, this 1985 concert performance from New York's Avery Fisher Hall set out to record the whole score, a set of pastiches of old songs and songwriters as performed by a cast of faded stars and the visions of their younger selves. The result was a star-studded roster backed by the New York Philharmonic led by Paul Gemignani, with principals Barbara Cook, Mandy Patinkin, Lee Remick, and George Hearn, supported by the likes of Carol Burnett, Liliane Montevecchi, and Liz Callaway. Even these stars can't quite match the original cast, and the results are somewhat uneven--from Cook's yearning "Losing My Mind" to Patinkin's you-love-it-or-you-hate-it schizophrenia in "Buddy's Blues." Other highlights include Elaine Stritch's wry "Broadway Baby," the two young couples' interplay in "You're Gonna Love Tomorrow/Love Will See Us Through," and the electrifying audience reactions to "Beautiful Girls" and "Who's That Woman?" (A documentary video was released, but unfortunately, it did not contain the complete show.) As a bonus, this two-CD set includes 45 minutes of instrumental music Sondheim composed for the 1974 French film Stavisky, including two melodies that had been cut from the original production of Follies. --David HoriuchiCustomer Reviews:
A Sondheim spectacular - Follies in Concert.......2007-03-14
GREAT PERFORMANCES!.......2006-11-21
BY THE STARS ON STAGE. A "MUST" FOR ANYONE WHO CARES FOR THIS GREAT MUSICAL.
A Good recording........2004-06-23
FOLLIES - the best recording ...so far.......2004-02-04
Producer Thomas Shephard originally taped the dress rehearsal so he would have quiet endings for all the numbers but when the audience nearly tore the roof off Avery Fisher Hall, he decided that eliminating applause would negate the event that led to the album. So, he comprmised and used applause after the "follies" numbers but not after plot songs. If you didn't know this you might wonder why "Beautiful Gilrs' gets such a huge hand and the next song "don't Look at me" seems to be met with stoney silence.
The cast is sensational. Perhaps not in the same league as the originals but a fine "revival" cast. Lee Remick and Barbara Cook are ideal as leading ladies Phyllis and Sally and its a joy to hear Cook's glorious voice in "Losing My Mind." Mandy Patinkin effectively uses his energy to put a new spin on "Buddy's Blues. " I know some object to his over-the-top style but it was effective on stage. Elaine Stritch has fun singing "Broadway Baby" and Carol Burnet makes the most of "I'm Still Here." Really, there isn't one bad track in the whole package.
Completists may quibble with the slight cuts here and there..the last bit of the Overture (including a segment of "Can That Boy Foxtrot") has been cut, as has "Bolero D'amour." The original montage ending of "Rain on the Roof/Ahh Paris/Broadway Baby" was dumped, and the spoken interludes in "Loveland" have been re-arranged. NONE of this will impair your enjoyment of this wonderful show.
As a bonus RCA has filled out the second CD with the soundtrack of Sondheim's score for STAVISKY. Many cut songs from FOLLIES were used in this film score, so its a natural tie-in.
The booklet has all the lyrics but no synopsis to place the songs within the context of the story. It is a minor flaw in an otherwise first rate package.
My Favorite Follies.......2003-12-24
Lee Remick is wonderful as Phyllis. She has the icy beauty that really makes her song, Story of Lucy and Jessie really make sense. Her version of Could I Leave You? Is great! She is just really great.
George Hearn is absolutely wonderful! He sings every song like a god and it's nice to hear him sing something other then Sweeney Todd, which he tended to scream a lot in. I adore his voice and think he is perfect for the character of Ben.
Mandy Patinkin is so annoying. He emphasizes things that aren't supposed to be emphasized and he's just ridiculous in all of his songs. His voice isn't the problem, it's his high voltage, uneccasary dramtization that turns me off.
The supporting cast is wonderful. One More Kiss sounds so much better when it's sung by Opera singers, and these two are amazing. I mean look at their names and you'll go, Oh my god! Elaine Strich's interpreatation of Broadway Baby is very different for she truly sees the true irony of the song and portrays it very well. Everyone else is wonderful also. This CD is a must buy!
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Live: The Way We Walk VOLUME TWO: THE LONGS
Genesis Manufacturer: Atlantic / Wea ProductGroup: Music Binding: Audio CD General
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ASIN: B000002IV2 Release Date: 1993-02-09 |
Tracks:
- Old Medley: Dance On A Volcano-Lamb Lies down On Broadway...
- Driving the Last Spike
- Domino: Part I-In The Glow Of The Night Part II-The Last Domino
- Fading Lights
- Home By the Sea/Second Home By The Sea
- Drum Duet
Amazon.com
This live set of 10-minute-plus epics will, for diehard fans, lay to rest the fantasy that these cagey old troupers can still evoke the mystery and drama of the Gabriel era. Competent, dry, and downright cadaverous. --Jeff BatemanAlbum Details
Japanese Version featuring a LP Style Slipcase for Initial PressingCustomer Reviews:
A great deception.......2007-02-18
A last glimpse into the greatness of Genesis.......2005-04-15
The premise is pretty basic: six songs exceeding the 6-minute mark (in fact, five of them go over the 10-minute mark), showing off some of the band's most ellaborate work, to balance off volume one, which focused more on the singles and short songs. Starting off the album, standing tall at almost 20 minutes of duration, is a medley of reaaaaaaaly old Genesis, where 1975's "Dance on a Volcano", 1974's "Lamb Lies Down on Broadway", 1971's "Musical Box" and 1973's "Firth of Fifth" and "I Know What I Like" all are brought back to life, if at least for minutes at a time each... reviving the spirit of one of the world's best progressive rock bands ever.
Following the opening track come two tracks from their "We Can Dance" production, along with the "Domino" bundle (from their "Invisible Touch" album) and the "Home By the Sea" bundle (from their self-titled 1983 album). Taking it all home is their classic Drum Duet, featuring Phil alongside Chester Thompson, delivering a massive drum discharge that will electrify you.
If you ask me, this last glimpse at their great work is a good as it gets... I am thankful I had an opportunity of catching them during this tour, back in Knebworth, in 1992. They don't do them like this any more. ;)
The Trio Hasn't Morphed Completely into a Pop Band.......2004-11-04
When I look at Genesis as band, I see four distinct phases the band has gone through. Phase 1 is the Peter Gabriel Era. This spans from 1969 ("From Genesis to Revelation") to 1974 ("The Lamb Lies Down on Broadway"). It was during Phase 1 that Peter Gabriel was the lead vocalist and Genesis could easily be categorized as a progressive Rock band. Phase 2 is the Early Phil Collins Era spanning from 1976 ("A Trick of the Tail") to 1982 ("Three Sides Live"). In this era, Phil Collins took over as lead singer. The band was still very much a progressive rock band, but as the progressive rock landscape would change - so would Genesis. This might indirectly have led to Phase 3 which is the Late Phil Collins Era from 1983 ("Genesis") to 1993 ("The Way We Walk Volume 2: The Longs"). This is the commercial/pop era that I referred to earlier. At this point, there would be a lot less progressive rock flavor to Genesis' music. The fourth phase, Phase 4 is the Ray Wilson Era. This was when Ray Wilson took over as lead vocalist for Phil Collins. There would only be one album in this era - 1997's "Calling All Stations" and it seemed like Genesis tried to recapture some of their progressive rock roots - but 90s style. "Calling All Stations" would do poor commercially and Ray Wilson would take the fall and be asked to leave the band.
In Phase 3, Genesis would grow more and more successful commercially with each album release. Some of this probably would do to the fact that Phil Collins' solo career was also taking off. The last studio album that Phil Collins would do with Genesis was "We Can't Dance". It was a huge commercial success and resulted in a hugely successful World Tour. Naturally, the band decided to capitalize on the success of that World Tour by releasing a live album and video. Genesis had done live albums before ("Three Sides Live", "Seconds Out", "Genesis Live"). On each live album, the focus of the live material would on the studio releases that had not been done live up until that point. Genesis had not done a live release for Phase 3, thus "The Way We Walk" would have a focus on this material. For this live release, Genesis would employ a unique formula - they would release the material in a two volume set called "The Way We Walk". Volume 1 would focus on the shorter (normal) length songs. Volume 2 would focus on Genesis' trademark longer songs. This review focuses on Volume 2.
Normally when there is a live release, I prefer the album to be a live recording from a single concert performance. I prefer it to be delivered in the order in which the songs were actually delivered. By having things from a single night and in order - I feel there is continuity and the magic of the concert is captured perfectly. Since Genesis took this unique approach to the way they were presenting this live material, this was going to be very hard to do. However, the material was strong enough to overcome this. Yes, I still would have preferred a two volume CD that contained a night from the 1992 "We Can't Dance" Tour in its entirety, but I do like the unique two volume approach. I find it very convienient to listen to either the "short" songs or "long" songs (depending on my mood)".
Four of the six songs come from Phase 3. The first song is a 19+ minute medley of songs from Phases 1 and 2 called "Old Medley". A unique thing about "Old Medley" is that it features a medley within a medley - namely "I Know What I Like" also has a mini medley of "That's All", "Illegal Alien", and "Follow You Follow Me". This medley will help the new Genesis fan appreciate the older material. The band does a terrific job delivering emotional performances of the newer classics - "Domino" (from "Invisible Touch") and "Driving the Last Spike" (from "We Can't Dance"). There is a terrific version of "Home By the Sea" which includes "Second Home By the Sea". (I always prefer listening to "Home By the Sea" and Second Home By the Sea" together - so this works). "Fading Lights", a song from "We Can't Dance" is also included. I think this isn't the strongest Genesis tune, but the band does a nice instrumental which gives the song a boost. Finally there is a terrific "Drum Duet" featuring Phil Collins and Chester Thompson in a double drum "solo" performance. Because of the copyright date listed for "Drum Duet" (1989), I wonder if this was actually recorded on the "We Can't Dance" tour or if this was when it was written?
The liner notes are weak. There are no lyrics and nothing to provide insight into the Tour - or when and where these songs were recorded. The production credits are pretty light as well. There are some decent photos from the Tour included. There may be some "old-time" fans who don't like the newer material by Genesis, but these longer performances still show that Genesis hasn't completely morphed into a pop band. These performances will appeal to the old Genesis fan as well as the newer fan.
This Album.......2004-06-18
Loved it!.......2004-05-18
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Sondheim - A Celebration at Carnegie Hall (1992 Concert Cast)
Stephen Sondheim , Betty Buckley , Paul Gemignani , Patti LuPone , Liza Minnelli , and Bernadette Peters Manufacturer: RCA Victor Broadway ProductGroup: Music Binding: Audio CD General
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ASIN: B000003FDW Release Date: 1993-02-23 |
Tracks:
- Symphonic Sondheim: Sweeney Todd--orchestra, Jerry Hadley ("Johanna"), Eugene Perry,Herbert Perry ("Pretty Women")
- Evening Introduction--Bill Irwin
- Loveland/Getting Married Today--Ensemble, Jeanne Lehman, Mark Jacoby, Madeline Kahn
- Waiting for the Girls Upstairs--George Lee Andrews, Michael Jeter, James Naughton/Love, I Hear--Michael Jeter/Live Alone and Like It--James Naughton
- Someone Is Waiting--Richard Muenz/Symphonic Sondheim: Barcelona--orchestra
- Being Alive--Patti LuPone
- Good Thing Going--The Tonics
- Losing My Mind/You Could Drive a Person Crazy--Dorothy Loudon
- Our Time--Boys Choir of Harlem/Children Will Listen--Betty Buckley
- Anyone Can Whistle--Billy Stritch
- Water Under the Bridge--Liza Minnellli, Billy Stritch
- Back in Business--Liza Minnellli, Billy Stritch, Ensemble
Tracks:
- Symphonic Sondheim: Comedy Tonight--Bill Irwin, orchestra
- Sooner or Later--Karen Ziemba
- Pretty Lady--Mark Jacoby, Eugene Perry, Herbert Perry
- Green Finch and Linnet Bird--Harolyn Blackwell
- The Ballad of Booth--Patrick Cassidy, Victor Garber
- Broadway Baby--Daisy Eagan
- I Never Do Anything Twice--BETTY
- With So Little to Be Sure Of--Jerry Hadley, Carolann Page
- Not a Day Goes By--Bernadette Peters
- Remember?--Ron Baker, Peter Blanchet, Carol Meyer, Bronwyn Thomas, Blythe Walker (Quintet)/A Weekend in the Country--Kevin Anderson, George Lee Andrews, Mark Jacoby, Beverly Lambert, Maureen Moore, Susan Terry, Quintet
- Send in the Clowns--Glenn Close
- Old Friends--Liza Minnelli
- Sunday--Bernadette Peters, Broadway Chorus
Customer Reviews:
Great CD.......2006-08-06
Simply the Best.......2005-06-29
In a compilation of songs like this you're always going to have tracks that you prefer over others, but the majority of the renditions in this CD are great. This is simply one of the best collections of Sondheim out there. You get interpretations that span from "classical" (Green Finch), to bordering on insane (Anything Twice). This is to demonstrate how versatile this composer really is.
In my opinion, some of the best renditions are "Not a Day Goes By," "Anyone Can Whistle", "Girls Upstairs Medley," "Losing My Mind/Drive a Person Crazy," and "Weekend inthe Country." Makes me wish I had been there to witness it first hand.
If you love Sondheim and enjoy hearing Broadway performers, get this CD. A great recording.
Inconsistent, but mostly excellent.......2004-03-21
"Celebration" is not strong enough a word.......2003-04-30
I have been a major Sondheim fan for quite some time, and I finally obtained a copy of this album. I was blown away by the excellent cast and phenomenal selection of music. It is obvious how much work went into this production, considering that this is the live recording of a one time show, and it's flawless. The songs cover all of his shows with the exception of "Passion," which was released 3 years after this show. Also, the shows for which he wrote only lyrics are ommited, like West Side Story, Gypsy, etc. Thus, you can find material from A Funny Thing Happened on the Way to the Forum, Anyone can Whistle, Company, Follies, A Little Night Music, Pacific Overtures, Sweeney Todd: The Demon Barber of Fleet Street, Merrily we Roll Along, Sunday in the Park with George, Into the Woods, and Assassins.
There are two striking things about this CD (besides the music and performers themselves). First of all, some of the songs are completely stylistically reworked. The most obvious are "Good Thing Going" and "I Never do Anything Twice." Both are traditionally very ballady with a piano accompaniment, but here they have been redone as jazzy tunes. The result is excellent. Such reworkings demonstrate that Sondheim writes music for virtually any style, and in these cases, across several styles. It's a great example of his variety. The other interesting thing is how many songs have overlapping melodies of songs from different shows. Case in point, "Our Time" and "No one is Alone" are sung seperately by the Harlem Boys Choir and Betty Buckley (the original Grizabella in Webber's atrocious "CATS," although Buckley was excellent) respectively, and then combined. Putting these two songs together offer different meanings to each, and the music is only enhanced. Another example, the trio of "Waiting for the Girls Upstairs," "Love, I Hear," and "Live Alone and Like It" are sung in that order, and then the latter two are combined. Again, the meanings of the songs change, this time in an almost narrative style, and offering different takes on love in the same montage. Lastly (at least for this review, there are more), Dorothy Laudon's (the original Ms. Hannigan in Annie) combination of "Losing my Mind" and "You Could Drive a Person Crazy" is brilliant. Those who are familiar with these songs will wonder how exactly they fit, but trust me, they do. She swtiches back and forth between melodies to create a number that starts poignant and beautiful, and soon moves to become uproariously funny. Both the song reworkings and overlapping melodies of unrelated songs are all for the better.
I recommend this recording to anyone wanting to get better acquainted with some of Sondheim's best work, or those already familiar who want to hear a tour de force of phenomenal music. It has been said that Sondheim is a masterful lyricist (which he is), but lacks real talent for music. This CD is the final proof that such critics are wrong. His music may take a few listenings to get into, contrary to Webber or Wildhorn, but unlike those two, he doesn't cater to the audience. He challenges them to think outside of traditional musical theater in a glorious repertoise of shows that reach for a smarter, more sophisticated form.
A maginificent evening, a magnificent album.......2001-12-16
This wonderful double CD shows off the best and brightest of the musical theatre composer and it is, as one person put it, "an embarassment of riches." With songs from his finest works done in amazing arrangements (listen to that harmony in "We Had a Good Thing Going"!) combined with fabulous performers this is a Sondheim lovers delight.
My favorite song is, without a doubt, Dorothy Louden and her wonderful medley of "Losing My Mind" into "You Could Drive a Person Crazy" followed very closely by the recently departed Madeline Kahn singing "Getting Married Today."
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Kiri Sings Kern: Dame Kiri TeKanawa
Dame Kiri TeKanawa , Jerome Kern , Jonathan Tunick , and London Sinfonietta Manufacturer: Angel Records ProductGroup: Music Binding: Audio CD Chamber Music
| Forms & Genres
| Modern, 20th, & 21st Century
| Historical Periods
| Classical
| Styles
| Music
General Modern
| Modern, 20th, & 21st Century
| Historical Periods
| Classical
| Styles
| Music
Vocal & Song
| Modern, 20th, & 21st Century
| Historical Periods
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
General
| Opera & Vocal
| Styles
| Music
General
| Soundtracks
| Styles
| Music
Traditional Vocal Pop
| Broadway & Vocalists
| Styles
| Music
General
| Vocal Pop
| Pop
| Styles
| Music
Similar Items:
ASIN: B000002SK3 Release Date: 1993-03-16 |
Tracks:
- The Songs Of Jerome Kern: The Folks Who Live on the Hill
- The Songs Of Jerome Kern: I'm Old Fashioned
- The Songs Of Jerome Kern: The Way You Look Tonight
- The Songs Of Jerome Kern: The Song Is You
- The Songs Of Jerome Kern: Smoke Gets In Your Eyes
- The Songs Of Jerome Kern: All Through The Day
- The Songs Of Jerome Kern: The Last Time I Saw Paris
- The Songs Of Jerome Kern: A Fine Romance
- The Songs Of Jerome Kern: Yesterdays
- The Songs Of Jerome Kern: All The Things You Are
- The Songs Of Jerome Kern: Bill
- The Songs Of Jerome Kern: Long Ago And Far Away
- The Songs Of Jerome Kern: Look For The Silver Lining
- The Songs Of Jerome Kern: Can't Help Lovin' Dat Man
Amazon.com
As Hammerstein writes in the opening song, "Many dames with lofty aims strive for lofty goals"--and Te Kanawa strives for successful crossover. Her beautiful singing exhibits impeccable diction and excellent phrasing; but "A Fine Romance" lacks anger and humor, "Smoke Gets in Your Eyes" lacks a storyteller, and "All the Things You Are" lacks romanticism. However, happy songs like "All Through the Day," "Look for the Silver Lining," and "The Folks Who Live on the Hill," are successfully interpreted. Jonathan Tunick's orchestrations enhance Kern's beauty through his captivating use of obbligato instruments. A pleasant, if not wholly satisfactory, listening experience. --Barbara Eisner BayerCustomer Reviews:
kiri kern.......2007-03-29
Kiri sing Kern is a great experience.......2004-01-18
On the other hand, I did not like Kiri singing Berlin.
Lacks Splendor.......2002-09-01
The voice is undeniably beautiful, and Kiri has managed to keep her maturing voice sounding somewhat young, yet I find that I much prefer her rendition of "The Laughing Song" to that of "Smoke Gets in YOur Eyes."
If you love Kern, and couldn't care less who performs it, than purchase this CD. If you are a fan of Kiris', then perhaps it would be best to avoid this purchase...for it is not a shining star in her vast collection of CDs. All in all, it was a disappointment.
White Glove Kern.......2001-05-20
mildly disappointing.......2000-09-30
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Live in Louisiana
Beausoleil , and Michael Doucet Manufacturer: Way Down Louisiana ProductGroup: Music Binding: Audio CD Zydeco
| Cajun & Zydeco
| Regional Blues
| Blues
| Styles
| Music
Cajun & Creole
| Cajun & Zydeco
| Regional Blues
| Blues
| Styles
| Music
General
| Folk
| Styles
| Music
Traditional Folk
| Folk
| Styles
| Music
General
| International
| Styles
| Music
Similar Items:
ASIN: B000G8PC4U Release Date: 2006-09-26 |
Tracks:
- Le Jig Francais
- Chanson D' Acadie
- Bunk's Blues
- Flammes D' Enfer
- Conji
- Ti Monfe
- Tasso/One Step De McGee
- L'Ouragon
- Quelle Belle Vie
- Freeman's Zydeco
- Newz Reel
- Bye Bye Boozoo
Album Description
This rollicking disc captures the adventurous spirit of the Grammy-winning "World's Greatest Cajun Band" performing high-energy two-steps, blues, reels and zydeco from across their expansive repertoire in celebration of their 30th anniversary. Tracked in 2006 in the heart of Cajun and Creole country, "Live in Louisiana" features first-ever live versions of a dozen songs from across the 10-time Grammy nominees' storied career.Rap Music:
- We Are Not Alone [Clean] [Enhanced]
- 43 Minutes [Import]
- Along for the Ride
- And Now It's Come to This
- And the Glass Handed Kites [Import]
- Anthology [Import]
- Axes [Live]
- Azure d'Or
- Beautiful Yesterday
- Before Sleep Comes
Recommended Music:
Counteraction, Vol. 2 [Import]
Michael Tippett: A Child Of Our Time
Music: Popcorn [CD-single] [Import]
North Country - Music From The Motion Picture [Soundtrack]
Morning Ragas Bombay 1965 [Live]
Mojo Jazz Box Take Four: 49 Essential [Box set] [Import]
Ruth Ann Swenson - Con Amore ~ Italian Opera Arias / Rudel, London SO