SONG OF NORWAY - studio

I'm so glad I listened to the other SoN first before this one. Irra Petina , who was the star of the original, was not let out of her recording contract to do the Decca cast recording with the rest of the company and orchestra. Columbia decided to release an album with her singing her songs from the show. I can't say I'll ever wanna throw this record on to hear the show. It's not really fair to compare the two offerings since the Decca album is more of a OBC album, while the Columbia/Petina is more of a solo album. I can't imagine her with the rest of the original cast; her voice is too thin and stringy to me- especially when she sings the last high note of each song. I find it interesting that the orchestrations are not the same as the original. Some sections I like better, but overall I'd rather hear what was played in the theater. This album embodies everything I thought Song of Norway was going to be before I actually heard it: lofty, boring, too operatic, no acting, etc. I'm glad I've got the other album to show me that it is in fact interesting, fun, and theatrical.

Grade: C-

SONG OF NORWAY - 8/21/44

What an awesome cast album. I had no idea this is what it would be like. I've had a two disc studio recording for over ten years and I never could make myself listen to the damn thing. Now, however, I'm singing a different tune. This original cast album (minus the female star, Irra Petina) is the first I've heard that convincingly interpolates singing and speak, back and forth, in such a natural manner. Yes, they sing in a much loftier way, but I don't mind since it is seemingly act-able. This is considered an operetta, but I'm calling it a legit musical. Robert Shafer, who leads off the album, has an incredible tenor voice. The ending of the opening made me applaud from my reclined leather man-chair. Incredible. Also, I've never heard Kitty Carlisle sing like this, and I like it. The songs never bored me. Like I said, I've always had this impression that it would be an utter snooze fest. This is simply not the case. The melodies are very theatrical; they soar when they need to soar and get quiet when they need to be quiet. I'm excited to listen to the next recording of this starring Irra Petina, who wasn't allowed to record with a different record company from the one she was signed to. Stay tuned.

GRADE B+

MEXICAN HAYRIDE - 1/28/44

This album is pretty amazing. The first track, Sing To Me Guitar, blew me away the first time I heard it. I literally stopped everything I was doing and just listened. I love the way the strings weave into the guitars so seamlessly. Great orchestrations. But why is June Havoc impersonating Ethel Merman? She keeps doing those little flips on the first note of each phrase. ie. Ethel's "There's nnnnnnnoooooooOOO business like shoooooOOOOOw business",... I don't know if that's how Havoc really sang or not, but it seems copycat-like. That being said, I love hearing Wilbur Evans singing this kind of material. I first noticed him in the studio recording of MERRY WIDOW, but this now furthers my interest. Other songs on the album are fun and typical Porter. It isn't his best score, but it certainly isn't the worst. The show was a success at the time, running over a year. I find it strange that Bobby Clark was the star of the show, but he doesn't appear on the recording at all. Speaking of; this recording is particularly worth having if just for the bonus material. Mary Martin sings six fantastic Cole Poerter songs.

Grade B+

THE MERRY WIDOW - 1943 Studio

Studio recordings were just starting to be made in the mid-40's. Once record companies started making money from cast recordings like OKLAHOMA! they started putting singers together to make money on other older shows that never got a proper recording. Operettas were so popular in the early 20th century, but hardly any of them where recorded in tact back then. Operetta was still going pretty strong at the outbreak of WWII, but audiences were starting to learn that musicals would give them acting, dancing, singing, AND storytelling throughout. Thus, musical comedy started to take the place of both operetta and vaudeville. Lengthy dissertations could be constructed discussing the reasons that musicals over took operetta in popularity, but I won't even attempt to explain that here. I'll leave that for my Masters degree. For now, we have Kitty Carlisle singing The Merry Widow. She sounds fine. I'm not sure if I love her voice on this; sometimes it sounds a little thin. Wilbur Evans has an interesting sound and performance. Think Marc Kudisch. A 1920's version at least. Every time I hear him sing I think of that. I'll look forward to hearing his voice on other shows and recordings. I like the songs well enough. Overall, it is a decent representation of this popular operetta. I can't say I'll listen to this studio recording all the time, but it embodies the general sound of that specific musical era to me-especially since we don't have many pre-1940 operetta recordings.

Ps. Did you know that 'merry widow' also refers to the lingerie number showed above? HOT.

Grade: B

CARMEN JONES - 1943

What an interesting listen. Carmen Jones was quite the success of it's year, running over 500 performances. Maybe it was an escape from the war. Maybe it was the opera tunes pretending to be musical theater. Maybe it was the all Black cast. Who know? But listen to 'Dis Flower' and tell me that isn't musical theater? It's incredible to me how these opera songs make the transition. Yes, there are the familiar tunes you know from pop culture. For me, it's the rarer known ones that are the most interesting listen. Of course, there are are the painfully of date 'dem's and 'der's, but it's not that bad. Overall, Hammerstein succeeds in making plot moving songs out of arias (which are written to pontificate on one idea the whole song). Rarely do they actually further the plot. Here we have songs that give us information and feelings, and also further the plot. The singing is ok, not the best. There are a couple stand alone solos, but there is a final soprano note in a group number that is particularly bad...otherwise it's all passible. Sometimes the singing is muddy and I can't hear the orchestra, but that might be the dated recording techniques. Either way, I'd like to listen to this again with a cleaner/newer recording. Ps. The bonus track is interesting... Kitty singing all the 'dem's and 'der's makes me feel kinda funny...

Grade: B+

WINGED VICTORY - 1943

This isn't a cast album, so I'm a little loathe to type this up; I've typed it up, so I might as well. There a couple solo's on here. They are fine. Most of it is chorus stuff that is quite melancholy. This was really a Moss Hart play with some music added. It takes place, you guessed it, in the air force division. It seemed everyone wanted their own THIS IS THE ARMY. So they got it. It lasted for a while and was very successful, recorded in Hollywood as well. I won't listen to this just to hear the songs, but the record (with Song of Norway, and Up in Central Park) is a nice send back. I'll listen to the other shows presently. I'll just this as a separate show, not the whole album.

Grade: C (but the album so far is a solid B)

A Connecticut Yankee - 1943

Thank you Mr. Rogers for putting this revival together. Story has it that it came about mostly to keep Hart from being self destructive. The sad news of course is that once the show opened, Hart went back to his old ways and passed away less than a week after opening. Very sad. But let us not get too bummed out. The man left a legacy. His lyrics are in a league unto their own. The wordplay in songs like "To Keep My Love Alive" are unparalleled. The singers are all wonderful, especially Vera-Ellen. What a quirky little voice. I'm sure she was a hoot to watch on stage (or screen). The sound quality on the album is fantastic. I love these re-mastered decca re-issues. The liner notes are so detailed and lengthy, complete with pictures from the productions. This recording captures Rogers and Hart for me in all the best ways: lyrics. music. arrangements. the singers. sound quality. All superb.

Grade: B+

One Touch of Venus - 1943

More like... One Touch of MARY MARTIN. She sounds just incredible on this album. Who knew she could belt? Listen to the end of "I'm a Stranger Here Myself". Wow. This is one of my favorite cast albums I've heard so far. Nash could write some funny, witty lyrics. I wish he wrote more shows. The music is some of Weill's best work thus far. I even love the orchestra tracks (the ballet music). Weill did all the orchestrations himself (as if this were an opera...) and they are magical. I especially liked the Forty Minutes for Lunch music. Ms. Martin brings such charm to her songs. You gotta love a singer who can justify a portamento on just about every other phrase. It works somehow. No one else could do that and get away. And is she mixing? Head voice? It's that weird thing ladies could do back then... sound like they are belting, but it's really just head voice. I'm sure it had something to do with having to project in the big theaters without mics. Merman does the same thing. I love it. I don't know much about Kenny Baker. It seems he didn't do any other Broadway shows, and sings on a just a couple other albums. This is NOT the Kenny Baker who played R2D2 in the Star Wars movies.... just to clarify. But wouldn't that be awesome if they were one in the same? Anyway, the Kenny who sings here is just great.

Grade: A+

Oklahoma! 1943

Well. I've done it. I've actually gotten to the Golden Age of Broadway. OKLAHOMA! marks the start of something very special in the history of musical theater. Singing. Acting. Dancing. All three come together to tell the story AND further the plot through the use of lyrics to express how the characters feel. I could go on and on about the show and the impact is had, but you can read all that in the books and on the albums. I want to talk about this recording and that's all...

As soon as you hear the down beat of the overture you realize that this is a show not like anything we've heard so far. Consider all the Porter shows of the previous decade. Nice, light, fluffy shows and plots and songs and characters. OKLAHOMA!'s songs never sound dated or boring. They are still exciting after all these years-- all of them. (Even It's a Scandel...)

This is actually one of the first times I've listened to the OBC of this show. Of course, it's quite good. Of particular interest to me is the fact that OKLAHOMA! was one of the first shows to record an album not only to commemorate the show, but to make money off it through album sales. I've always like Alfred Drake, his voice just shines in these songs. Celeste Holm makes me laugh when I hear her sing. I can just picture her delivery, and it cracks me up. Joan Roberts is fine, her voice sometimes not warm enough for me. The Bennett orchestrations are, of course, just brilliant. It's nice to be able to hear them so clearly. It's exciting to listen to this album not only for the historical implications, but it sounds so damn good too.

Grade: A

Something For The Boys - 1943

You wouldn't know from listening to this album that SOMETHING FOR THE BOYS was a big fat hit in 1943. Granted, not the kind of earth shaking hit OKLAHOMA! was a couple months later- but a hit nonetheless. The songs are all pretty lackluster, and just a bit cliche. I also wouldn't have guessed that this is the same writer who would create KISS ME, KATE in just a few short years. I feel like Mr. Porter popped these little tunes out in his sleep. None are particularly memorable. Maybe 'Hey, Good Lookin', but only because my Mom used to sing it when I was a kid (she might actually still sing when given the proper cue). I like the dialogue lead ins to the songs, but they often betray the fact that the songs don't really further the plot. Not like the way they do in KATE. Ethel sounds great, but still doesn't do much for me. The lyrics on the album can sometimes be difficult to understand. I read somewhere that this isn't actually a cast album, but rather some radio excerpts compiled onto an album. I think my favorite song is 'Could It Be You'. Overall, the sound is classic fluffy Porter. Classic brassy Merman. Grade: C

This is the Army - 1942

THIS IS THE ARMY was a true reflection of the times. The country was in the thick of war; soldiers and Americans alike needed to be entertained and celebrated. Enter Irving Berlin writing a soldier musical, much like he did during World War 1 (Yip! Yip! Yaphank). War type novelty songs sung, arranged, conducted, directed, etc... all by soldiers. As if that wasn't good enough, all proceeds went to US war relief funds and charities. Millions and millions of dollars. All the while, Mr. Berlin (actually, Sgt. Berlin) stayed with the production. I am just blown away by the service he did for America. Can you imagine something like this today? There is no way it would ever happen. Soldiers don't write musicals, let alone act in them, any more. Yet here is Berlin at the top of his game donating his time and energy to the US, through the form of art.

The album itself is quite good. It is paired with CALL ME MISTER, which I'll get to later. This 2002 re-release has fantastic liner notes. The tunes are all so melodic, and all seemingly based on very army-like tunes. The overall feeling is very masculine. Is that possible for an old musical? This show captures it. Every section of the military gets a shout out. Army, Navy, Air Force. There's even a number for the black soldiers, something that was not often done in an all white musical. If Berlin was no longer improving on the form of musical theatre, he certainly was always celebrating it. Witty lyrics abound. Tight melodies. And who did these orchestrations? All uncredited. For me, the highlight on this recording is whenever Sgt. Berlin is singing. His voice is almost mouse like, but so funny. It makes me smile.

Grade: B+

Let's Face It 1941

I love Cole Porter. Especially on the record player. When I think of the music of the 30's and 40's, I think of Cole Porter. Once again, Danny Kaye is up to his old tricks. Well, the tricks were kind of new at this point. He was just starting to become a star. He had two specialty songs (that Porter did not write) in the show. One of them being, Medoly in 4F. It's weird. I don't know what else to say about it. I think you had to be there. The rest of the songs are lovely, funny, and quirky. They don't seem to further the plot that much, but who cares. The country was at war and people needed to be entertained. This did it. Overall grade: C+

Lady in the Dark 1941

This could be considered a play with music. There are three extended dream sequences where all the songs occur. Gertrude Lawrence's character has problems and she seeks out a analyst to get some help. They figure things out by looking at her dreams (and singing some songs too). This musical was way ahead of its time. There is a note by Moss in the score where he says that he and Weill deliberately set out to NOT create a traditional broadway musical comedy. Well. They did it. I'm surprised that this show isn't done more.



I find this score enchanting. The recording is by no means a complete cast recording. At least we get an idea of what the original production was like. I hate to say this, but I think Gertrude Lawrence was a you-had-to-be-there-to-get-it kind of performer. She sounds just ok on the recording, and yet she was hailed at the time for being an astounding performing. There is one song that isn't from the dream sequence which is the final song, My Ship. It's a lullaby that the character Liza has spent the whole show trying to remember. The melody is perfection. Just beautiful. Yes. There is also the Russian composer patter song that made Danny Kaye famous. This doesn't really do anything for me. I guess at the time it was a big deal to hear someone rattle off a bunch of strange names in like 39 seconds. A fun listen overall. I'm looking forward to hearing contemporary recordings of it.

Grade B

No for an Answer 1941

This is an interesting listen. Billed as an opera, it isn't really opera. The songs are smart like you'd expect them to be. I'm amazed that the show was even recorded. It ran 3 Sunday nights in January at the City Center (Called the Mecca Temple at the time), so it really isn't even a Broadway show. This is a true cast album. We're still pre-Oklahoma!, so it's still rare to have a recording made simply to preserve the production.

Blitzstein is playing the piano. A VERY VERY young Carol Channing (still an undergraduate) singing some pop parody songs. Everyone once in a while you can hear the Carol that she'll become two decades later. The song 'Francie' is pretty awesome. The fellow returns from prison and is so freakin excited to see his woman that all he can do is sing her name, and them just hum. She speaks in between his name calling. Way ahead of its time. I love the integration of dialogue into song. According to the liner notes, the singers where hired to be actors first. Think: actor's who sing. Something not very common at the time. Once again, Blitzstein very quietly pushing musical theater to another lever.

Grade B-

Panama Hattie 1940

I think I'll include the year of each recording in the post title. Might help in the future if I ever get through everything...



This is another one of those fake cast albums. Decca recorded Ethel singing 4 songs from her new Cole Porter show. They are typical Porter, and typical Merman. The little girl from the show, Joan Carroll, sings a charming duet with the leading lady. I can't help but laugh at the middle verse of the song where Merman must speak in rhythm- let's just say the acting was not of upmost concern here... But I don't mean to nitpick. 'Make It Another Old Fashioned, Please' is a great son.

The album itself is really quite amazing. The first 3/4 is Merman singing the 1950 hit she did, Call Me Madam. It seems Decca had her under contract, so when another record company secured the rights to record the OBC, they did so but without Merman. Dinah Shore (!?!?!?!) sang the lead vocals on that album with the rest of the cast. On THIS album we have Ethel singing with another orchestra and other performers. The liner notes are just incredible. I wish all recordings wend into such detail about the history of the show. Thanks Max Preeo.

Grade B (for the whole package)

Cabin in the SKy

Welcome to the late 1940's. October 25. Cabin in the Sky. Starring Ethel Waters

and Todd Duncan.


This is the kind of sound I LOVE. When I think of 30's music, this is the the sound I mean. Muted trumpets. Strings. Everything swung. I love that that the orchestra is billed as "The Martin Beck Orchestra"- as if Martin Beck was the bandleader? Still, I like knowing it's the house orchestra that's playing on the recording.

Vernon Duke really knew how to write some good, rich music. Why are there four orchestrators listed??

Nice sample of this show, although not a full cast recording. Still. I wish we had more Vernon Duke.

Grade B-

Higher and Higher

I'm letting this one slip through the cracks. This isn't a cast album at all. Decca Broadway put out a great CD in 2001 that has A Connecticut Yankee, Higher and Higher, and By Jupiter on it. The only real cast recording is Yankee. But I'm going to pretend Higher and Higher counts. Just because I have it here. All we get are four songs sung by Shirley Ross- who didn't even sing all four in the show...

Can anyone write a melody better than Rodgers? Really? Just incredible. These aren't even the famous songs, and the melodies are just perfect. However. There are cheesy orchestra show choir arrangements that are driving me Vegas. This is not what was in the Shubert Theatre. Overall. Grade. C- (It's not even fair to consider this a recording...)

Very Warm for May

A thoroughly enjoyable listen. This was Kern's last work for the stage, and even though it was considered a flop at the time, it really has a wonderful score. The most famous song from the show is All The Things You Are, which will be ingrained in the listeners mind since it's played on 5 out of the 20 tracks. Of particular interest is the song All In Fun that is a duet where a man is coaching a girl on how to sing a song. I was completely fascinated with the language he used to describe singing a song. Almost word for word what someone would say today in a coaching. Make the lyrics convey their meaning by making them personal to you...sort of thing. I guess I didn't know that the marriage of acting while singing was taking place. I suppose a few composers at the time were really trying to do this, but I'm pleasantly surprised to hear a song actually about this. Also, the harmonica and guitar song of Swing Low, Sweet Chariot is pretty awesome. I wish that I could hear more of Bennett's orchestrations. This album isn't technically a cast album since it was a recording made of a radio, but it's close enough for my purposes. This is truly a charming complete cast recording. Grade B+

The Cradle Will Rock

This could be considered the first true original broadway cast recording. I'm pretty sure it is. This was recorded for the sole purpose of preserving the it for posterity. It is the entire show: scene introductions by the composer, dialogue, scenes, whole song sequences, underscoring, etc... This isn't just a teaser album with a couple songs sung by the star. The whole damn thing.

That being said.

I wish I had the libretto in front of me. I'm struggling just a little with the plot. The music is incredible. I'd love to hear another recording with some orchestrations. However, knowing it's the composer who's tickling the ivories is pretty cool. I'm going to have familiarize my self with another recording (perhaps the record I have of a '64 revival) then re-listen to this. I do like what I hear. The seamless speaking to singing to speaking, all the while acting throughout. The music constantly informs what's going on under the surface. It's a step forward for musical theater. That's for sure. I wish Blitzstein's star burned brighter, because he sure left a major mark on musical theater. People just don't know about him. Regina? Amazing. Juno? Fantastic. But none of them hits. So I guess he's obscure, with the distinction of being the first original cast recording.

It's fun to hear a young Howard DaSilva. I'm used to 1776. The title song that he sings is just great.

B

Jubilee

I probably don't need to include this as a cast recording since it's just Cole Porter singing the songs at the piano. JUST Cole Porter singing the songs... Do you hear that? Like that's the consolation prize???? It's so amazing to hear him sing these songs the way he wants to hear it. In fact, the more of his tunes I hear the more impressed I am by the talent. I guess I used to write off all the "de-lovely" crap as old fashioned, but a lot of these older tunes I'm hearing have real depth.

As for Jubilee.

It's fascinating. These are not the traditional Cole Porter songs I though I'd hear. This is almost art song or operatic in presentation. The 'Kling-Kling' sequence seemed much more than just a little musical comedy song. Maybe it was just the length or something, but I get the sense that he tried to push the art form a little with this show. The lyrics are astounding. Read along with the songs sometimes. They are incredible. The verse of "When Me, Mowgli, Love".... please. BUT. and this is a big BUT: the songs don't really further the plot. That's why this show is still so dated. A few songs are great, but we aren't going to see this great work of theater at Beef and Boards Dinner Theater anytime soon. Some of the songs are just list songs with no real purpose other than to charm. I'll give it a: C+ (the plus for lyrics...)

I think a one man show about Porter would be cool. The actor plays and sings the songs, and tells some sort of interesting story about Porter.

Red, Hot and Blue!

I wish I was alive in the 30's. Musical comedy was fluff and fun. Toe tapping tunes, charm songs, novelty songs, and Ethel Merman. Sounds like fun, no? Enter Cole Porter. Master of Ceremonies. His shows had such delicious titles (Leave it to Me!, Oh, Kay!) all with explanation marks!!!

I love the Smithsonian albums made in the late 70's. The notes and pictures inside are just incredible. I've already played through the Lady, Be Good! and Anything Goes albums. The audio quality is superb. Ethel Merman sounds in tip top form. She sounds so much younger than we are used to hearing her (Mama Rose anyone?). Ridin' High is a highlight on the album. Is that head voice or belting? She was the original queen of the mix. This is an excellent recording of a Young Merman. I think it a stretch to call this an Original Cast Recording since no one else from the cast is featured, but it is nice to hear these old songs as they were heard in the theater. A-

Porgy and Bess

PORGY AND BESS is fast becoming one of my all time favorite scores. I've listened to the 1951 studio recording mostly. From what I can tell, it doesn't really matter what year you hear...the songs always sing. The recordings on the "Gershwin Performs Gershwin" CD are a must listen. George Gershwin himself announcing himself, calling out the cues and measure numbers to the orchestra. And then they start playing. This is the kind of sound I miss! Everyone playing in one big room. You hear all the acoustics. I think you miss out a little when you mic EVERY individual instrument and then mix it all together. On this recording, you hear everything. People chatting. The flute. The singers. But that all adds to the realism of it. Like, this is how it REALLY sounded back then. It's a lot of fun. These singers sing with real emotion. I'm not sure why I'm surprised. But I am. It's real moving. I can't get over how much fun it is to hear them shouting out measure numbers, while the tape rolls. It's so authentic. I love it. A. There will be a part two to this post... The studio Porgy and Bess... I'm waiting for the CD. The records I have can't play on my record player. But check out the AWESOME cover...

At Home Abroad

I've always liked Dietz and Schwartz. A Tree Grow in Brooklyn is one of my all time favorite scores. I was very curious to hear what some of their early work was like.

AT HOME ABROAD. An old fashioned revue-sical. Plot driven shows were still not the most popular form of theatrical entertainment. A show with a THIN plot, littered with specialty songs and sketches still were going strong in the 30's. This one was a hit. Beatrice Lillie. Ethel Waters. The heavyweights actually recorded. I don't get Bea Lillie. I think it was one of those 'had to be there's'. BUT. Ethel Waters is incredible. She sings with such emotion. The sketches are great to hear once, and get a sense of comedy so many decades ago. Besides that, I won't touch the stuff again. I AM impressed that there is SO much dialogue on the recording. You can actually hear the audience reaction on the "Trains" track. Back to Ethel. Thief in the Night is beautiful. I would love to hear just her songs alone without the other muddle. C- (with an A for Ethel)

Anything Goes

I'm attacking Anything Goes today. There are 3 different casts singing on the cd, and much of the same material on the Smithsonian record. I'll listen to the record as well because I like the sound better on the record player. The notes in these Smithsonian releases (Oh Kay, Lady Be Good) are just incredible Of course, when you have Richard Norton writing them you can't go wrong.

The London recording is first up on the CD. It's ok. I'm not surprised that the sound quality is just incredible. Musical Theater my have been 'invented' stateside, but recording show tunes for pleasure was definitely something that the Brits started before us. There are so many cast albums from original London productions- many of which started on Broadway then transfered. I have chosen not to include London recordings simply because it would make it impossible to listen to it all. The line is drawn. I listen to this London recording only because it's included on the CD with the (somewhat) original broadway cast. Jeanne Aubert sings everything in her head voice. What is up with that? She has that cliche 30's vibrato tone. It kinda bores me. There is no theatricality in her voice. I can't help but compare her to Merman. Of particular note on this recording is some of the dialogue from the show included before the song 'Be Like the Bluebird'. The Foursome songs are particularly fun.

As for the US recordings with Ethel Merman: what a gem. I think the best part is hearing the original orchestrations. So full, so rich, so classic. Ethel sounds great. It's fun to hear her at the start (ish) of her career. I just wish there was a more complete recording of the entire NYC cast. It would be fun.

Also on the CD is Cole Porter singing some of his songs. He seems like a pedophile. I don't know what a pedophile sounds like, but I have a hunch it sounds a lot like the singing of Cole Porter.

Overall... B+ the record which has everything on the CD gives it the '+'.

Blackbirds of 1928

This was an interesting listen. I'm not sure if it was the recording, the record, or my record player but the sound quality on this album was not great. Everything sounded a bit muddy. I have a feeling it was the record itself. I'd be curious to listen to one of the newer releases of this recording. I bet it's better. Regardless, it has some pretty charming music. It has the standard, 'I Can't Give You Anything But Love", which is just lovely. Of particular interest is Duke Ellington's Band playing on all of the tracks. I wish I could hear the orchestrations better- saxes, reeds, strings all sounding fun and original. Ethel Waters sounds good enough. I'm excited to listen to her on At Home Abroad (coming up next). Overall, I'd probably listen to this recording much more if the quality were better. It will be fun to listen to the 1953 studio version though. I wonder when I'll get to that? Maybe when I'm 50.

C+

4 more shows...

Ok. It took over a year for me to add 4 shows to the Showtunes Project. At this rate, I need like 4 life times to listen to everything in the past and keep up to date with the present. I really need to get on it. Here we go:

Oh Kay!

Great songs. Most of these are classics, the melody of which everyone can hum at least some part. Of particular interest on the album are the tracks that Gershwin himself plays. This is another one of the albums in the Smithsonian Collection, so there is an extensive plot summary, vintage pictures, and a historic summary of the original production. This may not quite be an original cast album, but it's close enough for me. These songs sound just as fresh from this period as they would sound live today. B

Die Dreigroschenoper (The Threepenny Opera)

So. I'm a big Kurt Weill fan. I like Street Scene. I like One Touch of Venus. 'Speak Low' is one of my favorite songs EVER. But here's the thing. I really don't like Threepenny Opera. I've seen it a couple times. I've listened to it. I just don't get it. I mean, I get why it became popular. I get that it is sorta "out of the box". I just don't like it much. That being said, I vastly prefer hearing the songs sung on this semi-original album state more than hearing them in a more contemporary arrangement/orchestration. This recording is from the Kurt Weill from Berlin to Broadway. A plus is hearing a younger Lotte Lenya really singing in her element. The rest of the album is fantastic with a slew of other Weill songs including some sung by the composer himself. C+

The Band Wagon

Now we are starting to get into some real good stuff. I thoroughly enjoyed listening to this cd (which also has Inside U.S.A. on it). There are some great liner notes about both shows. Band Wagon has some awesome songs in it- High and Low being my favorite. But what's not to like about Dancing in the Dark? It's a classic. This is the last show Adele Astaire performed in- she got hitched and left show business. Thank God Fred kept at it. It's fun to hear both of them singing the songs from the show on the album. Like the last other albums, this isn't technically an original cast album. Since the Astaire's are on it singing their songs I think it's close enough. I'd listen to this again for sure. A

Show Boat

Show Boat must be one of the most recorded shows ever. This is the earliest trace of an original cast album that you can get. It still isn't the real thing, but none were made of the original in 1927. What we do have is OBC member Helen Morgan (original Julie) singing her songs for this 1932 recording among others. Paul Robeson is there with his famous rendition of Ol' Man River, a role which in fact, he did not originate. Also on the album is a song 'Joe' sings from the '36 movie, as well as songs from the 1946 revival. All in all, a nice historic package of this production. There have been so many incarnations over the decades, this is the closest to the original that we can get. A-