Well, I've started listening to this massive compilation of very, very old school recordings of shows from the turn of the century. Many of the songs are sung by members of the original cast, although almost all were recorded a couple years after the original productions ran. While this is definitely not the kind of CD I'd throw on the old CD player while cleaning the apartment, it was fun to listen to theater songs written and sung well over one hundred years ago. While I couldn't understand the words on over half of the songs, I could make out the music for the most part. Because these were transferred from old music rolls, cylinders, 78s, and other "ancient" methods of recording, the record producer made no attempt to clean them up for a more "historical completeness". The material covers operetta, popular songs, comic sketches, and some not so politically correct minstrel songs(I'm thinking that the good ole ditty "The Phrenologist Coon" sung in black face by the already black actor Bert Williams falls under that latter category).
There are some memorable songs on the recordings, and I'm not just talking about the Irish songs of Chancey Olcott (he wrote and sang "My Wild Irish Rose" and the not included "When Irish Eyes are Smiling"). I can't for the life of me get the tune of "Under the Bamboo Tree" out of my head (partly because I just watched Meet Me In St. Louis, and it is sung by Judy and that little kid in the movie). "...if I like-a you like you like-a me..." Very charming that one is, sung here by the Marie Cahill. I thought the songs of George Cohan very fascinating, particularly "I'm Mighty Glad I'm Living, That's All" and "Life's a Funny Proposition After All". These almost existential songs question our very existence in a simple, comical way that make you feel not quite alone for wondering such deep questions about life. All wrapped up in that yankee doodle dandy kind of spirit. I mentioned Bert Williams earlier, and I'm very glad that the songs from Abyssinia are included. His version of the song "Nobody" stayed with him for the rest of his career and sold very well as a record.
Although I probably won't listen to this again, I'm glad to have an idea of where American musical theater began. No songs move plot along, or are character driven at all. That was not a surprise. What did surprise me was that some had a real human depth to them that I was not expecting.
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