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)