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+