Woman In White (2004 London Cast) [Cast Recording]

Editorial Reviews
Amazon.com
The Woman in White, Andrew Lloyd Webber's first musical in four years, debuted in London in September 2004. "Freely adapted" from Wilkie Collins's gothic mystery-romance, it tells the story of a young art teacher, Walter Hartright (Martin Crewes), who encounters a mysterious woman dressed in white desperate to tell a secret. But she disappears, and Walter continues on to his assignment teaching a pair of sisters, Marian Holcombe (Maria Friedman) and Laura Fairlie (Jill Paice). Romance develops, but is threatened by the arrival of some shady characters, Sir Percival Glyde (Oliver Darley) and Count Fosco (Michael Crawford).

The score, featuring lyrics by David Zippel (City of Angels), recalls the composer's Aspects of Love, Phantom of the Opera, and Sunset Boulevard, as well as Victorian-themed shows Sweeney Todd and even The Mystery of Edwin Drood. It has some lovely moments, such as "Trying Not to Notice," "All for Laura," "Evermore without You," and "If Not for Me for Her," though for sheer beauty it's no Light in the Piazza. And as with any ALW nearly through-sung musical, a number of the themes recycle themselves to the point where you'll dread the mere mention of certain characters' names. Friedman and Paice give the strongest performances, while Crawford--in his much-anticipated reunion with Lloyd Webber after Phantom--doesn't have a lot to do other than the muggy showpiece "You Can Get Away with Anything." Note that The Woman in White was recorded before a live audience, but "You Can Get Away with Anything" had to be rerecorded in a studio because it was the only number with an audible audience reaction. Crawford's original live performance, however, is included as a coda at the end of the second disc. It's great to have the complete libretto, except that it specifies scene titles while the CD packaging shows track listings and song titles, which means that figuring out where you are takes some detective work. When The Woman in White opened on Broadway in November 2005, Friedman, Paice, and Angela Christian (Anne Catherick) reprised their roles from the London production, while Michael Ball replaced Crawford. --David Horiuchi

Album Description
Andrew Lloyd Webber's sensational new musical. Lloyd Webber has again joined forces with Trevor Nunn, the internationally renowned director responsible for staging some of the most successful musicals of all time, including Cats, Starlight Express, Les Mis rables and, most recently, the London revival of Anything Goes. EMI Classics. 2004.

Tracks:

I'm Looking for Something, Baby
Goin' Downtown
Takin' the Long Way Home
Move (You're Steppin on My Heart)
Scene: Fifty bucks says the Dreamettes don't win
Fake Your Way to the Top
Scene: It ain't working, Marty
Cadillac Car
Cadillac Car (On the Road)
Cadillac Car (Recording Studio)
Scene: I don't believe they can do that
Steppin' to the Bad Side
Scene: I'm working on a long shot
Party, Party
I Want You, Baby
Scene: I'm a woman now
Family
Scene: What are you doing to that girl?
Dreamgirls
Press Conference
Heavy
Walkin' Down the Strip/Scene: Las Vegas
It's All Over
And I Am Telling You I'm Not Going

Tracks:

Opening Act II: Dreams Medley
Scene: Effie White is the best singer you're gonna find
I Am Changing
Vogue Sequence
When I First Saw You
Ain't No Party
I Meant You No Harm
The Rap
I Miss You, Old Friend
One Night Only
One Night Only (Disco Version)
I'm Somebody
Hard to Say Good-bye
Dreamgirls (Reprise)

Amazon.com

A Chorus Line may be better known, but Dreamgirls was a towering achievement for director Michael Bennett. Loosely based on the Supremes' story, the 1982 musical told a typical show-biz tale of fame, backbiting, and survival. As is often the case for one-night only events, the cast in this concert version (recorded in New York on September 24, 2001) is led by an eye-popping assortment of Broadway powerhouses: Lillias White (The Life), Audra McDonald (Ragtime, Marie Christine), and Heather Headley (Ragtime). McDonald reveals a previously undisclosed comic streak, while Headley confirms her status as a rising star. Reprising the role of Effie Melody White (created by Jennifer Holliday), White belts the classic "And I Am Telling You I'm Not Going." But the beauty of Dreamgirls is that it's so packed with catchy, Motown-influenced R&B numbers that each lead can sink her teeth into some prime material and get a turn in the spotlight. This double-CD set really makes you wish you'd been there when the show was recorded: you can hear the crowd going berserk at times, and the temptation is strong to do the same thing in the comfort of your living room. --Elisabeth Vincentelli

Customer Reviews:

Dreamgirls 2001.......2007-06-27

This was the worst reproduction of Dreamgirls that I ever heard. I was so disappointed the CD went into the garbage. This is one CD that I would not sell to the public because I expect so much and get so little.

Not the real "DREAM" experience.......2007-04-04

Forget about the film sountrack. Get this CD set. And it's far better than the original cast recording which goes lacking. More songs and more everything that makes a live performance just what it is. Live (compared to film where anything can be done to enhance a performance!) -- the energy, the excitement and the performances make this a rare treat for anyone wanting to share in the real DREAM experience.

Isn't a full Broadway revival long over due. But wait: I've heard rumors that a rvial may be "in the works. I certainly hope so. Maybe this time it will receive the Tony award it deserved in the first place.

Absolutely brilliant!.......2007-01-28

There is atleast 5 new songs on this album that were not in the movie! These girls kill it I mean they are just amazing singers, and this all live! This is needed for any Dreamgirls fanatic like me! You are gonna love it! Enjoy! love live laugh :)

Amazing!!!!!!.......2006-12-04

As a theatre lover, this recording is amazing. I actually prefer this recording to the OBC. Sheryl Lee Ralph is okay, but can't touch Audra's Deena. The first time I heard Ms. White's "And I Am Telling You..", goosbumps all over my body. The only weak cast member in my opinon is Heather Headly. Vocally, she just isn't there. Too much Aida, not enough Dreamgirls. But all in all, a great live recording of a great show.

One Night Only .......2006-07-19

I was lucky enough to attend this One Night Only concert performance of Dreamgirls and it was a night I will never forget!! The cast was brilliant and the cd is as good if not better than the Broadway cast recording because it is the entire show not just the songs. Bravo to everyone involved !!!

Average customer rating:

Not very interesting.
Beautiful, Haunting, and Inspiring
5 stars for the use of sarah chang as violinist
Beautiful and haunting, but sometimes unrecognizable
Andrew Lloyd Weber has never sounded better

Phantasia

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Piano Strings Tribute to the Phantom of the Opera
The Woman in White (2004 Original London Cast)
Julian Lloyd Webber plays Andrew Lloyd Webber
Phantom: The American Musical Sensation (1992 Studio Cast)
The Trap-Door Maker: A Prequel to the Phantom of the Opera, Book 2

ASIN: B0009K2Z2M
Release Date: 2005-07-19

Tracks:

Phantasia - Julian Lloyd Webber
The Woman In White Suite - Simon Lee

Amazon.com

The arrangers of these Andrew Lloyd Webber works aspire to carry on the operatic tradition of Mozart, Verdi, and Wagner by transforming his vocal compositions into independent instrumental pieces. But the music's origin in theater and film is unmistakable, and the transitions between the tunes and sections are pretty bumpy. Phantasia combines material from both the stage and movie versions of The Phantom of the Opera in a double concerto which showcases a virtuoso violinist and cellist with brilliant cadenzas, runs, and soaring stratospheric flights. It also casts them as the play's protagonists in ardently passionate love duets. Although the cello part was written for the composer's brother, who plays it very well, Sarah Chang easily steals the show, especially in this technically and tonally stunning, all-out performance. The two soloists play with and off each other, projecting an infectious sense of sheer exuberant enjoyment. The Woman in White Suite conveys the spooky as well as the pastoral and passionate elements of Collins's gothic mystery story and features dances in various styles: straight and parodistic waltzes and tangos and jazzy rhythms. The composer's orchestrations are lush, veering between whispers and crashes, so keep a finger on the volume control. --Edith Eisler

Customer Reviews:

Not very interesting........2007-04-02

This music is pleasant enough for background listening, but I did not perceive much substance.

Beautiful, Haunting, and Inspiring.......2006-11-11

If you think this CD is identical to the movie soundtrack or the show's cast recording, except without lyrics, think again! It is a unique arrangement, organized in a way to be harmonious for what it is -- a violin and cello adaptation of Andrew Lloyd Webber's "Phantom of the Opera".

The first time you listen, you might be confused at the order in which the songs are presented, but you'll get used to it quickly. There are no separate tracks, it's a single long piece. (The second track on the CD is a similar arrangement of music for ALW's "The Woman in White".)

This music is haunting at times, inspiring at times, and always, always beautiful! The violin and cellos weave around each other, telling the story of Christine and her Angel of Music -- a story of love, betrayal, and courage. It's perfect to listen to while you drive, or cook, or sew, or draw, or relax in bed. Even while you're reading Gaston Leroux's "The Phantom of the Opera"!

Whether you're a lover of violin and cello music, or a PotO fan, you'll enjoy this CD.

5 stars for the use of sarah chang as violinist.......2006-07-18

the use of sarah chang as the violin soloist was perfect. her innocent, sweet, feminine tone epitomizes christine daae's character. however, in fiery/virtuosic passages, she goes all out. her intensity is unrestrained and unwavering throughout the entire piece.

Beautiful and haunting, but sometimes unrecognizable.......2006-06-08

I love this album and hate it. The violins and cellos sound very beautiful, but sometimes I don't even recognize the music. They'll play parts of songs, and that will sound really nice, but then when they transition in between songs, it'll just be random screeching and random music being played where it shouldn't be. It gets me really lost. I was keeping up with all the songs from the begining but then I'll get lost for about three minutes until the tune is familiar again. All in all, not so bad but not so good either.

Andrew Lloyd Weber has never sounded better.......2006-05-18

Andrew Lloyd Weber's musicals have never sounded better than here with a full orchestra and his brother Julian on Cello joining Sarah Chang on Violin for a suite arranged from the music of Phantom. With the two soloists playing the parts of Christine and the Phantom, the beauty of Lloyd's writing (and Geoffrey Alexander's arrangement) is brought forth more clearly than the staged theater productions. While Julian's playing is merely adequate, Chang shines brilliantly as she so often does.

Average customer rating:

Great story
Ravishingly beautiful music and a thrilling story
Beware Amazon fraud
Webber's Best Work Since Phantom! The Woman In White Is A WINNER!
Very Good, but...

The Woman in White

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

Musical Theater | Vocal Non-Opera | Opera & Vocal | Styles | Music

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The Light in the Piazza (2005 Original Broadway Cast)
The Color Purple (2005 Original Broadway Cast)
The Drowsy Chaperone (2006 Original Broadway Cast)
The Wedding Singer (2006 Original Broadway Cast)
Tarzan - The Broadway Musical (Original Broadway Cast)

ASIN: B000BGR128
Release Date: 2005-11-08

Tracks:

Prologue
I Hope You Like It Here
Perspective
Trying Not To Notice
I Believe My Heart
Lammastide
You See I Am No Ghost
A Gift For Living Well
The Holly and the Ivy
All For Laura
The Document
Act One Finale

Tracks:

If I Could Only Dream This World Away
The Nightmare
Fosco Tells Of Laura's Death/The Funeral/London
Evermore Without You
Lost Souls
If Not For Me For Her
You Can Get Away With Anything
The Seduction
The Asylum
Back To Limmeridge
Finale
You Can Get Away With Anything (BONUS TRACK - Opening night performance)

Amazon.com

The Woman in White, Andrew Lloyd Webber's first musical in four years, debuted in London in September 2004. "Freely adapted" from Wilkie Collins's gothic mystery-romance, it tells the story of a young art teacher, Walter Hartright (Martin Crewes), who encounters a mysterious woman dressed in white desperate to tell a secret. But she disappears, and Walter continues on to his assignment teaching a pair of sisters, Marian Holcombe (Maria Friedman) and Laura Fairlie (Jill Paice). Romance develops, but is threatened by the arrival of some shady characters, Sir Percival Glyde (Oliver Darley) and Count Fosco (Michael Crawford).

The score, featuring lyrics by David Zippel (City of Angels), recalls the composer's Aspects of Love, Phantom of the Opera, and Sunset Boulevard, as well as Victorian-themed shows Sweeney Todd and even The Mystery of Edwin Drood. It has some lovely moments, such as "Trying Not to Notice," "All for Laura," "Evermore without You," and "If Not for Me for Her," though for sheer beauty it's no Light in the Piazza. And as with any ALW nearly through-sung musical, a number of the themes recycle themselves to the point where you'll dread the mere mention of certain characters' names. Friedman and Paice give the strongest performances, while Crawford--in his much-anticipated reunion with Lloyd Webber after Phantom--doesn't have a lot to do other than the muggy showpiece "You Can Get Away with Anything." Note that The Woman in White was recorded before a live audience, but "You Can Get Away with Anything" had to be rerecorded in a studio because it was the only number with an audible audience reaction. Crawford's original live performance, however, is included as a coda at the end of the second disc. It's great to have the complete libretto, except that it specifies scene titles while the CD packaging shows track listings and song titles, which means that figuring out where you are takes some detective work. When The Woman in White opened on Broadway in November 2005, Friedman, Paice, and Angela Christian (Anne Catherick) reprised their roles from the London production, while Michael Ball replaced Crawford. --David Horiuchi

Customer Reviews:

Great story.......2007-05-23

I love this story - I really enjoyed reading the book. I enjoyed some parts of this soundtrack more than others - there are a couple of songs I really loved and a few themes that I got really tired of by the end. I was especially disappointed by the change they made to the "secret." In the book, Sir Percival Glyde's secret is something entirely different from what it is in the play - I understand the need to adapt the book to the play - but I was disappointed in this particular change. Overall, I enjoyed hearing the story through music - there are definitely some songs I will enjoy listening to over and over!

Ravishingly beautiful music and a thrilling story.......2006-07-22

The best story ALW has tackled since "Sunset Boulevard" seems to have inspired him to write his best score since then too. After a couple listens I grew to love the soundtrack, and then when I finally saw the show on Broadway in Feb. '06 it cemented my opinion that this is in the Top 5 of all ALW works. A perplexing encounter, a forboding country manor, two whip-smart sisters and their handsome young tutor, conniving villians: the story is dynamite. Two moments in the show never fail to give me goosebumps to this day.

The way they've decided to divide the score on the CD makes it hard to get a sense of the songs. Those looking for radio-ready 3:30 minute numbers will be frustrated. You must let the score unfold. Instead of cutting the score down microscopically like the 45-track CD of "Aspects of Love," they've left it in large passages. Rest assured there are brilliant songs therein. "Perspective," "Trying Not to Notice," "All for Laura," and "Evermore Without You" are among the best. Ironically the weakest song is the one that seems to have been penned with radio airplay in mind: "I Believe My Heart" was recorded by two British popstars and released as a single in 2004, and as ALW songs go it's just...blah. Nothing special. The show's greatest emotions are elsewhere.

I haven't even mentioned the spectacular video-projection sets, which let the story unfold in numerous colorful, dreamlike settings rather than having to take place all in three or four rooms. Each time I listen to the soundtrack I have the pleasure not only of the ravishing music, thrilling story, and clever lyrics but of remembering the unique look of the production on Broadway.

Beware Amazon fraud.......2006-07-03

Despite the line "It's great to have the complete libretto," in the amazon review of this product, there is no libretto... just a reference to a web site that no longer exists. Shame on you Amazon!

Webber's Best Work Since Phantom! The Woman In White Is A WINNER!.......2006-05-09

"The Woman In White" is Andrew Lyodd Webber's best work since "Phantom Of The Opera" and undoubtablely one of the few good shows still on Broadway. The musical is a mystery, thriller, haunting, heartbreaking, and chilling at times. The music is gothic meets Broadway which adds a scary, serene sense to the music... This has to be some of Andrew Lyodd Webber's best score and songs since "Phantom." I was lucky enough to see this show in its Broadway run.

While the show is often forgotten among some other Broadway shows such as "Hairspray" and "The Lion King" it is one you should definately not miss!

The musical is based upon the classic novel of the same name. It takes place in Victorian England and a mystery occurs when a strange woman in white emerges from the fog one night- claiming to have a seceret she can not reveal to anyone. What is so chilling is she resembles a women in town- the mystery between the two women unravels and shows a secret cover-up that can only be solved by a death, mutual deception, and a lover.

The theme that emerges from the music/musical is "I Believe My Heart"- believeing in your heart when common sense tells you not to. The "Finale", "Evermore Without You", and "All For Laura" also manage to stand on their own as well.

Maria Friedman and Adam Brazier do excellent jobs in their roles- and deserve Tony nominations for their wonderful portrayal of their characters and their lovely singing voices. Brazier the male lead- reminded me somewhat of Michael Ball in his earlier days.

All in all this musical made me miss the Broadway dramatic musical... but, it gave me hope that one day Broadway will return to the days of "Les Miserables", and "The Phantom Of The Opera." This is definately a CD I would buy if I was a Broadway musical fan. Thank you MR. WEBBER- for restoring my faith that Broadway can be SAVED from mindless dribble- hit the buy now button and enjoy!

Very Good, but..........2006-03-06

In my own opinion, I thought this was the best show Lloyd Webber has done to date. The music is fantastic, and I thought the story was really captivating. Now as for the cast, there are some things to be said. Maria Friedman is incredible as Marian Holcombe, plain and simple. Jill Paice was an amazing Laura Fairlie, and Angela Christian was a great Anne Catherick. I'm not too big a fan of Martin Crewes as Walter Hartwright, I much prefer Adam Brazier from the Broadway production. Finally, as for Count Fosco, Michael Ball totally blows Michael Crawford out of the water. Crawford's performance seems like he's afraid to play the character, not to mention he's getting a little to old to be prancing about the stage in a fat suit. His voice seems to be fading as well, even though I never thought he was all that great as the Phantom, but he often gets off-tempo in his big songs and just seems like he's playing on the fact that he's Michael Crawford and people will love him for that, rather than fully playing this incredible role. IMO, they should have made a Broadway Cast Recording and not a London Cast Recording.

The Woman in White (2004 Original London Cast)

Average customer rating:

Excellent Score, Should have Given 4 stars, THANKS ANDREW!
You Can't Get Away With This
Classic Webber
it's not "Phantom", but quite promising...
Not worth the money

The Woman in White (2004 Original London Cast)
Andrew Lloyd Webber , David Zippel , Maria Friedman , and Michael Crawford
Manufacturer: EMI Int'l
ProductGroup: Music
Binding: Audio CD

Musical Theater | Vocal Non-Opera | Opera & Vocal | Styles | Music

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The Light in the Piazza (2005 Original Broadway Cast)
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ASIN: B00068V3B6
Release Date: 2005-05-24

Tracks:

Prologue
I Hope You'll Like It Hear
Perspective
Trying Not To Notice
I Believe My Heart
Lammastide
You See I Am No Ghost
A Gift For Living Well
The Holly And The Ivy
All For Laura
The Document
Act One Finale

Tracks:

If I Could Only Dream This World Away
The Nightmare
Fosco Tells Of Laura's Dream/The Funeral/London
Evermore Without You
Lost Souls
If Not For Me For Her
You Can Get Away With Anything
The Seduction
Asylum
Back To Limmeridge
Finale
You Can Get Away With Anything (Opening Night Performance)

Amazon.com

Album Description

Andrew Lloyd Webber's sensational new musical. Lloyd Webber has again joined forces with Trevor Nunn, the internationally renowned director responsible for staging some of the most successful musicals of all time, including Cats, Starlight Express, Les Mis rables and, most recently, the London revival of Anything Goes. EMI Classics. 2004.

Album Details

Sir Andrew Lloyd Webber's Musical Sensation Premiered at the Palace Theatre on 15 September 2004. "Freely Adapted" from the Classic Wilkie Collins Novel, this is Another Grand Production of Lloyd Webber's Really Useful Company. The Principles Include Maria Friedman, Angela Christian, Martin Crewes, Jill Paice and the Original "Phantom", Michael Crawford! Unlike Past Cast Albums, this One was Recorded Live on Opening Night, Thanks to the Presence of a Full Recording Studio Actually in the Palace Theatre! all the Passion of the Live Performances Are Captured on this Set, Sans the Applause. Only the Final Scene and Crawford's Performance of "You Can Get Away with Anything" were Re-recorded Due to Extraneous Noise, However, Crawford's Actual Live Performance Has Been Added as a Bonus Track to the Set. It's Another Monumental Lloyd Webber Extravaganza, Sure to Please Theatre Goers around the Globe! Includes the Complete Libretto!

Customer Reviews:

Excellent Score, Should have Given 4 stars, THANKS ANDREW!.......2007-01-20

The soundtrack to the Woman in White has "grown on me" over time, and I now find that I enjoy it very, very much. It is not Phantom or Superstar, but it is it's own thing--and it just totally "works." If I had to rate it today, I would give it 4 stars out of 5. As a matter of fact, I enjoyed the music so much that I bought the sheet music for piano. An excellent score Andrew, thanks!
Best numbers: Trying Not to Notice,I Believe in My Heart, Lammastide,You Can Get Away with Anything, The Holly and the Ivy, If I Could Dream this World Away (which starts of great but goes downhill in quality), All for Laura (MAGNIFICENT), Evermore Without You, a song with the lyric "Sweet Tension Fills the Air," and the Finale of Act 2, and the Seduction. Also, the book that this musical is based on by Wilkie Collins is phenomenal. Another Lloyd Webber classic. I've worn out my CD player...again.

You Can't Get Away With This.......2006-12-03

Since "Sunset Boulevard" opened in 1993 and closed soon after, Webber's works have followed an incline downward. "The Beautiful Game" opened on the West End in 2000 and many audiences questioned if the Master of Musicals had lost his flare. Now, in attempts to re-create another "Phantom", Webber has teamed with lyricist David Zippel (Why not stay with Tim Rice?) to transform Wilke Collins' classic tale of romantic suspense into a broadway operetta. The plot follows the marriage of a young girl, Laura Farlie, to a sinister man, Sir Percival Glyde. Haunting her, is the spector known as the woman in white who bears a striking resemblance to the beuaitful bride. In attemtps to create a love triangle, the drawing master, Walter Hartright, falls in love with the young bride, but the jealous sister, Marian Holcombe, forces him to leave his post and return to the slums of London. Seeking his help, after the death of her sister, Marian seeks out Hartright in the city, only to team up with him to uncover the secret behind her sister's death and who really is "The Woman In White"?
Though, the music is fair, it cannot compare to any other Webber musical I know. I might reccomend this buy due to a few great songs:
"You Can Get Away With Anything"
"I Hope You Like It Here"
"Lost Souls"
and "All For Laura"
Though it is not "Phantom of the Opera", it might interest you to accpet this offer of Webber's latest piece of work.

Classic Webber.......2006-11-04

I really like this cd. It combines a great story line with unique voices, drama, mystery, and intrigue. It is exactly the kind of contemporary Broadway musical I like.

it's not "Phantom", but quite promising..........2006-09-27

Andrew Lloyd Webber's most recent musical theatre score, THE WOMAN IN WHITE, does contain a fair amount of wonderful material, but sadly also features some dubious clinkers as well. Following his mediocre scores for "Whistle Down the Wind" (too heavy with power ballads), and "The Beautiful Game" (a far-from-beautiful score), the expectations were high and critics were sharpening their knives when THE WOMAN IN WHITE opened in London at the Palace Theatre, 2004.

Based around the classic gothic thriller from Wilkie Collins, the story concerns Marian Halcombe (played by Maria Friedman), who attempts to thwart the depraved Sir Percival Glyde (Oliver Darley) from marrying her half-sister, Laura Fairlie (Jill Paice). Their salvation comes in the form of Anne Catherick (Angela Christian), known as the mysterious 'woman in white'...

Andrew Lloyd Webber's return to the genre of the gothic novel, so perfectly accomplished in his masterpiece "The Phantom of the Opera", feels and sounds like an anti-climax in so many ways. While there are some great pieces like Lord Fosco's "You Can Get Away with Anything", Laura's "If Only I Could Dream This World Away", and Marian's "All for Laura"; there are just as many derivative and average numbers.

The cast is sensational. Maria Friedman, long one of my favourite musical theatre leading ladies, gives Marian all her best attributes; and Michael Crawford (who was barely recognisable onstage, in fat prosthetics), is a highly comical Lord Fosco.

In a radical departure, Lloyd Webber decided to record the opening night performance in London (digitally removing all audience noise and applause), instead of doing a studio recording. The result gives us the energy of a live performance, albeit with the murky sound that comes part and parcel with doing a live recording. On the whole, the album is presented quite well.

Despite mixed reviews, THE WOMAN IN WHITE had a very respectable London run, though the Broadway production fared less successfully. This double disc set includes a bonus track of "You Can Get Away with Anything" that includes the audience interaction.

Not worth the money.......2006-08-03

One of those stars came soley from Michael Crawford's performance, or what he could do with his material. Unfortunately, one actor's performance can't save an entire show.

There's really nothing that great about this show's music. The music on the whole is bland, and half the time the female singers were dreadful to listen to. Excuse the shrieking mess as part of the acting if you want, but it IS possible to be 'angsty' and still sing decently at the same time. Considering how this IS a musical, that fact should have been taken into special consideration.

On the upside, some good acting performances came through on the soundtrack, 'Fosco Tells of Laura's Dream/The Funeral/London' and the 'Finale' particularly coming to mind. The exception to this is again Michael Crawford, only because he's great at portraying his character AND singing at the same time. Imagine that!

Still, a few decent tracks here and there don't justify the other twenty-plus that don't really amount to anything. Just get the live "You Can Get Away With Anything" for your MP3 player, and you should be set.

Average customer rating:

The Best Of Gershwin Love Songs

Manufacturer: Avalon (Rock Bottom)
ProductGroup: Music
Binding: Audio CD

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Great Ladies Sing Gershwin

ASIN: B00001X5B3
Release Date: 1996-07-01

Tracks:

Summertime (4:28)
Someone To Watch Over Me (3:43)
Somebody Loves Me (3:51)
They Cant Take That Away From Me (2:45)
But Not For Me (4:40)
My Mans Gone Now (4:11)
The Man I Love (5:16)
Love Is Here To Stay (3:23)
How Long Has This Been Going On (3:21)
A Foggy Day In Londontown (4:29)
Love Walked In (4:02)
Bess You Is My Woman Now (4:34)
Love Is Here To Stay (1:17)

Average customer rating:

Magnificent

Gershwin: Porgy And Bess/Blue Monday

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

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ASIN: B000007OMA
Release Date: 1998-05-26

Tracks:

Introduction
'Summertime'
'A Woman Is A Sometime Thing'
'Gone, Gone, Gone'
Overflow
'My Man's Gone Now'
Leavin' For The Promise Lan'
'I Got Plenty O' Nuttin'
'Bess, You Is My Woman Now'
'Oh, I Can't Sit Down'
'I Ain't Got No Shame'
'It Ain't Necessarily So'
'I Loves You, Porgy'
Opening Scene
Lonely Boy
'Oh Bess, O Where's My Bess'
'Oh, Lawd, I'm On My Way'
Blue Monday - CENTRAL STATE UNIVERSITY CHORUS

Customer Reviews:

Magnificent.......2002-02-21

If you have ever been, or think you might ever be, a fan of the music of George Gershwin, opera, musical theatre, jazz, powerful, triumphant singing by trained African-American voices, orchestral music, historical/cultural documents layered in innovative artistry, hearing the next generation of Opera Grand Dammes and Divos before the sun also rises on their already international careers...all of this and more is to be found on this CD. One might say I'm a little biased, as my ex-fiancee/best friend (Angela Brown, Soprano) and a number of friends of mine in the business are on this CD. But you don't have to know them to love them when they sound like this.

Angela, who has one of the most powerful voices in the industry (she recently covered AIDA at the Met for an all of a sudden slightly nervous and miraculously recovered from illness [upon hearing Angela warm up on stage] Debra Voigt), sings PORGY's "My Man's Gone Now" about as well as I've ever heard her--which is by definition (trust me) better than most of the sopranos of the last century, BAR NONE...the master Greg Baker, who has done Amonasaro and John The Baptist at the Met to incredibly deserved acclaim, performs excerpts from his signatue role Crown and Porgy at the top of his game...the rich tones of Marquita Lister, whose debut as Bess in the Goetz Friedrich production of PORGY in the Theatre Des Westens of Berlin in 1993 was a shot to all established divas heard 'round the world (now singing with her on that stage at that time was FUN, let me tell you), sounds like a ringy, milk chocolate/black velvet version of the milky, white velvet Rene Fleming...Diva Harolyn Blackwell, not to be outdone, rings and soars in everything she does...

This CD would be a treat even without the introduction of BLUE MONDAY, the DNA of PORGY AND BESS work that gives us a window into the creative mind of George Gershwin, and the embryonic existence of PORGY AND BESS itself. BLUE MONDAY gives us much of the thematic material and revolutionary artistic ideas that led to Gershwin triumphantly blurring the lines separating grand Musical Theatre in the tradition of Jerome Kern (think SHOWBOAT) from the high art of Wagnerian/Verdian/Russian Opera with PORGY; influencing everyone from Richard Rogers to Leonard Bernstein to Stephen Sondheim in American composition thereafter. BLUE MONDAY, in its simple, deceptive beauty (with parts sung immaculately by Angela and Marquita) gives you the clue to just how powerfully Gershwin planned to shake up the world with the debut of PORGY and BESS in 1935--and did.

And can you even imagine how it feels to hear the voice of Cab Calloway, linking every conceivable strand of High African-American music, American musical theatre, American opera and Jazz of the 20th century together with every word he says? Could there have been a better Sportin' Life? (Gershwin actually wrote the part of Sportin' Life in PORGY both for and based on the personality and artistry of Calloway--the friend of Ellington and biggest influence on the music and personality of Dizzy Gillespie--while he played in Harlem's Cotton Club in the 1930's.)

But this CD is not a Museum piece made for music academics or an excuse for me and others in the business to party with singer friends (I don't need this good an excuse for that!). This is absolutely beautiful music that will sweeten your home and soul on the first hearing.

Tracks:

Opening Comments
Prelude #2
Commentary
An American In Paris
Commentary
Eulogy
Swanee
The Man I Love
They Can't Take That Away From Me
Station Identification : Commentary
1st Movement : Allegro
2nd Movement : Andate con moto
Concerto In F: 3rd Movement : Allegro con brio

Tracks:

Intermission : Mrs. Leiland Atherton Irish; Oscar Hammerstein Tribute; Edward G. Robinson Tribute; Commentary
Introduction To The Second Half
Anthology : The Man I Love, Liza, Lady Be Good, Somebody Loves Me, Do It Again, I Got Rhythm, Wintergreen For President, Strike Up The Band
Commentary
Porgy And Bess: Introduction And Summertime
Commentary
Porgy And Bess: My Man's Gone Now
Porgy And Bess: The Buzzard Song
Porgy And Bess: The Train Song
Porgy And Bess: I've Got Plenty O' Nuttin'
Porgy And Bess: Bess, You Is My Woman Now
Porgy And Bess: I'm On My Way
Commentary
Rhapsody In Blue

Customer Reviews:

An Absolute Must For Lovers of Music and History.......2001-01-20

This album contains the best works of George Gershwin, played by the very best artists of the period. The quality of the recording is excellent, actually amazing considering that this recording was made in 1937. The music of the master, George Gershwin, and the authenticity of the playing is more than enough reason to buy the CD set. But there is more: The album consists of the complete two and one half hour historic radio program, broadcast as the announcer says "by short wave to the four corners of the earth." It is so moving that you can feel like you are experiencing it live. The 16 pages of liner notes that come with CD set have been carefully researched for historical accuracy and competent critical evaluation of the music. One could have wished the producers would have found room on the cover of the CD set to list Charles Previn, who conducted Concerto in F, which accounted for approximately thirty minutes of the playing time and for Nathaniel Shilkret and Nathaniel Finston who, as conductors, were the featured artists for another approximate half hour of playing time. One could only wish that there were only such minor complaints with all musical recordings. The producers deserve thanks for making this wonderful piece of history available to the public.

A real collector's item, especially for old-time radio buffs.......2000-09-24

This recording preserves,for all posterity and in quite listenable sound for its time, one of the most important and moving cultural events of the early twentieth century--the full-length memorial tribute to George Gershwin, the USA's greatest composer ever,IMHO.

This was broadcast on CBS Radio in September,1937, barely two months after the composer's shocking and untimely death from a brain tumor at the age of thirty-eight. All of his most famous pieces for concert hall are heard here,and the advantage of hearing them in a live performance is that they are not edited, as they often would have been in recordings made during that era. (Gershwin's own recording of the "Rhapsody in Blue",made in the 1920's in a recording studio,is rather severely cut.)

Many of the performers, such as Fred Astaire and Oscar Levant, give memorable performances,but there are a few clinkers. The great German conductor Otto Klemperer may be brilliant in Beethoven and Bach, but he was not the man to conduct Gershwin's Second Prelude, heard here in an orchestral arrangement. He has no feel for jazz idioms whatsoever, and he makes this slow, blues-like piece sound like a dirge out of Mahler or Bruckner. It is,sad to say, the worst performance of the Prelude I have ever heard. And whatever possessed the producers of this concert to get Lily Pons,with her pronounced French accent,to sing "Summertime", rather than an American soprano,which they could have gotten easily? It throws the whole "Porgy and Bess" segment out of whack.

That "Porgy" segment, however, is one of the most valuable historical documents ever recorded. It presents members of the original 1935 cast of the opera performing unedited versions of several arias,duets and ensemble pieces from the opera, conducted by Alexander Smallens, the original conductor. And it presents perhaps the only surviving recording of Ruby Elzy,the original Serena, singing "My Man's Gone Now". (Miss Elzy was NOT featured on the so-called Broadway cast album; Anne Brown,the original Bess,sang Serena's music on that one,as well as singing Bess and Clara's arias.) And we finally get to hear Todd Duncan perform "The Buzzard Song", which was cut from the opera for a very long time.

Fred Astaire's spoken tribute to Gershwin is very moving, and at one point, his voice is heard cracking with emotion. The announcer and narrator, however, speaks in that overenunciated, dramatic, actorish style which was apparently the norm for radio announcers of that period. He sounds as if he were getting ready to either impersonate Orson Welles, or audition for "Hamlet", and his style of speaking is almost quaint nowadays.

But this album is still irreplaceable.

An update to this review - This edition of the memorial concert is apparently out of print, and the concert itself has been reissued as part of the ongoing CD series "The Radio Years". DO NOT BUY THAT VERSION. It is vastly inferior to this one. This version has spectacular sound for its time, and the new reissue sounds as if had been recorded through a tin can. And not only is the sound bad on the reissue, but there is tons of surface noise and the program itself seems to be abridged.

We can only hope that the edition listed on this page will be re-issued some day. This historic concert deserves no less.

Average customer rating:

From Broadway to Hollywood.
One of the greatest singing artists of all time !

From Broadway to Hollywood

Manufacturer: Nimbus Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

The Stanford Archive Series: Lawrence Tibbett
John Charles Thomas: An American Classic
John Charles Thomas in Opera & Song
Star of Stage & Screen
Pinza

ASIN: B0000037L1
Release Date: 1996-07-06

Tracks:

Porgy and Bess: Summertime - Lawrence Tibbett/Helen Jepson
Porgy and Bess: Summertime & Crap Game/A Woman Is A Sometime Thing - Lawrence Tibbett/Helen Jepson
Porgy and Bess: My Man's Gone Now - Lawrence Tibbett/Helen Jepson
Porgy and Bess: I Got Plenty O' Nuttin'
Porgy and Bess: The Buzzard Song
Porgy and Bess: Bess You Is My Woman Now - Lawrence Tibbett/Helen Jepson
Porgy and Bess: It Ain't Necessarily So
Porgy and Bess: Where Is My Bess?
Emperor Jones: Oh Lord!... Standin' In The Need Of Prayer
Merry Mount: Oh, 'Tis An Earth Defiled
The Rogue Song: The Rogue Song
The Rogue Song: The Narrative
The Rogue Song: The White Dove
The Rogue Song: When I'm Looking At You
The Prodigal: Without A Song
The Prodigal: Life Is A Dream
Ballads: De Glory Road - Lawrence Tibbett/Stewart Willie
Ballads: Old Black Joe
Ballads: Goin' Home

Customer Reviews:

From Broadway to Hollywood........2007-02-12

Tibbett had the talent and the way to express it. Would that I had been around to have enjoyed it in person. Who is out there today????????

One of the greatest singing artists of all time !.......2006-01-29

The baritone Lawrence Tibbett was one of the first American artists (with Rosa Ponselle) to gain international fame and acknowledgement in opera. This disc documents his great artistry very well, although it does lack represantation of his great operatic roles.
Tibbett gives every song and aria his whole heart and mind. He may not always sing perfect techniquely, but the truthfulness and drama Tibbett brings to being is superb and has in my opinion never quite been equaled.
This record encompasses all Porgy and Bess recordings he made as well as some very impressive portrayals of ballads and songs. I would recomend this disc not only to the collector but to all who can tolerate a bit of surface noise inorder to hear one of the greatest singers of all time :

Average customer rating:

thanks again, naxos!
Stephen Foster Played by a Saxhorn (not saxophone) Quintet

Foster for Brass

Manufacturer: Naxos American
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

General | Musicals | Broadway & Vocalists | Styles | Music

General | Broadway & Vocalists | Styles | Music

Marches | Miscellaneous | Styles | Music

Classic Big Band | Swing Jazz | Jazz | Styles | Music

4-for-3 Broadway & Vocalists | 4-for-3 Music | Stores | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
Similar Items:

The American Brass Band Journal
Footlifters: Century of American Marches
Turn-of-the-Century Cornet Favorites
Best of Brass
The Golden Age of Brass, Vol. 3: Virtuoso Solos with Band

ASIN: B00007FPFS
Release Date: 2004-05-18

Tracks:

Ellen Bayne Quick Step
Bronze Bob Tail Horse Quick Step
Why, No One To Love
California Quick Step
Beautiful Dreamer
Dolly Day Quick Step
Hard Times Waltz
We Are Coming Father Abraam, 300,000 More
Colonel Meeker's Quick Step
March. My Old Kentucky Home
My Wife Is A Most Knowing Woman
Maggie By My Side Grand March
Santa Anna's Retreat From Buena Vista
Willie Schottisch
George Hart's Quick Step
Some Folks
Open Thy Lattice Love
Old Dog Tray March
Camptown Quick Step
Massa's In The Cold Ground
When This Dreadful War Is Over
Come Where My Love Lies Dreaming
Come Where My Love Lies Dreaming Quick Step
Gentle Annie
Lulu Is Gone
Where Has Lula Gone
Farewell My Lily Dear Quick Step

Customer Reviews:

thanks again, naxos!.......2007-04-04

naxos is the greatest budget label of all-time. i've gotten so many great discs from them, and never a bummer. as for this disc, it's a great idea(arrangements of the songs of stephen foster for 19th century brass band, performed on period instruments), wonderfully executed. i have many recordings of stephen foster material, and this is one of the best. this brass band sounds fantastic and the audio quality is very very fine. i highly recommend that you make this a part of your household.

Stephen Foster Played by a Saxhorn (not saxophone) Quintet.......2004-06-20

Imagine a post-Civil War family trooping to the town square on a fine summer evening to hear the town band play a concert of arrangements of popular tunes, that gentler period's equivalent of a rock concert of today. That's essentially what we have here. The Chestnut Brass Company, a Philadelphia brass quintet which on occasion plays on everything from Baroque sackbuts to the most modern trumpets and trombones, here plays on instuments of the saxhorn family. Saxhorns, invented by Adolphe Sax, the fellow who also invented the better-known saxophone, are brass instruments perfected in the 1840s. Their conical bore projects a uniquely sweet and mellow sound. They were exceedingly popular for town bands during the latter half of the century, but their use had waned by the turn of the 20th century. This quintet consists of an E flat soprano, a B flat soprano, an E flat alto, a B flat baritone, and a E flat contrabass saxhorn. The dulcet tones and sonic blend are a marvel to behold. Partly, of course, this is due to the expert playing by Bruce Barrie, Susan Sexton (or is it SAXton?), Marian Hesse, Larry Zimmerman, and Jay Krush.

Stephen Foster wrote very little purely instrumental music, but his songs fostered (pun unavoidable) innumerable instrumental arrangements. Those heard here are taken (and sometimes re-arranged) from the playbooks of such 19th-century bands as the Manchester, New Hampshire town band, the Boston Brass Band and the brass band of the 26th Regiment of North Carolina, not to forget the U.S. Marine Band. The tunes are arranged into quicksteps, waltzes, marches, schottisches and potpourris. Most of the familiar tunes are here: 'Beautiful Dreamer,' 'I Dream of Jeannie,' 'My Old Kentucky Home,' 'Camptown Races,' 'Come Where My Love Lies Dreaming,' and 'Some Folks Do' as well as plenty of relatively unfamiliar songs. And because these arrangements come from all over some of the tunes appear several times like old friends. Some of my own favorites are 'Some Folks' arranged by W. L. Baccus, 'Come Where My Love Lies Dreaming' arranged by Bruce Barrie, 'Camptown Quick Step' arranged by Jay Krush, and 'Gentle Annie' from the U.S. Marine Corps Band archives.

As an unabashed fan of the music of Charles Ives, I can't hear these arrangements without wondering which of these tunes Charlie heard (and played) when his own father, a former Civil War bandmaster, led his town band in Danbury, Connecticut.

Recommended for brass band lovers, Stephen Foster fans, and folks who like, say, the sound track to Ken Burns's 'Civil War' PBS documentary.

TT=68:49

Tracks:

Valse Sentimentale - Clara Rockmore
Oraison - Ens D'Ondes De Montreal
Etude Aux Chemins De Fer - Pierre Schaeffer
Williams Mix - John Cage
Klangstudie II - Herbert Eimert/Robert Beyer
Low Speed - Otto Luening
Dripsody - Hugh Le Caine
Forbidden Planet: Main Title - Louis Barron/Bebe Barron
Elektronische Tanzste: Concertando Rubato - Oskar Sala
Poem Electronique - Edgard Varese
Sine Music (A Swarm Of Butterflies Encountered Over The Ocean) - Richard Maxfield
Apocalypse-Part 2 - Tod Dockstader
Kontakte - James Tenney/William Winant
Wireless Fant - Vladimir Ussachevsky
Philomel - Milton Babbitt
Spacecraft - MEV

Tracks:

Cindy Electronium - Raymond Scott
Pendulum Music - Sonic Youth
Bye Bye Butterfly - Pauline Oliveros
Projection Esemplastic For White Noise - Joji Yuasa
Silver Apples Of The Moon, Part 1 - Morton Subotnick
Rainforest Version 1 - David Tudor
Poppy Nogood - Terry Riley
Boat-Woman-Song - Holger Czukay
Music Promenade - Luc Ferrari
Vibrations Composees: Rosace 3 - Francois Bayle
Mutations - Jean-Claude Risset
Hibiki-Hana-Ma - Iannis Xenakis
Map Of 49's Dream The Two Systems Of Eleven Sets Of Galactic Intervals: Drift Study '31/69 c.... - La Monte Young

Tracks:

He Destroyed Her Image - Charles Dodge
Six Fants On A Poem By Thomas Campion: Her Song - Paul Lansky
Appalachian Grove - Laurie Spiegel
En Phase/Hors Phase - Bernard Parmegiani
On The Other Ocean - David Behrman
Stria - John Chowning
Living Sound, Patent Pending Music For Sound-Joined Rooms Series - Maryanne Amacher
Automatic Writing - Robert Ashley
Canti Illuminati - Alvin Curran
Music On A Long Thin Wire - Alvin Lucier
Melange - Klaus Schulze
Before And After Charm (La Notte) - Jon Hassell
Unfamiliar Wind (Leeks Hills) - Brian Eno

Amazon.com

Opening with Clara Rockmore's reworking of Tchaikovsky with the theremin, and finishing with one of Brian Eno's ambient soundscapes, OHM artfully succeeds in its goal of giving a representative (as opposed to the impossible, comprehensive) overview of the first several decades of electronic music. Over 3 discs, 42 compositions, and 96 pages of notes and photos, OHM clearly illustrates the producers' and contributing writers' point that early electronic music is much of the foundation of contemporary music. Herein lies the connective tissue bridging musique concrète, 20th-century classical, electronic experimentation, and the theoretical avant-garde to psychedelia, ambient, dub, techno, electro, and synthpop and the globalization of sound. The groundbreaking uses of loops, sampling, drones, remixes, and cut-and-paste technology are put fully into context. The diversity of music included makes any sort of summation impossible, but that is also the point: electronic music is not really a genre, but an open field of endless possibility. From John Cage's famous "William's Mix" of tape snippets to Karkheinz Stockhausen's electronic orchestral compositions, from David Tudor and Holger Czukay's experiments in unrelated blendings of audio elements to David Behrman's supremely peaceful duet between computers and musicians, the aural renegades on OHM tread where none (save a few of their contemporaries) had gone before. The liner notes convey the incredible amount of hard work and experimentation it took to stitch together many of these pieces in the predigital era. Putting aside the inevitable quibbles about what's missing (much of it due to legal and/or logistical issues), a more complete collection of musical eggheads, eccentrics, and visionaries is hard to imagine. --Carl Hanni

Customer Reviews:

excellent but uncomplete.......2006-11-12

Althought most of the music here is an excellent collection of electronic music history, this 3 CDs lack of the important contribution given by the RAI phonology studios of Milan, Italy in the 50s
(which was bigger than Koln's WDR studios) with Bruno Maderna, Luciano Berio and Luigi Nono.
This is a big mistake. Milans studios were the biggest of europe and produced many important electroacoustic pieces.
If the collection aim to describe faithfully electronic music history, it should include this artists too.

To call it music may be a bit limiting. .......2006-10-24

Some of the tracks on here are "music". That is that they contain all the bits we're trained to experience as music -- melody, etc. Some are not, and the composers would be the first people to tell you that. A lot of these works are reactions to ingrained rules, so they're bound to be jarring.

A more successful way to approach such a broad and varied collection of audio experimentation is to think of it as curated sound. This isn't something to wash the dishes to, or to seduce someone to (although if you did manage to seduce someone with the recordings on this anthology, HOLD ON TO THAT PERSON, because they've got to be a keeper). These are unique sound textures that deserve a close, probably solitary listen, and I think if you're in the right frame of mind, it can be a very rewarding listen.

My main complaint is sequencing: each dicrete piece follows it's own internal logic, so there are more than a couple rough gear changes. However, since each piece is so different, and the collection is so varied, I'm not sure that you could totally escape that.

A worthwhile collection.......2006-01-11

The OHM collection contains some of those ground breaking electronic compositions that have shaped today's styles, from the early electronic instruments of Theremin and Martenot, through Pierre Schaeffer's Music Concrete tape music and the electronic music of Stockhausen and Subotnick, to the mainframe computer output of Risset and Chowning.

It is unfair to mark this collection down due to the production quality and 'musicality' of its contents, to do so would be to staggeringly miss the point of the development of electronic music through the 20th Century. What this collection shows is the ideas behind those at the cutting edge of the genre before many could even conceive of such output. That said it is hard going at points, as experimental music can be.

Highlights for me are no doubt Olivier Messiaen's 'Oraison' on CD 1, David Tudor's 'Rainforest Version 1' on CD 2 and on CD 3 David Behrman's 'On the Other Ocean' and Maryanne Amacher's 'Living sound Patent Pending'.

OhMyGodHowDreadful.......2005-08-15

Ok, this collection is supposed to be early works and, thus not expected to be very sophisticated or polished. But the OHM collection sounds like the first attempt of a spastic cat turned-loose on a Moog keyboard. When it is not boreing, this collection of random and dissonant sounds (I can't call it music) is without any redeeming qualities to make it worth while. Don't get me wrong, I am a long-time fan of Wendy (nie Walter) Carlos and some other real pioneers of electronic music. However, I find that the Ohm collection has no similar qualities and is a major disappointment.

Kid Stockhausen.......2003-01-17

This is required listening for anybody interested in the history of electronic music. Although implicitly aiming for the techno music audience, this audio history is overwhelmingly focused on the classical avant-garde of electro-acoustic composers. The closest you'll get to pop electronica is the Brian Eno track at the end of the third disc. No Kraftwerk, no Moroder, etc. Instead "OHM" manages to point to the continuities between, say, John Cage and artists currently working at the experimental edges of electronica (so-called IDM). It seems to be saying, "You think Kid 606 is visionary? Well check out this Stockhausen track from '59!"

Admittedly, some of the songs are much more interesting to think about than they are to listen to. Some of the early pieces that were made through thosuands of hours of pains-taking tape-splicing could be made today in an afternoon with a digital audio editor and a few effects plug-ins.

It is a beautiful package, containing a 90 page booklet of essays, quotations from the featured artists, and photographs. What all music should be: an education in daring.

Music:

Music

Music