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FILM MUSIC REVIEW - The Web
Magazine
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CD Reviews - Compilations (
July-December 2003)
These reviews are
the latest ones for 2003.
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A Guide to Film Music - Songs and Scores (2nd revised edition, PineTree Press, 2002)
This expanded and updated guide was written by film music historian Roger Hall.
It has a wealth of useful information:
*A timeline of film music highlights from 1926 to 2001
*A chapter on suggestions for listening to film music
*A complete list of Academy Award film music from 1934 to 2000
*A complete list of the Sammy Movie Music Awards from 1988 to 2001
*Top100 Scores of the 20th Century
*Comments on Film Music: Interviews with two classical composers (Aaron Copland and Virgil Thomson); The Composer as Commentator (Bernard Herrmann, David Raksin, Dimitri Tiomkin); The Composer as Critic (Elmer Bernstein); The Film Lyricist and Songwriter (Sammy Cahn and Henry Mancini); The Movie Critic and Historian (David Thomson and Tony Thomas).
*An extensive bibliography and discography.
Throughout the guide are many illustrations of composer autographs, including:
Johnny Green, Bernard Herrmann, Alex North, Miklos Rozsa, Max Steiner , Dimitri Tiomkin, John Williams and others.
There are also songwriter autographs as well, such as:
Harold Arlen, Sammy Cahn, George & Ira Gershwin, Henry Mancini, Johnny Mercer, Jay Livingston, and Harry Warren.
The title page of the guide has a rare score page from the end credits of E.T., boldly signed by John Williams.
There is also an accompanying CD-R or Tape available titled: "Listener's Guide to Film Music."
This film music guide is a limited edition and will be numbered and signed by the author.
A Guide to Film Music was announced in the March/April 2002 issue of Film Score Monthly.
In a letter to the author, the distinguished film composer Elmer Bernstein has written the following:
"I do feel your book is done in a most interesting way. It affords a quick overview of what has not become a very, very broad field. Congratulations!"
To order your limited edition signed copy of A Guide to Film Music now, go to:
Music Titles from PineTree Press
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Review Rundown::
The titles have been chosen to cover a broad range of new commercial, promotional and vintage soundtracks. No bootleg CDs are reviewed. The comments and ratings are based on the whole CD package - recorded music, booklet notes and art design.
Ratings:
***** (Superlative - Highest Recommendation)
****1/2 (Outstanding - Highly Recommended)
**** (Exceptional - Especially Worthwhile)
***1/2 (Very Good - Better Than Average)
*** (Good - Okay)
**1/2 (Fair - Nothing Special)
** (Mediocre - Barely Passable)
* (Poor - Save Your Money)
Each month several soundtracks are selected for Best of the Month and/or Recording of Special Merit. These soundtracks are chosen on the date of the review, and not necessarily at the end of the month, and are those felt worthy of exceptional merit.
Some selected soundtracks have these headings above them:
![[Image]](pict319.jpg){kind=small} Editor's Choice - Best of the Month |
![[Image]](pict327.jpg){kind=small} CD Release of Special
Merit |
For previous compilation reviews in 2002, see
CD Reviews (Compilations, July - December)
CD Reviews (Compilations, January - June)
For previous compilation reviews in 2003, see
CD Reviews (Compilations, January - June)
| CD Reviews - Compilations (July-December 2003) |
ADAGIO PARADISO (BMG/RCA Victor) - **1/2
BEST OF THE WEST REVISITED (Breakable Records) - **** [Special Merit]
BROADWAY MELODY OF 1940 (Rhino Handmade) - **** [Editor's Choice for July]
EPICS (Telarc) - ****1/2 [Editor's Choice for October]
GAY PURR-EE (Rhino Handmade) - ***1/2
GYPSY (Rhino) **** [Special Merit]
LOVELY TO LOOK AT & TEXAS CARNIVAL (Rhino Handmade) - ***1/2
MAME (Rhino Handmade) - **1/2
ADAGIO PARADISO - Romantic Movie Themes For The Lover In You
Executive Producer: R. Peter Munves. Themes recorded between 1960 and 1999.
BMG/RCA Victor 09026-63973-2
Rating: **1/2
19 Tracks = 74:37
Tracks:
1. CINEMA PARADISO: Theme (arr. Mancini) - The Mancini Pops Orchestra
2. TITANTIC: My Heart Will Go On (arr. Mower) - James Galway, solo flute
3. SLEEPLESS IN SEATTLE: When I Fall in Love (arr. Wall) - Richard Stolzman, solo clarinet
4. GHOST: Unchained Melody (arr. Brohm) - James Galway, solo flute
5. PHILADELPHIA (arr. Wall) - Richard Stolzman, clarinet
6. THE GRADUATE: Scarborough Fair/Canticle (arr. Hayman) - Chet Atkins, guitar
7. BEAUTY & THE BEAST: Beauty & the Beast (arr. Lee) - James Galway, flute
8. CASABLANCA: AS Time Goes By (arr. Steiner) - National Philharmonic Orchestra, Charles Gerhardt
9. BREAKFAST AT TIFFANY'S: Mood River (arr. Hayman) - Boston Pops Orchestra, Arthur Fiedler
10. ROMEO & JULIET/LA STRADA: Love Themes (Rota) - London Symphony Orchestra, Henry Mancini
11. MOONSTRUCK: La Boheme-Love Duet (Puccini) - Boston Pops, Arthur Fiedler
12. MOONSTRUCK: La Boheme-Musetta's Waltz (Puccini) - Boston Pops, Arthur Fiedler
13. OUT OF AFRICA: Clarinet Concerto in A-Adago(conclusion) (Mozart) - Richard Stolzman, clarinet
14. A ROOM WITH A VIEW: La rondine-Doretta's Dream (Puccini) - Leontyne Price, soprano
15. A ROOM WITH A VIEW: Gianni Schicchi-O mio babbino caro (Puccini) - Leontyne Price
16. GREEN CARD: Flute Concerto No. 1 in G-Adagio ma non troppo(Part I)(Mozart) - James Galway
17. CHILDREN OF A LESSER GOD: Concerto for Two Violins-Largo ma non tanto (J.S. Bach) - Pinchas Zukerman & Jose-Luis Garcia, violins; English Chamber Orchestra
18. SOMEWHERE IN TIME: Rhapsody on a Theme of Paganini-18th Variation (Rachmaninoff) - Leonard Pennario, piano; Boston Pops Orchestra, Arthur Fiedler
19. WEST SIDE STORY: Somewhere (Bernstein) - The Philadelphia Orchestra, Eugene Ormandy
How many of these mood CDs can they keep producing? And how about that subtitle: "For the Lover in You"? It sounds more like a sex ad. Maybe that's what was intended. Not that the themes and arrangements are all bad. They just wash over the mind's ears like rainwater. Yet you may like the tingly sensation of getting wet from strings dripping with sentimentality. Well, I think you get my point. Now let's look at the selections.
Of the soloists on this compilation, I think that James Galway and Richard Stolzman come off the best. They both play with the right sensitivty. And the best large ensembles are The National Philharmonic Orchestra under Charles Gerhardt, Max Steiner's immortal CASABLANCA theme(track 8, 3:14), and the Boston Pops Orchestra under the inimitable Arthur Fiedler (tracks 6,9, 11, 12, 18).
What would an album like this be without those classical pieces used in various films? But why must they pitch them as "romantic themes"? One example is Mozart's Adagio from his Clarinet Concerto (abbreviated, no less!) in OUT OF AFRICA (track 13, 3:12). It's strange to call it a romantic theme, when it was composed as a composer from the Classical Era. There are also two beautiful Puccini arias sung by Leontyne Price (tracks 14-15), who does them justice. Yet in A ROOM WITH A VIEW, these arias are sung by the luscious voice of Kiri Te Kanawa, which I much prefer to Price's renditions. I think the best one on this disc is the recording of the J.S. Bach Concerto for Two Violins (track 17, 7:22)--with one of the most heartbreakingly beautiful classical themes ever written, IMO.
A little aside here...
Many years ago, I woke up listening to this gorgeous Bach theme wafting into my ears from a classical radio station. I immediately had tears in my eyes, but not from its sadness...or my own. Instead it was the utter beauty of this Bach theme that touched me so deeply. It's not surpising that this gorgeous Largo movement has been used in several films. It expresses beauty so simply and so poignantly.
Moving from the classical pieces to the arrangements, some of them leave a lot to be desired. I'd much prefer to hear Henry Mancini's original version of "Moon River" rather than the syrupy one by Richard Hayman (track 9, 3:44). That's a strange choice since Mancini was such a popular RCA Victor artist. Fortunately, Mancini's fine arrangement of Nino Rota themes is included (track10, 3:09). I also didn't care much for Hayman's arrangements of the Paul Simon songs in THE GRADUATE (track 6, 3:54). Other arrangements were good enough, such as Brohm's arrangement of "Unchained Melody" (track 4, 3:26).
All in all, this is an agreeable album "for the lover in you"--but it doesn't offer enough "for the listener in you."
--Roger Hall, 5 December 2003
| CD Release of Special
Merit |
BEST OF THE WEST REVISITED - Songs, Dialogue & Cowboy Theme Music from Classic Radio, Movies & TV Westerns
Executive Producers: James Prentice and Diane Prentice. Created and Produced by Joe Benigno. Graphic Design by S. Spangler Design.
Breakable Records DPCD 109
Rating: ****
17 Tracks = 47:06
1. Gene Autry Radio Audition (18:10)
2. The Lone Ranger Theme (1:51)
3. Annie Oakley TV Theme (1:13)
4. Buffalo Bill, Jr. TV Theme (1:09)
5. The Range Rider TV Theme (1:08)
6. RED RIVER Movie Theme (3:03)
7. HIGH NOON Movie Theme (2:35)e
8. RIVER OF NO RETURN Movie Theme (4:49)
9. GUNFIGHT AT THE OK CORRAL Movie Theme (3:00)
10. Bat Masterson TV Theme (1:09)
11. Maverick TV Theme (1:19)
12. Rawhide TV Theme (1:06)
13. Gunsmoke Opening & Theme (1:25)
14. Bonanza TV Theme (0:58)
15. The Rifleman TV Theme (1:08)
16. Wild Wild West TV Theme (0:56)
17. Roy Rogers Show Theme (1:57)
I am usually reluctant to purchase a CD like this one. I've never heard of Breakable Records and suspected that it might be re-recordings by some unnamed singers or orchestras. But I was proved wrong. All of the tracks are taken from original sources on radio, TV and movies. There are many real gems here.
The first track is a long one called "Gene Autry Radio Audition." It's taken from the transcription disc of the first Gene Autry Radio Show. So even though the sound quality is not great, the historical value is significant and Gene is always a pleasure to hear. There is quite a bit of dialogue, but Gene does sing a few songs including his classic theme song, "Back in the Saddle Again."
Following that first track are four TV western themes taken right from the original shows. Several of these are quite rare, like: "Buffalo Bill Jr" and "The Range Rider." The themes are heard complete with the opening TV announcements.
Then for movie fans there are four marvelous excerpts from popular western films. The sung theme,"Settle Down Little Doggies," from RED RIVER is one of the great western classics. Fortunately, the entire soundtrack of RED RIVER has been recorded on a Marco Polo CD. I'm not aware of HIGH NOON and RIVER OF NO RETURN being released before in their original soundtrack versions. "Do Not Forsake Me, Oh My Darlin'" (Dimitri Tiomkin-Ned Washington) is sung by Tex Ritter, and "River of No Return" (Lionel Newman-Ken Darby) is sung first by Tennessee Ernie Ford and then by Marilyn Monroe in her low sultry voice. "Gunfight at OK Corral" is another classic by the songwriting team of Tiomkin and Washington and is sung by the distinctively dramatic voice of Frankie Laine.
The remaining eight tracks all are TV themes from well known western shows, mostly from the 1950s and '60s. Where else will you get to hear the rarely heard themes for "Bat Masterson" and "The Riflemen," as well as better known ones, such as "Gunsmoke" and "Bonanza"?
The final track is right from the Roy Rogers Show, including announcer's introduction and the singing of "Happy Trails" by Roy Rogers and Dale Evans.
For tech nerds, this disc may not suit their standards for modern day digital sound. But to clarify matters, this statement is printed on the back of CD booklet: "Due to the age and obscurity of archival source material, slight audio inconsistencies may appear, which are not the result of any defects in this recording." That's what I call "truth in advertising." If only more CDs were this honest with their product! Who cares about Dolby Digital or some other high tech marvel, when you have these great vintage themes?
BEST OF THE WEST REVISITED is a real treasure box for oldtime western fans. For those who want a great remembrance disc of favorite radio and TV shows plus western films, this is the one to get.
Highly recommended.
--Roger Hall, 5 November 2003
| Editor's Choice - Best of the Month for July
|
BROADWAY MELODY OF 1940 and ROSALIE (1937)
Songs by Cole Porter
The M-G-M Studio Orchestra conducted by Alfred Newman and Herbert Stothart
24 Tracks = 79:30 [BROADWAY MELODY (tracks 1-12)/ ROSALIE (tracks 13-24)]
Produced for release by George Feltenstein. Project Supervisor: Patrick Milligan. Mastering by Doug Schwartz. Art Direction Bryan Lasley. Design: Rachel Gutek. Creative Services: Lori Carfora. Liner notes by George Feltenstein.
Rhino Handmade RHM2 7601
Rating: ****
The Rhino Handmade production unit continues to churn out outstanding vintage musical releases. This new CD with songs by Cole Porter is another gem. Unlike previous releases, almost all the tracks on this CD are previously unissued. It is, however, a bit misleading since only BROADWAY MELODY OF 1940 is shown on the front cover. Actually half of the 24 tracks are given over to "bonus tracks" from ROSALIE. Obviously, the Rhino intent is to promote the better known musical and why not do so?
BROADWAY MELODY OF 1940 was the fourth and final musical in the series that began in 1929. For the 1940 version, the stars were Eleanor Powell [known as "The Queen of Tap"], Fred Astaire and George Murphy. It has some delightful dance routines even with the very routine script.
The opening track features an extended version of the Main Title, arranged and orchestrated by Leo Arnaud. But the highlight of this soundtrack is the the superb tap dance routine with Fred Astaire and Eleanor Powell, accompanied by Edward Powell's marvelous arrangement of Cole Porter's great song standard, "Begin the Beguine" (track 10, 9:31). This song is first sung by Louis Hudnott [for Carmen D'Antonio] and that is followed by a lengthy orchestral passage, before the Merry Maids introduce a more rhythmic version of the song [at about 5:50 on the CD track], which leads to the Fred Astaire and Eleanor Powell tap dance duet, made famous after it was featured in the first M-G-M THAT'S ENTERTAINMENT compilation in 1974.
There are several other wonderful Powell arrangements. The first one is the snappy song - "Please Don't Monkey With Broadway" (track 3, 3:17), sung by Astaire and Murphy. Another one is the lovely "I've Got My Eyes On You. (track 7, 4:05}, sung by Astaire, first to a simple piano accompaniment then expanded into a full lush orchestral treatment. A third one is the Porter standard, "I Concentrate on You" (track 9, 6:42), sung by the robust voice of Douglas Mac Phail.
Several tracks were composed by others, such as the medley on track 5 by Georgie Stoll and Wally Heglin, and the cue "Italian Cafe Routine" (track 8, 1:55) by Walter Ruick. But the most memorable songs are by Porter as set by the excellent team of M-G-M arrangers and orchestrators who really make these songs come alive. In his informative notes, George Feltenstein mentions that the producer, Jack Cummings, was the one who borrowed music director Alfred Newman and arranger Edward Powell from 20th Century-Fox. It was a wise decision since both men add considerable class to this musical.
ROSALIE is not one of Porter's best Hollywood musicals. It stars The Queen of Tap (Eleanor Powell) and Nelson Eddy. Even though most of the songs are not that special, there are several memorable Porter standards, such "In The Still Of The Night" (track 20, 2:21), and the title song (track 17, 1:39), both songs sung by Eddy. There's also a comical song, "Why Should I Care" (track 18, 1:36) sung by Frank Morgan (who would become famous for playing The Wizard in THE WIZARD OF OZ). There are also a few outtakes, like Nelson Eddy's singing in "Close" (track 16, 2:45), arranged by Murray Cutter; and Eleanor Powell's lively "West Point Drill Routine" (track 23, 7:16), in a great arrangement by Roger Edens.
This is another worthwhile release from the M-G-M vaults which has been carefully restored by Doug Schwartz and George Feltenstein. What makes this one especially a bargain is that you get two musicals for the price of one.
If you're a fan of vintage musicals, you should find much to enjoy on this Rhino Handmade CD of two M-G-M musicals.
--Roger Hall, 8 July 2003
Note: This soundtrack is available in an individually numbered edition of 2,500 copies.
For more information, go to -
| Editor's Choice - Best of the Month for
October |
EPICS (2003)
14 Tracks = 62:11
Record Producer: Robert Woods. Recording Engineer: Micahel Bishop. Editor: Todd Brown. Art Director: Anilda Carrasquillo. The Cincinnati Pops Orchestra, conducted by Erich Kunzel. Recorded in Music Hall, Cincinnati, Ohio, June 7, 1999; September 9, 2001; October 20, 2002. Art Director: Anilda Carrasquillo. CD notes by Richard E. Rodda.
Telarc CD 80600
Rating: ****1/2
Erich Kunzel and the Cincinnati Pops continue to turn out well planned and pleasing film music collections for Telarc. This one features equal amounts of old and new film themes.
The CD opens with - what else? - the overused so-called "Fanfare" or Introduction (1:51) for 2001:A SPACE ODYSSEY (taken from Richard Strauss' tone poem, Also Sprach Zarathustra). That's followed by another frequently recorded cue: "Parade of the Charioteers" (3:25) from the magnificent Oscar-winning Miklos Rozsa score for BEN HUR. The third track has a suite (5:28) from GLADIATOR (5:28) and then it's on to one of the best known film themes of all-time: "Tara Theme" (3:32) from GONE WITH THE WIND. After that theme are examples from more recent films: CROUCHING TIGER, HIDDEN DRAGON (5:44) and PEARL HARBOR (4:56). Track 7 features one of the most beautiful themes for any Hollywood epic - Alex North's gorgoeous "Love Theme" (2:49) from SPARTACUS (which will hopefully receive a fully restored soundtrack CD someday). The next track has the exciting "Overture" (4:07) from Maurice Jarre's Oscar-winning score for LAWRENCE OF ARABIA.
The next three tracks take us to fantasy worlds. First up is the "Love Theme" (3:20) from STAR WARS, E{ISODE II: ATTACK OF THE CLONES from this seemingly neverending saga. That is followed by a generous sampling (6:18) from Howard Shore's Oscar-winning score to THE LORD OF THE RINGS: FELLOWSHIP OF THE RINGS. The third fantasy film is HARRY POTTER AND THE SORCER'S STONE' with the soaring "Hedwig's Theme" (4:40). Another memorable theme by John Williams is heard on track 13, "Sean's Theme" (3:17) from MINORITY REPORT.
The remaining tracks had two very familiar themes from Hollywood's Golden Age of epic filmmaking: "Prelude and Lara's Theme" (5:46) from DOCTOR ZHIVAGO, and Elmer Bernstein's masterful themes (5:54), as arranged by Christopher Palmer, from THE MAGNIFICENT SEVEN.
Unfortunately, the CD notes by Richard Rodda are very brief but he does give a good summary of each film and usually at least mentions the film's composer as well. Almost as much space is given to Erich Kunzel's biographical sketch. That's okay. He deserves praise for his expert music preparation and conducting on so many wonderful Telarc releases.
Naturally there are omissions, such as the great Korngold themes for Errol Flynn swashbuckling films and the Tiomkin western scores like GIANT. Some soundtrack collectors will sniff off this compilation because it only has excerpts. But the obvious audience is the general film lover, not the longtime film music collector.
The cover for EPICS is not very appealing and the track titles are somewhat hard to read. Fortunately the inside notes are in plain old black ink on white paper. If only more soundtrack releases would do the same. I'd rather be able to read the notes instead of the excess amount of garish color put in the CD booklet of many of today's soundtracks.
Even though there are complete soundtracks available for almost all of these films, this Telarc compilation is an excellent example of epic scoring on the highest level. The Cincinnati Pops under Erich Kunzel's direction play these themes extremely well. Sound quality is superb.
Highly recommended for those who want a handy collection of memorable themes from Hollywood's past and present day epics.
--Roger Hall, 24 October 2003
Another review...
Epics
Rating: ****1/2
Music from: Also Sprach Zarathustra: Introduction (R. Strauss); Ben Hur: Parade of the Charioteers (Rozsa); Gladiator: Suite (Zimmer); Gone with the Wind: Tara’s Theme (Steiner); Crouching Tiger, Hidden Dragon: Themes (Dun); Pearl Harbor: War (Zimmer); Spartacus: Love Theme (North); Lawrence of Arabia: Overture (Jarre); Attack of the Clones: Love Theme (Williams); Fellowship of the Ring: May it Be & Themes (Enya/Shore); Harry Potter and the Sorcerer’s Stone: Hedwig’s Theme (Williams); Dr. Zhivago: Prelude and Lara’s Theme (Jarre); Minority Report: Sean’s Theme (Williams); Magnificent Seven: Suite (Bernstein)
The Cincinnati Pops Orchestra appears to have surpassed its cousin in Boston with a better recording contract. They put out several releases in the past year or so with the last film music related disc featuring Horror music. This latest release, entitled "Epics," is a strange combination of film music selections. It almost seems as if Telarc has run out of title ideas. There are a few more current selections thrown in with a few standard film music favorites as well. The goal appears to be to help appeal to a wider audience both young and old. That can at least be to the merit of the producers.
The performances are exemplary throughout and are not marred by extraneous sound effects between tracks. The layout tends to move from more true epic tracks to more lyrical and subdues love themes or character themes ending in a suite from Bernstein’s THE MAGNIFICENT SEVEN. Most of the tracks are re-orchestrations that will leave some purists from being able to enjoy the performances and music. The Williams selections are oddly included since only "Hedwig’s Theme" appears to be the "original" score track lifted for public performance. The others are available now, but may not have been when the recording was made. Fans of the CP will note that some of these selections have appeared before. It is not clear if these selections are previously releases or newly recorded. "Tara’s Theme" seems to really sweep by more than other performances though. The Dun and Shore arrangements are strangely compiled thematically, but they are still interesting arrangements.
So with caveats to purists, pops fans will truly enjoy this collection. With many familiar and new favorites there will be plenty to enjoy. I often take discs like this along for car rides so it is important to note that unlike some of the Telarc compilations, this one has a consistent sound level that will make it easier to listen to in that setting as well. Non-music students thinking they are getting a new excerpt from the Richard Strauss work need be informed that the track labeled as "Fanfare" is nothing more than the "Introduction" used in 2001: A SPACE ODYSSEY.
One final comment is necessary. In an age when classical music is being pulled from most average music stores, having a brown illegible cover to attract attention seems like utter marketing stupidity. On top of this, it is near impossible to read the back cover of the booklet where arrangement information must be printed in four-point font. If you hold the package at an angle in good light you can almost read this. It is tragic choice given the opportunity to spread familiarity with this music. I found myself wanting to return to the originals a great deal to revisit this music. Hopefully, others will be similarly inspired to do so.
--Steven A. Kennedy, 1 November 2003
Comments regarding this review can be sent to this address: stev4uth@hotmail.com
GAY PURR-EE (1962)
Songs by Harold Arlen and E.Y. Harburg
Arranged, Orchestrated and Conducted by Mort Lindsay
18 Tracks = 47:31
Produced for release by George Feltenstein. Project Supervisor: Patrick Milligan. Mastering by Doug Schwartz. Art Direction: Rachel Gutek. Creative Services: Lori Carfora. Liner notes by George Feltenstein.
Rhino Handmade RHM2 7600
Rating: ***1/2
The main reason to get this soundtrack is for the wonderful singing of Judy Garland (voice of Mewsette) and Robert Goulet (voice of Juane Tom), and for the songs of Arlen and Harburg. This is the first CD release of the GAY PURR-EE soundtrack. It was originally released on a Warner Bros. LP in August of 1962.
This animated feature has a story written by Dorothy Jones, first wife of the famous Warner Bros. animator, Chuck Jones. It tells the story of turn-of-the century Parisian cats and was intended to appeal to both adults and kids. Besides the voices of Garland and Goulet, the other voices were handled by Red Buttons, Hermoine Gingold and Paul Frees (voice of Boris Badenov in THE ADVENTURES OF BULLWINKLE AND ROCKY).
The opening Overture (5:59) is sung by Judy Garland and chorus and includes several of the film's prominent songs. Unfortunately, the arrangement by Mort Lindsay sounds too much like a slick TV variety show medley. The next track features one of the main songs, "Mewsette (1:09)," suavely sung by Robert Goulet. That is followed by another one of the main songs, "Little Drops of Rain" (3:29), sung by Judy Garland in her classic tender ballad style. The most memorable Garland performance is heard on track 7, "Paris is a Lonely Town (4:15)."
Even though many of the songs are charming, none of these Arlen-Harburg songs are on the same high caliber of "Over the Rainbow" and other songs they wrote together. That doesn't mean that the GAY PURR-EE songs aren't enjoyable. The main fault I believe is with Lindsay's arrangements, which are too cutesy even for an animated feature. One example is the overly silly, "Bubbles" (track 8, 2:48), sung by Goulet, Red Buttons, and The Mellow Men..
But there are five very interesting bonus tracks performed by both songwriters. The five songs were recorded as demos in 1961 and naturally the sound quality is not as good as the soundtrack itself. The songs include: "Little Drops of Rain"; "Roses Red, Violets Blue"; "The Horse Won't Talk"; "The Money Cat"; and "Paris is a Lonely Town." Most songwriters are not great performers. Yet Harold Arlen does have a nice voice, and so does Harburg when he joins in on a few songs. These songwriters sings the songs in a very convincing manner - some better than Lindsay's arrangements!
As I said at the beginning, this CD is worth having for the singing by Garland and Goulet and for the charming songs. If only the arrangements were not so slickly written.
GAY PURR-EE will probably appeal mostly to the hordes of Garland fans. She gets to sing the most songs and they are the best ones too. Sound quality on this soundtrack is extremely clear and crisp.
As usual with these Rhino Handmade releases, the liner notes and art design are top notch.
--Roger Hall, 8 July 2003
Note: This soundtrack is available in an individually numbered edition of 2,500 copies.
For more information, go to -
| CD Release of
Special Merit |
GYPSY (1962)
Songs by Jule Styne and Stephen Sondheim
22 Tracks = 47:31
The Warner Bros. Studio Orchestra conducted by Frank Perkins. Music arranged by Frank Perkins. Orchestrations by Carl Brandt. Produced for release by George Feltenstein. Project Supervisor: Patrick Milligan. Mastering & Engineering by Doug Schwartz. Art Direction & Design: Rachel Gutek. Creative Services: Lori Carfora. Liner notes by George Feltenstein.
Rhino RHM2 73873
Rating: ****
This is yet another in the continuing series of vintage M-G-M and Warner Bros. musicals on Rhino CDs. Unlike many othe earlier ones which were recorded in Mono, GYPSY is in wonderfully wide channelled Stereo and with 6 bonus previously unissued tracks.
GYPSY was one of the most beloved stage musicals of the 1950s. It premiered at the Broadway Theater in New York on May 21, 1959. Three years later, it became a lavish Warner Bros. musical, under the capable direction of Mervyn LeRoy. The film musical was every bit as popular as the Broadway stage hit, even though the critics didn't like it much. It was also revived in the 1970s and became another stage triumph, this time for the incredibly talented Angela Lansbury. Other more recent productions have starred Tyne Daly, Better Midler in a TV version, and Bernadette Peters, who had a small part in a much earlier GYPSY production.
The Overture (3:56) opens the soundtrack in fine fashion, with these song themes featured: "Let Me Entertain You", "You'll Never Get Away From Me", and "Small World." It sounds just like you were attending the original Broadway show, which starred Ethel Merman. The film musical stars the dynamic Rosalind Russell and yummy Natalie Wood. As was the custom with film musicals, most of the stars have voiceovers for their singing voices. Lisa Kirk is the singing voice of Rosalind Russell. Kirk sings in a voice that seems to fit Russell's speaking voice and that's exactly what is needed. One example is, for me, the most beautiful song in the musical: "Small World." (track 2, 1:55). Kirk sings it with just the right touch of irony. You can also hear Rosalind Russell sing the same song in an outtake (track 18, 3:35). Her voice isn't very good and she doesn't have as much feeling for the song as Kirk.
Oddly, Natalie Wood gets to record her songs and she isn't always up to the challenge. George Feltenstein rightly mentions this weakness, when he writes: "Woods' musical contributions were , thankfully, minimized, and what remainedillustrated why she needed to be dubbed in WEST SIDE STORY. He also mentions that Karl Malden's singing was "a few bars here or there." Wood's her weak singing can be heard on "Little Lamb" (track 6, 2:18) and "Let Me Entertain You" (track 14, 4:03). But when she is joined by another singer, like Ann Jillian, Wood does better. For example, the energetic duet: "If Mama Was Married" (track 9, 2:54).
The other popular songs in the show include: "Everything's Coming Up Roses" (track 11, 3:07- L. Kirk/ track 20, 3:13 - R. Russell), "Together Wherever We Go" (track 12, 1:13 - L. Kirk/ track 21, 3:39 - R. Russell) and "Let Me Entertain You" (track 14 - N. Wood) are all given the full treatment on the soundtrack. There are a few other songs performed by other singers, such as the delightful "Dainty June and Her Farmboys" (track 8, 5:03), sung by Ann Jillian and company.
As usual with these Rhino releases, the CD booklet features a well designed layout by Rachel Gutek, with many rare color and black white photos. Also, there's the very informative notes by George Feltenstein.
This is one of the better musicals in the Rhino series and has been remastered for the first time, skillfully engineered by Doug Scwartz.
For all musical lovers, and especially those who want to hear Rosalind Russell and Natalie Wood singing, this Rhino soundtrack of GYPSY has "everything coming up roses." It should be mentioned that Russell's singing is heard mostly on the bonus tracks.
This is an excellent release. Well worth adding to your CD library.
--Roger Hall, 6 November 2003
LOVELY TO LOOK AT (1952)
Songs by Jerome Kern and Otto Harbach
23 Tracks = 68:10
Music by Jerome Kern, Lyrics by Otto Harbach. Arrangements and orchestrations by Leo Arnaud.
Also 5 bonus tracks from TEXAS CARNIVAL (1951) - music by Harry Warren, lyrics by Dorothy Fields. Arranged and orchestrated by David Rose.
Produced for release by George Feltenstein. Project Supervisor: Patrick Milligan. Mastering by Doug Schwartz. Art Direction: Greg Allen & Rachel Gutek. Creative Services: Lori Carfora. Liner notes by George Feltenstein.
Rhino Handmade RHM2 7842
Rating: ***1/2
Rhino Handmade continues with its outstanding series of digitally remastered vintage musicals. This one is not quite as familiar or successful as some of their earlier releases, such as BROADWAY MELODY OF 1940 or ROYAL WEDDING.
One can't complain about the steller cast in this M-G-M musical: Kathryn Grayson, Ann Miller, Howard Keel, Marge & Gower Champion, and the comic antics of Red Skelton. The orchestrations by Leo Arnaud are bright and sassy, almost too much at times, as on a track like "I Won't Dance" (track 6). There are also tender moments such as the lovely song, "You're Devastating" (nicely sung by Howard Keel and Kathryn Grayson). The next track, "Lovely To Look At," (track 8) has some rather odd echo sound effects, but is convincingly sung by Keel. That song is followed by the instrumental version (previously unreleased). There are seven other unreleased tracks, including an accordion and violin instrumental for "I Won't Dance" (track 10) and a wonderful instrumental for a Marge & Gower Champion dance number (track 11).
As an added bonus, there are five previously unissued tracks from another M-G-M musical of that time, TEXAS CARNIVAL. None of the songs performed by Howard Keel, Esther Williams, Ann Miller and Red Skelton are well known, even though well written by Harry Warren and Dorothy Fields. "Whoa, Emma" is a delightfully witty song.
As usual George Feltenstein's CD notes are detailed and very informative. The booklet design is also attractively stylish and the text is easily readable.
As for the singing, I'm never been a big fan of Kathryn Grayson's wavery vibrato but she does sing with sweetness and sincerity. On the other hand, Howard Keel's full rich voice was probably the best of any singer on the M-G-M lot during the 1950s. His singing is consistantly a marvel to hear.
Both LOVELY TO LOOK AT and TEXAS CARNIVAL may not be among the best M-G-M musicals of the '50s, yet both have enough delights to place them above the average films in this genre.
--Roger Hall, 24 October 2003
Note: This soundtrack is available in an individually numbered edition of 2,500 copies.
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MAME (1974)
Songs by Jerry Herman
13 Tracks = 44:25
Produced for release by George Feltenstein. Project Supervisor: Patrick Milligan. Mastering by Doug Schwartz. Art Direction: Gregg Allen & Rachel Gutek. Creative Services: Lori Carfora. Liner notes by George Feltenstein.
Rhino Handmade RHM2 7600
Rating: **1/2
Before addressing the music itself, it should be mentioned that George Feltenstein's surprisingly candid notes are well worth reading about the film history of Patrick Dennis' novel and play, Auntie Mame--from the dramatic triumph for Rosaling Russell to the singing tragedy for Lucille Ball. While it may be true, as Feltenstein mentions, that the musical isn't quite as bad as critics at that time complained about, it still doesn't excuse the woefully inadequate singing of Lucy. A funny lady she definitely was in her TV comedy days. But a good singer she wasn't. She was also too old for the part.
Not only is this a weakly performed soundtrack by everyone except the always charming Robert Preston and Broadway baby Beatrice Arthur, but the CD design is also not up to Rhino's usuall high standards. The Art Deco like printing of pale pink over black for the track titles makes them very hard to read. Also there are no additional unissued tracks on this CD. Presumably none have survived since Rhino has been very diligent about including unissued tracks.
Of course the wonderful Jerry Herman songs remain, such as "We Need A Little Christmas"; "If He Walked Into My Life"; and the the title tune. As mentioned in the CD notes, the beloved duet "Bosom Buddies," with Lucille Ball and Beatrice Arthur is not well matched vocally due to their low ranges. There was one new song written for the film: "Loving You." It's a fine song and is winningly sung by the wonderful Robert Preston.
If you are a fan of this film musical then you'll probably want to get this CD. But for others, the Broadway cast album with a vastly superior Angela Lansbury (and also Beatrice Arthur) is recommended.
--Roger Hall, 28 October 2003
Note: This soundtrack is available in an individually numbered edition of 2,500 copies.
For more information, go to -
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