| | Thoroughly Modern Millie Soundtrack CD (2 Customer Reviews)
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Arranged and conducted by Andre Previn.
Elmer Berstein Thoroughly Modern Millie Soundtrack Music Thoroughly Modern Millie Soundtrack Songs Thoroughly Modern Millie Soundtrack Music Review Average Rating: (5 out of 5 stars)   Julie Andrews at her BEST!!! iF you liked the movie you will love this CD
all the songs from the movie are here excellant quality too loved "Babyface"and "Poor butterfly" Julie`s vocals are superb a Soundtrack CD not to be missed!!!! Submitted by linton_soulsville (Swansea, South Wales, UK)  Was This Review Helpful? Yes No
Elmer Bernstein's Oscar-Winning Music Score is Pure Delight! With 14 Academy Award nominations under his belt, Elmer Bernstein's only Oscar came to him for this 1967 romantic musical spoof of the Roaring Twenties. Recently hailed as the movie that inspired the Tony Award winning Broadway musical, Bernstein's background score is a wonderful contribution to the film, and compliments the memorable musical numbers arranged by Andre Previn. The score also benefits from Sammy Cahn and James Van Heusen's original songs written for the film, "The Tapioca" and the delightful title song. They highlight the songs of the period that are heard on the soundtrack including "Baby Face", "Do it Again", "Poor Butterfly" and "Jazz Baby". Submitted by filmfactsman (Beverly Hills, CA, USA) Was This Review Helpful? Yes No
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Thoroughly Modern Millie Soundtrack CD Purchase Music From Thoroughly Modern Millie CD To buy, Click on price to add to cart | Seussical The Musical CD (2001)
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$10.39 The theatrical tale of a '20s Flapper gal, THOROUGHLY MODERN MINNIE already had a place in the hearts of many 21st-century folks due to the version featuring Julie Andrews singing atop an orchestra conducted by no less than Andre Previn. This newer take on the classic musical, however, is full of just as much verve as any previous staging. How else could it have taken jaded New York ...
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$10.49 Originally released on RCA (2795). Includes reissue liner notes by Michael Hill.
Digitally remastered by Elliott Federman (SAJE Sound, New York, New York).
"Moon River" might be Henry Mancini's biggest hit, but it was Mancini's score for Blake Edwards's 1964 farce THE PINK PANTHER that introduced his music to generations of children; the haunting, jazzy main theme was used in dozens of cartoon shorts that were broadcast on television for years. Aside from that familiar tune, the majority of this soundtrack consists of swinging-'60s jazzy pop exotica with a Continental flair and a sly sense of humor, most notably the madcap "Shades of Sennett." You also get one of Mancini's finest pop songs, "It Had Better Be Tonight," here in both an instrumental and a vocal version, with lyrics by Johnny Mercer. (Sadly, the version in Italian sung in the film by Capucine has never been on any of the soundtrack releases.) This reissue also includes four tracks from 1974's RETURN OF THE PINK PANTHER.
The Pink Panther is another fine, early-'60s soundtrack from Henry Mancini. The title track became one of his most recognizable themes and kicks off a pleasant program of dreamy lounge cuts and Latin-tinged numbers. As he did on many other movie/TV albums (Touch of Evil, Peter Gunn, etc.), Mancini also includes some noirish, big band numbers, like "The Tiber Twist" and the main title. Along with these up-tempo songs, he balances out the mostly light material with the solidly swinging mambos "The Village Inn," "Something for Sellars" (as ...
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$9.55 Part of the Sony Masterworks label's series of 2007 reissues, MERRILY WE ROLL ALONG presents recordings by the original 1980s Broadway cast of the inventive Stephen Sondheim production. Highlights of the ensemble musical, which essentially runs in reverse chronological order, include the jaunty "Old Friends" and the pensive "Not a Day Goes By."
Songwriter Stephen Sondheim and librettist George Furth's 1981 musical Merrily We Roll Along, based on the 1934 George S. Kaufman and Moss Hart play, was -- like its predecessor -- more of a critical success, at least over time, than a popular one. In fact, with a run of only 16 performances, the musical was an outright flop, the worst commercial failure in the career of Sondheim, Broadway's leading composer, since Anyone Can Whistle ran nine performances in 1964. The reasons may have been several, the most significant one perhaps being the same backwards structure adopted by the play (each scene takes place earlier in time than the one before it), which intrigued critics but tended to leave audiences confused and disengaged. Other reasons may have included the casting of young unknowns and the low-key staging and costumes, which consisted largely of sweatshirts. Then there was the plot, which concerned an idealistic young playwright (in the play) or composer (in the musical) who becomes jaded during the course of the story, except of course that in this telling he starts out jaded and becomes idealistic. In any case, the reason why the musical was remembered after those 16 performances and revived several times was Sondheim's score, which is one of his best. Writing from personal knowledge ...
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