| | Lovedol Variety-Kotoha Soundtrack CD - Import
Lovedol Variety-Kotoha Soundtrack Music Lovedol Variety-Kotoha Soundtrack Review
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This is a Super Audio CD playable only on Super Audio CD players.
John Barry's fifth Oscar-winning score is a profoundly moving body of music, generally (though not entirely) elegiac in tone, very much like the movie for which it was written. It's also a bit of a mixed bag, occasionally falling back on material that will be familiar to fans of the James Bond movies that Barry scored during the early/mid-'60s. The main title theme uses some of those ...
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Lovedol Variety-Kotoha Soundtrack CD music
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Music composed by Gene De Paul. Lyrics written by Johnny Mercer.
Songwriter Johnny Mercer did not have much luck writing for Broadway, but the exception was Lil' Abner, based on the satiric Al Capp comic strip about the rural residents of Dogpatch. Mercer wrote the song lyrics to music by Gene DePaul, with whom he had worked on the movie musical Seven Brides for Seven Brothers. After ...
| | Boy Friend CD (1955) Original Broadway Cast
Lovedol Variety-Kotoha Soundtrack music CDs
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The Boy Friend is billed on the cover of the original Broadway cast album as "a musical comedy of the 1920s," which is not the same thing as being a musical comedy actually written and produced in the '20s; in fact, composer/lyricist/librettist Sandy Wilson's show originated as a pastiche of '20s musicals like No, No, Nanette for the delectation of members of a London theater club in 1953, then was expanded for a West End production and finally imported to Broadway starting on September 30, 1954. Wilson knew his sources well, and the songs heard here have obvious antecedents to the work of Jerome Kern, Rodgers & Hart, Noël Coward, and Irving Berlin. The cast has been replaced entirely from the London version with a combination of British and American performers. There are also other changes from the first cast recording issued in the U.K. by HMV Records. The piano/bass/drums trio that served as accompaniment has been replaced by the 13-piece jazz band Paul McGrane & His Bearcats, and the score has lost one song ("It's Nice in Nice") and gained two ("The 'You-Don't-Want-to-Play-with-Me' Blues" and "Safety in Numbers"), which were actually in the British production but didn't fit onto the 10" LP. (Also due to the time restrictions on the short HMV recording, the versions of the songs that are common to both albums are given more complete performances on the Broadway disc.) But there are really two main differences. First, while the London cast clearly had their tongues in their cheeks, the New York one is playing things a bit straighter. It's not that they are investing the deliberately lightweight, formulaic material with any real conviction, just that they are performing it as if it were a real period show, without emphasizing the three decades that have ensued since the '20s. Second, the ingénue is played by 19-year-old Julie Andrews in her Broadway and American recording debut. Her warm, precisely articulated British voice makes an immediate impression in the title song as well as "I Could Be Happy with You" and the Coward-like "A Room in Bloomsbury," marking the emergence of a major talent in the musical theater. With these advantages, the original Broadway cast recording of The Boy Friend is actually an improvement on the London version. ~ William Ruhlmann
The Boy Friend, billed as "a New Musical Comedy of the 1920s," was actually an affectionate parody of 1920s musicals written in the early '50s by Sandy Wilson for the Players' Club in London and first put on there in 1953 before being expanded for a five-year run in the West End that began on January 14, 1954, and led to numerous revivals and overseas productions. The cast recording was undertaken by HMV Records, which issued a 10" LP running ...
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This is an Enhanced audio CD which contains both regular audio tracks and multimedia computer files.
On his second album for the Basin Street label, 22-year-old trumpeter Irvin Mayfield remains strongly influenced by his mentor Wynton Marsalis. The extent of the influence seems deliberately underscored by a video clip, included on this enhanced CD, that shows Marsalis giving Mayfield track-by-track feedback on his new work. (Mayfield listens receptively, at times squirming in his seat.) The compositions ripple with modern, hard-hitting, post-bop swing and a variety of subtle Latin influences -- very much the kind of music Marsalis was making in the mid- to late '80s. While Mayfield's music benefits to some extent from its association with the best aspects of Marsalis's writing style, on the ...
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