Original Cast Music

"Oliver! [Original Broadway Cast] [Bonus Tracks]" (08/01/1989) Pop Vocal Original Cast, RCA Victor Records (USA)Composer/Lyricist: Lionel Bart. Original Broadway Cast: Georgia Brown, Barry Humphries, Clive Revill, Wiloughby Goddard, Bruce Prochnik. Lionel Bart's musical version of Oliver Twist, Charles Dickens's novel of Industrial Revolution London in the late 19th century, was far more entertaining than the subject matter would suggest. The show has Dickens's sad story of poverty and crime, but also one of the strongest scores heard on Broadway in the 60s -- "I'd Do Anything," "Be Back Soon," "Oom-Pah-Pah," "As Long As He Needs Me" -- in fact, it's one hit after another (no wonder this album reached #4 in the charts and went gold). And it has the incomparable Georgia Brown too. ~ William Ruhlmann

"Neo: New, Emerging...Outstanding!" (05/10/2005) Rock & Pop Various Artists, Jay RecordsPerformers include: Judy Kaye, Bryan Batt, Nicole Van Giesen, David Pittu, Tom Beckett, Matt Bogart, Kerry Butler, Kaitlin Hopkins, James Barbour.

"New Guy in Town *" (07/26/2005) Pop Vocal Haines, Guy, Kritzerland

"Dessa Rose" (11/08/2005) Soundtracks Original Cast, Jay RecordsOriginal Off-Broadway Cast/Original Soundtrack: Tina Fabrique, LaChanze, Rebecca Eichenberger, Michael Hayden, David Hess (vocals). Lyricist/librettist Lynn Ahrens and composer Stephen Flaherty's musical Dessa Rose is in some ways reminiscent of their stage adaptation of Ragtime in that it tells interweaving stories of black and white Americans and their confrontation with racism. Nominally speaking, Ragtime was the larger scale work, encompassing a huge cast, playing in a Broadway theater, and also taking on the immigrant experience in America. But Dessa Rose, which opened at the off-Broadway Mitzi E. Newhouse Theater in New York's Lincoln Center on March 21, 2005, and ran through May 29, is described by annotator Ira Weitzman as a "folk opera," the term originally coined for Porgy and Bess, and this two-hour, full-length recording of the show, dialogue included, reveals that its artistic goals are at least as lofty as those of Ragtime. In her 1986 novel, Sherley Anne Williams created a fictional story combining the lives of two real-life women living in the South during the mid-19th century, a pregnant slave girl who incited a slave rebellion and a white woman, left alone on a plantation by her profligate husband, who harbored runaway slaves. Ahrens' adaptation finds both women, in old age, retelling their story, such that leads LaChanze, as Dessa Rose, and Rachel York, as Ruth, are forced to change back and forth from their old to their young selves, sometimes in the same scene. The story is heavily melodramatic, as the saintly African-American characters and the white woman who joins them struggle against the monstrous white men who enslave them, torture them, and try to rape them. The plot strains credulity at times, but it is less important than that, by the end, the bond of sisterhood overcomes barriers of race and jealousy. Flaherty's music naturally makes much use of 19th century American popular styles, from folk songs to society waltzes, with a heavy debt to Stephen Foster. The cast is talented and enthusiastic, lending a degree of authenticity to a work that otherwise might come across as contrived. ~ William Ruhlmann

"Lingoland" (05/09/2006) Soundtracks Original Cast, Jay Records

"Monty Python's Spamalot" (05/03/2005) Pop Vocal Original Cast, Decca (USA)Composer: John Du Prez. Composer/Lyricist: Eric Idle. Original Broadway Cast: David Hyde Pierce, Hank Azaria, Steve Rosen, Tim Curry, Christopher Sieber, Michael McGrath, Christian Borle. While millions of fans have made a hobby out of repeating Monty Python bits for the amusement of themselves and others over the years, Spamalot may be the first example of folks going pro with this pastime -- though Eric Idle's participation at least gives this the advantage of also being an official product. Spamalot is, of course, the stage musical loosely based on Monty Python and the Holy Grail, and while the original cast album only provides part of the experience, listening to the album will give many fans a very curious sense of deja vu -- some of these songs are drawn from the movie, albeit with a great deal more polish (such as "Brave Sir Robin" and "Knights of the Round Table"), and others translate business from the film into musical terms ("He Is Not Dead Yet" and "Run Away"), while "Always Look On the Bright Side of Life" from Life of Brian is also thrown in for good measure. The score does manage a good bit of original silliness, though, including a number of amusing parodies of show tune clich?s ("The Song That Goes Like This") and one truly inspired new laugh-generator, "You Won't Succeed on Broadway" ("...if you don't have any Jews"). In many respects, the Spamalot recording favors Broadway over Python; the material lacks the sharp edge of Python's best material, and the level of polish seems nearly antithetical to those old television shows and the low-budget film that inspired all this. But the songs are sprightly, the material is genuinely witty, and the cast is in fine fettle, especially David Hyde Pierce as Sir Robin and Sara Ramirez as the Lady of the Lake. In short, this won't replace your copy of Another Monty Python Record, but Python fans will have fun with it, and it's a great trailer for the stage show. ~ Mark Deming Silliness abounds on the Broadway cast recording of MONTY PYTHON'S SPAMALOT, a loose adaptation of the revered (and much-quoted) film MONTY PYTHON AND THE HOLY GRAIL. Penned by Python member Eric Idle (along with his musical collaborator John Du Prez), SPAMALOT follows the absurd adventures of King Arthur (Tim Curry) and his Knights of the Round Table, including Sir Robin (David Hyde Pierce) and Sir Lancelot (Hank Azaria). While the production plays into the conventions of the musical, with plenty of over-the-top singing, it also subverts those cliches, most notably on the hilarious "The Song That Goes Like This," which skewers the Broadway standard of sugary-sweet romantic duets (where a couple can "overact like hell"). Throughout SPAMALOT, cheeky Python-esque humor is always on hand, so much so that the production even includes "Always Look on the Bright Side Of Life," the classic sing-along number from another favorite Python movie, LIFE OF BRIAN.

"Ain't Misbehavin' [Original Broadway Cast]" (07/07/1987) Pop Vocal Original Cast, RCA Victor Records (USA)The Broadway musical based on the music of Fats Waller. Cast includes: Andre De Shields, Nell Carter. Ain't Misbehavin' originated as a simple song by Thomas "Fats" Waller that he sold for $500 and that was then performed by Louis Armstrong. In 1978, it became the title track of a cabaret show featuring the music of Waller. It was such a considerable success that it became a Broadway show, and was resurrected in 1988 for a brief stint. Ain't Misbehavin' won numerous Tonys, not the least of which was the award for Best Musical. The original Broadway cast recording features the Tony Award-winning performance of Nell Carter and captures the cabaret feel of the show that made it so charming and refreshing. An excellent recording of the show. ~ Sarah Erlewine

"Cats [Geffen Original Cast] [Slipcase]" (05/23/2006) Pop Vocal Original Cast, Decca (USA)Music composed by Andrew Lloyd Webber. Based on a book by T.S. Eliot. Principal cast: Hector Jaime Mercado (Alonzo); Stephan Hanan (Asparagus/Growtiger); Donna King (Bombalurina); Steven Gelfer (Carbucketty); Rene Ceballos (Cassandra); Rene Clemente (Coricopat/Mungojerrie); Wendy Edmead (Demeter); Christine Langner (Etcetera/Rumpelteazer); Betty Buckley (Grizzabella); Bonnie Simmons (Jellylorum/Griddlebone); Anna McNeely (Jennyanydots); Timothy Scott (Mistoffelees); Harry Groener (Munkustrap); Ken Page (Old Deuteronomy); Kenneth Ard (Plato/Macavity); Terrence V. Mann (Rum Tum Tugger); Timothy Scott (Mr. Mistoffelees); Anna McNeely (Jennyanydots); Bonnie Simmons (Jellylorum/Griddlebone); Herman W. Sebek (Pouncival); Whitney Kershaw (Sillabub); Reed Jones (Skimbleshanks); Janet L. Hubert (Tantomile); Robert Hoshour (Tumblebrutus); Cynthia Onrubia (Victoria). Producers: Andrew Lloyd Webber, Martin Levan. Recorded in New York, New York in October 1982. Composer: Andrew Lloyd Webber. Andrew Lloyd Webber's musical version of T.S. Eliot's OLD POSSUM'S BOOK OF PRACTICAL CATS was one of the longest running Broadway musicals, and featured the smash hit song, "Memories." This original Broadway cast recording contains other favorites, like "Macavity: The Mystery Cat," "Old Deuteronomy," and the poignant "Moments of Happiness," and should tide diehard fans over nicely until the production's next revival. Andrew Lloyd Webber's epic Cats takes its characters from T.S. Eliot's book Old Possum's Book of Practical Cats. Though the book contains no narrative structure, Webber has created one, although what drew audiences to the theatre in droves was the charm of the feline characters, not the tale of what happens to them. The score is rather fetching but simple, with moments of elegance, as in during the now-standard "Memory." The longest-running musical of its time, Cats is at times overrated, but as a whole it retains the charm that attracted audiences. This is the original Broadway cast album, containing slight musical alterations from the earlier London version (and, of course, different singers), though it is not very distinct. Geffen 2031 is a two-disc complete version of the show and there is an abridged, one-disc version, Geffen 2026. ~ William Ruhlmann and Sarah Erlewine Andrew Lloyd Webber's epic Cats takes its characters from T.S. Eliot's book Old Possum's Book of Practical Cats. Though the book contains no narrative structure, Webber has created one, although what drew audiences to the theater in droves was the charm of the feline characters, not the tale of what happens to them. The score is rather fetching but simple, with moments of elegance, like the now-standard "Memory." The longest-running musical of its time, Cats is at times overrated, but as a whole it retains the charm that attracted audiences. This is the original Broadway cast album, with strong performances from Betty Buckley and Terrence Mann. A high-quality version, it's not quite as brilliant as the London rendition, but it comes close. In 1998, a video recording of the Broadway cast was released. ~ Sarah Erlewine

"The Last Five Years" (04/15/2005) Pop Vocal Original Cast, GhostlightMusic and lyrics written by Jason Robert Brown. Principal cast: Norbert Leo Butz (Jamie); Sherie Rene Scott (Cathy). Recorded at Avatar Studios, New York, New York on March 11, 2002. Includes liner notes by Richard Maltby, Jr. Jason Robert Brown's one-act song cycle The Last 5 Years -- which earned an off-Broadway production that opened at the Minetta Lane Theatre in New York's Greenwich Village on March 3, 2002 -- is a two-character pocket musical about the relationship between a successful young writer and an aspiring actress. Brown adopts a particularly complex structure to tell this contemporary New York City love story; Jamie (Norbert Leo Butz) presents his version in chronological order, while Catherine (Sherie Ren? Scott) moves backward in time. Thus, the show begins with Catherine's "Still Hurting," about her pain from the breakup of her five-year marriage to Jamie, and the second song is Jamie's "Shiksa Goddess," in which this young Jew exults in having met Catherine, whose chief attribute for him is that she isn't Jewish. And so back and forth it goes: In "See I'm Smiling," the third song, Catherine details the reasons why the marriage is falling apart, then in the fourth song, "Moving Too Fast," Jamie describes his rapidly advancing writing career. The odd structure serves to add interest to what otherwise is a fairly clich?d story line of boy meets girl, boy gets girl, boy loses girl. But it isn't what makes the work important. The real value of The Last 5 Years lies in the writing. Brown's songs are beautifully written -- melodic, engaging, and full of witty, literate lyrics that comment on contemporary life. He has a good ear for vernacular speech, which may make his words sound dated eventually, but makes them sound like ordinary speech circa 2002, even as they rhyme and fit the music well. The conflict between love and career is one that will be familiar to anyone in early 21st century America, and in Butz and Scott, Brown has found two excellent actor-singers to express it. ~ William Ruhlmann

"Do I Hear a Waltz? [Sony Broadway]" (11/24/1992) Pop Vocal Original Cast, Sony BroadwayCast includes: Elizabeth Allen, Sergio Franchi, Madeleine Sherwood, Stuart Damon, Jack Manning. All music written by Richard Rodgers. All lyrics written by Stephen Sondheim. Audio Mixer: Tim Tiedemann. Liner Note Author: Didier C. Deutsch. Recording information: CBS, New York, NY (03/21/1965). Directors: John R. Dexter; Frederick Dvonch. Photographer: Don Hunstein. Translator: Mike Danner. Do I Hear a Waltz? is a musical adaptation of Arthur Laurents' 1952 play The Time of the Cuckoo (which also was the source for the 1955 film Summertime) about a middle-aged American spinster who encounters romance during a vacation in Venice, with a libretto by Laurents and songs composed by Richard Rodgers to lyrics by Stephen Sondheim. Sondheim previously worked with Laurents on West Side Story, Gypsy, and Anyone Can Whistle, and he was a prot?g? of Rodgers' longtime lyricist, the late Oscar Hammerstein II. Despite the pedigrees of the creators, the show opened to negative reviews, which is explained only partly by the score as heard on this cast recording. Elizabeth Allen, in the lead role, was criticized with backhanded compliments for being too young and attractive for the part, flaws not apparent on the album. Sergio Franchi, as her romantic partner, also came in for criticism, but comes off much better here. And the small supporting cast, featuring Carol Bruce as the proprietor of a pension, is also impressive. But the songs, for the most part, are not memorable. Certainly, there are no hits to add to Rodgers' lengthy list. Curiously, as a lyricist, Sondheim is more reminiscent of Rodgers' earlier partner, Lorenz Hart, in that he is more distinctive when being witty in a patter song like "This Week, Americans" or "What Do We Do? We Fly!" than in the romantic ballads. Do I Hear a Waltz? is actually a bittersweet story in which love and marriage come in for considerable criticism, rather than a conventional romantic comedy, and the words sometimes seem to undercut Rodgers' melodic music. ~ William Ruhlmann

"Altar Boyz" (05/17/2005) Soundtracks Original Cast, GhostlightOriginal Cast Recording: Scott Porter, Tyler Maynard, Andy Karl, Ryan Duncan, David Josefsberg (vocals). Personnel: David Anthony Matos (guitar); Clayton Craddock (drums). Additional personnel: Lynne Shankel (keyboards); Doug Katsaros (programming); David Anthony Matos, Clayton Craddock. Audio Mixer: Jonathan Kaplan. Recording information: Sound On Sound Studio A, New York, NY. Photographers: Chris Cassidy; Nick Ruechel; Carol Rosegg. The peak of the so-called boy band craze in pop music came in about the year 2000; by 2002, the fashion was over. Altar Boyz, a musical about a boy band, arrived off-Broadway on March 1, 2005, which may be as close to currency as the musical theater gets. But there is nothing as out as that which was recently in, and the show plays as a period piece no less than Forever Plaid, another off-Broadway musical about a male vocal group. And similar to Forever Plaid, Altar Boyz is intended as a lightly satiric, yet affectionate take on its subject. The big joke here is that the fictional Altar Boyz are a group of Catholics -- Matthew, Mark, Luke, and Juan (and, oh, yes, Abraham, who, for reasons never really explained, is Jewish) -- and they are here to sing about their faith. They do so in the combination of dance, Latin, and ballad styles, complete with overly emotive harmony and solo singing, that will be familiar to anyone who's ever heard a Backstreet Boys album. Songwriters Gary Adler and Michael Patrick Walker clearly have their tongues in their cheeks. "Church Rulez" is an account of what the Catholic Mass is like, with its constant cycle of standing, sitting, and kneeling. "The Calling" announces that Jesus Christ has spoken to the singers -- by calling on a cell phone! "The Miracle Song" repeats familiar Gospel tales in rap style. The big romantic ballad, "Something About You," finds lead singer Matthew (Scott Porter) explaining to his girlfriend his adherence to abstinence. "La Vida Eternal," the inevitable Latin track inevitably handled by Juan (Ryan Duncan), reveals that "the afterlife is not a scary place." And "Epiphany," with lead vocals by Mark (Tyler Maynard), is a declaration of Catholic identity in terms reminiscent of a homosexual coming-out ("this is who you are, it's not a choice"). The singers, of course, render all these potted sentiments with mock sincerity, and, particularly on the cast album, it's possible to mistake that for real sincerity now and then. At very least, the songwriters have brought a knowledge of their musical and theological subjects to their writing, and as much sympathy as critical intent. And maybe the boy band trend has been gone just long enough to be ripe for such treatment. Meanwhile, both non-believers and the devout (as long as they have a sense of humor) should enjoy the music. ~ William Ruhlmann

"Joseph and the Amazing Technicolor Dreamcoat [Polydor 1993] [Slipcase]" (05/23/2006) Pop Vocal Original Cast, Decca (USA)Music composed by Andrew Lloyd Webber. Original London Cast: Jason Donovan, Linzi Hateley, Aubrey Woods, Daivd Easter, Paul Tomkinson, Patrick Clancy, Nadia Strahan, Nicolos Colicos, Megan Kelly, Philip Cox, Jacqui Jameson, David Easter, Jocelyn Vodovoz Cook, Mark Frendo, Gael Johnson, Peter Bishop, Elizabeth Renihan, Connor Byrne, Sonia Swaby, Michael Small, Jacqui Harman, Carolin Dillon, Jason Moore, Robin Cleaver, Johnny Amobi, Amanda Courtney-Davies, Wayne Fowkes, Anna-Jane Casey, Duncan Macvicar, Carol Walton. Producers: Andrew Lloyd Webber, Nigel Wright. All music written by Andrew Lloyd Webber. All lyrics written by Tim Rice. Principal cast includes: Michael Damian (Joseph); Kelli Rabke (narrator); Robert Torti (Pharoah). Producers: Andrew Lloyd Webber, Nigel Wright. Recorded at Skratch Studios & Record Plant, Los Angeles, California, and Hit Factory, London. Opening night of this production took place at The Pantages Theatre in Los Angeles, February 25, 1993. Music composed by Andrew Lloyd Webber. Lyrics written by Tim Rice. Principal cast includes: Donny Osmond (Joseph); Janet Metz (Narrator); Michael Fletcher (Jacob, Potiphar); Johnny Seaton (Pharaoh); Rufus Bonds, Jr. (Butler); Trent kendall (Baker); Karen Holness (Mrs. Potiphar). Producers: Andrew Lloyd Webber, Nigel Wright. Recorded at Westside Studios, London and Skratch Studios, Surrey, England. Composer: Andrew Lloyd Webber. Joseph and the Amazing Technicolor Dreamcoat has the distinction of being the only musical that starred Michael Damian, Donny Osmond, and Andy Gibb. Aside from attracting former heartthrobs, the musical stands as being one of the most approachable musicals based on religious materials. A rather straightforward telling of the tale of Joseph, the favorite son of Jacob (also known as "Israel"), Joseph the musical has catchy songs and colorful characters (not to mention their costumes), making it a favorite of parents who want to take their children to a Broadway show. For anyone who's read the Bible, the story is predictable, although author Tim Rice has taken several liberties with the Good Book. Highlights in the score include "Close Every Door," "Go Go Joseph," "One More Angel in Heaven," and "Any Dream Will Do." For some, Andrew Lloyd Webber's music might be a bit too saccharine, but on a whole the show is fun, buoyant, and energetic. ~ Sarah Erlewine Andrew Lloyd Webber's first musical to be based on biblical sources, written in 1967 when he was still a teenager, has taken on greater importance in the wake of his subsequent success. It finally hit Broadway in 1982, and there was a London revival in 1992. This cast album (which is at least the fifth recording) chronicles an American revival production that opened in Los Angeles in February 1993, starring Michael Damian. By now, the short musical has expanded to full length (the CD runs 73 minutes, including the nine-minute disco-ish "Joseph Megamix" medley), but it remains a rock pastiche with an uncertain tone. Webber and lyricist Tim Rice would find their feet with this kind of approach in 1970 when they recorded Jesus Christ Superstar, and Joseph is still best understood as a dry run for that success. ~ William Ruhlmann Joseph and the Amazing Technicolor Dreamcoat has the distinction of being the only musical that starred Michael Damian, Donny Osmond, and Andy Gibb. Aside from attracting former heartthrobs, the musical stands as being one of the most approachable musicals based on religious materials. A rather straightforward telling of the tale of Joseph, the favorite son of Jacob (also known as "Israel"), Joseph the musical has catchy songs and colorful characters (not to mention their costumes), making it a favorite of parents who want to take their children to a Broadway show. For anyone who's read the Bible, the story is predictable, although author Tim Rice has taken several liberties with the Good Book. Highlights in the score include "Close Every Door," "Go Go Joseph," "One More Angel in Heaven," and "Any Dream Will Do." For some, Andrew Lloyd Webber's music might be a bit