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In Hollywood, Vol. 2: 1930-1934 by Bing Crosby (CD - 03/14/2006)
 

In Hollywood, Vol. 2: 1930-1934 by Bing ...

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In Hollywood, Vol. 2: 1930-1934 by Bing Crosby (CD - 03/14/2006)
"In Hollywood, Vol. 2: 1930-1934" (03/14/2006) Pop Vocal Crosby, Bing, Collectables RecordsRecorded in 1933-34. When Columbia Records released the double-LP Bing Crosby in Hollywood in the fall of 1967 as the flagship album in its Hall of Fame reissue series, it was the first comprehensive collection of Crosby recordings from the company's vaults. Crosby recorded for Columbia as singer with the Paul Whiteman Orchestra from 1928 to 1930, and his recordings for Brunswick Records from late 1931 to mid-1934 ended up in Columbia's possession when the Brunswick catalog was divided up and sold off. Columbia had attempted a few compilations in the late 1940s and '50s, but nothing like this: compiler/annotator Miles Krueger assembled a 32-track selection of commercial recordings made in connection with Crosby's early films, among them some of his biggest hits of the early 1930s. The scholarly approach was a precursor to the kind of reissues that started to be done in the CD era. Collectables Records has chosen to reissue the set in two separate volumes, which diminishes its value slightly, at least if you don't buy both of them. The second disc begins halfway through the tracks from 1933's Too Much Harmony, meaning that the date range in the title, 1930-1934, is now inaccurate, as is Kreuger's statement that, "This album contains, without exception, every recording [Crosby] made commercially from all the feature films in which he appeared, from his modest screen debut in The King of Jazz, in 1930, through his eminent screen stardom in She Loves Me Not, in 1934." That's what you'll have if you buy both volumes; here, you get exactly half of it. ~ William Ruhlmann

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Jesus Christ Superstar [Remaster] by Original Soundtrack/Andrew Lloyd Webber (CD - 09/24/1996)
 

Jesus Christ Superstar [Remaster] by Ori...

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Jesus Christ Superstar [Remaster] by Original Soundtrack/Andrew Lloyd Webber (CD - 09/24/1996)
"Jesus Christ Superstar [Remaster]" (09/24/1996) Pop Vocal Original Soundtrack, MCA Records (USA)Music composed by Andrew Lloyd Webber. Lyrics by Tim Rice. Principal cast: Murray Head (Judas Iscariot); Ian Gillan (Jesus Christ); Yvonne Elliman (Mary Magdalene); Paul Raven (Priest); Mike D'Abo (King Herod). Personnel includes: Ian Gillian, Murray Head. All tracks have been digitally remastered. Principle cast: Steve Balsamo (Jesus Christ), Zubin Varla (Judas Iscariot), Joanna Ampil (Mary Magdalene), David Burt (Pontius Pilate), Alice Cooper (King Herod), Jonathan Hart (Peter), Glen Carter (Simon Zealotes), Peter Gallagher (Caiaphas, High Priest), Martin Callaghan (Annas). Producers: Andrew Lloyd Webber, Nigel Wright, Tim Rice. Conceived by composer Andrew Lloyd Webber and lyricist Tim Rice while the British duo were still in their early 20s, the rock opera JESUS CHRIST SUPERSTAR was released in 1970 as a studio album before its many subsequent stage productions. Featuring Deep Purple singer Ian Gillan as Jesus and Murray Head as Judas, this recording presents the initial versions of these well-known Broadway tunes, including the funky, frenetic "What's the Buzz?/Strange Thing Mystifying" and "The Temple," a hauntingly chaotic number. Although other productions of the musical are highly regarded, this original version is arguably the best.

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Wicked
 

Wicked

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Wicked
"Wicked" (12/16/2003) Pop Vocal Original Cast, Decca (USA)Principal cast includes: Kristin Chenowith (Galinda, Glinda); Sean McCourt (Witch's Father); Cristy Canlder (Witch's Mother); Jan Neuberger (Midwife); Idina Menzel (Elphaba); Michelle Federer (Nessarose); Christopher Fitzgerald (Boq); Carole Shelley (Madame Morrible); William Youmans (Doctor Dillamond); Norbert Leo Butz (Fiyero); Sean McCourt (Ozian Official); Joel Grey (The Wonderful Wizard Of Oz); Manuel Herrera (Chistery). Recorded at Right Track Studios, New York, New York. Based on Gregory Maguire's novel of the same name, the Broadway musical WICKED creates a history for the two witches from L. Frank Baum's OZ books. Through composer/lyricist Stephen Schwartz's emotive songs, the show reveals the unlikely friendship between Elphaba (Idina Menzel), who eventually becomes the Wicked Witch, and Glinda (Kristin Chenoweth), the Good Witch. The dramatic, horn-laden "No One Mourns the Wicked" starts the story in striking fashion, with the death of the ruby-slipper-wearing Wicked Witch. As Glinda appears, Elphaba's backstory begins, leading to jaunty numbers like "Popular" and "Defying Gravity," as well as ballads such as "I'm Not That Girl" and "For Good," with Menzel and Chenoweth showing off their substantial vocal chops. Adding to the boisterous energy is musical theater veteran Joel Grey, who brings a bit of Broadway's past to his role as the Wizard.

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It's Time [2/8]
 

It's Time [2/8]

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It's Time [2/8]
"It's Time" (02/08/2005) Pop Vocal Buble, Michael, ReprisePersonnel: Michael Bubl? (vocals); Nelly Furtado (vocals); Brian Green, Brian Green (guitar, acoustic guitar); Heitor Teixeira Pereira, John Chiodini, Anthony Wilson (guitar); Brandon Jenner (acoustic guitar); Jeff Clayton , Keith Fiddmont (alto saxophone); Rickey Woodard, Charles Owens (tenor saxophone); Lee Callet (baritone saxophone); Gilbert Castellanos, Sal Cracchiolo, Kyle Palmer (trumpet); George Bohannon, Ira Nepus (trombone); Bill Reichenbach Jr. (bass trombone); David Foster (piano, keyboards); Tamir Hendelman (piano); Brian Bromberg (bass guitar); Frank Capp, Jeff Hamilton (drums); Neil Devor (programming); Dean Parks (guitar); Michael Thompson (electric guitar); Dan Higgins (flute, saxophone); Jochem van der Saag (harmonica, organ, programming); Chris Botti (trumpet); Randy Waldman, Alan Chang (piano); David Tull, Vinnie Colaiuta (drums); Rafael Padilla (percussion); Debbie Timuss (background vocals). Audio Mixers: Humberto Gatica; Al Schmitt. Recording information: Capitol Studios, Hollywood, CA; Chartmaker Studios; Henson Recording; Paramount Studios, Hollywood, CA; Record Plant; Signet Sound; Village Recorder, West Los Angeles, CA; Warner Bros. Sound Stage. Photographer: Olaf Heine. Arrangers: David Foster; John Clayton, Jr.; William Ross ; Don Sebesky; Jeremy Lubbock; Jerry Hey; Bill Holman. Michael Buble's third major US release (including the mostly live COME FLY WITH ME) stays on message--this young Canadian loves the lush, swaying music of his parents' and grandparents' generations. Buble's albums, however, are much more than mere back-in-the-day exercises. The production and arranging of David Foster (Celine Dion, Josh Groban) is eclectic in a way that firmly places the tunes at the dawn of the 21st century, and, more importantly, Buble possesses the chops and sense of style to re-imagine the adult-contemporary vocal genre in a distinctive manner. In addition to standards by Gershwin and Porter, Buble embraces a variety of sounds, from Motown ("How Sweet It Is") to bossa nova ("Quando, Quando, Quando" with Nelly Furtado) to the Beatles ("Can't Buy Me Love" with a "She Loves You" tag). With his smooth croon and charming persona, Buble is a natural performer, and, for fans of fearlessly romantic and infectiously swinging music, IT'S TIME is a sure bet.

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From Bing to Billie by Rosemary Clooney (CD - 07/26/2004)
 

From Bing to Billie by Rosemary Clooney ...

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From Bing to Billie by Rosemary Clooney (CD - 07/26/2004)
"From Bing to Billie" (07/26/2004) Pop Vocal Clooney, Rosemary, Concord JazzContains 2 LPs on 2 CDs: ROSIE SINGS BING (1978)/HERE'S TO MY LADY: TRIBUTE TO BILLIE HOLIDAY (1979). Personnel: Rosemary Clooney (vocals); Scott Hamilton (tenor saxophone); Warren Vache (cornet); Nat Pierce (piano); Cal Collins (guitar); Monty Budwig (bass); Jake Hanna (drums). Recorded at Sunwest Recording Studios, Hollywood, California and at Wally Heider Recording Studios, San Francisco, California. Includes liner notes by William H. Stewart and Kathryn Crosby. Personnel: Rosemary Clooney (vocals); Cal Collins (guitar); Scott Hamilton (tenor saxophone); Warren Vach? (cornet); Nat Pierce (piano); Jack Hannah (drums). Audio Mixer: Phil Edwards . Liner Note Author: Kathryn Crosby . Recording information: Sunwest Recording Studios, Hollywood, CA; Wally Heider Recording Studios, San Fransisco, CA. Photographer: Leslie McDonald. Rosemary Clooney's career had faltered after the mid-'60s, so her signing in 1977 by Concord Jazz launched a comeback that found her recording regularly for them until shortly before her death in 2002. This two-CD compilation combines two of her earliest recordings for the label. The first date, recorded in early 1978, is a tribute to her dear friend Bing Crosby (who had died a few months prior to the session), with whom she had appeared in various movies and on several LPs. She is backed by a superb band, including pianist Nat Pierce, tenor saxophonist Scott Hamilton, guitarist Cal Collins, bassist Monty Budwig, and drummer Jake Hanna. Clooney is in great voice, covering a number of standards favored by Crosby, including a lush "I Surrender Dear," a swinging take of Crosby's own "Where the Blue of the Night," and a heartfelt "Too-Ra-Loo-Ra-Loo-Ral" accompanied solely by Collins on guitar. The same band was on hand (adding cornetist Warren Vach?) later in 1978 to back Clooney for a salute to Billie Holiday. Though her vocal style is nothing at all like Holiday's, her swinging performances of the ten standards on this session have stood the test of time extremely well. She especially excels with her interpretations of Holiday's "Lover Man (Oh Where Can You Be?)" and an emotional "Don't Explain." ~ Ken Dryden

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Billie Holiday's Greatest Hits by Billie Holiday (CD - 06/06/1995)
 

Billie Holiday's Greatest Hits by Billie...

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Billie Holiday's Greatest Hits by Billie Holiday (CD - 06/06/1995)
"Billie Holiday's Greatest Hits" (06/06/1995) Pop Vocal Holiday, Billie, GRP Records (USA)Personnel includes: Billie Holiday (vocals); Bill Stegmeyer, Milter Yaner (alto saxophone, clarinet); Toots Mondello, Al Klink, Lem Davis (alto saxophone); Lester Young, Budd Johnson, Hank Ross, Art Drellinger, Armand Camgros (tenor saxophone); Stan Webb (baritone saxophone); Billy Butterfield, Bobby Hackett, Buck Clayton, Russ Case, Joe Guy (trumpet); Dickie Wells, Henderson Chambers (trombone); Horace Henderson, Bobby Tucker, Sammy Benskin, Bernie Leighton (piano); Mundell Lowe, Tiny Grimes, Tony Mottola (guitar); George Duvivier, John Simmons, John Levy, Bob Haggart (bass); Shadow Wilson, Denzil Best, Sid Catlett, Norris "Bunny" Shawker, Specs Powell, Cozy Cole, Nick Fatool (drums); The Gordon Jenkins Singers (background vocals). Producers include: Milt Gabler. Compilation producer: Andy McKaie. Recorded between 1944 and 1950. Includes liner notes by Steven Lasker and an interview with Milt Gabler by Andy McKaie. Early Billie Holliday recordings are pretty bulletproof stuff, and this collection is no exception. Holliday's work from the Thirties and early Forties was done primarily for Columbia in the first place, so everything here is first rate and well documented. The tunes we now think of as standards became just that because singers of Holliday's calibre took them from the sometimes pedestrian musical revues they were written for and turned them into vehicles for intense personal and musical expression. It didn't hurt that she was working with some of the very best musicians of the swing era, either. Teddy Wilson's orchestra alone included, for one of the dates heard here, Roy Eldridge, Benny Goodman and Ben Webster; another Wilson--led ensemble included Ellington stars Johnny Hodges and Harry Carney. Elsewhere, Holliday was joined by an early edition of the Basie band and by a small group featuring Buck Clayton, Lester Young and the Basie rhythm section. Set aside the stereotypes about Billie Holliday, Tragic Jazz Icon--on these early sides, her voice rings true, clear and flexible, effortlessly negotiating all the contours of her material with the unmistakeable joy of someone making great music. Holiday produced some of her best-known work during her tenure with Decca in the '40s. Holiday was a full-fledged star by the time she came to Decca, with the youthful exuberance and light vocal approach of the 1930's behind her. She exhibits the maturity and sensitive, well-measured delivery that is characteristic of her finest performances. As this is the period of Holiday's pop balladry, large-scale orchestral arrangements and lush string accompaniments are the order of the day. The brilliance of Lady Day's art is dazzling, however, and the tunes (as the title indicates) are indeed her greatest. Definitive productions of "God Bless The Child," "My Man," and "T'aint Nobody's Bizness If I Do" are the stuff of legend. Holiday's voice paints the rainbow of her much-mythologized life in sad, sensual colors. While there are a few missteps in arrangement (namely the choral intro to "God Bless The Child"), classic takes of "Good Morning, Heartache" and "Lover Man" are beyond criticism, standing as perfect examples of this jazz legend's art.

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Come Fly with Me by Michael Bubl? (CD - 03/30/2004)
 

Come Fly with Me by Michael Bubl? (CD - ...

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Come Fly with Me by Michael Bubl? (CD - 03/30/2004)
"Come Fly with Me" (03/30/2004) Pop Vocal Buble, Michael, RepriseThis release includes a bonus DVD featuring backstage and interview footage, and concert performances from New York, London, Hollywood and South Africa. As with many emerging artists, Michael Buble is still developing a distinctive style of his own on COME FLY WITH ME. Regardless of that minor detail, what Buble does know is who he is as a performer, and what he wants to do with his considerable vocal talent. Reviving tunes made famous by artists such as Frank Sinatra, Peggy Lee, Tony Bennett, Elvis Presley, and Bobby Darin, Buble sings each melody with a fetching blend of deep respect and fresh-faced enthusiasm. And he has got the chops to back it all up--Buble is blessed with a sleek, warm tone in the tradition of the aforementioned royalty, as well as an undeniable ability to swing. Coming out backed by a full big band with punchy arrangements is one of his secret weapons--the guy surrounds himself with many like-minded musicians of an extremely high caliber. Highlights include a lightly swaying "My Funny Valentine" and a rousing yet nuanced take on "Nice 'N Easy."

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The Lion King [Special Edition] by Original Broadway Cast/Original Soundtrack (CD - 09/30/2003)
 

The Lion King [Special Edition] by Origi...

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The Lion King [Special Edition] by Original Broadway Cast/Original Soundtrack (CD - 09/30/2003)
"The Lion King [Special Edition]" (09/30/2003) Pop Vocal Original Cast, Walt DisneyThis is a Hyper CD, which contains which contains regular audio tracks and also provides a link to the artist's website with the help of a web browser. Producers: Hans Zimmer, Mark Mancina, Jay Rifkin, Chris Thomas. Compilation producer: Steven Stern. Principally recorded at Media Ventures and Ocean Way Studios, Los Angeles, California; Townhouse Studio, London, England; BPO Studios, Mmabatho, South Africa. All songs written by Tim Rice and Elton John. Instrumental score written by Hans Zimmer. "Can You Feel The Love Tonight" won the 1995 Grammy Award for Best Male Pop Vocal Performance; "Circle Of Life" won the Grammy for Best Instrumental Arrangement Accompanying Vocals; and THE LION KING won the Grammy for Best Musical Album For Children. "Can You Feel The Love Tonight" and "Circle Of Life" were also both nominated for Song Of The Year and Best Song Written Specifically For A Motion Picture Or Television; and the album's instrumental tracks were nominated for Best Instrumental Composition Written For A Motion Picture Or For Television. The heady influence of Paul Simon, Peter Gabriel, David Byrne--and all the other musicians who've introduced pop fans to the sounds and style of Africa--resonate subtly throughout the Hollywood flourishes of THE LION KING. Part of THE LION KING's appeal can be traced to Hans Zimmer's imagistic evocative instrumental score. Instrumental excerpts such as "This Land" and "Under The Stars" are a vibrant amalgam of lush orchestral passages with flashes of idiomatic African vocal colors and ceremonial percussive textures (while "King Of Pride Rock" echoes elements of Mozart's REQUIEM and traditional African six-beat rhythms). But it's THE LION KING's comic operetta songs and the Elton John/Tim Rice pop miniatures that ultimately distinguish this soundtrack and give it fresh legs for all holiday seasons. John's philosophical ruminations on "The Circle Of Life" are framed by power pop on a grand scale, with huge reverberant drum accents and massive sampled choruses and strings. But "I Just Can't Wait To Be King" is this collection's most engaging song, a sort of Afro-Rockabilly groove, tinted by the gospelish drive of John's Little Richard style piano. Principal Cast: Tsidii Le Loka (Rafiki); Samuel E. Wright (Mufasa); Gina Breedlove (Sarabi); Geoff Hoyle (Zazu); John Vickery (Scar); Scott Irby-Ranniar (Young Simba); Kajuana Shuford (Young Nala); Tracy Nicole Chapman (Shenzi); Stanley Wayne Mathis (Banzai); Kevin Cahoon (Ed); Max Casella (Timon); Tom Alan Robbins (Pumbaa); Jason Raize (Simba); Heather Headley (Nala). Producers: Mark Mancina, Lebo M, Jay Rifkin. Recorded at Sony Music Studios, New York, New York. THE LION KING won the 1999 Grammy Award for Best Musical Show Album. Producers: Hans Zimmer, Mark Mancina, Jay Rifkin, Chris Thomas. Compilation producer: Steven Stern. Principally recorded at Media Ventures and Ocean Way Studios, Los Angeles, California; Townhouse Studio, London, England; BPO Studios, Mmabatho, South Africa. All songs written by Tim Rice and Elton John. Instrumental score written by Hans Zimmer. "Can You Feel The Love Tonight" won the 1995 Grammy Award for Best Male Pop Vocal Performance; "Circle Of Life" won the Grammy for Best Instrumental Arrangement Accompanying Vocals; and THE LION KING won the Grammy for Best Musical Album For Children. "Can You Feel The Love Tonight" and "Circle Of Life" were also both nominated for Song Of The Year and Best Song Written Specifically For A Motion Picture Or Television; and the album's instrumental tracks were nominated for Best Instrumental Composition Written For A Motion Picture Or For Television. Principal Cast: Tsidii Le Loka (Rafiki); Samuel E. Wright (Mufasa); Gina Breedlove (Sarabi); Geoff Hoyle (Zazu); John Vickery (Scar); Scott Irby-Ranniar (Young Simba); Kajuana Shuford (Young Nala); Tracy Nicole Chapman (Shenzi); Stanley Wayne Mathis (Banzai); Kevin Cahoon (Ed); Max Casella (Timon); Tom Alan Robbins (Pumbaa); Jason Raize (Simba); Heather Headley (Nala). Producers: Mark Mancina, Lebo M, Jay Rifkin. Recorded at Sony Mus

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Lady Day: The Best of Billie Holiday by Billie Holiday (CD - 10/02/2001)
 

Lady Day: The Best of Billie Holiday by ...

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Lady Day: The Best of Billie Holiday by Billie Holiday (CD - 10/02/2001)
"Lady Day: The Best of Billie Holiday" (10/02/2001) Pop Vocal Holiday, Billie, Columbia/LegacyPersonnel includes: Billie Holiday (vocals); Tab Smith (soprano & alto saxophones); Benny Carter (alto & tenor saxophones); Johnny Hodges (alto saxophone); Lester Young (tenor saxophone, clarinet); Ben Webster, Chu Berry (tenor saxophone); Harry Carney (baritone saxophone, clarinet); Buck Clayton, Roy Eldridge, Charlie Shavers, Bunny Berigan, Hot Lips Page (trumpet); Benny Morton (trombone); Artie Shaw, Benny Goodman, Edmond Hall, Buster Bailey, Jimmy Hamilton (clarinet); Teddy Wilson, Claude Thornhill, Billy Kyle, Joe Sullivan, Joe Bushkin, Eddie Heywood (piano); Freddie Green, Lawrence Lucie, Carmen Mastren, Dave Barbour (guitar); Walter Page, Milt Hinton, John Kirby (bass); Jo Jones, Gene Krupa, Cozy Cole, Kenny Clarke. J.C. Heard (drums); Producers include: John Hammond, Bernie Hanighen. Compilation producers: Michael Brooks, Michael Cuscana. Recorded between 1935 and 1942. Includes liner notes by Gary Giddins. Digitally remastered by Mark Wilder & Seth Foster (Sony Music Studios, New York, New York). Personnel: Billie Holiday (vocals); Danny Barker , Dave Barbour, Dick McDonough, Eddie Durham, Freddie Green, Gene Fields, John Collins, Lawrence Lucie, John Trueheart, Allan Reuss, Bernard Addison, Al Casey, Jimmy McLin, Carmen Mastren (guitar); Edgar Sampson, Hymie Schertzer (clarinet, alto saxophone); Ernie Powell, Babe Russin (clarinet, tenor saxophone); Harry Carney (clarinet, baritone saxophone); Edmond Hall, Irving Fazola, Jimmy Hamilton, Artie Shaw, Vido Musso, Benny Goodman, Buster Bailey (clarinet); Tab Smith (soprano saxophone, alto saxophone); Benny Carter (alto saxophone, tenor saxophone); Earle Warren, Eddie Barefield, Jack Washington, Carl Frye, Johnny Hodges, Leslie Johnakins (alto saxophone); Chu Berry, Lester Boone, Stanley Payne, Kenneth Hollon, Lester Young, Ben Webster (tenor saxophone); Emmett Berry, Irving "Mouse" Randolph, Harry "Sweets" Edison, Hot Lips Page, Jonah Jones, Roy Eldridge, Shad Collins, Buck Clayton, Bunny Berigan, Charlie Shavers (trumpet); Benny Morton (trombone); Claude Thornhill, Clyde Hart, Ken Kersey, Eddie Heywood, Jimmy Sherman, Joe Bushkin, Joe Sullivan, Margaret Johnson, Sonny White, Teddy Wilson, Billy Kyle (piano); Cozy Cole, Hal West, Eddie Dougherty, Gene Krupa, Alphonse Steele, J.C. Heard, Jo Jones , Kenny Clarke (drums). One of the top three female jazz singers in history, Billie Holiday (along with Ella Fitzgerald and Sarah Vaughan) changed not only the course of jazz but the very shape of pop culture. On this 2001 Columbia two-CD collection, we hear Holiday in her early years. These indelible recordings, backed by legends in their own right, Teddy Wilson (piano), Roy Eldridge (trumpet), Benny Goodman (clarinet) and others, highlight the passionate singing of the great Lady Day. Holiday was known for her elegant phrasing, warm (often heart-rending) tone, and her coarse, witty parlance. This combination of musical and personal attributes was her charm and, indeed, few of her contemporaries could compete with such magnetism. In the entire history of jazz, arguably no one sang such standards as "You Go to My Head," "The Very Thought of You," and "God Bless the Child" with the same radiance as Holiday; these sessions are testament to this. Compiled from performances recorded between 1933 and 1944, this CD represents the golden years of Holiday's career.

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Mary Poppins (Special Editon) [Digipak] [Remaster] by Original Soundtrack/Julie Andrews (CD - 11/16/
 

Mary Poppins (Special Editon) [Digipak] ...

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Mary Poppins (Special Editon) [Digipak] [Remaster] by Original Soundtrack/Julie Andrews (CD - 11/16/
"Mary Poppins (Special Editon) [Digipak] [Remaster]" (11/16/2004) Pop Vocal Original Soundtrack, Walt DisneyOriginal score composed by Robert M. Sherman and Robert B. Sherman. Principal cast includes: Julie Andrews (Mary Poppins); Dick Van Dyke, Glynis Johns, David Tomlinson, Karen Dotrice, Matthew Garber, Ed Wynn, The Pearlie Chorus, Richard M. Sherman, J. Pat O'Malley. Music arranged and conducted by Irwin Kostal. Producers: Ron Kidd, Randy Thornton, Ted Kryczko. Includes liner notes by Randy Thornston. Digitally remastered by Shawn Murphy, Bruce Botnick and Jeff Sheridan (Soundworks, Hollywood, California), and John Polito (Audio Mechanics, Los Angeles, California). This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Composer/Lyricists: Richard M. Sherman; Robert B. Sherman. Personnel: Dave Tomlinson, Dick Van Dyke, Ed Wynn, Glynis Johns, Julie Andrews, Elsa Lanchester. A beautifully remastered and expanded version of the soundtrack to the innovative blend of live action and animation that some critics have called MY FAIR LADY for tots and the best children's movie ever made. Hyperbole? Perhaps, but there's no doubt that MARY POPPINS is the most inventive film musical of the '60s, with a score by longtime Disney contract writers Richard and Robert Sherman that positively brims with hits ("Chim-Chimeree," "Supercalifragilisticexpialidocious," "A Spoonful of Sugar"). Interesting, perhaps ironic, historical footnote: The remastering here was partially supervised by Bruce Botnick, best known as the engineer on all of the Doors' albums.

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Swingin' Miss 'D' [Bonus Tracks] by Dinah Washington (CD - 09/22/1998)
 

Swingin' Miss 'D' [Bonus Tracks] by Dina...

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Swingin' Miss 'D' [Bonus Tracks] by Dinah Washington (CD - 09/22/1998)
"Swingin' Miss 'D' [Bonus Tracks]" (09/22/1998) Pop Vocal Washington, Dinah, Verve (USA)Personnel: Dinah Washington (vocals). Quincy Jones's Orchestra: Quincy Jones (conductor); Hal McKusick (alto saxophone, flute); Anthony Ortega (alto saxophone); Jerome Richardson, Lucky Thompson (tenor saxophone); Danny Bank (baritone saxophone); Don Elliott (trumpet, mellophone, vibraphone, xylophone, bongo); Bernie Glow, Jimmy Maxwell, Ernie Royal, Doc Severinsen, Charlie Shavers, Clark Terry, Nick Travis, Joe Wilder (trumpet); Jimmy Cleveland, Urbie Green, Quentin Jackson (trombone); Tommy Mitchell (bass trombone); Clarence "Sleepy" Anderson (piano); Barry Galbraith (guitar); Milt Hinton (bass); Jimmy Crawford, Osie Johnson (drums). Includes liner notes by Brian Priestly & John Wilson. This is part of Verve's Master Edition series. Personnel: Dinah Washington (vocals); Barry Galbraith (guitar); Hal McKusick (flute, alto saxophone); Anthony Ortega (clarinet, alto saxophone); Jerome Richardson, Lucky Thompson (clarinet, tenor saxophone); Danny Bank (bass clarinet, baritone saxophone); Don Elliott (trumpet, vibraphone, xylophone, bongos); Clark Terry, Doc Severinsen, Ernie Royal, Joe Wilder, Bernie Glow, Jimmy Maxwell, Nick Travis, Charlie Shavers (trumpet); Jimmy Cleveland, Quentin Jackson, Urbie Green (trombone); Tommy Mitchell (bass trombone); Clarence "Sleepy" Anderson (piano, celesta); Jimmy Crawford , Osie Johnson (drums). Liner Note Authors: John S. Wilson ; Brian Priestley. Recording information: New York, NY (06/25/1956-12/06/1956). Editor: Peter Pullman. Photographers: Howard; Chuck Stewart. Arrangers: Ernie Wilkins; Quincy Jones; Benny Golson. Dinah Washington had everything you could ask for in a singer--pitch, phrasing, diction, savvy, romanticism, humor, a voice golden or guttural, you name it. She was utterly comfortable in whatever style was called for that day, whether jazz, R&B, blues or pop. Her versatility is readily apparent on the series of classy "jazz" albums she recorded for Emarcy/Mercury from 1954 through 1959, till the enormous success of "What A Difference A Day Made" inspired Mercury to try to force her into a purely hit-making mold. THE SWINGIN' MISS "D" was recorded in 1956 with 23-year-old Quincy Jones arranging. Jones was already an experienced hand with Dinah, since he wrote the charts for her lyrical FOR THOSE IN LOVE in 1954. As the full title states, MISS "D" is an altogether different affair--upbeat and crisply arranged, with Washington turning in one exhilarating tour de force performance after another. Expectedly, there are also exquisite ballad performances here like "Ev'ry Time We Say Goodbye," "I'll Close My Eyes" and the newly-written "Never Let Me Go." But it's the hard-driving charts (surperbly restored in a Verve Master Edition) that show Miss D to such advantage on this particular day. Dinah Washington was accompanied by an orchestra organized and conducted by Quincy Jones on this 1957 album, and she was singing to arrangements mostly written by the young bandleader, swing charts of pop standards by the likes of Cole Porter, George Gershwin, and Duke Ellington. The result had much in common with the swing albums of Frank Sinatra in the same period, especially because Jones' arrangements were heavily influenced by Billy May and Nelson Riddle. Sinatra's records were regarded as "pop, " of course, and Washington's, at least when released on the EmArcy subsidiary of Mercury Records, as "jazz, " but her precise articulation and attention to lyrical meaning left little room for improvisation, and while Jones allowed for brief solos from a band that included Charlie Shavers, Clark Terry, Urbie Green, and Milt Hinton, the jazz categorization was actually arbitrary. Whatever musical genre you assign it to, however, this is an excellent Washington album. For the 1998 reissue, Verve has added seven bonus tracks recorded around the same time and with much the same personnel, though they were intended as singles and thus are inferior contemporary tunes. Often, however, Washington sounds more comfortable and enthusiastic on these pop and R&B songs than she does on the standards. [The CD

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The Christmas Collection [10/25] *
 

The Christmas Collection [10/25] *

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The Christmas Collection [10/25] *
"The Christmas Collection" (10/25/2005) Easy Listening Il Divo, Syco/ColumbiaCHRISTMAS COLLECTION is also available with a bonus disc in the limited edition IL DIVO GIFT PACK. Audio Mixer: Ren Swan. Recording information: Rokstone Studios, London, England (2004); Whitfield Street Studios, London, England (2004). Photographer: Walter Chin. Quickly following up the success of its 2005 self-titled debut, the international pop/opera quartet Il Divo unveiled its first Christmas album later that year. Vocalists David Miller (US), Sebastien Izambard (France), Urs Buhler (Switzerland), and Carlos Marin (Spain) stick to a mostly English-language set of Christmas classics, with their resonant, emotive voices lifting every track on this lovely holiday album.

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Anthology by Nina Simone (CD - 07/01/2003)
 

Anthology by Nina Simone (CD - 07/01/200...

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Anthology by Nina Simone (CD - 07/01/2003)
"Anthology" (07/01/2003) Pop Vocal Simone, Nina, BMG HeritageProducers include: Bob Blake, Jack Gold, Stu Philips, Hal Mooney, Nina Simone. Compilation producer: Rob Santos. Recorded between 1957 & 1993. Includes liner notes by David Nathan. In appearance, this two-disc anthology would seem to be an exercise in hearse chasing, issued just months after the great singer's death. In reality, no matter what the intention of the record label, this anthology accomplishes what virtually every other attempt failed miserably to do: definitively represent all the stages of Simone's career. While RCA has done a number of fine Simone collections, including The Very Best of Nina Simone: Sugar in My Bowl 1967-1972, which featured a number of unreleased tracks, even they haven't accomplished this: a double-disc set that encompasses her entire career with recordings from every label she recorded for, including Bethlehem, Colpix, Philips, RCA, CTI, and Elektra. The lion's share of the material may come from RCA, but she spent the longest part of her career there. The obvious beginning is with "I Loves You Porgy," from her Bethlehem album Little Girl Blue (or, as it was originally titled, Jazz as Played in an Exclusive Side Street Club). Also from this session is the definitive version of the Gus Kahn/Walter Donaldson classic "My Baby Just Cares for Me." While there are a couple of cuts from Colpix's Nina Simone at Town Hall, such as "The Other Woman" and "Black Is the Color of My True Love's Hair," there is also the Colpix single "Nobody Knows You When You're Down and Out." Also, there is a slew of tracks from the Philips albums, including Live at Newport, Nina Simone in Concert (featuring the infamous version of "Mississippi Goddam"), Broadway-Blues-Ballads (with her scorching version of "Please Don't Let Me Be Misunderstood"), I Put a Spell on You, Pastel Blues, and Wild Is the Wind (which featured the tracks "Four Women," "Strange Fruit," and "Sinnerman"). From the RCA years there is something from virtually every album, most notably "I Want a Little Sugar in My Bowl," "To Love Somebody," Jimmy Webb's "Do What You Gotta Do," her own "To Be Young, Gifted and Black," "Here Comes the Sun," Dylan's "Just Like a Woman," and more. The set also features the Daryl Hall cover "Rich Girl" from Baltimore, her lone CTI album, and Rod McKuen's title track from A Single Woman, her last album released in 1993 from Elektra. There are 31 tracks in all, and virtually every one of them essential Simone. The sheer breadth and depth of her phrasing and delivery when revealed in this way are nothing short of astonishing. Simone was virtually limitless in her abilities to cover almost any genre in her way, which transformed all the songs into hers alone. While there are other collections that address different parts of Simone's career more completely, and sometimes -- as in the case of the Verve box Four Women -- exhaustively, this is the only one most fans and curiosity seekers will ever need. ~ Thom Jurek

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Michael Bubl? by Michael Bubl? (CD - 02/11/2003)
 

Michael Bubl? by Michael Bubl? (CD - 02/...

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$6
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Michael Bubl? by Michael Bubl? (CD - 02/11/2003)
"Michael Bubl?" (02/11/2003) Pop Vocal Buble, Michael, RepriseThis is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Personnel: Michael Buble, Sherree Ford (vocals); David Foster (arranger, piano, synthesizer); Dean Parks (acoustic & electric guitars, percussion); Heitor Padilla (acoustic guitar); Michael Thompson, John Pisano (guitar); Bob Sheppard, Dave Boroff (saxophone); Gary Grant (trumpet); Randy Waldman (piano, keyboards); Brian Bromberg (bass); Vinnie Colaiuta, Dave Tull, Frank Capp, Joe Labarbera (drums); Raffael Padilla (percussion); Jochem Van Der Saag, Neil Devor, Felipe Elgueta (programming); Barry Gibb (background vocals). Producers: David Foster, Humberto Gatica, Johnny Mandel. This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Personnel: Jochem van der Saag (programming). Right off the bat, Michael Buble has you in his corner just because you know people have been calling the poor guy "Bubble" all his life (keep that accent on the second syllable, folks). Nomenclature aside, Buble's debut album positions him as something of a Harry Connick, Jr. for the 21st century. His husky croon gives him a bearing beyond his tender years, and in fact his Sinatra-phrased, pop-jazz style bears strong echoes of Connick's singing. Accordingly, the production leans heavily on the updated swing of chestnuts like "Fever" and "Come Fly With Me," but that's only part of the story. As a modern song stylist, Buble digs into the standards of a more contemporary songbook as well. George Michael's jazzy ballad "Kissing a Ballad" has been a standard-in-waiting for some time, and a version of the Bee Gees' soulful ballad "How Can You Mend A Broken Heart" features a guest turn by Barry Gibb himself. And there are worse things that could happen to Stevie Wonder's "For Once in My Life" than to be given the big-band treatment. It's refreshing to hear the debut of a young singer who's simply applying a strong voice and style to quality songs instead of cynically treading the teen-pop treadmill.

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$6
Pop Vocal Music calling your name? Find all of the top Music gear that you want at BizRate. Compare prices from top brands like as well as . Browse ratings from merchants that sell Pop Vocal Music and other Music. Narrow your choices down by price range, brand, merchant, and more. Find the product that's right for you: In Hollywood, Vol. 2: 1930-1934 by Bing Crosby (CD - 03/14/2006) - Call Me Irresponsible by Michael Bubl? (CD - 05/01/2007).