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"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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"The Phantom of the Opera [Original Cast]" (11/23/2004) Pop Vocal Original Cast, Sony Music Distribution (USA)Music composed by Andrew Lloyd Webber. Lyrics by Charles Hart. Principal cast: Michael Crawford (The Phantom Of The Opera); Sarah Brightman (Christine Daae); Steve Barton (Raoul); John Savident (Monsieur Firmin); David Firth (Monsieur Andre); Rosemary Ashe (Carlotta Giudicelli); Mary Millar (Madame Giry); John Aron (Ubaldo Piangi); Paul Arden Griffith (Monsieur Reyer); Barry Clark (auctioneer); David De Van (Porter/Marksman/Fop); Janet Devenish (Meg Giry); David Jackson (Monsieur Lefervre); Janos Kurucz (Joseph Buquet); James Patterson (Don Attilio/Passarino); Peter Bishop (Slave Master); Justin Church (Flunky/Stagehand); Mostyn Evans (Policeman); Sue Flannery, Janet Howd (Page); Andrew Golder (Porter/Fireman); Peggy Ann Jones (Wardrobe Mistress/Confidante); Maria Kesselman (Princess); Patricia Richards (Madame Firmin); Jill Washington (Inkeeper's Wife). Recorded at EMI Studios & Audio International, London, England. Includes liner notes by Andrew Lloyd Webber. All tracks have been digitally remastered. Composer: Andrew Lloyd Webber. It's a testament to Andrew Lloyd Webber's crowd-pleasing compositional skills that the original cast recording of THE PHANTOM OF THE OPERA went on to become the biggest-selling cast album ever. So when the time came to adapt his music for the film version of the monumentally successful theatrical work, Webber enlisted the aid of longtime collaborators Nigel Wright and Simon Lee. They produced an expanded orchestral version of the score, grander and more sumptuous than the original, and assembled a 100-member ensemble to do it justice. However, the tragic story of the disfigured Phantom and Christine, the beautiful object of his desire, cannot be told without powerful performances of those roles. Gerard Butler and Emmy Rossum quickly dispel any concerns regarding the adequacy of their portrayals. Butler's full-blooded renditions of "The Music of the Night" and the title song are tinged with a dark eroticism, while Rossum's account of "Wishing You Were Somehow Here Again" skillfully conveys her character's vulnerability and conflicted feelings. The soundtrack also features a newly penned song by Webber, the poignant "Learn to Be Lonely," sung by Minnie Driver, who appears in the role of Carlotta in the film.

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"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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"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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"Avenue Q [PA]" (10/07/2003) Pop Vocal Original Cast, RCA Victor Records (USA)Music and lyrics written by Robert Lopez and Jeff Marx. Principal cast includes: Jennifer Barnhart, Natalie Venetia Belcon, Stephanie D'Abruzzo, Jordon Gelber, Ann Harada, Rick Lyon, John Tartaglia. Recorded at Right Track Studio, New York, New York on August 10, 2003. In the late 1990s, the television show SOUTH PARK sparked a trend of using figures associated with children's entertainment, such as puppets and animated characters, in the service of adult comedy. Depending on your viewpoint, this either generates marvelously clever social critique or cheap, tasteless jokes. Adding to the controversy is AVENUE Q, the smash Broadway hit that reads like a thinly veiled SESAME STREET parody, in which a charming puppet world is subverted by smart, bawdy humor about sexuality, pornography, and racism. In this production, for example, puppet roommates Rod and Nicky seem to have a particularly close relationship (explored in "If You Were Gay") and other characters wonder "What Do You Do with a B.A. in English?" and declare "It Sucks to Be Me" in a rousing medley. The original Broadway cast recording features these songs and more, and it is no wonder AVENUE Q won the Tony for Best Musical given its catchy tunes, witty lyrics, and spirited performances. One listen to the score and you, too, may find yourself singing "Everyone's a Little Bit Racist" and "The Internet Is for Porn."

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"Meet Me in St. Louis [Rhino]" (04/25/1995) Pop Vocal Original Soundtrack, Rhino Records (USA)Personnel include: Judy Garland (vocals). Principal cast includes: Judy Garland, Margaret O'Brian, Tom Drake, Lucille Bremer. Personnel: Denny Markas, John Caroll, Margaret O'Brien, Mary Astor, Tom Drake, Harry Davenport, Lucille Bremer, Judy Garland, Marjorie Main, Arthur Freed (vocals). Recording information: Culver City, CA (11/03/1943-05/26/1944). As one of the premiere MGM musicals of all time, it is amazing that a definitive Original Motion Picture Soundtrack for Meet Me in St. Louis (1944) had never been available prior to this 1995 single CD. Ralph Blane and Hugh Martin's complete score is included, as are the oft-overlooked orchestrations from Conrad Salinger. Even though the role seems to have been written specifically for Judy Garland, the actress purportedly fought the studio, as she had grown weary of portraying children onscreen. As fate would have it, her performance not only stole the show, but became one of Garland's most critically and commercially successful performances. The plot deals with the Smith family during the winter of 1903, as they eagerly await the opening of the World's Fair in their hometown of St. Louis, Missouri. However, when the father is offered a substantial job in the Big Apple, their hopes of attending the event are dashed. Simply put, Garland -- who plays the second oldest female of five siblings -- is splendid from tip to tail. Especially notable are her solos on the yearning "The Boy Next Door," the holiday standard "Have Yourself a Merry Little Christmas," the career-defining "Trolley Song," and on this edition, an outtake titled "Boys and Girls Like You and Me." She is joined by Lucille Bremer on the familiar reprise of the theme "Meet Me in St. Louis" and on the high-energy square dance routine "Skip to My Lou." Tom Drake -- the object of Garland's affections in the film -- pairs up for the poignant waltz ballad "Over the Banister." Although it tends to be eclipsed somewhat by the other luminous entries in the songbook, the vaudevillian "Under the Bamboo Tree" is a great production number with a very young Margaret O'Brien accompanying Garland. The liner notes are extensive, housing plenty of eye candy, as well as a detailed essay by George Feltenstein. ~ Lindsay Planer

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"25 All-Time Greatest Hits 1956-1961: The Cadence Years" (04/09/2002) Pop Vocal Williams, Andy, VarŠse Sarabande (USA)Compilation producers: Cary E. Mansfield, Marty Wekser. Recorded between 1956 & 1961. Includes liner notes by Joseph Lanza. All tracks have been digitally remastered. The title presents a somewhat mixed message: If this album has his 25 all-time greatest hits, it wouldn't cover just his 1956-1961 Cadence years. And sure enough, this couldn't be considered Williams' best greatest-hits collection, as it contains only material from those Cadence years and none from his subsequent hit-filled decade at Columbia. That carping done with, if you want a survey of his Cadence output, this is the best collection for that purpose, though it's not significantly different from the 1996 Varese Sarabande compilation The Best of the Cadence Years, other than dropping "Beyond the Reef" and adding six other tracks. Williams' Columbia hits might be a little better known, but he was indeed successful at Cadence. All of these 25 songs were released on singles (a handful after his early-'60s departure from the label), and about two-thirds made the charts, half a dozen making the Top Ten. Musically, it's lightweight and erratic, however, veering from good crooning standard pop to some pretty dull easy listening. Crooning is what he's known for, but actually some of the better cuts are those in which he swings to some degree, like "Canadian Sunset," "Butterfly" (actually a cover of a superior rockabilly hit by Charlie Gracie), the giddy male-female duet of "I Like Your Kind of Love," Lionel Bart's "Do You Mind?," and the mambo "House of Bamboo." On another trip altogether, "I'm So Lonesome I Could Cry" manages to drain all of the country out of the Hank Williams standard with its schmaltzy orchestration. ~ Richie Unterberger

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"Aida [Orignal Broadway Cast]" (06/06/2000) Pop Vocal Original Cast, Walt DisneyMusic composed by Elton John. Lyrics written by Tim Rice. Principal cast: Sherie Rene Scott (Amneris); Adam Pascal (Radames); Heather Headley (Aida); Damian Perkins (Mereb); John Hickok (Zoser); Daniel Oreskes (Pharoah); Schele Williams (Nehebka); Tyrees Allen (Amonasro); Robert M. Armitage, Troy Allan Burgess, Franne Calma, Bob Gaynor, Kisha Howard, Tim Hunter, Youn Kim, Kyra Little, Kenya Unique Massey, Corinne McFadden, Phineas Newborn III, Jody Ripplinger, Raymond Rodriguez, Eric Sciotto, Samuel N. Thiam, Jerald Vincent, Natalia Zisa. Producers: Frank Filipetti, Chris Montan, Paul Bogaev, Guy Babylon. Recorded at Sony Music Studios, New York, New York on April 10 & 11, 2000. Includes liner notes by David Henry Hwang. ELTON JOHN AND TIM RICE'S AIDA won the 2001 Grammy Award for Best Musical Show Album. The original cast recording of Elton John and Tim Rice's Aida features the vocal talent of Heather Headley, Adam Pascal, and Sherie Rene Scott. Unlike the Aida album John released with guest stars like LeAnn Rimes and Sting, the cast recording presents a much more majestic and unified vision of Rice and John's adaptation of Verdi's opera. Songs like "Every Story Is a Love Story," "Fortune Favors the Brave," "Enchantment Passing Through," and "I Know the Truth" prove that Aida's home is truly the stage. ~ Heather Phares

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"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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"Renee Olstead" (05/25/2004) Pop Vocal Olstead, Renee, Warner Bros.Personnel: Rene? Olstead (vocals); Carol Weisman (vocals); Dean Parks (guitar, acoustic guitar); Don Shelton (clarinet, alto saxophone, tenor saxophone); Don Shelton (alto saxophone, tenor saxophone); Warren Luening (trumpet); Alan Broadbent, Billy Childs, Billy Childs Trio, Gerald Clayton (piano); Brian Bromberg (bass instrument); Jeff Hamilton , David Tull (drums); Neil Devor (programming); Peter Cincotti (vocals, piano); Dennis Budimir (guitar); Chris Botti, Rick Baptist (trumpet); Chris Dawson (piano); Joe La Barbera, Vinnie Colaiuta (drums). Audio Mixer: Humberto Gatica. Recording information: Henson Recording Studios, Hollywood, CA; Signet Sound Studios, Los Angeles, CA; Westlake Audio, Hollywood, CA. Arrangers: Carol Weisman; Fred Norman; John Clayton; Oscar Castro-Neves; Billy Childs Trio. In a bold move that even more experienced singers might think twice about, Renee Olstead opens her self-titled major-label debut with a stark, a cappella verse of Gershwin's melancholy classic "Summertime." Olstead sings with confidence and swings with authority on this set of standards, an astonishing accomplishment for a young lady, who, at the time of this recording, was only 14 years old. Very little indicates that this album is the work of a teenager, and certain vocal touches even bring to mind the bold vocal style of K.D. Lang. The record features big-band arrangements with lush strings, punchy horns, and even a quasi-Swingle Singers backdrop on "On a Slow Boat to China." Chris Botti provides sexy trumpet obbligato on two numbers, and Peter Cincotti joins Olstead on a stellar duet of Neil Sedaka's "Breaking Up Is Hard to Do," rounding out a remarkable first outing by a notable talent.

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"Bye Bye Birdie [Original Soundtrack] [Bonus Tracks] [Remaster]" (09/09/2003) Pop Vocal Original Soundtrack, RCA Records (USA)Includes rare photos and three preciously unreleased bonus tracks. Music composed by Charles Strouse. Lyrics written by Lee Adams. Principal cast includes: Janet Leigh, Dick Van Dyke, Ann-Margret, Maureen Stapleton, Bobby Rydell, Jesse Pearson, Ed Sullivan. Originally released on RCA (1081). Includes liner notes by Didier C. Deutsch. Personnel: Al Caiola, Tommy Tedesco , Bill Pitman (guitar); Stanley Chaloupka (harp); Jules Jacob, Morris Crawford, Harry Klee, Paul Horn, Justin Gordon, Charles Butler (woodwinds); Rubin Zarchy, Frank Beach, Emanuel Klein (trumpet); Eddie Kusby, Kenny Shroyer (trombone); James A. Decker (horns); Ray Sherman (piano); Earl Palmer , William Kraft (drums). Audio Remixer: Jen Wyler. Liner Note Author: Didier C. Deutsch. Arranger: Hank Levine. Like all Broadway musicals, Bye Bye Birdie underwent some changes on its way to the big screen. In the case of this show, a parody of the 1950s rock & roll fervor that took off from Elvis Presley's departure for the army, the main alteration had to do with the balance of emphasis among the characters. Although it was an ensemble piece, on-stage the starring role was that of Albert Peterson, manager and songwriter for teen heartthrob Conrad Birdie, who conceives a promotional stunt in which Birdie will kiss an ordinary teenager on The Ed Sullivan Show just before beginning his military service. Dick Van Dyke became a star playing Peterson and had gone on to his own TV series, The Dick Van Dyke Show, and since he was repeating his performance, one might have expected him to dominate the film. Instead, his role was reduced (of the five songs cut from the show for the movie, three were his), while the minor role of Kim McAfee, the teenager, was expanded, the better to employ the talents of 21-year-old Ann-Margret. Her significance was unmistakable; the film opened and closed with her onscreen alone, singing a newly written title song. Also reduced was the role of Peterson's fianc?e, who had been played on-stage by Chita Rivera. In the film, Janet Leigh handled it, and she had much less to do. Paul Lynde repeated his performance as Mr. McAfee, singing "Kids," and Jesse Pearson replaced Dick Gautier as an adequate Birdie. Teen star Bobby Rydell was underutilized as Kim's unhappy boyfriend, Hugo Peabody. The beefed-up arrangements gave the score a Hollywood sheen and de-emphasized the attack on rock & roll. (Songwriters Lee Adams and Charles Strouse had written some deliberately bad songs for Birdie to sing, which didn't bother a Broadway audience in 1960, but by 1963 rock was better accepted, and the filmmakers didn't want to offend the broader film audience.) Ann-Margret was a big addition, but the original Broadway cast recording was still the one to own. ~ William Ruhlmann Like all Broadway musicals, Bye Bye Birdie underwent some changes on its way to the big screen. In the case of this show, a parody of the 1950s rock & roll fervor that took off from Elvis Presley's departure for the army, the main alteration had to do with the balance of emphasis among the characters. Although it was an ensemble piece, on-stage the starring role was that of Albert Peterson, manager and songwriter for teen heartthrob Conrad Birdie, who conceives a promotional stunt in which Birdie will kiss an ordinary teenager on The Ed Sullivan Show just before beginning his military service. Dick Van Dyke became a star playing Peterson and had gone on to his own TV series, The Dick Van Dyke Show, and since he was repeating his performance, one might have expected him to dominate the film. Instead, his role was reduced (of the five songs cut from the show for the movie, three were his), while the minor role of Kim McAfee, the teenager, was expanded, the better to employ the talents of 21-year-old Ann-Margret. Her significance was unmistakable; the film opened and closed with her onscreen alone, singing a newly written title song. Also reduced was the role of Peterson's fianc?e, who had been played on-stage by Chita Rivera. In the film, Janet Leigh handled it, and she had much less to do. Pa

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"The Woman I Am: Definitive Collection" (05/02/2006) Pop Vocal Reddy, Helen, Capitol/EMI RecordsPhotographers: Douglas Kirkland; Peter Borsari; Gunther. Along with Melissa Manchester, Barbara Streisand, and a few others, Helen Reddy was one of the defining voices of women's soft pop in the 1970s. Her hit "I Am Woman" became an anthem, and her other major charters--"Delta Dawn" and "I Don't Know How to Love Him," among them--are memorable as well. There are plenty of other gems here among the 22 tracks that feature Reddy's mix of easy-going arrangements, breezy vocals, and strong sentiment. Well-selected and assembled, WOMAN I AM: THE DEFINITIVE HELEN REDDY is arguably the most comprehensive sampler of the artist's talents on the market.

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"The Secret Garden [Original Broadway Cast]" (12/10/1991) Pop Vocal Original Cast, Columbia (USA)Music composed by Lucy Simon. Lyrics written by Marsha Norman. Principal cast includes: Rebecca Luker (Lily); Daisy Eagan (Mary Lenox); Peter Marinos (Fakir); Patricia Phillips (Ayah); Kay Walbye (Rose); Michael De Vries (Capt. Lenox); Drew Taylor (Lt. Peter Wright); Paul Jackel (Lt. Ian Shaw); Peter Samuel (Major Holmes); Rebecca Judd (Clair); Nancy Johnston (Alice, Mrs. Winthrop); Mandy Patinkin (Archibald Craven); Robert Westenberg (Dr. Neville Craven); Barbara Rosenblat (Mrs. Medlock); Alison Fraser (Martha); John Cameron Mitchell (Dickon).

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"Kid from Brooklyn" (03/08/2005) Pop Vocal Kaye, Danny, Collectors' Choice MusicThis collection of vintage material contains several of Danny Kaye's appearances on a variety of Armed Forces Radio Service (AFRS) programs circa the early- to mid-'40s, broadcast to the women and men overseas during World War II. Kaye joined host Eddie Cantor, Bea Wain and Dinah Shore among others on the debut of Command Performance March 1, 1942. Kaye was currently starring in the Cole Porter musical Let's Face It (1941) and for this auspicious occasion performs the tongue-in-cheek "Pavlova." His dramatic abilities are perfectly suited to the tale of a Russian dancer. It's little wonder as the original comedic number was penned by his wife, Sylvia Fine, who wrote a great deal of his routines. She also developed "Stanivslasky," heard here during a guest spot on Personal Album. "Accentuate the Positive" hails from the same show, as Kaye ably exhibits his seemingly effortless penchant for unfathomable oral acrobatics. In fact, the first 20 seconds of his rapid-fire opening is worth the price of admission alone. His capacity as a competent crooner should not be overlooked and is displayed throughout the ten-song Kid From Brooklyn (2004), most notably on the lyrical love ballad "Eileen" as well as "Deenah." The latter comes off of the August 19, 1944 installment of Command Performance. Lightening the mood once again are the satirical albeit accurate "Parody on Classical Music" and another bout of limber linguistics on "Minnie the Moocher." Concluding the festivities are a duet coupling Dinah Shore's dulcet tones with Kaye's bombastic interjections on "Tess' Torch Song" from the March 29, 1944 edition of Mail Call. ~ Lindsay Planer

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