Cast Albums Blog
REVIEW: Anyone Can Whistle - 2020 Studio Cast
They began recording it in 1997, and it's finally being released next week. If, like me, you've been waiting for JAY's complete studio recording of Anyone Can Whistle for over two decades, you may find it a little difficult to believe you finally have a copy of it in your hands. No need to pinch yourself – yes it's real, and yes, it's really good.
It has a lot to live up to. The show's now-legendary original Broadway cast recording, made the day after the Broadway production closed after a run of just twelve previews and nine performances, is one of those albums that makes you wonder how a show could possibly have failed to find an audience. As heard on that recording, Stephen Sondheim's songs for the show sound dazzlingly original, and they're given warmly characterful (if not always flawlessly sung) performances by the production's trio of stars – Angela Lansbury, Lee Remick, and Harry Guardino, none of whom had previously appeared in a Broadway musical.
REVIEW: Rags - Original London Cast
It’s not impossible that somebody could spin a doctoral thesis out of picking apart all the various revisions that have been made over the years to Rags, the four-performance 1986 Broadway flop with a Charles Strouse-Stephen Schwartz score. That score, which contains a great deal of Strouse’s best music, is the reason so many people have tried to fix a show that stubbornly refuses to work; the 1987 studio recording, which features most of the Broadway production’s cast with Julia Migenes standing in for original leading lady Teresa Stratas, is one of the most glorious musical theatre albums of its decade, and gives the impression of a show that very much deserved to be a hit.
That 1987 recording, though, is the reason people approaching this new London cast recording of the most recent revised version of the show might want to manage their expectations: the show has undergone many revisions over the past three decades, and there are significant differences between the version of the score heard in the now-standard version of the show and the version represented on the studio album.
REVIEW: Songs From Inside My Locker - Robbie Rozelle, Live at Feinstein's/54 BELOW
The first line of designer/director/producer/singer Robbie Rozelle's liner notes for his debut cabaret album – "I never expected to be a performer" – might lead you to lower your expectations. There's no need: Songs From Inside My Locker – a Kickstarter-funded live recording of Rozelle's show at New York's 54 Below – is a delight. It's a brave show for Rozelle to put out there as the basis of his first solo recording – the show's backbone is Rozelle's own coming-of-age story, which inevitably means this album presents the listener with a very personal collection of songs and stories – but Rozelle is such an endearing, engaging presence that this hour or so in his company flies by.
REVIEW: The New Yorkers - Encores! Concert Cast
Three years after it played at New York's City Center, here's the cast recording of the Encores! Production of what, here, is billed as "Cole Porter's The New Yorkers." It's not, as the liner notes will tell you, precisely an authentic recreation of the 1930 original, but don't let that put you off: this album is an hour and five minutes of the kind of sheer pleasure you wish someone could bottle.
REVIEW: Randy Rainbow - Hey Gurl, It's Christmas!
It was probably inevitable that comedian/singer/YouTube phenomenon Randy Rainbow would release a Christmas recording. Rainbow is a prodigiously talented writer and performer whose sweetly vicious satirical jabs at political figures have deservedly drawn a huge internet following, and his sharply subversive video parodies are often very funny indeed.
Whether those talents, impressive as they are, sustain over the course of seven tracks is another question. There’s a great deal here that is utterly charming; even over a span of just twenty-nine minutes, though, this album is perhaps a little much when taken all at once. The thing about YouTube parodies is that we watch them in isolation – you (or at least I) watch the latest one, and then move on to something else. Seven tracks in succession, I’m afraid, gave me a sugar rush.