Basic Library of Cast albums- Page 4

[frontrowcentre2]

Posted: 6/16/10 at 2:06pm

Wait a minute..it IS there on the Platinum list between OKLAHOMA! and RENT.

Updated On: 6/16/10 at 02:06 PM

[philly03]

Posted: 6/16/10 at 3:12pm

Must have missed it...Still no Frank Wildhorn? One of the few American composers to have 3 shows running simultaneously on Broadway, and was a large part of the revitalization of Broadway in the '90s? He songs are played around the world ("This is the Moment," "Gold") and have been recorded by plenty of pop icons and Broadway legends not even in his shows (Betty Buckley, Donny Osmond, David Hasselhoff (lol), Liza Minnelli (who premiered the song "A New Life"), Linda Eder, Rachel York, Terrence Mann, Christine Andreas, Christiane Noll, Rock star Sebestian Bach, Anthony Warlow, Carolee Carmello, Lauren Kennedy, etc.);

I don't see a collection "complete" without an influential & successful composer like Frank Wildhorn. (Even if I sound like I am going off the deep end defending him!)

[frontrowcentre2]

Posted: 6/16/10 at 4:11pm

RE: PHANTOM OF THE OPERA

I misunderstood your original question, thinking you were asking why it was not on the RIAA list of Platinum and Gold OCR's.

When I did the original "Basic Library" list in 2005 i did NOT include shows that were currently playing since most people who wanted those albums could get them easily and knew of their existence. SO at the time PHANTOM, RENT, AVENUE Q and other long running hits were not included.

PHANTOM would indeed be a included on the list of 1980's shows.

The Wildhorn shows have not had much of a life in regional/community theaters, although with 4 or 5 different recordings JEKYLL AND HYDE seem to generate a lot of interest.

Wildhorn has the distinction of having lost the MOST money of any writer on Broadway when you add up the losses of JEKYLL AND HYDE, SCARLET PIMPERNEL, CIVIL WAR and DRACULA. The man has NEVER had a hit!

[philly03]

Posted: 6/16/10 at 9:27pm

.... Jekyll & HYDE is one of the most done regional productions in the entire country. There's already been 8 productions through this year reported to the J&H website, with over 20 last year. Very good for a show that closed a decade ago.

http://www.jekyll-hyde.com/stagings/regional.shtml

A major tour - "Australasian regions" is upcoming, as well as productions it's premiere production in Brazil, it's continued Germany, and more.

Scarlet Pimpernel is also performed pretty frequently, though not to the level of J&H. The Civil War, now called "For the Glory" is in talks to return to Gettsyburg's National Museum to perform once again after during so for several summers. DRACULA, the musical just released it's rights to be staged to MTI and has several regional/school productions already planned.

There are plenty of flops on your list... Jekyll & HYDE recouped very shortly after the Broadway run concluded with it's national tours. Not to mention Jekyll & HYDE has received TWO Grammy Nominations (OBCR and 2-CD Concept). Titanic was a flop, The Life was a flop (all in the same season as J&H!), most Sondheim shows flopped, and more...

I, obviously, think he is a very important composer to the Broadway scene. He continually is still developing shows, with 8 shows that have had their world premieres and have other productions spurned, perhaps even to go to Broadway one day. (Camille Claudel, Waiting for the Moon / Zelda, The Count of Monte Cristo, WONDERLAND: Alice's New Musical Adventure, Bonnie & Clyde, Rudolf - The Last Kiss, Carmen, Cyrano de Bergerac ~ The Musical)

He is very much like the composers of the old days -- his songs have hit the charts & some succeeded. It just is surprising that Frank isn't no where near "important" enough despite his major contributions to the theatre scene. Either you have never given him the light of day to listen to his recordings or see his shows, or you have something against his shows... I'm sure many Broadway fanatics, fans or not, would think he deserves atleast one album in a "Basic Library" of cast recordings.

[garyl]

Posted: 6/16/10 at 10:03pm

APPLAUSE WON A TONY...WHY IS IT NOT ON THE LIST?..FOR FLOPS I OFTEN LISTEN TO GOLDEN BOY AND RAGS..BOTH BETTER SCORES THAN APPLAUSE AND BETTER THAN A LOT OF OTHER MUSICALS ON THE LIST.

[Mildred Plotka]

Posted: 6/16/10 at 10:46pm

I think some of you are missing the "basic" part of the list. It's not saying that those are the only cast albums worth owning.

[Marquise]

Posted: 6/16/10 at 10:55pm

They are most definitely missing the point and intention of the list. But there's just no pleasing everyone.

[philly03]

Posted: 6/16/10 at 11:10pm

I'm sorry I get the point but missing as notable as a composer (or infamous) as Frank Wildhorn with his original music which incorporated a pop style which spurned singles on the charts from his shows and are for the most part enjoyable scores, that have sold extremely well and nominated for multiple Grammy's....

Not to mention it's I believe it's the 5th longest running ORIGINAL MUSICAL/original score musicals of the '90s.

Perhaps I'm looking an answer as to why "The Life" was put on there... Maybe J&H was 11th on your list, but I highly doubt it!

[Mildred Plotka]

Posted: 6/17/10 at 1:33am

Notable and infamous are 2 different things. His titles are only in my collection for their flop value.

[newintown]

Posted: 6/17/10 at 9:16am

Perhaps Wildhorn is off the list because the man is a joke among the real talents in the theatre community. He writes mindless pseudo-pop that even Air Supply would have avoided. And all his work is so poorly conceived that his arrangers have to re-write everything. The fact that Jeckyll, as you report, seems to have so many productions (although I've never heard of them) just goes to show that people often love sh*t. Or, as Noel Coward once wrote, "Extraordinary how potent cheap music is.

[Dre2387]

Posted: 6/17/10 at 10:45am

So glad Crazy For You is on the list. classic musical. I wish we went back to those type of musicals.

[frontrowcentre2]

Posted: 6/17/10 at 2:53pm

The list is just a guide and it was not created to highlight shows of the last 15-20 years so much as to remind people of the rich heritage of shows from 1900 to 1980 that many people here are too young to know about.

J&H won no Tony awards, was not nominated as one of the Best Musicals of the season, and generally got mixed to negative reviews.

When it closed Variety reported it had only recouped 75% of its initial investment. The tour went out in April 1999 and ended April 2000 which was 9 months BEFORE the Broadway production closed. So there was no subsequent income to repay the $1.5 million shortfall.

If YOU enjoy the show and its many recordings, that's fine. I saw it the Wednesday after the 1997 Tony awards and enjoyed some parts of it (mainly Robert Cuccioli and Linda Eder's scenes and songs) but found the show as a whole wasn't entirely satisfactory. Listening to the cast album provokes the same reaction. In some ways I prefer the 2-CD studio cast set, but a good deal of that material was changed for Broadway. And changed again after opening, and for later productions so it does seem the authors themselves are not completely satisfied with the show.

[philly03]

Posted: 6/17/10 at 4:45pm

"Perhaps Wildhorn is off the list because the man is a joke among the real talents in the theatre community."

... I love how there are plenty of actors who are thrilled beyond belief to be working with Frank Wildhorn and to sing one of his scores... Despite flopping every production, he's still getting his shows produced not just in the United States but around the globe, etc.

I'm guessing you think all of these people have no talent since they joined Wildhorn shows by free will: Terrence Mann (2-Tony Award nominee), Christine Andreas (2-Tony Award nominee), Carolee Carmello (2-Tony Award nominee), Melissa Errico (Tony Award nominee), Tom Hewitt (Tony Award nominee), Rachel York, James Barbour, Kate Shindle, Christiane Noll (Tony Award Nominee), and the list goes on...but moving on!


"And all his work is so poorly conceived that his arrangers have to re-write everything. The fact that Jeckyll, as you report, seems to have so many productions (although I've never heard of them) just goes to show that people often love sh*t."

...Jekyll & HYDE is legitimately one of the most performed shows, I have no idea how both of you have avoided seeing it in the regional theatre circuit... Also: His arrangers do not re-write... not sure where you got this information. Yes, perhaps tweak an ending or a beginning every so often, but nothing major.

The Third National Touring Production (Non-Eq) which went out in 2000 and played through 2001, which paid back (It used the same costumes and some of the same sets, but altered them/simplified them a bit. Apparently DVD sales also helped a bit (although I don't see how necessarily), as the producers (& David Hasselhoff) produced the filmed version as well.

It is not the creators that change it, it is generally the DIRECTOR of the production which Frank gives the liberty to tweak, add or remove things, or rather the major productions. Almost like a revival of the original with every new production, something changes. Sure there's the definitive production that is licensed, but I like the fact that you could see the show on Broadway with one director's take, and then see it with another director and see a totally different take.

There's no winning so I guess I'll stop . I do legitimately think that Frank is an important composer, whether it's the material, flopping everything, opening & reclosing a show 3 times, the elegant staged productions, whatever... Frank writes for his fans and he's still got a slew of them out here!

[frontrowcentre2]

Posted: 6/18/10 at 12:52pm

The Third National Touring Production (Non-Eq) which went out in 2000 and played through 2001, which paid back

Where are you getting this information?

My understanding is the non-equity tours pay a license fee but it would not be anywhere near the $1.5 million shortfall the Broadway production had. Also there has never been an announcement that the Broadway production recouped. The non-equity tour may have been profitable but those profits go to the tour presenters, not the original Broadway management.


As for the recording, if you feel the OBC of J&H should replace the OBC of THE LIFE, go for it. Everyone can adapt the list to their own personal preferences.

[newintown]

Posted: 6/18/10 at 1:03pm

Darlin', I can only speak to what I hear first-hand on this. I know two of the actors on your list and one has said that he wishes he had never done the Wildhorn show he did, because of the detrimental effect he feels it had on his reputation.

But nevertheless - none of the actors you mention are in any position to turn down any work. There simply aren't enough new Broadway productions for anyone (except Bernadette Peters) to do that. It's not as though they chose to do a Wildhorn show over the new Sondheim. They chose to do a Wildhorn show over unemployment.

As for Wildhorn's writing skills - I know two musical directors and one arranger who worked on new Wildhorn shows, and they attest that they had to fix what he wrote because he just wasn't a good enough musician to do it himself.

I'm truly sorry if this topples your idol from his plinth, but it may be better to admire someone more worthy of your attention. Loving Wildhorn is like preferring Salieri to Mozart. Mediocrity can be enjoyed, but not championed.

[twinbelters]

Posted: 6/18/10 at 1:13pm

What about Whoop-Up?

[philly03]

Posted: 6/18/10 at 2:42pm

It must be the DRACULA, the musical people, and understandbly so. But moving on... Several of them will be featured on his newest concept album - "Tears of Heaven" (including Linda Eder, Christiane Noll, James Barbour, Laura Osnes & more). If anything, in my honest opinion, it helps those actors... plenty of old "Jekkies" went to see Christiane Noll in Ragtime, because she was in it (Of course "The Scarlet Pimpernel" opened the same season as that and many of Wildhorn's devoted fans preferred to see TSP over Ragtime, probably just due to the cheap ticket offers Lol).

On a last comment,.... Frank Wildhorn has been known to pop up a few times on the Broadway and other premieres to help composers tweak their scores (& you can PM me there's no need to post that info). The man has written over 10 musicals, plenty of pop songs, and more... I don't see how he isn't a good musician. I didn't know having a world wide #1 single made you a bad musician. Perhaps you don't think he's fine enough for Broadway, but that's part of the problem with today's audiences, especially on this board. They want Sondheim-lites: Some of the best lyrics ever, and some unmemorable tunes to go with it.

Even as my favourite composer, I would admit to knowing that he has been known to need help with INTRODUCTIONS to songs, and the musical directors & arrangers you know also probably had to tweak the endings due to singers not being able to successfully do the end notes.

Again, I know there's no way to win people over, it's just a shame he gets such a bad reputation especially on this board which turns off potential fans.

[frontrowcentre2]

Posted: 9/8/10 at 1:48am

Reply to huskcharmer who wrote:
Almost all of the recent Sony shows have a weird hollow, tinny, distant sound to me.

Check your speaker connections...if they are out-of-phase you will get that hollow unnatural sound. I checked all the recent Sony issues and they sound fine here, and we get the same pressings in Canada as are released in the USA.

[chewy5000]

Posted: 9/8/10 at 8:34am

frontrowcentre, which recordings of Porgy and Bess would you suggest? I currently have the 1959 film soundtrack (which now seems to be out of print? I'm not sure) however would like to experience the full(ish) show.

[Mister Matt]

Posted: 9/8/10 at 1:34pm

Personally, I like the 1940 Decca release for historical reasons, but I believe the 1977 Houston Grand Opera recording on RCA (available in 3 CDs or a single-disc highlights) is generally considered to be the definitive Porgy and Bess recording.

[frontrowcentre2]

Posted: 9/8/10 at 5:45pm

Mister Matt is right: RCA's 3-CD set of the Houston Grand Opera production is as definitive as we'll likely ever get. Beautifully sung and vividly "staged" for records to put the listener right in the middle of the action. It is a bit pricey:
http://www.amazon.com/George-Gershwins-Porgy-Houston-Grand/dp/B000003EMO/ref=sr_1_10?ie=UTF8&s=music&qid=1283981590&sr=8-10

The film soundtrack was for many years the preferred "highlights" version even if the orchestrations are a bit overdone. It was legitimately released on CD by U.K. Sony in 1995 but that edition went out-of-print quickly. Some of those PD labels have put out bootleg copies taken from Lp editions - some sound downright terrible.

Decca's disc of the original cast suffers from that flat sound that afflicts all the old Decca recordings, and of course there are millions of trims here and there to fit the material onto 4-minute 78-rpm sides.

For a well sung selection try RCA's 1963 disc with Leontyne Price and William Warfield: http://www.amazon.com/Porgy-Bess-Performance-William-Warfield/dp/B00000I9MJ/ref=sr_1_4?ie=UTF8&s=music&qid=1283981590&sr=8-4

[twinbelters]

Posted: 9/8/10 at 6:38pm

http://www.amazon.com/Masterworks-Heritage-Gershwin-Porgy-Bess/dp/B000007QCJ/ref=sr_1_1?ie=UTF8&s=music&qid=1283985394&sr=1-1

I have the Sony Masterworks Heritage version and like it quite a bit. It's been a while since I've listened to it but I recall many people telling me it was the definitive recording.

[binau]

Posted: 9/8/10 at 7:15pm

How do you guys store your cast albums?

My 'physical collection' is now approaching 80 [LOL obviously doesn't compare to you guys 000's etc.] and the draw I keep them in is getting a little heavy.

Updated On: 9/8/10 at 07:15 PM

[frontrowcentre2]

Posted: 9/8/10 at 10:35pm

Storage...

My CD cast album collection is filed alphabetically by title (then by year of production/recording) on shelves made especially for CD storage. (You can catch a glimpse of this in my profile pic.)

Artists CD's (including collections by show performers Ethel Merman, John Barrowman, Linda Eder etc) are filed by artist on their own shelves, the Classical/Composer collections are filed by composer name (this includes collections by show composers Rodgers, Porter, Berlin etc) also have their own section.

The Lps are housed in LP storage units in a walk-in closet and are similarly organized.

These items aer all catalogued in a database program called PC File.

Most of the Cd's have been copied onto a 320 Gig hard drive and it is from there that I program the tracks used on my radio program. (This saves much wear and tear on the CD's taking them out and listening to the start and end of each song, then putting them back. With the music programming software I can arrange the songs in a given order and determine if the sequence works.)

I get asked a lot if having the music in digital form renders the actual discs unnecessary. Not at all. First of all hard drives can fail and formats change. Also I like having the notes/librettos to study while listening or to take into studio with me for reference.

[jacobsnchz14]

Posted: 6/16/11 at 11:47pm

Any additions to the 2000s section of the original list? Or top recordings from 2010/2011? Revisited this list and I am grateful it exists!