"Hello, Dolly" 2017 Cast Recording — Page 6

For those who bought the actual physical cd from Amazon, Barnes & Nobles, etc., I have a question. I bought two and when I opened both, I noticed immediately that the song list and UPC code on the back of the actual cd, were upside down. I had to take the plastic holder out and turn around the inside paper. Now this probably was a manufacture's error, but you never know nowadays. Can anyone check their cds and see if yours is upright or upside down? I'd like to leave the cd casing the way the manufacturer intended. But upside down seems really odd. Thanks. (Note: It's a OCD thing!!)

Could we put together a petition asking for the CD to be remastered? Even though it may be ignored, it would make a point and may generate publicity on this important issue so upcoming recordings don't suffer from this fate.

To those of you complaining about the length of the album, the original was 42 minutes, the 1994 recording was 56 minutes, and the new one is 53 minutes, so it's not like their's a huge difference between the length of this album and it's predecessors. They also have roughly the same number of tracks, with the 2017 recording having one more track than the 94 recording.

I am not particularly bothered by the sound of this album (most of what's being discussed here is beyond my level of aural sophistication), but rather the performances. The tempos are sleepy, metronomic and lacking any sort of rubato/flexibility. I love Bette and I look forward to seeing her performance in person, but her rendition of "Before the Parade Passes By" and (especially) "Hello, Dolly" here are lacking any hint of personality and verve. Part of that is the slow and inflexible tempo: the title song is borderline lugubrious. I feel like she was coached into being overly-reverent of the material to the point of being too safe. Her ad libs are so safe and restrained.



By contrast, you have Mary Martin in the London Recording building to a triumphant "Olé, Olé!" by the end of the title track. Her voice breaks a bit, but it's exhilarating. Channing, Bailey, and especially Streisand chirp beautifully around the melody, both musically and character-wise. Midler just kind of... floats across from one end of the song to the other in a straight line, like a half-deflated helium balloon. I know she's capable of doing a lot more with this material, and is probably doing so in the actual show.

ANOTHER NOTE TO BK-

A CD release of the four "Movie Music In A Small Texas Town" recordings would rock my world!!! Those who have never heard them don't know what they're missing. I hate to sound grabby, but if rights are not an issue, how about "Two Film Scores For Solo Piano" and "Christmas 1975", as well? I have a copy of Harvey's earlier private CD pressing of A TEXAS ROMANCE, 1909, and BAD COMPANY may be tied up with the studio, but nothing ventured, nothing gained.

OK, folks, back to DOLLY!

Cat Guy said: "Synced the CD to my MP3 player and listened to it this morning on my daily run. Pure bliss! Couldn't stop smiling, and the miles just flew by. Didn't even mind those dreaded hills. There is not one single negative comment I can make about this joyous cast recording. I will enjoy it over and over again. It is everything I hoped it would be, and is now a treasured addition to my Bette music collection.



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I love it so much. I have now heard it a few times. Definitely helps me relive those two wonderful nights I got to see it live. Great cast album.

Dollypop said: "By the way, have we discussed what a swell job Bette does on "So Long Dearie"?"

I said the same thing to myself listening to the cast recording in the car today; I think it's her best track captured here (she gives more of her on stage "character" on it than any other of the tracks, I think).

Dollypop said: "BK--I've read your comments with great interest but could you explain for the layman what "air" and "space" mean on a recording?



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Just other words for what is reverb - this new recording is flat as a pancake - while they've added a little, it's very tight and not much different than the dead room they recorded in. If you listen to the 1994 album we did, you can hear exactly what air and space is - they sound like they're in a big space rather than a closet - same with any Goddard Lieberson Columbia album. I do understand the kiddies will enjoy this because it sounds like all the other dead cast albums of the past decade. Or they'll love it because it's "their" cast album rather than an older one. I do get it. It doesn't make it good, but I do get it. :)

StageStruckLad said: "Not to hijack this thread, but I have a cast album question for BK. I saw the Encores Golden Apple last night and loved it. Any idea what it would cost to record that show in the studio?



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Hugely expensive. It's a very long score with a big orchestra and large cast. Doing it in a studio means AFM and AFTRA rates - AFTRA has no low-budget recording agreement, the AFM does, although it would still be way too expensive and you'd have to sell a huge number of CDs to even come close to making that money back. The only way it could happen is if an estate wanted to pay for it, or if some arts organization wanted to fund it - and there's always Kickstarter :)

Thanks BK. I guess our best hope is the Latouche estate, but since they didn't finance an Encores Cabin in the Sky recording, that's probably unlikely.

Sorry again for the interruption, folks. Back to Dolly.

Updated On: 5/14/17 at 10:54 AM

Jeez. Talk about a tough crowd. Is this recording absolutely perfect? No. Is it divine? YES.

While I do appreciate the more 'brash' orchestrations for 'Sunday Clothes' and the title song on the OBCR from '64, I have quickly grown to appreciate the build up to the final chorus of 'Sunday Clothes' on this version (I will agree the chorus sounds a little too 'Ragtime-ee' at times).

And I thought Bette's warmth and joy was stamped all over this, especially in 'I Put My Hand In' and especially in 'So Long Dearie.' Bette's distinctively 'Bette voice' truly shines here, and reminded me of the 'Tits-ling' song from Beaches.

How wonderful that we can debate over how good a 2017 cast recording of 'Hello, Dolly!' starring Bette Midler is.

For me, the main thing this album shows is just how crucial the audience reaction is to the success of this production. In the theatre, the crowd generates a palpable electricity. Without it, we're left with this generally cold and antiseptic recording.