Little moments on cast albums that you love- Page 2

[gypsy101]

Posted: 12/22/14 at 1:25am

I just remembered that awesome tension when Barbara Cook and Barbara Baxley sing "What's in a name?" in She Loves Me.
Maria Karnilova singing "Do I WHAT?" at the beginning of "Do You Love Me?" Fiddler
Idina Menzel and Kristin Chenoweth do this really cool riff in harmony at the end of "What is this feeling?" in a terrific harmony..."Loathing youuuuuu...my whole life long." Always loved the delicious harmony.
Jane Connell singing "Gooch's Song." Specifically right before her very last note. I get nervous for her. And then so thrilled.

Updated On: 12/24/14 at 01:25 AM

[Fantod]

Posted: 12/22/14 at 1:57am

The first few seconds of the South Pacific overture send chills down my spine

[broadwayboy223]

Posted: 12/22/14 at 3:18am

One of my favorites is in the original cast album of Funny girl. During the intro of People "we travel single.." I'm obsessed with the way Barbra says down on the phrase "with them just let one kid fall down and seven mothers faint.." I also just think the whole The music that makes me dance is a moment.

[Mister Matt]

Posted: 12/22/14 at 10:23am

Armelia McQueen's high-pitched "BAH!" in Handful of Keys from Ain't Misbehavin'.

Right before the bridge in You Could Drive a Person Crazy on the London revival recording, the last-second, "I hate you!"

In Model Behavior from Women on the Verge, "Are you there?...Are you there?... Are you-okay you're not there but we need to talk".

Chandra Wilson's line in Dotty and Caroline from Caroline, or Change, "I got a boyfriend..."

[OperaBwayLover]

Posted: 12/22/14 at 9:00pm

I'll think of some more later, but the first one that comes to mind for me is during "Wheels of a Dream," the OBCR of Ragtime. When Brian and Audra come together and sing the phrase "Beyond that road," it's so gorgeous and they blend so well, along with the meaning of the song...that part gets me every time.

[gypsy101]

Posted: 1/5/15 at 9:38am

It's a little obscure now, but Shirley Booth in A Tree Grows in Brooklyn, I love the song Love is the Reason. The moment that is my favorite is when she pronounces "generally" as "genrarally" with an extra r, it's hilarious.
Idina Menzel's "never fear, I'll be here" in the Life of the Party...that whole performance is fantastic.
Barbara Cook and the final note of "My White Knight." (Although Barbara Cook singing anything is cause for celebration).

[carolineorchange21]

Posted: 1/5/15 at 10:20am

Mary Martin's crescendo in the final lines of 'A Wonderful Guy' repeating I'm in love x 7 with the chorus and orchestra just flourishing behind.

"How can there be any sin - in - sin-CERE..." MUSIC MAN OBCR. That recording is perfect in some places and the Barbara cook/Buffalo Bills counterpoint in 'Lida Rose/Will I Ever Tell You?' is the stuff of dreams.

"Ben, it's me" Dorothy Collins is MVP in my opinion on the Follies OBCR. Not a flaw. The show itself was given new life in the Kritzerland remaster and I was able to fully appreciate Tunick's orchestrations. I loved the woodwinds behind Alexis and Dorothy in 'Waiting For The Girls Upstairs'.

[NeverSoShy]

Posted: 1/5/15 at 10:30am

As well as the previous bits mentioned from Model Behavior I love the 'What's the name of that cheese that I like?' and the 'they scratched out the number... and misspelled vagina', Benanti's delivery is just perfect.

Also the harmony at the key change in Love While You Can from If/Then on the line 'So, love wherever and whenever and however love is.' is probably my favourite little bit of the cast recording

[IronMan]

Posted: 1/5/15 at 1:31pm

On the London OCR of "A Little Night Music" during Glamorous Life when Jean Simmons yells, "No hot water... again?" and "Where the HELL is the stage manager?"
-I imitate these lines often when appropriate.

Joanna Gleason's "What...was THAT?" during "Moments In The Woods"

And every time a movie subtitle says "____ years later..." I always hear the melody from Three Friends in "Closer Than Ever" in my head.

[Visceral_Fella]

Posted: 1/5/15 at 7:41pm

The ensemble member who sings "And the fitting room smell like sweet perfume" during the breakdown of Miss Celie's Pants from The Color Purple Cast Recording, is a star, and worked the HELL out of that one line. I crack up every time I hear it because she did so much, on that one phrase.

[songofendlesswondder]

Posted: 1/7/15 at 10:39pm

"I'll pour peroxide on my head...naw...I'm not doing that." Audra singing Raunchy in 110 in the Shade.
"So divine...Where is Mine??" Ripley and Skinner in the Original Sideshow Tunnel of Love
"He was gone but he still was there..." Patti singing Invisible from Women on the Verge. I love that song

[theatregeek6]

Posted: 1/7/15 at 10:54pm

MJT on he Pippin OBC in morning glow where he octaves up on the last chorus

The fact that they included the 'bows' and 'exit' music in How to Succeed

The counterpoint in 'soon/now/later' from ALNM

The incredible harmony of Linda Eder and Christianne Noll on 'In His Eyes' from Jekyll and Hyde

New one: the perfect pause from Rob McClure in 'I love Betsy' from Hineymoon on the lyric 'I like opera.....that's not true'

Jeremy Jordan's last line of the act 1 close of Santa Fe from Newsies

[Robbie2]

Posted: 1/8/15 at 1:55am

The orchestral warm up leading into the opening number ~ Magic to Do in the revival of Pippin just one of many...

[BwayinVan]

Posted: 1/8/15 at 2:08am

The moments between Sam and Molly during Unchajned Melody/The Love Inside...ugh had it on in the car and was crying like a baby in rush hour traffic

[ZiggyCringe]

Posted: 1/8/15 at 2:35am

That moment when La Chaze sings "Waiting for Life to Begin." the first time in "Once on This Island."

And the moment in "Closer Than Ever" when Sally Mayes sings "...and then I see his eyes are grey. Oh God, I've been here before." And the best lyric, "Why should I rush to prove that I can break my heart all over," followed by the best key change ever, with Lynn Wintersteller singing harmony. It kills me every time.

Johnny Mercer's lyric in 'Lil Abner, "I'm Past my Prime." My favorite version is Ripley and Skinner on one of their duets albums, but the terrific lyric is "When you is antiquated ors/and you're dedjucated". First of all, the ors/and is a funny hillbilly thing, but dedjucated is not even a word. Mercer made it up. But doesn't it make sense? It reads Deaducated, meaning worse than non educated. And dead. It's that rare thing where you think its a word, but it really isn't, and Mercer's nonsense word says more than a real word ever could. And its a true rhyme.



Updated On: 1/8/15 at 02:35 AM

[Mr. Nowack]

Posted: 1/8/15 at 2:56am

Oooh speaking of ONCE ON THIS ISLAND, the part where she sings "Don't single me out, and then forget me" as the key changes with a solo trumpet behind it is one of my all-time favorite cast album moments.

[Larcen26]

Posted: 1/8/15 at 4:31pm

When Mandy accidentally starts singing when he isn't supposed to during Lily's Eyes.

Right before the final verse after "Would God had let her stay..." Mandy comes in with the word "She" when Robert Westenberg is supposed to be singing alone...

[Kevinoes]

Posted: 1/8/15 at 4:54pm

- When the strings come in after the guitar vamp in "Say It Somehow" from Light in The Piazza.
- The last chorus of "You Can't Stop The Beat" with all those voices together!
- Idina when she starts singing "Over The Moon" ('I am forbidden...') I remember where I was, what I felt the first time I heard that voice.
- All of Whitney Bashor in "Another Life" from Bridges of Madison. Just pure.
- 1969 Concept Album of JSC: Overture: the beginning of the '39 Lashes section' always gives me chills.
- The teeny, tiny 'Oh My God' in "Something Just Broke" from the 2004 Assassins -- and yes, I know that's deliberate.
- The bare, awaiting vamp in "See I'm Smiling", especially during the last chorus. Soul-crushing.
- The strings section grinding away when Len Cariou enters in "Prelude" on the OBC of Sweeney.

[The Glenbuck Laird]

Posted: 1/8/15 at 5:30pm

'If you've proved all there is to prove, got nothing left to lose
Just walkaway, walkaway,
If you've done all there is to do
There ain't nothing left for you,
Just walkaway, walkaway, walkaway'

[Mr Roxy]

Posted: 1/8/15 at 5:45pm

I am more interested in a song or the album itself than the precise minute and second or vocal inflection on a track. As far as I know, there is not a category for this with either the Tony or Grammy awards.

[Enjolras15]

Posted: 1/8/15 at 9:56pm

For me it's in Les Miserables on the 2010 London Cast Album of Les Miserables when Gareth Gates sings in reply to John Owen Jones - Who Am I? "You're Jean Valjean". It gets me all the time.

[peerrjb]

Posted: 1/8/15 at 10:23pm

"Cool Considerate Men" (1776), the breathtaking orchestration behind the mad-dog vocals when, after "...and that is why they will follow us..." "To the RIGHT..." That recording so brilliantly captures what Onna White did with the actors onstage. Prescient and Terrifying.

Barbara Harris [well, in anything] transforming from Eve to Barbera to Ella to Passionella on "The Apple Tree" album - "What Makes Me Love Him?" in Act One, into her faux-traumatized "Sajar, Sanjar, this choice is tearing me apart... " [eats grapes], to "I just wanna be a beautiful, glamorous movie star -- for its OWN sake" in Act Three quickly followed by Passionella who, when looking at her brand-new boobs, roars "LookatTHOSE!!!!" My jaw drops every time. Individually and cumulatively.

The first time I heard Robert Rounseville's first verse of "It Must Be So" on the OBC "Candide", his artistry made me gasp in awe. Still does. (And the orchestration is no mean thing, either.)

In the long opening sequence from TITANIC, the final build into "Sail On" -- orchestrally, vocally, emotionally, dramatically -- all the way through to its final note. Maybe it's because the night I first saw it (the 2nd or 3rd preview in NY) the audience was FULL of working actors [it was the Monday night after Easter], and I have NEVER heard an audience explode with applause and cheers as they did that night. Chills to be re-enjoyed on the album.

Irene Ryan "Just No Time At All" in PIPPIN's OBC recording. A vaudeville-queen tune for a vaudeville honey.

Finally, TINTYPES: Carolyn Mignini's "Toyland" and Lynne Thigpen's "Nobody". And the last chorus of "I'm Gonna Live Anyhow Till I Die". Oh. Lord. What. Artists!!!

[Demitri2]

Posted: 1/9/15 at 5:57pm

Harold Arlen singing the word LIKE for Diane Carroll at the very end of I NEVER HAVE SEEN SNOW on the HOUSE OF FLOWERS cast album. Apparently Carroll had a touch of laryngitis on the day of the recording and was unable to hit the high note. Hearing Arlen's voice edited into the song is a hoot.(Marilyn Cooper's voice on I CAN GET IT FOR YOU WHOLESALE was also much huskier and raspier due to a bad cold too yet she sounds great).

[Fantod]

Posted: 1/9/15 at 8:27pm

Even though I am decidedly not a fan of Love Never Dies, I love the sound of the waves and the gulls at the very beginning of the album

[carlodowd]

Posted: 1/9/15 at 8:32pm

When Elaine Stritch sings her first "mmmmmmhhh" in The Little Things You Do Together on the Company OBC. Gives me chills every time!