Maybe It's Me [Import]

1. Friend of Mine

2. How She Died

3. Stupid Thing to Say

4. Kareen

5. Red

6. Fade

7. Ever She Flows

8. Forever Knowing

9. Mercury Smile

10. Christ Is on the Lawn

11. Scatterbrain

12. Takes Me Down

13. Left Feeling Odd

Tracks:

Let Me Entertain You (Gypsy)
Blame It On The Summer Night (Rags)
Raise The Roof! (The Wild Party)
I'd Rather Leave While I'm In Love (The Boy From Oz)
On My Own (Les Miserables)
Colored Lights (The Rink)
I'm The Greatest Star (Funny Girl)
Who Are You Now? (Funny Girl)
They All Laughed (Shall We Dance?)
Sex (Skirts)
Maybe This Time (Cabaret)
I Enjoy Being A Girl (Flower Drum Song)
Anytime (I Am There) (Elegies: A Song Cycle)

Customer Reviews:

What's happened to Debbie?.......2005-04-15

I am not a staunch Gibson fan like most of the drooling 5-star reviews here. But I loved her in the 80's and think her to be a talented singer-songwriter who puts modern pop moppets to shame. I thought it was awesome when she broke into Broadway and made a steady career of it.
Then I heard 'Colored Lights'.
I ask, Debbie!(sorry, DEBORAH), what has happened to you??
Like others here, I applaud her choice to include lesser-known songs. But in doing so, it really behoves her to SELL them as great songs, not rework them for her own interpretation. I felt like I was listening not to the pure-toned, crystal voice of our favourite teen idol, but someone doing a bad impersonation of her. There is hardly a single line she sings which isn't punctured by bad ennunciation, poor phrasing or a lack of respect for the intent of the composers.
There were no gravelly growls(meant to sound sexy, no doubt, but too overdone to succeed), breathy sighs, uneven tone, lacklustre dynamics, excessive scooping, wavery pitch and lack of top range in the Debbie Gibson I remember. But her voice on this album is such a mere shadow of its youthful self that she resorts to these irritating vocal bandaids to get through the song. Any track that had a 'big finish' invariably caused her to run out of steam long before she got there. A belter, Deb is not.
(and I know what I'm talking about, I'm a trained singer myself. If Deborah has a singing teacher, he/she should be shot).

This album was a huge disappointment for me. I love Broadway, but Deb fails terribly to give these songs the great renditions they deserve.
I should add, I have never had the fortune to see Deb sing live, so for all I know, maybe she COULD have done these songs justice had she avoided the pop slant. But this album shows neither the songs nor any talent she still has to advantage at all.

Listen to some Idina Menzel if you want a pop-feel voice that can also out-Belt them all.

A Taste of Broadway.......2004-10-13

I've been a fan of her since God only knows. I know she's not just talented but she is very passionate of (her) music. Knowing that she moved herself into broadways, it's rather of a challenge for me to listen to the songs especially when I'm too familiar with her pop genre. But after a while, I'm used to it coz Debbie is still Debbie to me. She's not afraid of re-arranging the original song to her style, at least she knows what she's doing and again she's proven it. My most favourite track is "Colored Lights", it's light, cheerful, somewhat witty and, in a way, brings up my imagination of seeing her (and the casts) on stage performing the song. All in all, Debbie still has a class and style for us to share.

OUCH!.......2004-08-23

Deborah Gibson is a talented rock star. With a good musical director, she has proved herself to be a wonderful musical theatre performer. This album, however, is a very uneasy marriage of the two genres. She sings every showtune on the album as if it's a pop tune with horrendous bubble gum arrangements. I have seen Miss Gibson in two musicals and have heard her sing showtunes live on other occasions- she knows how to sing showtunes. On this album, however, she's trying to pander to her pop audience and in the process, she created an album that fails as a pop album and as a showtune album. I can only hope that Miss Gibson finds a better musical director the next time she decides to record showtunes.

(Deborah Gibson ) AT HER BEST!!!!.......2004-04-23

Deborah really sing's her heart out on this cd
and it is a must for all of Deborah's Fan's.
Please take the time out and listen to some clip's
of some of the song's from the album. Thank's.

Love You Deborah!!!!
You are the Best!!!!

Deborah delivers deliciously.......2004-02-13

After more than 15 years in the business, Deborah Gibson has learned many lessons and fulfilled many dreams. After 2001's horrifyingly misguided "M.Y.O.B.," she returns to the adult contemporary sound that landed her two number one hits on the Billboard charts, and turns that up a couple of notches. By selecting 13 showtunes from varying Broadway musicals, Gibson satisfies immensely, and delivers a unique compilation worthy of at least one full listen.

"Colored Lights" is not meant to be a showcase of hit tunes; many of the songs on this opus aren't radio hits. Instead, Gibson puts together a delicious smorgasbord of rhythmic melodies and heartfelt ballads that complement her voice (that, strangely enough, hasn't seemed to change that much after more than a decade in the industry).

What is also important to consider in one's evaluation of "Colored Lights" is that, while comparison with the original works/performers is inevitable, we should also take the time to consider that Gibson's pop sensibilities will always shine through. Perhaps it is for that reason, that Gibson has had the best of both pop stardom and Broadway success, that she gives new dimension to these melodies.

The standouts on this collection include "I'd Rather Leave While I'm in Love," which radio would do well to pick up, as the soothing melody and heartfelt delivery will find AC audiences easily; "On My Own," off "Les Miserables," where Gibson as Eponine sounds both heartbroken yet hopeful; the playful title track, from "The Rink," which features some of the most whimsical lyrics I've heard off Broadway thus far; "Raise the Roof," which is truly enjoyable in its pseudo-Latino reincarnation in Gibson's hands (yes, it does beg for a house remix; Gibson's gay audience will see to its success), and "Anytime (I Am There)," which is heartbreaking in its stark delivery, and is easily one of my top five Gibson tracks of all time.

Admittedly, Gibson can't overcome comparisons to the definitive versions of some of the songs. Let's face it: Debbie ain't no Barbra. Her versions of "I'm the Greatest Star" and "Who Are You Now?," while stellar on their own, just fall flat when compare to Streisand's. "Let Me Entertain You," off "Gypsy," ironically, isn't very entertaining, and "Blame It On The Summer Night" drags on.

Tracks:

Anything Goes [From Anything Goes] - Elaine Page
I Dreamed a Dream [From Les Misbles] - Patti LuPone
Easy Terms [From Blood Brothers]
Movie in My Mind [From Miss Saigon] - Joanna Ampil, Sonia Swaby
I'm in Love With a Wonderful Guy - Gemma Craven
Losing My Mind [From Follies] - Julia McKenzie
Last Man in My Life [From Tell Me on a Sunday] - Marti Webb
I Don't Know How to Love Him [From Jesus Christ Superstar] - Claire Moore
Smoke Gets in Your Eyes [From Kern] - Elisabeth Welch
Wasted Life Blues [From Blues in the Night] - Carol Woods
Maybe This One Time [From Cabaret]
I Got Lost in His Arms [From Annie Get Your Gun] - Suzi Quatro
As Long as He Needs Me [From Oliver!] - Sally Dexter
Someone to Watch Over Me [From Crazy for You - Ruthie Henshall
On My Own [From Les Misbles] - Kaho Shimada
Tell Me It's Not True [From Blood Brothers] - Stephanie Lawrence

Customer Reviews:

The DIVAS Collection is filled with West End Divas!.......2001-12-26

This cd entitled, "The Divas Collection" is a compilation album filled with West End Divas and Their favorite songs from the shows they played in!

1)"Anything Goes" - Elaine Paige
2)"I Dreamed A Dream" - Patti LuPone
3)"Easy Terms" - Petula Clark of Blood Brothers
4)"The Movie In My Mind" - Joanna Ampil & Sonia Swaby
5)"I'm in Love With A Wonderful Guy" - Gemma Craven
6)"Losing My Mind" - Julia McKenzie
7)"The Last Man In My Life" - Marti Webb
8)"I Dont't Know How To Love Him" - Claire Moore
9)"Somke Gets In Your Eyes" - Elisabeth Welch of Kern
10)"Wasted Life Blues" - Carol Woods of Blues in the Night
11)"Maybe This Time" - Kelly Hunter
12)"I Got Lost In His Arms" - Suzi Quatro
13)"As Long As He Needs Me" - Sally Dexter
14)"Someone To Watch Over Me" - Ruthie Henshall
15)"On My Own" - Kaho Shimada
16)"Tell Me It's Not True" - Stephanie Lawrence of Blood Brothers

Tracks:

The Story Goes On
Frank Mills
A Wonderful Guy
Another Suitcase, Another Hall
Tom
How Lovely To Be A Woman
It Might As Well Be Spring
Just For Tonight
A Change In Me
I Know Him So Well
Nothing
Sooner Or Later
Much More
Maybe This Time
Carbaret

Average customer rating:

Collection: Say It With Music (Dlx)
Andr Kostelanetz
Manufacturer: Collectables
ProductGroup: Music
Binding: Audio CD

General | Soundtracks | Styles | Music

General | Easy Listening | Pop | Styles | Music

Easy Listening | Pop | Indie Music | Stores | Music
ASIN: B00007L8X4
Release Date: 2003-02-18

Tracks:

Say It With Music Remember Blue Skies
Top Hat White Tie And Tails How Deep Is The Ocean (How High
This Is The Army Oh How I Hate To Get Up In The Morning Soft
Whatll I Do Always The Song Is Ended (But The Melody Lingers
The Piccolino Cheek To Cheek
White Christmas
The Girl That I Marry Say It Isnt So Mandy
Give Me Your Tired Your Poor God Bless America
Smoke Gets In Your Eyes Yesterdays
Ive Told Every Little Star The Song Is You
The Night Was Made For Love She Didnt Say Yes All The Things
Look For The Silver Lining They Didnt Believe Me Long Ago (A
I Dream Too Much The Jockey On The Carrousel
Why Was I Born The Way You Look Tonight Who
Make Believe Bill
Why Do I Love You You Are Love Ol Man River
Fascinatin Rhythm
Mine
The Man I Love
Embraceable You Soon
I Got Rhythm
Bess Oh Wheres My Bess
S Wonderful
Maybe
Someone To Watch Over Me Oh Lady Be Good
Embraceable You
Strike Up The Band
Begin The Beguine
All Through The Night
I Concentrate On You
I Love You
Night And Day
In The Still Of The Night
Ive Got You Under My Skin
Blow Gabriel Blow
Just One Of Those Things (Bonus Track)
Hallelujah Time On My Hands
Tea For Two
Carioca
Without A Song
More Than You Know
Orchids In The Moonlight
Sometimes Im Happy I Know That You Know
Through The Years Drums In My Heart
Malaguena
La Cumparsita
Mexicana Medley
Yours (Quiereme Mucho)
Siboney
Caminito
Adios
No Taboleiro De Bahiana
The Moon Of Manakoora
Lotus Land
Kashmiri Song
Jamaican Rhumba
Flamingo
Poinciana (Song Of The Tree)
Andalucia
Sweet Leilani (Bonus Track)
Frenesi (Cancion Tropical) (Bonus Track)
Show Boat
South Pacific
Slaughter On Tenth Avenue
An American In Paris
Porgy And Bess

Album Description

The multi-faceted Andre Kostelanetz left his mark on the music world as an acclaimed conductor/arranger/accompanist. His most notable contribution is the creation of the Easy Listening genre, done by bridging the gap between Classical and Pop music. Highlights on this 6 CD box set include Irving Berlin's 'Cheek To Cheek', George Gershwin's 'The Man I Love' and Jerome Kern's 'Smoke Gets In Your Eyes'. Includes 3 bonus tracks 'Just One Of Those Things' (Cole Porter), 'Sweet Leilani' (from Waikiki Wedding) & 'Frenesi' (Cancion Tropical). Standard jewel cases housed in a deluxe wooden box w/hinged lid (approx. 6 x 5''). Collectables. 2003.

Average customer rating:

Awesome
Ever She Flows...
One Redeeming Feature
Terribly Underrated
another incredibly under-rated canadien rock group

Maybe It's Me
Treble Charger
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | Rock | Styles | Music
Similar Items:

Treble Charger (self-title)
Detox
NC17
Wide Awake Bored
Wide Awake Bored

ASIN: B000002X29
Release Date: 1997-07-29

Tracks:

Friend Of Mine
How She Died
Stupid Thing To Say
Kareen
Red
Fade
Ever She Flows
Forever Knowing
Mercury Smile
Christ Is On The Lawn
Scatterbrain
Takes Me Down
Left Feeling Odd

Customer Reviews:

Awesome.......2005-02-13

1. 4/5 Friend Of Mine: Nice guitar and prechorus.
2. 3/5 How She Died: Nice verse rhytm.
3. 5/5 Stupid Thing To Say: Beatles influence. Catchy chorus.
4. 4/5 Kareen: Good prechorus and tuning.
5. 4/5 Red: I think only the chorus is good.
6. 4/5 Fade: Flowing pop-rock song, last verse is great.
7. 3/5 Ever She Flows: Instrumental is nice kind of sombre.
8. 2/5 Forever Knowing: Okay, nice guitar after chorus.
9. 3/5 Mercury Smile: Darker heavy-ish song, last verse is catchy.
10. 5/5 Christ Is On The Lawn: Nice instrumental. Sounds like Shakira's "Underneath Your Clothes".
11. 5/5 Scatterbrain: Catchy horns and trumpets especially during the bridge.
12. 5/5 Takes Me Down: Underrated and one of my faves, the duet chorus is catchy.
13. 5/5 Left Feeling Odd: Mellow and harmonious. Nice guitar bridge.

Ok so the songs ratings don't match up but it still deserves 5 stars.

Ever She Flows..........2003-08-15

Ever since I heard "Friend of Mine" on the radio back in '97, I've been a fan of Treble Charger. The album boasts some wonderfully creative songs in addition to some pretty decent songs. Basically, the album gets a 4 instead of a 3 because of the song "Red" due to the fact that it's such a great song, probably one of the best alternative rock ballads of its era. Overall, the album is interesting and is definitely worth purchasing. If you're a fan of the Modern Rock sound, this is a pretty good album from a pretty good Canadian band.

One Redeeming Feature.......2001-06-14

This album is comprised mostly of forgettable alternative pop. There is, however, one gem to be found on this album. The song entitled, 'Red.' It's a fairly soft song, and quite different from the rest of the album. It's low energy, but very nice in it's simplicity. It has a lead guitar solo which is short, straightforward, but soothing. 'Red' was accompanied by a video that aired on Much Music around the time of the album's release. I don't recommend purchasing the album, but give the song a listen if you have an opportunity.

Terribly Underrated.......2000-04-05

Wow! This is a fantastic CD. From the opening feedback of "Friend of Mine" to the end, it never fails to deliver. Really solid rock/pop guitar interlaced with Beatles and Beach Boys type melodies.

Where are you guys?

another incredibly under-rated canadien rock group.......2000-02-29

I had the priveledge of watching a treble charger show back in '97 when they opened for the Verve Pipe in saginaw, Michigan. Treble Charger was certainly the more enjoyable band. Their albums are inspiring, the lyrics are insightfull, and in today's market of junk music it's good to hear another strong rock and roll band. Keep up the good work, I'm sure the radio will start playing good music again soon.

The Columbia Albums of Irving Berlin, Vol. 1-2

Average customer rating:

The Columbia Albums of Irving Berlin, Vol. 1-2

Manufacturer: Collectables
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | New Age | Styles | Music

Meditation | New Age | Styles | Music

General | Easy Listening | Pop | Styles | Music
ASIN: B0000AHEU8
Release Date: 2003-09-02

Tracks:

It's A Lovely Day Today/Blue Skies
Maybe Its Because I Love/I Got Lost
You'd Be Surprised/I'll See You In Cuba
Always/Remember
Shaking The Blues/Play A Simple/Alexander's
Here's No Business/Got The Sun/Girl I Marry
Say It Will Music/Cheek To Cheek
It's A Lovely Day Tomorrow/ Now It Can Be Told
This Year's Kisses/Be Careful! Its My Heart
Lady Of The Evening/ Better Luck Next Time
Steppin' Out With My Baby/ You're Just In Love
Let's Face The Music/Say It Isn't So
How Deep Is The Ocean/I Never Had A Chance
Change Partners/Mandy
You Can't Brush Me/Everybody Step/Waiting At The End
Soft Lights/They Say It's Wonderful
Puttin' On The Ritz/Marie
I've Got My Love To Keep Me/Top Hat
What'll I Do/All Alone
A Pretty Girl/Isn't This A Lovely Day
Lazy/I'm Getting Tired So I Can Sleep
I'm Playing With Fire/Let's Have Another Cup
Heat Wave/Let Yourself Go
The Piccoline/No Strings

Album Description

Full Title - The Columbia Albums Of Irving Berlin Vols. 1 & 2. Composer, conductor, arranger Frank DeVol scored more than fifty movies and is best known as the composer for the theme songs for the TV series 'My Three Sons', 'The Brady Bunch' and 'Family Affair'. In the 1940s DeVol was an arranger for Dinah Shore, Tony Bennett, Rudy Vallee, Vic Damone and Doris Day. Frank DeVol received multiple Emmy Awards and Academy Award nominations for his extensive body of work. Irving Berlin's medleys featured are 'Always/Remember', 'A Pretty Girl/Isn't It A Lovely Day' and 'Say It With Music/Cheek To Cheek'. 24 tracks. Collectables 2003.

Average customer rating:

Great Album, but No Vocal Fireworks
Great Standards!!
Joni James at Abbey Road!

100 Strings & Joni
Joni James
Manufacturer: Collector's Choice
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music

General | Opera & Vocal | Styles | Music

General | Soundtracks | Styles | Music

General | Vocal Pop | Pop | Styles | Music

General | Broadway & Vocalists | Styles | Music

General | Jazz | Indie Music | Stores | Music

Traditional & Vocal Pop | Pop | Indie Music | Stores | Music
Similar Items:

My Favorite Things / Joni James Sings Gershwins
Platinum & Gold: Mgm Years
Like 3 O'Clock in the Morning/After Hours
Joni Swings Sweet/Bossa Nova Style
Something for the Boys/I'm Your Girl

ASIN: B00006B1L5
Release Date: 2003-02-11

Tracks:

My Heart Tells Me
Imagination
All Through The Day
Too Young
It Never Entered My Mind
Body And Soul
I Can Dream, Can't I?
Hi-Lilli, Hi-Lo
But Beautiful
Wait And See
It Could Happen To You
Maybe You'll Be There
I Couldn't Sleep A Wink Last Night
Let's Get Lost
I Can't Believe That You're In Love With Me
I'm In The Mood For Love
You're A Sweetheart
How Blue The Night

Product Description

1. My Heart Tells Me
2. Imagination
3. All Through The Day
4. Too Young
5. It Never Entered My Mind
6. Body And Soul
7. I Can Dream, Can't I
8. Hi-Lili Hi-Lo
9. But Beautiful
10. Wait And See
11. It Could Happen To You
12. Maybe You'll Be There
13. I'm In The Mood For Love
14. I Can't Believe That You're In Love With Me
15. Let's Get Lost
16. I Couldn't Sleep A Wink Last Night
17. You're A Sweetheart
18. How Blue The Night

Format: CD

Customer Reviews:

Great Album, but No Vocal Fireworks.......2005-09-20

This is a beautfully rendered album and Joni's voice is pitch perfect. She sings every note as written. But she takes no interpretive chances and there's no vocal fireworks. The real accomplishment here are the splendid arrangements by Jeffrey Osborne and Geoff Love - two men who never met a huge orchestra they didn't like. The lush, layered arrangements are spectacular. The musicians are also first rate and for such a large gathering there's a fantastic cohesiveness. Though her singing is pleasant enough, Joni's voice is basically the 101st instrument in the entire ensemble.

Great Standards!!.......2003-02-15

This is a great album of classic standards with lush orchestrations. Joni's voice is incredibly smooth and expressive and the selections are some of the best of the Jerome Kern era of classic songwriters. My favorite is Imagination. Best version I have ever heard...as a matter of fact many of the tunes are my benchmark arrangements. If you are a fan of the 30's-50's classic love songs and ballads, this is for you!! Great for Valentines Day. Romantic stuff. This was one of my favorite albums on vinyl as a kid. Now I can get the CD. Yeah!

Joni James at Abbey Road!.......2002-07-23

Miss Joni James swept away on a veritable ocean of violins!
This classic LP remastered in pristine sound with tender torch tunes rendered "close to the microphone" by one of the 1950s most popular singing icons. Recorded in London at the famous Abbey Road studios with those lush, sweeping Acquaviva arrangements. Joni's most divine moment! (Tacked on to the original album are 6 tracks, also with the 100 Strings orchestra, of songs from her Jimmy McHugh tribute LP.)

Average customer rating:

Excellent performer
A unique project
Gershwin historical, manic, perfect, archival
Definative

Authentic George Gershwin, Vol. 1-4

Manufacturer: Asv Living Era
ProductGroup: Music
Binding: Audio CD

Preludes | Forms & Genres | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Jazz | Styles | Music

Swing General | Swing Jazz | Jazz | Styles | Music

General | Opera & Vocal | Styles | Music

Psalms | Vocal Non-Opera | Opera & Vocal | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

Traditional Vocal Pop | Broadway & Vocalists | Styles | Music

Classical | Box Sets | Stores | Music
ASIN: B0001Z2RSC
Release Date: 2004-08-24

Tracks:

Swanee
Come To the Moon
I Was So Young (You Were So Beautiful)
Tee-Oodle-Um-bum-Bo
Nobody But You
Limehouse Nights
Drifting Along With The Tide
Rhapsody In Blue
Oh Lady Be Good!
Fascinating Rhythm
Hang On To Me
I'd Rather Charleston
The Man I Love
The Half Of It, Dearie, Blues
So Am I
Kickin' The Clouds Away
Concerto In F

Tracks:

Sweet And Low-Down (I)
That Certain Feeling (I)
Looking For A Boy
When Do We Dance?
Sweet And Low-Down (II)
That Certain Feeling (II)
Irish Waltz
Do, Do, Do
Someone To Watch Over Me
Clap Yo' Hands
Maybe
Three Preludes: I. No.1: Allegro Ben Ritmato E Deciso / II. No.2: Andante Con Moto / III No.3: Allegro Ben Ritmato E Deciso
Meadow Serenade
My One And Only
'S Wonderful/Funny Face
He Loves And She Loves
An American In Paris
Liza
Strike Up The Band
Embraceable You
I Got Rhythm (I)
I Got Rhythm (II)

Tracks:

Of Thee I Sing
Jilted
Second Rhapsody
For You, For Me, For Evermore
Cuban Overture
Isn't It A Pity?
Variations On 'I Got Rhythm'
I. Catfish Row: Introduction - Jazzbo Brown - First Chorus, 'Summertime'
II. Porgy Sings: 'I got Plenty O' Nuthin' - 'Bess, You Is My Woman Now'
III. Fugue: Murder Of Crown, Act III Scene 1
IV. Hurricane: Introduction, Act II Scene 3 - Hurricane, Act II Scene 3
V. Good Morning, Brother: Occupational Humoresque, Act III Scene 3 - 'Good Morning, Brother' - Children's Song 'Sure To Go To Heaven' - 'I'm On My Way' (Finale)
They Can't Take That Away From Me
Let's Call The Whole Thing Off
Our Love Is Here To Stay

Tracks:

Girl Crazy Overture
French Ballet Class
Dance Of The Waves
Slap That Bass
Walking The Dog
I've Got Beginner's Luck
They All Laughed
They Can't Take That Away From Me
Shall We Dance
By Strauss
I Can't Be Bothered Now
The Jolly Tar And The Milkmaid (1st Version)
Put Me To The Test
The Jolly Tar And The Milkmaid (2nd Version)
Stiff Upper Lip
A Foggy day (In London Town)
Nice Work If You Can Get It
Things Are Looking Up
I Was Doing All Right
Love Walked In

Customer Reviews:

Excellent performer.......2007-03-09

This plates are wonderful. I was charmed, and when I close my eyes now, I see scenes with American in Paris or Porgy and Bess but my favorite piece of music is Rhapsody in Blue. It's more than excellent is fantastic. Jack Gibbons perfectly feels the unique tone Gershwin's music, the mixture rythms of jazz with influences of impressionists and clear and beauty melodies.
I'm fascinating.

A unique project.......2006-11-23

Gibbons' undertaking is unique: to reconstruct and then execute and record the note-for-note playing of Gershwin as documented on the composers' piano rolls, sound recordings and certain published arrangements. I agree with the reviewer who points out that the result is like a library and not a recital you sit back and listen to (or get up and dance to). In fact Gibbons does some editing of his "library" now and then, and clearly documents it in his liner notes: in some reconstructions he augments accompaniment effects and even the melodic line itself. I don't mind that at all, especially as Gibbons scrupulously accounts for such tampering in his liner notes; but it seems to me that it is in this area of "tampering" that Gibbons the artist is asserting himself...which of course undermines the "library", the "historical archive": you have to search and read a bit to find out when you're hearing only Gershwin and when you're hearing some added Gibbons. I don't mind; Gibbons is a remarkable artist in his own right, not merely an impeccable documentarian. For sheer generosity of production Gibbons' Gershwin must also be unique: 4 cd's, scholar-level liner notes (yes, you need a magnifying glass to read them), and rock-bottom bargain price.

Gershwin historical, manic, perfect, archival.......2006-06-12

First: this is 4 high-end produced cd's (in low-end jewel cases) for the price of 2. The liner notes of all 4 cd's are condensed in a booklet of microscopic print, so you may need to spend the savings on a magnifying glass. MONEY WELL SPENT.
Second: Jack Gibbons plays (and has recorded) the Alkan op 39 etudes (he probably plays a lot more Alkan than that). For those of you not in the know, this is to say he has world-class chops, indeed history-class (Liszt, who never played his friend Alkan, at least in public). But it's also to say that Gibbons knows how to interpret and personalize fantastically difficult piano music. For me, his Alkan op 39 is personal and passionate and real (contrast the facile and over-pedalled Hamelin and the just-the-notes-ma'me Ringeissen). An appreciation of Gibbons' Alkan is important here because while his Alkan is uniquely personal (as such music must be, no matter how hard it is to play) his Gershwin is deliberately impersonal...which is to say: no pianist, no singer would want to reproduce what Gibbons has given us in these 4 cd's, and in fact few listeners will be able to listen for long to these 4 cd's without a respite, a break , some silence, some minimal styling from somebody (anybody) else...which brings me to
Third: This is an archive, not a recital. This is a library, not a program. There is no track-by-track contrast of moods here, no track-by-track concession to easy listening, varied delight, any more than a library shelf of novels is alphabetized by authors' last names as a concession to mood or fancy or taste of the searching patron. This is the documented Gershwin in his recording mode: manic, notey, clever, "on", and never, as generations of stylists found in him, ravishing, tender, longing, sweet, glad, hopeful...person-to-person, in a word. I can listen to these cd's about half an hour at a time, max. This is Gerwhsin, not Gibbons. And this is just one side of Gershwin. He died at 38, in the summer. Brain tumor. A lot of pain.
Finally, Jack Gibbons has given the world a uniquely valuable and easily available resource. Gibbons could now do us a service by playing us some Gershwin as he feels it, as it hits him and makes him sing (as Gershwin, our American Schubert, does to all of us, and as I think Alkan has done to Gibbons). I would love to see a Gershwin stylings by Gibbons now that Gibbons himself has made sure Gershwin in his authenticity is safe and sound.

Definative.......2005-07-23

Here's the whole Gershwin catalog at a great price... Five plus hours of bliss. Definately five stars!

Gibbons, according to a family friend and biographer Edward jablonski "recreates Gershwin's style." I'll never know. I can say this is a lively recording and has the perfect balance. It's neither stuffy and plodding or cute.

Average customer rating:

Gershwin plays Gershwin
An Essential Gershwin Collection, Despite Variable Sound
The first disc especially is fantastic

Plays George Gershwin

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

Preludes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Jazz | Styles | Music

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ASIN: B000000WW1
Release Date: 1994-03-22

Tracks:

Rhapsody In Blue
Hang On To Me
Fascinatin' Rhythm
The Half Of It Dearie Blues
I'd Rather Charleston
Sweet And Low Down
That Certain Feeling
Looking For A Boy
Looking For A Boy
Do-Do-Do
Do-Do-Do: Someone To Watch Over Me
Clap Yo' Hands
Maybe
My One And Only
Three Preludes
'Rhapsody In Blue': Andante
S' Wonderful & Funny Face
Rhapsody In Blue

Tracks:

An American In Paris
Porgy And Bess: It Ain't Necessarily So
Porgy And Bess: The Buzzard Song
Porgy And Bess: Scene: Summertime - Crapgame - A Woman Is A Sometime Thing
Porgy And Bess: Bess, You Is My Woman Now
Porgy And Bess: I Got Plenty O' Nuttin
Porgy And Bess: Where Is My Bess?
Porgy And Bess: Summertime
Porgy And Bess: My Man's Gone Now
Porgy And Bess: Concerto In F - Third Movement
Porgy And Bess: Song Medley With Chorus And Orchestra: I Got Rhythm & Of Thee I Sing

Amazon.com

The first of these two discs gathers all Gershwin's commercially issued discs as a pianist, including the two abridged Rhapsody in Blue traversals, Gershwin accompanying the Astaire siblings, and twelve solo sides. Hearing the composer play his own music is like getting your ears cleaned out from 75 years of interpretive maulings. Gershwin's crisp touch, clear-cut and unsentimental phrasing, and rhythmic verve comes through more convincingly in these flat discs than in his much-vaunted piano rolls. Also included are the composer-supervised first recordings of An American in Paris and selections from Porgy & Bess, along with a flawed yet revelatory aircheck of Gershwin playing the finale of his concerto. No Gershwin lover should be without this important collection. --Jed Distler

Customer Reviews:

Gershwin plays Gershwin.......2006-01-26

George Gershwin's best-selling recording was a 1924 acoustical, black seal Victor disc that reproduced the recent world premiere of Gershwin's "Rhapsody in Blue." The Paul Whiteman Orchestra, which actually a big band with a few strings added on occasion, joined the composer in an edited performance that was intended to fill two sides of a single 12-inch 78-rpm disc. By 1924 the acoustical process had been refined to its highest possible standards; already Victor and Columbia were among the companies experimenting with electrical recording and would begin releasing commercial discs the following spring.

Although one is disappointed with the cuts in the familiar "Rhapsody in Blue," what did make it onto the original disc is quite remarkable. It certainly gives the first clear indication of Gershwin's brilliant piano playing. No one would ever play Gershwin's music with more enthusiasm and ability than the composer himself. The Whiteman orchestra plays Ferde Grofe's original arrangement and gives a clear indication of what the February 1924 premiere must have sounded like, even if the sonics are somewhat limited by the acoustical process. Only three years later Victor reunited the same musicians with Gershwin for an electrical recording, using the same cuts.

Gershwin's numerous piano solos, sometimes including his friends Fred and Adele Astaire (who had introduced some of the Gershwin songs in his musical comedies), are amazing. His virtuoso piano playing astonishes us and, for the most part, the sound on these early electrical recordings is quite good. A single microphone was usually placed close to the grand piano, picking up the best possible sound of that time.

The world premiere recording of "An American in Paris" was made in 1929 for RCA Victor, using a hand-picked orchestra that was conducted by Nathaniel Shilkret, Victor's longtime musical director. Gershwin was on hand, supposedly to supervise the recording of the complete score, but he reportedly "got in the way" and was asked to leave the recording studio. Then it was recognized that there was no one on hand to play the celesta solo, so Gershwin was asked to return and play the brief but impressive passage that adds to the magical moments of this innovative score. Also included were the original Paris taxi horns that Gershwin had brought back with him in 1928 for the first performance.

Alexander Smallens conducted Metropolitan Opera stars Helen Jepson and Lawrence Tibbett and a professional orchestra in excerpts from Gershwin's latest musical triumph, "Porgy and Bess." Although the folk opera had not yet achieved its later great success, many recognized the innovations of this score and RCA Victor asked Gershwin to supervise the recording of some of the important songs from his opera in 1935. While some may question the use of white singers to sing in Negro dialect, particularly when the first performances used a mostly black cast, not even the Metropolitan Opera used black singers until 1955 when Marian Anderson made her long-awaited debut in Verdi's "A Masked Ball."

Finally, there is a tantalizing excerpt from the "Concerto in F" in a special arrangement for Rudy Vallee's radio program on NBC. Gershwin occasionally appeared on radio programs, even hosting his own 15-minute show in the early 1930's, and this is one of the few surviving examples of how Gershwin could dazzle both the studio audience and the millions tuning in on their radios. It is a wonderful moment.

An Essential Gershwin Collection, Despite Variable Sound.......2005-05-14

That Gershwin (1896-1937) died so young from a malignant brain tumor was a tragic loss to the world of music. Like Mozart and Schubert, who also died while still in their 30's, Gershwin was just hitting his stride at the time of his death. Unlike Mozart, he wrote no symphonies or chamber music, but like Schubert, he was one of the greatest song writers the world has ever known. And as the Rhapsody in Blue and Concerto in F clearly demonstrate, Gershwin was probably the greatest "cross-over" artist in American history.

This 2-disc Pearl CD set, as Amazon editorial reviewer Jed Distler points out, is an essential purchase for anyone who loves Gershwin's music. Pearl adheres to an "as is" philosophy of transferring old 78 rpm records to CD. This results in very immediate sound, but a lot of shellac noise comes along with it. With a little twiddling of your treble knob, these performances are very listenable and thoroughly enjoyable.

To my mind, just about everything here falls into the category of "definitive" performance. The 1924 Rhapsody In Blue has more joy and exhilaration than any other recording made (and Gershwin's piano playing is heard more clearly than in the 1927 electrical re-make, fine as it is). It was recorded just four months after the world premiere at Aeolian Hall in New York City. What an event that must have been! The audience included such luminaries as Rachmaninov, Kreisler & Sousa. When the performance was finished, the audience roared its approval with a standing ovation that lasted 20 MINUTES!

The songs with Fred Astaire and his sister Adele are utterly delightful, and Gershwin's solo piano playing strikes me as a far truer representation of his art than his notoriously unreliable piano rolls available elsewhere. "An American in Paris," conducted by Gershwin's boyhood chum Nathaniel Shilkret, is irresistable (Gershwin even plays the small parts for piano & celesta, and the car horns he brought back from Paris are used here).

The original 1935 "Porgy and Bess" excerpts, conducted by Alexander Smallens, are wonderful. Jepson is excellent, but the real star here is Lawrence Tibbett, to my taste the greatest operatic baritone America has ever produced. His enormous charm is complemented by fabulous diction - he's one of the very few "classical" singers whose every word is clearly understandable.

Gershwin never recorded a complete Concerto in F. For the best-ever version of that, you have to buy the Roy Bargas/Bix Beiderbecke/Paul Whiteman account on a Pearl CD called "Gershwin and Grofe," which also has the first-ever recordings of Grofe's Grand Canyon & Mississippi Suites (a lot of fun!). But here we get to hear the ONLY CD account of Gershwin himself playing just the 2nd mvt. from a 1933 Rudy Valle Show radio broadcast. It's fascinating and frustrating at the same time: a tantalizing fragment of what must have been a glorious interpretation.

The Concerto in F excerpt is UNIQUE to this CD - which makes it a MANDATORY purchase for Gershwin lovers. The Rhapsody (both versions), American in Paris, and the Porgy selections are also on Sony's "Historic Gershwin Recordings" in somewhat smoother transfers. The aforementioned Whiteman-conducted Concerto in F is also on a Sony CD called "From Gershwin's Time" (sadly, it's out of print - see my review).

CDs seem to have an alarmingly short shelf life these days, so grab this wonderful set while it's still available.

Very Highly Recommended.

The first disc especially is fantastic.......2001-04-03

For Gershwin collectors, the sides with the Astaires are essential. The Whiteman Rhapsody is also quite good. Some of the later material does NOT feature Gershwin on piano and has the feeling of filler. Still, I've gotten a lot of enjoyment from this collection.

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