Anthony B

Of course there should have been much more. I remember there been a Metropolian Opera series called CAST ALBUMS- 100 YEARS that was put out for a limited time only and had like five volumes.
As Peter Filichia noted they left out SHE LOVES ME, BRIGADOON and SWEENEY TODD. Also nothing from PACIFIC OVERTURES, BIG RIVER, CHESS, CRAZY FOR YOU, JEKYLL & HYDE, TITANIC, THE SCARLET
PIMPERNEL, FOOTLOOSE- THE MUSICAL, THE FULL MONTY, URINTOWN...
But they couldn't have put it all. I would have done without Lee Remick's
"Anyone Can Whistle", because the show was a flop. I guess because it was Sondheim's first "serious" show...

The first three discs were only OK. I had forgotten how much better the later Broadway musical recordings were. The last two discs were very good, maybe because I could relate better to the shows or perhaps the productions were better.

Packs into 5 CD's a sampling of Broadway tunes from the 20's thru (almost) today, mostly from original cast recordings. Includes not just well-known hits, but also some lesser-known gems. Sound quality is first rate, booklet is informative too. Have given this as a gift to several friends with rave reviews.

This is THE definitive collection of Broadway hits. I have other collections, and none of them measure up. A great deal of care was obviously taken in compiling and presenting this box set. It covers a lot of ground, starting with some long-forgotten but still very enjoyable hits from the days of yore, and finishing with present-day favorites. To the best of my knowledge, the recordings are by those who made them famous. You won't be disappointed.

THESE BROADWAY MUSICALS CD'S ARE A BROADWAY LOVERS DREAM. WITH EACH SONG, MEMORIES COME FLOODING BACK. BOTH THE FAMILIAR AND THE FORGOTTEN SONGS ARE A TRUE LISTENING PLEASURE. IF YOU LIKE BROADWAY, YOU'LL LOVE THIS SET.

Ok, so, comparing the soundtrack and the original album to this, we are missing a couple songs. You really need Blood Money to get the full effect, yet this version seems to do well without it, despite the fact it is a key song. The song from the movie soundtrack is not necesarily needed, but I thought it was a good addition. Musically, I like the updates. And Mary Magdelene, OH-MY-FRICKING-GOD!!!! The Mary's on the other versions are great and right for the time, but Renee Castle is phenomenal, I don't care what anyone says. "I don't know...love him" had me in tears. Of the three, I think this is the best version I've heard. She combines he best of the two previous Mary's and yet is a unique and wonderful Mary Magdelene. For that reason alone, I should give this 5 stars, but the song omissions keep me from doing so. At any rate, this does not disappoint for anyone who owns or has listened to the other two versions of this. The CD is fully emotive, and you feel like you are actually going through all this with the characters. Pick this apart all you like, this is a good listen.
Comparing characters, there are certain aspects of each that I like. I thought Ian Gillian's Jesus was a little better overall, but this Jesus is a bit more emotive. There are aspects of all three Judas's I like so it makes it hard to pick a winner there.
All in all, if you like Superstar, you'll love this album, despite, or because of, what is presented.

Blood Money/Damned For All Time's omission from the soundtrack throws the whole progression off. And "Could We Start Again, Please?" just sucks.

This updated version of the transcendant 1973 rock opera has deep, glaring flaws as well as at least one bright spot- Fred Johanson's powerful performance as the cruel, conflicted and bureaucratic Pilate. Johanson's ripping low vocals are a refreshing take on the earlier reedy interpretations of this role.

Unfortunately, most of the other performers cannot hope to match the technical prowess or emotional power of the 1973 cast. Glenn Carter, as Christ, has a limited range and a thin voice. He can hit the notes and that's about it. The agonized skyrocketing power of Gillian's 1973 vocals in Gethsemane as he accepted his cup of poison is nowhere to be found in this version, as Carter mails in a technically correct version of this iconic piece without touching the raw humanity delivered by the former Deep Purple singer.

Pradon has been roundly criticized for his portrayal of Judas, but Owens' portrayal of the basso profundo villian Caiaphas is worse. Owens had great stage presence in the DVD as the towering malevolent priest, but he really cannot sing, and he certainly cannot sing deep bass. It is embarrassing to listen to him try to go downstairs on the richest and deepest notes of the score. He has to go an octave up, then try to roughen his voice so it's still sufficiently evil, and it simply doesn't work. We need Victor Brox back. Or Johanson should have sung both parts.

The other bright spot of this production in this adaptation on film was the cruel alien wierdness of Michael Shaeffer's Annas and his work with the other priests in "This Jesus Must Die" and "Blood Money," yet these integral songs are unforgiveably missing from the soundtrack. Superstar already has throwaway songs built into it, like "Could We Start Again, Please" that should have been cut long before the numbers that symbolized the gathering menace of the priests and an essential plot line in the Judas story thread. Cutting those numbers, which have some great electric guitar riffs attached to them (something else missing this gutless, synthesizedm, homogenized soundtrack arrangement- an electric guitar) is one more bad decision by the producers of this CD.

Love the DVD of this version of JCS, but was less than impressed with the CD, as it was missing several key songs. Since I purchased the downloadable version, this omission is inexcusable.

With the exception of those missing songs, the downloadable version was very good. The talent of the cast was supurb, to say the least. There is some noticable clipping in the music and vocals, likely due to some volume level balancing done during the ripping process. I do not know if this problem exists on original CD's.

Tim Rice and Anderw Lyyoyd Webber's new musical "Jesus Christ Superstar" shines in this soundtrack that has beautiful music which is based on the musical movie. It is a very dark production, but it some ways the music helps enlighten the story in some ways due to its graphic nature. I love all the songs in this musical, and would highly recommend this edition of "Jesus Christ Superstar" because of their wonderful performences. There are several songs that happen to be my all time favorite: "Heaven On Their Minds, "What's the Buzz?/Strange Thing Mystifying," "Everything's Alright," "Hosanna," "Simon Zealoates/Poor Jerusalem," I Don't Know How To Love Him," "The Last Supper," "Gethsemane (I Only Want to Say)," "King Herod's Song," "Could We Start Again," to "Superstar." I could listen to this soundtrack all the time and it would never get old or boring because its hip and now. The lyrics are so memorable that it could have easily been written yesterday. There are some complaints that there have been a song or two not on this edition, but it didn't bother me at all, I still charished it with all my heart. I can't wait until the next Tim Rice and Andrew Lloyd Webber's newest musical premiers. I don't understand God's word very much, but I don't understand music, and I think the music in this production is very inspiring and will help me build a better relationshiop with my Lord. I'm very excited and happy about my product and would do buisness with www.amazon.com again.

I really love this cd. ive always wanted to hear the main title from the movie and when i got this cd i was really happy and when i heard it i felt like i was watching the movie again. Elfman is one of my favorite and best composers since John Williams!!! This is a MUST have!!!!

I own a lot of soundtracks and this is not one of the best. The music is great when the movie is playing but loses something on its own.

I decided to buy this CD after wanting a piece played in Spider-Man 2 SO badly. I was furious when I listened to this and didn't find it anywhere. The piece I was looking for was the piano piece during the scene when Peter hugs Aunt May when she's packing. You'd think it would be in 'Ant May Packs' but it's not. It is also missing some other great pieces from the movie. A bit of a let down...

This Orignal Motion Picture score was great becuase of the music that Danny Elfman used on this Cd. I love #1"Main Titles",#2,and I love the Doc Ock theme. I really wish that they would of put in the Pizza Delivery when Peter delivers the pizza's. And when Doc Ock puts his arms up for the first time. But I love this motion picture score soundtrack. It's a great score to listin to. I highly recommend it! And it's a 48 minute soundtrack and the music in the film wasn't all in the soundtrack. But Danny Elfman did an awesome job with this Orignal Motion Picture Score for Spider-Man 2!

this cd is a great buy for spider-man fans because it includes most of the music score but not all. my favorite tracks are track #1 whick the title theme, track #7 which is titled the mugging/peters turmoil peters turmoil is the first 3 minuets and is also the theme when peter says I'm spider-man no more, I also like track #9 which is titled hes back, track #14 which is titled at long last love, and finnaly the classic but annoyingly catchy track #15 which is raindrops keep fallin on my head. other themes on this cd are train/appreciation which is track #10. also there is the track titled the goblins returns which includes a little of the green goblin theme.

I give this recording as many as 3 stars only for the vocals. But I find this pared-down, watered-down orchestration almost unlistenable. I feel as though I'd walked in on a vocal rehearsal! This gorgeous score deserves better: a full symphonic orchestra (the same can be said of Passion, a Little Night Music, and Sweeney Todd, whose music was similarly tortured and constricted in the 2005 minimalist Broadway revival). The musical impact of so many of the songs here is lost, most particularly with the superb Someone in a Tree, which comes off very flat compared to its performance in the 1976 original Broadway cast album; I really miss the full string section there. Get the 1976 recording instead, or, for something equally as off-beat as this infinitesimally-orchestrated production, get the 1987 English National Opera recording, currently available from Amazon Marketplace, with a full opera orchestra and trained voices - or get them both. This recording pales in comparison.

Sometimes composers have great ideas. Sometimes they aren't really that great. This is one of those times. The Sondheim name might make you think of Company, Into the Woods, Sweeny Todd, but this should not be thought of in the same way. The singers are bad. The lyrics are bad. The thought that this is a great CD is wrong. Maybe seeing the show would make listening to it differently, but that's not what I'm reviewing. I have enjoyed much of Sondheim and was eager to enjoy this, but found myself embarrassed at how awful it was. I forced myself to finish it, but it wasn't worth it. Don't make the mistake of buying this CD unless you are a collector. Sorry Sondheim, but this is sad. Favorite Song: "Pretty Lady" (but the singers are awful!)

I guess there's a benefit to all this pared-down Sondheim stuff, but I just really don't think this can come close to shaking at stick at the English National Opera cast. And I'm sorry, but B.D. Wong's voice is just too Charlie Brown. Buy the original London cast if you don't know the show; it is so much better. Pacific Overtures (1987 English National Opera Cast)

This is one of Sondheim's best, and I continue to be baffled that is is so seldom performed. I was delighted to see the revival in NYC last year, and the entire cast was excellent, led by the amazing B.D. Wong, who showcased his musical theater chops in a very demanding role. If you love Sondheim, you must own this CD -- the cast brings new nuances to the beautiful music.

The recent Broadway revival of "Pacific Overtures" had a relatively short 3-month run. A few months later, this wonderful CD was inexplicably released to the surprise of enthusiastic Sondheim fans, but it's really a must have for anyone interested in musical theater. The show's reviews were mixed, which makes one wonder how much that has impacted the reception of this recording, which was nominated for a Grammy as best cast recording and deserved to win.

Alright, let's dispense with the main objections. No, the orchestrations aren't nearly as fleshed out as the originals. And yes, there's a lot more dialog on this recording. Both of these, however, ultimately make this CD a more modern and listenable recording than the original. To begin with, as has been acknowledged in the past, it was difficult to get enough Asian actors for the original production with the vocal skills to do the score justice. Because of that, some of the songs did not soar the way they were meant to. "Overtures" is one of Sondheim's best but most delicate scores and the stirringly lush and burnished Jonathan Tunick orchestrations of the original tended to make them the focal point of the recording. No problem here. On this recording, much of the orchestration uses authentic Asian instruments, adding a lighter but more exotic flavor. The fact that the orchestrations are leaner means the vocals are more up front, and that is the blessing of this recording.

BD Wong may not have the gravitas of Maku, but his singing is significantly better and his interpretation is more of a genial escort than an angry overlord - a different interpretation, but no less valid. He also nails "Floating in the Middle of the Sea," "Next" and his part in the quartet of "Someone in a Tree." Has anyone noticed that Mr. Wong is a musical theater performer of the first degree?

Telly Leung shines in three different numbers as three different characters. His "There is No Other Way" is exquisite, but is topped by his euphoric and youthful "Someome in a Tree." That quartet has been problematic for some performers, but Leung and his companions, including Wong and Alvin Lee, run with it and it's exhilirating. His lead on "Pretty Lady" is both youthful and oblivious, giving the character the correct vacuous hole to leap in to. Mr. Leung is an exquisitely flexible tenor who is able to embue his characterizations with soul and heart. Let's hope he will find more, and more fully realized, opportunities in his future on Broadway.

Alvin Ing is again cast as the Shogun's Mother, and he gives another quitessential performance during "Chrysanthemum Tea", which is at times sardonic, ironic and hysterically funny. He is also a force to be reckoned with in "Someone in a Tree". Whoever's idea it was to recast him deserves a special Tony. In addition, Sab Shimono makes a return appearance from the original cast and, while his contributions are less apparent, the history and clarity he brings to his moments are deservedly cherished.

Finally, a word must be said for Michael K. Lee. He brings machismo, doubt and sensitivity to his role as Kayama, and his singing is almost comparable to Telly Leung. "A Bowler Hat" is his showcase and his performance is both nuanced and ironic, with his singing very well placed.

It's inexplicable that this revival did not run longer than its three short months, and this recording attests to the fact that there were many talented Asian - Phillipino - American actors at the height of their game during this glorious production. Thankfully, we have this gourgeous CD to return to time and again, if only as a testiment to a time when Broadway got it right, but the critics got it wrong. There is no other way.

This is an excellent version of evita. I prefer julie covington and colm wilkinson to patti lupone and mandy patinkin. Julie to me sounds like a natural evita and colm does a great job; he has an edge to his voice that patinkin most assuredly does not. The only problem is this a 1976 recording and does not have the clarity high fidelity of a modern recording, I definently prefer the sound of the movie version even though madonna isn't a world class singer

Evita is my all-time favourite musical and this is definitely the best version ever recorded. Julie Covington really is the best Evita they could have picked.
I also have the Original London Cast recording but it just grates on my nerves so much I could only listen to it once. And let's not talk about Madonna's version... who is she kidding?
Buy this one... you won't regret it :)

I have viewed this interesting documentary, three times since 2001.

It is looking at the conditions of poverty and desperation inflicted on poor countries, such as Jamaica, by the agenda and policies of international agencies such as the International monetary Fund (IMF) and the World Bank.

At first, I found the documentary overdramatic--propaganda filled. In my opinion then, it did not adequately address the issue of the true nature of neo-liberalism ('globalization') in poor countries.

After reexamining the documentary, I concluded that the 'dramatization' may be necessary to convey the message effectively to people far removed from the scene of "Third World" poverty.

I am also wondering if the creators of "Life and Debt" have looked into the role of the local middle class in the perpetuation of the social and economic issues illustrated in the film.

Who are the local beneficiaries of IMF policies in the Caribbean, Latin America, Africa and Asia?

Perhaps, the local representatives of imperialism--rightwing and "Left-lites"--the lumpen-bourgeoisie!

Historically, members of this class worked to resist meaningful change coming from the people.

They work through their media and institutions to direct discontent and popular demands into the opportunistic arms of the main political parties, ensuring that the status quo of inequality from which their privileges spring, is not disrupted.

In fact, these political parties have ruled since independence, with a firm hand, using the police force brutally, with impunity against the people.

A sequel to "Life and Debt" would be welcomed, if it examines debt and poverty in the third world from a more historical and critical perspective.

"Life and Debt" is still a great documentary. I recommend it highly!

A Voice at the Workplace: Reflections on Colonialism and the Jamaican Worker

In-Dependence from Bondage: Claude McKay and Michael Manley: Defying the Ideological Clash and Policy Gaps in African Diaspora Relations

Where did these overgrown vegetables come from?
Grapes? American Apples? What are they doing in the Jamaican marketplace? Why would a lush country as Jamaica import potatos, onions, carrots from the USA?

I saw the effects of the WTO on Jamaica from pre-teen to now my young adult years, but I never really understood all the why's. All Jamaicans and peoples affected or unnafected by the World Trade Organisation should watch. I watched it with a friend from India and he was amazed - as this agri-colonialism is what India is currently fighting in the WTO. I especially liked the commentary from the Rastafarian/Biblical points of view. And of course, the soundtrack is great - Buju B goes accapella!

I saw "Life & Debt" (documentary about effects of globilization specific to Jamaican life and culture) and thought the music was excellent. It was not merely there as background comfort, but really lent itself to the message of the film. The tracks hold lots of meaning for me having seen the film already, yet seeing the film is not necessary to dig the music. The "Life and Debt" by Matubaruka is a personal fave., as is Buju
Banton's "Circumstances". For those interested in the issues of globalization, World Bank, etc., the proceeds from the soundtrack go to URGE (non-profit org. founded by Ziggy Marley & the Melody Makers. Solid reggae recording with an excellent purpose; also I think it is useful for spreading the message about globalization issues without preaching. I've had friends ask "what does he [Mutabaruka] mean by 'American farmers get the upper hand'?" and I go "well, it's like this...."

With his fourth studio album, "Universal Struggle", Bobo Ashanti singjay Anthony B continues to forward the positive vibes he brought to the fore on previous outings such as "Real Revolutionary" and "So Many Things". There are a number of boomshots on this disc, including "Zinc Fence Jungle" (a collaboration with the cherubic singer Luciano), the pleading, prayerful "Heavy Load", the cautionary dance tune "Waan Back", "Splifftail" (a complaint against the ganja-persecuting establishment), the mournful ballad "Damage", the upbeat, inspirational "Jerusalem", and the nostalgic, ska-infused "Marley Memories" and "Nah Vote Again".

Anthony B is positively fearless. If he sees a social injustice taking place, you'd better believe he's going to call the perpetrator out on it. Big up yuself, Anthony B! May your warcry continue to strike fear in the weakhearts of Babylon! Yagga yagga yo!

The B is a dancehall artist but this CD has a definite roots vibe, for me at least. If you stumbled on this not really knowing how good the B is--I saw him in Mandeville, JA on same program with Luciano... and it was B who tore the place up. I think Jamaicans know a bit about reggae, don't you? This guy has so much talent its scary.

If you're strictly roots, don't pass this CD up. Have a listen to the samples... I think you're going to dig it. Every song rocks.

Yes I, Anthony B is a Rastaman for sure. This Bobo Dread is often overshadowed by his more famous bredrens Capleton & Sizzla. Perhaps its because he can address the issue without catering to the masses who want to hear slackness a gwan... and for that Anthony B has earned my respect. Anthony B also has a unique deejay style... with his sometimes nasal off-tone vocals and his trademark "yak a yo". Standout tracks are Universal Struggle, Waan Back, Seek Jah First (remember always to put God first), Nah Vote Again, and Zinc Fence Jungle featuring Luciano. Other good tunes are The Mockingbird, Rastaman School and Sunburnt Faces. Marley Memories is a fun song which has a melody of Bob Marley's famous reggae hits. This is one of Anthony B's best albums and he has secured his name among the modern Rasta reggae greats. At first I couldn't get used to his distinct style but the more and more I listened to it, the more it grew on me. Yeah man, Anthony B keep it real. Don't pass this one up, fe true. Yak a yak a yo!

Anthony B proves that he is one of dancehall reggae's greatest assets with this album. Crank up the volume and turn up the bass. This album knocks hard! I have owned it for nearly two years and I still find myself listening to it all the time.

Just as good as So Many Things but with a slightly different style. I really love his off key harmonizing which add to his unique style. A powerful artist.

The main point concerning this album is the definite progression that Anthony B is showing in his lyrical ability. He was the first Bobo Dread to bust and since Kalonji and Capleton have overtaken him in both poularity and actual Skill Anthony B by comparison is now seriously working on closing the gaps. And he shows marvelous skill on this album (and another similar album called Five Deciples, (everyone here plus Junior Kelly)checkhis Come Fa which is his best effort here, i also really like his Storm is Over.
All that being said the Prophet and certainly Sizzla are not standing still waiting on Anthony B to catch up to them. Capleton doesn't serve up his best here with repeating lyrics that ultimately became the base for the tune Search Fi A Find on 2 different cuts, that being said, Bun Out is amazing and the weird sounding Overtime Bomb is pretty good too, Overtime is weird sounding because its riddim is the 'riddim' for the legendary Al Green's Love & Happiness, although Capleton's lyrics are not as good as they can be on that one. Also, although I'm not a fan at all of Luciano, his tune Poor and Simple is very very good. And Sizzla, as usual rules supreme 'pon this one with his excellent Mind Over Matter and the even better, lyrically perfect Swallowfield. Overall, I say this one would probably be best for the uninitiated, if you're not a fan of rastafarian music, perhaps starting here might be best for you, seasoned vets need not apply.

The Palm Court Theatre Orchestra has captured the essence of the vaudeville stage with this recording. The pictures that waft through my mind during "Down Peacock Alley" are the comic antics that were born during that era. These songs almost cry out to have a silent movie behind them. The male vocals, however, leave a bit to be desired. Although they may sound authentic, with the muffled quality that may have been present during that time, they could have found some singers who sounded a bit less like Florence Foster Jenkins. But bearing in mind the novelty of this CD, the vocals are acceptable, if one doesn't take the genre too seriously. This is music that, if it doesn't bring a smile to your face, will at least help to hone your comic timing much as it did for the silent comedians of yesteryear!