Keith Anderson

I absolutely love this CD and have played it many times. I thoroughly enjoyed the music. I also have the soundtrack from the movie, but this CD is much better. This one also includes "Thank you for the music" as a separate piece. And that is my favorite from the whole play.

That particular song was just sung during the credits in the movie and it's not even listed on the play list, so you really can't access it separately. It's just part of the last song, "I have a dream" on the movie CD. And there is a very long pause before you even get to it on the movie version. You could miss it if you didn't know it was there.
It was worth buying the Broadway sound track for that song alone.

Two years ago I had the opportunity to attend Mamma Mia on Broadway in NYC with a couple of friends. It was great! Immediately after, we went to a music store and my friend purchased the CD. Driving home from Minneapolis for 4 hours, we put in the CD and sang our heart out. The music is wonderful, the movie is great! I soon purchased my own copy and have all the songs memorized. At our memorial day program this past spring, our friend sang "Thank You for the Music" dedicated to all the fallen comrades and friends and family that had recently passed on. It was very touching. Yes, I love it!

If you've only seen the movie version of Mamma Mia, you're in for a treat, as this recording features 24 songs (much more than was featured in the film) all sung beautifully by the 1999 London cast.

I was very disappointed when I first played the CD because I realized that I had ordered the wrong CD. It is the English version rather than the movie version. i find it to be annoying. I didn't think that I could exchange it so I am stuck. Next time I will read the fine print more carefully.

Product was in good shape and arrived promptly. However, I did not care for the CD.

Very good. Enjoyed his music. He was new to me but I will listen for future songs from him.

Keith's first album was better. He is such a talented guy, but this album was underwhelming. The best song, by far, is "I Still Miss You," which is played all the time on the radio. I just wish the rest of the songs had measured up to this one. Not memorable.

I was REALLY waiting for this album. In fact, over the last eighteen months, this was probably one of the three or four albums I was waiting for the most. It's very rare that I buy an album by a new artist on the strength of just one song, but from the first time I saw the video for "Pickin' Wildflowers", well, I knew Keith Anderson was someone to keep an eye on. I picked up THREE CHORD COUNTRY & AMERICAN ROCK & ROLL on it's first day out, instantly falling in love with it: there was something fun and fresh about it, yet varied and nuanced as well. It was, along with Miranda Lambert's KEROSENE, THE debut album of 2005. However, unlike Lambert, who's sophomore album was as strong as her first, Anderson's second offering is a major step backwards. Where to begin? Well, many of Anderson's lead vocals are generic and/or ordinary, lacking the nuances and textures that anchored the first disc. A number of the songs are run-of-the-mill radio fodder, unoriginal at best, silly and immature at their worst, while many of the arrangements are just chaotic and loud (Not all of the blame can be placed on Anderson's broad shoulders...much of it falls into the lap of producer Jeffrey Steele, who has approached much of this album with a "kitchen sink" mentality, resulting in a vibe that is bloated and over the top). Things kick off with the disc's noisy title track. Now, I like a good time as much as the next guy, but singing about partying, "long necks and long legs" is very different when you do it in your 20's (O.K. then) vs. when you do it in your 40's (sort of pathetic). This song might work better live, but here it's just sort of....embarrassing. Slightly better is "Break My Heart." The song has some strong lyrics ("And a big ol' stack of leavin' songs/Just waitin' to be turned back on/And I'll crank them up and sing along/The second that you're gone"), but Anderson's vocal seems to be straining to be heard over the hammering arrangement (a battle that is waged through out much of C'MON!). I wasn't nuts about "Someone Needs A Hug" either, at least not initially, but I have to admit...it's grown on me. I'm still not sure if the pseudo-rock/soul groove is real or faked ~ at times it's almost too "clever" a song, crafted solely to fill that Country radio novelty niche ~ but it IS fun. Still on the fence over this one...but I'll put it in the "Yay" column for now! "She Could Have Been Mine" is the album's first flat-out winner. Everything just comes together....simple, sweet lyrics that tell a great story, a delicate, muted arrangement and a beautiful Don Henley-esque lead vocal (LOVE the killer falsetto!). THIS is the sort of material that builds on the promise of THREE CHORD.....and elevates Anderson out of the generic pack. Sadly, the same can't be said about "Sunday Morning In America", which comes across as calculated and forced (a fact that I'm sure helped contribute to it's less-than-stellar showing as the disc's first single). Sure, the sentiment is nice, and Anderson delivers a strong lead vocal, but every act in Country music today has a slice of Americana song like this, and this one just gets lost in the shuffle. A much stronger single is the album's second one, the poignant "I Still Miss You." Yes, this is a break-up song, but as even Anderson said after the death of his mother earlier this year, it takes on a whole new meaning when thinking about the loss of a loved one. From the powerful lead vocal, sweeping arrangement and thoughtful opening lines ("I've changed the presets in my truck so those old songs don't sneak up"), this is an unabashed hit! "Crazy Over You?" Ummm....not so much. You know a duet and/or cover isn't working when your guest vocalists (or the original) overpowers you and you get lost in the mix. Is this a Keith Anderson cut? A Foster & Lloyd track? Heck, at times this song even sounds like a Dwight Yoakam song! A MAJOR misstep. "I Ain't Hurtin' Nobody But Me" isn't a bad song, it's just....ordinary. Even with a stunning lead vocal, this is filler. It might have worked on a stronger album, but here it just seems below par, not coming anywhere near the promise shown on TCC. That promise finally comes into 100% fruition on the album's last three tracks. "Adaliene" is a brilliant story/song, blessed with a smooth, textured lead vocal, understated, yet strong, arrangement and clever, down-to-earth lyrics ("The first naked lady I ever saw/Was that tattoo on my uncle's arm/On daddy's farm that summer he drove up/And helped us build that barn"). There's an honesty, a real genuiness, to the song that's lacking elsewhere. THIS is the Keith Anderson who bowled me over through out most of THREE CHORD COUNTRY...! An amazing cut! Ditto "Lost In The Moment." Most "wedding" songs are usually hip-deep in the schmaltz factor, but this track has an intimate, hushed beauty to it. Anderson's vocal caresses the lyrics like a thoughtful lover, while the instrumentation is sublime. This song makes me think of snow globes....and Nativity scenes on fireplace mantles....and kalidascopes...I feel like I'm peering into/spying on another, more magical, world. Simply lovely. Things end on a strong note with the assured, nakedly honest confessional of "Closest I've Ever Been." There's a power and an urgency to the cut, but Anderson knows just when to pull back, resulting in a track that takes it to the edge, but never over the top. In many ways, I think this is the track that best sums Anderson up, both as an artist and a man; he's a work in progress. But where does he go from here? How does Keith Anderson develop into the true ARTIST I think he can be, versus the STAR I think a lot of people want him to be? Going back to the basics, plain and simple. Concentrate on songwriting. Don't worry about airplay ~ or at least air TRENDS! ~....or what will work in concert....or the latest production gimmicks. Just trust that gut instinct, that unadorned honesty, that was so evident on the first album. C'MON, Keith.....I know you can do it! (As with all my reviews, I'm giving the disc an extra half a star for including the lyrics).

The cd Cmon is so put together with songs of how my life has been and is today. We lose people out of our life due to death or friendships gone bad and we take things for granted and can lose them at any given time. My favorite song is : I Still Miss You. Highly reccomend this cd. Thanks Keith and job well done.

I didn't know about Keith Anderson until this summer when the "I Still Miss You" video was released. I liked the song so much, I decided to find out more about country's latest rocket. Here's what I've discovered.

Keith Anderson can do it all. (1) He can write a good country song. (2) He can sing the heck outta a lyric (3) He can handle fame, thanks to his small town upbringing. Plus, he's drop dead gorgeous.

The title cut is a great party starter.

"Break My Heart" is a guy's answer to all the whining girls do when a guy does them wrong. It proves that girls can be pretty mean, too.

"Somebody Needs a Hug" is a Southern boy's answer to a girl's bad day. Gotta love that remedy.

"She Coulda Been Mine" is like the final song in the "Every Time I Hear Your Name" - "I Still Miss You" triology. The love affair is over. She's married to someone else and her little girl breaks his heart all over again.

"Sunday Morning in America" can't help but remind those of us of a certain age of Kris Kristofferson's great song ... a snapshot of what's happening across the country.

"I Still Miss You" takes on new meaning when you learn that Anderson lost his mama this summer.

"Crazy Over You" is a new kind of love song. Not a ballad, but there can be no doubt that the guy is head over heels.

"I Ain't Hurting Nobody But Me" almost didn't make it on the CD, according to Anderson. It didn't sound "rock 'n roll" enough for the label. Good thing he fought for it. It's one of my favorites.

"Lost in This Moment." Wonder how many brides have pciked this one.

"Closest I've Ever Been" tells about a brush with death. Makes you think.

Anderson's the real deal. He's smart. He knows his way around a lyric and he cares about the writing process. He's going to be charting for a long time, which is perfectly okay with his fans ... particularly his female fans ... we're head over heels, too. It doesn't hurt that he's a really nice guy ... warm, funny and quick to laugh at it all, including his cute self.

Enjoy.

I ordered this CD because I had received one for the music library at the public radio station where I was music director before my retirement. I loved hearing it every Christmas when I programmed music from it to air on my station, so I decided to get one for my own library at home when I no longer had access to the CD at work. I love it! And amazon.com processed my order quickly. Thanks!

~Mary Lee Warner

This is one of the cleanest orchestral recordings of the 90s and shows the Boston Pops to great advantage. The production values are amazingly good to my ears, as is the wonderful interpretation of Maestro Lockhart. Amazon should list his name (not Mark Oswald's) to increase sales. This one will put you in the spirit of the holidays, for certain!

John Whitney, Music Director, Southern Tier Symphony

This is a great cd and Farandole has been a favorite of our son for over a year (he's 2 1/2). I highly recommend it!

Poor Keith Lockhart did not have the easiest time when he first came to Boston. He made a few major mistakes. First, he shortened the 1812 Overture at the July 4th Concert at the Esplanade, which may have been a decision of the television stations carrying the broadcast, but it, went over with a thud. His first few Christmas concerts were not critically acclaimed, though crowds still attended. By the time his album HOLIDAY POPS was released, things got a bit better for poor Keith, and now he is as much of a Boston institution as anyone.

The collections greatest strength is the lush sound of the orchestra and Lockhart's excellent handling of the ensemble. No matter what he selected as music for this album, it probably would have worked rather well. The track has a "Gloria" that was commissioned by the Boston Symphony. There are also familiar arrangements in the style associated with the Boston Pops of Christmas waltzes, a track called "Frosty All the Way," "Good Swing Wenceslas," and perhaps the best track on the disc "Tomorrow Is My Dancing Day." The chorus adds to numbers such as "The shepherd's Chorus," "Sleigh Ride," and John William's "Merry Christmas, Merry Christmas" from HOME ALONE 2.

Lockhart's style differs greatly from the legendary Arthur Fiedler and his successor John Williams, but for those who love the Boston Pops, especially at Christmastime, will not have a complete collection without this disc.

In an age of Christmas artists like Mannheim Steamroller and Trans-Siberian Orchestra (Who came up with these names anyway?), it's a blessing that we still have artists who have become as timeless as the Christmas music that they play. For many years, the Boston Pops Orchestra has had an annual tradition of performing Holiday Pops concerts in December, with the audiences enjoying champagne and refreshments on the floor. And Keith Lockhart has certainly done an excellent job of carrying on the tradition long maintained by Arthur Fiedler and John Williams.

This CD is an excellent compilation of the Boston Pops at its finest. From the opening "Gloria" to "Merry Christmas, Merry Christmas," each selection has its own unique touch applied to it. My favorites are "Gloria," "Christmas Waltzes," "Carol of the Bells," "The Shepherds' Chorus," "Christmas Time Is Here," and the swinging compilation "Frosty All The Way!"

He also presents a different version of the tune "Sleigh Ride," long a Pops Holiday staple, but I still think it sounds better without the lyrics. Fortunately, I have other recordings by Fiedler and Williams of this work. But other than this, it's a great CD overall. Thank you, Keith Lockhart, for keeping the tradition of great holiday music going. Your orchestra certainly has the timelessness that Mannheim Steamroller will never have.

This lady has one great voice. She can certainly sell a song. My only reservation about her is that she's a bit cocky. I think she could use some humility.

Unbelievable breath control, phrasing, and style. My 10 yr. old Granddaughter who heretofore has listened and loved the usual rap
and hip-hop, heard me playing this disc and begged me to buy her
one........and I did, and she plays it all the time, and to her
friends. Linda Eder exceeds the Streisand mystique by far.

i am turning 60 years old this year. i went to my 1st.broadway
musical in 1960. over the years i have had the honor to see
almost all of the giants of american song, garland, streisand,
patti lupone, lena horne, betty buckley, barbaracook etc. in
"broadway, my way" linda eder cements her place as the best of the best. from an anthem like "i am what i am" to the lovely
"on the street where you live" captures you body and soul.
i loved this album, and don't ever miss a chance to see her live. JOHN POWER

A great selection of songs. Tremendous amount of energy in Linda's voice. I just love it.

Wow! Linda Eder has an outstanding voice. She sells Broadway in the styles of Judy Garland and Barbra Streisand. After hearing this you will want more.

This is a wonderful DVD. I got this as a stop gap until the VHS came out on DVD, but now I may not. Yes, the technical aspects are not the best. But it is the filming of an actual performance at the Delacorte Theater. It's not as slick as the production with Angela Landsbury, but Patricia Routledge, later to be Hetty Wainthrop and Hyacinth Bucket, more than holds her own, and the production has those small details that usually are left out of a much-edited and rehearsed film. You really get the feeling you are there watching a live performance. If you are a G&S fan, this is a DVD you must have. It is a gem of a performance, with wonderful actors/singers.

Fantastic CDS based on the stageplay and video. I missed Angela Lansbury as Ruth but it is a fanatastic recording and interpretation of Gilbert and Sullivan's operetta.

You have to be a muscial fan to love this. This play is very fun and funny. This soundtrack has the songs from this wonderful play that you will want to hear over and over again.

The entire "Pirates" score plus much of the dialogue is found in this recording. The voices are extremely appropriate to each of the characters, and the comedy of the score is apparent. The energy is extremely high, which, in turn, excites the listener. I never tire of listening to it.

My favourite performance of this classic Gilbert & Sullivan Operetta. Kevin Kline, Linda Ronstat, and the whole cast are perfect.

Keith Anderson's CD is awesome! The songs are fun, & he has an excellent voice & range. I highly recommend this CD!

You can't go wrong with Keith Anderson. He has some very upbeat music on this CD as well as some awesome ballads such as "I'll Know When I Get There" (my personal favorite). He is an excellent singer and songwriter and I think you will be surprised when you hear this CD. Keith also has a new CD coming out in fall 2007!

This CD rocks! Good one for long trips. Not too many slow songs.

My first contact with Keith Anderson's music was at Cleveland's Country Jam last Sept. I recently purchased Three Chord Country and American Rock & Roll and he is just one of the best new singers out there today! He definitely has the potential to move in with the "big boys " of country music!!

If you are somebody like me who craves for song lyrics that "tell it like it is" about everyday life, you will love this debut CD from Keith. Every single song on this CD is enjoyable. My favorite cuts are "Every Time I Hear Your Name" and "I'll Know When I Get There". Keith really shines on these two songs. With excellent vocals and beautiful background music, you can feel everything he is saying. I also love Keith's sense of humor on "Stick It" and "XXL". His songwriting on this CD is very impressive, and he co-wrote every single cut with several of the top notch songwriters in Nashville. If you are tired of current country music radio's obsession with these "disease of the week" and "somebody is dead or dying" songs, you will be thrilled with Keith's subject matter on this CD as well as his impeccable talent.

Another great collection of songs in this series with very good performances of the pieces.

Calm and soothing and definately recommended to relax by.

This is a great CD of instrumental Bach music. I listen to it very often

I have purchased this CD twice, first for myself to listen to during labor and secondly for a friend who has a new, very stressful job. I love the music on this CD, it is wonderfully played and listening it to it during labor was very helpful and uplifting. Now both my daughter and I enjoy listening to it, and during fussy days it calms her down a bit, which is very nice. The music truly brings on a serene feeling without making one sleepy, which means its great for anytime you just need to relax yet stay alert. I'll be giving it to my friend for the holidays, and I'm sure she'll love it as much as we do.

What better way to begin 'Bach for Relaxation' than with "Jesu, Joy of Man's Desiring." This CD is not dumbed-down Johann Sebastian Bach just because it advertises itself as relaxation music (which was my initial fear before purchase). Good orchestras and soloists perform the nineteen well-chosen chamber works, ranging from the deceptively simple "Prelude in C" from "The Well-Tempered Clavier, Book 1" (Sviatoslav Richter, piano) to selections from the powerful Brandenburg Concertos.

This is Bach in his most serene, mathematically perfect form. None of his mighty organ or choral works will disturb your contemplative mood as you drift through the sixty-eight minutes of this CD.

I'm usually asleep by track fifteen, the adagio from "Concerto for Flute, Violin & Harpsichord BWV 1044."

Another very good CD in this 'relaxation' series from BMG RCAVictor is "Cello for Relaxation."

This is one of my favorite classical CD's. It is a composition of soft, calmer Bach, and is perfect for almost any occassion. This is a great CD for first time classical listeners or long time fans ... It functions as perfect dinner background music, or to listen to alone. I highly recommend this compilation of Bach.

You get what you want from this. All of the epic music from Peter Jackson's 2005 King Kong film. Highly recommended to hardcore fans.

While I expected a certain amount of powerful action music--in keeping with the fact that King Kong is an action film--I felt this cd soundtrack focused excessively on action music, and that the touching and beautiful selections in the film's more tender scenes were woefully ignored. They are there, but in what feels to be abbreviated forms, as though the powers behind the cd decided to add them as a brief afterthought. If you found the more sensitive music in the film is what drove you to consider the cd (as I did) then you'll find this cd too abrasive for too long to just enjoy easy listening. The quality of the musical compositions is not lacking--it's good action music--but this is not a cd comfortable to listen to for long periods. If you are producing a back yard play, and need some pounding action music that goes on and on, then this cd is for you. They ought to release a secondary cd that contains only full-scale versions of the beautiful instrumentation present in more sensitive scenes. Now THAT'S a cd I'd enjoy.

I watched the Extended Deluxe Edition of King Kong recently. When the opening credits ran I knew I HAD to get the soundtrack. I found it here and ordered it. When I recieved it I was very pleased. It has become one of my favorite scores by Newton Howard.

After Lord of the Rings collaborator Howard Shore had his fully written score rejected due to the ever popular "creative differences" in Peter Jackson's film, James Newton Howard stepped in and had about a month and a half to write a monumental amount of music. He stepped up to the challenge and wrote a blowout score that awes and amazes at each turn. I can only imagine what kind of score he would have come up with if he had a much longer period of time to write the score, but in any case, he succeeds all the same.
King Kong has an established theme throughout the score, represented by a 7-note motif that is both ominous and bold. It is featured whenever the big ape is on screen, as well as when he is somewhere lurking about on the island. Since the film takes place in the 1930s, Howard wrote some period music in many cues of the first half of the score, which feature appropriate pianos and jazzy woodwinds.
As the crew makes their way to the island, the music shifts into a more ominous and more action-oriented approach, as they try to survive and capture the beast. The music throughout the majority of the second half of the album is awe-inspiring, resilient, and frankly breath-taking. The orchestra is strident, the chorus is bold, and the percussion is propulsive. "Tooth and Claw" is a very impressive action-oriented track with plenty of fast-paced, heavy brass lines, whirling strings, and racing percussion. The "awe-factor" is present in most of the cues, such as "It's Deserted", where you can only imagine viewing the island for the first time as the ship nears its destination.
The grand finale consists of "The Empire State Building" as well as "Beauty Killed the Beast" (not how the Disney film ended as you may recall...). Here the orchestra and chorus give everything they've got, building and building to an emotional and powerful climax as the great beast falls to his demise.
This is one of James Newton Howard's finest works, which proves that he is one of the best composers out there. A highly recommended score with 74 minutes of outstanding music. You would be a fool to pass this one up!!

Not the best score I've ever heard. Certainly not bad, some tracks were very nice. Unfortunately, a good deal of them are too action-oriented for my liking, or simply boring. The best piece of music from the film, the beautifully haunting female chorus played over the spider pit scene (best part of the movie!), is sadly nowhere to be found on this disc. I don't doubt Howard's talent as a composer, but the music for King Kong, sadly, doesn't have the same bite as the movie.

This soundtrack is worth listening if you are a Broadway Musical Lover, the music has a modern beat but it keeps the original intention of Cy Coleman. "The Rhythm of Life" is the most updated song and it has been modified significantly... for good.

Although there is nothing spectacular about the voices, it is worth listening to Christina Applegate she does a good job personificating Sweet Charity and she sings just right.

The soundtrack includes 5 additional songs sung by Cy Coleman itself while he plays the Piano, I liked those a lot. Additionally, there is a never before edited verse of "Where Am I Going".

Christina Applegate is a totally endearing, multi-faceted performer, but there is no way you can forget Gwen Verdon, or to a lesser degree, Shirley MacLaine in the so-so movie. However, I love revival recordings, if only because they tend to record a more complete score, and they are technically so superior to most of the older originals. On that score, this Sweet Charity doesn't disappoint.
While Applegate is fine, Dennis O'Hare shines as Oscar. The rest of the cast are okay. Nothing more, nothing less. And as Nicki, Janine LaMama can't overcome Bebe Neuwirth in the Debbie Allen revival in the 80's. Allen also suffered the same comparison as Applegate.
One note about the score, one of Coleman's best, the song Too Many Tomorrows is beautifully done here. A gorgeous ballad, I think has been under appreciatted among all the bigger, brassier numbers.
The bonus tracks at the end of the CD of Cy Coleman and Dorothy Fields are mere annoying curiosity pieces, to be listened to once, then turned off.
Overall a pleasant CD, Christina Applegate still needs that one big role that can make her a bona fide broadway star, she has the talent and versatility, now she has to get the right show.

To begin, I saw this show twice before it bowed out at the Al Hirschfeld theatre. I had no intention of seeing it, but unfortunately, nothing else was available.

I didn't have the pleasure of seeing Gwen Verdon in the title role, but I don't consider myself unfortunate; Ms. Verdon, with all her dancing capability, could never carry a tune (See: Chicago, Damn Yankees, and yes, even Charity). She may have been the toast of Broadway a few decades ago, but Mrs. Bob Fosse is about as over-rated as Les Miserables.

I only recently caught the movie version with Shirley MacLaine...needless to say, not even the great Chita Rivera nor the incomperable Sammy Davis could save that version, which removed several wonderful pieces from Cy Coleman's score.

I found Christina Applegate to be completely endearing and poignant. Her character may have been a little watered down, but she was still effective. There were times where her lack of vocal capability was front and center (See: You Should See Yourself, If My Friends Could See Me Now), but it never took away from her performance. She absolutely shines in "I'm the Bravest Individual" and, on stage, had wonderful chemistry with co-star Dennis O'Hare. Each number serves as a modern tribute to it's 1966 counterpart, although each is a little more sugar-coated than the last.

Will Christina Applegate ever be regarded as Gwen Verdon? Never. Should she be shunned for her turn as Charity? Certainly not. I'd take Applegate over MacLaine any day.

Why do TV stars with little or no singing ability try to do a big Broadway musicial?

I gave Christina Applegate's version of Sweety Charity a chance. I love the previous versions of Charity with actres's Gwen Verdon, Shirley MacLean, and Debbie Allen . I listened with open ears. However Applegates version seem TOO Jersey, TOO Tart and TOO green to give this Broadway soundtrack any UMF!

The Pussycats Dolls should record this arrangement of the Signature tune, "Hey Big Spender" I think it would be a great single of them, however it does not work for me in this soundtrack

The other signature tune of "If my Friends could see me Now" under the singing of Christina was so bad...I felt she could have needed the use of a few FRIENDS. Is Matt Leblanc available?

One of the highlight is the talented Ernie Sabella singing "I always Cry at weddings". I'd cry too if i was on this soundtrack.

A bonus highligh is the original demo recording of Cy Coleman's tumes. Great threater history. However this is the wrong CD it should have been on

Have some charity for yourself and miss this one

Bennet Pomerantz, Audioworld

everyone goes on and on about how great the new revival of sweet charity is. well i found it AWFUL. Christina Apelgate(i know thats not how you spell it..) is EXTREMELY annoying and "poppy", and this is what gives broadway a bad name.

Truthfully, it doesnt deserve any stars. but i did find one song "The Rhythm Of Life" to be a relatuvely good song. On the original release of Sweet Charity, back in the sixties, this song is done terribly, but i did enjoy it on this CD.

so basically do not purchase this CD, but get the song, "The Rhythm Of Life" individually off of itunes or something.

I enjoyed the Anderson Piano Concerto. It is tuneful and upbeat. It has its moments of technical prowess, but I thought the pianist hit a lot of wrong notes which upon repeat listening, causes annoyance.
I would like to hear another recording with a better pianist, or at least one that is edited. It is too good a concerto to get this rendering.

I also bought this album for the Anderson Concerto, and was delighted with both it and the other selections on this disc.

Superb!!!

I bought this CD for the Leroy Anderson Concerto, and I was not disappointed. In the several months since, I have enjoyed it many times over. Though Leroy Anderson was known mostly for his sprightly and imaginative little pieces such as Syncopated Clock and The Typewriter, he was certainly capable of writing a beautiful theme or two, and of good musical composition and great orchestration, and it all shows in this piece. What a talented man, and what a great addition this concerto is to American music. The rest of the CD is also very listenable. Altogether, it's a worthy purchase.

The featured selection on this CD is the premier recording of Leroy Anderson's piano concerto. It is the reason to acquire the CD, as the other selections are fairly familiar and are available on numerous recordings.

To the extent that he is well-known at all, Anderon's fame is based upon a series of pleasant, little, novelty pieces, composed primarily for the Boton Pops. The piano concerto shows that he was also capable of creating longer, sustained works. It is an interesting and very accessable work with a distinctly American flavor.