Anything Goes (Recording)
Louise
Gold starred as Reno Sweeney, recorded on 11, 12 & 13 May 1995 at Abbey
Road Studios.
Catalogue number: (Music Theatre Hour CD) CDTEH6011,
(The Musicals Collection) MUC C N40
This album is also available
on itunes
Website Recommended Album
Cast
Billy
Crocker - Gregg Edelman
Moon-Face-Martin
- Matt Zimmerman
Hope
Harcourt - Katrina Murphy
Erma - Tara
Hugo
Lord Evelyn
Oakleigh - Paul Manuel
Elisha
Whitney - Brian Green
Captain - Simon
Masterson-Smith
Purser - Nicolas
Colicos
Girl - Julia
Howson
Sailor - Gareth
Snook
Sailor
Quartet - ?
Company :
Karen
Broughton, Dominic
Curtis, Robert Fardell, David Firth, Carol Lesley Green,
Phillip Griffiths, Peter Hickman, Liza Hobbs, Gaynor
Keeble, Julie Livesey, Lara Marland, Richard Mitchell,
Martin Nelson, Bruce Ogston, Shirley Pilgrim, William
Pool, Jane Powell, Denise Silvey, Gareth Snook, Gareth
Vaughan, and, Hilary Weston
with The
National Symphony Orchestra conducted by John Owen-Edwards
Production Team
Music & Lyrics – Cole Porter
Original Production – 21 November 1934, The
Original (unused) Book by – P.G.Wodehouse & Guy Bolton
Original (actual) Book by – Howard Lindsay & Russel Crouse
New Book by – Timothy Crouse & John Weidman
Orchestrations - Michael Gibson
Produced by John Yap for JAY/TER
Sleeve Notes - Rexton S Bunnet
Track Listing
CD: (Music Theatre Hour) CDTEH6011
1. Overture - Orchestra
2. I Get A Kick Out Of You
-
3. There’s No Cure Like Travel / Bon
Voyage - Girl, Sailor, Captain, and, Sailors (Julia
Howson, Gareth Snook, ?, and Chorus)
4. You’re The Top
- Reno Sweeney and Billy Crocker (Louise Gold and Gregg Edelman)
5. Easy To Love
- Billy Crocker (Gregg Edelman)
6. There Will Always Be A Lady Fair
- Sailor Quartet (????)
7. Friendship -
8. It’s Delovely
- Bill Crocker and Hope Harcourt (Gregg Edelman and Katrina Murphy)
9. Anything Goes
- Reno Sweeney and Company (Louise Gold and Chorus)
10. Entr’acte -
Orchestra
11. Public Enemy Number One
- Captain, Purser, and, Company (Simon Masterson-Smith, Nicolas
Colicos, and, Chorus)
12. Blow Gabriel Blow
-
13. Goodbye Little Dream Goodbye
- Hope Harcourt (Katrina Murphy)
14. Be Like The Bluebird
- Moon-Face-Martin (Matt Zimmerman)
15. All Through The Night -
Billy Crocker, Hope Harcourt, and, Sailor Quartet (Gregg Edelman, Katrina
Murphy, and ????)
16. The Gypsy In Me
- Lord Evelyn Oakleigh (Paul Manuel)
17. Buddy Beware
- Erma (Tara Hugo)
18. Finale - Reno
Sweeney, Lord Evelyn Oakleigh, Billy Crocker, Hope Harcourt, and Company (Louise
Gold, Paul Manuel, Gregg Edelman, Katrina Murphy and
Chorus)
19. Bows (Anything Goes - reprise) - Full Company
Musicals Collection CD: MUS C N40
1. Prelude - Orchestra
2. I Get A Kick Out Of You -
3. You’re The Top - Reno
Sweeney and Bill Crocker (Louise Gold and Gregg Edelman)
4. Easy To Love - Billy
Crocker (Gregg Edelman)
5. Friendship - Reno
Sweeney and Moon-face-Martin (Louise Gold and Matt Zimmerman)
6. It’s De-Lovely - Billy
Crocker and Hope Harcourt (Gregg Edelman and Katrina Murphy
7. Anything Goes -
8. Public Enemy Number One - Chorus
9. Blow Gabriel Blow -
10. All Through The Night - Billy
Crocker and Hope Harcourt (Gregg Edelman and Katrina Murphy
11. The Gypsy In Me - Lord
Evelyn Oakleigh (Paul Manuel)
12. Buddie, Beware - Erma (Tara
Hugo)
Louise Gold and Matt
Zimmerman had previously played
Friendship
is a song that has undergone several variations. For this recording, with the
exception of, the often unused, Refrain 2 (the one that begins “If you ever
loose your way, come to May”) all the lyrics given in The Complete
Lyrics Of Cole Porter were used. In this recording, rather than
use the original opening line to Refrain 6 “If they hang you, pard, send a
card” they sang its more often used replacement “If you ever crack your
spine trussle mine”. For more details on this see Anything Goes
(Stage).
Louise Gold, Gregg
Edelman, Katrina Murphy, Nicolas Colicos, Simon
Masterson-Smith and, Gareth Snook, with: Karen Broghton, Dominic
Curtis, Robert Fardell, David Firth, Carol Lesley Green,
Philip Griffiths, Liza Hobbs, Gaynor Keeble, Julie
Livesey, Lara Marland, Robert Mitchell, Martin Nelson,
Bruce Ogston, Shirley Pilgrim, Jane Powell, Denise Silvey, Gareth
Vaughan, and, Hilary Weston all also appear with the NSO Ensemble
conducted by John Owen-Edwards on the JAY/TER recording of On The Town, produced by John Yap.
Louise Gold, Gregg
Edelman, Nicolas Colicos, and, Gareth Snook, with: Dominic
Curtis, Robert Fardell, Bruce Ogston, and also the NSO ensemble conducted by
John Owen Edwards also appeared on the JAY/TER recording of Cabaret produced by John Yap.
Louise Gold, and, Katrina
Murphy, also appear with the NSO Ensemble on Stop The World I Want To Get Off,
also produced by John Yap.
Katrina Murphy
is also featured on Encore
The Very Best From The Musicals
Katrina Murphy and Paul Manuel
also feature on Great Duets From
The Musicals
Brian Green also
features on: Cole Porter - Night And Day
Louise Gold, David Firth, Liza
Hobbs, Robert Mitchell, and, William Pool had previously sung
under John Owen Edwards’s musical direction in Metropolitan Mikado
Louise Gold, David Firth, and,
Liza Hobbs had also previously sung under John Owen Edwards’s
musical direction in a concert of highlights from Ratepayers' Iolanthe
& Metropolitan Mikado
Matt Zimmerman had previously appeared
in The 1982 Royal Variety
Performance .
Louise Gold, Matt Zimmerman
and Bruce Ogston have appeared in Let ‘Em
Eat Cake
Louise Gold and Nicolas Colicos have
appeared together in Mamma Mia.
Louise Gold and Gareth Snook
have appeared together in Merrily We
Roll Along (Stage Production) and on the album Merrily We Roll Along (Recording).
Louise Gold, Gareth Snook and David
Firth had previously appeared together in Assassins.
Louise Gold and David Firth
have appeared together in concert productions of Love
Life and Man Of La Mancha.
Julia Howson had previously appeared
in, or at least been an understudy on Ziegfeld
(stage)
Sleeve note writer Rexton S Bunnet was also the
researcher for Ned Sherrin’s Review Of Revue
Brian Green, Paul Manuel, Matt
Zimmerman, and The National Symphony Orchestra conducted by John
Owen Edwards also appear on The
History Of The Musical which includes an excerpt of Louise Gold’s
recording of I Get A Kick Out Of You.
Gregg Edelman, Paul Manuel, Katrina
Murphy, and, The National Symphony Orchestra conducted by John
Owen Edwards have also appeared on Simply
Musicals.
Brian Green, Simon Masterson-Smith,
Matt Zimmerman, and, The National Symphony Orchestra conducted by
John Owen Edwards have also appeared on The Greatest Musicals of
the 20th Century.
Katrina Murphy, and, The National Symphony Orchestra
conducted by John Owen Edwards have
also appeared on The Great Musicals – Glamour
And Majesty, and, The Great
Musicals – Dashing Heroes, Blushing Maidens.
The National
Symphony Orchestra conducted by John
Owen Edwards can also be heard on Centre
Stage Showtime!, and, The Great Musicals –
Laughter And Tears.
Louise Gold
has, fortunately, had quite a number of opportunities to delight audiences with
her performances of Cole Porter songs. She appeared on stage in a number
of Cole Porter musicals, in particular the quintet of shows he wrote for
Ethel Merman, namely: Anything Goes,
Red Hot & Blue, Du Barry Was A
Lady (see: Du Barry Was A Lady
(1993 Production) and Du Barry Was A
Lady (2001 Production)), Panama Hattie,
and, Something For The Boys,. In
addition she has starred in a production of Kiss Me
Kate, and sung his songs in Noel/Cole:
Let’s Do It, and A Lost Musicals
Occasion amongst other places. However, she has made all too few recordings
of his work, the only albums of her singing Cole Porter are this Anything
Goes recording and the cast album for Noel/Cole: Let’s Do It.
- where incidentally she also recorded a
very different version of Blow Gabriel Blow. However, Du Barry Was A Lady (2001 Production) - which includes a slightly different (in
fact the original) version of Friendship was broadcast on BBC
Radio 3. In addition she also sang a parody of I Get A Kick Out Of You,
as I Get A Kick Out Of U on Sesame
Street.
Before this recording became widely available as an
album in it’s own right, several tracks from it turned up in other places,
these include: I Get A Kick Out Of You on The Best of Broadway Musicals, The Greatest Musicals of
the 20th Century, and, The
Great Musicals – Glamour And Majesty; Blow Gabriel Blow on Encore The Very Best From The
Musicals , and, You’re The Top on Great Duets From The Musicals, and
The Great Musicals – Laughter And Tears.
Many of the tracks: I Get A Kick Out Of You, You’re The Top,
Easy To Love, Friendship, It’s Delovely,
Anything Goes, Public Enemy Number One, Blow
Gabriel Blow, All Through The Night, and, Buddie
Beware, also turn up on the Readers Digest album Cole Porter - Night And Day. Part of I
Get A Kick Out Of You also managed to find its way onto The History Of The Musical. Since
then Anything Goes has
appeared on Simply Musicals, and The Great Musicals - Wonderful Tales.
It may be interesting to note, there is one line from
the finale track of this album, which Louise
Gold mentioned on Tim McArthur
Interview.
Review (of CD: (Music Theatre Hour) CDTEH6011 )
by Emma Shane (©
January 2004)
Well what can I say? This CD is The Top. I first
read about this album, some eight and a half years ago (in a theatre
programme), I thought, that with such a delovely singer of Cole
Porter’s songs in the lead, it ought to be worth having, which it jolly
well is. In fact I think it is the very best recording that Louise Gold
has featured on to date. If you like: Louise Gold, or, Cole Porter,
or, Sesame Street’s parodies of Ethel Merman, or the
musical Anything Goes, then this is one recording you really have
to hear.
Until now, except for those of us lucky enough to have
The Musicals Collection’s CD of Anything Goes, the best
widely available recording of Anything Goes has been the
marvellous EMI Classics version, conducted by John McGlinn, with Kim
Criswell as Reno Sweeney. Now that is a very fine recording, not least
because it stars Kim Criswell, the only other singer I have heard who
can sing those Merman roles anywhere near as well as Louise Gold can. It
also set a standard for both quality, and a historical capture of the original
show, by which any other recordings, or productions, of Anything Goes
can be judged. However, while that recording is a beautiful one, some people do
find it a little dull, a tad boring, a bit staid. And that’s where this “new”
JAY/TER recording scores a smash hit. It is quite simply the most
exciting, vibrant and stimulating recording of this show, and yet, with the National
Symphony Orchestra under John Owen Edwards’s marvellous direction,
it is performed to a high standard, but with an extra zing of lively
enthusiasm. Although it uses Michael Gibson’s 1988 Broadway revival
orchestrations (also seen in London in 1989 and 1990), and the ‘book’ from that
production (meaning that that there are songs included that were not in the
original production, and in addition other songs have been reallocated to
different characters), it non-the-less captures the vibrant fresh spirit that
must have existed when this show really was new. However, in sharp contrast to
the EMI Classics’ recording, here the singers are a little freer to bring
their own interpretations to their parts on this lively stimulating recording.
Giving singers such freedom has its risks, and there
are occasions when it’s possible a staider approach could have worked better,
indeed a few occasions when perhaps the EMI recording did a better job, namely:
Be Like The Blue Bird, The Gypsy In Me, and, Buddie
Beware, but then it takes time to get used to a new recording,
especially if the performances are a little individual. That is very likely to
be the case with Be Like The Blue Bird. Jack Gilford sang
it beautifully on the EMI recording. Matt Zimmerman’s version is not as
beautiful, but it does have an extra degree of conviction, and when he sings
the line “he knows that his efforts are perfectly lousy” one has to wonder
if perhaps Matt Zimmerman would have been perfectly capable of singing
it more sweetly, but is deliberately doing it this way because he feels it
suits the character better, the same reasoning might also apply to Louise
Gold’s performance of I Get A Kick Out Of You (but more on
that later). The Gypsy In Me suffers chiefly from the fact that Simon
Green did it just a bit too well when he sang it in the Grange Park
Opera production, making it difficult for anyone else to inhabit the part,
and Paul Manuel is just not Simon Green. It is probably not
helped by the fact that the song was originally sung in the show by another
character, namely Hope and sung very well on the EMI Classics album by
the wonderful Frederica Von Stade in that role. Buddie Beware suffers
from a similar problem, and in this case compounded by the fact that the
character it was originally written for was in fact Reno Sweeney, and Kim
Criswell sang it exceedingly well as such on the EMI Classics album.
Songs written for Ethel Merman have a tendency, however good they are,
to not sound quite the same when they’re done by anyone else, especially with
such a top Merman-esque singer as Louise Gold around. It’s
Delovely, though beautifully sung by Gregg Edelman and Katrina
Murphy also suffers from being originally a Merman song, in Red Hot
& Blue. The other interpolated song, Friendship is
the one alteration that doesn’t suffer in the least, because it is still being
sung by the same sort of performers who inhabited it in Du Barry Was A
Lady.
One of the key benefits of studio cast albums, is the
opportunity to provide to include little known songs that got dropped from
their shows. This album is no exception, including the full version There’s
No Cure Like Travel, instead of just the Bon Voyage except. The
work of specific individuals, especially Gareth Snook, stands out on
this recording in a way that it doesn’t usually. Another piece particularly
worth mentioning is Goodbye Little Dream Goodbye, inhabited by Katrina
Murphy, a Cole Porter song I had not come across before. Meanwhile Easy
To Love, All Through The Night, There Will Always
Be A Lady Fair, and, Public Enemy Number One, are all
handled well, this is a pretty high standard of performance throughout. The
high quality of the performances not only applies to the singers but also to
the musicians of the NSO. John Owen Edwards is a masterful
conductor, at least when he is working with the NSO (he once recorded Anything
Goes with a pit orchestra - Elaine Paige’s 1989
It’s a great album all round, especially with John
Owen Edwards conducting, but what gives this recording of Anything
Goes that extra special sparkle, is Louise Gold in the role of
Reno Sweeney; and it is her numbers that really and truly stand out on this
recording: Firstly, I Get A Kick Out Of You, while this isn’t
necessarily the sweetest version of this song, that honour surely goes to Kim
Criswell, it’s worth noting that while Ms Gold would have been capable of
doing it just as sweetly, she has instead tried to capture the vocal effect
it’s original inhabitor, and she is one of the very few singers who could
possibly pull this parody off. However, the take used on this album is better
(than The Musicals Collection one), simply because it’s a bit more
Louise and a bit less parody, but still with a strong hint of just who this
song was written for. You’re The
Top sums up this album perfectly. Convincing, and a high standard of
performance, but vibrantly playful, and absolutely not boring. This is the kind
of lengthy list song that could easily be dull, but with Louise Gold
around to sing it, and John Owen Edwards to conduct it, it’s anything
but. Gregg Edelman sings it quite straight, though with some enthusiasm,
however Louise Gold is like a zany Muppet with her expert
handling of the comical lyrics. She knows just when to change her accent, or
vocal style to liven the song up, and just like The Muppets, she makes it work,
her joyous irrepressibility actually enhances the song., bringing out its
marvellously inventive lyrics. Friendship finds the glorious Gold
just as playful, and on this lovely interpolation (from Du Barry Was A
Lady) she’s on cracking , or should that be quacking, form, with
a co-star who knows exactly how a singer should sing a duet with her. Matt
Zimmerman rises to the occasion doing his level best to compete with her,
so that they really do sound like a pair of good friends teasing each other,
which is exactly the way this song should sound. Each of Ms Gold’s numbers on
this album is better than the last, and with the magnificent title song she
really hits her stride as one of the best singers to sing this song since The
Mighty Merman herself, in fact, with the possible exception of Kim
Criswell, probably the best since Merman. In some ways, Gold and Criswell
might even beat Merman with this number, after all neither of them is afraid to
emphasise some very risqué lyrics. If it’s Louise Gold you like singing Cole
Porter you like, why you’ll love this sassy comic song, as sung by a real
expert in the art of sung comedy, who treats the lyrics her own brand of
disarming vulgarity, and sings the melody with the kind of vocal power it truly
demands. But an even bigger and better brassy belting tour de force is on
display on the album’s pinnacle, Blow Gabriel Blow. Not even
Criswell under McGlinn’s expert direction could scale this mountain quite like
Gold can here. Even Gold herself, or for that matter musical director
Owen-Edwards, might be hard put to rival the performance on this track. It is
truly one of the most incredible pieces on record!
All in all it’s an amazing album. Most of the
performances on it are good, and all are listenable to. This is one of those
albums that can be played over and over again, without being at all boring, the
performances are all so fresh, alive and innovative. The sound is beautifully
lush, giving the work a whole new lease of life, which such a wonderful Cole
Porter musical might not necessarily need; but it certainly benefits from
being performed so sparklingly and to such a high standard. This is one of Cole
Porter’s best scores (a score rivalled only by Kiss Me Kate),
and this is a recording to really do it justice. Overall it’s a brilliant
recording, and one well worth getting, but there is one extra thing about this
album that just gives it an extra special lift, and that is the leading lady
singing the role of Reno Sweeney. The significant thing about this part (the
role of “an evangelist-turned-night club singer) is that it was created for a
mighty singing talent, the great Ethel Merman.
With the notable exception of Kim Criswell, I
have not heard any contemporary singer who can sing these sort parts as effectively,
or as magnificently, as Louise Gold can. So it is a real thrill
(especially for those of us who saw her in the Lost Musicals productions of the
other four show’s in that quintet that Porter wrote for Merman) that at long
last here is a CD starring Louise Gold in a Merman role. It is on this
album that Ms Gold demonstrates just exactly why she has been described as “an
English Ethel Merman”, demonstrating special talent for invoking Merman’s
almost impossible to imitate styleless style. But, while, by the very similar
nature of her vocal quality, and shear vocal power, she comes close to sounding
like La Merman, don’t expect a straight imitation. Because that is not
what Gold does. First and foremost she sings this as herself, and there are
moments, especially on You’re The Top, where her handling of song
is most definitely not the way Ethel Merman would have done it (or even
have approved of it being done). Louise Gold sings the material in her
own unique way. A way which just happens, almost by chance, to have more than a
passing vocal similarity to Ethel Merman, and it is quite likely she has tried
to play up the similarity, just as she did in the Lost Musicals productions.
She is a marvellous performer of Cole Porter’s songs (especially the
ones he wrote for Ethel Merman) and it is on this album she gets a real
opportunity to display that shear talent. If you like the glorious Gold, and
her big brassy voice, then this album truly is a real treat. It is my
considered opinion that if you wanted to get just one of Louise Gold’s
various recordings, this album is the one to get.
Review (of Musicals Collection CD: MUS C N40 )
by Emma Shane (©
2001)
If
you thought that the EMI Classics recording of Anything Goes
(conducted by John McGlinn and starring Kim Criswell) was very
well performed and very accurate, but, a little tiny bit boring, then I would
thoroughly recommend you try to hear this TER recording (conducted by John
Owen-Edwards and starring Louise Gold), for, it is far livelier, and
yet, none-the-less manages to capture the original spirit of the show (even if
it does not stick so closely to it, note for note or interpretation for
interpretation). This recording is a perfect combination of a brilliant
songwriter, a clever conductor and a very talented leading lady. John Owen
Edwards does a wonderful job of conducting Cole Porter’s music, in
an exciting lively invigorating way, so that while the delightful tunes can be
clearly heard they are never dull. In this endeavour he is well matched by his
singers, especially the delovely Louise Gold. In my opinion Louise
Gold is one of the very best people ever to sing Cole Porter! She
sticks closely to the tune and lyrics, and yet at the same time injects a
healthy dose of lively high spirits into any number she sings. The whole
combination is one that can be heard again and again, without becoming stale.
Although
Louise Gold’s performance of I Get A Kick Out Of You is
not quite as sweet as Kim Criswell’s EMI recording, Louise
never-the-less singings it very well, with strength, complete conviction, and a
slightly more authentically Merman-like sound.
This
recording very much eclipses the extremely well done but somewhat staid EMI
Classics version of You’re The Top. The number is an absolute
joy, proof if ever any was needed that a lively playful interpretation does not
necessarily spoil a good song. One just needs a conductor and singers who know
exactly what they are doing when they play around with it. That gifted
vocal-parodieist, Louise Gold, rises well to the challenge of livening
up this number (ably assisted by John Owen Edwards’s conducting). I
particularly liked her (possibly add-libbed) groan when being told “You’re
Ovaltine”. Yet, when she gets to the line (about Jimmy Durante) that
few singers can resist livening up (even Criswell did it under the direction of
McGlinn!) she surprises us with her subtlety, by underplaying it. Truly the
number is handled with skill. Although Gregg Edelman sings his part very
well, he is rather overshadowed by his co-star.
Friendship
finds the glorious Gold with a duestist who does attempt to compete with her Matt
Zimmerman. The number is a riotous joy, perhaps the fact that they had
performed it together in a stage production of Anything Goes
helped. Certainly it is a very sparky performance. Both of them sing with
feeling and enthusiasm, and get right into their characters performances of the
number.
The
title song, Anything Goes, finds comedy queen Louise Gold
in her element, belting a: witty, satirical, risqué, Cole Porter song,
and one originally introduced on stage by Ethel Merman. Although Kim
Criswell sang it very sexily, Louise Gold gives it an earthier
touch.
The
highest point of this terrific recording, though, is Blow Gabriel Blow.
In this number Gold’s singing and Owen-Edward’s conducting reign supreme. They
sound like they are having the time of their lives. It is pure joy from start
to finish. John Owen-Edwards brings to it a wonderfully lively jazzy
feel, while Louise Gold sings it with all that power she can so strongly
command. It is a truly wonderful example of how a song can be performed in a
lively enthusiastic manner, without being degraded. If anything the
interpretation actually enhances the number.
It
is my considered opinion that to this studio cast recording of the show Anything
Goes is the very best recording that Louise Gold has made to
date. I only wish it were more widely available.
Webmaster’s footnote: The review of The Musicals
Collection version of this album (MUS C 40) was written a few years before the
release of the Music Theatre Hour version of the album (CDTEH6011).
Critics Comments
“Louise
Gold, as Reno Sweeney, harks back to the role's creator, Ethel Merman, giving
an enthusiastic performance.” William Ruhlman, ALL MUSIC GUIDE, March 2004
Links about Anything
Goes (recording)
JAY/TER’s page for the album (which also links to
it’s itunes download): http://www.jayrecords.com/jay/site/pages/recordings/musictheatrehour/anythinggoes.htm (for some
strange reason they list it as catalogue no CDJAY1373)
Dress Circle’s website, http://www.dresscircle.co.uk/default.asp see in particular page for this album (and
where you can order it): http://www.dresscircle.co.uk/product.asp?StockID=26439
Footlight.com’s page for this album (and
where you can order it): http://www.footlight.com/product.cfm?product_id=29598
The Cole Porter
Reference Guide (includes a piece about recordings of Anything Goes
including this one): http://www.geocities.com//porterguide/
Allegro Music’s page for this album
(and where you can order it): http://www.allegro-music.com/online_catalog.asp?sku_tag=JAY31374
Amazon.co.uk’s page for this album
(and where you can order it): http://www.amazon.co.uk/exec/obidos/ASIN/B00028DOJE/qid=1095712976/sr=1-33/ref=sr_1_0_33/202-1682959-6126254
Amazon.Com’s page for this album
(and where you can order it): http://www.amazon.com/exec/obidos/tg/detail/-/B00019PCHQ/qid=1073512932/sr=1-21/ref=sr_1_21/002-3587014-4832816?v=glance&s=music
CD Universe’s page for this album
(and where you can order it): http://www.cduniverse.com/productinfo.asp?pid=6665314&style=MUSIC&frm=lk_TBlink
Musical Shop.de’s page for this album
(and where you can order it): http://musical-shop.de/details.asp?Artikelnr=41497
HMV’s page for this album (and where you can
order it): http://www1.hmv.co.uk/hmvweb/displayProductDetails.do?ctx=280;-1;-1;-1&sku=186806 (NB their
listing is incorrect, it is actually a single CD, not a double CD as
listed on their website)
Theatre Radio’s
interview with Louise Gold (she mentions the stage show Anything Goes) http://www.officiallondontheatre.co.uk/news/display?contentId=88986
Talking Broadway, mentions the album as
‘Forthcoming’: http://talkingbroadway.com/sound/upcoming.html
A fairly comprehensive review of a 2002 revival of
Anything Goes, starring Kim Criswell: http://www.qsulis.demon.co.uk/Reviews/Anything_Goes_Review.htm
Chris Curio’s review of the album: http://www.broadwaysbiggesthits.com/cd_archives.html
Cast album.org
database’s entries for this album: http://www.castalbums.org/recordings/1985 and http://www.castalbums.org/recordings/2646
FYE.com’s page for the
album: http://www.fye.com/Anything-Goes--1995-Studio-Cast--Front-Page_stcVVproductId2835751VVcatId455366VVviewprod.htm
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