Joseph & The Amazing Dreamcoat Track 1. Lisa Adamson 2010-07-26 | Music by Andrew LLoyd Webber & Lyrics By Tim Rice Original Canadaian Cast Staring Donny Osmond Disclaimer- I do not own anything! All rights belong to Polydor. Video is for entertainment purposes only. Absolutely no copyright infringement is intended.
BON JOVI-THE END !! Lisa Adamson 2011-07-26 | FOR ONE OF TRUE AND LOYAL BON JOVI SISTER THAT LEFT US WAY TO SOON THIS IS FOR YOU DEBBIE LUVZJONBONJOVI DAVIS XX WE WILL ALL SEE EACH OTHER AGAIN..
Ronan keating interviewing Westlife - YouTube.flv Lisa Adamson 2011-07-25 | INTERVIEW FROM 1999 ENJOY..
Ronan keating talking to Xpose 17NOV09.flv Lisa Adamson 2010-09-30 | Talking about the loss of Stephen Gately and the future of Boyzone..
Ronan Keating interview on ROVE (Australia) Boyzone.flv Lisa Adamson 2010-09-30 | TALKING ABOUT BOYZONE AND BEING BACK TOGETHER
Ronan Keating interview on ROVE (2009).flv Lisa Adamson 2010-09-30 | TALKING ABOUT HIS MOTHER AND THE KILIMANJARO CLIMB
Ronan keating on the late late show + Performance of Stay 13NOV09 part 2 out of 2.flv Lisa Adamson 2010-09-23 | Very honest and personal interview. Singing Stay from his ablum Winter Song's
OH KAY JACK CASSIDY Lisa Adamson 2010-09-10 | SOMG 2. (THE WOMAN'S TOUCH): Because the concept of cutting cast album recordings didn’t exist when Oh, Kay! opened at the Imperial Theater on November 8, 1926, what remained after its run of 250 performances was a series of popular tunes by the team of George and Ira Gershwin, notably “Clap Yo’ Hands,” “Do, Do, Do,” and one of the brothers’ most unforgettable songs, “Someone To Watch Over Me.” When Goddard Lieberson became head of A&R at Columbia Records in the 1950s, he envisioned producing studio recordings that would restore these gems from the past in their original context. With the help of Broadway conductor Lehman Engel, he created a library of past hits (see Girl Crazy) and, in December 1955 turned his attention to Oh, Kay! To enliven this delightful fluff, he brought together a cast of seasoned performers consisting of Jack Cassidy, Barbara Ruick, Allen Case and Roger White, with the resulting album a joyful recreation of this charmingly inconsequential musical, which was written by Guy Bolton and P.G. Wodehouse. First LP release: November 11, 1957 ENTERTAINMENT ONLY I DON'T OWN RIGHT'S...
OH KAY JACK CASSIDY Lisa Adamson 2010-09-09 | SOMG 3. (DON'T ASK): Because the concept of cutting cast album recordings didnt exist when Oh, Kay! opened at the Imperial Theater on November 8, 1926, what remained after its run of 250 performances was a series of popular tunes by the team of George and Ira Gershwin, notably Clap Yo Hands, Do, Do, Do, and one of the brothers most unforgettable songs, Someone To Watch Over Me. When Goddard Lieberson became head of A&R at Columbia Records in the 1950s, he envisioned producing studio recordings that would restore these gems from the past in their original context. With the help of Broadway conductor Lehman Engel, he created a library of past hits (see Girl Crazy) and, in December 1955 turned his attention to Oh, Kay! To enliven this delightful fluff, he brought together a cast of seasoned performers consisting of Jack Cassidy, Barbara Ruick, Allen Case and Roger White, with the resulting album a joyful recreation of this charmingly inconsequential musical, which was written by Guy Bolton and P.G. Wodehouse. First LP release: November 11, 1957 ENTERTAINMENT ONLY I DON'T OWN RIGHT'S...
OH KAY JACK CASSIDY Lisa Adamson 2010-09-09 | SOMG 1. (OVERTUNE): Because the concept of cutting cast album recordings didnt exist when Oh, Kay! opened at the Imperial Theater on November 8, 1926, what remained after its run of 250 performances was a series of popular tunes by the team of George and Ira Gershwin, notably Clap Yo Hands, Do, Do, Do, and one of the brothers most unforgettable songs, Someone To Watch Over Me. When Goddard Lieberson became head of A&R at Columbia Records in the 1950s, he envisioned producing studio recordings that would restore these gems from the past in their original context. With the help of Broadway conductor Lehman Engel, he created a library of past hits (see Girl Crazy) and, in December 1955 turned his attention to Oh, Kay! To enliven this delightful fluff, he brought together a cast of seasoned performers consisting of Jack Cassidy, Barbara Ruick, Allen Case and Roger White, with the resulting album a joyful recreation of this charmingly inconsequential musical, which was written by Guy Bolton and P.G. Wodehouse. First LP release: November 11, 1957 ENTERTAINMENT ONLY I DON'T OWN RIGHT'S...
BOYS FROM SYRACUSE TRACK 15 Lisa Adamson 2010-09-03 | SONG-THE FINALE----About The Boys from Syracuse: The Comedy of Errors, joyfully concocted by Shakespeare about a pair of identical twins from Syracuse and Ephesus, became the basis for a romp set to music in 1938 by Richard Rodgers and Lorenz Hart. Retitled The Boys From Syracuse, it boasted a hilarious nonsensical book by George Abbott, and a breezy score replete with great tunes. Because the practice of recording cast albums didnt exist at the time, Columbia producer Goddard Lieberson sought to recreate the best moments from the show in a studio recording made in 1956. In the dual role of Antipholus and his twin, he cast matinee idol Jack Cassidy, and surrounded him with performers of the first magnitude Portia Nelson, Bibi Osterwald (also in a dual role), Bob Shaver, and Stanley Prager (in another dual role as the two Antipholus servants, both named Dromio). Conductor Lehman Engel, a veteran of Broadway orchestra pits, provided the final touch that gave new life to what might have been otherwise a lost gem. I DON'T OWN RIGHTS
BOYS FROM SYRACUSE TRACK 14 Lisa Adamson 2010-09-03 | SONG-OH' DIOGENES!----About The Boys from Syracuse: The Comedy of Errors, joyfully concocted by Shakespeare about a pair of identical twins from Syracuse and Ephesus, became the basis for a romp set to music in 1938 by Richard Rodgers and Lorenz Hart. Retitled The Boys From Syracuse, it boasted a hilarious nonsensical book by George Abbott, and a breezy score replete with great tunes. Because the practice of recording cast albums didnt exist at the time, Columbia producer Goddard Lieberson sought to recreate the best moments from the show in a studio recording made in 1956. In the dual role of Antipholus and his twin, he cast matinee idol Jack Cassidy, and surrounded him with performers of the first magnitude Portia Nelson, Bibi Osterwald (also in a dual role), Bob Shaver, and Stanley Prager (in another dual role as the two Antipholus servants, both named Dromio). Conductor Lehman Engel, a veteran of Broadway orchestra pits, provided the final touch that gave new life to what might have been otherwise a lost gem. I DON'T OWN RIGHTS
BOYS FROM SYRACUSE TRACK 13 Lisa Adamson 2010-09-03 | SONG-SING FOR YOUR SUPPER------About The Boys from Syracuse: The Comedy of Errors, joyfully concocted by Shakespeare about a pair of identical twins from Syracuse and Ephesus, became the basis for a romp set to music in 1938 by Richard Rodgers and Lorenz Hart. Retitled The Boys From Syracuse, it boasted a hilarious nonsensical book by George Abbott, and a breezy score replete with great tunes. Because the practice of recording cast albums didnt exist at the time, Columbia producer Goddard Lieberson sought to recreate the best moments from the show in a studio recording made in 1956. In the dual role of Antipholus and his twin, he cast matinee idol Jack Cassidy, and surrounded him with performers of the first magnitude Portia Nelson, Bibi Osterwald (also in a dual role), Bob Shaver, and Stanley Prager (in another dual role as the two Antipholus servants, both named Dromio). Conductor Lehman Engel, a veteran of Broadway orchestra pits, provided the final touch that gave new life to what might have been otherwise a lost gem. I DON'T OWN RIGHTS
BOYS FROM SYRACUSE TRACK 12 Lisa Adamson 2010-09-03 | SONG-THE BALLET----About The Boys from Syracuse: The Comedy of Errors, joyfully concocted by Shakespeare about a pair of identical twins from Syracuse and Ephesus, became the basis for a romp set to music in 1938 by Richard Rodgers and Lorenz Hart. Retitled The Boys From Syracuse, it boasted a hilarious nonsensical book by George Abbott, and a breezy score replete with great tunes. Because the practice of recording cast albums didn’t exist at the time, Columbia producer Goddard Lieberson sought to recreate the best moments from the show in a studio recording made in 1956. In the dual role of Antipholus and his twin, he cast matinee idol Jack Cassidy, and surrounded him with performers of the first magnitude – Portia Nelson, Bibi Osterwald (also in a dual role), Bob Shaver, and Stanley Prager (in another dual role as the two Antipholus’ servants, both named Dromio). Conductor Lehman Engel, a veteran of Broadway orchestra pits, provided the final touch that gave new life to what might have been otherwise a lost gem. I DON'T OWN RIGHTS
BOYS FROM SYRACUSE TRACK 11 Lisa Adamson 2010-09-03 | SONG-COME WITH ME----About The Boys from Syracuse: The Comedy of Errors, joyfully concocted by Shakespeare about a pair of identical twins from Syracuse and Ephesus, became the basis for a romp set to music in 1938 by Richard Rodgers and Lorenz Hart. Retitled The Boys From Syracuse, it boasted a hilarious nonsensical book by George Abbott, and a breezy score replete with great tunes. Because the practice of recording cast albums didn’t exist at the time, Columbia producer Goddard Lieberson sought to recreate the best moments from the show in a studio recording made in 1956. In the dual role of Antipholus and his twin, he cast matinee idol Jack Cassidy, and surrounded him with performers of the first magnitude – Portia Nelson, Bibi Osterwald (also in a dual role), Bob Shaver, and Stanley Prager (in another dual role as the two Antipholus’ servants, both named Dromio). Conductor Lehman Engel, a veteran of Broadway orchestra pits, provided the final touch that gave new life to what might have been otherwise a lost gem. I DON'T OWN RIGHTS
BOYS FROM SYRACUSE TRACK 10 Lisa Adamson 2010-09-03 | SONG-YOU HAVE CAST YOUR SHADOW ON THE SEA--About The Boys from Syracuse: The Comedy of Errors, joyfully concocted by Shakespeare about a pair of identical twins from Syracuse and Ephesus, became the basis for a romp set to music in 1938 by Richard Rodgers and Lorenz Hart. Retitled The Boys From Syracuse, it boasted a hilarious nonsensical book by George Abbott, and a breezy score replete with great tunes. Because the practice of recording cast albums didnt exist at the time, Columbia producer Goddard Lieberson sought to recreate the best moments from the show in a studio recording made in 1956. In the dual role of Antipholus and his twin, he cast matinee idol Jack Cassidy, and surrounded him with performers of the first magnitude Portia Nelson, Bibi Osterwald (also in a dual role), Bob Shaver, and Stanley Prager (in another dual role as the two Antipholus servants, both named Dromio). Conductor Lehman Engel, a veteran of Broadway orchestra pits, provided the final touch that gave new life to what might have been otherwise a lost gem. I DON'T OWN RIGHTS..
BOYS FROM SYRACUSE TRACK 9 Lisa Adamson 2010-09-03 | SONG-HE AND SHE-- About The Boys from Syracuse: The Comedy of Errors, joyfully concocted by Shakespeare about a pair of identical twins from Syracuse and Ephesus, became the basis for a romp set to music in 1938 by Richard Rodgers and Lorenz Hart. Retitled The Boys From Syracuse, it boasted a hilarious nonsensical book by George Abbott, and a breezy score replete with great tunes. Because the practice of recording cast albums didnt exist at the time, Columbia producer Goddard Lieberson sought to recreate the best moments from the show in a studio recording made in 1956. In the dual role of Antipholus and his twin, he cast matinee idol Jack Cassidy, and surrounded him with performers of the first magnitude Portia Nelson, Bibi Osterwald (also in a dual role), Bob Shaver, and Stanley Prager (in another dual role as the two Antipholus servants, both named Dromio). Conductor Lehman Engel, a veteran of Broadway orchestra pits, provided the final touch that gave new life to what might have been otherwise a lost gem. I DON'T OWN RIGHTS.. Category:
BOYS FROM SYRACUSE TRACK 8 Lisa Adamson 2010-09-03 | SONG-LADIES OF THE EVENING-- About The Boys from Syracuse: The Comedy of Errors, joyfully concocted by Shakespeare about a pair of identical twins from Syracuse and Ephesus, became the basis for a romp set to music in 1938 by Richard Rodgers and Lorenz Hart. Retitled The Boys From Syracuse, it boasted a hilarious nonsensical book by George Abbott, and a breezy score replete with great tunes. Because the practice of recording cast albums didn’t exist at the time, Columbia producer Goddard Lieberson sought to recreate the best moments from the show in a studio recording made in 1956. In the dual role of Antipholus and his twin, he cast matinee idol Jack Cassidy, and surrounded him with performers of the first magnitude – Portia Nelson, Bibi Osterwald (also in a dual role), Bob Shaver, and Stanley Prager (in another dual role as the two Antipholus’ servants, both named Dromio). Conductor Lehman Engel, a veteran of Broadway orchestra pits, provided the final touch that gave new life to what might have been otherwise a lost gem. I DON'T OWN RIGHTS..
BOYS FROM SYRACUSE TRACK 7 Lisa Adamson 2010-09-03 | SONG-THIS CAN'T BE LOVE-- About The Boys from Syracuse: The Comedy of Errors, joyfully concocted by Shakespeare about a pair of identical twins from Syracuse and Ephesus, became the basis for a romp set to music in 1938 by Richard Rodgers and Lorenz Hart. Retitled The Boys From Syracuse, it boasted a hilarious nonsensical book by George Abbott, and a breezy score replete with great tunes. Because the practice of recording cast albums didn’t exist at the time, Columbia producer Goddard Lieberson sought to recreate the best moments from the show in a studio recording made in 1956. In the dual role of Antipholus and his twin, he cast matinee idol Jack Cassidy, and surrounded him with performers of the first magnitude – Portia Nelson, Bibi Osterwald (also in a dual role), Bob Shaver, and Stanley Prager (in another dual role as the two Antipholus’ servants, both named Dromio). Conductor Lehman Engel, a veteran of Broadway orchestra pits, provided the final touch that gave new life to what might have been otherwise a lost gem. I DON'T OWN RIGHTS..
BOYS FROM SYRACUSE TRACK 6 Lisa Adamson 2010-09-03 | SONG-THE SHORTEST DAY OF THE YEAR--About The Boys from Syracuse: The Comedy of Errors, joyfully concocted by Shakespeare about a pair of identical twins from Syracuse and Ephesus, became the basis for a romp set to music in 1938 by Richard Rodgers and Lorenz Hart. Retitled The Boys From Syracuse, it boasted a hilarious nonsensical book by George Abbott, and a breezy score replete with great tunes. Because the practice of recording cast albums didn’t exist at the time, Columbia producer Goddard Lieberson sought to recreate the best moments from the show in a studio recording made in 1956. In the dual role of Antipholus and his twin, he cast matinee idol Jack Cassidy, and surrounded him with performers of the first magnitude – Portia Nelson, Bibi Osterwald (also in a dual role), Bob Shaver, and Stanley Prager (in another dual role as the two Antipholus’ servants, both named Dromio). Conductor Lehman Engel, a veteran of Broadway orchestra pits, provided the final touch that gave new life to what might have been otherwise a lost gem. I DON'T OWN RIGHTS..
BOYS FROM SYRACUSE TRACK 5 Lisa Adamson 2010-09-03 | SONG-FALLING IN LOVE WITH YOU About The Boys from Syracuse: The Comedy of Errors, joyfully concocted by Shakespeare about a pair of identical twins from Syracuse and Ephesus, became the basis for a romp set to music in 1938 by Richard Rodgers and Lorenz Hart. Retitled The Boys From Syracuse, it boasted a hilarious nonsensical book by George Abbott, and a breezy score replete with great tunes. Because the practice of recording cast albums didn’t exist at the time, Columbia producer Goddard Lieberson sought to recreate the best moments from the show in a studio recording made in 1956. In the dual role of Antipholus and his twin, he cast matinee idol Jack Cassidy, and surrounded him with performers of the first magnitude – Portia Nelson, Bibi Osterwald (also in a dual role), Bob Shaver, and Stanley Prager (in another dual role as the two Antipholus’ servants, both named Dromio). Conductor Lehman Engel, a veteran of Broadway orchestra pits, provided the final touch that gave new life to what might have been otherwise a lost gem. I DON'T OWN RIGHTS..
BOYS FROM SYRACUSE TRACK 4 Lisa Adamson 2010-09-03 | SONG-WHAT CAN YOU DO WITH A MAN About The Boys from Syracuse: The Comedy of Errors, joyfully concocted by Shakespeare about a pair of identical twins from Syracuse and Ephesus, became the basis for a romp set to music in 1938 by Richard Rodgers and Lorenz Hart. Retitled The Boys From Syracuse, it boasted a hilarious nonsensical book by George Abbott, and a breezy score replete with great tunes. Because the practice of recording cast albums didn’t exist at the time, Columbia producer Goddard Lieberson sought to recreate the best moments from the show in a studio recording made in 1956. In the dual role of Antipholus and his twin, he cast matinee idol Jack Cassidy, and surrounded him with performers of the first magnitude – Portia Nelson, Bibi Osterwald (also in a dual role), Bob Shaver, and Stanley Prager (in another dual role as the two Antipholus’ servants, both named Dromio). Conductor Lehman Engel, a veteran of Broadway orchestra pits, provided the final touch that gave new life to what might have been otherwise a lost gem. I DON'T OWN RIGHTS..
BOYS FROM SYRACUSE TRACK 3 Lisa Adamson 2010-09-03 | SONG-DEAR OLD SYRACUSE About The Boys from Syracuse: The Comedy of Errors, joyfully concocted by Shakespeare about a pair of identical twins from Syracuse and Ephesus, became the basis for a romp set to music in 1938 by Richard Rodgers and Lorenz Hart. Retitled The Boys From Syracuse, it boasted a hilarious nonsensical book by George Abbott, and a breezy score replete with great tunes. Because the practice of recording cast albums didnt exist at the time, Columbia producer Goddard Lieberson sought to recreate the best moments from the show in a studio recording made in 1956. In the dual role of Antipholus and his twin, he cast matinee idol Jack Cassidy, and surrounded him with performers of the first magnitude Portia Nelson, Bibi Osterwald (also in a dual role), Bob Shaver, and Stanley Prager (in another dual role as the two Antipholus servants, both named Dromio). Conductor Lehman Engel, a veteran of Broadway orchestra pits, provided the final touch that gave new life to what might have been otherwise a lost gem. I DON'T OWN RIGHTS..
BOYS FROM SYRACUSE TRACK 2 Lisa Adamson 2010-09-03 | SONG -HE HAD TWINS About The Boys from Syracuse: The Comedy of Errors, joyfully concocted by Shakespeare about a pair of identical twins from Syracuse and Ephesus, became the basis for a romp set to music in 1938 by Richard Rodgers and Lorenz Hart. Retitled The Boys From Syracuse, it boasted a hilarious nonsensical book by George Abbott, and a breezy score replete with great tunes. Because the practice of recording cast albums didnt exist at the time, Columbia producer Goddard Lieberson sought to recreate the best moments from the show in a studio recording made in 1956. In the dual role of Antipholus and his twin, he cast matinee idol Jack Cassidy, and surrounded him with performers of the first magnitude Portia Nelson, Bibi Osterwald (also in a dual role), Bob Shaver, and Stanley Prager (in another dual role as the two Antipholus servants, both named Dromio). Conductor Lehman Engel, a veteran of Broadway orchestra pits, provided the final touch that gave new life to what might have been otherwise a lost gem. I DON'T OWN RIGHTS..
BOYS FROM SYRACUSE TRACK 1 Lisa Adamson 2010-09-03 | SONG.OVERTUNE About The Boys from Syracuse: The Comedy of Errors, joyfully concocted by Shakespeare about a pair of identical twins from Syracuse and Ephesus, became the basis for a romp set to music in 1938 by Richard Rodgers and Lorenz Hart. Retitled The Boys From Syracuse, it boasted a hilarious nonsensical book by George Abbott, and a breezy score replete with great tunes. Because the practice of recording cast albums didnt exist at the time, Columbia producer Goddard Lieberson sought to recreate the best moments from the show in a studio recording made in 1956. In the dual role of Antipholus and his twin, he cast matinee idol Jack Cassidy, and surrounded him with performers of the first magnitude Portia Nelson, Bibi Osterwald (also in a dual role), Bob Shaver, and Stanley Prager (in another dual role as the two Antipholus servants, both named Dromio). Conductor Lehman Engel, a veteran of Broadway orchestra pits, provided the final touch that gave new life to what might have been otherwise a lost gem. I DON'T OWN RIGHTS..
BRIGADOON Lisa Adamson 2010-09-03 | SONG 14. FINALE Personnel: Shirley Jones (vocals); Shirley Jones ; Jack Cassidy (vocals); Susan Johnson, Frank Porretta (vocals). Columbia Records president and producer Goddard Lieberson, who, in addition to bringing many original Broadway cast albums to Columbia from the mid-'40s on also made a point of recording studio cast albums of vintage Broadway musicals that had never been recorded before or had been recorded by other companies, had good reasons to put together his own version of Brigadoon ten years after its Broadway premiere. The show had been recorded by rival RCA Victor Records shortly before the advent of the LP era on five 78s, so the original Broadway cast album contained only ten tracks and ran less than 33 minutes. The show had been turned into a movie in 1954, but the resulting original soundtrack album released by MGM Records was even shorter, less than 28 minutes. Further, by 1957 the 12" LP era had dawned, and with it so-called "high fidelity" recording. Thus, Columbia was able to promote its 45-minute studio-cast recording of Brigadoon, made in July 1957 and released in 1958, as a "new performance which contains many hitherto unrecorded selections," adding that it "presents the exciting...score for the first time in high fidelity and for the first time at such length, providing at last an extended survey of its riches." There would be longer and higher fidelity recordings of Brigadoon to come, but in 1958 this one, starring the husband-and-wife team of Shirley Jones and Jack Cassidy, and also featuring Susan Johnson (a veteran of the stage show) and Frank Porretta, could claim to be the best as well as the longest version yet. Among the "hitherto unrecorded selections" were a couple of minor songs and a major one that had proved too risqué for RCA and MGM, the hilarious "The Love of My Life," sung delightfully by Johnson, who also did a wonderful job with the raucous "My Mother's Wedding Day." Porretta handled the romantic ballad "Come to Me, Bend to Me" effectively, and Jones and Cassidy displayed some audible chemistry on "Almost Like Being in Love." Lieberson and conductor Lehman Engel, who had handled many cast albums, brought their usual quality control to the performances and the recording. As a result, this is one of those rare studio cast albums that is superior to both the original Broadway cast and original soundtrack albums. ~ William Ruhlmann I DON'T OWN RIGHTS..
BRIGADOON Lisa Adamson 2010-09-03 | SONG13. FROM THIS DAY ON/FAREWELL MUSIC Personnel: Shirley Jones (vocals); Shirley Jones ; Jack Cassidy (vocals); Susan Johnson, Frank Porretta (vocals). Columbia Records president and producer Goddard Lieberson, who, in addition to bringing many original Broadway cast albums to Columbia from the mid-'40s on also made a point of recording studio cast albums of vintage Broadway musicals that had never been recorded before or had been recorded by other companies, had good reasons to put together his own version of Brigadoon ten years after its Broadway premiere. The show had been recorded by rival RCA Victor Records shortly before the advent of the LP era on five 78s, so the original Broadway cast album contained only ten tracks and ran less than 33 minutes. The show had been turned into a movie in 1954, but the resulting original soundtrack album released by MGM Records was even shorter, less than 28 minutes. Further, by 1957 the 12" LP era had dawned, and with it so-called "high fidelity" recording. Thus, Columbia was able to promote its 45-minute studio-cast recording of Brigadoon, made in July 1957 and released in 1958, as a "new performance which contains many hitherto unrecorded selections," adding that it "presents the exciting...score for the first time in high fidelity and for the first time at such length, providing at last an extended survey of its riches." There would be longer and higher fidelity recordings of Brigadoon to come, but in 1958 this one, starring the husband-and-wife team of Shirley Jones and Jack Cassidy, and also featuring Susan Johnson (a veteran of the stage show) and Frank Porretta, could claim to be the best as well as the longest version yet. Among the "hitherto unrecorded selections" were a couple of minor songs and a major one that had proved too risqué for RCA and MGM, the hilarious "The Love of My Life," sung delightfully by Johnson, who also did a wonderful job with the raucous "My Mother's Wedding Day." Porretta handled the romantic ballad "Come to Me, Bend to Me" effectively, and Jones and Cassidy displayed some audible chemistry on "Almost Like Being in Love." Lieberson and conductor Lehman Engel, who had handled many cast albums, brought their usual quality control to the performances and the recording. As a result, this is one of those rare studio cast albums that is superior to both the original Broadway cast and original soundtrack albums. ~ William Ruhlmann I DON'T OWN RIGHTS..
BRIGADOON Lisa Adamson 2010-09-03 | SONG 12. MY MOTHER'S WEDING DAY Personnel: Shirley Jones (vocals); Shirley Jones ; Jack Cassidy (vocals); Susan Johnson, Frank Porretta (vocals). Columbia Records president and producer Goddard Lieberson, who, in addition to bringing many original Broadway cast albums to Columbia from the mid-'40s on also made a point of recording studio cast albums of vintage Broadway musicals that had never been recorded before or had been recorded by other companies, had good reasons to put together his own version of Brigadoon ten years after its Broadway premiere. The show had been recorded by rival RCA Victor Records shortly before the advent of the LP era on five 78s, so the original Broadway cast album contained only ten tracks and ran less than 33 minutes. The show had been turned into a movie in 1954, but the resulting original soundtrack album released by MGM Records was even shorter, less than 28 minutes. Further, by 1957 the 12" LP era had dawned, and with it so-called "high fidelity" recording. Thus, Columbia was able to promote its 45-minute studio-cast recording of Brigadoon, made in July 1957 and released in 1958, as a "new performance which contains many hitherto unrecorded selections," adding that it "presents the exciting...score for the first time in high fidelity and for the first time at such length, providing at last an extended survey of its riches." There would be longer and higher fidelity recordings of Brigadoon to come, but in 1958 this one, starring the husband-and-wife team of Shirley Jones and Jack Cassidy, and also featuring Susan Johnson (a veteran of the stage show) and Frank Porretta, could claim to be the best as well as the longest version yet. Among the "hitherto unrecorded selections" were a couple of minor songs and a major one that had proved too risqué for RCA and MGM, the hilarious "The Love of My Life," sung delightfully by Johnson, who also did a wonderful job with the raucous "My Mother's Wedding Day." Porretta handled the romantic ballad "Come to Me, Bend to Me" effectively, and Jones and Cassidy displayed some audible chemistry on "Almost Like Being in Love." Lieberson and conductor Lehman Engel, who had handled many cast albums, brought their usual quality control to the performances and the recording. As a result, this is one of those rare studio cast albums that is superior to both the original Broadway cast and original soundtrack albums. ~ William Ruhlmann I DON'T OWN RIGHTS..
BRIGADOON Lisa Adamson 2010-09-03 | SONG 11. THERE BUT FOR YOU I GO Personnel: Shirley Jones (vocals); Shirley Jones ; Jack Cassidy (vocals); Susan Johnson, Frank Porretta (vocals). Columbia Records president and producer Goddard Lieberson, who, in addition to bringing many original Broadway cast albums to Columbia from the mid-'40s on also made a point of recording studio cast albums of vintage Broadway musicals that had never been recorded before or had been recorded by other companies, had good reasons to put together his own version of Brigadoon ten years after its Broadway premiere. The show had been recorded by rival RCA Victor Records shortly before the advent of the LP era on five 78s, so the original Broadway cast album contained only ten tracks and ran less than 33 minutes. The show had been turned into a movie in 1954, but the resulting original soundtrack album released by MGM Records was even shorter, less than 28 minutes. Further, by 1957 the 12" LP era had dawned, and with it so-called "high fidelity" recording. Thus, Columbia was able to promote its 45-minute studio-cast recording of Brigadoon, made in July 1957 and released in 1958, as a "new performance which contains many hitherto unrecorded selections," adding that it "presents the exciting...score for the first time in high fidelity and for the first time at such length, providing at last an extended survey of its riches." There would be longer and higher fidelity recordings of Brigadoon to come, but in 1958 this one, starring the husband-and-wife team of Shirley Jones and Jack Cassidy, and also featuring Susan Johnson (a veteran of the stage show) and Frank Porretta, could claim to be the best as well as the longest version yet. Among the "hitherto unrecorded selections" were a couple of minor songs and a major one that had proved too risqué for RCA and MGM, the hilarious "The Love of My Life," sung delightfully by Johnson, who also did a wonderful job with the raucous "My Mother's Wedding Day." Porretta handled the romantic ballad "Come to Me, Bend to Me" effectively, and Jones and Cassidy displayed some audible chemistry on "Almost Like Being in Love." Lieberson and conductor Lehman Engel, who had handled many cast albums, brought their usual quality control to the performances and the recording. As a result, this is one of those rare studio cast albums that is superior to both the original Broadway cast and original soundtrack albums. ~ William Ruhlmann I DON'T OWN RIGHTS..
BRIGADOON Lisa Adamson 2010-09-02 | SONG 10. THE CHASE Personnel: Shirley Jones (vocals); Shirley Jones ; Jack Cassidy (vocals); Susan Johnson, Frank Porretta (vocals). Columbia Records president and producer Goddard Lieberson, who, in addition to bringing many original Broadway cast albums to Columbia from the mid-'40s on also made a point of recording studio cast albums of vintage Broadway musicals that had never been recorded before or had been recorded by other companies, had good reasons to put together his own version of Brigadoon ten years after its Broadway premiere. The show had been recorded by rival RCA Victor Records shortly before the advent of the LP era on five 78s, so the original Broadway cast album contained only ten tracks and ran less than 33 minutes. The show had been turned into a movie in 1954, but the resulting original soundtrack album released by MGM Records was even shorter, less than 28 minutes. Further, by 1957 the 12" LP era had dawned, and with it so-called "high fidelity" recording. Thus, Columbia was able to promote its 45-minute studio-cast recording of Brigadoon, made in July 1957 and released in 1958, as a "new performance which contains many hitherto unrecorded selections," adding that it "presents the exciting...score for the first time in high fidelity and for the first time at such length, providing at last an extended survey of its riches." There would be longer and higher fidelity recordings of Brigadoon to come, but in 1958 this one, starring the husband-and-wife team of Shirley Jones and Jack Cassidy, and also featuring Susan Johnson (a veteran of the stage show) and Frank Porretta, could claim to be the best as well as the longest version yet. Among the "hitherto unrecorded selections" were a couple of minor songs and a major one that had proved too risqué for RCA and MGM, the hilarious "The Love of My Life," sung delightfully by Johnson, who also did a wonderful job with the raucous "My Mother's Wedding Day." Porretta handled the romantic ballad "Come to Me, Bend to Me" effectively, and Jones and Cassidy displayed some audible chemistry on "Almost Like Being in Love." Lieberson and conductor Lehman Engel, who had handled many cast albums, brought their usual quality control to the performances and the recording. As a result, this is one of those rare studio cast albums that is superior to both the original Broadway cast and original soundtrack albums. ~ William Ruhlmann I DON'T OWN RIGHTS..
BRIGADOON Lisa Adamson 2010-09-02 | SONG 9. ALMOST LIKE BEING IN LOVE Personnel: Shirley Jones (vocals); Shirley Jones ; Jack Cassidy (vocals); Susan Johnson, Frank Porretta (vocals). Columbia Records president and producer Goddard Lieberson, who, in addition to bringing many original Broadway cast albums to Columbia from the mid-'40s on also made a point of recording studio cast albums of vintage Broadway musicals that had never been recorded before or had been recorded by other companies, had good reasons to put together his own version of Brigadoon ten years after its Broadway premiere. The show had been recorded by rival RCA Victor Records shortly before the advent of the LP era on five 78s, so the original Broadway cast album contained only ten tracks and ran less than 33 minutes. The show had been turned into a movie in 1954, but the resulting original soundtrack album released by MGM Records was even shorter, less than 28 minutes. Further, by 1957 the 12" LP era had dawned, and with it so-called "high fidelity" recording. Thus, Columbia was able to promote its 45-minute studio-cast recording of Brigadoon, made in July 1957 and released in 1958, as a "new performance which contains many hitherto unrecorded selections," adding that it "presents the exciting...score for the first time in high fidelity and for the first time at such length, providing at last an extended survey of its riches." There would be longer and higher fidelity recordings of Brigadoon to come, but in 1958 this one, starring the husband-and-wife team of Shirley Jones and Jack Cassidy, and also featuring Susan Johnson (a veteran of the stage show) and Frank Porretta, could claim to be the best as well as the longest version yet. Among the "hitherto unrecorded selections" were a couple of minor songs and a major one that had proved too risqué for RCA and MGM, the hilarious "The Love of My Life," sung delightfully by Johnson, who also did a wonderful job with the raucous "My Mother's Wedding Day." Porretta handled the romantic ballad "Come to Me, Bend to Me" effectively, and Jones and Cassidy displayed some audible chemistry on "Almost Like Being in Love." Lieberson and conductor Lehman Engel, who had handled many cast albums, brought their usual quality control to the performances and the recording. As a result, this is one of those rare studio cast albums that is superior to both the original Broadway cast and original soundtrack albums. ~ William Ruhlmann I DON'T OWN RIGHTS..
BRIGADOON Lisa Adamson 2010-09-02 | SONG 8. COME TO ME.BEND TO ME Personnel: Shirley Jones (vocals); Shirley Jones ; Jack Cassidy (vocals); Susan Johnson, Frank Porretta (vocals). Columbia Records president and producer Goddard Lieberson, who, in addition to bringing many original Broadway cast albums to Columbia from the mid-'40s on also made a point of recording studio cast albums of vintage Broadway musicals that had never been recorded before or had been recorded by other companies, had good reasons to put together his own version of Brigadoon ten years after its Broadway premiere. The show had been recorded by rival RCA Victor Records shortly before the advent of the LP era on five 78s, so the original Broadway cast album contained only ten tracks and ran less than 33 minutes. The show had been turned into a movie in 1954, but the resulting original soundtrack album released by MGM Records was even shorter, less than 28 minutes. Further, by 1957 the 12" LP era had dawned, and with it so-called "high fidelity" recording. Thus, Columbia was able to promote its 45-minute studio-cast recording of Brigadoon, made in July 1957 and released in 1958, as a "new performance which contains many hitherto unrecorded selections," adding that it "presents the exciting...score for the first time in high fidelity and for the first time at such length, providing at last an extended survey of its riches." There would be longer and higher fidelity recordings of Brigadoon to come, but in 1958 this one, starring the husband-and-wife team of Shirley Jones and Jack Cassidy, and also featuring Susan Johnson (a veteran of the stage show) and Frank Porretta, could claim to be the best as well as the longest version yet. Among the "hitherto unrecorded selections" were a couple of minor songs and a major one that had proved too risqué for RCA and MGM, the hilarious "The Love of My Life," sung delightfully by Johnson, who also did a wonderful job with the raucous "My Mother's Wedding Day." Porretta handled the romantic ballad "Come to Me, Bend to Me" effectively, and Jones and Cassidy displayed some audible chemistry on "Almost Like Being in Love." Lieberson and conductor Lehman Engel, who had handled many cast albums, brought their usual quality control to the performances and the recording. As a result, this is one of those rare studio cast albums that is superior to both the original Broadway cast and original soundtrack albums. ~ William Ruhlmann I DON'T OWN RIGHTS..
BRIGADOON Lisa Adamson 2010-09-02 | SONG 7. JEANNIE'S PACKIN UP-Personnel: Shirley Jones (vocals); Shirley Jones ; Jack Cassidy (vocals); Susan Johnson, Frank Porretta (vocals). Columbia Records president and producer Goddard Lieberson, who, in addition to bringing many original Broadway cast albums to Columbia from the mid-'40s on also made a point of recording studio cast albums of vintage Broadway musicals that had never been recorded before or had been recorded by other companies, had good reasons to put together his own version of Brigadoon ten years after its Broadway premiere. The show had been recorded by rival RCA Victor Records shortly before the advent of the LP era on five 78s, so the original Broadway cast album contained only ten tracks and ran less than 33 minutes. The show had been turned into a movie in 1954, but the resulting original soundtrack album released by MGM Records was even shorter, less than 28 minutes. Further, by 1957 the 12" LP era had dawned, and with it so-called "high fidelity" recording. Thus, Columbia was able to promote its 45-minute studio-cast recording of Brigadoon, made in July 1957 and released in 1958, as a "new performance which contains many hitherto unrecorded selections," adding that it "presents the exciting...score for the first time in high fidelity and for the first time at such length, providing at last an extended survey of its riches." There would be longer and higher fidelity recordings of Brigadoon to come, but in 1958 this one, starring the husband-and-wife team of Shirley Jones and Jack Cassidy, and also featuring Susan Johnson (a veteran of the stage show) and Frank Porretta, could claim to be the best as well as the longest version yet. Among the "hitherto unrecorded selections" were a couple of minor songs and a major one that had proved too risqué for RCA and MGM, the hilarious "The Love of My Life," sung delightfully by Johnson, who also did a wonderful job with the raucous "My Mother's Wedding Day." Porretta handled the romantic ballad "Come to Me, Bend to Me" effectively, and Jones and Cassidy displayed some audible chemistry on "Almost Like Being in Love." Lieberson and conductor Lehman Engel, who had handled many cast albums, brought their usual quality control to the performances and the recording. As a result, this is one of those rare studio cast albums that is superior to both the original Broadway cast and original soundtrack albums. ~ William Ruhlmann I DON'T OWN RIGHTS..
BRIGADOON Lisa Adamson 2010-09-02 | SONG 6. THE LOVE OF MY LIFE Personnel: Shirley Jones (vocals); Shirley Jones ; Jack Cassidy (vocals); Susan Johnson, Frank Porretta (vocals). Columbia Records president and producer Goddard Lieberson, who, in addition to bringing many original Broadway cast albums to Columbia from the mid-'40s on also made a point of recording studio cast albums of vintage Broadway musicals that had never been recorded before or had been recorded by other companies, had good reasons to put together his own version of Brigadoon ten years after its Broadway premiere. The show had been recorded by rival RCA Victor Records shortly before the advent of the LP era on five 78s, so the original Broadway cast album contained only ten tracks and ran less than 33 minutes. The show had been turned into a movie in 1954, but the resulting original soundtrack album released by MGM Records was even shorter, less than 28 minutes. Further, by 1957 the 12" LP era had dawned, and with it so-called "high fidelity" recording. Thus, Columbia was able to promote its 45-minute studio-cast recording of Brigadoon, made in July 1957 and released in 1958, as a "new performance which contains many hitherto unrecorded selections," adding that it "presents the exciting...score for the first time in high fidelity and for the first time at such length, providing at last an extended survey of its riches." There would be longer and higher fidelity recordings of Brigadoon to come, but in 1958 this one, starring the husband-and-wife team of Shirley Jones and Jack Cassidy, and also featuring Susan Johnson (a veteran of the stage show) and Frank Porretta, could claim to be the best as well as the longest version yet. Among the "hitherto unrecorded selections" were a couple of minor songs and a major one that had proved too risqué for RCA and MGM, the hilarious "The Love of My Life," sung delightfully by Johnson, who also did a wonderful job with the raucous "My Mother's Wedding Day." Porretta handled the romantic ballad "Come to Me, Bend to Me" effectively, and Jones and Cassidy displayed some audible chemistry on "Almost Like Being in Love." Lieberson and conductor Lehman Engel, who had handled many cast albums, brought their usual quality control to the performances and the recording. As a result, this is one of those rare studio cast albums that is superior to both the original Broadway cast and original soundtrack albums. ~ William Ruhlmann I DON'T OWN RIGHTS..
BRIGADOON Lisa Adamson 2010-09-02 | SONG 5. THE HEATHER ON THE HILL Personnel: Shirley Jones (vocals); Shirley Jones ; Jack Cassidy (vocals); Susan Johnson, Frank Porretta (vocals). Columbia Records president and producer Goddard Lieberson, who, in addition to bringing many original Broadway cast albums to Columbia from the mid-'40s on also made a point of recording studio cast albums of vintage Broadway musicals that had never been recorded before or had been recorded by other companies, had good reasons to put together his own version of Brigadoon ten years after its Broadway premiere. The show had been recorded by rival RCA Victor Records shortly before the advent of the LP era on five 78s, so the original Broadway cast album contained only ten tracks and ran less than 33 minutes. The show had been turned into a movie in 1954, but the resulting original soundtrack album released by MGM Records was even shorter, less than 28 minutes. Further, by 1957 the 12" LP era had dawned, and with it so-called "high fidelity" recording. Thus, Columbia was able to promote its 45-minute studio-cast recording of Brigadoon, made in July 1957 and released in 1958, as a "new performance which contains many hitherto unrecorded selections," adding that it "presents the exciting...score for the first time in high fidelity and for the first time at such length, providing at last an extended survey of its riches." There would be longer and higher fidelity recordings of Brigadoon to come, but in 1958 this one, starring the husband-and-wife team of Shirley Jones and Jack Cassidy, and also featuring Susan Johnson (a veteran of the stage show) and Frank Porretta, could claim to be the best as well as the longest version yet. Among the "hitherto unrecorded selections" were a couple of minor songs and a major one that had proved too risqué for RCA and MGM, the hilarious "The Love of My Life," sung delightfully by Johnson, who also did a wonderful job with the raucous "My Mother's Wedding Day." Porretta handled the romantic ballad "Come to Me, Bend to Me" effectively, and Jones and Cassidy displayed some audible chemistry on "Almost Like Being in Love." Lieberson and conductor Lehman Engel, who had handled many cast albums, brought their usual quality control to the performances and the recording. As a result, this is one of those rare studio cast albums that is superior to both the original Broadway cast and original soundtrack albums. ~ William Ruhlmann I DON'T OWN RIGHTS..
BRIGADOON Lisa Adamson 2010-09-02 | SONG 3. WAITIN FOR ME DEARIE Personnel: Shirley Jones (vocals); Shirley Jones ; Jack Cassidy (vocals); Susan Johnson, Frank Porretta (vocals). Columbia Records president and producer Goddard Lieberson, who, in addition to bringing many original Broadway cast albums to Columbia from the mid-'40s on also made a point of recording studio cast albums of vintage Broadway musicals that had never been recorded before or had been recorded by other companies, had good reasons to put together his own version of Brigadoon ten years after its Broadway premiere. The show had been recorded by rival RCA Victor Records shortly before the advent of the LP era on five 78s, so the original Broadway cast album contained only ten tracks and ran less than 33 minutes. The show had been turned into a movie in 1954, but the resulting original soundtrack album released by MGM Records was even shorter, less than 28 minutes. Further, by 1957 the 12" LP era had dawned, and with it so-called "high fidelity" recording. Thus, Columbia was able to promote its 45-minute studio-cast recording of Brigadoon, made in July 1957 and released in 1958, as a "new performance which contains many hitherto unrecorded selections," adding that it "presents the exciting...score for the first time in high fidelity and for the first time at such length, providing at last an extended survey of its riches." There would be longer and higher fidelity recordings of Brigadoon to come, but in 1958 this one, starring the husband-and-wife team of Shirley Jones and Jack Cassidy, and also featuring Susan Johnson (a veteran of the stage show) and Frank Porretta, could claim to be the best as well as the longest version yet. Among the "hitherto unrecorded selections" were a couple of minor songs and a major one that had proved too risqué for RCA and MGM, the hilarious "The Love of My Life," sung delightfully by Johnson, who also did a wonderful job with the raucous "My Mother's Wedding Day." Porretta handled the romantic ballad "Come to Me, Bend to Me" effectively, and Jones and Cassidy displayed some audible chemistry on "Almost Like Being in Love." Lieberson and conductor Lehman Engel, who had handled many cast albums, brought their usual quality control to the performances and the recording. As a result, this is one of those rare studio cast albums that is superior to both the original Broadway cast and original soundtrack albums. ~ William Ruhlmann I DON'T OWN RIGHTS..
BRIGADOON Lisa Adamson 2010-09-02 | SONG 4.I'LL GO HOME BONNIE JEAN Personnel: Shirley Jones (vocals); Shirley Jones ; Jack Cassidy (vocals); Susan Johnson, Frank Porretta (vocals). Columbia Records president and producer Goddard Lieberson, who, in addition to bringing many original Broadway cast albums to Columbia from the mid-'40s on also made a point of recording studio cast albums of vintage Broadway musicals that had never been recorded before or had been recorded by other companies, had good reasons to put together his own version of Brigadoon ten years after its Broadway premiere. The show had been recorded by rival RCA Victor Records shortly before the advent of the LP era on five 78s, so the original Broadway cast album contained only ten tracks and ran less than 33 minutes. The show had been turned into a movie in 1954, but the resulting original soundtrack album released by MGM Records was even shorter, less than 28 minutes. Further, by 1957 the 12" LP era had dawned, and with it so-called "high fidelity" recording. Thus, Columbia was able to promote its 45-minute studio-cast recording of Brigadoon, made in July 1957 and released in 1958, as a "new performance which contains many hitherto unrecorded selections," adding that it "presents the exciting...score for the first time in high fidelity and for the first time at such length, providing at last an extended survey of its riches." There would be longer and higher fidelity recordings of Brigadoon to come, but in 1958 this one, starring the husband-and-wife team of Shirley Jones and Jack Cassidy, and also featuring Susan Johnson (a veteran of the stage show) and Frank Porretta, could claim to be the best as well as the longest version yet. Among the "hitherto unrecorded selections" were a couple of minor songs and a major one that had proved too risqué for RCA and MGM, the hilarious "The Love of My Life," sung delightfully by Johnson, who also did a wonderful job with the raucous "My Mother's Wedding Day." Porretta handled the romantic ballad "Come to Me, Bend to Me" effectively, and Jones and Cassidy displayed some audible chemistry on "Almost Like Being in Love." Lieberson and conductor Lehman Engel, who had handled many cast albums, brought their usual quality control to the performances and the recording. As a result, this is one of those rare studio cast albums that is superior to both the original Broadway cast and original soundtrack albums. ~ William Ruhlmann I DON'T OWN RIGHTS..
BRIGADOON Lisa Adamson 2010-09-02 | SONG 1. INTRODUCTION 2.VENDOR'S CALL Personnel: Shirley Jones (vocals); Shirley Jones ; Jack Cassidy (vocals); Susan Johnson, Frank Porretta (vocals). Columbia Records president and producer Goddard Lieberson, who, in addition to bringing many original Broadway cast albums to Columbia from the mid-'40s on also made a point of recording studio cast albums of vintage Broadway musicals that had never been recorded before or had been recorded by other companies, had good reasons to put together his own version of Brigadoon ten years after its Broadway premiere. The show had been recorded by rival RCA Victor Records shortly before the advent of the LP era on five 78s, so the original Broadway cast album contained only ten tracks and ran less than 33 minutes. The show had been turned into a movie in 1954, but the resulting original soundtrack album released by MGM Records was even shorter, less than 28 minutes. Further, by 1957 the 12" LP era had dawned, and with it so-called "high fidelity" recording. Thus, Columbia was able to promote its 45-minute studio-cast recording of Brigadoon, made in July 1957 and released in 1958, as a "new performance which contains many hitherto unrecorded selections," adding that it "presents the exciting...score for the first time in high fidelity and for the first time at such length, providing at last an extended survey of its riches." There would be longer and higher fidelity recordings of Brigadoon to come, but in 1958 this one, starring the husband-and-wife team of Shirley Jones and Jack Cassidy, and also featuring Susan Johnson (a veteran of the stage show) and Frank Porretta, could claim to be the best as well as the longest version yet. Among the "hitherto unrecorded selections" were a couple of minor songs and a major one that had proved too risqué for RCA and MGM, the hilarious "The Love of My Life," sung delightfully by Johnson, who also did a wonderful job with the raucous "My Mother's Wedding Day." Porretta handled the romantic ballad "Come to Me, Bend to Me" effectively, and Jones and Cassidy displayed some audible chemistry on "Almost Like Being in Love." Lieberson and conductor Lehman Engel, who had handled many cast albums, brought their usual quality control to the performances and the recording. As a result, this is one of those rare studio cast albums that is superior to both the original Broadway cast and original soundtrack albums. ~ William Ruhlmann I DOWN'T OWN RIGHTS..
FADE OUT FADE IN TRACK 15-16 Lisa Adamson 2010-09-02 | CAROL BURNETT AND JACK CASSIDY SONG-FADE OUT FADE IN AND FINALE
FADE OUT FADE IN TRACK 14 Lisa Adamson 2010-09-02 | CAROL BURNETT AND JACK CASSIDY SONG -MY HEART IS LIKE A VIOLIN
FADE OUT FADE IN TRACK 13 Lisa Adamson 2010-09-02 | CAROL BURNETT AND JACK CASSIDY SONG -DANGEROUS AGE
FADE OUT FADE IN TRACK 12 Lisa Adamson 2010-09-02 | CAROL BURNETT AND JACK CASSIDY SONG -YOU MUSTN'T BE DISCOUROGED
FADE OUT FADE IN TRACK 11 Lisa Adamson 2010-09-02 | CAROL BURNETT AND JACK CASSIDY SONG -CLOSE HARMONY
FADE OUT FADE IN TRACK 10 Lisa Adamson 2010-09-02 | CAROL BURNETT AND JACK CASSIDY SONG -GO HOME TRAIN
FADE OUT FADE IN TRACK 9 Lisa Adamson 2010-09-02 | CAROL BURNETT AND JACK CASSIDY SONG -LILY TREMAINE
FADE OUT FADE IN TRACK 8 Lisa Adamson 2010-09-02 | CAROL BURNETT AND JACK CASSIDY SONG -MY FORTUNE IS MY FACE
