Howard Keel In Person
Rebecca Brewer
Keel sing in person help me?
I made a little bet (yeah, of all the things to bet about) and I
need to know if Keel really had a big voice (as opposed to ordinary
size).
This is really silly, I know, but I didn't know where else to ask.
Much obliged for any help.
Rebecca
Beb11572
I saw Mr. Keel in I DO! I DO! in 1979, and my recollection is that he seemed to
have the same powerful voice that he always did in his films. However, I do
distinctly recall hearing from someone who had seen him in THE UNSINKABLE MOLLY
BROWN several years prior, who said that his voice seemed much smaller in
person than it did in the movies. Perhaps I DO! required heavier
amplification, as he and Carol Lawrence were the whole show.
He was supposed to do MY FAIR LADY here on Long Island in '96, but cancelled
for some unknown reason and was replaced by Michael Moriarty, who has *no*
voice! :)
Steve Newport
at the Camden County Music Fair in Haddonfield, New Jersey. An actual
wide-open summer tent (they often stopped performing when it rained)
with only stage (not body) mikes. It was there that I saw Keel as Billy
Bigelow, Emile deBecque (opposite Giselle MacKenzie) El Gallo (opposite
Anna Maria Alberghetti) and "Leadville" Johnny Brown (opposite Tammy
Grimes.) Reviews always cited his "booming" or "resonant" baritone.
(Both of which, I'm proud to say, I've also gotten from critics over the
years in roles which include three of the four above.) I'm guessing,
like John Raitt, he's still big-- it's the leading men who got small.
(See FORBIDDEN BROADWAY on SUNSET BOULEVARD.)
Rebecca Brewer
Keel in Carousel at the New York City Center in 1957. Barbara Cook
played Julie, BTW. The gentleman told me that his voice was, and I
quote, "HUGE!!"
I figure it isn't a small voice, anyhow. He held his own against opera
star George London in a 1941 production of Handel's oratorio "Saul"
(they had a duet).
Come to think of it, I recall a review for a music festival he won in
1943 where they credited his winning with "the sheer power of his
voice" which helped him overcome a lack of training.
Thanks again,
Rebecca
Steve Newport
some other stars in the City Center revival? Jo Sullivan? Russell Nype?
And IIRC Cook appeared in two (as Julie *and* Carrie.)
Re: Howard Keel In Person
Group: rec.arts.theatre.musicals Date: Wed, Sep 3, 2003, 10:13pm (EDT-3)
From: wbsst...@yahoo.com (Rebecca Brewer) Thanks for the help. I
just got the chance to talk to a man who saw Keel in Carousel at the New
York City Center in 1957. Barbara Cook played Julie, BTW. The gentleman
told me that his voice was, and I quote, "HUGE!!"
Rebecca Brewer
> He directed the stock production of CAROUSEL I saw him in. Weren't there
> some other stars in the City Center revival? Jo Sullivan? Russell Nype?
> And IIRC Cook appeared in two (as Julie *and* Carrie.)
>
The stars he listed were Victor Moore, Russell Nype, James Mitchell,
Kay Medford. He was mainly talking about Keel's "Soliloquy", which he
said was extremely powerful and was the show's highlight.
Rebecca
Steve Newport
know Moore and Nype were the Starkeeper and Snow, and am assuming
Medford was Mullin. Was Mitchell Jigger or the Ballet Soloist, I wonder.
Re: Howard Keel In Person
Group: rec.arts.theatre.musicals Date: Thu, Sep 4, 2003, 11:00am (EDT-3)
From: wbsst...@yahoo.com (Rebecca Brewer) <<<Keel directed the stock
production of CAROUSEL I saw him in. Weren't there some other stars in
the City Center revival? Jo Sullivan? Russell Nype? And IIRC Cook
appeared in two (as Julie *and* Carrie.) >>>
---------------------------
The stars he listed were Victor Moore, Russell Nype, James Mitchell, Kay
Medford. Keel's "Soliloquy" he said was extremely powerful and was the
show's highlight.
Rebecca Brewer
Soliloquy in which the guy palying Billy had to really push his way
through it. The voice was far to weak for the song. Yech!
Yes, Mitchell played Jigger. I looked up a review of the show, and he
was singled out for praise.
Did the New York City Center use heavy amplification, do you know?
Rebecca
srrne...@webtv.net (Steve Newport) wrote in message news:<7456-3F5...@storefull-2376.public.lawson.webtv.net>...
Steve Newport
probably heard Michael Hayden who is on both revisal recordings. I
didn't like his acting of the role either (many thought his successor
James Barbour was superior) but I've seen him give several good
performances since on stage and on TV. A friend in California
interviewed Raitt for TV, and Raitt's comment was "the guy couldn't sing
the role." Does the review indicate the other principals: Nettie,
Carrie?
Re: Howard Keel In Person
Group: rec.arts.theatre.musicals Date: Thu, Sep 4, 2003, 3:09pm (EDT-3)
From: wbsst...@yahoo.com (Rebecca Brewer) I don't know which version
it was from, but I heard a recording of the Soliloquy in which the guy
palying Billy had to really push his way through it. The voice was far
to weak for the song. Yech! Yes, James Mitchell played Jigger. I looked
up a review of the show, and he was singled out for praise.
Did the New York City Center use heavy amplification, do you know?
Rebecca Brewer
> Carrie?
Here's the review itself, for anyone who's interested.
Theatre Arts Magazine Nov., 1957 ------- City Center Season
Carousel - opened Sept. 11, 1957
Although this classic can hardly be said to need additional touches of
sentiment, the revival at hand did provide a neat one by bringing Victor Moore
out of retirement to play the starkeeper. It was fine to see him again, hanging
out his wares in the back yard of heaven, and it required no great stretch of
imagination to accept this improbable locale at face value.
Another starkeeper. Jean Dalrymple, was largely responsibly for that. Once
more the director of the company on 55th Street rounded up a cast that may
conservatively be reckoned as having depth. ("Depth" is what you have when you
have such secondary roles as the starkeeper and Nettie Fowler are played by the
likes of Mr. Moore and Marie Powers.)
All you really need to know about the production is that the cast was up to
the material. It is no longer news that this 1945 musical play is a superlative
and enduring one. Nor is it news that the City Center organization can turn
out a brilliant production in two weeks, though this is still a source of
wonderment.
In the leading roles, there were Howard Keel and Barbara Cook, and they were
both remarkably apt, vocally and as actors. Since Carousel is a musical play
in the strict sense of the term, acting ability is more than an afterthought
when a director goes about casting it.
The role of the brash carnival barker is one that lends itself to overplaying
easily, especially since it's physical requirements are not precisely the sort
that come naturally to the average Billy Bigelow.
In addition to having a splendid baritone, Keel has a good deal of weight to
throw around, but he does so with ease and assurance.
Julie Jordan, too, is a rather special creation on the musical stage,
encompassing an emotional range that is beyond the mine-run of singing
actresses, who are well rounded and as alike as pie plates; but Miss Cook made
her an appealing and genuinely three-dimensional figure.
Another young performer on the rise, Pat Stanley, was a fine Carrie, and there
were other worthy performances by Miss Powers, Russell Nype, Kay Medford, Bambi
Lynn and James Mitchell, who managed to add a humorous dimension to the
villainous Jigger without sacrificing any of the menace.
The dances seemed especially attractive this time around, and for that a good
deal of praise is due Robert Pagent, both as director and Boatswain. It was a
revival, in fact, that reflected credit on all hands.
Steve Newport
Stanley and her Enoch, Russell Nype, won Tonys together supporting Don
Ameche and Elaine Stritch in the delightful musical GOLDILOCKS.
Re: Howard Keel In Person
Group: rec.arts.theatre.musicals Date: Thu, Sep 4, 2003, 10:26pm (EDT-3)
From: wbsst...@yahoo.com (Rebecca Brewer) "The role of the brash
carnival barker is one that lends itself to overplaying easily,
especially since it's physical requirements are not precisely the sort
that come naturally to the average Billy Bigelow. In addition to having
a splendid baritone, Keel has a good deal of weight to throw around, but
he does so with ease and assurance. Julie Jordan, too, is a rather
special creation on the musical stage, encompassing an emotional range
that is beyond the mine-run of singing actresses but Miss Cook made her
an appealing and genuinely three-dimensional figure.
Another young performer on the rise, Pat Stanley, was a fine Carrie.
James Mitchell managed to add a humorous dimension to the villainous
Jigger without sacrificing any of the menace."
Robert Deutsch
wrote:
I remember reading an article on Howard Keel many years ago, in which
he was quoted as saying he considered a career in opera. He also
pointed out that he is really a bass, but sings baritone roles in
musical theater. Personally, I have never cared that much for his
voice. I would put John Raitt, Alfred Drake, John Reardon, Bruce
Yarnell (what a shame he died so young), and Robert Goulet (in his
prime) well ahead of Howard Keel.
Bob
Steve Newport
(like Ray Middleton) a D. I so miss that sound.
Re: Howard Keel In Person
Group: rec.arts.theatre.musicals Date: Sun, Sep 7, 2003, 11:08am From:
rdeu...@yorku.ca (Robert Deutsch)
I remember reading an article on Howard Keel many years ago, in which he
pointed out that he is really a bass, but sings baritone roles in
musical theater. Personally I would put Robert Goulet (in his prime)
well ahead of Howard Keel.
Rebecca Brewer
> Keel (like Gordon MacRae and John Cullum) rarely sang above an E. Goulet
> (like Ray Middleton) a D. I so miss that sound.
I recently read that Keel had a range of low D to F#. I just heard a
recording he made in the early 50's of a song called "The World Is
Mine Tonight" and he did go up to F natural.
A more recent favorite of mine is Shuler Hensley (Jud Fry in
Oklahoma!). I think his is one of the most traditional sounding voices
I've heard in a long time.
Rebecca
Steve Newport
than they will on a cast album of a show played eight times a week. I
think Jud's highest note is C sharp. (Martin Vidnovic took it up.)
Re: Howard Keel In Person
Group: rec.arts.theatre.musicals Date: Sun, Sep 7, 2003, 1:58pm (EDT-3)
From: wbsst...@yahoo.com (Rebecca Brewer) I recently read that Keel
had a range of low D to F#. I just heard a recording he made in the
early 50's of a song called "The World Is Mine Tonight" and he did go up
to F natural.
A more recent favorite of mine is Shuler Hensley (Jud Fry in Oklahoma!).
I think his is one of the most traditional sounding voices I've heard in
a long time.
cinekarine
> (like Ray Middleton) a D. I so miss that sound.
Gordon MacRae had a 4 octave range which allowed to sing bass,
baritone and even tenor roles on his famous radio show - the Railroad
Hour. There are few singers who could have accomplished such a feat
then or now. His range was far wider than Howard Keel's.
Steve Newport
Re: Howard Keel In Person
I'm a MacRae fan but even Yma Sumac didn't have that......
EBWHeights
>range
>===============================
>I'm a MacRae fan but even Yma Sumac didn't have that......
Touche....but Julie Andrews did...my heart still hurts for her. As for MacRae
in comparison with Keel? For me, there's no comparison, at all...Keel's voice
(even without 4(?) octaves wins...also love John Raitt.
Rebecca Brewer
> baritone and even tenor roles on his famous radio show - the Railroad
> Hour. There are few singers who could have accomplished such a feat
> then or now. His range was far wider than Howard Keel's.
A wider range doen't mean a better singer, though - as we have
constant proof of these days. I have nothing against MacRae, mind you,
I just like a more exciting sound than he has i.e: Keel, Raitt etc.
I also think both of these gentlemen are far better at interpreting
the songs than MacRae (just my opinion, though).
Rebecca
Steve Newport
soundtrack recordings, which I diiscovered when I started buying his
solo albums. (There are a lot of showtunes on most of them, too.)
cinekarine
Keel's voice exciting or colorful enough- it is a great voice that I
do enjoy very much but he was always more predictable (to me) in his
interpretations and never as powerfully affecting. I always thought
Gordon MacRae really got into the spirit and the essence of the songs
- for me, in terms of capturing a song's inner life and feelings, he
ranks as one of the very best. I've heard very few singers who had
such warmth and sincerity and who brought so much life and intensity
to their songs, whether sad, exuberant, light or dramatic melodies. I
always thought that this gift coupled with his impressive range often
made him stand out compared to others singing the same songs. Midn
you, I enjoy the work of most of the great singers - I discovered
musicals and operettas when I was in my teens in the late 80s and have
become a real aficionado since, writing many articles along the way.
Karine
cinekarine
near totality of his close to 300 Railroad Hour shows can confirm that
easily. It was this more than anything else that made me realize it -
I knew he had a great range before but never realize just how wide
before acquiring those shows.
I'm a great Julie Andrews fan too - in a Canadian interview I have she
mentioned that for many years her range was close to 5 octaves -
that's really impressive!
Rebecca Brewer
> OTOH, Gordon MacRae can't be fully appreciated if you have only his
> soundtrack recordings, which I diiscovered when I started buying his
> solo albums. (There are a lot of showtunes on most of them, too.)
I have several CD's made from MacRae's solo albums, and I enjoy them a
great deal.
BTW, have you ever heard the Keel/MacRae tribute album made by opera
baritone Jason Howard? Some of the songs are really nice, but, IMO, he
should have left out "Where Is The Life..." from Kiss Me Kate. His
performance of it is a bit on the boring side.
The CD is called "Only Make Believe: The Hollywood Baritones"
Rebecca
Noel Katz
The lowest operatic bass to the highest operatic soprano is a little more than
four octaves. At no point in his career did Keel or McRae (I forget who this
is being claimed about) have a 4 octave range. Julie Andrews had 5 octaves?
Well, the mouse-like squeaks at the top of her range must have been exceedingly
unpleasant to hear, and she didn't use 3 octaves in any of her Broadway roles.
http://www.edfringe.com/reviews/read.html?id=MURDE
Area 51 - the musical! http://hometown.aol.com/mprovizr/Index.html
samn
news:20030923173423...@mb-m01.aol.com:
> I've argued this before, but here we go again.
>
> The lowest operatic bass to the highest operatic soprano is a little
> more than four octaves. At no point in his career did Keel or McRae
> (I forget who this is being claimed about) have a 4 octave range.
> Julie Andrews had 5 octaves? Well, the mouse-like squeaks at the top
> of her range must have been exceedingly unpleasant to hear, and she
> didn't use 3 octaves in any of her Broadway roles.
This is nothing compared to Mariah Carey's publicists/fans/admirers
claiming that she has a seven octave range! I know it's her publicists' job
to exaggerate her talents but c'mon, *seven* octaves?
--------------------
samn at techie dot com
Steve Newport
claim to a several octave range when she's got about six notes.) MY FAIR
LADY isn't even very high as soprano roles go. Gordon MacRae's keys in
the films of OKLAHOMA! and CAROUSEL are lower than Alfred Drake's or
John Raitt's. Robert Goulet's keys is in CAROUSEL are lower than
MacRae's. Howard Keel sings Ravenal is a comfortable baritone keys. It
really doesn't matter. It works for them.
(And I love all of the above.) Switching to the gals however-- if only
Jane Powell or Kathryn Grayson respectively sang and acted as well as
Ann Blyth. BFS.
Beb11572
>MacRae's.
Robert Goulet's keys in SOUTH PACIFIC are lower than Pinza's!
Howard Keel sings Ravenal is a comfortable baritone keys. It
>really doesn't matter. It works for them.
>(And I love all of the above.) Switching to the gals however-- if only
>Jane Powell or Kathryn Grayson respectively sang and acted as well as
>Ann Blyth. BFS.
Steve, would you please remove tongue from cheek long enough (no BFS) to
explain what you mean about Powell and Grayson in comparison to Blyth.
Seriously - I wanna know!
Steve Newport
Re: Howard Keel In Person
Robert Goulet's keys in SOUTH PACIFIC are lower than Pinza's! Steve,
would you please remove tongue from cheek long enough (no BFS)
Is that like no BS? First, Pinza sang E's in SP. Not every bass wants to
do that. Ds are better for some. Personally I prefer "This Nearly" with
the E top but "Some Enchanted" down-- with the D. The BFS was really for
you-- since you know that we differ, by gender, on the height of voice
bar. (I'm harder on the women, you on the men.) I've never been a fan of
Jane Powell's singing voice, as much as I like her, or some of Kathryn
Grayson's acting. It seemed like Ann Blyth could do both better in the
few musical films she made. (She's also the only one of the three I was
attracted to. BFS, again.)
lastan...@webtv.net
Beb11572
>
>From: beb1...@aol.com (Beb11572)
>Robert Goulet's keys in SOUTH PACIFIC are lower than Pinza's! Steve,
>would you please remove tongue from cheek long enough (no BFS)
>=======================
>Is that like no BS?
:)
First, Pinza sang E's in SP. Not every bass wants to
>do that. Ds are better for some.
Odd in that you'd think if it was low enough for Pinza, it would be low enough
for *Goulet*, "but no" ... (and he had it transposed down the first time he
did it, 17 years ago).
Personally I prefer "This Nearly" with
>the E top but "Some Enchanted" down-- with the D. The BFS was really for
>you-- since you know that we differ, by gender, on the height of voice
>bar.
I'm not sure what this means - somehow I'm not understanding the semantics.
Please help me here?
(I'm harder on the women, you on the men.) I've never been a fan of
>Jane Powell's singing voice, as much as I like her, or some of Kathryn
>Grayson's acting. It seemed like Ann Blyth could do both better in the
>few musical films she made. (She's also the only one of the three I was
>attracted to. BFS, again.)
I'm attracted to all three of them! You find me a gal who looks like *any* of
'em, and I'll be your best friend for life!!!!
Odd, then, that Blyth's musical talent was used so infrequently. As I recall
it, she doesn't even sing in THE GREAT CARUSO -- and, as we have noted several
times, was dubbed (!!!) in THE HELEN MORGAN STORY.
Interesting, too, that she played two of Grayson's film roles - SHOW BOAT and
KISS ME, KATE - later on, on stage. (I guess some summer stock producers
decided they wanted to right some of the "wrongs" of Dore Schary--BFS.)
Matthew Winn
> This is nothing compared to Mariah Carey's publicists/fans/admirers
> claiming that she has a seven octave range! I know it's her publicists' job
> to exaggerate her talents but c'mon, *seven* octaves?
That would be quite an achievement given that the total range of human
hearing is only nine octaves wide. She might just be able to produce
horrible screechy sounds in part of each octave, but it's stretching
things a bit to call that a "range".
Matthew
Steve Newport
Re: Howard Keel In Person
From: beb1...@aol.com (Beb11572)
<<<Re: singers in musicals-- I'm harder on the women, you on the men.)
I've never been a fan of Jane Powell's singing voice, as much as I like
her, or some of Kathryn Grayson's acting. It seemed like Ann Blyth could
do both better in the few musical films she made. She's also the only
one of the three I was attracted to.>>>
too, that Blyth played two of Grayson's film roles - SHOW BOAT and KISS
ME, KATE - later on, on stage. I guess some summer stock producers
decided they wanted to right some of the "wrongs" of Dore Schary--BFS.)
I have dated Betty Garrett and Gloria DeHaven look-a-likes, but they're
probably too old for you by now. Gloria's appearing at our condo theatre
this season.
Steve Newport
Re: Howard Keel In Person
Keel/MacRae tribute album made by opera baritone Jason Howard? The CD is
called "Only Make Believe: The Hollywood Baritones."
======================
Thanks for the reminder. I just tacked it on to my end of the month
Footlight Order. (10-30 percent off on orders of $100-300.) Howard's
recorded "the Keel roles" in CALAMITY JANE and SHOW BOAT.
cinekarine
(certainly not 5 or 7 though, LOL!) Kathryn Grayson was another one,
ditto Susanna Foster. I don't believe all I read either, but I like to
think I've studied music and voice enough to know what an octave is.
Ha!
I've always been a great fan of both Kathryn Grayson and Jane Powell.
I always think of Ann Blyth as an actress first, as her singing roles
were not very numerous. She was in a few B musicals at Universal and
then the 3 MGM ones, The Great Caruso in which she sang just once and
the lackluster remakes of Student Prince and Rose-Marie. I wish she
had done more. Her own voice would have been perfect for Helen Morgan,
but they dubbed in Gogi Grant. The acclaimed TV version with Polly
Bergen had proved the point that the emotion was the key to any
impression of this singer, so the studio opted for the same thing for
the film even though this meant sacrificing Helen Morgan's actual
timbre and style in the process. Whether this was a good idea or not
depends on the point of view.
I saw Robert Goulet in SOUTH PACIFIC last year in Montreal and he was
wonderful. This was one of the most beautiful productions I have ever
seen. I have been raving about it for a year now. And for once, we got
an Emile de Becque whose French sounded French! Being French myself, I
never get over some of the accents that were supposed to pass for
French in various productions of this musical and in the film. In the
latter, Emile's singing voice (Giorgio Tozzi) did a much better job at
it than Rossano Brazzi did in the speaking parts. Ouch!
Speaking of Broadway to Hollywood, I wish BRIGADOON had been made as a
singing musical rather than a dancing one. My ideal casting would have
been Gordon MacRae and Kathryn Grayson (she had been considered in
fact) or Howard Keel and Jane Powell. I have a wonderful radio version
by MacRae and Jane Powell and my heart sinks when I think the focus of
the film was shifted to dancing. As much as I love Gene Kelly and Cyd
Charisse (voiced by the wonderful popular songstress Carol Richards),
I miss the type of singing which one should normally hear in
BRIGADOON.
beb1...@aol.com (Beb11572) wrote in message news:<20030924150950...@mb-m02.aol.com>...
Steve Newport
Re: Howard Keel In Person
(certainly not 5 or 7 though, LOL!)
SN: But as someone pointed out, how much of that is for public
consumption.
More to the point, most theatre and film songs have a range of no more
than an octave and a half. So why not use the most comfortable keys
possible?
==========================
I wish Ann Blyth had done more. Her own voice would have been perfect
for Helen Morgan, but they dubbed in Gogi Grant. The acclaimed TV
version with Polly Bergen had proved the point that the emotion was the
key to any impression of this singer, so the studio opted for the same
thing for the film even though this meant sacrificing Helen Morgan's
actual timbre and style in the process.
SN: At least she got to do KISMET, a quite decent adaptation.
==========================
I saw Robert Goulet in SOUTH PACIFIC last year in Montreal and he was
French! In the film, Emile's singing voice (Giorgio Tozzi) did a much
better job at it than Rossano Brazzi did in the speaking parts.
SN: Agree all around. Hated Brazzi. Saw Tozzi do the role on stage with
Giselle MacKenzie. (He also did it on Broadway, and recorded it, with
Florence Henderson. Alas, this excellent recording is NOT on Cd.) Saw
Howard Keel do SP twice, the second time with Jane Powell.
Have played Emile myself three times, including last May. Also played
Cable in the 70's.
==========================
I wish BRIGADOON had been made as a singing musical rather than a
dancing one. My ideal casting would have been Gordon MacRae and Kathryn
Grayson (she had been considered in fact) or Howard Keel and Jane
Powell. I have a wonderful radio version by MacRae and Jane Powell and
my heart sinks when I think the focus of the film was shifted to
dancing.
SN: That would have been a good pairing.
Better: MacRae and Blyth. BFS. I played Tommy in the 70's and Jeff in
the 80's & 90's. I always thought Oscar Levant should have played Jeff.
Beb11572
>were not very numerous. She was in a few B musicals at Universal and
>then the 3 MGM ones, The Great Caruso in which she sang just once and
>the lackluster remakes of Student Prince and Rose-Marie. I wish she
>had done more.
Don't forget Kismet!
Ms. Blyth has done many musicals on stage, including Sound of Music, South
Pacific, King and I, Kiss Me Kate, Brigadoon, Carnival and Showboat (as
Magnolia, not Julie!). Unfortunately, she's never done any on Broadway or
(within my time, at least) at Westbury Music Fair, so I've never had the
pleasure of seeing her onstage.
I wonder if she's ever played Sarah Brown or Sally Durant Plummer?
Beb11572
Bartender: "Hey, Jeff, the juke just gave out ... play us a tune, will ya?"
[Jeff goes to the battered upright in the corner, and plays Rhapsody in
Blue, with the entire MGM studio orchestra joining in]
(Seriously, Levant as Jeff would have been *perfect*. I wonder why that didn't
happen?)
Steve Newport
Re: Howard Keel In Person
<<<I always thought Oscar Levant should have played Jeff in BRIGADOON>>>
-------------------------------
ya?"
====================
A 25 minute medley of all the songs from the show not in the final cut
of the film. BFS.
Beb11572
In the immortal words of Vera Charles ... "I concede!" (BFS, indeed!)
Steve Newport
Re: Howard Keel In Person
From: beb1...@aol.com (Beb11572)
<<<I always thought Oscar Levant should have played Jeff in BRIGADOON.
Bartender: "Hey, Jeff, the juke just gave out ... play us a tune, will
ya?" (Jeff goes to the battered upright in the corner, and plays...a 25
minute medley of all the songs from the show not in the final cut of the
---------------------------
Thought you'd like that.....
Stephen Newport
Rebecca, I got it and played it. Quite enjoyable.
Anybody who records a ditty from PAGAN LOVE SONG is o-kay! I would
have preferred perhaps "The Olive Tree" and a DESERT SONG number in
place of "Stranger In Paradise" and "You'll Never Walk Alone" which
are not Keel/MacRae numbers. (Although MacRae did do a KISMET Studio
Recording on which he sings both the Drake AND Kiley roles.) And
nothing from TEXAS CARNIVAL? (BFS) That's finally out on Rhino
Handmade, BTW, paired with an extended LOVELY TO LOOK AT.
Rebecca Brewer
> Rebecca, I got it and played it. Quite enjoyable.
> Anybody who records a ditty from PAGAN LOVE SONG is o-kay! I would
> have preferred perhaps "The Olive Tree" and a DESERT SONG number in
> place of "Stranger In Paradise" and "You'll Never Walk Alone" which
> are not Keel/MacRae numbers. (Although MacRae did do a KISMET Studio
> Recording on which he sings both the Drake AND Kiley roles.) And
> nothing from TEXAS CARNIVAL? (BFS) That's finally out on Rhino
> Handmade, BTW, paired with an extended LOVELY TO LOOK AT.
It is a nice CD - well worth having.
On a technical standpoint, Macrae recorded "You'll Never Walk Alone"
as a duet with Jo Stafford. Keel sang it on a March of Dimes ad. Keel
also sang "Stranger In Paradise" for some of his concerts in the
1950's. So they did perform those songs at some point in their
careers.
At least there's nothing from Jupiter's Darling!
Rebecca
Steve Newport
Re: Howard Keel In Person
the Hollywood Baritones. (Keel and MacRae.) Anybody who records a ditty
from PAGAN LOVE SONG is o-kay! I would have preferred perhaps "The Olive
Tree" and a DESERT SONG number>>>
Macrae recorded "You'll Never Walk Alone" as a duet with Jo Stafford.
Keel sang it on a March of Dimes ad. Keel also sang "Stranger In
nothing from Jupiter's Darling! Rebecca
Oh, but I like that one even more than Texas Carnival! I've had the VHS
for years. BFS.