- 1. A Pretty Girl is Like a Melody (January 23 1946 The
Celanese Hour: Great Moments in Music; Sylvan Levin conductor)
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- The pleasing tones of the radio announcer are heard introducing
the first song herein as Mario Lanza with Celanese Chorus begin
while the orchestra accompanies. The Celanese recording restorations
are notable for better fidelity that includes brighter sound with greater
clarity, background noise reduction, pop and click elimination, and less
surface noise than on any previous releases. From the outset, Mario's voice
is forward and pleasing. Boasting well controlled singing (notable since
his intense vocal study with Enrico Rosati had not yet started), his early
efforts on radio still exemplified Mario's natural ability to emote and
let his voice flow to bring life to the printed lyrics. I must
admit I never much cared for this recording (even though a lovely
song) until hearing it sound this good. The sound of the chorus is also
clear and we are left having a very fine impression at the very
start of this exciting new CD release. (Note: This same recording and some others
in this collection are included on the bonus CD in the Armando Cesari Lanza
biography while others appear on Damon Lanza Production CD releases. Those
CDs also had sound restoration work done, but Jeff Rense has gone noticeably
beyond them with meticulous detail and endless striving for more and better
improvements, so immediately you can hear the fuller bass and the crisper
treble on his release, all of which result in a much more pleasurable
listening experience for you.)
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- 2. A Jug of Wine (December 26 1945 The Celanese Hour:
Great Moments in Music; with Frances Yeend, soprano; George Sebastian conductor
and Roger Lyons narrator)
- This track is from "In A Persian Garden".
- Again, the soothing voice of the narrator is heard first
as he speaks poetically. Then Mario starts singing. He is followed
by his partner of the Bel Canto Trio days, soprano Frances Yeend. Yeend
had a rich and very pleasing voice suitable for duets with a voice as great
as Lanza's. His performance is somewhat studied and controlled, but it
suits the piece. Their combined singing has some slight distortion at the
peaks, but nothing very objectionable. This is a fairly short and
unusual art piece that was probably not a Lanza favorite, as
he did not record it again during his career. It has a spirited
ending and is the type of piece that will surely endear itself.
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- 3. Ah, Moon of My Delight (December 26 1945 The Celanese
Hour: Great Moments in Music; George Sebastian conductor and Roger Lyons
narrator)
- This is the second excerpt from Liza Lehmann's work
entitled "In A Persian Garden".
- As the orchestra plays Mr. Lyons narrates, nicely
filling in background information for what will follow. Mario begins tenderly
and builds slowly. This piece has that operetta quality which puts
it in a class above a simple song. Notice Mario's lovely mezza-voce timbre
at the mid point of the song. There may even be a moment of delicate falsetto
singing. He comes in much stronger voiced after the orchestra interlude,
with diction so typically clear and precise. His vocal studies were paying
off even at this early time period. You will hopefully enjoy this more
than ever before thanks to the restoration. This is a dramatic essay. While
you should not expect Coca Cola Show pristine sound quality, you can expect
full enjoyment and will no doubt marvel at the sweet ending.
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- 4. All Alone/What'll I Do (January 23 1946 The Celanese
Hour: Great Moments in Music; with Natalie Bodanya, soprano, and Leonard
Stokes, baritone; Sylvan Levin conductor)
- This is from the show "The Music of Irving Berlin".
- Mario Lanza starts the medley after a brief orchestral
intro. Slight record transcription swish at the beginning soon dissipates.
Some light background noise is unavoidable when voices are not singing.
This is boldly sung and perfectly suits the intent of the music and lyrics.
Notice Lanza's excellent phrasing. Soprano Bodanya has a dear and
cute voice, dated in form but likable as she ponders her options stated
in the lyrics. The baritone makes a brief appearance and the
Celanese Chorus ends the work, subduing Mario's last notes--which we can
only blame on the original recording engineer. Irving Berlin's classic
music is always a delight and Mario is up to the challenge.
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- 5. Golden Days from The Student Prince (February 20 1946
The Celanese Hour: Great Moments in Music; with Robert Weede, baritone;
Sylvan Levin conductor)
- Easily six years before the movie soundtrack was recorded
comes this early version from the classic Romberg score. Having performed
this piece several times previously, Mario must have had more confidence--all
aided by the appearance of one of his mentors and good friends Robert Weede.
After the quick announcer's segment passes, Weede begins the verse in a
clear voice with pleasing tone. Lanza enters and then the two alternate
phrases and share the melody. Although not up to the par of Mario's
rich voiced Bel Canto Trio baritone partner George London, Weede still
does quite well in his blend with Mario. Interesting that he sounds more
dated than Lanza. Lanza's voice transcends time--even at this early stage.
After the pretty orchestral interlude, Lanza returns sounding somewhat
less emphatic than he is at this point for the movie version. A lovely
and heartfelt joining of the voices leads to the finale.
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- 6. Serenade from The Student Prince (February 20 1946
The Celanese Hour: Great Moments in Music; Sylvan Levin conductor)
- The brief announcer's introduction is spoken. and
the Lanza voice follows. Nothing can dim the forward, forceful, and brilliant
sounding Lanza vocals, which are open throated yet full toned. This
is a fine performance of one of the loveliest melodies of the classic operetta.
Some might feel his more youthful sound is not as fine as his much
touted movie singing, but give this another listen and be pleasantly
surprised at his grasp of the music long before it was enjoyed on
screens around the world. Incidentally, Mario's high notes are quite thrilling
and prominent in this restoration!
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- 7. Improviso from Andrea Chenier (August 28 1947 Hollywood
Bowl Concert, Eugene Ormandy conductor)
- Also known as "Un Di All'azzuro Spazio", this
is an aria from Mario's very first Hollywood Bowl appearance. The lucky
break came when he replaced Ferruccio Tagliavini (who cancelled) through
the efforts of Hollywood Bowl board member Ida Koverman. That was the night
famed MGM head Louis B. Mayer was in the audience and heard Mario's glorious
singing and quickly signed him to a movie contract. Lanza was in excellent
voice for the occasion and the surviving recordings leave no doubt
about that. His voice also shows the benefit of having studied for one
year and a few months with noted vocal instructor Enrico
Rosati.This aria is one of Mario's most exciting. The sound quality
is extremely life-like and vibrant and matches Lanza's excellence. You
have the equivalent of a front row seat on that night as you listen! He
sings intelligently and interprets it like a man with much more experience.
He shows early examples of what were recently dubbed "Mario-isms",
meaning stylistic mannerisms that would easily identify the voice as that
of our South Philadelphia born tenor. Hear the emphasis, the emotions,
and heartfelt outpouring that would soon become his trademarks. As he became older
these mannerisms sometimes went over the top, but at this stage he exhibited
firm control. Note the interesting tempo changes he employs. Also note
that his voice sounds developed beyond his 26 years. Thrill to the long
held and exciting high note and hear the well deserved huge applause at
the end, an ovation that continued for a record twelve minutes
of pandemonium! People who are bothered by background noise will be happy
that this recording has none. What it does have is more depth, presence,
and clarity than ever before. And keep in mind that this was LIVE and had
no studio re-takes or touch-ups.
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- 8. Parigi o cara from La Traviata (August 28 1947 Hollywood
Bowl Concert; with Frances Yeend, soprano; Eugene Ormandy conductor)
- The orchestra swells as applause fades out and then this
great duet begins at full volume. Once again Mario luckily is with a
soprano who well complements his voice. Both voices are easy to hear as
separate entities and are not muddled in this sparklingly clean transfer.
After the full bodied opening, Mario practices nuance for his
lines during the famous melody and Yeend uses similar delicacy. Orchestra
clarity is notable for a monaural recording and has enough depth for the
time and recording techniques of the era. The Lanza harmony blends quite
well with that of Yeend. Notice how Mario may sing an intense entrance,
then appropriately subdues the volume in his replies to his partner. The
finale is particularly delicate and both singers keep perfect timing together.
To sum up this track in a word: great!
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- 9. Vogliatemi bene from Madama Butterfly (August 28 1947
Hollywood Bowl Concert; with Frances Yeend, soprano; Eugene Ormandy conductor)
- Mario Lanza film buffs will recognize this as the duet
performed with Kathryn Grayson at the finale of the film "The Toast
of New Orleans". But this entry preceeds that segment by three years
and fortunately Mario has the fuller voiced Frances Yeend as his vocal
partner. The haunting strains of the violin introduce Yeend, as she begins
her artful singing, which builds until Lanza comes in powerfully, sounding
nearly as vocally mature as he does in the movie. There is practically
no distortion in this masterful restoration, not even in their loudest
passages together. The singing, in fact, is so colorful that one can
easily imagine the pair on stage in costume acting in a complete version
of the opera (something Lanza critics often cite as a major shortcoming...that
is, his lack of having sung no more than three complete live operas in
his lifetime). To those shortsighted critics, we present this recording
as a testament to what Mario Lanza would easily have achieved on the operatic
stage had he not chosen the more lucrative movie star route. The route
that inspired countless tenors who watched him as youths and became
operatic singers themselves! Behold another great track to cherish on this
historic CD. Can you imagine the excitement the two young singers shared
here in bringing it to life?!
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- 10. Lamento di Federico from L'Arlesiana (March 5 1948
Massey Hall, Toronto, Canada; with the Toronto Symphony Orchestra conducted
by Paul Scherman)
- With confidence on his side after the Hollywood Bowl
triumph, Mario appeared in Canada months later in the following year. You
can easily hear that the man is in control of his destiny by now. Mario
Lanza performed this aria in the 1956 Warner Brothers movie "Serenade",
but this live performance pre-dates that recording by at least seven years.
While his voice was richer and showing a darker and more mature spinto
sound at the later date, this is still mighty fine singing, even if less
consistent in tone. No one will mind a bit of transcription swish at the
opening, because within seconds the Lanza magic captures your spirit. A
couple quick needle pops pass by very quickly. There is much he offers
in dynamics and excitement throughout, not the least of which is the long
held ringing high note, full of squillo, and providing a strong ending.
It ends in applause by an audience who surely must have known how
fortunate they were to be there on that night.
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- 11. La Donna e Mobile from Rigoletto (March 5 1948 Massey
Hall, Toronto, Canada; with the Toronto Symphony Orchestra conducted by
Paul Scherman)
- The concert in Canada preceded Lanza's debut in a complete
stage production of a full length opera by a couple months. It was
"Madame Butterfly" and he performed the opera two nights in New
Orleans, where he was certainly the "toast" of the city before
that word was used in the title of his future film. Here we have a track
from another opera, "Rigoletto", where he sings one of the all
time popular arias in a broad style and with precise speed. It builds to
an impressive cadence (though not as flowery as his "Great Caruso"
counterpart) and ends with a truly great high note. Hear the type of ending
lovers of the tenor voice live for and then must yell to while exclaiming "bravo"!
Note that the "Vesti La Giubba" from this concert is not included
here, but fear not because an even more wonderful rendition of that aria
is heard later on this disc.
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- 12. Thine Alone (July 24 1948 M-G-M Night at the Hollywood
Bowl; with Kathryn Grayson, soprano; Hollywood Bowl Symphony Orchestra
conducted by Miklós Rózsa)
- This was "MGM Night" at the Hollywood Bowl,
a show that came about one year later than Mario's first appearance there.
Of course with his movie career in full swing, he appeared with co-star
Kathryn Grayson this evening. He had noted conductor Miklos Rozsa at the
baton, but some feel the maestro's tempi were too drawn out and
lethargic. This was the last number on the program and their final duet
together for this show. Once again, we are treated to bold sound with clarity
and depth. Mario starts the duet assertively and then is answered by Kathryn.
Both sing with confidence, passion, and control. There is a very even
balance between the two voices throughout. A bit of very slight
distortion on the next to last note leads to a strong ending with Grayson
taking a high D while Mario grabs a high B. I personally don't mind
the slower tempo, as it seems more a concert piece that way. The audience
was obviously thrilled and you can just imagine how the two young stars
looked together, dressed elegantly and beaming.
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- 13. Nessun Dorma from Turandot (July 24 1948 M-G-M Night
at the Hollywood Bowl; Hollywood Bowl Symphony Orchestra conducted by Miklós
Rózsa)
- One of the most popular tenor arias today and one that
has been admired for years and years, Mario tackles this and succeeds on
all levels despite a slow tempo that demands more breath control on lengthy
phrases. Many prefer his "Serenade" versions (there are now two
recordings from that session extant), and while his voice has more maturity
and darkness in those, this recording may very well be the best captured
for posterity. Keep in mind, he sang it live and did a splendid job. Mario
starts by thanking the audience and announcing this aria as his encore,
a great choice! In a voice more vibrant and of the moment than ever heard
previously in his recordings of this performance, Lanza generously releases
his great voice and clear overtones can be heard. Not as open throated in
parts as the later versions, this is perhaps the most exciting, since he
holds the ending note nearly nine seconds before coming off it and
closing the piece with no breath in between. Of course thunderous applause
follows and many "bravos" can be heard! Note that his solo "Agnus
Dei" and duet "O Soave Fanciulla" from the same program are
not included here and will hopefullly be released some day in a restored
version equal to this one.
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- 14. Thine Alone (September 22 1948 Salute to M-G-M, radio
broadcast)
- Including a second version of this song is not a mistake,
but an interesting comparison. Back on radio for MGM (the second program
of two which followed a week after the first), Mario sings in a program
devoted to his film studio. The announcer speaks of both Mario and Kathryn
and their shooting of the film "This Summer Is Yours", which
was one of the working titles for "That Midnight Kiss". Mario
begins with an exceptionally clear and forward sound. He is just a bit
"studied" in his pronunciation, which became somewhat more relaxed
and natural by the time of his popular Coca Cola Radio Show. His singing
is expressive, even though there is less emphasis on specific words as
he was apt to do in later performances. Quite easy and wonderful to listen
to and enjoy. He sports a high note (B flat) final phrase that
brings much applause. It is your prvilege to decide which "Thine
Alone" you prefer on this CD, but don't be surprised if you can't
chose a favorite!
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- 15. Cosi Cosa (November 28 1948 Elgin Watch Thanksgiving
Special: Holiday Star Time)
- The announcer boldly states in his introduction of Mario
that he is "regarded as the greatest tenor since Caruso". Mario
comes right in with a strong chorus (even if the group is somewhat dated
sounding) and in a glorious voice that is bold, deep, and thrilling.
This is a more expanded version than the one done later on his Coca Cola
Show. Mario sings with abandon and is clearly having fun, if a bit more
controlled than on the Coke track. A treat for all is the great and vibrant
high B that he holds long enough to bring a near sexual excitement to this
listening experience. Cheers are heard at the conclusion.
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- 16. The Lord's Prayer (December 19 1948 Edgar Bergen/Charlie
McCarthy Show)
- Edgar Bergen and his "dummy" Charlie McCarthy
joke in the beginning about Mario singing like Caruso, and even twist the
Mario Lanza name to sound like "Mary's old laundry"...a
joke the audience obviously enjoyed. After more clowning, Bergen gets serious
and fervently introduces the song while interviewing Lanza. The sound
is crystal clear and has full bodied reverb. Sung with the same expansiveness
and power of his classic later RCA recording, it also is a bit more subtle
in nuances---especially the delicate decrescendo at the end, which shortly
follows the thrilling B flat. Anytime Lanza sings the "Lord's Prayer",
people will take note and be emotionally moved.
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- 17. E il sol dell'anima/Addio, addio from Rigoletto (August
16 1949 Hollywood Bowl, with Mary Jane Smith, soprano; Johnny Green, conductor)
- I love how Mary Jane Smith kids with Mario to "please,
please don't go away" while the audience waits. He "agrees"
to stay and starts with the "E il sol dell'anima" duet from "Rigoletto".
This is his third and final Hollywood Bowl appearance, still
another year later than the last time he sang there. He comes close to
completely overshadowing Ms. Smith, who has a pleasing but lightweight vocal
quality. His phrasing and command of the aria are quite suitable and
he varies his volume from full voiced to mid voiced to light
voiced. The real treat comes when Mario starts the "Addio,
addio" duet. This version is noticeably superior to the soundtrack
recording in "Because You're Mine", his movie released three
years later. He sings full throated and very precisely, never losing
tempo or synch for a second. This cut shows off the extent of his
range, from the deep E flat to the extremely high C sharp...the highest
note Lanza ever sang on record! Both singers nail the climactic finish.
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- 18. Mamma Mia, Che Vo Sape? (September 29 1949 Screen
Guild Theater Program; Henry Russell, conductor)
- Keep in mind that the premier of "That Midnight
Kiss" was in early September of 1949, so this radio program soon followed.
The announcer begins the introduction and the orchestra plays the familiar
strains. In restored sound quality that will rival a good studio recording,
Mario begins singing the song that introduced him to movie audiences
around the world (the famous scene where he sits at the piano and plays
and sings while Kathryn Grayson and her voice coach listen in the
background). He always did well with this song and he delivers it
brilliantly here in a full voiced and vibrantly sung manner with exacting
pitch. Huge applause at the end for a Lanza performance where he holds
nothing back...including listener excitement!
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- 19. Verranno a te sull'aure from Lucia di Lammermoor
(September 29 1949 Screen Guild Theater Program; with Kathryn Grayson,
soprano; Henry Russell, conductor)
- Since Kathryn appeared with Mario on this promotional
radio show, she obviously needed to do a duet with him that she performs
in the movie "That Midnight Kiss". Here she sounds much better
than anything you have heard previously, as this recording existed in poor
form and had her sounding very screechy. She starts in quickly and sounds
fine. You won't mind the one tiny transcription click noise, since you
will be enthralled to hear Mario with the lovely and shapely soprano who
ensured his screen success by being a perfect film partner and one
who already brought an established celluloid singing and acting career
to the table. This version is more exciting and precise than the movie
version (practice makes perfect?). Hear the confidence Mario exudes after
his first screen success had already made a huge change in his attitude.
Grayson hits an astounding high F to his B flat, ending a piece that is
thrilling from start to finish. Well deserved applause follows.
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- 20. Vesti la Giubba from I Pagliacci (November 19 1950
Hedda Hopper's Hollywood; Frank Wirth conductor)
- This is what Mario called his "lucky aria",
as it served him well throughout his career. This is the latest chronological
recording on this CD and Mario is in his full glory with magnificent vocalizing
and sounding as if he had recorded it years later. Among his best early
performances, it is completely passionate and once again the listener can imagine
him singing it in costume and make up on the opera stage. It is never over
done nor does it exhibit false dramatic emotion. Full applause at the end,
so be sure to add your own applause along with the audience!
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- 21. Be My Love (November 19 1950 Hedda Hopper's Hollywood;
Frank Wirth conductor)
- This performance (and even the arrangement) differ from
Mario's classic and first million-selling RCA Victor recording. It was
done after the release of the RCA record and obviously helped in promoting
his second MGM feature entitled "The Toast of New Orleans". Comparing
it to the movie and record tracks, parts are definitely more exciting and
relevant and somewhat more rich in tone, though some may find it is less
evenly sung. You will hear that the restoration has more vibrancy and kick
than anything previously released. Mario surprisingly goes for a higher
note even in the first passage. Following is the orchestra interlude,
with no chorus as we have been accustomed to hearing here. He sings boldly
and then literally blows out a superior high C for an ending far superior
and more resonant. Note that this ending may have had a splice in the original
tape, as there is a very slight pause heard before the finale. The big
drum roll and huge applause bring a superior end to this superb
CD you have enjoyed, a CD I promise will delight you over and over
and over!
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- Make Believe - A Great CD With Some Surprises From Jeff
Rense
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- With sound as sharp as a razor, this disc starts
impressively with clarity and verve as heard in the impressive opening
number, Begin the Beguine, showcasing a full spectrum of sound completely
belying the age of the recording. Long Ago and Far Away follows, sung with
a range that varies from delicate to full-voiced. Toselli's Serenade
is next, interpreted with a fine supported tone. The beauty of this piece
especially stands out since it has never sounded this good before. If I
Loved You, that great Rogers and Hammerstein classic from 'Carousel', follows.
This is nicely phrased, but I believe could have been better sung if performed
with a more even tone. Make Believe is next. This is a take that has not
been heard since it was recorded for the Coca Cola Show, making the title
song of this CD an absolute treasure. It is simply great...and is sung
full-voiced. A Vuchella is performed with abandon and then brought down
appropriately for the tender spots. Next up is They Didn't Believe Me which
sounds like Mario is in the next room...and is a delight. One Alone presents
in stark contrast to Mario's later and much darker-voiced version. It is
beautifully sung here, if less even in tone than the 1959 recording. Torna
A Surriento checks in next and deserves comparison to the version heard
in 'Serenade'. While it isn't up to that par, it still is exciting. I'll
Be Seeing You is tender and is sung as the composer would surely have wanted.
You'll Never Walk Alone, also from 'Carousel', fares somewhat better than
If I Loved You as it builds to a big climax. This is an alternate version
that has not been heard before. Mamma Mia Che Vo Sape was sung by Mario
on several recordings...and all are noteworthy. He was at ease doing this
reading, and it shows! Lady of Spain is perfectly sung from beginning
to end...a standout in the Lanza popular repertoire. Deep In My Heart
Dear from 'Student Prince' is sung larger, and unfortunately less tenderly,
than his soundtrack version. Serenade also from the 'Student Prince' follows,
has the Lanza stamp...and he makes the song his own. Mattinata, though
beautifully restored, still suffers from being a bit below par vocally.
Of course, below par Lanza is better than many other tenors at their best. The
World Is Mine Tonight is next and we are treated to a fine interpretation,
sung intelligently. Marcheta is one of those songs that never fails to
excite when given the Lanza treatment. Needless to say, the sound is glorious
(as is the case with each and every track in this collection). Drigo's
Serenade, another gem released for the first time, is sung with a rich
tone that could easily have been the Lanza voice a few years down the road...and
worth the price of this CD alone! The Moon Was Yellow follows in stark
contrast, as it is bubbly and light - and well done. Where or When is next
- sung in a lovely fashion - and builds dramatically throughout. The performance
of O Sole Mio , from the Coke Show, features a youthful Lanza voice, has
room for improvement. Then again, you may just like the sheer exuberance
of it. My Romance (on CD for the first time) is simply gorgeous. Nothing
more need be said. Non Ti Scordar Di Me, which is played at every Lanza
Ball with good reason, can be heard with pristine clarity here. Even the
mandolins stand out. I'll See You Again ends this marvelous CD (a bargain
with 25 selections!). Reverently sung, it is a delight.
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- I'll See You In My Dreams...'Rensovated'
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- One would be hard pressed to improve a great CD,
but that is just what Jeff Rense has done in this re-released and expanded
collection. The sound is improved, which is really saying something since
this disc had fine sound before. Since most are familiar with the first
release, I will review only the new additions (there is one deletion from
the first edition: Because). First of the four additions is La Spagnola
which is new to CD, is sung with abandon, and it is a winner. What Is
This Thing Called Love follows and is also making its CD debut. It is passionate
and dripping with emotion. Later down the track list is Tell Me Tonight
which is delicately sung at first and then builds in the second half to
a superb conclusion. A Kiss is the final new entry. You can actually hear
Mario breathe in this classic. A great choice to round out the new additions.
Also note: I'm Falling In Love With Someone is an altenate take which features
an exceptional ending. And Roses of Picardy has an alernate ending
that is different (the opposite of the somewhat stressed and forced
ending of the regular released version -ed). If you are not familiar with
the remaining tracks, suffice it to say that they are well chosen and programmed
to provide an emotional and fulfilling experience. Jeff not only believes
in giving you the best sound but also a program that flows along on an
unforgettable listening journey. When a disc is 'Rensovated' - you can
expect the best!
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- Copyright 2007 by Sam Samuelian. All Rights Reserved
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