Ken Bloom

An interesting compilation, with concise biographies of many of the singers, bands, and songwriters from the nineteenth century through the 1960s. Some listings also include a “Career Highlights” listing as well as a listing of songs recorded. For a book purporting to address the history of music, it seems a strange choice not to include similar information for each entry.

Although the lavishly illustrated book provides at least a general overview of the history of the Great American Songbook, there are some strange omissions, such as songwriter/musician Bobby Troup [mentioned only in the short biography of his wife, Julie London] who wrote such hits as “(Get Your Kicks on) Route 66” and “You’re Looking at Me,” both recorded by [among others] Nat King Cole. Also omitted: lyricist Dorothy Fields, who penned such standards as “On the Sunny Side of the Street ” and “I Can’t Give You Anything But Love,” both recorded by [among others] Ella Fitzgerald as well as “The Way You Look Tonight,” recorded by many singers, including Peggy Lee.

For readers interested in the Great American Songbook’s influential songs and standards, there is much to appreciate here in this overview of its history as seen through some of the singers, big bands, and songwriters of these popular and enduring songs.… (mais)

The book should be subtitled "the 101 greatest shows through 2004," since, contrary to rumor, Broadway is not yet dead. So, no Hamilton, Fun Home, Matilda the Musical, Light in the Piazza, Book of Mormon, or Come from Away. Also, it's criminal that Sunday in the Park with George isn't listed, nor Into the Woods, and certainly an argument could be made for Lion King. My own list would include Urinetown and Falsettos. And Audra is only represented by Ragtime. But here is a big wonderful coffee table book of musicals from Annie to Zorba, complete with song list, synopsis, commentary, cast, and marvelous photographs. I've made a decent showing with having seen 31 of the aforesaid 101 shows on Broadway (either original productions or revivals), given that many of them were, ahem, before my time. I'm modestly content, however, with being listed along with my colleagues in the acknowledgments, as I was a Theatre Librarian with the Billy Rose Theatre Collection at the time the book was researched. (This review refers to the original hardcover 2004 ed. The book has since been updated).… (mais)