This CD contains selected themes from five of Chaplins brilliant films. The Kid (1921), The Gold Rush (1925), The Circus (1928), City Lights (1931) and Modern Times (1936). If you love the music from these films then you will love this album. Carl Davis has been very sensitive when rerecording the original scores. The music sounds amazing and he has remained true to Chaplins own styles and tempo's. The thing that will strike you more than anything is how amazing these scores really are in Stereo! They really do sound very good indeed. It also fully demonstrates just how good a composer Chaplin really was, and his talent for marrying music to film. As music it is beautiful from the harshness of "Gold Rush" to the haunting "Modern Times" and not forgetting the swinging "City Lights". Magical stuff! 5 out of 5, 10 out of 10 etc… But if you are planning on listening to this 80 minute album from beginning to end, you'd better make sure you have some Chaplin films close to hand because you WILL want to watch them all again. Nostalgia at its very best.
Consequently, this Greatest Hits is far more than a mere recitation of familiar items. It is something much better – a rounded, full-bodied portrait of Willie in all of his idiosyncratic spleandor, which is about as much as could be asked from a hits collection. And that's why it's worth having, not just as an introduction, but just as a splendid listen on its own terms.( Stephen Thomas Erlewine - AllMusic Guide )
This film version of the Leonard Bernstein/Stephen Sondheim score of a modern, urban Romeo and Juliet spent more weeks at #1 in the charts (54) than any other album in history. It is an effective rendition of the score, featuring Natalie Wood, Richard Beymer, Russ Tamblyn, Rita Moreno, and George Chakiris, and features all of the show's important songs, among them "Something's Coming," "Maria," "Tonight," and "Somewhere."( William Ruhlmann - AllMusic Guide )
The duo's best album, and the place to start beyond the hits compilations. Up to the release of A Song for You, the Carpenters' success had seemed an awesome if somewhat fluky phenomenon, built on prodigious talent, some beautifully crafted pop sensibilities, and a very fortunate choice of singles(Bruce Eder - AllMusic Guide)
At first glance this collaboration should not have worked. The Duke Ellington and Count Basie Orchestras had already been competitors for 25 years but the leaders' mutual admiration (Ellington was one of Basie's main idols) and some brilliant planning made this a very successful and surprisingly uncrowded encounter. On most selections Ellington and Basie both play piano (their interaction with each other is wonderful) and the arrangements allowed the stars from both bands to take turns soloing. "Segue in C" is the highpoint but versions of "Until I Met You," "Battle Royal" and "Jumpin' at the Woodside" are not far behind.( Scott Yanow - AllMusic Guide )
As big a hit as it was – and it was a multi-platinum blockbuster, spinning off several chart-toppers – it’s not easy to think of Whitney Houston’s 1985 debut as the dawning of a new era, but it was.( Stephen Thomas Erlewine - AllMusic Guide )
It's been said that no one sold out his talent like Rod Stewart, who began his career singing Sam Cooke numbers in a way that would have impressed Sam Cooke's mother. But Stewart has always been a pop animal no matter how soulful his chops and he's often at his best when primping in front of the microphone trying to make himself sound pretty. "Da Ya Think I'm Sexy" may seem ridiculous, but it's five-plus minutes of melodramatic tension, caught between self-love and self-parody. "I Was Only Joking" is Rod's warning to the world that "Hot Legs" and its ilk will soon be his modus operandi. "I Don't Want to Talk About It" and "You're in My Heart" are as sincere as he gets.(Rob O'Connor - music-city.org)