Hallelujah, Baby! [Original Cast Recording] Review by Bruce Eder
It seems like a million years ago. On the late 20th century and early 21st century Broadway stage, where escapism -- or, at the very least, a plunge into a past that's at a distance of greater than arm's length -- is the recipe for huge success, it would be unimaginable to present a musical built around the state of black/white relations. (One is sure people would like to try it on a creative level, but where would one find the financial backers?) But well over 40 years ago, in 1967, there were Arthur Laurents, Jule Styne, Betty Comden, and Adolph Green, along with a cast led by Leslie Uggams and Robert Hooks with Allen Case, giving it their best effort on Hallelujah, Baby!, in the midst of many of America's cities breaking out in riots over this very subject. It won five Tony Awards, including Best Musical and Best Composer and Lyricist, and turned Leslie Uggams into a star -- but the reality is that Hallelujah, Baby! ran for just nine months (293 performances), and hasn't exactly loomed large in the memories of the average theatergoer since. The cast recording is actually probably stronger than the original book, which Laurents regarded as too soft in its approach -- and it holds up extremely well, with an exuberance that is still bracing 40-plus years later. Uggams, replacing Lena Horne (who was originally to have starred), is a fireball throughout, with a youthful energy that pours out of the speakers, and Robert Hooks' contributions are also welcomed. By the time this was done, Columbia Records had the making of cast recordings down to a science as well as an art, and still had all of its best engineers and producers on hand, and it shows on this vivid account of the score and the performances -- the original LP was of almost audiophile quality in its own time.
Jule Styne Lyrics By Betty Comden And Adolph Green Featuring Leslie Uggams, Robert Hooks, Allen Case – Hallelujah, Baby! (Original Broadway Cast)
Jule Styne - Hallelujah, Baby! (Original Broadway Cast) album cover
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Label: Columbia Masterworks – KOS 3090
Format:
Vinyl, LP, Album, Stereo, Pitman Pressing
Country: US
Released: 1967
Genre: Stage & Screen
Style: Musical
A1 Overture
A2 My Own Morning
A3 The Slice
A4 Feet Do Yo' Stuff
A5 Watch My Dust
A6 Smile, Smile
A7 Witches Brew
A8 Being Good.
B1 I Wanted To Change Him
B2 Another Day
B3 Talking To Yourself
B4 Hallelujah Baby!
B5 Not Mine
B6 I Don't Know Where She Got It
B7 Now's The Time
Pressed By – Columbia Records Pressing Plant, Pitman
Published By – Stafford Music Corp
Illustration [Cover] – Hilary Knight
Lyrics By – Adolph Green, Betty Comden
Music By – Jule Styne
Music Director [Musical Direction], Arranged By [Vocal Arrangements] – Buster Davis
Orchestrated By – Peter Matz
Performer [Clem] – Robert Hooks
Performer [Georgina] – Leslie Uggams
Performer [Harvey] – Allen Case
Producer [Album Produced By] – Edward Kleban*
Noted on back cover: "Leslie Uggams appears through the courtesy of Atlantic Records."
Other (Printed on back cover): 1
Rights Society: ASCAP
Pressing Plant ID (Small “ᴘ” stamped in run-outs): P
Matrix / Runout (Side A stamped, exc. I etched): XXSM117299-1A I P B 2 o
Matrix / Runout (Side B stamped, exc. I etched): XXSM117300-1B I P A1 o
GOLDMINE GRADING
MINT ---- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect.
NEAR MINT ---- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly.
VERY GOOD PLUS ---- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors.
VERY GOOD ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc.
GOOD ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork.
POOR ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.