Studio Cast, 1974 (MCA) (3 / 5) In the early years of their partnership, composer Andrew Lloyd Webber and lyricist Tim Rice were inspired by Biblical lore. Joseph and the Amazing Technicolor Dreamcoat was first presented as a brief pop cantata (about 15 minutes in length) at  the Colet Court School in London in 1968, and that short piece was recorded in 1969. Following the huge success of the original recording of Lloyd Webber and Rice’s Jesus Christ Superstar,  the earlier work received stage performances beginning in 1970, and was expanded for recordings in 1971 and 1972. Joseph… was produced in London’s West End in 1973, and that production led to this full studio recording.  Whereas Superstar had drawn on the New Testament, Joseph… is a soft-rock musical based on the Old Testament tale of a young man who is betrayed by his brothers before becoming a powerful figure in Egypt. The score is clever, with plenty of variety. Joseph’s brothers get most of the humorous songs: a western tune, “One More Angel in Heaven”; a French-style drinking song, “Those Canaan Days”; and the “Benjamin Calypso.” An Elvis takeoff for the Pharaoh is thrown in for good measure. Peter Reeves is good as the Narrator; he is the only male to sing the role on any of the recordings under review here. Gary Bond is fine as Joseph, and his “Close Every Door” is a highlight of the disc. Although this recording doesn’t represent the score as later expanded, it’s a nice piece of history and a good listen. — Matthew Murray

Original Broadway Cast, 1982 (Chrysalis) (4 / 5) For this production, first seen Off-Broadway and then on,  Joseph… had a female Narrator. And what a Narrator she was! Laurie Beechman, with her vivacity and wonderful high belt, sets the standard for this role, which has been played by women in every subsequent major production. Bill Hutton is one of the best Josephs ever recorded; his rich low notes, warm middle register, and strong, secure high notes bring more colors to the character’s music than is often the case. Beechman, Hutton, the brothers, the female ensemble, and the fine orchestra, skillfully led by David Friedman, make this the most dazzling recording of the show, despite a few cuts in the score and a reduced orchestra. Highlights are numerous, including Beechman’s “You Are What You Feel,” Hutton’s “Close Every Door” and “Any Dream Will Do,” and Tom Carder’s rendition of the Pharaoh’s number. — M.M.

London Cast, 1991 (Polydor) (2 / 5) This recording is most notable for its inclusion of the extensive “Joseph Megamix,” a finale reprise of the score’s best numbers. The album represents the show’s final version, but it’s far from definitive. In the title role, Jason Donovan is bland throughout, and Linzi Hateley lacks authority as the Narrator. The supporting players are also lukewarm; even David Easter’s Pharaoh fails to score, because his Elvis impersonation is so overdone. For these reasons, the recording is recommended only to diehard fans of the show. — M.M.

Original Canadian Cast, 1992 (Polydor) (3 / 5) Donny Osmond began his lengthy stint as Joseph in the show’s premiere Canadian production. He’s not the best vocalist to have taken the part, yet he brings to the role a likeability and tremendous sense of fun that keeps audiences invested in the character from start to finish. His “Any Dream Will Do” and “Close Every Door” are among the most moving renditions of those songs. Aside from anchoring the show, Osmond’s s performance reclaims star status for Joseph; as the Narrator, Janet Metz displays vocal finesse but lacks the charisma needed to make the character stand out from the ensemble. Even so, there’s a lot to like here, particularly the men playing Joseph’s brothers. Among them are such future Broadway names as Jeff Blumenkrantz, Timothy J. Alex, Vance Avery, Michael Berresse, and Rufus Bonds, Jr. — M.M.

Los Angeles Cast, 1993 (Polydor) (3 / 5) The star of this recording of Joseph and the Amazing Technicolor Dreamcoat, soap-opera heartthrob Michael Damian, compensates for his vocal shortcomings with acting ability and charm. Kelli Rabke’s Narrator exhibits a great deal of vocal strength, but the singers to listen for are Broadway pros Clifford David (as Jacob and Potiphar), Bill Nolte (as the Baker and one of Joseph’s brothers), and Marc Kudisch and Willy Falk (as two other brothers). Robert Torti’s Pharaoh is excellent in his one big number. — M.M.

Video Soundtrack, 1999 (Really Useful Records) (3 / 5) Donny Osmond returned to the title role for a video production of Joseph … and gave another joyous performance. Joining him as the Narrator is the eminent West End star Maria Friedman, who sings brilliantly and exudes enough star presence to match Osmond’s. Richard Attenborough and Joan Collins are a hoot as Jacob and Mrs. Potiphar, respectively. The strong ensemble helps make this a fine recording of the expanded score.  — M.M.

Studio Cast, 1955 (MGM-Heliodor/Polygram) (5 / 5) Kurt Weill’s first American musical, with lyrics by Paul Green, gets a thrillingly theatrical workout in this recording. Musical director Samuel Matlowsky is in firm control of a remarkable cast that includes Burgess Meredith, Thomas Stewart, Evelyn Lear, Hiram Sherman, Jane Connell, Scott Merrill, and Lotte Lenya. Weill’s score features tangos, cowboy songs, Victorian-era love songs, group numbers, marches, torch songs, French cabaret numbers, German lullabies, and an abundance of orchestral and dance music. The score is much more sophisticated than Green’s book, which is a victim of bad timing and overwriting about the wartime plight of innocent soldiers. Anti-war pieces were a staple of the post-World War I years, but by 1936, when Johnny Johnson opened on Broadway, the theme wasn’t as valid; Johnny’s sweet, anti-war gropings paled when compared with the genuine evils of Hitler. Still, this is a score filled with imaginative moments. Because attempts at revival have failed, this exciting album may remain the best way to fully appreciate Weill’s considerable achievement. — David Wolf

Studio Cast, 1997 (Erato) (3 / 5) This recording of Johnny Johnson was inspired by a 1996 performance of the Boston Camerata at the Longy School. It contains a lot more music than its predecessor, including more incidental music and additional verses to some of the songs, and it gives us quite a bit of material that was cut from the original production: “Farewell, Goodbye,” “The West-Pointer Song,” “The Sergeant’s Chant,” “The Tea Song,” “The Asylum Chorus,” and an instrumental reprise of “Farewell, Goodbye.” Also, this studio cast album is in excellent stereo sound, as compared to the mono original. But my vote still goes to the first recording, which has an extraordinary cast of singing actors, a more theatrical feel, and sharper musical direction. Here, Joel Cohen’s musical direction is soft, and though all of the performers sing well, they are noticeably uncomfortable when they have to speak dialogue. — D.W.

Original Off-Broadway Cast, 1996 (Varèse Sarabande/Fynsworth Alley) (2 / 5) Talk about intimate: John & Jen is a three-character musical for two actors. Unfortunately, in its relentless focus on a single dramatic situation, the piece is perhaps too small. Carolee Carmello is Jen, who grows up protecting her younger brother, John, from their abusive father. Jen goes off to college, becomes a hippie, and falls in love with a draft-dodger. To please his father, John enlists in the Army and is killed in Vietnam. In Act II, Jen is now a single mother with a son named — you guessed it. Jen smothers the young John with unwanted attention, driving their relationship to the breaking point. Rated “S” for Sensitivity, John & Jen is a tearjerker that nevertheless leaves listeners surprisingly dry-eyed. The songs by Andrew Lippa (music) and Tom Greenwald (lyrics) are workmanlike, and the book (by both) is too schematic, so the characters and their airless existence soon become tiresome. Still, the final three numbers — “The Road Ends Here,” “That Was My Way,” and “Every Goodbye Is Hello” — do approach the emotional payoff that the authors aimed for. Carmello, one of our best singing actresses, works wonders with the material, and James Ludwig is also fine as the two Johns. In fact, these performers make the score sound better than it actually is. Still, it’s an interesting calling card for two young writing talents and for orchestrator Jason Robert Brown, who at this time had not yet established himself as a musical theater composer/lyricist. — David Barbour

Original Broadway Cast, 1969 (RCA/no CD) (1 / 5)This misbegotten musical biography of New York Mayor Jimmy Walker has three unsympathetic protagonists, a leading man who can barely hold a note, and a score that aspires to Jerry Herman-like friendliness but can’t come up with a single memorable melody or impressive lyric. Producer Jack Warner probably selected Frank Gorshin to star because his compact Irishness reminded him of Jimmy Cagney. Unfortunately, Gorshin exhibits a wavery, raspy voice, and he has no sense of how to shape a song. This isn’t to say that the songs, by Bill Jacob and Patti Jacob, are in any shape for shaping; the best they can do is wallow in New York platitudes, as in “Riverside Drive,” or try to overlay some trendy, soft-rock sounds onto the Prohibition milieu, as in “What’s Out There for Me?” Anita Gillette is hard-edged as Jimmy’s mistress, and as his neglected wife, Julie Wilson hard-sells the torcher “I Only Wanna Laugh.” They’re pros, but they’re wasting their time. The relentlessly bright sound of the RCA recording makes the whole thing seem even worse than it is. — Marc Miller

Studio Cast, 1970 (Decca, 2CDs) (4 / 5) This tour-de-force rock opera, by Andrew Lloyd Webber and Tim Rice, presents Jesus Christ as a man at the center of a cult of celebrity while tracking the last week of his life in a respectful fashion. The composer-lyricist team succeeds in bringing the problems of both revered and reviled figures down to earth. Some of the songs examine the relationship of Jesus with his disciples (“Heaven on Their Minds”) and his doubts about doing what’s expected of him (“Gethsemane”), while others delve deeply into the character of the betrayer Judas, viewing his actions and their effects from multiple perspectives. The excellent cast conveys the richness of the story on the original recording , which preceded any of the stage productions.  As Jesus and Judas, respectively, Ian Gillan and Murray Head are perfect for their roles; their rangy, powerful voices are capable of handling the demanding score and complex characterizations. Yvonne Elliman, barely 18 at the time of the recording, is just right as the reformed sinner Mary Magdalene and offers the definitive performance of “I Don’t Know How to Love Him.” Although Barry Dennen is hardly a spectacular singer, he finds plenty of nuances in Pontius Pilate; his repudiation of Jesus in the “Trial Before Pilate” sequence is particularly powerful. Conductor Alan Doggett keeps the orchestra and the singers working at top form from beginning to end. — Matthew Murray

Original Broadway Cast, 1971 (Decca) (3 / 5) Elliman and Dennen, the only two principal performers held over from the original recording, remain ideal on the Broadway cast album; if anything, in fact, they improved on their performances. The other singers are good, though generally lacking the hard-rock voices that make the first recording so exciting. Jeff Fenholt’s Jesus is dramatically astute but underpowered vocally. Ben Vereen is a magnetic Judas, and Bob Bingham’s bass makes his Caiaphas an often terrifying standout. The only major addition to the score is the lovely “Could We Start Again, Please?” for Mary Magdelene and Peter (Michael Jason). Unfortunately, this one-disc recording amounts to little more than a highlights album: Omitted are the overture, “What’s the Buzz/Strange Thing Mystifying,” “The Last Supper,” and about six other songs and sequences. — M.M.

Original London Cast, 1972 (MCA) No stars; not recommended. This recording of highlights of the JCS score begins with a wholly unsatisfactory performance of “Heaven on Their Minds” by Stephen Tate as Judas. His voice is lacking in support and wan in quality, he frequently veers off pitch to an alarming degree, and as for the high notes, he either leaves them out entirely or lunges at them. Also sorely disappointing are Paul Nicholas, who displays a buzz-saw vibrato and an iffy upper register as Jesus; Dana Gillespie, bending notes and scooping her way through Mary Magdalene’s beautiful songs; and John Parker as Pilate, talking rather than singing far too much of his role, and delivering the rest of it an an off-putting, quasi-operatic style. It’s hard to imagine that these were the most talented people available for the leads in the original London stage production of this hugely popular rock opera, so their casting seems inexplicable. One small positive note: Paul Jabara gives a highly entertaining account of “King Herod’s Song.” This recording has been out of print for many years, and is no loss to the discography. — Michael Portantiere

Film Soundtrack, 1973 (Decca, 2CDs) (3 / 5) The film version of Jesus Christ Superstar is musically faithful to the original property, with minor changes (mostly in lyrics) and no major cuts. One song, “Then We Are Decided,” was added for Caiaphas and the priests, to limited effect. Director Norman Jewison plays up the story’s intimacy, but in some sequences, this lessens the dramatic power of the work. The fine cast has Elliman and Dennen back again; they are  joined by Broadway’s Bob Bingham, still imposing as Caiaphas, and Ted Neeley as Jesus (he had understudied the role on Broadway and played it on tour and in Los Angeles). Carl Anderson’s Judas comes across most effectively on this recording, which is conducted by Andre Previn.  — M.M.

20th Anniversary London Cast, 1992 (RCA, 2CDs) (2 / 5) Paul Nicholas, who played the title role in the first London stage production of Jesus Christ Superstar, should probably have avoided revisiting the part 20 years later. His acting here is fine, but his voice betrays his age, and he doesn’t come across very well opposite the fresher-sounding Keith Burns as Judas and Claire Moore as Mary Magdelene. Gary Martin is an effectively creepy Caiaphas, and Jeff Shankley’s contemplative Pilate is also good. While this cast recording is never outstanding, it’s solid enough until its final track, “Could We Start Again Please?” The song is not presented in its proper slot in the show and is given an awful, Muzak-like rendition, complete with new Tim Rice lyrics that sound like they were written for just another bland pop song. — M.M.

Studio Cast, 1996 (JAY, 2CDs) (1 / 5) With its legit-sounding chorus and inappropriately leisurely tempos, this is one of the score’s most ineffective presentations. There are a few good things here; the priests, led by Billy Hartman’s Caiaphas, sound truly threatening, and Ethan Freeman’s Pilate is good. But most of the recording comes across as a musical experiment gone terribly awry. Numerous questions arise: Why does Clive Rowe’s Judas lack almost all the role’s familiar pop inflections, however sumptuous his voice, and why is his enunciation of the lyrics nearly unintelligible? Why does Dave Willetts’ Jesus sound 10 times as vicious as any of the people who want him crucified? Why does Issy van Randwyck spoil her otherwise fine Mary Magdelene with laughable embellishments in “I Don’t Know How to Love Him?” Why does the “Crucifixion” sequence feature what sounds like a lounge piano player having an epileptic seizure? And why has “Could We Start Again Please?” again been moved out of the actual song order to the end of the disc? — M.M.

Studio Cast, 1996 (Decca, 2CDs) (3 / 5) Joanna Ampil is one of the weakest Mary Magdelenes on record, and her performance mars this otherwise commendable recording of Jesus Christ Superstar. Never has it been more clear how much the contrast of Mary’s emotions affects the balance of the show;  Ampil has so little bite in her songs that the character essentially becomes insignificant. But there are no flaws in the rest of the casting. Steve Balsamo’s Jesus and Zubin Varia’s Judas are terrific, and David Burt’s Pilate is painted with a variety of vocal and emotional colors. In a surprisingly enjoyable turn, Alice Cooper appears as Herod, lending authority and subtle humor to a role that is often overplayed. The orchestra here sounds a bit thin, but despite that fact, a few lyric changes, and Ampil’s performance, this album is quite good overall. — M.M.

Video Soundtrack, 2000 (Sony) (2 / 5) This recording of highlights from a television production of Jesus Christ Superstar may be lacking in terms of completeness — no “This Jesus Must Die” or “Damned for All Time/Blood Money” — but certainly not in energy. If Jerome Pradon’s Judas isn’t one of the most vocally accomplished on record, it’s a performance of considerable dramatic power. Renee Castle as Mary Magdalene, Tony Vincent as Simon Zealotes, and Frederick B. Owens as Caiaphas perform admirably, but the casting is otherwise less sure. Although Glenn Carter acts well enough in the title role, his singing is weak; he delivers some of his high notes in a falsetto that’s not well supported, and his rendition of “Gethsemane” is rather gutless. Fred Johanson is superb in “Pilate’s Dream” but over-emotes destructively in “Trial Before Pilate.” — M.M.

Television Cast, 2018 (Masterworks Broadway) (4 / 5) Here’s the overall strongest recording of JCS in years. It features the cast and musicians of a live TV production, although apparently the performances of the songs presented here are not the “live” versions heard in the actual telecast, but were previously recorded. John Legend sings the role of Jesus with such great beauty and intensity of emotion that many listeners will find it easy to forgive him for shying away from or singing alternates for the highest notes. At the other end of the musical scale, while Norm Lewis really doesn’t have the bass register necessary for the lowest reaches of Caiaphas’s music, he sings the bulk of that role better than anyone else on record. Brandon Victor Dixon as Judas has no problem whatsoever with any notes at either end of his range, and his vocal portrayal ranks right up there with the very high standard that has been established for this extraordinarily challenging role. Ben Daniels doesn’t make much of an impression as Pilate, either positive or negative, but Sara Bareilles’s pop alto is thoroughly enjoyable in Mary Magdalene’s musical moments, and while Alice Cooper seemed frail and disengaged as King Herod in the live telecast, his audio-only performance is fine if not as much fun as one might have wished. The large orchestra sounds great as recorded in a very pleasing acoustic.   — M.P.

Original Broadway Cast, 1984 (Polygram/JAY) (3 / 5) When Jerry’s Girls opened on Broadway in 1985, it starred Dorothy Loudon, Chita Rivera, and Leslie Uggams. No Broadway cast album was released. But in 1984, when Uggams, Carol Channing, and Andrea McArdle were on a lengthy pre-Broadway tour with the show, the stars made this recording, originally released as two-LPs and later as a single CD. The album includes eight songs from Mame, six each from Hello, Dolly! and Mack & Mabel, four from La Cage aux Folles, two each from Parade, Dear World, and A Day in Hollywood/A Night in the Ukraine, and one from Milk and Honey. (There’s nothing here from The Grand Tour). The over-familiarity of much of the material and the fact that the orchestra is quite small almost make this recording expendable. Almost — for there is “Take It All Off,” a humorous ditty that Herman wrote specifically for Jerry’s Girls. This is also the only place where you’ll find the parody lyrics written for the commercial “Hello, Deli” and the Democrats’ 1964 campaign song, “Hello Lyndon.” Plus, it’s fun to hear McArdle sing songs other than those from Annie, and she’s marvelous in all of them. So is Uggams, even when she crosses the gender line to sing “I Won’t Send Roses.” As for Channing, this was the first show in which the great lady had noticeably passed her prime. By the time she reaches “The Best of Times Is Now,” her voice is somewhat unpleasant. Clearly, we all lose our charms in the end. — Peter Filichia

Original Broadway Cast, 1989 (RCA, 2CDs) (3 / 5) Lovers of Broadway dance music should snap up this cast album of the 1989 Tony-winning Best Musical, an assemblage of genius choreographer Jerome Robbins’ greatest hits, in which classic numbers from his shows were lovingly recreated by top-notch performers. At the time of the album’s release as a two-CD set, collectors were especially interested in the material that had not previously been recorded with modern sound technology, or at all. Robbins won a Tony for Best Direction for this show, and the cast swept the awards in the musical performance categories; they are well represented by this album. Jason Alexander (Best Actor) does “Comedy Tonight” and duets with Faith Prince on “I Still Get Jealous.” Charlotte D’Amboise (Best Actress) knocks out “I’m Flying” and “America.” Scott Wise (Best Featured Actor) does “Cool.” A sultry, pre-Gravitte Debbie Shapiro (Best Featured Actress) wails the seldom-heard Irving Berlin gem “Mr. Monotony” and leads the surefire “You Gotta Have a Gimmick.” Also found here are longer pieces such as the “Small House of Uncle Thomas” ballet from The King and I and “On a Sunday by the Sea” from High Button Shoes. It all adds up to more than two hours of some of the brightest moments in musical theater history — and the folks at RCA outdid themselves with a lavish, 64-page booklet including more than 40 color photographs, detailed notes, and mini-essays about each show. — Morgan Sills

Original London Cast, 1985 (Safari/First Night) (2 / 5) It’s hard to understand the rationale or need for Jerome Kern Goes to Hollywood, a songwriter revue that was devised by one of its British co-stars, David Kernan. He, Liz Robertson, Elaine Delmar, and musical theater veteran Elisabeth Welch sing 22 Jerome Kern songs that may have appeared in films but weren’t necessarily written directly for that medium — for example, the selections from Show Boat. Virtually all of the numbers heard here are well known: “Smoke Gets In Your Eyes,” “I Won’t Dance,” “The Last Time I Saw Paris,” “Bill,” “I’m Old Fashioned,” and “All the Things You Are.” They are certainly well sung, particularly by Delmar.  Welch is the drawing card for fans of legendary British performers, but although her four solos here are fine, it’s hard to get worked up over them. (Note: A 1986 Broadway production of this revue with the same cast lasted only nine performances.) — David Wolf

Original Broadway Cast, 1963 (RCA) (3 / 5) A star vehicle for Mary Martin, Jennie is a prime example of how a musical with wonderful ingredients can fail to jell. Arnold Schulman’s book, a fictionalization of the life of Laurette Taylor with the character’s name changed to Jennie Malone, is insufferably dull, but the Arthur Schwartz-Howard Dietz score boasts many captivating numbers. Martin is featured in 10 of the 14 vocal tracks on the recording. She rips into “Waitin’ for the Evening Train,” a catchy vaudeville-style number with George Wallace, and caresses “I Still Look at You That Way.” She is almost as corny as Kansas in August in the exuberant “Born  Again” and in the inspirational “The Night May Be Dark,” the latter sung with Ethel Shutta as her mother. Martin also shines in “Over Here,” a duet with Robin Bailey. Finally, the star’s “Before I Kiss the World Goodbye” is exceptionally well performed and then reprised as her solo finale. Jack DeLon’s ringing tenor is heard in the catchy ensemble number “When You’re Far Away From New York Town,” and Shutta gives her all to the mediocre “For Better or Worse.” Also noteworthy are the sparkling orchestrations of Philip J. Lang and Robert Russell Bennett, and the dance arrangements of Trude Rittman: “Sauce Diable” is one of the most invigorating dance numbers ever captured on a Broadway cast album. — Jeffrey Dunn

Original Broadway Cast, 1992 (Mercury) (4 / 5) With a score inventively cobbled together from Jelly Roll Morton’s musical catalogue, Jelly’s Last Jam tells the composer’s life story in a show that is as moving as it is entertaining. Luther Henderson (musical adaptation), Susan Birkenhead (new lyrics), and George C. Wolfe (director) used songs not originally written for the theater to propel the plot forward, and this recording proves the excellence of their efforts. The show benefited enormously from ideal casting. Gregory Hines received a well-deserved Tony Award for his star turn as Morton. His smooth vocals and crisp tapping quicken the pulse and gladden the soul in one highlight after another: “Doctor Jazz,” “That’s How You Jazz,” the hauntingly sung and acted “Creole Boy,” and others. Another Tony winner for this show, Tonya Pinkins as Anita, sings “Play the Music for Me” and “Last Chance Blues,” a tough duet with Hines. There’s also notable ensemble work by “The Hunnies”: Mamie Duncan-Gibbs, Stephanie Pope, and Allison Williams. The booklet accompanying the CD edition of the recording  includes a concise synopsis and all the lyrics. — Morgan Sills

Studio Cast, 1990 (RCA) (2 / 5) As a musical theater composer, Frank Wildhorn writes great pop songs. That’s amply demonstrated by this “concept” recording of Jekyll & Hyde, which lacks any theatrical context. Some of the songs, with lyrics by Leslie Bricusse, evoke moments from Les Misérables and The Phantom of the Opera but are less interesting musically and dramatically. Colm Wilkinson and Linda Eder co-star in this two-person recording; in grand pop-opera style, they let few vowels go unmodified, and never exercise emotional shading where over-emoting will do. Eder seems clueless as to character nuance; still, her robust voice can overcome the sentiments of Bricusse’s lyrics, sell a soft ballad such as “Once Upon a Dream,” and strongly deliver the power ballads “Someone Like You” and “A New Life.” Jekyll & Hyde was always less about Jekyll or Hyde than about showcasing Eder’s voice. Although Wilkinson sinks his teeth into his songs, particularly “This Is the Moment,” his performance is so far over the top that all we can do is grin and bear it until it’s Eder’s turn to sing again. We never have to wait very long. — Matthew Murray

Studio Cast, 1994 (Atlantic) (3 / 5) Linda Eder returned for the second Jekyll & Hyde recording, but here she sings only the songs of the prostitute Lucy; Carolee Carmello was brought in as Jekyll’s fiancee, Lisa. The title roles are superbly filled by Australian actor-singer Anthony Warlow. From an acting standpoint, it might be said that both Warlow and Carmello are too good for the material; trying to make these pop tunes theatrical is a lost cause. The recording boasts a huge orchestra and tons of songs (the complete score up to that point), so if you simply must own one Jekyll & Hyde, this should probably be it. The plot is difficult to follow, but certain tracks are fun, including Eder’s saucy “Bring on the Men” and her powerful “Someone Like You,” Warlow’s dynamic “This Is the Moment,” and the Eder/Carmello duet “In His Eyes.” Many other numbers are silly, “Façade” and “Murder, Murder!” in particular. But, overall, Jekyll & Hyde has never sounded better than it does here. — M.M.

Original Broadway Cast, 1997 (Atlantic) (1 / 5) By the time Jekyll & Hyde got to Broadway, it was more a parody of itself than a serious show. Linda Eder is still Lucy, and her pop affectations are out of place amid the theatrical acting/singing style of the Broadway cast members. Robert Cuccioli’s performance of Jekyll’s “This Is the Moment” joins the already hefty catalog of self-indulgent renderings, but he does a better job as Hyde. Of the leads, only Christiane Noll as Emma (the renamed Lisa) makes her character believable; she performs with sweetness, sensitivity, and a legitimately beautiful voice. Unfortunately, her songs are among the show’s dullest. “Murder, Murder” and the endlessly reprised “Façade” remain unintended comic highlights, and some newer numbers — “Pursue the Truth,” “Emma’s Reasons,” “I Must Go On,” and “Letting Go” — aren’t much better. The score reaches a new nadir with “Good ‘n’ Evil,” featuring such lyrics as “The key thing about good ‘n’ evil / Each man has to choose! / Heaven ‘n’ Hell / Is a helluva gamble to lose!” — M.M.

Original Broadway Cast, 2000 (Sony) (4 / 5) Based on Charlotte Brontë’s classic novel of sturm und drang on the English moors, the musical Jane Eyre represented the last gasp of the pop-opera cycle on Broadway. It managed to hang on for 209 performances, but tastes had shifted toward more lighthearted entertainments. The presence of director-librettist-co-lyricist John Caird (of Les Misérables fame) emphasized further how times had changed. Oddly, perhaps because of its intimate, introspective nature, a show that seemed stiff and uninvolving onstage fairly overflows with feeling as heard on this superbly well produced recording. Composer-lyricist Paul Gordon has a knack for melodic lines that are romantic and neurotic at the same time, and the lyrics are exceptionally literate. As Jane and Rochester, Marla Schaffel and James Barbour are the whole show, delivering abundant vocal thrills in such arias as “Sweet Liberty” and “The Pledge.” The song “As Good As You,” in which Rochester ruefully recalls his rakish past, is a gem of character revelation; so is the slashing, tormented “Painting Her Portrait,” in which Jane struggles to accept living life as a spinster. Throughout, Larry Hochman’s orchestrations have a plangent emotional transparency. This is a fine record of a show that may well be heard from again. — David Barbour

Original Broadway Cast, 1957 (RCA) (2 / 5) Some Broadway musicals are timeless, while others spoke only to their era and audience and then were never heard from again. Jamaica is decidedly in the latter category. It was a hit for Lena Horne and the matchless team of Harold Arlen and E.Y “Yip” Harburg. Then, after a year-plus run, it vanished without a trace (other than this recording). Calypso was a ’50s phenomenon, and this score is full of it; in fact, Jamaica was originally written to star America’s calypso singer of choice, Harry Belafonte. When he proved unavailable, a rewrite gave movie star Horne a big-time Broadway debut. Her co-stars were notable as well: Interesting color-blind casting put Ricardo Montalban, a Mexican playing a West Indian, opposite Horne. Support was provided by Josephine Premice (husky-voiced and very entertaining), the personable Ossie Davis, and the veteran Adelaide Hall. The cast album is full of spirit and style, although the Jamaican patois sounds heavy-handed and phony coming out of Horne’s mouth. Arlen’s music is attractive but forgettable. Harburg failed to come up with a strong book (co-written with Fred Saidy and an uncredited Joseph Stein) and, in his lyrics, he mostly settles for a mix of faux-Caribbean attitude and obvious satire of Yankee consumerism and customs; not even the sultry “Coconut Sweet” is a truly worthy entry in the Arlen-Harburg canon of standards. While this recording cannot reproduce the show’s opulent designs and spicy Jack Cole choreography, it does give us a good idea of how Jamaica functioned: showcasing the dynamic Horne, moving swiftly, and providing very little of lasting value. — Richard Barrios

Original Off-Broadway Cast, 1968 (Columbia) (3 / 5) This is the show to blame! The success of Jacques Brei Is Alive and Well and Living in Paris began the songwriter-revue revolution, but it would be a full decade before another good example of the genre showed up. (That show was Ain’t Misbehavin’ and it propelled a spate of glorified cabaret acts masquerading as musicals.) The Brel songs are performed with brio by a marvelous cast: Mort Shuman, who also adapted the French lyrics into English, co-stars with Shawn Elliot, Elly Stone, and Alice Whitfield. Jacques Brei introduced American audiences to a sophisticated romanticism blended with more than a soupçon of Gallic cynicism. After the initial run, a few regional productions, and a film version that featured Brel himself, this revue slid into semi-obscurity, although a reconstituted version of it was presented Off-Broadway in 2006. At any rate, Columbia thought enough of the original production to issue the cast album as a very fancy, boxed, two-record set. — Ken Bloom