Customer Reviews

Lost in the Stars: The Music of Kurt Weill

5 star:		(7)
4 star:		(2)
3 star:		(2)
2 star:		(0)
1 star:		(1)

 

 

Nearly every track on this CD (which includes material left off the original 1985 release) is a gem -- even if some are slightly more precious than others.

Sting's take on "Moritat/Mack the Knife" is deliberately low-key and affectless, a lovely antidote (at the time, and even now) to the jokey, albeit entertaining big-band renderings of Louis Armstrong and Bobby Darin.

Lou Reed's "September Song" is an utter delight, as the personification of late 20th-century underworld New York does this set piece from *Knickerbocker Holiday*. Reed's instrumentation echoes John Lennon's last recordings (like the ironically titled "Starting Over") and adds some Stax-Volt-style horns, while his wonderfully world-weary delivery of Maxwell Anderson's cynical *and* sentimental lyrics steals the show.

Other great vocal performances are contributed by Stanard Ridgway from Wall of Voodoo, Richard Butler of the Psychedelic Furs (a splendid "Alabama Song/Whiskey Bar"), Marianne Faithful, Tom Waits, Aaron Neville, and a heart-breaking turn by Dagmar Krause on Weill's perfect subversion of the torch song, "Surabaya Johnny."

Fine arrangements are supplied by members of the Armadillo String Quartet, who ably explore the minor-key sonorities of the "Youkali Tango"; by Van Dyke Parks, whose music-box renderings of selections from "Johnny Johnson" are both oddly fitting and oddly moving; by John Zorn, who applies his distinctive search-and-destroy, acid jazz approach to "The Little Lieutenant of the Loving God"; by Carla Bley, who lets Phil Woods blow incandescent alto sax on the title track; and by Sharon Freeman, who provides an admirable -- both witty and heartfelt -- showcase for Charlie Haden on lead bass for "Speak Low."

I have to confess that Todd Rundgren's version of Macheath's "Call from the Grave" (from *The Threepenny Opera*) disappointed me at first hearing and still does, nearly two decades later: he did this kind of hard rock translation much better with Gilbert and Sullivan's "The Lord Chancellor's Nightmare Song" on one of his own albums and recycles here many of the same techniques and effects. It's still fun, but doesn't supply the punch one expects at this late stage of the proceedings.

I don't know whether Weill would "approve" of all these interpretations, but I think his own eclectic sensibilities -- and his embrace of a wide range of popular and mass-market musical forms -- receive fitting tribute on this CD. One minor cavil: the liner notes could be a little more informative about these recordings. One major plaudit: it's magnificent to have these songs well-engineered in CD format; my 1980s-era cassette had been played to death.

If your idea of Weill is the Doors doing "Alabama Song," this is the perfect place to expand your knowledge. Sting's performance of that song is the weakest performance here. Marianne Faithfull's interpretation of 'Ballad Of The Soldier's Wife' is one of her best performances and really captures the pathos of the song, and Tom Waits is great on 'What Keeps Mankind Alive?' For me, a dream project would be a whole CD of the two of them doing Weill.

Just to prove that Weill has a softer side, Lou Reed does the ballad 'September Song'

That tells you what kind of disc this is! Lou Reed does the 'soft' pretty music.

Because this is a Hal Willner production, and because Willner doesn't want to get too close to the mainstream, this album is more challenging and complex than the later, similar disc from 1997. He produced that one, too, as a soundtrack for a film on Weill's music. That soundtrack is called 'September Songs: The Music of Kurt Weill' and as the title says, it features songs. In fact, many of the same songs are found on both albums. 'Lost in the Stars' features more instrumentals and includes both jazz and classical performances. The result is sometimes a little jarring, but that is very much in keeping with Weill.

If you're not a theater-phile, you might not be aware of Bertolt Brecht's work; however, his musical muse, Kurt Weill, has inspired musicians from all areas of music - the most recent example is the resurgence of cabaret music led by the Dresden Dolls. This is an amazing compilation produced by the same man who last year brought us the music of pirate shanties called "Rogues Gallery". Sting (before he did his own stage version of Three Penny Opera) singing Mack the Knife, Lou Reed singing September Song, Marianne Faithful, Chris Spedding, Aaron Neville- even Weill's beloved Lotte Lenya, they're all here. Its a great pop-y update of this timeless music. Sometimes difficult to get a hold of, I've gone through the cassette, album and now finally have the cd...enjoy

Early last Sunday evening, I was stuck on the FDR when I heard explosions behind me. I spun the rear view mirror to see a gorgeous display of fireworks as I crawled one car length at a time towards the Brooklyn Bridge. It was at that point my all-shuffling iPod dropped John Zorn's interpretation "Der Kleine Leutnant des Lieben Gottes" into the car stereo. For five minutes of invention and anarchy, Zorn & Co. lit up my view of Long Island brighter than I don't know how many tons of explosives could. Hopefully, it will be many such moments of sublime and esoteric beauty that this record will bring into your life.

I own an old tape (remember thoses?) of this recording, evenything is the same, except my copy does not have tracks: 1,10,11,and 16. There are some amazing recording on this collection. The Fowler Brother's 'Cannon Song' does amazing justice to the orginal, with spunk (and a bit of punk). The 'Alabama Song' is similar to that of the one present on September Song, but is distint and still the most amazing style to perform this song. If you have ever liked Todd Rundgren you'll love 'Call from the Grave', and even if not...

Believe in me, ear this cd, the musics and the words are superior! MUST HAVE!!!

Totally worthwhile for a Weill fan, a fine treatment of most of the material by a great cast of musicians, assembled by the producer Hal Wilner. Which you like the most would depend, I suppose, on your level of commitment vis-a-vis Weill and the performer.

Most of the pop performers, especially Sting and Lou Reed, are flat and dull on here, but Todd Rundgren's arrangement is great; imaginative, personal and absolutely true to what the song is about. Other great pleasures include the incomparable Dagmar Krause, John Zorn and "Oh Heavenly Salvation." They exemplify the strength of the record, which is the personal and unexpected understanding of most of the musicians. Not all, but enough to make this a keeper.

This gem amazingly represents my childhood and my father (80's child). Raw emotion, nostalgia, adventurous music, and my first exposure to Tom Waits make this one of my favorite albums ever.

Actually I found it to be a great, and a little gruff version of such a normally stiff and formal kind of song. It's not so perfect but the style of it makes it all ok. "Call from the Grave" is amazing as is the explosive diction in "Cannon Song" and Stings mermorable performace in "Mack the Knife" or Tom Waits grinding voice in "What keeps mankind alive". All I can say from hearing this album is "I thought I was a Weill fan before!"

There are a few standout tracks on this disk; Sting's "Mack the Knife" is suprisingly good- it's become one of my favorite versions. Stan Ridgeway's "Ballad of the Soldier's Wife" is another pleasant suprise. From there it goes down, though. Lou Reed's "September Song" is quirky and misses the boat entirely, though diehard Reed fans might like it.

The rest of the album is a similar mix of good and indifferent. A worthwile album, if not a great one.