Customer Reviews

Starlight Express [Original Cast Recording]

5 star:		(29)
4 star:		(7)
3 star:		(4)
2 star:		(2)
1 star:		(2)

 

 

The original Starlight Express produced in London is THE epic version of this story. I have seen it in London, as a traveling Broadway show in Detroit, and in Las Vegas. You are missing the story line if you purchase anything other than this original recording. I have worn out my original two tape set purchased in 1984 in London. The traveling Broadway show was very good and true to the original. If theaters could show envy, the Hilton in Las Vegas would wilt on the vine if it ever knew of the wonderful show available in London. It is so unfortunate that they took God out of the original and added sex for the Las Vegas version - a powerful message and inspirational story is lost through the medium in Vegas. The unspoken message is clear as a bell, and is used as a canvas to paint a wonderful picture in London. The Brits still do some things right and Theater is one of them - If you are ever in London - you must see the show! Skip the Vegas show and CD version - this is what you need. Knowing the words to all the songs doesn't mean you don't need the instrumental backup!

This cd is a perfect example at the genius of andrew lyodd webber. The music and lyrics merge to create a musical that will set a new standard. This cd is better then the new one. This is one that you will not let your friends borrow because they might hurt it . Thats already happened to me. BUY THIS CD. it is totally awesome

Well, where to start, the songs on this CD show the musical how it should be presented. The singers are great and songs are fantastic. You should definitely choose this CD over the New (London) Starlight Express recording. The only thing I think the New recording has over this one is three tracks : Crazy, Coda of Freight, and the Megamix. This however has Call Me Rusty, A Lotta Locomotion, He Whistled At Me, Belle, Girls' Rolling Stock, Only He and Only You and a slightly different Light At The End Of The Tunnel. These are the basic differences, with there being others which are smaller, less obvious differences.

Starlight is my favourite musical of all time. I have had this recording on some medium or other since I was 4 (15 yrs ago) and I have managed to wear out every copy I have owned - I love it that much. I think it is probably true to say that you would have had to see the show live on stage to fully appreciate it however. This recording does sound quite dated and is quite blatantly 80s, however some of the tracks (A Lotta Locomotion and He Whistled Me) are so 80s that they would pass as cool/retro nowadays.

In conclusion - the best Starlight recording I own.

Starlight Express came to Atlanta, Ga at the Fox Theater in 1990. I saw a t.v commercial and I was intrigued. But nothing prepared me for the most elaberate light show, customes and beautiful music. I felt like a kid again. The songs were stuck in my head and I was happy four months later, a doucle cd was available. Well Starlight Express never made it back to Atlanta. I only had memories of the show I saw more than 13 years ago.

It just so happens the so-called "New Starlight Express" came back to the fox theater this year. I was skeptical because I bought a new cd from the show back in 1994 and it was nothing like the first one. I figured it would be the same show as it was back in 1990 because it wasnt advertised as "The New Starlight Express". To my unsuprised dissapointment, the show was redone, the best songs deleted, even the light show was edited, it was a total disgrace. In 1990 the theater was filled to almost complete capacity. This show that cam e this year seemed like a ball game with a bad team playing with alot of empty seats. I wish I knew who I could contact because this is a farce compared to the magic I experiened in 1990.

Valentino A DiMauro

Starlight Express is a true masterpiece of charm and metaphor. While it admittedly has its faults (it IS, after all, at first glance a children's musical about anthropomorphic trains), it has good qualities enough to qualify it as a work of genius. Among them are the show's two leading actors on this C.D., the charismatic, glorious-voiced Ray Shell, and Stephanie Lawrence, who perfectly displays the duel passion and selfishness of Pearl, the anthropomorphic parlor car and romantic lead. The characters are deep and full of subtleties, and the actors manage to convey this perfectly while singing up an exceptionally beautiful storm.

Then of course there are the songs. The passionate "Ony he" and the gentle "There's me", a pair of old-fashioned romantic ballads, would catapault the show to genius status on their own. Then there are the inspirational "Call me Rusty" and "I am the Starlight", which are made truly glorious by Ray Shell's amazing tenor and Lon Satton's deep, echoey base. As for C.B., the devious archvillain of the show, many reviewers on this sight have called his voice annoying. I find it sweet, pretty, and unique, somewhat like Matthew Broderick's Leo Bloom in "The Producers", but with a subtly sinister and hypocritical edge. I also disagree that Belle the Sleeper is useless; she may not advance the plot much, but she sings a very pretty, clever and moving song, and she reminds me greatly of Grizabella and Norma Desmond, two of my favorite characters in Lloyd Webber's other musicals.

Finally, there is the sheer wit and charm that makes the ridiculous premise seem forgivable. This is especially evident in Greaseball, a diesel engine and the show's egoistic, Elvis-impersonating villian. And underneath the whimsical silliness is a beautiful metaphor about God, man, and life that anyone will notice if they give the show half a chance.

Finally, I recommend this recording of Starlight far over the new one. Greg Ellis is an obnoxious whiner, Reava Rice is far too old to play Pearl, and the only decent actor or singer in the new cast is John Partridge. And the sinister Control is transformed in the new cast into an obnoxious dreaming child, thus robbing the show of much of its dignity. If you like bad pop music and bad jokes, get the new CD. If you like heartfelt chracterization and truly classic eighties rock and its best, get this one. You won't be disappointed.

Don't get me wrong, I'm very fond of this recording, but they made some good improvements to Starlight Express in the 90s. The reasons you should get this CD as as follows: CB the red caboose. The real villian of Starlight Express. He's mean, funny, and has a great funk song. No comeback: A song with a great tune that really shows how self centered Elektra (yup that's the original spelling) is. This is also the only CD with Call Me Rusty (a very good song).

The low points of this CD: It's very dated. If you like 80s music then this isn't a proplem. Belle: The most annoying and pointless character in the show. She was better in the Broadway Production but still pointless so she finally got totally removed (Thank goodness)

This is the cost complete of the English dialog CDs and tells the story the best. If you like 80s music I recommend this CD, if you hate it, get "The New Starlight Express"

Seeing that his "Cats" have become a musical phenomenon in its own right after the London (1981.) and Broadway (1982.) premiere, Andrew Lloyd Webber decided to use the same formula on his next project, "Starlight Express". He collaborated with the same people, including Trevor Nunn as a director; Gillian Lynne as a choreographer and Richard Stilgoe provided the lyrics. The main problem of "Starlight Express" is that it pushes the Cats formula to a much bigger and higher degree. The composer dedicated this show to his children and to his own fascination with train toys.

Most of the show's appeal lies in its visual performance rather than in the score or the lyrics. The plot is even lighter than in Cats: it tells the story of the different trains. Rusty, a steam engine is in love with a glamorous carriage Pearl, but has to compete with other trains by racing them to win her affection. The holes in this simple plot were overshadowed by the grandiose staging that involved vigorous light show and cast members on roller-skates racing through the specially made stage. Because of that, Starlight proved to be a family-oriented show guaranteeing an entertaining evening. It was probably one of the main reasons why the show lasted in the West End until 2002. And yet the fact remains that on Broadway it passed rather unnoticed and didn't cover the basic investment.

This two-disc recording captures much of the original show that opened in March 1984 in London's Apollo Victoria theatre. You should be aware, however, that the score was revised in the early 90-is in order to get a more modern sound. The cast recording here has several problems. First, the orchestrations are full of synthesizers and the disco-beat of the 80-is is more than evident and therefore much dated. The story lacks coherence even more than in the case of Cats, so you don't have the feeling that anything is happening. And the score itself is not among ALW's best, for the most part it's just derivative. That said, some of the songs on this recording are worth noting and they make nice pop pieces.

The best of the lot is "Only he", a wonderful love ballad sung by Pearl to Rusty. It's not the music here that matters, it's the lady singing it. The late Stephanie Lawrence had a sweet and tender voice and it will hold you throughout this powerful song. It's amazing that this number was later completely dropped out. Her second big number, "He whistled at me" is a little lighter, but still very pretty. And from the rest of the cast, only Ray Shell's Rusty sticks out. He manages to portray the liveliness of the character in songs such as "Call me Rusty", which has a catching melody. And the other song not to skip is "I am Starlight" on disc 2, sung by Rusty and his father. This is also the only melody that comes close to ALW's symphonic extravaganza, with the perfect blending of the score and the cast. The rest is rather plain and unnoticeable. The lyrics are among the most banal I've ever heard in a musical.

This reissued release has a nice slip case and a separate libretto, which was the main problem with the old issue, since the letters were tiny. Also, the sound here is perfect, due to digital remastering.

This version of "Starlight Express" should therefore be appreciated for its innovative staging and its individual moments rather than its worth as a whole. In this respect, it belongs to the less satisfying scores of Andrew Lloyd Webber and as such it is a mere addition to the collection of the composer's work.

The original Starlight Express by far surpasses the revised, chopped, and cut version. As a fan of ALW this musical truly shows his talent for writting. Not only classical, but rap and pop music as well. I highly recommend this CD over any other recording.

Being a "The Phantom of the Opera" and Michael Crawford fan, as well of Cats, I have rarely listened to anything outside of the, so called, classical Broadway sound. But I got tempted to see and hear this show after seeing the pictures from the various productions around the world, which is, ironically, partly, I got interested in "The Phantom of the Opera" <which the OLC and early versions of the show remain my favourites, not that travisty of a movie <no disrespect to Gerard Butler and Patrick Wilson who are marvellous>.

But this show, Starlight Express, blew me away. Visually it, like Cats, The Phantom of the Opera, is in the same leagues. But score wise, it is a mixed one.

It is indeed a show, like Cats, and unlike The Phantom of the Opera, for children and, although I am not particularly fond of ALW himself, but it is sweet he wrote this show for his children, who were at the time from his first wife Sarah Hugill. The story is based more or less on the old children's tale of "The Little Engine that Could" and perhaps, not sure on this, on the old "Thomas the Tank Engine" show (I may be incorrect on this). I have not yet seen the show as a whole, but I can fully concur that, although the plot in the original was a bit weak, and at times today, even still, I will say that indeed it holds its own and it is a delightful show.

Of the numbers that are on the Original London Cast Recording; I will say this:)-

"The Overture" - Like all of ALW's shows, with the possible exception of "Joseph and the Amazing Techincolor Dreamcoat" <a show also, likewise, written for children>, "Aspects of Love", and some of his later shows; ALW writes very intriguing at time eerie sounding music (The Phantom of the Opera, The Woman in White, Cats, and Evita are no exception) and this certainly fits that league. I would definitely say this deserves, if given 5 stars as the best, it is a 5. I love this number indeed.

"Rolling Stock" - This song, or this version, is really quite good, but I admit not as good as the New London Version. But they are both good. :D The singer who sings this sounds alot, strangely enough, like Gerard Butler who does the Phantom in the filmed version of ALW's stage show of "The Phantom of the Opera". Perhaps if Gerry did a movie version of Starlight and played Electra, he would fit quite well in it. But getting off topic, this is a really powerful number and on stage its really quite fun. Of the characters in the show, Electra is certainly the most heavily made up, and has been since the OLC production in 1984. The beat is a bit slow at best, not as more normally paced as the New London, but definitely both versions get a 5!

"Call Me Rusty" - Not crazy about this number personally, and that is only because its not among my favourite songs, but it is a really good number in of itself. Strong, creepy, almost too dark undertone to the music and the plot really flows through this number. Indeed another 5.

"A Lotta Locomotion" - Having been a fan of Frances Ruffelle (best known, later, for creating the role of Eponine Thenardier in Cameron Mackintosh's (non ALW) production of "Les Miserables") for a while, she really shines in this number and her voice still has all the power, fun, intrigue, and the surprising gentleness to her tone that she is known for. She is, out of all the ladies I have heard play her, is the best Dinah. :D Music wise, this song, on this recording at least, is very 80s and it shows through. The synthesizers and the electric keyboards really are the focal point in the instruments used in this. But with that said, the performers really blended well together and I must say it definitely deserves a 5, as well. :D

"Pumping Iron" - This indeed is another cute number with Greaseball playing an Elvis figure (ALW seems to have a obsession with Elvis having incorpriated alot of him into Joseph and the Amazing Techincolor Dreamcoat and some of his other shows). I like this version very much, the performer, at the moment his name illudes me, is really quite good at portraying the sort of macho, but nice, tough guy part of Greaseball (unlike the macho, but evil, Electra). Again another 5. :P

"Frieght" - Is very child-like and really is quite suitable for children, music wise as, unlike its former numbers, is not as dark or adult in nature. But there again the flow of the music is weak and here is where it needs perhaps a little punch, but that is only my personal opinion. For children this is a good number but even then still weak. I give this a good even (out of 5 stars) 3 and a half.

"AC/DC" <laughs at the title> - Well, this is certainly more in line with his other shows, and it really is quite a good number. The music flows really well, and here Ray Schell (?) shows he played the part well. 5 stars.

"He Whistled At Me" - This is perhaps when the romance section really comes through. The late Stephanie Lawerence is amazing as Pearl and the song at times switches from child-like to an almost creepy note <which may scare some children, which is the only real complaint on the recording is that the show has a sometimes creepy quality at some points> when at the end of Rusty (Ray Schell) whistling it slides down on the synthesizers. The flow of the music is of course slow in this and deserves so to be, and in this it does get a 5 as well.

"The Race" (or the first race) - This is where, in the show, it becomes quite electrically charged, although the show is already enough exciting visually in the former tracks, but here is when it reaches it's first peak. The race on stage is quite thrilling (although perhaps, maybe, not as thrilling as the Final one) and the track really captures the nerve and fire of this scene and number. Definitely a 5!!

"There's Me" - This song is quite sweetly done, and is definitely well played out and indeed is more in line with ALW's other shows. Quite gently played and suitable for children. The flow of the music is perfect, the cast does excellent, no complaints here! 5 stars!

"Poppa's Blues" - You would think that ALW, being a more classically minded composer, would stick to more classically themed music. But here he as already done rock, 60's style music, his own unique style, children's style, (I want to say goth but that's not the word for it so I will say..) dark, 80's style music. You would think he would switch back to classical, but nope. Here, as one reviewer commented, this show combines all of ALW's taste or attempts <at least> in music. And here is when, in a shocker for ALW, ALW tries to write a blues number. And surprisingly, for those who don't know that he does this, but not surprisingly to those who do know this, he achieves it. Lon Satton is brilliant as Poppa, as has Frances Ruffelle as Dinah and the actor who performed Greaseball (Ray Schell I am not too keen on at alot of points, but he is good, just not my fave) and really shines through in this number. It is a great thing that he later on recreated his role for the New London show. :D The flow of the music really goes well and ALW has really captured the feel of the blues (although I am not a personal fan of the style myself). 5 stars!

"Belle The Sleeping Car" - This is where I have the harshest criticism. I don't know if its the singer or the music, but it is definitely the first really weak point in the show and I think, personally, when thinking about the plot, slows the show down a bit <although that is not such a bad thing in of itself, I just don't know why this number is mentioned or played, really>. The flow of the music is confused at best, and bad at least and the performer does not do justice to this number, if the music is already weak. This gets 2 stars.

"Starlight Express" - I remember when I heard this on the Premiere Recording, I did not know who that singer who sang along with Lon Satton was, I did not know at first if it was Ray or a woman. It said on the track it was Ray and Lon. :P But this really captures the essence of the show, this song is about the show and holds everything. Its a combination of the dark undertone, as I said already in play in the show, and the lightness that is tolerable for children. At the time, being into TPOTO, I was not too crazy with it but I did admit it had a good beat, good lyrics (if the singers were not my fave) and was a bit creepy. But now, I quite like it and it captures the show perfectly. Back to 5 stars!

<ACT TWO>

"The Rap" - This is a really confusing number and indeed, I am not a fan of this at all. Its like a combination of 80's style music and rap. :S I would give this 1 star.

"U.N.C.O.U.P.L.E.D" - ALW has wrote Country?? Yes he has. And once again, although the flow in the music is its one major flaw (not on Frances Ruffelle's part), Frances Ruffelle really shines through and the song itself is lovely. Very sweet and sad in a good way. :) Frances Ruffelle indeed, never fails to incorrectly sing, although perhaps, with the beginning flow a bit distorted as its only fault, she did not do as good as she usually does, could have sung country music, if she lived over in the USA. :D Bravo, Frances!! 5 stars!

"Rolling Stock: rephrise" - Being a girl, I could not sing the former version; but this version is especially written for girls (thank you ALW:D) and, for any female performer wanting to do the show and learn the score, this is at a good slow pace to start with and then slowly increases in the later recordings. But this works well and should have remained as is, in the OLC. :D 5 Stars.

"C.B." - This is really 80's style and it really shows Electra being, as he is in the show, an.. (considering children may read this) a jerk. But nevertheless, its a very confusing style and this, while not as bad as "Belle" or the other poor songs on this, it seems to have some strong points. But my only complaint is the style and crescendos and flow of the piece is confusing. I would give this a 2.

"Right Place, Right Time" - HAHAHA! I had to laugh at that comment, "Rocky 1 and Rocky 2" and the "If I had any brains". :D But with that said, this is a good sturdy number, although not as strong as the others. 4 stars at best. :D

"I am the Starlight" - Ray does not shine here as much as I wished he had, but he really does well nevertheless. Lon does not do as good on this, but the song is the peak of the show in that Rusty realizes he is the "destined" or Starlight :D. The music flows in a very classical, in line with the other classical shows that ALW does, and is brilliantly written (if not cast wise written). So for the music a 5, with the singers a 4.

"He Whistled At Me: Rephrise" - The singer, who sounds alot similar to someone from "My Fair Lady" <very cockney>, is really quite cute and this number, I have only one complaint, that Ray again does not show his fuller potential. 5 stars though.

"Race: Final" - This is the climax, where Rusty and Electra go head to head and in the stage show, this is incredible to see and the music is just electric for this, literally in style and in emotion. No complaints at all here! Both children and adults would love this number or at least, find it thrilling if they saw the show live. If you ever see the show, this is probebly, if the children are bored with the former songs, this is where they MAY have fun and get a musical theater buzz. <A bit of a spoiler about this scene - This contains heavy and complicated roller skating, its like combining the tough techinques of gymnastics, roller skating (or blading), and skateboarding all in to one.> 5 stars indeed!!! :D

"No Comeback" - In regards to the singer here, he does really badly. His flow and style of singing is, perhaps, a bit strained in some notes and poorly done (but to his credit, it may be the score for his voice). But the music really comes through and does briliantly. <No Spoilers here, if you want to see what happens, :P ;) try and see the stage show> 5 stars, even with the bad singing!

"One Rock n' Roll Too Many" <hehehe, Richard Stilgoe really has wit in these lyrics, at times> - This is another confusing number, but it is not the fault of the singer. The style of music is really complicated and indeed in this, this is one rock n roll too many. But with that said, 2 stars.

"Only He" - I have heard this when it was combined with "Only You", as done by, ironically, Frances Ruffelle <who shines in this number, wish she had done Pearl> and, my favourite Phantom and ALW star, Michael Crawford on Michael's Music of ALW CD <which is fantastic BTW, I recommend it>. This shows Stephanie at her best. 5 stars!!

"Only You" - Here Ray Schell does very badly, but while Stephanie shines through. :D This is a good number and it is a tragedy that ALW cut this out. Oh well, seeing as he cut out alot of stuff from the ALW TPOTO Movie version, I am not surprised. 5 stars, btw. :D

"Light At the End of the Tunnel" - Finally we are reaching the end of the show, where the beginning starts out very dark, this is very upbeat and cheerful. Lon, in contrast to when he did badly, he redeems himself here. 5 stars!!


OVERALL, with all that said and done, I would give it indeed 4 stars. :D And indeed, try and see this show if it comes to your city or town, if you live in the USA. Although if you want a really GOOD production; I highly recommend the versions in Bochem (in Germany, where it is the longest running production of the show, having been here when the OLC and OBC <which quite tragically closed soon after its premiere>) and the Las Vegas one. :D

This indeed is one of the rarest of ALW's shows, as its not as well known or popular here in the USA (which is their loss, not mine), and is quite sublte in ALW's various other tastes in music. As a former critic said, this is the best of the recordings.

This CD remisnices the great broadway musical of 1984. Very Webber-ish --- creative, catchy, classy, unique. Andrew Lloyd Webber was able to showcase his prowess while further developing his style and expanding musical horizons. Richard Stilgoe nurtured the songs' lyrics from the heart. Top three favorite songs from the album are (1) There's Me (2) Rolling Stock (3) CB. Indeed, Webber, together with Stilgoe, was able to conjure magic, love and hope in this production. The song "I Am the Starlight" has very powerful lyrics accompanied by a very great music. "No Comeback" deconstructs the persona of the human individual. "U.N.C.O.U.P.L.E.D" and "A Lotta Locomotion" are also masterpieces. If you want to hear the more "pop" versions of the Starlight songs, I suggest you get a copy of "Music and Songs from Starlight Express" (Amazon.com has a copy of this CD). I like the "I Am the Starlight" version in this CD than in the original production. You can also hear the original version of "He Whistled At Me" in this CD. However, the title here is "Engine of Love" instead of "He Whistled At Me". The pop versions of "Only You" and "Starlight Express" are also here, as well as "Make Up My Heart" (which is included in The New Starlight Express production.) This is an excellent CD as well.