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List Price: $7.99 | | Label: Sony
Salesrank: 63299
Released: May 19, 1992 |
| Our Price: $6.66 |
| Used Price: $5.99 |
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| Media: Audio CD |
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All American (1962 Original Broadway Cast) Track Listing:
1. Overture
2. Melt Us - Ray Bolger
3. What a Country - Ray Bolger, Eileen Herlie
4. Our Children - Ron Husmann
5. We Speak the Same Language - Ray Bolger, George Lindsey
6. It's Fun to Think - Ray Bolger, Eileen Herlie
7. Once upon a Time - Anita Gillette
8. Nightlife - Ron Husmann
9. I've Just Seen Her
10. Physical Fitness - Ron Husmann
11. I Couldn't Have Done It Alone - Ray Bolger, Eileen Herlie
12. If I Were You - Fritz Weaver
13. Have a Dream - Ray Bolger
14. I'm Fascinating - Eileen Herlie
15. Real Me - Ray Bolger
16. Which Way
17. Finale - Ray Bolger, Mort Marshall, , David Thomas, Bernie West
All American (1962 Original Broadway Cast) Reviews:
What went wrong? 
2009-01-01 - With this story, "All American" should have been a tour-de-force for Ray Bolger; but somehow, it just didn't jell. I do not find the score as memorable as some previous Amazon reviewers. Other than "Once Upon a Time," nothing stands out to me. And, even in that number, Bolger just talks his part, and Eileen Hurlie sings with such a wide vibrato that she is hard on my ears. It is later renditions, not the original cast, that made this a hit. Also, I hear shades of songs from other musicals--"Steam Heat" in "Physical Fitness," and "Raunchy" in "The Real Me."
I wish it were better, but it simply isn't.
A WORTHY "ALL AMERICAN" MUSICAL SCORE . . . . 
2007-10-28 - ALL AMERICAN, Charles Strouse and Lee Adams' follow-up to their highly successful BYE BYE BIRDIE had everything going for it: a book by Mel Brooks (based on the novel "Professor Fodorski" by Robert Lewis Taylor), Ray Bolger ("The Wizard of Oz," WHERE'S CHARLEY?) in the leading role; support from the wonderful Eileen Herlie (Tony nominee for TAKE ME ALONG), Ron Husmann (Theatre World Award Winner/Tony nominee for TENDERLOIN), Anita Gilette (also a Theatre World Award Winner and Tony nominee), and Theatre World/Drama Desk/Tony winner Fritz Weaver. It had great Broadway-style orchestrations by Robert Ginzler and solid conducting by John Morris. But it ran for only 80 performances.
So, what went wrong?
In two words: Joshua Logan. Even though Logan was "the biggest director on Broadway with a string of incredible hits," his concept for the show clashed mightily with that of its creators. In his liner notes, Didier C. Deutsch remarks that "Many times, later on, he [Logan] told me he felt he had put his finger into the show in the wrong way. . . . [the characters'] physicality became more important than the satirical point of view we had initially envisioned."
Too bad. It reminds me of other times "Directors with a capital D" applied their lead-footedness to light musical comedy, especially in films: John Huston's "Annie," Francis Ford Coppola's "Finian's Rainbow," and - although not a "light" musical - Mr. Logan's "Camelot."
Also too bad because the score for ALL AMERICAN is really quite good and deserves an audience. From the opening immigration and naturalization rag ("Melt Us") through the final number ("Which Way?"), there's not a bum song in the lot. ("Have a Dream" is terribly dreadful, I'll admit, but I'm positive it's meant to be a parody of all the inspirational graduation songs ever sung by high school and college choirs and/or written by Rodgers and Hammerstein, like "Climb Every Mountain.") And the show boasts what is one of the finest songs every written for the Broadway stage, "Once Upon a Time," delivered impeccably by Mr. Bolger and Ms. Herlie. Oh, I could have done without "The Real Me" - likewise its counterpart from 110 IN THE SHADE, "Raunchy" - but it's kind of fun to hear Ms. Herlie let her hair down. I'll also admit I'm a sucker for immigration and naturalization scenes ("Moscow on the Hudson") and songs, ever since our son and daughter stood with other new Americans and took their vows in 1985.
Ray Bolger shines in an [otherwise] off-the-wall musical......
2007-06-07 - ALL AMERICAN is a lesser known musical with book by the prince of comedy, Mel Brooks (BLAZING SADDLES, THE PRODUCERS, YOUNG FRANKENSTEIN), lyrics by Lee Adams and music by Charles Strouse. Though, it isn't the strongest musical (in terms of plot, or even music), there are some great songs featured here. What's more, it stars Ray Bolger (best known for his role as Scarecrow, in THE WIZARD OF OZ), as a newly arrived Hungarian professor, who has just set foot on the Southern Baptist Institute of Technology campus. There is a juxtaposition of sports analogies and science terminology, and Professor Fodorski (Bolger) must reach out to the athletes and the co-eds, to help them reach their potential, academically, as well as in terms of touchdowns and astroturf.
The cast is a mixed bag here. While Ray Bolger shines in songs like "What A Country," some of the singers really should have been dubbed. Oh wait, they couldn't have been, since this was a "live" recording. Oh well. Also, this story isn't entirely about Fodorski. It's also about the young people he encounters, as well as an older (potential) love interest for him! I still think that this is worth a spin in your CD player. I first heard an old vinyl recording of this music. I can't honestly say I can really hum any of these songs, but they are pleasant to listen to!
Aless than successful musical
2007-05-07 - Having seen the OBC tryout in Philadelphia in the early 60s, I felt a need to add this to my collection. It is not a memorable score, with the possible exception of "Once Upon a Time." Too bad the CD does not also include the dialog, as it would be fun to recall the Mel Brooks work of that time period.
A Wonderful Neglected Score!
2004-09-30 - As with their previous hit, "Bye, Bye Birdie", this show was a satire. Unfortunatley, this was not a hit. It may have been because of a newspaper strike, but more likely because of it's book. It tried to be too many things, and as a result the story telling became distorted.
The score is a different story. From the great overture, to the wonderful comedy numbers, to the lovely ballads, the score always has your attention. Performance wise, it does have it's share of flaws. Ray Bolger (Wheres Charley?), does a good job, though it is nothing to get excited about. Eileen Herlie, who play the dean, has an annoying vibrato. Just skip through her tracks and the rest is smooth sailing. Ron Hussman was allowed to appear on this columbia record, but he did have a contract with capitol records. He gives a wonderful performance as the love-struck college student.
All in All, a cd that would be worth your investment, because it looks like it is slowly going out of print. Pick yours up today.
