|
Passing Strange | 
 enlarge | Creators: Heidi Rodewald, Heidi Stew / Rodewald, Christian Cassan, Christian Gibbs, Jon Spurney, Chad Goodridge, Colman Domingo, Daniel Breaker, Eisa Davis, Rebecca Naomi Jones, De'adre Aziza
Label: Ghostlight
Category: Music
List Price: $18.97
Buy New: $10.58
You Save: $8.39 (44%)
New (32) Used (2) from $10.58
Avg. Customer Rating:  6 reviews
Sales Rank: 1745
Format: Cast Recording, Explicit Lyrics, Soundtrack
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 4.9 x 0.4
MPN: 84429
UPC: 791558442922
EAN: 0791558442922
ASIN: B00199PPRE
Release Date: July 15, 2008
Availability: Usually ships in 1-2 business days
Shipping: Expedited shipping available
Shipping: International shipping available
Condition: Factory sealed! Complete packaging. Small hole punch in upper left corner of case. Fast shipping & friendly Midwestern service!
|
| Tracks:
| • | Prologue (We Might Play All Night) | | • | Baptists Fashion Show | | • | Medley: Church Blues Revelation/Freight Train | | • | Arlington Hill | | • | Sole Brother | | • | Must Have Been High | | • | Mom Song | | • | Merci Beaucoup, M. Goddard | | • | Amsterdam | | • | Keys (Marianna) | | • | Keys (It's Alright) | | • | We Just Had Sex | | • | Stoned | | • | Berlin: A Black Hole With Taxis | | • | May Day (There's A Riot Goin' Down) | | • | Medley: What's Inside Is Just A Lie/And Now I'm Ready To Explode | | • | Identity | | • | The Black One | | • | Come Down Now | | • | Youth's Unfinished Song | | • | Work the Wound | | • | Passing Phase | | • | Cue Music | | • | Love Like That |
|
| Similar Items:
|
| Customer Reviews: Read 1 more reviews...
I'm biased--but it rocked hard! August 17, 2008
I was lucky enough to go to a show of Passing Strange--and be present at the recording of this CD. The music itself is a fantastic blend of genres--Stew and Heidi Rodewald evoke everybody from Kurt Weill to the Sex Pistols--and the story, the portrait of the African American artist finding himself in 1980s Europe--resonates for all of us. We all have to leave someone, some identity behind to grow up, and the result is often complicated and messy. The performers are both terrific singers and great storytellers. Don't miss this show if it comes to your town; in the meantime, remember, "Miracles are commonplace when you're on holy ground."
A modern day Pippin... The REAL Deal August 3, 2008
1 out of 1 found this review helpful
In 1972, Broadway presented a young prince who yearned desperately to find something "completely fulfilling" in life. That prince was Pippin, son of Charles the Great. He sought for meaning and fulfillment in higher learning, war, sex, politics, religion, art, love and other things. Though set in the Roman Empire in the 9th century, Pippin's quest for purpose was representative of Everyman. Now in 2007, that quest is refreshingly and satisfactorily undertaken by the "Youth" in the phenomenal new musical, Passing Strange.
Passing Strange is subtitled "The Stew Musical" because it presents a semiautobiographical sketch of Stew; the writer of the book and lyrics, co-writer of the music, and the narrator in this recording. Stew's journey, though particularly his own (a California man's search for himself through Amsterdam and Berlin), is also universal. The main character, Youth, is searching for something real, or more poignantly, THE REAL. Not unlike Pippin, his search leads to experimentation with church, drugs, sex, philosophy/rebellion, music, etc. Throughout his journey, every new interest ends up a passing phase. No matter how exciting at first, each ends in ennui. In his words, "She's serving every one of my desires on a platter, but it doesn't even matter anymore... Paradise is a bore." His mother's experience is the same, "Having a big ol' house should make a woman sing... But then you gotta live in it and that's a whole `nother thing." The youth's path leads him in a roundabout from epiphany and fervor to emptiness and confusion.
What's this life for? Perhaps the answer to this universal question is uniquely personal. I am reminded of another musical, the musical episode of Buffy the Vampire Slayer - "Once More with Feeling" (season six). Buffy finds herself struggling with life, yearning for something worth singing about. Spike's response, "Life's not a song, life isn't bliss. Life is just this: it's living." Stew sums it up this way: "The Real is a construct... It's the raw nerve's private zone... It's a personal sunset... You drive off into alone." As Pippin's narrator might have said, "Ta-da". Meaning, fulfillment, purpose... they are uniquely our own. So we live.
Beyond the meaning, the story is conveyed with wit, humor, and sincerity. Additionally, this production rocks! Stew, Heidi, and the band have nailed each number taking us authentically from a Holy Ghost Church service to angry punk to a German art-house and beyond. The band and actors all do a fantastic job - beautiful voices, cute accents, believable and touching portrayals. It is even more amazing when considered that this recording is a live performance. Passing Strange succeeds brilliantly both musically and narratively.
Exciting and wonderful July 25, 2008
1 out of 1 found this review helpful
I highly recommend having this CD if you have seen this show. If you missed this show you will get a good taste of the show from the music. Whimsical, covers every genre of rock music, very colorful sounds, groovy, beautiful. Stew and Heidi Rodewald have created a masterpiece. Enjoy !
Veronica, NYC
BRILLIANT July 16, 2008
2 out of 3 found this review helpful
:Passing Strange" is the most inventive, brave, and brilliant thing to hit theater (Broadway or otherwise) in a long time. This forum is in fact far too limited for a proper consideration of the overall work. Suffice to say, however, that the music alone is extraordinary. -- Though it is billed as a "rock musical," (and others with the same label don't even deserve to be called true "rock"!), the music of Stew and Heidi Rodewald is rich, melodic and complex (The show was ROBBED of the Tony for best original musical score (An outrage!). The lyrics, too, will give you a flavor of the irreverent wit of the play (genius!). I'm sure all fans of the show are, like me, grateful to finally have this album so that we can take a bit of the show home with us.
Don't 'pass' this up... July 15, 2008
6 out of 7 found this review helpful
"Passing Strange" is yet another outstanding new cast recording, following closely after the irresistible Tony-winner "In the Heights" and the edgy, off-broadway stunner "Adding Machine." I'm a happy musical fan right now-- all three will be on my list of the decade's best.
More than just being exemplary recordings of essential new scores, all three also represent completely different musical types-- put them together and you have a great showcase for how fantastically varied musicals are. "In the Heights" features catchy Latin-pop and rap, "Adding Machine" is an eclectic, rhythmic original, and here's "Passing Strange," the most authentic rock score since "Hedwig and the Angry Inch."
"Authentic" is, in fact, probably the best word to describe "Passing Strange." With music by Stew (who also stars as the narrator of this autobiographical piece, and won a Tony for the show's book) and Heidi Rodewald, this is the story of a black "Youth" (Daniel Breaker) who leaves behind his middle class background to set out on a journey of self-discovery. Although the character is a musician at odds with black stereotypes, who goes as far away as Amsterdam and Berlin on his search for the "Real," the themes, of course, are universal-- growing up, finding your niche, accepting yourself. It's all relayed with great feeling and humor by Stew-- his connection to the music is palpable, and indeed it's hard to imagine anyone else performing "Passing Strange." This is his story, and a glimpse into his soul.
And what a great collection of songs. One of the pleasures of the recording is how varied the songs are-- there's a stylistic jolt from track to track, from the rock-gospel "Church Blues Revelation/ Freight Train," to the haunting "Arlington Hill," the affectingly poignant "Keys," and the tour-de-force breakdown-in-song "Identity." That last one is performed so electrically by Daniel Breaker that it's hard to believe he wasn't handed a Tony for his efforts (he's excellent throughout). The recording also more than deserves its "explicit content" advisory--profanities and drug references abound (with highlights like "Amsterdam" and "Stoned," it's not hard to see why). Fantastic listening.
|
|
|
|
