Annie Get Your Gun: Original Motion Picture Soundtrack (Re-release of 1950 Film)
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CD Details
Edition: Music CDAudio: English (Unknown); English (Original Language)
Format: Extra tracks, Soundtrack
CD Release Date: 2000-11-21
Music Label: Rhino Records
Soundtracks:
- Main Title [#]
- Colonel Buffalo Bill [#]
- Doin' What Comes Natur'lly
- The Girl That I Marry
- You Can't Get a Man With a Gun
- There's No Business Like Show Business
- They Say It's Wonderful
- They Say It's Wonderful (Reprise)
- There's No Business Like Show Business (Reprise)
- My Defenses Are Down
- I'm an Indian, Too [#]
- European Montage [#]
- Let's Go West Again [#][Outtake]
- The Girl That I Marry (Reprise) [#]
- I Got the Sun in the Morning
- Together Again
- Anything You Can Do
- Finale/End Title
- Colonel Buffalo Bill
- Doin' What Comes Natur'lly
- The Girl That I Marry [Unused]
- You Can't Get a Man With a Gun
- There's No Business Like Show Business [#]
- They Say It's Wonderful
- They Say It's Wonderful (Reprise) [#]
- I'm an Indian, Too
- Let's Go West Again [outtake][Outtake]
- The Girl That I Marry (Reprise)
- I Got the Sun in the Morning
- Anything You Can Do
- There's No Business Like Show Business (Reprise)
Music reviews of Annie Get Your Gun: Original Motion Picture Soundtrack (Re-release of 1950 Film)
Music Review: Anything You Can Do, real time
Rating: 5 Stars
Although considered by some to be the great Broadway musical, the controversy over the film version with Judy Garland being replaced by Betty Hutton and both vocals being available arguably adds a lot to the show's legacy, with two vocals of the same songs with practically the same arrangements and orchestrations. One may take umbrance at the accusations made against Garland in the producer's notes written by George Feltenstein, but the reasons for her replacement are here beside the point. Clearly the Garland vocals were thought to have some value, apart from being part of Garland's catalogue, otherwise they would have ended up being destroyed as were her production stills by MGM, Feltenstein advises. The value of Garland's vocals also goes against the myth that they were supposedly wretched. What is obvious from the outset is that Garland is a better singer than Hutton, but in spite of Irving Berlin's fondness for Garland, one is still left with a doubt about her as Annie Oakley. It is said that besides her poor health, she was having trouble with characterisation, not helped by giving her Busby Berkelely as director. The shadow of Ethel Merman loomed largely over the role, something which added to Garland's well known insecurities, and in one sense Hutton's casting works better for the part. But as there are echoes of Merman in Hutton, so are there also echoes of Garland in Hutton, and Merman in Garland.
Naturally Hutton cannot compete with Garland on the ballads. Hutton is particularly bad on They Say It's Wonderful, which is left as the film's loveliest song, as Moonshine Lullaby and I Got Lost in his Arms were cut for the film. Garland here conveys a tenderness, with the trademark throb in her voice, which made her untouchable at MGM. Hutton's Let's Go West Again is passable but tellingly an outtake, and her faux breakdown in the reprise of The Girl That I Marry is evidence of the difference between performers - Hutton pushes her "vulnerabilty" whereas Garland waits and breaks on her last note, as if she will leave the camera to see her breakdown in her acting. In the livelier songs, Garland is also surprisingly better than Hutton. In Anything You Can Do, Garland is funnier, and even in I'm an Indian Too, which is thought of as Garland's weakest vocal, Hutton does not do better. There are a few touches that Hutton makes in Doin' What Comes Natur'lly, eg her hillbilly accent, her deliberate staccato phrasing, and her impression of "sister Sal" and her singing "off key" that Garland doesn't attempt, but this again can be attributed to Hutton's obviousness and Garland's reticent tactic. Apart from the Hutton/Garland tracks, it is good to hear Frank Morgan in the original recording of There's No Business Like Show Business, with Garland's counter vocal, and interesting to see how Howard Keel's The Girl That I Marry, the original unused and re-recorded with new arrangment, whilst his original My Defences are Down was kept.
Arthur Freed bought Annie Get Your Gun for Garland, envisioning it to be as landmark to her career as The Wizard of Oz and Meet Me in St Louis. Perhaps in better health and with a director more suited to her sensitivities, he may have been right, but it would have been a different Annie Oakley to Merman's, and certainly to Hutton's. Although Hutton had a success with the film, the legal blockage to it's continued screening, presumably by Berlin over his objections to Garland being replaced, did have an effect on her career. Perhaps one can see what happened to Garland as a kind of theatrical curse, for her removal from the film would ultimately lead to the end of her sustained film career, something which makes her vocals here doubly haunting.
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Description of Annie Get Your Gun: Original Motion Picture Soundtrack (Re-release of 1950 Film)
Irving Berlin's Wild West Show-themed romp Annie Get Your Gun has long been a Broadway evergreen, including a wildly successful modern revival starring Bernadette Peters and Tom Wopat. But its original 1950 MGM film translation was fraught with production problems and recasting; Judy Garland was initially signed to star and even recorded her vocal numbers before being dismissed (due largely to her notorious personal problems) and replaced by Betty Hutton. While several of Garland's performances as Annie Oakley have been released on other compilations, this generous, 31-cut release not only marks the CD debut of the film's original soundtrack (originally just eight tracks), it compiles all of the various Garland versions (including the first release of a spectacular stereo Garland version of "There's No Business Like Show Business") onto its second half, essentially re-creating the "Annie that never was," in addition to the first complete release of the Hutton score. Also included is a superbly illustrated and well-annotated booklet that tells the complete story of the show's Broadway origins and rocky journey to Hollywood. --Jerry McCulleyBroadway & Vocalists CDs
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