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Aladdin Aladdin All music and lyrics by As presented on the Private Edition Preview 1957 Film Soundtrack 1955 Transfers & Production: David Lennick DuPont Show Of The Month, 12. Introduction 0:22 22. Dream Ballet (based on Let’s Do It Digital Restoration: Graham Newton CBS TV, 21 February 1958 Cole Porter and All Through The Night) 7:43 * Basil Rathbone was cast as the Emperor and 1. Overture 3:47 13. Aladdin 4:03 (Arranged by Van Cleave) presumably intended to sing “Wouldn’t It Orchestra 14. Trust Your Destiny To Your Star 3:06 Paramount Studio Orchestra conducted by Be Fun” on the DuPont TV presentation. In Joseph Lilley 2. Come To The Supermarket (In Old 15. I Adore You 3:29 the event the song appears to have been Peking) 3:41 Decca DL 8318 omitted from the actual telecast. For the 16. Opportunity Knocks But Once 3:01 Cyril Ritchard & Chorus Recorded in Los Angeles 1955 album it was performed by George Hall. Performed by unidentified session vocalists 3. Make Way 2:31 Limited Edition, CBS unnumbered, † Betty Wand dubs for ; George Hall & Chorus mx LP 41530 Thora Mathiason dubs for Taina Elg 4. Trust Your Destiny To Your Star 3:00 Recorded in New York, late 1957 Dennis King Cover picture: 5. Opportunity Knocks But Once (At Main image © James Steidl / istockphoto.com; added genie © Imagesolution / Dreamstime.com Thuh Door) 2:33 Film Soundtrack 1957 Cyril Ritchard & Chorus 17. Les Girls 4:22 6. Aladdin 2:40 , Mitzi Gaynor, Betty Wand, Also available in the Naxos Musicals series ... Anna Maria Alberghetti & Chorus Thora Mathiason † 7. Wouldn’t It Be Fun 1:50 18. You’re Just Too, Too! 1:56 George Hall * Gene Kelly, Betty Wand 8. I Adore You 3:16 19. Ça, c’est l’amour 1:42 Sal Mineo & Chorus Thora Mathiason 9. No Wonder The Taxes Are High 3:04 20. Ladies In Waiting 3:00 Cyril Ritchard & Chorus Mitzi Gaynor, Betty Wand, Thora Mathiason 10. I Adore You (Reprise) 2:14 21. Why Am I So Gone (About That Gal) Anna Maria Alberghetti & Sal Mineo 4:35 11. Finale 1:37 Gene Kelly Orchestra MGM Studio Orchestra conducted by C Adolph Deutsch Orchestrations & musical direction by 8.120788 8.120845 8.120886 Robert Russell Bennett MGM E 3590 M Columbia CL 1117, mx XLP 42750/1 Recorded in Los Angeles, 1957 These titles are not for retail sale in the USA Recorded in New York, January 1958 Y

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In fact, since the opening of Silk that gives me the courage to wake up again Porter approached Aladdin with song Porter ever finished, Wouldn’t It Be Aladdin Music and Lyrics by Cole Porter Stockings, he had not received a single offer in the morning,” he told his old friend, trepidation, not just because of his depleted Fun (unfortunately cut from the actual As presented on the DuPont Show Of The Month, CBS TV, February 1958 to work on a Broadway show and the man musicologist Albert Sirmay. physical condition, but because Rodgers and telecast but included on the album as Bonus Private Edition Preview 1957 who was once the King of Broadway must And the truth is that, while neither Les Hammerstein had just scored a huge presented here). have known the bitter irony in only being Girls or Aladdin is from Porter’s top drawer, success with their television musical, One has to view with bittersweet Les Girls Film Soundtrack 1957 offered film and television work. only a confirmed Porter scholar can see the Cinderella and he knew that critical and emotions the final lines, which could have Anything Goes Dream Ballet from Film Soundtrack 1955 But all of this psychological pain took strain under which the two projects were popular compari-sons were unlikely to work been about Porter as well as the Chinese second place to the physical traumas now composed. in his favour. emperor: All of Cole Porter’s life was like one of those But that’s only to be expected, ravaging his body. Les Girls, in particular, has that distinctive But the addition of wit and playwright “Wouldn’t it be fun to be nearly anyone contrapuntal melodies that his rival Irving considering the physical and psychological Ever since a tragic riding accent in 1937 Porter sheen. The songs were composed after S. J. Perlman as author of the libretto swayed Except me, mixed-up me!” Berlin was so fond of: a jingly-jangly upbeat turmoil he was in during their creation. had crushed the bones in both legs, Porter John Patrick’s screenplay was completed, Porter over and he agreed to tackle the While the film critics were kind to Les tune played against a deeply-felt, often On an internal level, it seemed as though had been living in constant pain. A vain which might be one reason that they seem project. Girls in its 1957 release, the television melancholy melody. the demons of inadequacy and loneliness man, he refused to even discuss the to fit the characters so well. He set to work with all of his usual pundits tore into Aladdin after its With Porter, the surface was always he’d been running from all of his life had possibility of amputation and opted instead The title song is one of Porter’s snappiest organization and since any true creative 21 February 1958 broadcast, calling it “a opening night-bright, full of smiles and finally cornered him with no way out. for a series of thirty surgeries. and the chemistry of Gene Kelly with the impulse was lacking, he sought refuge in pretentious ordeal.” parties, champagne and diamonds, beautiful Porter had lived since his college years as As a result, he existed on a cross-addicting saucy Yankee of Mitzi Gaynor, the exhaustive research. But Porter paid no heed, because he was people doing lovely things. a closeted gay male, seeking release in regime of alcohol and pills, which eventually sophisticated Briton of Kay Kendall and the The witty, rapid-fire Come To The already having to prepare for the But underneath was a world of pain and random relationships or paid encounters. caused him severe mental and physical endearing gamine of Tania Elg crackles Supermarket (In Old Peking) wasn’t the amputation of his right leg in April, 1958 suffering, fear and anxiety. But he needed an emotional anchor to his damage. through the lyrics. result of a madcap burst of inspiration, but and although he lived until 1964, he was The old cliché “Laughing on the outside, life and he found that in his wife, Linda. Chronic depression led him through a But elsewhere, although the numbers have rather Porter pouring over numerous books later to say that “I felt I died that day.” crying on the inside,” could have been From their marriage in 1919, the two of series of electro-shock treatments from 1950 some sparkle, they seem like second carbons about the ancient Chinese city and had Still, listen to his voice on the brief invented for Porter, and nowhere was this them formed a strange but solid partnership. on and by 1956, when he was starting work of earlier Porter hits, with You’re Just Too, scholarly friends prepare lists of products introduction to the demo tracks that serve dichotomy most apparent than in the final Their union may have been sexless, but it on Les Girls, his lifetime regime of booze Too! owing a lot to “You’re the Top” and Ça, available in the market at that time. as a bonus on this recording and you’ll hear two works of his career: Les Girls (1957) was far from loveless and when she died in and barbiturates took their toll on his c’est l’amour having more than a passing The love songs for the score are sadly the man in full: feisty, funny and “so in love” and Aladdin (1958). 1954, Porter truly felt like he had been cast internal organs, leaving him with a huge resemblance to “C’est Magnifique”. generic as if the “” man with the art of songwriting. The songs from this film and this teleplay adrift. bleeding ulcer, which penetrated through Kelly’s Why Am I So Gone (About That had nothing left to say about passion, but he are jaunty, saucy, racy, irreverent – all the He also was experiencing major doubts his pancreas. Gal)? on the other hand is a perfect piece of did rally a bit with the lyrics for the last Richard Ouzounian adjectives normally applied to Porter’s work. about his worth as a creative artist. His last The situation was finally corrected by Portermania. No one could yearn as well as True, they are not pitched anywhere near big hit had been 1948’s Kiss Me Kate, but major surgery early in 1957 and it was while he could. the level of quality that marked his earlier since then, there had been one flop (Out of recovering from it that he was invited to Effortless though the score may seem, triumphs and Porter himself admitted that This World) and two other shows (Can-Can work on Aladdin. Porter confided to colleagues that he had to the level of drudgery involved in finishing and ) which succeeded, but It’s obvious that Porter, then in his mid write a dozen numbers before he came up these two final assignments was unmatched found critics insisting that the shows “were 60s, was really in no condition to work, but with the five that pleased his in his life. not up to his old standard”. he felt he had to push on. “It’s the only thing masters.

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In fact, since the opening of Silk that gives me the courage to wake up again Porter approached Aladdin with song Porter ever finished, Wouldn’t It Be Aladdin Music and Lyrics by Cole Porter Stockings, he had not received a single offer in the morning,” he told his old friend, trepidation, not just because of his depleted Fun (unfortunately cut from the actual As presented on the DuPont Show Of The Month, CBS TV, February 1958 to work on a Broadway show and the man musicologist Albert Sirmay. physical condition, but because Rodgers and telecast but included on the album as Bonus Private Edition Preview 1957 who was once the King of Broadway must And the truth is that, while neither Les Hammerstein had just scored a huge presented here). have known the bitter irony in only being Girls or Aladdin is from Porter’s top drawer, success with their television musical, One has to view with bittersweet Les Girls Film Soundtrack 1957 offered film and television work. only a confirmed Porter scholar can see the Cinderella and he knew that critical and emotions the final lines, which could have Anything Goes Dream Ballet from Film Soundtrack 1955 But all of this psychological pain took strain under which the two projects were popular compari-sons were unlikely to work been about Porter as well as the Chinese second place to the physical traumas now composed. in his favour. emperor: All of Cole Porter’s life was like one of those But that’s only to be expected, ravaging his body. Les Girls, in particular, has that distinctive But the addition of wit and playwright “Wouldn’t it be fun to be nearly anyone contrapuntal melodies that his rival Irving considering the physical and psychological Ever since a tragic riding accent in 1937 Porter sheen. The songs were composed after S. J. Perlman as author of the libretto swayed Except me, mixed-up me!” Berlin was so fond of: a jingly-jangly upbeat turmoil he was in during their creation. had crushed the bones in both legs, Porter John Patrick’s screenplay was completed, Porter over and he agreed to tackle the While the film critics were kind to Les tune played against a deeply-felt, often On an internal level, it seemed as though had been living in constant pain. A vain which might be one reason that they seem project. Girls in its 1957 release, the television melancholy melody. the demons of inadequacy and loneliness man, he refused to even discuss the to fit the characters so well. He set to work with all of his usual pundits tore into Aladdin after its With Porter, the surface was always he’d been running from all of his life had possibility of amputation and opted instead The title song is one of Porter’s snappiest organization and since any true creative 21 February 1958 broadcast, calling it “a opening night-bright, full of smiles and finally cornered him with no way out. for a series of thirty surgeries. and the chemistry of Gene Kelly with the impulse was lacking, he sought refuge in pretentious ordeal.” parties, champagne and diamonds, beautiful Porter had lived since his college years as As a result, he existed on a cross-addicting saucy Yankee of Mitzi Gaynor, the exhaustive research. But Porter paid no heed, because he was people doing lovely things. a closeted gay male, seeking release in regime of alcohol and pills, which eventually sophisticated Briton of Kay Kendall and the The witty, rapid-fire Come To The already having to prepare for the But underneath was a world of pain and random relationships or paid encounters. caused him severe mental and physical endearing gamine of Tania Elg crackles Supermarket (In Old Peking) wasn’t the amputation of his right leg in April, 1958 suffering, fear and anxiety. But he needed an emotional anchor to his damage. through the lyrics. result of a madcap burst of inspiration, but and although he lived until 1964, he was The old cliché “Laughing on the outside, life and he found that in his wife, Linda. Chronic depression led him through a But elsewhere, although the numbers have rather Porter pouring over numerous books later to say that “I felt I died that day.” crying on the inside,” could have been From their marriage in 1919, the two of series of electro-shock treatments from 1950 some sparkle, they seem like second carbons about the ancient Chinese city and had Still, listen to his voice on the brief invented for Porter, and nowhere was this them formed a strange but solid partnership. on and by 1956, when he was starting work of earlier Porter hits, with You’re Just Too, scholarly friends prepare lists of products introduction to the demo tracks that serve dichotomy most apparent than in the final Their union may have been sexless, but it on Les Girls, his lifetime regime of booze Too! owing a lot to “You’re the Top” and Ça, available in the market at that time. as a bonus on this recording and you’ll hear two works of his career: Les Girls (1957) was far from loveless and when she died in and barbiturates took their toll on his c’est l’amour having more than a passing The love songs for the score are sadly the man in full: feisty, funny and “so in love” and Aladdin (1958). 1954, Porter truly felt like he had been cast internal organs, leaving him with a huge resemblance to “C’est Magnifique”. generic as if the “Begin the Beguine” man with the art of songwriting. The songs from this film and this teleplay adrift. bleeding ulcer, which penetrated through Kelly’s Why Am I So Gone (About That had nothing left to say about passion, but he are jaunty, saucy, racy, irreverent – all the He also was experiencing major doubts his pancreas. Gal)? on the other hand is a perfect piece of did rally a bit with the lyrics for the last Richard Ouzounian adjectives normally applied to Porter’s work. about his worth as a creative artist. His last The situation was finally corrected by Portermania. No one could yearn as well as True, they are not pitched anywhere near big hit had been 1948’s Kiss Me Kate, but major surgery early in 1957 and it was while he could. the level of quality that marked his earlier since then, there had been one flop (Out of recovering from it that he was invited to Effortless though the score may seem, triumphs and Porter himself admitted that This World) and two other shows (Can-Can work on Aladdin. Porter confided to colleagues that he had to the level of drudgery involved in finishing and Silk Stockings) which succeeded, but It’s obvious that Porter, then in his mid write a dozen numbers before he came up these two final assignments was unmatched found critics insisting that the shows “were 60s, was really in no condition to work, but with the five that pleased his Hollywood in his life. not up to his old standard”. he felt he had to push on. “It’s the only thing masters.

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In fact, since the opening of Silk that gives me the courage to wake up again Porter approached Aladdin with song Porter ever finished, Wouldn’t It Be Aladdin Music and Lyrics by Cole Porter Stockings, he had not received a single offer in the morning,” he told his old friend, trepidation, not just because of his depleted Fun (unfortunately cut from the actual As presented on the DuPont Show Of The Month, CBS TV, February 1958 to work on a Broadway show and the man musicologist Albert Sirmay. physical condition, but because Rodgers and telecast but included on the album as Bonus Private Edition Preview 1957 who was once the King of Broadway must And the truth is that, while neither Les Hammerstein had just scored a huge presented here). have known the bitter irony in only being Girls or Aladdin is from Porter’s top drawer, success with their television musical, One has to view with bittersweet Les Girls Film Soundtrack 1957 offered film and television work. only a confirmed Porter scholar can see the Cinderella and he knew that critical and emotions the final lines, which could have Anything Goes Dream Ballet from Film Soundtrack 1955 But all of this psychological pain took strain under which the two projects were popular compari-sons were unlikely to work been about Porter as well as the Chinese second place to the physical traumas now composed. in his favour. emperor: All of Cole Porter’s life was like one of those But that’s only to be expected, ravaging his body. Les Girls, in particular, has that distinctive But the addition of wit and playwright “Wouldn’t it be fun to be nearly anyone contrapuntal melodies that his rival Irving considering the physical and psychological Ever since a tragic riding accent in 1937 Porter sheen. The songs were composed after S. J. Perlman as author of the libretto swayed Except me, mixed-up me!” Berlin was so fond of: a jingly-jangly upbeat turmoil he was in during their creation. had crushed the bones in both legs, Porter John Patrick’s screenplay was completed, Porter over and he agreed to tackle the While the film critics were kind to Les tune played against a deeply-felt, often On an internal level, it seemed as though had been living in constant pain. A vain which might be one reason that they seem project. Girls in its 1957 release, the television melancholy melody. the demons of inadequacy and loneliness man, he refused to even discuss the to fit the characters so well. He set to work with all of his usual pundits tore into Aladdin after its With Porter, the surface was always he’d been running from all of his life had possibility of amputation and opted instead The title song is one of Porter’s snappiest organization and since any true creative 21 February 1958 broadcast, calling it “a opening night-bright, full of smiles and finally cornered him with no way out. for a series of thirty surgeries. and the chemistry of Gene Kelly with the impulse was lacking, he sought refuge in pretentious ordeal.” parties, champagne and diamonds, beautiful Porter had lived since his college years as As a result, he existed on a cross-addicting saucy Yankee of Mitzi Gaynor, the exhaustive research. But Porter paid no heed, because he was people doing lovely things. a closeted gay male, seeking release in regime of alcohol and pills, which eventually sophisticated Briton of Kay Kendall and the The witty, rapid-fire Come To The already having to prepare for the But underneath was a world of pain and random relationships or paid encounters. caused him severe mental and physical endearing gamine of Tania Elg crackles Supermarket (In Old Peking) wasn’t the amputation of his right leg in April, 1958 suffering, fear and anxiety. But he needed an emotional anchor to his damage. through the lyrics. result of a madcap burst of inspiration, but and although he lived until 1964, he was The old cliché “Laughing on the outside, life and he found that in his wife, Linda. Chronic depression led him through a But elsewhere, although the numbers have rather Porter pouring over numerous books later to say that “I felt I died that day.” crying on the inside,” could have been From their marriage in 1919, the two of series of electro-shock treatments from 1950 some sparkle, they seem like second carbons about the ancient Chinese city and had Still, listen to his voice on the brief invented for Porter, and nowhere was this them formed a strange but solid partnership. on and by 1956, when he was starting work of earlier Porter hits, with You’re Just Too, scholarly friends prepare lists of products introduction to the demo tracks that serve dichotomy most apparent than in the final Their union may have been sexless, but it on Les Girls, his lifetime regime of booze Too! owing a lot to “You’re the Top” and Ça, available in the market at that time. as a bonus on this recording and you’ll hear two works of his career: Les Girls (1957) was far from loveless and when she died in and barbiturates took their toll on his c’est l’amour having more than a passing The love songs for the score are sadly the man in full: feisty, funny and “so in love” and Aladdin (1958). 1954, Porter truly felt like he had been cast internal organs, leaving him with a huge resemblance to “C’est Magnifique”. generic as if the “Begin the Beguine” man with the art of songwriting. The songs from this film and this teleplay adrift. bleeding ulcer, which penetrated through Kelly’s Why Am I So Gone (About That had nothing left to say about passion, but he are jaunty, saucy, racy, irreverent – all the He also was experiencing major doubts his pancreas. Gal)? on the other hand is a perfect piece of did rally a bit with the lyrics for the last Richard Ouzounian adjectives normally applied to Porter’s work. about his worth as a creative artist. His last The situation was finally corrected by Portermania. No one could yearn as well as True, they are not pitched anywhere near big hit had been 1948’s Kiss Me Kate, but major surgery early in 1957 and it was while he could. the level of quality that marked his earlier since then, there had been one flop (Out of recovering from it that he was invited to Effortless though the score may seem, triumphs and Porter himself admitted that This World) and two other shows (Can-Can work on Aladdin. Porter confided to colleagues that he had to the level of drudgery involved in finishing and Silk Stockings) which succeeded, but It’s obvious that Porter, then in his mid write a dozen numbers before he came up these two final assignments was unmatched found critics insisting that the shows “were 60s, was really in no condition to work, but with the five that pleased his Hollywood in his life. not up to his old standard”. he felt he had to push on. “It’s the only thing masters.

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Aladdin Aladdin Anything Goes All music and lyrics by Cole Porter As presented on the Private Edition Preview 1957 Film Soundtrack 1955 Transfers & Production: David Lennick DuPont Show Of The Month, 12. Introduction 0:22 22. Dream Ballet (based on Let’s Do It Digital Restoration: Graham Newton CBS TV, 21 February 1958 Cole Porter and All Through The Night) 7:43 * Basil Rathbone was cast as the Emperor and 1. Overture 3:47 13. Aladdin 4:03 (Arranged by Van Cleave) presumably intended to sing “Wouldn’t It Orchestra 14. Trust Your Destiny To Your Star 3:06 Paramount Studio Orchestra conducted by Be Fun” on the DuPont TV presentation. In Joseph Lilley 2. Come To The Supermarket (In Old 15. I Adore You 3:29 the event the song appears to have been Peking) 3:41 Decca DL 8318 omitted from the actual telecast. For the 16. Opportunity Knocks But Once 3:01 Cyril Ritchard & Chorus Recorded in Los Angeles 1955 album it was performed by George Hall. Performed by unidentified session vocalists 3. Make Way 2:31 Limited Edition, CBS unnumbered, † Betty Wand dubs for Kay Kendall; George Hall & Chorus mx LP 41530 Thora Mathiason dubs for Taina Elg 4. Trust Your Destiny To Your Star 3:00 Recorded in New York, late 1957 Dennis King Cover picture: 5. Opportunity Knocks But Once (At Les Girls Main image © James Steidl / istockphoto.com; added genie © Imagesolution / Dreamstime.com Thuh Door) 2:33 Film Soundtrack 1957 Cyril Ritchard & Chorus 17. Les Girls 4:22 6. Aladdin 2:40 Gene Kelly, Mitzi Gaynor, Betty Wand, Also available in the Naxos Musicals series ... Anna Maria Alberghetti & Chorus Thora Mathiason † 7. Wouldn’t It Be Fun 1:50 18. You’re Just Too, Too! 1:56 George Hall * Gene Kelly, Betty Wand 8. I Adore You 3:16 19. Ça, c’est l’amour 1:42 Sal Mineo & Chorus Thora Mathiason 9. No Wonder The Taxes Are High 3:04 20. Ladies In Waiting 3:00 Cyril Ritchard & Chorus Mitzi Gaynor, Betty Wand, Thora Mathiason 10. I Adore You (Reprise) 2:14 21. Why Am I So Gone (About That Gal) Anna Maria Alberghetti & Sal Mineo 4:35 11. Finale 1:37 Gene Kelly Orchestra MGM Studio Orchestra conducted by C Adolph Deutsch Orchestrations & musical direction by 8.120788 8.120845 8.120886 Robert Russell Bennett MGM E 3590 M Columbia CL 1117, mx XLP 42750/1 Recorded in Los Angeles, 1957 These titles are not for retail sale in the USA Recorded in New York, January 1958 Y

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Aladdin Aladdin Anything Goes All music and lyrics by Cole Porter As presented on the Private Edition Preview 1957 Film Soundtrack 1955 Transfers & Production: David Lennick DuPont Show Of The Month, 12. Introduction 0:22 22. Dream Ballet (based on Let’s Do It Digital Restoration: Graham Newton CBS TV, 21 February 1958 Cole Porter and All Through The Night) 7:43 * Basil Rathbone was cast as the Emperor and 1. Overture 3:47 13. Aladdin 4:03 (Arranged by Van Cleave) presumably intended to sing “Wouldn’t It Orchestra 14. Trust Your Destiny To Your Star 3:06 Paramount Studio Orchestra conducted by Be Fun” on the DuPont TV presentation. In Joseph Lilley 2. Come To The Supermarket (In Old 15. I Adore You 3:29 the event the song appears to have been Peking) 3:41 Decca DL 8318 omitted from the actual telecast. For the 16. Opportunity Knocks But Once 3:01 Cyril Ritchard & Chorus Recorded in Los Angeles 1955 album it was performed by George Hall. Performed by unidentified session vocalists 3. Make Way 2:31 Limited Edition, CBS unnumbered, † Betty Wand dubs for Kay Kendall; George Hall & Chorus mx LP 41530 Thora Mathiason dubs for Taina Elg 4. Trust Your Destiny To Your Star 3:00 Recorded in New York, late 1957 Dennis King Cover picture: 5. Opportunity Knocks But Once (At Les Girls Main image © James Steidl / istockphoto.com; added genie © Imagesolution / Dreamstime.com Thuh Door) 2:33 Film Soundtrack 1957 Cyril Ritchard & Chorus 17. Les Girls 4:22 6. Aladdin 2:40 Gene Kelly, Mitzi Gaynor, Betty Wand, Also available in the Naxos Musicals series ... Anna Maria Alberghetti & Chorus Thora Mathiason † 7. Wouldn’t It Be Fun 1:50 18. You’re Just Too, Too! 1:56 George Hall * Gene Kelly, Betty Wand 8. I Adore You 3:16 19. Ça, c’est l’amour 1:42 Sal Mineo & Chorus Thora Mathiason 9. No Wonder The Taxes Are High 3:04 20. Ladies In Waiting 3:00 Cyril Ritchard & Chorus Mitzi Gaynor, Betty Wand, Thora Mathiason 10. I Adore You (Reprise) 2:14 21. Why Am I So Gone (About That Gal) Anna Maria Alberghetti & Sal Mineo 4:35 11. Finale 1:37 Gene Kelly Orchestra MGM Studio Orchestra conducted by C Adolph Deutsch Orchestrations & musical direction by 8.120788 8.120845 8.120886 Robert Russell Bennett MGM E 3590 M Columbia CL 1117, mx XLP 42750/1 Recorded in Los Angeles, 1957 These titles are not for retail sale in the USA Recorded in New York, January 1958 Y

5 8.120888 6 8.120888 K ALADDIN • LES GIRLS 8.120888 Aladdin Cyril Ritchard A Aladdin C 6 OpportunityKnocksButOnce 16. You IAdore 15. Trust Your DestinyTo Your Star 14. Aladdin 13. Introduction 12. Finale 11. You IAdore (Reprise) 10. Bonus B o o aei h ntdSae MadeinGermany Not for SaleintheUnitedStates ൿ www. NOTES ANDFULLRECORDING DETAILS INCLUDED Transfers &Production: DavidLennick •Digital Restoration: Graham Newton .Wouldn’t ItBeFun 7. .NoWonder TheTaxes High Are 9. You IAdore 8. Aladdin 6. OpportunityKnocksButOnce(AtThuhDoor) 5. Trust Your DestinyTo Your Star 4. MakeWay 3. ComeTo (InOldPeking) TheSupermarket 2. Overture 1. Y ONDUCTOR S & P C M M U Ꭿ HORUS EETDO THE ON RESENTED AGICIAN AGICIAN NIDENTIFIED 00NxsRgt nentoa t.Design: RonHoares Ltd. 2010 NaxosRightsInternational naxos.com P S RIVATE AL O 3:04 & C & C RCHESTRA P M 4:03 O RINCESS R C INEO RCHESTRA HORUS HORUS HAMBERLAIN OBERT A M 3:29 C E LADDIN AGICIAN OLE • Princess DITION & C S 1:37 3:41 2:33 ESSION P HORUS ORTER E 3:47 & C R MPEROR & C • Astrologer USSELL D P HORUS RINCESS P U HORUS 0:22 2:40 REVIEW P V 1:50 ONT OCALISTS A NNA 3:16 All byColePorter Music andLyrics & A B 2:31 3:01 ENNETT A S LADDIN M M 3:06 STROLOGER HOW AGICIAN 1957 Total Time69:03 ARIA D ENNIS A 2:14 LBERGHETTI O & F 3:00 K T ING HE • Chamberlain/Emperor M 9 Ça,c’estl’amour 19. C F Goes Anything * Thora Mathiason Betty Wand* Mitzi Gaynor Gene Kelly C F Girls Les 0 Ladies InWaiting 20. You’re JustToo, Too! 18. 2 ra alt( Ballet Dream 22. WhyAmISoGone(AboutThatGal)? 21. LesGirls 17. Dubbing forKayKendall ILM ILM ONTH ONDUCTOR ONDUCTOR All Through TheNight) All Through B ARRY S S OUNDTRACK OUNDTRACK , CBSTV, F 4:35 B B ARRY J A ARRY L OSEPH J ADY OANNE DOLPH , J based on N OY S † YBIL ICHOLS 1955 1957 , L A J A EBRUARY ‘J NGÈLE OY ADY NGÈLE OY L , L W † D ILLEY ’ H B Dubbing forTaina Elg ADY REN S ARRY EUTSCH YBIL G ENDERSON ADD 1:42 Let’s DoIt D EORGE S , L UCROS , A YBIL ADY NGÈLE 1958 7:43 , A H S NGÈLE ALL 8.120888 YBIL 4:22 and

1:56 3:00

ALADDIN • LES GIRLS LES • ALADDIN 8.120888 M C K Y