ABOUT THE DISC & RECORDINGS:

Now here is a wonderful 4CD set, the lastest from our friends at JSP Records.  The following is a reprint of my review of the set as first published in the June 2013 edition of the Garlands For Judy webzine.

JSP’s newest Judy Garland compilation, titled “Judy Garland - Creations: 1929-1962 Songs She Introduced” is a surprisingly enjoyable listening experience. I say “surprisingly” because when the set was first announced, many fans questioned “why?” The main reasoning behind the query was the fact that most of the tracks have previously been released in digital format. So, the reasoning went, why shell out money for tracks one already has? That’s a valid question, in some respects. I waited to buy the set after the release date party for this reason. Normally I would pre-order a new Garland compilation and hopefully have it in my hands on the actual release date. After I had received this new JSP set, and then listened to it, a few things came to mind.

First, have we become so spoiled in this all-access digital age that we deride a new Judy Garland set just because it “only has a few” new tracks? I’m sure many of us can remember the days of buying, even searching for, every and any Garland record regardless of what it had on it. Many, many of these records had only one or two “new” tracks, but we still bought them. Sometimes even paying a hefty price for them. Remastered from the original “source materials”??? That wasn’t even an issue. Here we get two newly (and expertly) remastered tracks that have not been available, in remastered format, before.

Second, as noted above, this set provides us expert remastering. This is key. Sure, most of us could compile a similar set in an iTunes playlist. However, the sound quality of that playlist would greatly vary from track to track. Noticeably so. That is, unless one has the time, talent, and tools to remaster everything on their own. How many out there can do this? Not many! JSP’s 2011 presentaion of Judy’s Decca catalog (“Smilin’ Through”) also presents us with a comprehensive and cohesive set that sounds perfect all the way through. In fact, the sound quality of that set is better than any previous compilation of Judy’s Decca work.

For “Creations” we get the same quality of remastering and presentation. The remastering is excellent. For me, this is one of the major factors that makes the set so much more enjoyable that I thought it would be. It’s a cohesive aural experience from beginning to end. Part of its cohesiveness must be the fact that it’s not your average Garland compilation. Some of her biggest hits are here, but because the focus is on songs she introduced, many songs ignored my most compilations are included. The variety of songs Judy introduced is pretty astounding. Listening to them in chronological order is a real treat. Without some of the “Garland standards” that she didn’t introduce (but still made her own), the listening experience is unique, and thoroughly enjoyable. The compilation WORKS. It works as a compilation, it works as an example of Judy’s versatility, it works as an example of her immense output, and it works as an effective listening experience. How many times can I say that the listening experience is great? Obviously several! Get the drift?

There are a few new-to-CD (outside of some terrible bootlegs) tracks here: “The Balboa” fromPigskin Parade and “Laugh? I Thought I’d Split My Sides” from Ziegfeld Girl. “The Balboa” is presented with Judy’s two other numbers from Pigskin Parade: “The Texas Tornado” and “It’s Love I’m After.” All three together at last, remastered to perfection. “Laugh” is a fun novelty number that includes some clever editing at the end. The editing is akin to what one would expect from MGM Records if they were in the soundtrack album business in 1940 when the song was recorded.

MGM Records versions of Judy’s soundtrack performances are presented here along with pre-recordings and outtakes. As most might know, MGM Records began producing soundtrack albums in 1947. Confined by the limited time restraints of the 78rpm albums of the day, serious editing was needed. Happily, we get a nice dose of these versions. In some instances there are bits that were NOT included in subsequent “official” releases of the expanded soundtracks or even in the films themselves. “Better Luck Next Time” from Easter Parade (1948) is a good example. The MGM Records version features an instrumental introduction and bridge not heard in the film or the Rhino soundtrack. Also from Easter Parade is the little-heard MGM Records version of “A Couple of Swells.” It’s highly truncated and doesn’t feature any of the dance break, but completists will love having it remastered. Even though it’s truncated, the sound is infinitely better than the mid-1990s Rhino CD. One instance that I wish the producers had used the film version instead of the MGM Records version of a track is “Happy Harvest” from Summer Stock (1950). Only the film version gives us Judy’s final vocals without the chorus. Both the Rhino version and this version are taken from the MGM Records version. That one puts the MGM chorus behind Judy. It would be nice to have a great sounding version from the film soundtrack. The source, aside from recording it directly from the DVD, is the long out of print Sony/CBS Special Products release of songs recorded directly from the soundtrack. And that has a very annoying echo-y sound.

Soundtrack record versions of most of Judy’s songs from A Star Is Born (1954) are also presented: “Gotta Have Me Go With You,” “The Man That Got Away,” “Someone At Last,” “Here’s What I’m Here For,” and “Lose That Long Face.” Sure, they’re the original mono LP release versions, but again completists will love them. As with the MGM Records releases, there are noticeable differences between these and their film counterparts. “It’s A New World” is the stereo film soundtrack version.

Judy’s studio work is also expertly presented. Who knew she introduced “Stompin’ At The Savoy,” to name just one? The lovely “Oceans Apart” is another highlight. As are all four of her 1953 Columbia tracks, which appear to be the late Robert Parker’s remastered versions.

The physical presentation of the set is fabulous. Each CD gets its own jewel case, Those cases are housed in a nice outer box. The format is the same as “Smilin’ Through” which makes the two sets look good together. Add in their amazing 2010 “Lost Tracks” boxed set, and you have a great trilogy. The cover art for the CD inserts and the box feature nicely stylized portraits of Judy at her most lovely.

Finally, an certainly not least, are the essays. Each disc has a separate essay from a separate author: Christopher Finch (author of the much-loved biography “Rainbow: The Stormy Life of Judy Garland); Will Friedwald (author and music critic); John Meyer (author, composer, and friend of Judy Garland); and Lawrence Schulman (author and mastermind behind this new set). Each essay is, as would be expected, excellent.

In closing, this CD set is a definite “must have.” It’s much more than it appears to be at first glance, and a welcome addition to anyone’s Judy Garland CD collection.

I give it 5 out of 5 rainbows.

© 2013 The Judy Room

All images on this page from the collection of Scott Brogan.

2010 Lost Tracks 1929-1959	2011 Smilin' Through The Singles Collection 1936-1947	2012 Judy At Carnegie Hall The Historic Concert Remastered	2014 The Garland Variations
2015 The Best of Lost Tracks 1929-1959	2016 Judy Garland Sings Harold Arlen	2017 Classic Duets	2010 Lost Tracks 2 - 1936-1967
	2020 The Best of Lost Tracks 2 - 1936-1967