Talk:Judy at Carnegie Hall

Citations Needed?

I want to know why there's all these `citation needed' tags every other sentence when the source of the material is annotated in the text e.g. NYT or Reviewer X or Reviewer Y. That should constitute sufficient annotation.

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Track listing

I own this album on vinyl and I noticed that the track listing is different from the one listed here. According to the vinyl recording and its liner notes the tracks are as follows:

Side one:

Overture: The Trolly Song, Over the Rainbow, The Man that Got Away

When You're Smiling

Medley: Almost Like Being in Love, This Can't Be Love

Do it Again

You Go to My Head

Alone Together

Side two:

Who Cares? (As long as you care for me)

Puttin' on the Ritz

How Long has this been Going On?

Just You, Just Me

The Man that Got Away

San Francisco

I Can't Give You Anything but Love

That's Entertainment

Side three:

Come Rain or Come Shine

You're Nearer

A Foggy Day

If Love Were All

Zing! Went the Strings of My Heart

Stormy Weather

Side four:

Medley: You Made Me Love You, For Me and My Gal, The Trolley Song

Rock-A-Bye Your Baby with a Dixie Melody

Over the Rainbow

Swanee

After You've Gone

Chicago

The main difference is "Tracks 13 and 14" seem to be inverted in the list. — Preceding unsigned comment added by Gabrielspark (talk • contribs) 00:39, 5 June 2011 (UTC) ANSWER: This track listing includes bonus songs and other extraneous `curtain up to curtain down' material not included on the original LP or the CD from which it was made.

The first appearance of this material is on the 24K Gold CD from 2000. — Preceding unsigned comment added by 66.102.157.201 (talk) 17:50, 1 February 2017 (UTC)

Unsourced concert section

Moved from article as has been unsourced since 2016. — Preceding unsigned comment added by Jim1138 (talk • contribs) 07:25, 7 November 2017 (UTC)

Concert

On the evening of the Carnegie show, after an overture that built high emotion, Garland appeared, looking remarkably healthy and well-groomed, to a loud ovation from the audience. The standing ovation when she took the stage set the tone for the evening that followed. "They were on their feet even before the goddess grabbed the microphone," wrote reviewer Lewis Funke for the New York Times. Alan King told Garland biographer John Fricke, that composer Harold Arlen, in the seat next to King, confided that he was worried about Garland's physical condition, not having seen her since before her 1959 hospital stay. "Then she walked out," King said. "She was magnificent: svelte, beautifully dressed, perfectly made up. She sang "When You're Smiling" and when she got to the second chorus ... Arlen turned to me and said, 'I think we're in good shape tonight'". Judith Christ wrote for the New York Herald, "And then she sang. And she sang, let it be reported, as she hasn't in years."

The New York Times stated: "Indeed, what actually was to have been a concert – and was – also turned into something not too remote from a revival meeting." The recorded applause on the album is lengthy and loud and illustrates the energetic connection between Garland and her fans. Ann Miller once characterized Garland as having a "force field" around her onstage. Garland's audience at Carnegie Hall included theatre performers on their usual Sunday night off, and the celebrities appeared to be as enthusiastic as the rest of the audience. Even Garland's peers were "reaching out to touch Judy Garland" as Rex Reed would state years later. Among those who attended the show were Carol Channing, Lauren Bacall, Henry Fonda, Richard Burton, Spencer Tracy, Julie Andrews, Rock Hudson, Mike Nichols, Elaine May, Leonard Bernstein, Anthony Perkins, Betty Comden, Adolph Green, Phyllis Newman, Kay Medford, Jerry Herman and Terrence McNally. Photographs on the album cover show the audience, in evening dress, lining the stage reaching out to touch Garland's hand, as was indicative of a Garland performance. Lauren Bacall claimed to have seen composer Leonard Bernstein excitedly jumping up and down in his chair. In the biographical film, Beyond The Rainbow, Adolph Green stated emphatically, "That night, there seemed to be no end to her energy". Near the end of the concert, after Garland sang "Rock-a-bye Your Baby With a Dixie Melody", the audience applauded raucously for almost 2 minutes, shouting requests for yet another song. Garland memorably called out, "I know, I'll sing 'em all and we'll stay all night!" to which the audience roared in thunderous approval.

Reviews of the show gave high marks and commented on Garland's exuberance, energy, vocal prowess, and the emotional effects that she had on her audience. Hollywood columnist Hedda Hopper (who was in attendance), reviewed Garland's ability to embrace her audience by saying of the show, "I never saw the like of it in my life". Life magazine wrote of the concert that Garland was "part bluebird, part phoenix, she is a legend in her own time". "She wove enchantment", wrote The Times. Alan Livingston, the head of Capitol Records, called the performance "...more than a commercial success; it was really an artistic success"..

The record release of Judy at Carnegie Hall, two months after the concert, cemented her comeback from illness, and brought her a new widespread popular acclaim. Judy at Carnegie Hall is considered one of the greatest live performances ever caught on record.

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Moved from "Concert" section as unsourced since 2016 — Preceding unsigned comment added by Jim1138 (talk • contribs) 07:25, 7 November 2017 (UTC)

It's a fascinating account of the concert, but I agree that without any source it cannot remain in the article. -- Michael Bednarek (talk) 12:29, 7 November 2017 (UTC)