Scores: Songs From The Copacabana And Harmony

1	Just Arrived 3:58
2	Dancin' Fool 2:39
3	Who Needs to Dream? 3:56
4	Sweet Heaven (I'm in Love Again) 3:43
5	Bolero de Amor 4:30
6	This Can't Be Real / Olivia Newton-John 4:14
7	Copacabana (At the Copa) 2005 Dance Mix 5:02
8	Harmony 4:37
9	And What Do You See? 3:42
10	Every Single Day 2:59
11	This Is Our Time! 3:04
12	Where You Go 3:34
13	In This World 4:23
14	Stars in the Night 6:32

Barnes & Noble

On Scores, Barry Manilow treats his audience to songs he composed for two stage productions, Copacabana and Harmony. There’s always been a strong theatrical streak in Manilow’s work, and his tunes for these two shows are solidly in that vein. The results give proof that this perennial showman also has a real knack for stagecraft: Some of his most memorable songs of the past decade are contained here. And Manilow himself sounds as inspired and technically assured as ever, his voice remaining in truly remarkable condition nearly 30 years after his first hit single. The various songs aren’t overly tied to the their sources, allowing each to be enjoyed without an understanding of plot or character. Among the highlights are the ballads, "Who Needs to Dream?" and "Every Single Day"; the bouncy "Sweet Heaven (I'm in Love Again)" and "Harmony"; the brassy crowd-pleasers "Just Arrived" and "Dancin' Fool"; and the inspirational finale "Stars in the Night." The inclusion of Manilow’s “Copacabana,” in a successfully revamped disco version, brings continuity to the project. With this album, Manilow fans will be able to hum the tunes from these musicals on their way into the theater. William Pearl

All Music Guide

Long before the world new him as a hit-maker and entertainer, Barry Manilow wrote an original song score for an adaptation of The Drunkard. The show was a success and it fueled Manilow's dreams to take his music to the Great White Way, but a job with Bette Midler and a song called "Mandy" forever changed his career trajectory. Years later after the hits had stopped, Manilow and his writing partner Bruce Sussman rediscovered their love for Broadway musicals and looked to their 1978 hit "Copacabana" as inspiration for a show. Written with Jack Feldman, Copacabana - The Musical played in London's West End in 1994 and a successful American tour followed in 2000. Still, Broadway proved elusive and Manilow set his sights on a new project, Harmony, an original musical about the Comedian Harmonists, who were a popular German vocal act during the '20s and '30s and whose demise was instigated by the rise of the Nazi regime. The musical debuted at the La Jolla Playhouse in 1997, but it has yet to be launched as a Broadway production. In the meantime, Manilow revives songs from Copacabana and Harmony for Scores and, for the most part, successfully reshapes them into solo pop songs that stand on their own. The campy tunes from Copacabana are ripe for this format as the show's genre-shifting songs already lean toward pop. The big-band workout "Dancin' Fool" captures the excitement of that era, while the bombastic "Bolero de Amor" works better in this context rather than the appropriately cheesy stage version. But Manilow's penchant for going over the top gets the best of him with most of the Copa songs as the clichéd "Just Arrived" sounds like a weak cousin to Funny Girl's "I'm the Greatest Star" and tepid ballads like "Who Needs to Dream" demonstrate that Manilow hadn't fully abandoned his saccharine past. The Copa set ends with an unnecessary dance mix update of "Copacabana" that eliminates all the campy fun of the original. Fortunately, Manilow and Sussman took a good leap forward with their score for Harmony. Musically and lyrically these songs are denser and their textures blend together forming a more consistent piece of work. The songs are more theatrical and they outshine Copa's scattershot pop with belters like "This Is Our Time!" and quieter songs like "And What Do You See?" sounding like they leapt off a Broadway stage and onto disc. Manilow and Sussman may not be Rodgers & Hammerstein or Kander & Ebb, but with Harmony they prove that they are capable of writing good melodies, solid lyrics, and big showstoppers. Scores may be the final curtain call for these songs, but it is a fitting tribute to two of Barry Manilow's pet projects. Aaron Latham