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Let Yourself Go


Download links and information about Let Yourself Go by Kristin Chenoweth. This album was released in 2001 and it belongs to Gospel, Jazz, Pop, Theatre/Soundtrack genres. It contains 16 tracks with total duration of 54:39 minutes.

Artist: Kristin Chenoweth
Release date: 2001
Genre: Gospel, Jazz, Pop, Theatre/Soundtrack
Tracks: 16
Duration: 54:39
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No. Title Length
1. Follow the Fleet, 1936: Let Yourself Go 3:00
2. Two On the Aisle, 1951: If You Hadn't But You Did 3:56
3. Rosalie, 1927: How Long Has This Been Going On? 3:51
4. Babes In Arms, 1937: My Funny Valentine 4:12
5. Strike Up the Band, 1930: Hangin' Around With You (featuring Jason Alexander, Robert Fisher) 3:24
6. The Girl In 14-G (featuring Robert Fisher) 4:02
7. I Married an Angel, 1938: I'll Tell the Man In the Street (featuring Robert Fisher) 2:36
8. One Touch of Venus, 1943: I'm a Stranger Here Myself (featuring Robert Fisher) 2:57
9. Showboat, 1946: Nobody Else But Me (Broadway Revival) (featuring Robert Fisher) 3:25
10. Nobody's Heart Belongs to Me / Why Can't I (featuring Suzanne Ornstein, John Beal, Belinda Whitney - Barratt, Lee Musiker, Clay Ruede, Robert Fisher) 3:20
11. Take a Chance, 1933: Should I Be Sweet? (featuring Robert Fisher) 2:13
12. Just an Ordinary Guy (featuring Suzanne Ornstein, John Beal, Belinda Whitney - Barratt, Lee Musiker, Clay Ruede, Robert Fisher, Jill Jaffee, Red Press) 3:51
13. Goin' to the Dance With You (featuring Robert Fisher) 3:05
14. On a Turquoise Cloud (featuring Robert Fisher) 3:04
15. Hello Frisco, Hello, 1943: You'll Never Know (featuring John Beal, Jay Berliner, Robert Fisher, Arnold Kinsella) 4:27
16. Daddy (featuring Robert Fisher) 3:16



Kristin Chenoweth capped a rising career in musical theater with her debut solo album, which found her showing off her well-trained soprano in a collection of show tunes, most of which dated to the interwar period. On Irving Berlin's "Let Yourself Go," she tap danced like Fred Astaire in Follow the Fleet, and she worked up a torrent of comic anger in Jule Styne's "If You Hadn't But You Did." Then, she switched gears, proving herself a potently romantic figure in the Gershwins' "How Long Has This Been Going On?" and Rodgers and Hart's "My Funny Valentine." And so it went. Backed by the Coffee Club Orchestra, the resident backup band for City Center's Encores! series of concert versions of lost musicals, with whom she had worked on Strike Up the Band and On a Clear Day You Can See Forever, she recreated one of the Strike Up the Band numbers, the lesser-known Gershwin treat "Hangin' Around With You," abetted by another musical theater veteran who had branched out into TV, Jason Alexander. Jeanine Tesori and Dick Scanlan's previously unheard "The Girl in 14G" allowed her to show off her opera training as well as her scatting abilities, and she fearlessly (and successfully) took on the ghost of Mary Martin by covering "I'm a Stranger Here Myself" from One Touch of Venus. Like an elaborate audition tape, the album seemed designed to suggest that Chenoweth could play any sort of part; sometimes the songs themselves reflected this goal of displaying versatility, notably the obscure Vincent Youmans song "Should I Be Sweet?," in which the singer must bounce back and forth between "sweet" and "hot" personas as she tries to choose between them. But whatever role she undertook, Chenoweth revealed more than enough talent to excel on a dazzling first album.