01 - Overture
02 - I'll Play For You
03 - I'm Old Fashioned
04 - Wouldn't It Be Loverly
05 - This Is My Beloved
06 - Being Alive
07 - 20's Medley:
 a) Everything Old Is New Again
 b) My Melancholy Baby
 c) Bye Bye Blues
 d) Everybody Loves My Baby
 e) Thoroughly Modern Millie
08 - Whistling Away The Dark
09 - Movie Medley:
 a) My Favorite Things
 b) Do-Re-Mi
 c) Supercalifragilisticexpialidocious
10 - Broadway Medley:
 a) Camelot
 b) Show Me
 c) I Could Have Danced All Night
11 - The Sound Of Music
12 - I'd Rather Leave While I'm In Love

Rec. live September 21, 1977, Osaka, Japan.

Singer and actress Julie Andrews has long been famed for her perfect pitch and impressive vocal range. From her 1954 Broadway debut as Polly in “The Boy Friend,” she has received rave reviews from critics and lasting devotion from music fans. Best known for her roles in stage and film musicals, including “My Fair Lady,” THE SOUND OF MUSIC, and MARY POPPINS, Andrews has concentrated in later years on acting on the screen rather than singing, appearing in husband Blake Edwards’ films, including S.O.B. and THAT’S LIFE.

She made her screen debut in 1964 in MARY POPPINS. Her appearance as the magical nanny won her both an Academy Award and a Golden Globe Award for best actress. This film and the following year’s THE SOUND OF MUSIC, in which she played a children’s governess who wins the love of her charges’ father, began to establish Andrews as a specialist in wholesome family entertainment. As Clive Hirschhorn put it in his 1981 book, THE HOLLYWOOD MUSICAL, THE SOUND OF MUSIC was accused of “mawkish sentimentality” by many critics, but “it was Andrews’ extraordinarily assured and appealing central performance … that was largely responsible for the film’s enormous success.” Her featured songs in the film included the title theme, “I Have Confidence in Me,” and “My Favorite Things.”

Another musical film featuring Andrews was 1967’s THOROUGHLY MODERN MILLIE, which Hirschhorn hailed as “an irresistible mixture of brashness, charm, and nostalgia put together with expertise.” Like her first major stage play, MILLIE had Andrews portraying a young woman during the 1920s — a young woman who goes to New York City as a secretary in search of a rich husband and becomes involved in a white slavery ring. During what Hirschhorn describes as a “thoroughly captivating star performance,” Andrews sang ditties such as “Jimmy” and “Poor Butterfly.” She became the youngest actress ever to play the part of Eliza Doolittle professionally.

Not long after filming MILLIE, Andrews divorced her first husband, theatrical designer Tony Walton, and married motion-picture producer and director Blake Edwards, famed for his PINK PANTHER films. She began working in Edwards’ efforts, including 1970’s DARLING LILI. Andrews was also featured as actor Dudley Moore’s long-suffering girlfriend in Edwards’ 10. In 1981’s S.O.B., Edwards spoofed his wife’s wholesome image by making a big production of her character, Sally Miles, baring her breasts for the camera. Andrews perhaps moved even further from her former reputation when she portrayed a singing transvestite in Edwards’ 1982 motion picture, VICTOR/VICTORIA. The critics especially took her seriously in the latter role, and she received nominations for both an Academy Award and a Golden Globe for her part in the film.

During the late 1980s, Andrews concentrated on more serious film roles, ones that did not utilize her talent for singing. Though Edwards’ 1986 effort THAT’S LIFE is a comedy, Andrews’ portrayal of Gillian Fairchild is a serious one — Gillian is waiting for the results of a biopsy. Andrews “is the movie’s strong, quiet heart,” declared reviewer David Ansen in NEWSWEEK, “and it is she who devastates us when she finally unleashes her pent-up emotions.” Despite some negative comments about the film in general, critics tended to agree favorably about Andrews’ performance in DUET FOR ONE. Playing a famed violinist dying of multiple sclerosis, “Andrews doesn’t tear a passion to tatters; she uses it to stitch a coherent soul,” according to Richard Corliss of TIME. And MACLEAN’s critic Lawrence O’Toole asserted that “Andrews gives what may be the performance of her life in DUET FOR ONE.”

But Andrews continues entertaining fans with her voice. In 1988 she released the album LOVE, JULIE, which featured her renditions of songs like “Tea for Two,” “Come Rain or Come Shine.” Though PEOPLE reviewer David Hiltbrand considered the disc a mixed effort, he had praise for the “sensuousness to her tone,” and said that her voice was “sweet and clear, often frosted with an appreciable sparkle.” ---pbs.org

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1. Out Of This World
2. Come Rain Or Come Shine
3. Love
4. Tea For Two
5. How Deep Is The Ocean
6. My Lucky Day
7. The Island
8. A Soundsketch
9. So In Love
10. Where Or When
11. What Are You Doing The Rest Of Your Life
12. Nobody Does It Better/Nobody Does It Better
13. Nobody Does It Better/Nobody Does It Better (Reprise)

Julie Andrews - Vocals
Bob Badgley - Bass
Dennis Budimir - Guitar
Nick Ceroli - Drums, Percussion
Bob Florence - Keyboards, Producer
Mike Stephans - Drums, Percussion
Tom Warrington – Bass

Julie Andrews' first solo album in five years began life as a private project. Andrews recorded a group of happy love songs accompanied by keyboard player Bob Florence as a birthday present for her husband, film director Blake Edwards, who turned 65 on July 26, 1987. He suggested she seek commercial release for the collection, and she did, albeit on the small independent label USA Music Group. On it, she sings classic pop standards by Irving Berlin, Harold Arlen, and Johnny Mercer, Cole Porter, Rodgers & Hart, and others, as well as such then-recent film songs as "What Are You Doing the Rest of Your Life" and "Nobody Does It Better." The accompaniment ranges from solo acoustic piano to something approaching synth pop/rock; the latter is not exactly a style usually associated with Andrews, but she brings it off, even if it will sound odd to many of her fans. At age 52, she is still in good voice, and she brings sincerity and taste to her interpretations. Despite the occasional electronic sounds, this is a very warm and intimate record that would make an excellent Valentine's Day or anniversary present. ---William Ruhlmann, Rovi

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