TARZAN: THE BROADWAY MUSICAL [ORIGINAL BROADWAY CAST RECORDING]

Tarzan: The Broadway Musical, that's a scary thought. Burroughs must be turning over in his grave -- but think a minute. There are a number of reasons why this should work. The first big plus is Phil Collins. At least from the "original Broadway Cast recording" perspective, this is unique. Lots of Collins fans (who never buy Broadway albums) will check this out. Some of that juice will carry over to the show, and it has helped fill some seats. Besides crossover appeal, just what does the songwriter who brought us "Sussudio" bring to this project? Collins is a fine, experienced songwriter, who's been heavily invested in the success of this project since he wrote these songs for the movie. The primary theme, and opening CD cut, is "Two Worlds." Collins employs the pseudo African groove that gives The Lion King such lasting appeal. Think Mustapha meets Ladysmith Black Mombassa with intimations of West Side Story, and you'll get the vibe. The track builds into a power rock feel, and the lyrics set the mood of fate and conflict that define the story.

If there's a surprise hit in this score it's "Trashin' The Camp." Collins brings on a unique, clever and infectious groove, and you can hear the energy and joy right through the speakers. From a stage music perspective, this is a great tune in a great spot to fire-up both the cast, orchestra and audience. It's no secret that the Broadway stage used to be the greenhouse for popular music in America. It's no less true that this is no longer the case. Bringing in pop writers like Collins is a fantastic strategy to revive the venue. Mysterious ballads like "You'll Be In My Heart" sound way more like album cuts than the "typical" Broadway fare. While this crossover of talent works to the advantage of this production, it also creates a learning curve issue for the theater. Collins, who has written and sung with Genesis, played drums with everybody, including several big band jazz projects, and worked on the film with Mark Mancina, is certainly up to the job.

The second big plus on this gig is Disney. For years Broadway has needed new blood in development and capital. When Tarzan's theme, "Son Of Man" hits that gospel stride, you can almost hear the corporate power and industry experience seeping through. This is the Broadway equivalent of a "big studio" deal, and the weight sometimes is a little ponderous. On balance Disney makes it work, because they don't let stuff fall apart. The whole Disney "back to the jungle" thing is a little tedious, but the music isn't really about that. This is a David Henry Hwang story about love, life and fate-and the score supports the book pretty well. When Jane sings "Like No Man I've Ever Seen," you won't need to see the loincloth to get the conflict. This is a Broadway song, and sounds like it in every way.

What doesn't work is the pop filler that permeates the ether of the CD. If you treat it like a pop music project, you'll dig the strong cuts and skip over the weak. If you're in the theater you can't use this strategy. Considering, the CD may be a hotter ticket than the mezzanine. Phil Collins writes some cool songs either way.

By Dave Morgan