Okay, so I'm not really into much music at all. But, lately, I've fallen in love with the Chicago soundtrack. And, now, it's not enough. I need more!
Of course, I have no idea where to look. That's where you come in. I tell you what I love about that soundtrack, and you tell me what else might work for me.
Here's what I love about that soundtrack:
- Brass! It's something that really caught my attention when I first heard Jesus H Christ and the Four Hornsmen of the Apocalypse. It was one of the things that I loved about Oingo Boingo and Eddie and the Cruisers and the backup band for They Might Be Giants on tours. And, it's just something there isn't enough of any more. (Note: Boingo got super bonus points for dueling wooden xylophones on stage.)
- Ragtime bopping! Plinky piano, steady drums splashed with cymbals. Several simultaneous rhythms interwoven. The percussion isn't the only rhythm instrument. I defy you not to shimmy your shoulder during And All That Jazz or bop your head in We Both Reached for the Gun.
- Chorus! More than three back-up vocalists with lots more
interesting stuff than just
Sha la la la. There's a fabulous round section in Cell Block Tango, not to mention the cool
Pop, Six, Squish, Uh-uh, Cicero, Lipshitztheme in that song. And, there's some great chorus parts in We Both Reached for the Gun and And All That Jazz and many of the other songs.
- Tricks! I already mentioned the cool
Pop, Six, Squish, Uh-uh, Cicero, Lipshitz, but even more than just the cool effect of the constant echoing of it (in six different voices), there is the fact that in some places they re-spaced it to fit a different mood:
Pop, *beat*, Six, *beat*, Squish, *beat*, Uh-uhCiceroLipshitz. But, there are other tricky things in other songs that really work for me, too:
- The repetition of
wholein Funny Honey here
I tell you that whole is a whole lot greater than the sum of his parts.
- Great inversions/contrasts like in And All That
Jazz with phrases like
where the gin is cold but the piano's hot. In When You're Good to Mama with
you put in for mama, she'll put out for you.And kinda in We Both Reached for the Gun with
He had strength and she had none.
- The great variety of innuendo jammed into When You're Good to Mama.
- Afterthought modifiers like in the intro to
We Both Reached for the Gun with
Mr. Billy Flynn and the press conference rag. Notice how his mouth never moves. Almost.and from Cell Block Tango there is
Then, he ran into my knife. He ran into my knife ten times.
- The whole ventroliquist scheme in
We Both Reached for the Gun, especially
since it's broken by her interjection
Are you kidding?
- The substitution of funky moves and beats
for words in I Can't Do It Alone like
When she'd go *******, I'd go *******. Then, we'd go *******.
- The repetition of