Patrick (patrickwonders) wrote,

  • Mood:

Music. Music, Professor.

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, Lipshitz theme 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 echoing of 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 whole in 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 *******.
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