Any soundtrack's primary purpose is to work together with the film's visuals and be a part of a multimedia experience. Whether its songs have merit as standalone works is merely a bonus. However, given that the soundtrack was released, I think it is fair to judge the music in isolation. Here we go...
I'd better admit to being a tough audience, though. The camp thrills of a musical are often lost on me, instead coming across as cheesy and hollow. Also, the exaggerated caricatures and fast-paced twists and turns are not usually suited to songs, since great music is often about the flow of a song and establishing an intense mood.
If it sounds like I'm making excuses for this album, then yes, indeed I am! Cutting to the chase, Overture and All That Jazz suffers badly from jumping all over the place with zero consistency. All of the musical ideas are nicely presented in their own right, but cramming this much glitz into a song results in its core appeal being drowned. That core appeal being a nicely catchy vocal refrain. But the song keeps going and going, so in the end even feels like it's flogging a dead horse.
Funny Honey might lack the ADHD approach needed to hold a movie audience's attention, but it works much better as a song. As a jazz ballad, it's a solid effort and quite enjoyable, especially the nice twist at the end.
When You're Good To Mama somehow appeals to me, yet I cannot rationalise any difference between it and All That Jazz. Both contain many great elements and jump around far too much. But perhaps the style, story or brilliant horn line means that I enjoy When You're Good To Mama in its own right as a song.
Let's quickly skim over some lowlights. All I Care About and Razzle Dazzle both feel very tacky, and their vocals are terrible (you can work out the common factor here...). My previous gripes about songs from musicals are cemented by We Both Reached For the Gun, Roxie, I Can't Do It Alone and Mister Cellophane. Class is a much more enjoyable listen, although it is more a case of a great monologue with passable background music than an actual song.
The chorus of Nowadays is something you just can't get out of your head, thanks to its catchiness. The rest of the song is chock full of polished hooks, but to me it aimlessly dashes from one hook to another without any cohesion or attraction. After Midnight is a much needed antidote! Its understated and consistent style is greatly appreciated amongst its rowdy neighbours.
The recording style is quite varied throughout the album (and Roxie's Suite features strangely earthquake-inducing bass!). However, it consistently strikes a good balance between all of the instruments competing for the spotlight at any given time. Other highlights are the sounds of the soaring horns and crisp cymbals.
Saving the best until last, Cell Block Tango is my favourite song on this album. The storytelling is brilliant- sticking to a similar theme, but each verse with enough variety to keep it fresh. Also, the song has wonderful patience and restraint. The sparseness of the verses allows the huge and brilliant chorus to have a greater impact.
You lack of interest for the genre is incorrect.
ReplyDeleteCue: jazz hands.