Customer Reviews

Chicago [Original Broadway Cast Recording]

5 star:		(21)
4 star:		(7)
3 star:		(0)
2 star:		(2)
1 star:		(1)

 

 

... why this show flopped the first time around (yeah, yeah, "A Chorus Line"... biiiig deal... wow.). And why people don't realize what an absolutely TERRIFIC recording this is. First of all, just look at the names. GWEN VERDON (which, alone, is enough to make me gape in awe). CHITA RIVERA. JERRY ORBACH. I mean, these are absolutely brilliant performers. Let me tell you a little about each song, maybe that will help you in your decision to purchase this CD.

-The Overture is a LOT of fun. VERY roaring 20's ish.

-All That Jazz. FUN SONG! And, to me, this is Chita's baby. Nobody can perform it like her... BeBe came CLOSE... but this is Chita's song all the way. Such spirit.

-Funny Honey: Gwen does such a great job with this song... and I LOVE to hear her sing "Lord knows he ain't got the smarts!" I prefer Gwen's Roxie to Ann's because... well, as much as I love Ann Reinking, her voice is so grainy and rough hewn on this song. Gwen's is breathy and throaty, but still girlish enough to make you feel kinda sorry for Roxie. Gwen is so fantastic in this song! Marvelous!

-Cell Block Tango: I haven't heard a bad version of this song yet... but this song is my favorite... just to hear Chita go "I didn't do it!" And the Liz is SPECTACULAR with her "So I said to him I said, 'BERNIE! You pop that gum one... more... time.' And he did. So I took the shotgun off the wall, and I fired two warning shots. Into his head!"

-When You're Good To Mama: Mary McCarty does a GREAT job with this song... she and Vicki Lewis sing it very similar, which I think is great.

-All I Care About: Jerry Orbach RULES as Billy Flynn. I mean, he just sounds so much more... sleazy and... sneaky... and like some crooner out of the 20s than James Naughton. The man has an amazing voice, which, up until I heard this, I didn't know. (Idiot me didn't realize he was Lumiere in Beauty & The Beast... go figure!)

-A Little Bit Of Good: Just listen to M. O'Haughey hit those high notes. You'll understand. :o)

-We Both Reached For The Gun: Fun and a half on this one, ladies and gentlemen! Again, the high point in this song is to hear Gwen Verdon go "Are you kiddin'?!" But it's a truly great, fast, fun song!

-Roxie: Okay, FAR SUPERIOR to ANY version I have EVER heard done of this song, including that of Ann Reinking and Ruthie Henshall. This is classic, wonderful, ever-sparklin' Gwen Verdon. I mean, had I ever been around in 1975 to see her do this number... I'd have probably fainted. Her vocals are terrific, and the song is just so much fun... and not as choppy and wavering between speaking and singing as the other versions are. Gwen's absolutely TERRIFIC in this song, she sparkles like no one else ever did and ever will again!

-I Can't Do It Alone: Another rousing rendition of a song by Chita. Lots of fun... you'll run around going "She'd say 'What's ya sista like?!' I'd say 'MEN!' Yuk yuk yuk!" for days!

-My Own Best Friend: Beautiful, beautiful song sung by two beautiful ladies with beautiful voices.

-Me And My Baby: Some people don't like the ballad version that Gwen sings as much as the jazzier version. Oh well, this one's still cute as it can be. Gotta adore Gwen.

-Mr. Cellophane: Barney Martin does a superb job with this song! Chalk one up for him!

-When Velma Takes The Stand: Chita shines again... ya gotta love her.

-Razzle Dazzle: I like this version of Razzle Dazzle more than James Naughton's, and ESPECIALLY more than the way they did it in "Fosse"... all... slow and what not. Jerry Orbach's vocals again work their magic.

-Class: Chita and Mary McCarty belt out this one! Great fun, and great voices!

-Nowadays: Gwen does a GREAT job with the solo at the beginning... I've often heard said that Gwen was not a first rate singer, but I don't see what's so bad about her voice. Maybe she's not Shirley Jones or Ethel Merman, but she's anything BUT off-key and she's got SPIRIT. She brings a lot of spirit to the first half. Then, she and Chita make a harmonious sound together in the second half... it's wonderful just to hear their devilish little laughs after "It's gonnnnna change, ya know... hahaha!"

-All That Jazz Reprise: And it closes with a bang from Chita, belting out "All That Jazz"!

All in all, this is a GREAT CD, and a must have for die hard "Chicago" fans, die hard Gwen Verdon fans (such as myself), and die hard Chita Rivera fans.

This is ALSO a GREAT CD if you just want a recording from "Chicago". It's a masterpiece in my eyes, and you won't regret purchasing it.

If you're not already a huge fan of CHICAGO, don't feel guilty passing this one up. Songs and verses are missing and supporting performances (Mama Morton, Amos Hart) are mediocre at best.

However, collectors and CHICAGO fans rejoice! If you own the Bebe and Ute recordings, complete your collection by buying the Chita recording which will leave you asking, "Is it a prerequisite that of the great Velma Kellys have an unusual first name?"

Good stuff: Chita's ALL THAT JAZZ and a special little ALL THAT JAZZ REPRISE not included in the new Broadway or London cast recordings. RAZZLE DAZZLE is particularly good, as are the OVERTURE (a.k.a. LOOPIN' THE LOOP), and ROXIE. Even though ALL THAT JAZZ is much shorter, I almost prefer it to Ute's or Bebe's. Chita's is full of fun and character...and she really sings her heart out with the final "No, I'm no one's wife, but oh, I love my life and all that jaaaazzzzz!"

Not so good stuff: A few songs are missing (including my favorites, CAN YOU IMAGINE and the HOT HONEY RAG), nearly all the remaining songs are missing verses added for the revival, and some songs are almost entirely different, ie ME AND MY BABY. The Mama Morton and Amos Hart are dismal. Perhaps it's just because I'm used to the other recordings that I have trouble trying to, as Mary Sunshine would say, find a little bit of good.

The two revival cast recordings really show how much CHICAGO has grown since the seventies. If you're a CHICAGO fan or you like to see how shows evolve (a la CABARET), definately pick this one up. If this is your first trip to CHICAGO, stick with Bebe and work your way to Ute and Chita.

For you real Chicago fans, check out the original 1926 script by Maurine Watkins.

Of course, 'the show' has become extremely popular; more so than the first time around. While too young (alas) to recall the show clearly, I am spell-bound every time the Overture starts.

The London recording is an out-of-tune, vocal, pitch, tempo, and phrasing disaster.

The "Revival" (so-called 'original cast' recording) is much better than London - but more about that in a minute.

This is the recording that many 'old folks' know. Gwen Verdon, Jerry Orbach, and Chita Rivera are truly at the top of their form in this recording.

The Overture holds truer to the 'loose' sound that "Loopin' the Loop" was, and the entire recording is more of a vaudeville than the other two most readily available in the US.

As a previous reviewer stated, "Roxie" is surprisingly complete, due to the limits of vinyl. The Revival recordings include much more of the show; the unforunate part is that while much more of the 'story' is there, you must understand the show to understand the song. Additionally, the dynamic of the recording clearly states the influence the 'sleek lines and cool head' the Revival carries. It is a very crisp, tight production (well, usually), and it is reflected in the recording.

This recording also reflects the full scale of the original show. Not only is every number interpreted to perfection, it is a pure recording - sheerly for the enjoyment of the obviously talented performers.

'Cellophane', as heard on this disc, is probably the best recording out there. Barney Martin captured the character, and it is preserved for the world.

Razzle-Dazzle is terrific too - not so fast, like the 'revival' recordings. (The song is most effective slower.)

My only wish is that there would be a recording of Gwen Verdon doing the Me and My Baby 'strut', not just the ballad version.

Other than that, buy it - well worth it!

As good as the recent film was, nothing captures Fosse's cynical vision/version of '20s Chicago like this original cast recording. Gwen Verdon had no great voice, but she put a song over in every role she ever played, and Roxy was one of her best. But then, you went to see Verdon dance! Chita Rivera's Velma is as "over the top" as Velma herself. And Jerry Orbach, a Broadway song-and-dance man long before "Law and Order" is a real razzle dazzler. If you liked the movie, and I did, treat yourself to the original. You will have no regrets.

I loved the new revival of Chicago! So, I was curious to hear the original recording. I liked it even better than the 1997 Reinking/Neuwirth recording. Even though I love Ann Reinking, her performance as Roxie is a little over the top for me. Gwen Verdon (who the part was actual created for) nails it! This musical was truly ahead of its time.

I find it somewhat bewildering that so many people are using this as a venue to compare Velma Kellys when the show was specifically designed as a vehicle for Roxie Hart. And more importantly, the lady legend who created the role, Gwen Verdon.

If you are among those who realize that the show is about Roxie, then this is the only recording you would want. Not only does Gwen deliver her trademark inimitable sweetness on the callous moments like "Funny Honey," she also nails an unusually long (for a cast recording) monologue on "Roxie" that mirrors her own life in some respects. She is, as always, a sheer delight and a magnificent performer. No one has ever outdone her in this one...

As for the rest, Chita certainly makes "All That Jazz" hers. Jerry Orbach is the perfect Flynn and the orchestra has the right vaudeville feel (a feature missing from all current productions that I know of).

If you come to love the show from this recording, then definitely pick up the B'Way revival, as it has some tracks that had to be omitted from the original release due to the time constraints of vinyl. Incidentally, this also accounts for the amendments to the score - the extra verses on new recordings were not added, as an earlier reviewer stated. The original script, which I read before the revival even opened, has these verses too.

If you agree that Gwen Verdon is the greatest perfomer to ever grace a Broadway stage, be sure and check out her earlier winners like Damn Yankees and Sweet Charity.

Living in the shadows of that season's deserved blockbuster, "A Chorus Line", "Chicago" lived in relative obscurity.
Despite its fantastic leads, Chita Rivera, Gwen Verdon and Jerry Orbach, "Chicago" was probably ahead of its time. Fortunately, the excellent 1996 Revival exposed the masses to this Kander/Ebb masterpiece!

Best tracks:

All That Jazz
Cell Block Tango
When You're Good To Mama
All I Care About
Roxie
Razzle Dazzle
Nowadays

Great cd of this incredible score, but extra star goes to stellar 1996 Revival!

Or try excellent movie soundtrack!

The original cast recording of Chicago is very good. This is what started it all. Sometimes overloooked, but the Original Cast Recording for Chicago is something that shouldn't be missed.

Gwen Verdon and Chita Rivera are the two leading ladies. Both are very good. No one can top Chita! She was absolutely amazing as Velma, and I wish we could've heard the complete score with Chita. Chita gives a soulful and sassy "All That Jazz", makes "The Cell Block Tango" shine with her monolouge, and gives a great "I Can't Do It Alone", and "When Velma Takes the Stand". Gwen Verdon is also quite good as the first Roxie ever. If it wasn't for Gwen there would be NO Chicago, because it was her idea to have a musical made about Roxie Hart. Her husband at the time the legend Bob Fosse wrote the amazing book for the show, directed the show, and lended his amazing choreography for the musical. Gwen doe's a fine job with "Funny Honey", "Roxie", and gives a beautiful ballad version of "Me and My Baby".
Jerry Orbach and the supporting cast also do a fine job. Jerry gives a good "All I Care About", and "We Both Reached for the Gun".

So, this cast recording shouldn't be missed, Chita will amaze you, and you won't be left dissapointed. Get some orginal Chicago!

Ah, Chicago, why did the Tony awards go to A Chorus Line instead? As the old saying goes, "You was robbed!" No doubt the general public took more easily to the other musical's lighter tone and more acceptable storyline about struggling musical performers. But Chicago was the better show, in terms of songs, dancing and talented leads. It's just that the humor was so dark . . . and wonderful. Adapted from an old story by the writing team of John Kander and Fred Ebbs, and placed in the capable hands of the great Bob Fosse, this musical took a turn to the dark side when its director/choreographer nearly died of a heart attack partway through its composition. When Fosse recovered, he altered its tone and changed it into one of the finest pieces of theatrical black comedy, right up there with Sweeney Todd. In Chicago, the American legal system is reduced to who screws who, to a showcase where there are stars du jour, each fading as quickly as she enters the limelight of public sympathy. As the great Jerry Orbach says at the start of Razzle Dazzle, "It's all show biz, kid." From start to finish, this musical takes the audience on a tour of the Roaring 20's legal system, which bears an uncomfortable resemblance to our present-day one. But it's all served up with such style, such panache, that it's a real treat. Chita Rivera sizzles as the sultry Velma; Gwen Verdon is both tough and pitiful as Roxie, the hapless client of sleazy lawyer Billy Flynn. Flynn, of course, is the real villain or anti-hero of this show, the cynical cad who charms and manipulates the media to win acquittal for his guilty-as-sin clients. This role fell to the late great Jerry Orbach, who sank his big white teeth into the role and made it indelibly his own. (Along with El Gallo from The Fantasticks) The rest of the cast is excellent, too, from Christopher Chadman as Fred Casely to Cheryl Clark as Liz; everyone's great in his role and pulls the story along. The courtroom scene is our favorite part, especially when Orbach sings in a high-pitched voice for Verdon, who's perched on his knee like a ventriloquist's dummy, moving her mouth to his words as he sings We Both Reached For The Gun. Razzle Dazzle and All That Jazz are also standouts, but no song in this musical seems out of place; all fit in and are superbly done by this original cast. The CD is well-produced and sure to please. We highly recommend it for fans of black humor in American theater---enjoy!

The original Broadway cast of CHICAGO still cannot be bettered, even after a pretty-fantastic Broadway revival that started in 1997 and is still going (at the time of this review's writing).

Gwen Verdon ("Can-Can", "Damn Yankees", "Redhead", "Sweet Charity") is a joy as Roxie Hart, the over-the-hill chorine who longs for her 15 minutes of fame following the slaying of her lover. Chita Rivera ("West Side Story", "Bye Bye Birdie", "Bajour", "The Rink") is a simmering sexpot as Velma Kelly in her galvanising rendition of 'All That Jazz'. Rounding out the cast as Jerry Orbach (as Billy Flynn), Mary McCarty (as Matron 'Mama' Morton), Barney Martin (as Amos Hart) and M. O'Haughey as Mary Sunshine.

During the run when Gwen Verdon developed a nasty throat infection, Liza Minnelli made a legendary Broadway comeback as Roxie Hart, and boosted the show's flagging box office sales.

Highly-recommended.