Customer Reviews

Chicago

5 star:		(192)
4 star:		(63)
3 star:		(18)
2 star:		(3)
1 star:		(7)

 

 

The arrangements are the best of this material on recording, in my humble opinion. As most movie musicals take a Broadway score and butcher it with bland pop sensibility and overblown orchestral arrangements, those behind this recording chose to keep it on the minimalistic side, as it should be. At the risk of sounding a bit cliche, the arrangements succeed in transporting the listener from his car or living room to a smokey cabaret.

Some of the strongest voices come from the most surprising cast members, noteably Renee Zellweger and John C. Reilly. For having never really sung before, her voice is surprisingly strong, expressive, and unique. Those familiar with Queen Latifah's performance in "Living Out Loud" were most certainly expecting "When You're Good to Mama" to be as absolutely fabulous as it indeed was (the woman should really do a jazz album and show off those pipes).

Catherine Zeta-Jones and Richard Gere were really perfectly cast for the film and played the roles to the "t". Zeta-Jones' sexy, husky voice works well and Gere's adequate pipes, again, work well to drive home Flynn's smarmy charm.

The bonus material, however, is fairly weak. Though I am an Anastacia fan, I am really not fond of the track "Love is a Crime" as it's simply a bland pop song trying to be an R&B track trying to have a showtune sensibility. The Queen Latifah, Li'l Kim, Macy Gray version of "Cell Block Tango" is a rather tepid attempt, as well.

The only number from the film that I was dissapointed with was "Cell Block Tango". It's always been a favorite of mine and, in the film, it was staged and choreographed perfectly - beyond my wildest dreams, really. Unfortunately, it seems Rob Marshall felt the need to extract all humor from what should be a very darkly comic number by forcing the women to take themselves entirely too seriously. If you can get your hands on any of the cast recordings, you'll see what I mean.

In the end, however, this recording is a sleek, intelligent, well-performed and well-executed soundtrack.

I own all four recordings of Chicago -- original, film version, B-way revival, and London. And I like them most to least in that order.

The movie soundtrack is fantastic, but it falls just a little short of the original 1975 Broadway recording for several reasons. Gwen Verdon created a more quirky and genuinely funny Roxie, and that comes across in her interpretation of the songs (esp. the spoken part of "Roxie"). Although Renee gave Roxie more depth and substance, which was essential for the film, Gwen is a better interpreter of the songs.

Chita Rivera created a splashier and more flamboyant Velma, whereas Catherine Z-J's Velma is more menacing and intimidating. Catherine is so impressive musically that I think it's a toss up. However, Chita (and Gwen, who died last year) were already 20 year veterans of Broadway by 1975, and all of that experience and skill comes across in the "seen it all, done it all" characters they play.

Jerry Orbach (now on law & Order) is a far better musical performer than Richard Gere, and sings the songs with less kitsch and cheekiness. I found this really annoying in Gere's musical performance -- I think he was trying to cover up an average singing ability by adding in a bunch of odd ticks and mannerisms (...the flat Irish accent, the Al Jolson-ish delivery).

The stage versions also have a fun twist: Mary Sunshine is played by a man in drag, and "she" squeaks out a ridiculously optimistic and high-pitched aria about goodness and kindness -- as all the conniving backstabbers that surround her roll their eyes. There's also "When Velma Takes The Stand" (dropped from the film), a great song about Velma's ideas for her courtroom dramatics, which Roxie eventually steals. I also prefer the Merry Murderesses of the original because they tell their stories in "Cell Block Tango" more naturally with humor and individual character.

One plus for the movie version: the musical arrangements deliver more punch and complexity.

I recommend buying both the original and the movie soundtracks.

That seemed like the appropriate exclamation for this stellar soundtrack, taking place seventy or so years ago. Actually, it should be something more of a four-letter variety, but this is an all-ages website, no?
You will buy this CD if:
a) you love great movies
b) you love great Broadway
c) you love great musicals
You HAVE to. Here's why.
First, Richard Gere is great in the film, but better here, because he's really acting with his voice, and your preconceptions associated with his physical appearance disappear. His nasal smarminess fits.
Second, Catherine Zeta-Jones just leaps out of your speakers, brassy and bold.
Third, and I think most important, is Renee Zellweger's performance. Her range from a coquettish purr to a full-throated roar is staggering. You will be scratching your head, saying, "I had no idea..."
Furthermore, the other supporting players...to a T...are perfection, and unexpectedly so. Queen Latifah and John C. Reilly nail their parts with assurance, and the ensemble piece "Cell Block Tango" literally raises the roof.
Lastly, the musicianship is impeccable. The arrangement are snappy and tight, and perfectly intertwined with the vocal performances. During musical interludes, you can almost hear voices singing along, and during vocal passages, it's hard not to "fill in" extra background music in your head...
So...if you've seen the movie, you need this.
If you haven't seen the movie, go right now. But if you get this FIRST, I guarantee that wild horses will not be able to keep you away from the theatre.
By the way, don't bother with the "extra" tunes. They're superfluous. Although I wish I could have heard Janet Jackson's take on this material, as it was rumored early on she would contribute an extra track...

An incredible soundtrack to an incredible movie. Renee Zellweger, Catherine Zeta Jones, and Richard Gere give pitch perfect performances, and who would have thought. Catherine shines on the opening All That Jazz, its sexy and exciting. Renee Zellwegger impresses on the sultry Funny Honey, with her soft, angelic voice. Richard Gere is suave and cool on Razzle Dazzle. There are so many other highlights. Queen Latifah knocks em dead on the brassy When You're Good to Mama, proving that some Rappers can sing as well, and the Cell Block Tangois fun and hilarious. The new songs added to the soundtrack don't really fit in with the entire soundtrack, but Anastacias powerful, sultry pipes on Love is A Crime is alot of fun. The rap version of the Cell Block Tango by Queen Latifah, Lil Kim, and Macy Gray is a bad attempt at trying to create another Lady Marmalade, however, its a small problem in a otherwise perfect album. The must have soundtrack of the year!

Much to my surprise, I had to get this CD right after seeing the movie and have played it every day since I've purchased it. Who would have guessed that Catherine Zeta Jones, Queen Latifah, John C. Reilly and Renee Zellweger could excel in this genre?

From the first strains of Catherine Zeta Jones and All That Jazz to the last "legit" soundtrack vocal of Hot Honey Rag, this CD is a winner. Other standouts include Queen Latifah's When You're Good to Mama, John C. Reilly's Mr. Cellophane, Cell Block Tango and Renee Zellweger's renditions of Funny Honey, Roxie and Nowadays.

The extra songs, Love Is A Crime and the hip hop version of Cell Block Tango, aren't bad but they simply don't belong on this CD. It's a blatant pandering to a younger generation that will enjoy the soundtrack songs on their own.

This soundtrack could have easily turned into a very bad joke. A wild round of applause to the producers, director and actors who made it happen.

Love listening to the soundtrack while driving! I saw this Broadway revival live in 1996, and was jumping up and down when I discovered that a film version was being made! This was a FABUOLOUS rendition of a broadway musical, Gere, Zellweger, and Zeta-Jones were tops and I have a much deeper appreciation for all three of them than prior to seeing this movie-musical. The only thing I would like to see different is the two last tracks of the CD. I don't understand why they had to be on there. I love Queen Latifah as much as the next person, but her rap version of "He had it comin'" with Little Kim was too much. It is so far removed from the tone of the soundtrack that it offends my ears every time it starts. Anastacia's "Love is a Crime" could have been done without as well. Danny Elfman once again comes through and blows everything out of the water with his contributions to the score. Overall, I love this CD and it will never go in my "trade" pile.

Almost every song on Chicago explodes with talent and fun. While the movie stars Renee Zellweger, who does a decent job as Roxie Hart, the star of the soundtrack is cleary Catherine Zeta-Jones, whose voice is a perfect fit for the role of Velma Kelly. Other suprises are also included- the biggest being the show stopping "When You're Good to Mama" sung by rapper Queen Latifa. It is enough to make up for the annoying "Cell Block Tango (He Had it Comin')" remix with Queen Latifa, Lil' Kim and Macy Gray. It really isn't awful, but just sickeningly out of place. Some have faulted Anastacia for singing "Love is a Crime", but I found it upbeat and in the spirit of the movie. Also included in this CD are two duets that don't take place during the course of the movie- "Class" sung by Zeta-Jones and Latifa and "I Just Move On" sung by Zeta-Jones and Zellweger. Both are great, but the later just goes to show that Zeta-Jones can outvoice Zellweger anyday. It's not that Zellweger is awful- she does well on the sultry "Roxie".
The men of the movie put in what they can, but are clearly men among godesses. Richard Gere's "All I Care About" is plain fun, and John C. Reilly' "Mister Cellophane" is nicely done. I really did enjoy it, and never skip it when listening to the CD. The five best songs are 1) All that Jazz (Zeta-Jones) 2) Class (Zeta-Jones and Latifa) 3) Cell Block Tango (ensemble) 4) When You're Good to Mama (Latifa) and 5) Mister Cellophane (Reilly). If you skip the Cell Block Tango remix, the CD does not disappoint.

Chicago, the film, is something wonderfully devilish and fun. The musical numbers are an extraordinary combination of dance and singing that you can't possibly tear your eyes away from. The soundtrack, unlike most musical films, stays true to this formula. The songs are left in their original state and not tampered with, something I know I disliked with the Moulin Rouge soundtrack. The first number (or song) makes you wish you had a movie ticket to see this acted out by Catherine Zeta-Jones. It's a hot number accompanied by an overture that's just marvelous. Zeta-Jones' singing chops blow you away. As Velma Kelly she smolders and struts her stuff and these things are palpable on the soundtrack as well. Renée Zellweger's Roxie Hart is confection fun and her singing voice is pretty ok for never having done it before. Richard Gere's slimy lawyer Billy Flynn has wonderful numbers and executes them accordingly. But by far Zeta-Jones' voice boasts the most. John C. Reilly's "Mr. Cellophane" shouts a surprising voice. And Queen Latifah's hot number ("When You're Good to Mama") as Matron "Mama" Morton, is so hot you get chills. A plus for fans, a number with Zeta-Jones and Latifah is on this as well. It's reasons for being left off are obvious (they wanted to keep the PG-13 rating) but its good range and scale is delicious. Zellweger's songs are fun and playful and well executed. The reason I would give this album a 4 ½ instead of 5 is for the two "pop" songs tacked on the end in gross fashion. As an appeal to teenagers in the target demographic. These songs are ridiculous and should've been left off. Other than that, this soundtrack is true to the movie, truly worth all the stars in the universe.

I bought the soundtrack to Chicago before I actually saw the movie. I had rather high expectations for Catherine Zeta-Jones, knowing that she was from a musical theater background. I was a little more skeptical about Renée Zellweger and Richard Gere's vocals, though Gere DID play Danny Zuko in his high school's production of Grease. Needless to say, that didn't give me too much confidence.

Chicago's soundtrack is unlike any soundtrack I have ever heard before. From the very first note heard, until the very last, you are moved from your living room to Chicago, 1920s. Danny Elfman's score, the songs themselves, and even the vocal style of the singers (except for, possibly, the speaking parts in "Cell Block Tango") all sound as if they were recorded by singers from the Twenties.

The standout tracks on this disc are "Overture/All That Jazz", "Cell Block Tango", and "I Move On", an original song written for the movie, with the hopes of being nominated for a "Best Original Song in a Film" Grammy or Oscar.

Certain songs are well enough on their own, but enhanced greatly by seeing them on screen as well. Some of these tracks are: "Roxie", "We Both Reached For The Gun", and "Nowadays/Hot Honey Rag".

Anastacia contributes a great song to the soundtrack, which also sounds very...Chicago. The only odd song on here is the Queen Latifa/Lil Kim/Macy Gray version of "Cell Block Tango". It's just unnessecary and brings down the disc some. Besides that, the soundtrack is worth buying. It's beyond worth buying. It should be mandatory.

Being a fan of the stage version makes me incredibly biased and hyper-critical and that's why I'm saying that THIS VERSION is the DEFINITIVE orchestration for Kander and Ebb's incredibly jazz-hot score with some of the best voices EVER! Catherine Zeta-Jones has that infinitely superb, round, sumptuous tone AND the big Broadway "belter" pipes to boot! GOD she's awesome. Gorgeous to hear! Renee Zellweger adds some pretty fine crooning to her tunes as well and it's a wonderful nuance missing from the less authentic-to-the-period stage albums (both of which also have less-than-stellar voices in the chorus and supporting roles other than Velma and Roxie -- I LOVE Chita Rivera and Gwen Verdon as the original Velma and Roxie, though!). As an aside, I never used to like Roxie's songs from the stage albums until I heard Zellweger's versions for the movie. Way to go Renee! Richard Gere is just fantastic with all the style, pomp and brass you'd expect to hear from a smeary lawyer who says all he cares about is love...and, well, "five-thousand bucks" from his clients. Queen Latifah steams and rules as the Pearl Bailey-esque Matron Mama Morton, and John C. Reilly is the perfect Andy, I mean, Amos. And let's hear it for that highly addictive (and updated) rendition of the Cell Block Tango! HOT!! This album is truly fantastic, and that's saying something from a true fan of "Chicago" (AND I was born there, so watch out.) I absolutely LOVE this music, I love the voices, I can't stop playing it, it makes me dance over and over, and I want this album to go platinum. But I can't do it alone, so c'mon fellas. Here's to "all the things we hold near and dear to our hearts:" Chicago ROCKS for all that jazz!!