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Format: CD
Jan 2003
Record Label: Epic (USA)
Recording Type: Studio
UPC: 696998701823 |
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* ML=ships from multiple locations, AE/AP/AA=ships from U.S. Military location.
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Track Listing
1. Overture / All That Jazz
2. Funny Honey
3. When You're Good to Mama
4. Cell Block Tango
5. All I Care About
6. We Both Reached For the Gun
7. Roxie
8. I Can't Do It Alone
9. Mister Cellophane
10. Razzle Dazzle
11. Class - (bonus track)
12. Nowadays (Roxie)
13. Nowadays / Hot Honey Rag
14. I Move On
15. After Midnight - Daany Elfman
16. Roxie's Suite - Danny Elfman
17. Cell Block Tango (He Had It Comin') - Queen Latifah/Lil' Kim/Macy Gray
18. Love Is a Crime - Anastacia
| Details | | Producer: | Randy Spendlove, Rick Wake | | Distributor: | Sony Music Distribution ( | | Recording Type: | Studio | | Recording Mode: | Stereo | | SPAR Code: | n/a |
Album Notes
Music and lyrics written by John Kander and Fred Ebb.
Original score composed by Danny Elfman.
CHICAGO won the 2004 Grammy Award for Best Compilation Soundtrack For A Motion Picture, Television Or Media. "I Move On" was nominated for Best Song Written For A Motion Picture, Television Or Other Visual Media.
Includes a bonus DVD disc.
Includes liner notes by Kander & Ebb.
CHICAGO won the 2004 Grammy Award for Best Compilation Soundtrack For A Motion Picture, Television Or Media. "I Move On" was nominated for Best Song Written For A Motion Picture, Television Or Other Visual Media.
Original score composed by Danny Elfman.
This is a multi-channel Super Audio CD playable only on Super Audio CD players.
CHICAGO won the 2004 Grammy Award for Best Compilation Soundtrack For A Motion Picture, Television Or Media. "I Move On" was nominated for Best Song Written For A Motion Picture, Television Or Other Visual Media.
CHICAGO has a long and varied history; it began life in the '20s as a play about a showgirl named Roxie Hart, the character whose name was used as the title for a '40s movie inspired by the show. In the '70s, Broadway composers Kander and Ebb (CABARET, NEW YORK, NEW YORK) wrote the songs for a musical version focusing on the '20s-jazz angle and capitalizing on the murder-and-sex theme, and Bob Fosse fleshed the whole thing out to great success. The late-'90s Broadway revival of the show was even more successful and gave rise to a film version featuring Richard Gere, Renee Zellweger, and Catherine Zeta-Jones, movie stars not known for singing.
The film turned out to be a huge hit, and the actors handle their vocal chores admirably, as borne out on this soundtrack disc. Zeta-Jones and Zellweger handle their respective roles of vamp and showgirl well. While Gere will probably never have a solo singing career, his quirky, character-filled singing is perfectly in the style of many male vocalists of the '20s and works just fine. The songs are full of surprise left hooks and catchy refrains, melding early jazz with showtunes in a seamless manner. While the contemporary pop tunes by Anastacia and Queen Latifah tacked onto the end mar one's suspension of disbelief somewhat, this is nevertheless an impressive and entertaining affair.
CHICAGO has a long and varied history; it began life in the '20s as a play about a showgirl named Roxie Hart, the character whose name was used as the title for a '40s movie inspired by the show. In the '70s, Broadway composers Kander and Ebb (CABARET, NEW YORK, NEW YORK) wrote the songs for a musical version focusing on the '20s-jazz angle and capitalizing on the murder-and-sex theme, and Bob Fosse fleshed the whole thing out to great success. The late-'90s Broadway revival of the show was even more successful and gave rise to a film version featuring Richard Gere, Renee Zellweger, and Catherine Zeta-Jones, movie stars not known for singing.
The film turned out to be a huge hit, and the actors handle their vocal chores admirably, as borne out on this soundtrack disc. Zeta-Jones and Zellweger handle their respective roles of vamp and showgirl well. While Gere will probably never have a solo singing career, his quirky, character-filled singing is perfectly in the style of many male vocalists of the '20s and works just fine. The songs are full of surprise left hooks and catchy refrains, melding early jazz with showtunes in a seamless manner. While the contemporary pop tunes by Anastacia and Queen Latifah tacked onto the end mar one's suspension of disbelief somewhat, this is nevertheless an impressive and entertaining affair.
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