It’s yet another sincere and earnest number which reaffirms the two’s ability to navigate through the musical language of anyone from deathrow inmate to impressionable young would-be communist. Minnelli became strongly associated with Kander and Ebb, with Ebb producing Minnelli's Emmy-winning television special Liza with a Z. The deft slyness of this song is that it can function as both a desperate, misguided plea and a confident assertion of change – it’s up to the audience to decide how it works. Some of the songs featured, such as The Rink, Marry Me, We Can Make It and Coloured Lights, later featured in the Kander and Ebb musical revue And The World Goes Round. CDG includes full lyric book and 2 versions of each song: one with guide vocals and one instrumental-only. Truth be told, "All That Jazz" is another one I tried to bump off the list … (Our days are tied to curtains, they rise and they fall. (So I close my eyes and I hear her step, and I know she's come to hold me / So my senses stir.... / But it's never ever her, it's just a dream of her....), #27 “How Lucky Can You Get?” (from Funny Lady), Kander and Ebb's first of two Oscar nominations was for their work on this song. This bleak and unusual “love” song is Molina’s standout in Kiss of the Spider Woman. A random person would probably say that the most common thing about Kander and Ebb songs is how positive and happy they are, and the eponymous song from Cabaret is one of the most easily misinterpreted musical theatre songs. The Scottsboro Boys played on Broadway for a short time in 2010. ), #40 “Tomorrow Belongs to Me” (from Cabaret) Kander and Ebb musical - Latest Answers By Publishers & Dates: Publisher: Last Seen: Solution: Penny dell sunday: 24 January 2021: CABARET: Search For More Clues: Find more solutions whenever you need them. It’s a beautiful moment with some gorgeous orchestrations on a fantastic song, but both Ebb’s lyrics and Kander’s music are hinting at the tension underneath. It won a Tony Award as the season's best musical, and its original cast recording won a Grammy Award. The song construction is shockingly simple, essentially the same verse (but for some mild changes) sung twice but with different emphasis. Kander composed the music, and Ebb … In May 1965 the first Kander and Ebb musical premiered on Broadway. It's familiar in that it's longing for an escape like other familiar songs from the duo but the hope of going back home is distinctly impossible here and even the music, which resounds with finality and despair, knows it, making this song all the more affecting. And what a pop song. Act 1 Angel Antonelli is discovered with suitcase and knapsack at a bus station. Enjoy this Tony performance from the Original production. (No one tells you 'That's not funny?' Kander and Ebb are a stalwart pair in American musical theatre, much loved and trumpeted and yet I feel as if they are underrated as far as musical theatre writers go. Liza’s staunch, unfearing “We Are”, which ends the song, feels as much a declaration as it is a dare for any thing in life to dare challenge her. / I couldn't ever cross it if I tried, mein herr. Ebb died as Curtains was being written and the score was completed after his death with some assistance from Rupert Holmes. It’s a burying of the lead that lends a poignancy to both numbers when we realise they both exist in the opposites. It’s the key to this number and a key to the diversity of the pair. Six Wreckers have come to begin the demolition of a once glorious Roller Rink that sits sadly at the edge of a seaside Amusement Park. "Cullum, Dixon, Domingo, Hicks and More Will Star in Kander & Ebb's The Scottsboro Boys", John Kander Broadway Credits at PlaybillVault, https://en.wikipedia.org/w/index.php?title=Kander_and_Ebb&oldid=1006394189, Creative Commons Attribution-ShareAlike License, This page was last edited on 12 February 2021, at 17:26. Was there bad blood? by Anonymous: reply 7: 02/21/2011: Liza was always more their kinda gal. It's true, sad or happy, Kander and Ebb's hopefulness ekes out of so many of their numbers. It's a frothy song but a delightful one which amps into something special when two thirds through it sees a key change with Barbra launching into the vocal acrobatics she's known for. It's typical of Ebb and Kander to seduce us with the rhythms and wordplay to bury something so depressing. ), This is such a deceptive song. It’s Barbra Streisand’s version of this (on The Second Barbra Streisand Album) which most effectively captures the plaintive excellence of this song. (Start by admitting From cradle to tomb / Isn't that long a stay. Kander and Ebb were a highly successful American songwriting team consisting of composer John Kander (born March 18, 1927) and lyricist Fred Ebb (April 8, 1928 – September 11, 2004). The uptempo joviality of it might surprise those who think of Kander and Ebb for darkness. A strange kind of love song that's not about the love itself and just about losing oneself in the memory of remembrance. I will admit that when it comes to the sentimental side of me The Rink might emerge as my favourite score of Kander and Ebb; there is much to love about it and it uses their typical brass and sass but crafts a tender, soft musical. Listen to it as a great comedy number, or miss the subtext and sing it in earnest. (Milky lotion, scented creams. / I am sick and tired of your 'Ah Ma'. It's a nice rejoinder to the Youmans and Rose track "It's Gonna Be A Great Day" also featured in the film. Looking for the ruby underneath the rock. This Debra Monk number from Steel Pier is a purely comedic showcase and like Precious's number (at #50) a diversion from the show's bleak main plot. "[2] Sandy Stewart performed the song, and it was nominated for a 1962 Grammy Award. Their songs never immediately point to what they're really about. But, who cares? The lyrics are lifted greatly from an actual passage in the book and the coupled with the song’s haunting refrain: “Not too fast, not too fast. It’s one of the most heavily plotted numbers I can think of from Ebb and Kander. See how love flies out the door. Mother and daughter try to out-sing the other in this wonderfully caustic duet. She’s the climax of your Technicolor dreams. Is this the definitive list of 50 for Kander and Ebb? It's one of the beautiful peculiarities about The Visit, and it is very likely the score will live on just because of this gorgeous solo. Maybe it is all Kander, but it’s inextricably tied to the Kander and Ebb legacy and features Jason Danieley’s sublime singing. Of course, the love song at the centre of Flora has Flora asking Harry to ask her to be his valentine. #21 “The Butterfly” (from Zorba) /Tomorrow belongs to me! (Walking through the world things happen / Right before your eyes things happen / Soon enough you're lost and thinking, 'When I'm gonna go back home? Sandy Stewart performed the song, and … This one is the highlight, though. (The day will come / He'll come running to me / The day the sun turns black / And there's a money tree.) It’s not a dance number or a fun song but an expert construction of a theatre song propelling the momentum of the play forward. It's a fantastic song. "All That Jazz" from Chicago. ), #42 “The Happy Time” (from The Happy Time) Who can say? [6] The book was written by David Thompson and choreographed and directed by Susan Stroman. As James Leve remarks in his book Kander and Ebb (2009), "The turning point in Kander and Ebb's collaboration occurred when Kander suggested that they try a ballad. Andrew Kendall is a writer and editor. Kander and Ebb have written most of my favorite songs and made me fall in love with Broadway. “Razzle-dazzle, noun, informal, noisy, showy, and exciting display designed to attract and impress.” How smart of Kander and Ebb to make their song titled “Razzle Dazzle” neither noisy or two showy. The almost a capella rendition of this on the cast recording is a haunting realisation of the tragedy of the eponymous Scottsboro with some gorgeous singing. (And so to reaffirm my status / It's absolutely gratis / To use my apparatus / I'm everybody's girl), #38 “We Can Make It” (from The Rink) Like many songs from the The Rink this song would not function well removed from the plot, but it's a gem. (And the candles in our hands will illuminate this land if not tomorrow, then the day after that. (And your head feels so good when you finally clear it / If I saw a worry I wouldn't go near it. Hungry for the pilaf in someone else’s pot, but that’s the choice you’ve got. It's not the only Kander and Ebb song on the list to play with memory, but it's the most charming of them. Read about We Can Make It from John Kander's The Rink (1984 Original Broadway Cast) and see the artwork, lyrics and similar artists. “I Miss the Music” (from Curtains) I hesitated slightly on this one since it’s more Kander than Ebb. #50 “Two Little Words” (from Steel Pier) ), #23 “Yes” (from 70, Girls, 70) This cleverly rhyming song about missing the old days is great either way, complete with lewd lyrics. Known primarily for their stage musicals, which include Cabaret and Chicago, Kander and Ebb also scored several movies, including Martin Scorsese's New York, New York. Instead of a standard, dramatic duet Kander and Ebb play to Liza and Chita's comedic talents, understanding that these characters won't connect in a typical mother/daughter way but in something more humorous and perverse. Music by John Kander Lyrics by Fred Ebb. What became of class? From the double snaps (a last minute addition suggestion by Ebb) to the intricate vocabulary from Billy, the number only highlights the irony by having such a soft and melodic tune be the entry point to the exciting display of Chicago. This eleven o'clock number about dreams is the score's most affecting piece. This is the "home" Angel returns to after an absence of fifteen ye… So much of their work is about things that are just not working right now, but looking forward and hoping they will work, in time. John Kander, composer. "WE CAN MAKE IT: THE SONGS OF KANDER & EBB" Thursday, February 25th, 2010 at 8:30pm Marquee Five returns to Don't Tell Mama with "We Can Make It: The Songs of Kander & Ebb," an exhilarating evening of your favorites from Cabaret, Chicago, Flora the Red Menace, The Rink, and more. We're doing our best to make sure our content is useful, accurate and safe. (Show her where to park her girdle. Please note: This post contains affiliate links. We do. (Here we are high above the rooftops / There's a barn there's a field of corn / And a little white house / Where another you was born), #24 “Let's Hear it for Me” (from Funny Lady) The construction of this song from Zorba is so unusual. The final song of The Rink is the proof of how it encompasses a different, less examined, aspect of The Rink. As we'll come to see this song employs a classic Kander and Ebb trick: a subversion of the lyrics' import by a deliberately deceptive melody. Chaney says she has wanted to directThe Rink ever since she heard the song The Apple Doesn’t Fall Very Far From The Tree featured in the show. Last month the last “original” Kander and Ebb musical, The Visit, closed on Broadway. It features some dexterous and overly raunchy rhymes and is an absolute delight. " Theme from New York, New York " (or " New York, New York ") is the theme song from the Martin Scorsese film New York, New York (1977), composed by John Kander, with lyrics by Fred Ebb. #15 “The Money Tree” (from The Act), It’s pure coincidence these two love songs fall next to each other. Includes photos and a complete list of Kander & Ebb… (That was another time, another time and place. (When tomorrows come, and your heart is stone. (It's hardly everyday /It's most unusual / In fact I can't remember when /But sometimes a day goes by /When I don't think of her), #14 “Chief Cook and Bottle Washer” (from The Rink) As Leve writes, "what best defines their voice is the contradictory nature of their collaboration: the composer and lyricist have strikingly different artistic temperaments, the former demonstrably sentimental, the latter campy and cynical."[3]. What has made it numb? / Every night we have to battle with the girls to keep them from taking off all their clothings...), #44 “Ring Them Bells” (from Liza with a Z) Their most famous song is the theme song of that movie. No one makes you better than you are..). Says Kander:“The feeling we were trying to create was, ‘Isn’t that lovely and wouldn’t you like to be part of that?’ Then, hopefully, when it’s repeated at the end of the second act” (You can spare me the blues I don't sing in that key / And if there's a man who'd leave me I am happy to say / The song embraces its silliness while being effective, one of the moments of easy humour in the affective and effective tragic Steel Pier. “Cabaret” is a depressing song, of succumbing to frivolity as a shield from sadness, and Flora’s final plea to “Sing Happy” is not one of true belief but a desperate avoidance of all that is not happy. These sessions are discussed in the Kander and Ebb biography, Colored Lights, as “what if” sessions.[5]. Another early collaboration was the industrial musical General Electric presents Go Fly a Kite written with Walter Marks for General Electric's 5th Electric Executives Conference in Williamsburg, Virginia in 1966. 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