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Cabaret [Original Soundtrack Recording]

Artist: Original Soundtrack

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Label: MCA
Album: Cabaret [Original Soundtrack Recording]
# Song Title   Time
1)    Willkommen More Info... 4:29
2)    Mein Herr More Info... 3:35
3)    Maybe This Time More Info... 3:10
4)    Money Money More Info... 3:04
5)    Two Ladies More Info... 3:11
6)    Sitting Pretty More Info... 2:26
7)    Tiller Girls More Info... 3:06
8)    Heiraten (Married) More Info... 1:39
9)    If You Could See Her More Info... 3:34
10)    Tomorrow Belongs To Me More Info... 3:53
11)    Cabaret More Info... 3:33
12)    Finale (Auf Weidersehn) More Info... 2:28

Performer Notes
  • Performers include: Liza Minnelli, Joel Grey.
  • All songs written by John Kander and Fred Ebb.
  • Lyricist: Fred Ebb.
  • Personnel: Greta Keller, Joel Grey, Liza Minnelli, Marisa Berenson, Mark Lambert, Michael York (vocals).
  • Liner Note Author: Max O. Preeo.
  • Director: Bob Fosse.
  • Even though he came from the theater himself, Bob Fosse, when he came to make a film of Harold Prince's musical Cabaret, did what most movie directors do, taking the 15-song score and cutting two-thirds of it to leave five songs -- "Wilkommen," "Two Ladies," "Tomorrow Belongs to Me," "If You Could See Her," and "Cabaret." (In addition, "Sitting Pretty" was performed instrumentally and "Married" in German.) He then allowed the show's songwriters, John Kander and Fred Ebb, to add material to emphasize the film's two musical stars, "Mein Herr" and "Maybe This Time" for Liza Minnelli and "Money, Money" for Minnelli and Joel Grey. ("Maybe This Time" was a Kander-Ebb song Minnelli had been singing since 1964.) The film was even more successful than the show, and the soundtrack album went gold, outselling the original Broadway cast album. It is not the record you want to buy to get the complete score, of course, and even at its 38-plus-minute running time it's padded. But it contains some definitive Minnelli performances, particularly her rendition of the title song. In the show and film, the song's upbeat, devil-may-care mood is in stark contrast to the downbeat conclusion of the plot, which finds lead character Sally Bowles stranded in Nazi Germany. Coming from Minnelli, there is an added subtext, as the performance can be read as a tribute to her mother, Judy Garland. And Grey is equally impressive, particularly in "Wilkommen" and "If You Could See Her." Cabaret won Academy Awards for Minnelli and Grey, but lost the Best Picture award, and a similar judgment can be made about the soundtrack album. Their performances are outstanding, but the album as a whole is a bit skimpy. Subsequent stage productions tended to incorporate the new film songs. (The 1996 CD reissue re-sequences the songs.) ~ William Ruhlmann

Professional Reviews
Entertainment Weekly (10/12/01, p.34) - Ranked #38 in EW's "100 Best Movie Soundtracks" - "What good is sitting alone in your room? Well, plenty, if you've got this soundtrack..."

Q (2/97, p.103) - 3 Stars (out of 5) - "...The Liza Minnelli raunchy, other times playful, and always excessive....a document of camp, and key study aid for pop aesthetes everywhere."

Producer:Harold Prince; Cy Feuer
Format:CD (1 Disc); Stereo
Studio/Live: Studio
Release Date:19 November, 1996

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2 review(s)
All Reviews
Ashwin on
After reading all of the reviews where everyone blasts Liza Minnelli, and how this was a vehicle for her talents...I think they forget that she was originally desired for the role of Sally Bowles in the first place, and was considered too American. Yes, one cannot deny this is Judy Garland's daughter. Every actor/actress has one or two roles that define perfection...and in this case (as much as I hate to admit) this is Liza's. Ripping apart the "love triangle" and comparing it to the broadway musical, you are forgetting to the heart of this production in the first place: the stories written by Christopher Isherwood, and that is exactly what Fosse did in his desire to return to the original inspiration. Sexuality couldn't be mentioned in 1966 as something realistic or even a possibility. But blooming homosexuality/bisexuality was VERY prelevent in Weimar Berlin (it is even alluded to in the silent German classic: Pandora's Box, with Louise Brooks, which has modern cinema's first lesbian and remember, in Frankfurt there was a center for Studies on Human Sexuality that as early as 1925 said that homosexuality was of the first places to be destroyed by fascism and Hitler) and to me, that is why the story line and these songs is realistic and also very true to Isherwood's stories. So if anything, blame the stage musical for glossing over the truth...not the film. Obvious critics also blast the cutting out of a lot of the original tracks, which again works because the story line has changed. Why include tracks of Sally's landlady singing about her love for a Jewish fruit vendor if it isn't even alluded to in the film?
Jay on
The soundtrack for Cabaret is one of thje most memorable and popular soundtracks to any musical ever, and for good reason too. Liza Minelli and the rest of the cast bring to life the murky Berlin setting with stunning vocals and catchy as tunes. My favourute song is "Mein Herr".

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