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The movie also contain one of the best comedy musical song and dance numbers of film ("Putting on the Ritz"), but that's an Irving Berlin song, not a Mel Brooks song.Despite all of these challenges, I still thought that YOUNG FRANKENSTEIN would be great. "Transylvania Mania"--another big dance number that's just all around fun.15. Unfortunately, though the show has comical musical numbers that allude and sometimes outright copy from famous composers, musicians, and performers of the past (Irving Berlin, Fred Astaire, Ginger Rogers, Danny Kaye, etc)., the show fails to be capture the imagination and wit that made THE PRODUCERS such a huge hit.THE PRODUCERS was originally a story that Mel Brooks turned into a play which was so long that he made it into a film. It also had started out as a stage play and already contained two musical numbers. It's one of the best all around musical numbers in the whole album. "Deep Love"--sex can make people want to sing.I was really looking forward to "Puttin' On the Ritz", but the expansion of the song and dance number from what was done in the movie actually detracts from the scene rather than make it better.Overall, though YOUNG FRANKENSTEIN isn't a terrible musical, it is a disappointment. Therefore, that movie was a perfect pick for adapting into a stage musical. "The Brain"--another early number.
"Together Again"--a duet between Igor and Frederick. With the hugely successful adaptation of THE PRODUCERS turned into one of the biggest (and most profitable), most popular, and critically praised Broadway musicals of all time, it was a given that Mel Brooks would attempt to dive back into the well and turn some of his other movies into stage musicals. I was wrong. Full of words and witty humor. Still, until the late 1990s, THE PRODUCERS was an unknown film, except by Brooks' fans and movie buffs. If all of the songs were as well done as this, then the show would have been as big a success as THE PRODUCERS.3. The musical isn't terrible, but I was terribly disappointed. YOUNG FRANKENTEIN was the movie next chosen for adaptation.
I know Brooks is a comedy man, but from this song alone I would be interested in seeing him trying something a bit more serious.11. Once again, if the show had been serious, this could have been a very powerful ballad. I don't think it's been acknowledged, but the song was definitely inspired by the Muppets "Together Again".9. Once again, if most of the songs from the album were done along this vein, then the show would have been huge.5. There really aren't any standout numbers on the soundtrack, but there are a few worth recommending and a few others that are half-way good.2.
Instead, it's ruined by its own comedy.18. There is a beauty to it, that gets interrupted by bits of comedy. There are glimpses of the Mel Brooks genius, but in trying to top the biggest Broadway musical success ever, he has given us a show that starts out strong, but ends up falling on its feet. "Please Send Me Someone"--this song is kind of mixed. The original movie, starring Zero Mostel and Gene Wilder, wasn't exactly a box office smash, but was big enough to usher Brooks onto the Hollywood scene and would lead him to becoming one of the biggest comic powers of the 1970s.
"Life, Life"--one of the few serious songs on the album. "The Happiest Town in Town"--the big opening number. On the other hand, YOUNG FRANKENSTEIN is one of Brooks' best-known movies, has remained hugely popular since its initial release, and is a parody of the classic black and white horror films of the 1930s. Instead of being unique and original, YOUNG FRANKENSTEIN ends up sounding like a poorly made copy.
but if you liked the movie and are a fan of mel brooks you should at least check it out. its definetly and aquired taste, not everyone is going to like it. When i first heard about this musical i was unsure about how id like it. well i love it.
Of course collectors should get this, and maybe if you've seen the show, get this as a souvenir, but otherwise this is a pass. The only thing that is slightly enjoyable on the soundtrack is Sutton Foster, but even she can't do much. I was so excited to get the soundtrack but after a couple spins I was greatly disappointed. Sadly, the Young Frankenstein soundtrack is just not good. Favorite song (only because its Foster's Feature): "Listen to Your Heart." The singers are winy, intentionally or not, its not nice to listen too. If you have seen the movie you will know everything that is going on, but because there is so much physical comedy the soundtrack is only laugh out loud funny if you can watch the movie in your head. The lyrics are no where near as clever as The Producers in fact the innuendos are so over done its annoying.
And such production numbers abound with a nonstop fount of talent to support them. But, again, let me remind you that this is not "The Producers", which stands as the only other album capable of evoking a retro feel of 50's-era Broadway standards in modern times. Now, after saying all that, I still do heartily recommend "Young Frankenstein". Obviously, it is a matter of musical taste first and foremost. Let me preface this by saying that while I was not disappointed, this was not "The Producers".
Don't expect a contemporary rock/pop/Latin-tinged score ala "Spring Awakening" or "In the Heights". The score as captured on this album genuinely reflects the tone and musical delight that can be heard at the Hilton Theatre. But, if you care to indulge in a taste of what Broadway was like during its peak Golden Age, this album is a must, quite simply. Mel came pretty damn close though, so do yourself a favor and savor it: "Music that soothes the soul when words are useless." There's no need to highlight one original cast member here, as they all range from adequate to superb in a surprising array of textural diversity. And while I could go on further, there's no point.
The vaudevillian shtick assembled from the elements of "Young Frankenstein" invite comparisons to Brooks' other show all too well. Gloriously old-fashioned Broadway classics in the style of Cole Porter, Rodgers & Hammerstein, Jerry Herman, Frank Loesser, and Jule Styne (with a touch of high-drama operetta and Kurt Weill) roll effortlessly from track to track in a cohesive and tuneful pastiche. If you read this, disprove what all the naysayers and detractors want to prevent you from knowing. Musical stylings, song purpose/placement, and gags in "Young Frankenstein" can all find a comparable correlation to corresponding components of the book and score of "The Producers", with the latter winning out in every instance. And the lush 24-piece orchestra is so intricately weaved into such a rich harmonic web by the marvelous Doug Besterman that you almost feel dizzy and giddy with an energetic rush of excitement. I defy you not to give the likes of "Please Don't Touch Me", "Roll in the Hay", "Join the Family Business", or "Deep Love" a second listen.
In fact, I'm bewildered by the critical dismissal of it, and wonder what show the critics instead had seen. Melodically hummable, lyrically serviceable and witty, Mel has offered his well-known and loved brand of bawdy, bouncy, bright, catchy, colorful, and downright brilliant.
Definitely not Sondheim, but if you love music along the lines of Irving Berlin, you will not be disappointed in this recording. Sure, the critics had it in for Mel Brooks and panned his project, but the score and the cast are all top notch. Being a fan of THE PRODUCERS I was excited when this show first was announced, and then dismayed by the so-so reviews it received on Broadway. Still, having heard a couple of tracks off of the cast recording and loving them, I purchased the YOUNG FRANKENSTEIN cd, and thoroughly enjoyed the entire score.
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