Download tracks from Sweeney Todd on iTunes

At this point, few would argue that as a work of musical cinema Tim Burton’s Golden Globe-winning version of Sweeney Todd is not worth checking out.  But what’s the verdict on the actual music, divorced from the actors’ charm and the director’s vision?  The answer is… it depends.  Here’s our track-by-track, iTunes-friendly rundown…

Sweeney purists have made much that of the fact that the movie omits some songs from the stage version, but as a soundtrack album this Nonesuch release is more robust than most.  With twenty tracks of unforgettable music, it’s a pretty good deal at US$16.99—but be wary of the US$12.99 version that emphasizes “highlights” and doesn’t seem to include the forty-page digital booklet.  The latter contains the lyrics, as one might expect, but also many stunning stills from the film.

As for the cast, anyone who’s enjoyed the most entertaining movies of the past two decades probably already knows the names of Alan Rickman, Helena Bonham Carter, and Johnny Depp.  They’re joined by relative newcomers Jamie Campbell Bower, Jayne Wisener and, most spectacularly, Edward Sanders, all of whose more formal musical backgrounds are evident from the get-go.

Opening Title

Serving a similar purpose to an overture—especially here, without the movie’s visuals—this is the only purely instrumental track on the album.  At turns thunderous and sly, Stephen Sondheim’s score reaps the full benefits of the expanded orchestration it received for the film.  If you’re not expecting the sing-along experience from your movie soundtracks, then you should definitely consider this selection.  Its organ riffs and bold rhythms will get your blood pumping… and then turn it cold.

No Place Like London

Although Jamie Campbell Bower’s pleasant tenor is in evidence here, this is really Johnny Depp’s song.  As his first number in the film, it’s an excellent way to introduce his mostly untrained voice.  That’s because there’s so much dialogue peppered throughout (“I beg your indulgence”) and it’s so thoroughly mixed with half-sung measures, that the result is a pseudo-recitative that Depp can manage quite respectably.  That said, the limitations of his voice are manifest for those who listen even a little bit closely.  Although much has been made of his inability, unlike his Broadway precursors, to venture into the deeper end of his part’s range, it’s actually when ascending that the notes become unsupported.  His phrasing is fine, though, and the instrumental close is particularly wonderful, both manic and morose.

The Worst Pies in London

As stated in my review of the film, this is where one’s disappointment in the casting of Helena Bonham Carter might first surface:  there are places in this song where her voice should soar but instead it, well, hops, skips, and jumps.  Still, I don’t want to make too much of this.  Interestingly, the track seems to be produced so that this kind of shortcoming is largely masked.  Her uptempo delivery will strike many as energetic and fun, but it’s when the song slows, towards the end, that her voice is at its strongest: so there’s an unfortunate tradeoff here.  This track is not a disaster by any means, however, and if one of your goals is to savor the wit of Sondheim’s lyrics, this is a good place to start.

Poor Thing

Although this track starts with extensive dialogue, it may be well worth your time to sit through it.  Arguably Bonham Carter’s best song, it benefits from the fact that when she speaks her voice retains some of the timbre of her singing, lending a richer cadence to the words.  Whenever the musical phrases are drawn out and more luxuriant, her voice is at her best.  And she hits the punctuating “poor thing” like an actor expertly hitting a mark—her rhythmic precision is both effective and affecting.  But let’s not forget that Depp is heard on this track, too, his scream of “No!” serving as the climax.  We close with straight dialogue from him:  “That man is dead.  It’s Todd now.  Sweeney Todd… And he will have his revenge.”  So if you’re really into the movie, or a fan of Depp’s in general, this alone could make the track a nice audio keepsake.

My Friends

With an opening that is slow and eerie, this warms up to become a highlight of Depp’s work here.  Although it’s probably impossible to gauge how much is intentional and how much instinctive on his part, he allows his acting skills to buttress his interpretation of the song.  The result is a performance that is at once poignant and chilling, with Depp bending notes as they trail off, making them “blue” in the process.  Singing in counterpoint and then joining him in harmony, Bonham Carter is in better voice than usual.  Depp’s pop background is pretty obvious on this track, but falling back on it is really a way of making the most of what he has, and for my money he succeeds—creating an interpretation reminiscent of a “rock opera” but with a far more lush musical backdrop than one would expect from that genre.

Green Finch and Linnett Bird

This palette-cleansing solo is performed by Jayne Wisener, who plays Johanna, and as such it admittedly lacks the star power of other tracks.  But it also lacks many of their flaws.  Beginning with the musical conceit of using woodwinds to connote birdsong à la Prokofiev, the music is transporting from start to finish.  The bridges are glorious and, more importantly, you don’t feel like they’re propping up the vocals as you do elsewhere.  Granted, I’m not sure how Wisener’s soprano stacks up against others in this role historically, but it’s pretty clear that, at worst, she’s fully up to the task and, at best, really shines here.  Note that this number is presented “purely,” with no framing dialogue and little explicit emoting on Wisener’s part.  Instead, and in stark contrast to Depp’s predominant strategy, she lets the words and music alone carry the full weight of the emotions.  The result is a solid performance of a song that is touching in any context—stage, screen or download.

Alms Alms

Although a lot of “content” is packed into this briefest of all the tracks, it’s still really just dialogue spooned over some haunting minor chords.  My recommendation is to purchase this track as an effective lead-in to the wonderful “Johanna” as together they work to present an entire self-contained vignette.

Johanna

Campbell Bower’s work here does not suffer from the absence of Tim Burton’s strong visuals, and that makes it all the more impressive.  Some might complain that they want a more “mature” voice, but I find the lyrics, so run through with adolescent longing, to be moving precisely because we clearly hear the actor’s youthfulness.  Add to this vocal performance a series of horns-and-percussion-driven crescendi that are enough to send chills up your spine, and you’ve got a real gem.  In short, get this one.

Pirelli’s Miracle Elixir

You could make the case that boy soprano Edward Sanders is perhaps the least heralded but most impressive voice talent on the entire soundtrack.  The job he does here, and elsewhere, is remarkable, no doubt about it.  But let’s not forget that Depp and Bonham Carter are spotlighted on this track, too, interjecting musical dialogue that comes off as priceless due to Depp’s wonderful timing and intonation (“This is piss, piss with ink”).  Funny, uptempo, and lacking darkness, either implied or overt, this track represents a refreshing change-up for listeners.

The Contest

At first one might be tempted relegate this track to novelty song status because of the appearance by comedian Sacha Baron Cohen, but that would obscure the fact that he simply does a terrific job here.  First off, the song is meant to be humorous while still musically interesting, and Baron Cohen is more than up to the challenge.  He navigates the song exceedingly well, punching words where he needs to, moving up and down his part’s ranginess well, and even hitting an astounding falsetto at the end.  Note, however, that as Sweeney denounces Pirelli there is a very, very long stretch at the start of the track with no singing and no music at all… so this may not exactly be iPod or listen-in-your-car material.  In short, although “The Contest” probably won't have you tapping your toes or experiencing shivers, it’s almost guaranteed to leave you with a smile to your face.

Wait

This song plays to Bonham Carter’s strengths and she returns the favor with thoughtful phrasing and by carrying the melody well, especially when it allows her to plumb the deeper parts of its register.  Handling the shifting, insinuating delivery that “Wait” demands with little apparent effort, she is at her most Angela Lansubry-like.  You may notice that Depp is also listed as a performer, but he’s really just a listener, prompting her with a phrase here and there.  No, “Wait” doesn’t pack the fire of some other songs on this soundtrack, but you can’t go wrong with it for sheer musicality.

Ladies and Their Sensitivities

This track starts with the exchange of dialogue in which Judge Turpin announces his engagement to Johanna and then eases into the singing.  Alan Rickman, although listed as a performer, does not sing at all—it’s all Timothy Spall, and he’s fine.  However, the ironic humor of the actors’ performances is missing, which really hobbles this track from standing on its own.  And since this song runs only 1:23 and features the “bad guys” exclusively, you may want to spend your 99 cents elsewhere if you’re downloading on a track-by-track basis.  For completists only.

Pretty Women

Strange as it may sound, I’m going to suggest that you buy this song for the acting.  Of course the music, with its opening harp passage gradually morphing into much more menacing stuff, will most assuredly not let you down.  But it’s Depp and Rickman, teaming up to create a kind of musical magic act, who make this track so memorable.  Depp can’t manage the volcanic rumblings that the song ideally calls for, but he has more than enough in his bag of tricks to make up for this, giving an English-accented bluesy roar when he needs to, and tenderly (and creepily) reprising part of “My Friends” when he needs to do that.  And Rickman is with him every step of the way, practically making his character sympathetic as only a master talent can.  Finally, their “harmonizing” can hardly be called that:  it’s more their emotions that dovetail and enhance each other than their actual voices.  Still, I’ll take that any day.  Clocking in at a bit over four minutes and covering a lot of ground in impressive fashion, this track is one of your better bets.

Epiphany

The raw fury of this track can’t be surpassed, and again Depp effectively draws on thespian, not musical, resources.  And although it may be entirely serendipitous, Bonham Carter’s slight voice works well here, as if it’s intentionally overwhelmed by Depp’s fury.  With its strategic musical quotes from “No Place Like London” and “Johanna,” percussive power, and sweeping strings, the arrangement both works in its own right and showcases Depp’s contributions.  Highly recommended.

A Little Priest

Starting somewhat abruptly where the previous track leaves off, this track gradually slides into a three-quarter-time groove that’s practically infectious.  Bonham Carter and Depp work exceedingly well together here, their timing dead-on and delivering the vaudevillian plays-on-words in a way that perfectly complements Sondheim’s mock-waltz strains.  I was concerned that with the subtraction of the film’s crisp editing and camerawork, this song would suffer along the lines of “Worst Pies” but to my pleasant surprise it holds up quite well.

Johanna

Here Depp joins Bower in a full-blown reprise, with the former doing most of the heavy lifting and latter’s voice soaring behind his.  Yet where this might be the whole story in another musical, Sweeney Todd throws listeners a curveball in the form of Laura Michelle Kelly’s Beggar Woman delivering a couple of unnerving bridge passages.  Intentionally discordant as she shouts “City on fire!” and then mutters “Mischief! Mischief!” her “intrusion” underscores Sondheim’s genius:  within the space of this five-minute song we fully experience the romantic, the sinister, and their uneasy juxtaposition.  Finally, this is perhaps the song you buy and play to show others, and to reassure yourself, that Depp really can sing—there are no obvious compromises here.  He takes notes and sustains them, riding the swells of the gorgeous melodies.  Very nice work.

God That’s Good

Another tempo presto intro from the barker-like Edward Sanders, who makes not only each word, but also each syllable ring like a bell.  Then Bonham Carter enters and in a couple of places her voice grows thin—although this is only a matter of a couple of seconds in a two-and-half minute song.  Not one of the worst tracks, nor one of the best.

By the Sea

I was wondering how this song minus the hilarious “mindscreen” images would fare.  Not well, I’m afraid.  Though Depp’s morose/blasé rejoinders help somewhat, they can’t really salvage this track from Bonham Carter’s weaknesses.  As a touchstone for a sequence in the film that is fondly remembered by audiences, “By the Sea” is bound to be a popular download, but I’m suggesting that you can find much more rewarding tracks than this.

Not While I’m Around

Edward Sanders really gets to engage in full-throated singing here and the result is perhaps the most spellbinding work done in the whole production.  This song has always struck me as Sondheim’s more melancholy version of “I’d Do Anything!” from Oliver! and the performance here brings out those aspects of the piece to their full advantage.  Note that the song is broken up about two-thirds of the way through by some dialogue and plot business and then resumed with Bonham Carter giving a hushed delivery of the refrain, her whispery voice a good match for the lullaby-like lines.  Burn this on a CD and play it whenever you feel possessed by a mood of darkly defiant love.

Final Scene