Ladies' Choice: Choral Octavo SoundTrax CD

This arrangement lives up to its title by giving men's choirs a chance to own the stage with attitude and swagger. The rockin' solo against male back-ups creates immediate dramatic contrast, and Jay Althouse's voicing preserves Shaiman's comedic punch while keeping the part-writing singable. It's the kind of number that draws genuine laughs from an audience and reminds choirs why show music matters.

A burst of 1960s-inspired rock energy wrapped in barbershop harmony sensibilities. The piece swaggers and winks, inviting the audience to enjoy the absurdity alongside the musicianship. Expect the kind of infectious rhythmic drive that gets audiences clapping and laughing in the best way.

Men's choirs and show choirs seeking repertoire with real personality and theatrical flair. This piece works for groups comfortable with amplification and willing to embrace comedy as a performance tool. Singers need secure musicianship to lock the groove while delivering character-driven vocals.

• Commit to the attitude from the downbeat. This piece demands a confident, slightly over-the-top energy; hold back and it loses its raucous charm.
• Balance the solo vocalist so they cut through the backing vocals without oversinging. Let the mic do some work if you're amplifying.
• Lock the rhythmic feel with your section leaders. The groove has to feel effortless, so spend rehearsal time on rhythmic precision in the background parts.
• Use the movement and staging suggestions in the score. This arrangement is designed to be seen as well as heard; choreography completes the comedy.

Program this as a palate cleanser between serious works or as the closer on a show choir concert where energy and entertainment are the priority. It pairs naturally with other Broadway or movie repertoire and gives a men's ensemble a showcase number that audiences remember long after the concert ends.

• Rhythmic precision and groove-based singing
• Character and comedic delivery in performance
• Blend and balance between solo line and backing vocals
• Synchronization with recorded accompaniment
• Integration of movement and staging with vocal performance