Before the Doors, before The Rise and Fall of the City of Mahagonny, and before the Mahagonny Singspiel, the Alabama Song was simply a song lyric tucked in an ersatz prayer book published by Bertolt Brecht in Berlin in the early '20s. Brecht, whose bizarre vision of American capitalism run-amuck in a tropical Klondike derived as much from Chaplin's The Gold Rush as Marx's Das Kapital, wrote his sequence of dirty songs and blasphemous prayers called Domestic Breviary. This book seduced the young composer Kurt Weill, a cantor's song and a disciple of the New Objectivity of Busoni, into writing lurid and lewd songs, songs that, as Weill explained, "corresponded, I suppose, to the better type of American popular song." Weill set five of Brecht's songs in 1927 as the Mahagonny Singspiel, which led to his collaboration with Brecht in Die Dreigroschenoper of 1928 and the opera The Rise and Fall of the City of Mahagonny of 1929. In both the Singspiel and the opera, the Alabama Song is sung by a crew of louts looking for a good time in a city devoted to drinking, gambling, fighting, and whoring. The melody they belt out in double time is simple, direct, and derived in part from a melody by Brecht. The setting is quick, staccato, and violent. The rhythm is repetitive and relentless. The harmonies are harsh and grating. The song is nasty, brutal, banal, and -- above all -- instantly memorable and forever unforgettable. ~ James Leonard, Rovi