Jesus Christ Superstar

Jesus Christ Superstar

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by A. L. Webber
     
 

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Jesus Christ Superstar started life as a most improbable concept album from an equally unlikely label, Decca Records, which had not, until then, been widely known for groundbreaking musical efforts. It was all devised by then 21-year-old composer Andrew Lloyd Webber and 25-year-old lyricist Tim Rice. Jesus Christ Superstar had been conceived as a stage

Overview

Jesus Christ Superstar started life as a most improbable concept album from an equally unlikely label, Decca Records, which had not, until then, been widely known for groundbreaking musical efforts. It was all devised by then 21-year-old composer Andrew Lloyd Webber and 25-year-old lyricist Tim Rice. Jesus Christ Superstar had been conceived as a stage work, but lacking the funds to get it produced, the two collaborators instead decided to use an album as the vehicle for introducing the piece, a fairly radical rock/theater hybrid about the final days in the life of Jesus as seen from the point of view of Judas. If its content seemed daring (and perhaps downright sacrilegious), the work, a "sung-through" musical echoing operatic and oratorio traditions, was structurally perfect for an album; just as remarkable as its subject matter was the fact that its musical language was full-blown rock music. There was at the time an American-spawned hit theater piece called Hair that utilized elements of rock music, but it wasn't as unified a work as Webber and Rice's creation, and it was less built on rock music than on pop music that referred to rock; Webber and Rice's work presented a far sharper, bolder musical edge and pushed it much further and harder than Hair ever did. Serving as their own producers, the two creators got together more than 60 top-flight singers and musicians (including Chris Spedding, John Gustafson, Mike Vickers, P.P. Arnold, and members of Joe Cocker's Grease Band, not to mention Murray Head, Ian Gillan, and Yvonne Elliman in key singing roles), and managed to pull the whole production together into a more than coherent whole that contained a pair of hit singles (the title track and "I Don't Know How to Love Him") to help drive AM radio exposure. What's more, the whole album sounded like the real article as far as its rock music credibility was concerned -- it was played good and hard for a studio creation. Released in America by Decca as a handsomely decorated double-LP set complete with illustrated libretto, Jesus Christ Superstar seemed to pick up where the Who's Tommy (also a Decca release) and Hair had left off, and audiences from across the age and cultural spectrum responded. Teenagers who didn't know from Jesus, opera, or oratorios liked the beat, the hard rock sounds, and the singing and bought the album, as did parents who felt that the record offered a chance to understand some aspects of this youth culture around them, and especially its music -- and so did some more forward-thinking clergy and theologians, who saw any opportunity to spread the word about Jesus where it wasn't previously going as intrinsically good. The result was a chart-topping LP followed in short order by a Broadway production and, a little later, a multi-million-dollar movie (oddly enough, the original double LP created barely a ripple in England in 1970 and 1971, though there was eventually a British stage production that went on to become what was then the longest-running musical on London's West End). And all of this acceptance and embrace in America took place scarcely five years after an innocent observation by John Lennon concerning the relative popularity of the Beatles and Jesus, made in England but reported in the American tabloids, had led to protests and a media boycott of the band's music and their 1966 tour across the Bible Belt. Jesus Christ Superstar, by contrast, passed through the border and Southern states without any controversy, speaking volumes in the process about what had happened to American society in the interim. The original release was also the first "event" album of the '70s, presaging a brace of generally less successful efforts in that direction, ranging from Lou Adler and Lou Reizner's orchestrated version of Tommy (Pete Townshend's rock opera basically blown up to Jesus Christ Superstar dimensions) to the soundtrack All This and World War II and Leonard Bernstein's Mass. The original double-LP set was released on CD in the late '80s in a decent-sounding double jewel case/slipcased edition re-creating the artwork from the LP, and in 1993 it was also reissued in MCA's gold-plated audiophile Masterdisc series with altered cover art. Another re-release, using an upgraded analog-to-digital transfer, this time in a slim double jewel case format with the original booklet reproduced in miniature, was mastered in exceptionally vivid fidelity. Each CD edition has sounded good, however, and was an improvement on the LP edition, but the 1996 release offers beautifully crisp fidelity with a close, loud sound on all of the instruments, but especially the bass -- it still rocks, and the singing of Gillan, Head, Gustafson, and Elliman still stands out.

Product Details

Release Date:
09/24/1996
Label:
Decca U.S.
UPC:
0008811154226
catalogNumber:
11542
Rank:
21870

Tracks

Album Credits

Performance Credits

Andrew Lloyd Webber   Primary Artist,Organ,Piano,Vocals,Moog Synthesizer,Musical Direction
Ian Gillan   Vocals
Kenny Wheeler   Trumpet
Harry Beckett   Trumpet
Louis Stewart   Guitar
Chris Spedding   Guitar
Madeline Bell   Vocals,Choir, Chorus
Brian Bennett   Vocals,Choir, Chorus
Lesley Duncan   Vocals,Choir, Chorus
Yvonne Elliman   Vocals,Track Performer
Murray Head   Vocals
Mike Vickers   Moog Synthesizer
P.P. Arnold   Vocals
Patrick Arnold   Choir, Chorus
Tony Ashton   Vocals,Choir, Chorus
Barbara Kay   Vocals,Choir, Chorus
Annette Brox & Victor   Vocals
Victor Brox   Vocals
Joe Castaldini   Bassoon
Keith Christie   Trombone
Jeff Clyne   Bass Guitar
Condon   Trumpet
Michael d'Abo   Vocals
Paul David   Vocals
Alan Doggett   Conductor,Moog Synthesizer,Choir Master
Kay Garner   Vocals,Choir, Chorus
John Gustafson   Vocals
Ian Hamer   Trumpet
Ian Herbert   Clarinet
Clive Hicks   Guitar
Neil Hubbard   Electric Guitar
Frank Jones   Trombone
Brian Keith   Vocals
Neil Lancaster   Vocals,Choir, Chorus
Bill Le Sage   Percussion
John Marshall   Drums
Andrew McGavin   Horn
Chris Mercer   Tenor Saxophone
Anthony More   Trombone
Alan O'Duffy   Vocals,Choir, Chorus
Peter Robinson   Organ,Piano,Electric Piano
Bruce Rowland   Percussion,Drums
Alan Spenner   Bass Guitar
Steve Vaughan   Guitar
Brian Warren   Flute
Mick Weaver   Organ,Piano
Alan Weighall   Bass Guitar
Tim Rice   Vocals,Choir, Chorus
Carl Jenkins   Piano
Barry Dennen   Vocals
Terry Saunders   Vocals,Choir, Chorus
Henry McCulloch   Acoustic Guitar,Electric Guitar
Peter Barnfeather   Vocals,Choir, Chorus
John Burdon   Horn
Seafield St. George   Vocals,Choir, Chorus
Anthony Brooke   Bassoon
Horace James   Choir Master
Paul Raven   Vocals
Paul Davis   Vocals
James Brown   Horn
Geoffrey Mitchell   Choir Master
Chris Taylor   Flute
Douglas Moore   Horn
Mike D'Abo   Vocals
Peter Morgan   Bass Guitar

Technical Credits

Andrew Lloyd Webber   Composer,Producer,Orchestration
Alan O'Duffy   Engineer
Tim Rice   Lyricist,Producer

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Jesus Christ Superstar [2012 Digitally Re-Mastered Edition] 4.3 out of 5 based on 0 ratings. 15 reviews.
Anonymous More than 1 year ago
Had the original LP. Loved it. This digitally recreates the feel of the original. If you liked the original and want a good digital copy than this is it.
Mark_STAR More than 1 year ago
This is the Original recording of the tour group that first recorded and made this the popular hit that it became. I saw this rock opera about 1969 in Columbia, SC at the Coliseum, and this recording best represents the cast's original musical that gained popularity and media coverage for portraying the final hours of the life of Jesus in a skewed and controversial manner in a Rock Opera. The original opera was so weird because the costumes the cast wore were mixtures of the Roman garb, true to the era, added and mixed with a hippy flair that placed a different slant on the story- and somehow worked as the hippy era was still alive at the time and when you think about it- the hippie appearence was very similar, the girls's long full granny gowns and the long hair with beards for the men, all kind of raggidy. Outstanding guitar licks coupled with beautiful voices with unmatchable range control make this a classic. The hits from the opera that were heard on the radio at the time were taken from this version. I've heard the London Version- I've listened to them all, this one is the original and this one is the best- by far! Get it before it's gone.
Guest More than 1 year ago
The premise of this musical is inventive and daring: the story of Jesus Christ from the viewpoint of Judas. The music is natural and beautiful. This is a must-have for all collector's of Broadway's finest.
Anonymous More than 1 year ago
So glad to have finally found this -- the original LONDON recording. This one includes the original, melodic Herod song, not the goofy spoken versions done after by comedians who can't sing. I never understood why the Broadway recordings and others done after London ruined that song in that way. It was such an important scene, why mess it up to cameo a big name comedian? If you liked the original music, this one's for you.
Guest More than 1 year ago
If you are thinking of buying a copy of "Jeasus Christ Superstar," look no further. This is the best possible recording you will find. The lyrics are infectious and the oddness of the 70s style of music fits surprising well. Since I Was a child, I must say that the song between Pilate and Christ has always been my favorite. I just love the way it is sung and played out. The Pontius Pilate used in this recording is brilliant! Every song is brilliant in fact, and the vocals for each character fit so amazingly well you will never be able to listen or see another version without wishing you were listening to this one. This is the only musical I can actually listen to and feel as if I am not listening to a musical, I can listen to it like any other CD...except I have to refrain myself from dancing around.
Anonymous More than 1 year ago
Guest More than 1 year ago
This is the real deal. Yeah, &quot Could we start again&quot isn't here, but neither are the additional versus to the Pilate scene. This is the Rock Opera as it came out in 1970, with the original singers, not the pretty boys who had to talk or scream some of the lyrics cuz they didn't have the range of the original. Don'tcha get me wrong, I loved the movie, too, but it pales by comparison.
Guest More than 1 year ago
Been mesmerised by this particular version of the play for the last twenty or more years. Nobody did Jesus better than Ian Gillan did. Even the movie version could not sway me with its ''Could we start again'' number. Simply Great!
Guest More than 1 year ago
This is a good version of Superstar. No major songs are left out, except perhaps 'Could We Start Again Please'. Which I think is a sorta new song and this is an older recording, but it really adds something to the story, that one song really expresses a lot! I also think that this recording lacks emotion in some parts. Some songs don't seem to have a lot behind them, and it's almost a let down...
Gram More than 1 year ago
After listening to the original blaring from our stereo in the 80's & 90's during Easter week, we have been at a loss these past years with the new technology and nothing to play our old lp on. The other JC Superstar CD releases do not measure up to this remastered version. We also appreciated that the words to all of the songs were included as in the original. Thank you! Thank you!
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