Jesus Christ Superstar (Original Studio Recording)
Andrew Lloyd Webber & Tim Rice
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Reseña de álbum
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.
Reseñas de usuarios
Not the movie sound track---
Jesus Christ Superstar had an interesting history. First released as an album in 1970 w/ Ian Gillian singing the part of Jesus and Murray Head as Judas Iscariot. This appears to be that album. There is also a movie soundtrack (1973) w/ Ted Neely as Jesus and Carl Anderson as Judas Iscariot. I believe there are additional songs/interludes in the movie not included here. There *may* be a Broadway cast album with Jeff Feinholt as Jesus and Ben Vereen as Judas. I have never seen or heard that album. Of the albums I know to exist, the best is the movie soundtrack.
This is the original recording
This is the original recording, the BenVereen thing is a typo. This was released before Weber started writing plays. This is where he started. Ben Vereen was the original Judas on Broadway but Murray Head was the one who first recorded it. Many of this cast did play the roles on Broadway and in the movie, Barry Dennen played Pilate, Yvonne Elliman was Mary. Ted Neeley was Jesus in the movie and Carl Anderson was Judas. While both recordings were extrordinary I am a bigger fan of the Movie sound track as there seemed to be more feeling in the performances and I liked the arrangments better. I hope Itunes makes that sound track available very soon.
Jesus Christ Superstar ~ The Rock Opera vs. The Movie
I thank Webber & Rice for 2 things: My initial curiosity about God In The Blessed Trinity & (aside from The Beatles & early Grand Funk Railroad) my decision to become a professional musician, 25 years & counting. I also try to walk with God daily, along with my family, & I thank JCS for kick-starting my conversion. I think Ian Gillan was one of the greatest rock vocalists of all time. Who could scream with such authority ( you'd be hard pressed to detect a phony falsetto sound, even though that's how he did them) & emit such a beautiful, even paced vibrato while doing so? NOBODY!! He gives me goose bumps to this day to hear his every scream on JCS. This is one of the reasons Webber & Rice pleaded with him to continue the broadway role, however, he was making too much $ at the time with Deep Purple. The movie came out well after the opera, & though Ted Neeley did an excellent job (along with the rest of the cast) his thin, falsetto sounding screams paled to the rock solid bellowing of Ian Gillan. In my opinion, Webber & Rice outdid themselves with this masterpiece of a production, & I did not find it offensive to our Lord, who, even in the movie, maintained His Innocence in keeping with the requirements of The Ultimately Pure Sacrifice that needed be, in order to save our miserable, selfish cans!
Nacido(a): 22 de marzo de 1948 en London, England
Género: Banda sonora
Años de actividad: '60s, '70s, '80s, '90s, '00s, '10s