Customer Reviews

Jesus Christ Superstar

5 star:		(34)
4 star:		(6)
3 star:		(0)
2 star:		(0)
1 star:		(2)

 

 

This double CD is by far the best of the number of 'Jesus Christ Superstar' recordings to date. It is the original. Gillan as Jesus and Head as Judas still send out the chilling and emotional vocals that started the entire phenomenom. Of course, another highlight is Yvonne Elliman, a soon to be superstar. Her renditions are priceless. The chorus and orchestration are exactly what you heard when this set came out in the early seventies on the radio. Don't mess with an original unless you plan on improving it. This is the first and this is the best.

There are atleast 10 to 15 recordings of this great Rock Opera circulating the world perhaps more but this is the original and still the best. The cast in this recording is absolutely wonderful especially Ian Gillan as Jesus and Murray Head as Judas, they are both superb and their voices are incredible. I had the rare opportunity to see a production of JESUS CHRIST SUPERSTAR with Ted Neely as Jesus and Carl Anderson as Judas from the original 1973, film and they were both fantastic. This recording is a marvel to listen to and the 76 piece orchestra that they used in the studio is also fantastic. This is the absolute best recording of this Opera and it also makes for a great Rock album as well. I'm not too much into religion at all but you don't have to be to realize that this is a superb album full of great songs and a great classical score provided by a top orchestra as the London Symphony. There is even one song that topped the U.S. charts in 1970, before this legendary Rock Opera made its debut on Broadway in 1971. "Superstar", was release as a single and it climbed the Pop and Rock charts of the United States and England so by the time this production premiered on Broadway people already knew about JCS in a way. Don't be fooled by the other recordings of this production this is the original and still the best. I doubt very seriously that another recording of this material will ever top this one. This double album rocks with awesome power and this classic reocording has already proven to be timeless. So if you want to listen to JESUS CHRIST SUPERSTAR, the way is was meant to be than get this one the original and still the best.

For me, this 70's version of JCS remains definitive. It must be said that it doesn't include a few pieces of the score (apparently added after the original concept album) such as "Could we start again please?" and several lines from "Trial by Pilate". Nevertheless, Ian Gillan and Murry Head's tremendous vocal range easily make up for this. If you don't own a copy of JCS, don't let the age of this recording put you off. Finally, Audiophile companies often offer remastered versions of CDs on gold discs for twice the cost of the regular CD, but, in reality, rarely deliver any substantial improvement in sound quality. Happily, this remastered version of JCS is indeed an improvement and dedicated fans of the musical won't be disappointed if they buy this set for the sonics alone.

Believe it or not, I first heard this recording of "Jesus Christ Superstar" when it was played for us in my freshman English class in high school (I think our student teacher was trying to show he was cool, because there was no assignment to go with spending two days listening to the album). I also recall trying to remember how the theme for the title song went so I could keep it in my mind and thinking that this really was an opera because the two main characters are both dead at the end, certainly a traditional ending in many operas. Of course, in addition to the music there was the controversy over this two-album studio production. The public firestorm and focused on two key issues:

First, there was the uproar over the fact that rock music was being used to tell a religious story; you have to remember that this was a time when having a folk mass or service was seen as being cutting-edge long-haired radicalism in Christianity. But Andrew Lloyd Webber's music involves much more than rock, although certainly the guitar that opens the "Overture" is a definitive statement. "I Don't Know How to Love Him" is a traditional pop ballad, as Helen Reddy proved with her cover that hit the charts, while "John Nineteen Forty-One" is a classical piece played entirely by strings. "King Herod's Song" stands out as one of those stylistic pastiches that Lloyd Webber loves (as we would later see in "Cats" and "Phantom of the Opera"). More importantly, it seems to me that the rock music is used strategically. Certainly Judas has songs that are more rock oriented (e.g., "Heaven on Their Minds," "Damned for All Time") when compared to those for sung by Jesus (e.g., "Gethsemane"), which makes sense in terms of character dynamics. Rock music is also used selectively within songs, most particularly "Everything's Alright," where the pop chorus by Mary Magdalene and the other women finds a dramatic counterpoint in the rock style versus of Judas and Jesus. The whole controversy on this score is certainly moot now because within a few years many denominations offered new liturgies with "modern" music, which certainly did not go as far as rock music, but certainly shifted the music to the 20th century and away from classical music in the mode of Bach.

Second, there was a charge that "Jesus Christ Superstar" presented a secular version of Jesus as man, rather than as divine (a similar charge was leveled against Zefferelli's television mini-series "Jesus of Nazareth"). It is certainly true that Jesus does not perform any miracles during the story being told, but then there are not any miracles recorded in the Gospels for the last week of the life of Jesus, which is the time frame of this rock opera: It begins Friday night in Bethany and ends pretty much one week later as the body of Jesus is lain in the tomb. Miracles aside, the Tim Rice libretto is as faithful to the Gospels as any other dramatic account of these events I have ever seen, whatever the religious beliefs of Rice and Lloyd Webber (which were hotly debated at the time). Some took the show to task for ending with the "Crucifixion" rather than the Resurrection, but I find it powerful to ask audiences to make a judgment on the divinity of Jesus on the basis of how he lived and died (Note: I was in production of the show in which we actually did the Ascension at the end as the music ended). I would also point the end music of "John Nineteen Forty-One" and have people go back and pay attention to what lyrics that same music is used for in "Gethsemane" as a way of assessing what is ultimately being emphasized in this rock opera.

Ironically, "Jesus Christ Superstar" created a resurgence of interest in both Jesus and Christianity among youth. The concept album, as it came to be known, was turned into a Broadway show that offered outlandishness that made "Hair" look like a Medieval mystery play. It might be insightful for you to compare the concept album of "Evita" with the Broadway version to ponder what would have happened if someone had enforced a similar revision on "Jesus Christ Superstar" (the production I was in had to find creative ways, such as having banners unfurl with quotations from Scripture, to deal with the problems of songs that fade out). Purely from a listening standpoint my preference remains for the original concept album with Murray Head and Ian Gillian as Judas and Jesus. I know part of this is the residue of the excitement that was generated when this came out, but I happen to thing everything is alright with that.

I am a huge fan of all the versions of JCS but the origional is the best. I feel it captures the esscence of what Weber and Rice were trying to create. The main thing I love about this CD is the vintage sound. It really captures that early 70's sound. Those fuzz guitars and moog synthesizers just send chills down my spine. Ian Gillan of Deep Purple is by far the best Jesus. I know this will upset fans of Ted Neely, but He has a way to make you feel the part. His voice is just amazing.This is the best version of Gethsemane Ive heard. I also feel that Murray Head does the part of Judas justice. Other highlights are Yvonne Elliman as Mary and Barry Dennen as Pilate. I highly recommend this gold master disc for the best reproduction of this classic recording yet.

If I could give this 10 stars, it still would not be able to describe how amazing, moving and powerful this recording is. Ian Gillan is the ONLY Jesus; do not even attempt to put Ted Neeley in the same galaxy as Ian. As everyone before me has agreed, noone has EVER equaled his performance in Gethsemane. Murray Head's Judas is a complex and tragic character; a victim of God and of fate. I realise that this will rub some of you the wrong way, so I will bring up something in this review that has really stayed with me since I was able to comprehend the sick idea of fate and "God's will". The last words of Judas and Pilate's dream.
Judas' last words:

"My mind is in darkness now! My God... I am sick, I've been used... and you knew all the time!!! My God, I'll never, ever know why you chose me for your crime?! Your foul, bloody crime! You have murdered me! You have murdered me, murdered me, murdered me, murdered me, murdered me, murdered me, murdered me!!!"

In his last moments on Earth, Judas realises that his sole reason for existance, the reason he was born was to betray a man whom he really did love. The same fate with Barry Dennen's Pontius Pilate. If you listen to the last verse of "Pilate's Dream" it sends a chill down your spine:

"Then I saw thousands of millions crying for this man; and then I heard them mentioning my name and leaving me the blame..."

Pilate DID NOT WANT to have Jesus die. He saw that He was innocent; but, God intended Pilate to sentence Jesus to death and even a dream could not change God's will and so, now and forever, Pontius Pilate will be considered the man who killed Jesus. Pretty disturbing if you ask me. I realise that I have probably ruffled alot of feathers or gotten a few proverbial goats. If any one would like to discuss this with me, I'd be happy to talk and philosophise with you. My email address is above and I welcome all people for a friendly discussion. Thank you.


P.S. I am anything but religious; however, from Ash Wednesday through Ascension Day, the only music that gets played in my car is this CD.

This original Concept recording truly is the best version of this Rock Opera. I purchased the original on vinyl as soon as it came out back in 1970, and still think it is THE BEST rock opera ever written (with my apologies to Pete Townsend and The Who).

Ian Gillan as Jesus, and Murray Head as Judas, are without compare. No one (and I include Ted Neely) even comes CLOSE to doing the job thet Ian Gillan does in the role of Jesus. His vocal power, and incredible range, mark him as one of the best voices in rock. His rendition of "Gethsemene" is, without a doubt, the most superior performance of this song. The emotion he puts into his performance can make a grown man cry.

Murray Head, as Judas, is like the perfect fit everyone always looks for. His version of "Heaven On Their Mind" is powerful and compelling. His voice is perfect for this and the other sonmgs he performs on the album.

The main problem with the movie soundtrack is these two performers are not on it. Along with Yvonne Eliman, and Barry Dennen, they are the best of this cast.

If you are a true fan of Jesus Christ Superstar, then this is a MUST own CD.

Without question the original studio cast recording of 1969/1970 ... Ian Gillian, Murray Head is the finest rendition of this spectacular "rock opera". I have listened to the broadway and seen the movie versions of this masterpiece. Each has it's own personality. However the powerful vocal performance of Ian Gillian (Jesus)and Murray Head (Judas)stand above the others. I could not say of these two has (had) more talent, but to have both of them in the same studio must have been phenomonal!! Yvonne Elliman and Barry Dennen also provide outstanding performances. I highly reccomend this recording!!

The 70's version is absolutely the best. Murray Head and Ian Gillen's powerful vocals and emotional performance are fantastic and simply cannot be matched by Ted Neeley's somewhat whiny vocals. Although Carl Anderson made the Judas role his own. I think this musical is one of the best representations of what the 70's had to offer. Try it out...you are going to love it!

I listened to the album for 30 years before I bought the tape. I bought the gold CD after reading one review that said it was best ever, and another review that said there was virtually no difference in the remastered versions; in my opinion the second guy is right. Save some money. I see little difference, if any, in quality between the original album and the $45 CD. Live and learn.