What does it sound like?:
Jesus Christ Superstar is The Passion as Rock Opera, outlining Jesus’s last five days of life up to the crucifixion. It was originally conceived as a concept album but soon became a Broadway Musical, then a Hollywood Movie. The 1970 album, featuring Deep Purple’s Ian Gillan as Jesus, Yvonne Elliman as Mary Magdalene and Murray Head as Judas, backed by most of Joe Cocker’s Grease Band, sold millions, especially in America. The combination of a biblical tale told from an unusual perspective, the glamour of the theatre, rock styling and commercial pop smarts paid dividends. It was Lloyd-Webber’s and Rice’s first big hit. Joseph And The Amazing Technicolour Dreamcoat, written before it, soon followed suit and their reputations as the exciting young guns of Musical Theatre were secured. Strangely, Superstar barely warrants a mention in David Hepworth’s 1971, despite being a bone fide Rock concept album packed with tunes and enjoying greater success than Carole King’s Tapestry.
It’s a piece that has endured, despite the early seventies slang, and has enjoyed a number of reboots. The latest is a live screening on NBC over the Easter weekend, staged as a Rock concert, replete with leather costumes, tattoos, dramatic choreography and a spectacular light display, plus a glorious chorus in a mosh pit. This live album is the soundtrack of that show.
The beauty of Superstar is the depth and complexity of the human relationships between the three leads. The key role is Judas, whose character, motivations and conflicts are expanded from the sketchy details in the Gospel. He is displayed as someone the audience can sympathise with, whose political opinions and discussions with Jesus carry the weight of good sense. He is far more complicated than simply a traitor for money. It’s a role that demands a good voice and great acting skills. Brandon Victor Dixon is mighty, especially during his anguished Damned For All Time/Blood Money. Yvonne Elliman made her name as the besotted and utterly loyal Mary Magdalene but Sara Bareilles may be even better. I Don’t Know How To Love Him is a gorgeous love song with a melody adapted from Mendelssohn. Bareilles’s rendition has an ache in her soul that is irresistible. Jesus is usually played by a Rock star. Casting John Legend, a man with a sweet, delicate voice, emphasises Jesus’s humanity, irritable, vulnerable and afraid, rather than the super being of the title, He is at his best in an impassioned performance of Gethsemane (I Only Want To Say). His lack of power is more than made up by the range of his expression.
Superstar also gives people in lesser roles a chance to shine. Norm Lewis and Jin Ha bring a sonorous pomposity to the High Priests. Ben Daniels, as Pilate, dithers bewilderingly, while Jason Tam’s Peter is suitably weak and impotent. Alice Cooper creates a bizarre and charismatic Herod, despite, or because of, his croaking voice and Erik Grönwall is a very persuasive Simon Zealotes Rock Rebel.
The real revelation on this recording, however, is the mosh pit chorus. It adds another dimension from the adulation of Palm Sunday, through the jaw-dropping betrayal and the baying for blood to the horror of the crucifixion itself and the hushed, respectful burial. It’s almost an additional key character, adding excitement, tension and a commentary to the drama as it unfolds, immersing the audience with it.
Pete Townshend wrote that the main goal of pop music is to reach a wide audience. Superstar was a step-change from Hair, the musical, and Tommy, the rock opera album, almost inventing a new, wider audience to reach. It did so with a bold, direct, challenging piece of great artistic merit, flexible enough to work across multiple media. There is barely a weak moment in the original studio album or this live version. How many double albums can you honestly say that about?
Jesus Christ Superstar is the greatest story ever told, told exceedingly well. Even without dynamic visuals, this live album is a refreshing reboot worthy of any Rock fan’s attention.
What does it all *mean*?
Jesus Christ Superstar deserves a more exalted and venerated place in Rock’s great pantheon.
Goes well with…
An open mind.
Superstar was banned in some countries for being sacrilegious, being seen as too sympathetic to Judas and too critical of Christ. Some Rock Snobs also deny its authenticity.
Release Date:
Might suit people who like…
America. One year after The Beatles split up, America took Jesus as Rock Star to its heart. Much later, it enjoyed the longest West End run of its time but it’s telling that this TV Special was screened in the US.
Tiggerlion says
Fun fact: Herod’s Song was originally written for Lulu to sing at The Eurovision Song Contest.
Lodestone of Wrongness says
I’d rather listen to Barclay James Harvest than this. Rock Operas are by definition wrong and this includes the twaddle that is Tommy.
Now to contradict myself – I actually rather liked The Greatest Showman….
Tiggerlion says
That’s a shame. I thought you might enjoy the scourging, 39 lashes delivered by hot guitar licks.
There is far more meat to chew on here than BJH, more tunes and much better singing & playing.
Black Type says
TGS is ace…you should try catching a singalong screening. It’s truly a phenomenon. Fans have become obsessive, returning to see it multiple times (hence its longevity at the cinema).
Moose the Mooche says
…wears frilly knickers and a Playtex bra…
Rigid Digit says
He also went down a hill on a Yamaha
Moose the Mooche says
What a nice image, a messiah sledding on a keyboard.
… what?
dkhbrit says
Did a skid
Killed a kid
As I recall
Vulpes Vulpes says
Rock snobs can go suck a lemon, and I don’t care if anyone thinks less of this than BJH. They are both mistaken, and obviously don’t meet the open minded requirement alluded to by the OP. The best version is the big 1973 Universal Pictures, Robert Stigwood, Hollywood blockbuster film soundtrack, with Ted Neeley as Jesus, Carl Anderson as Judas, and the fantastic Yvonne Elliman reprising her Mary Magdalene role, rather than the original cast version, IMHO, and it’s a great listen. Has to be on vinyl, and has to have that glorious gatefold sleeve with the full libretto insert. It’s an occasion album that amply rewards a good wallow.
Tiggerlion says
Give this a listen, foxy. I suspect you’ll enjoy it. All three leads to stupendously well.
Leicester Bangs says
Ohmigod like SO defensive.
Vulpes Vulpes says
Spell it out then.
Leicester Bangs says
Spell what out?
Vulpes Vulpes says
Whatever the heck the previous comment was supposed to mean!
Leicester Bangs says
Not a lot, really, and even less in the cold, sober light of day. Like you I was responding to the comment in the OP about ‘rock snobs’, but by mimicking a teenage girl (something one should not do online), i.e. a forlorn and misguided attempt at self-deprecating satire, typical of a Sunday afternoon. Apols.
Vulpes Vulpes says
Arf! No probs!
Lodestone of Wrongness says
Anybody else rather like The Greatest Showman (asking for a friend) ?
Black Type says
See above.
Jorrox says
I thought they were the worst songs ever written.
Moose the Mooche says
Someone should write an opera about Rice & Webber… a severed alliance that one.
Tiggerlion says
Their partnership made them both multi-millionaires and both have done alright since. 😉
I agree with Tim. That TV show, Superstar, was tasteless & tacky.
Moose the Mooche says
It’s the severing I’m interested in, of course. Rice I have a lot of time for. Andrew, hardly any.
Tiggerlion says
Tim blames Cats. T.S. Eliot had already written the lyrics so he was redundant.
Moose the Mooche says
That bloody TS Eliot getsin everywhere… the trickster!
Kaisfatdad says
A Catastrophe!
The Alfred Prufrock Hitmaker really left Mr Rice in the Waste Land there.
deramdaze says
You know me, always on the look out for “the beginning” and/or “the end” of the Golden Age.
The picture in a recent Radio Times of Webber and Rice captioned “October 1970” sure looked … post-60s, post-Let It Be, post-Jimi … like “the end.”
It’s sure as good as any,
Time to leave the bustling metropolis, cos it ain’t got no swing, and live in a shack in the mountains or its equivalent, somewhere quiet … an Arsenal season ticket maybe.
Moose the Mooche says
Where’s the beginning then? Serious question! The end of national service?
Bargepole says
One of the first albums I ever owned after a school trip to see it.
This version is actually well worth your attention – John Legend is surprisingly good, but Alice steals the show.
Tiggerlion says
Impressive though Alice is, I’m not so sure about stealing the show. Erik convinced me to go to war.
Moose the Mooche says
Why surprisingly? John Legend has a great voice. I like him. Not cool but hey, bite me.
Figure of speech!
Kid Dynamite says
My beloved Afghan Whigs covered “The Temple”, you know.
I also have live recordings where they do “39 Lashes” as the intro to “Honky’s Ladder”. The sacred to the profane, indeed.
Sitheref2409 says
If a man was interested in these recordings, like, how would he find them? Asking for a huge Greg Dulli fan
Kid Dynamite says
If said man was to give an infinite number of monkeys an infinite number of laptops, sooner or later one of the primates would type https://www.allbootsdulli.org/shows/186 into the address bar.
davebigpicture says
Tim Rice spoke about this on the latest Word In Your Ear podcast. Big fan of Alice Cooper as well as saying that the pre stage show album was very important in the overall success. Worth an hour of your time.
Sewer Robot says
U guys!!!
It’s daft but somehow endearing the way you keep trying to get me to listen to prog, but Steaming Lord Andrew..?
– Get tae Falkirk!!
fitterstoke says
You can run, but you can’t hide your legs!!
Artery says
“Jesus Christ Superstar deserves a more exalted and venerated place in Rock’s great pantheon.”
I assume that you are joking Tigs?
JCS was the epitome of uncool in 1971, and so it shall remain for all eternity. Amen. I was forced to watch the film and hear the album, so I know of what I write.
Tiggerlion says
There was a lot that was so uncool in 1971. How do you feel about Carole King’s Tapestry, now lauded as an amazing artistic achievement? Faust were considered a joke. Tago Mago was ignored. Leonard Cohen was regarded as someone who should have stuck to the written word. Serge Gainsbourg was just a French perv. Harry Nilsson, Don Mclean, James Taylor and Cats Stevens were for mums. The Faces were a shambles. I could go on. However, all the uncoolness surrounding those acts seems to have disappeared. Superstar is quality and stands shoulder to shoulder with many of the great albums of the early seventies.
Artery says
Curiously, I actually like every single one of those artists you mention. All made some very worthwhile recordings (and some dreck too) and I have been a huge fan of Leonard Cohen since I first heard Songs Of Love And Hate on John Peel that same year and rushed out to buy it. My Mum at the time was listening to JIm Reeves and Mantovani FYI; Taylor, King and Stevens were for younger people. They weren’t “uncool” as such, just conventionally melodic and not to everyone’s taste. JCS was considered mainstream and “square”ly within the culture of theatrical musical convention. I saw Hair at around this time and that was too, just with added nudity. A better musical film from this time was the much darker Caberet IMO. As an aside a friend of mine wrote a thesis about cigarette symbolism in Cabaret. Anything similar about JCS?
One thing we haven’t covered is the subject matter of Jesus. Christianity was definitely uncool in my circle of friends then, largely because we had had it pushed down our throats since birth and enough was enuff.
Tiggerlion says
I like them all too but they weren’t especially cool at the time.
Cabaret is a superb film, though the songs are much better than the dialogue.
Jesus, or at least religion, was very uncool. JCS actually improved matters, I think, putting him in a much more relatable light and as a rock superstar. Much more cool. The show also keeps faith with the nuts and bolts of the Gospels but embellishes other ‘flawed’ characters in a way a ‘Christian’ audience wasn’t used to. Both Judas and Mary Magdalene are much more rounded human beings with a better back story and are given the chance to shine in the spotlight.
It seems to me anyone can write a thesis about anything these days. Doesn’t Mark Kermode have a Ph.D on The Exorcist?
Junior Wells says
In general I’m with Lodes but I did enjoy the Aussie version of
JCS and ,as it happens the seventies film version was on telly the other day. Judas was the stand out singer – Carl Anderson.
A mate has been a musical director of a lot of musicals and is always trying to get me to go along. Chicago, that Bobby Darin thing etc. I avoid them like the plague. The only exception has been the Lion King which I’ve seen 3 times. I’ve surprised myself as ,being an African music purist, I expected to hate the music but, as they say, it’s all good.
Sniffity says
Could be wrong, but I read somewhere that the fate of the original album depended on the success of the title track, which was recorded and released first. The record company made it clear: single flops = no album, single successful = rest of album will be recorded and released.
Odd to think that the entire industry grown around the show hinged on that one 4:15 song.
Tiggerlion says
You may be right. There was a full year between the single and the album. There was no expense spared on its recording. The Trinidad Singers and a full orchestra weren’t cheap but The Grease Band also knew a cash machine when they saw one.
davebigpicture says
The Grease Band did it for a flat fee. Obviously they came to regret that decision.
Tiggerlion says
Maybe not so savvy after all.
retropath2 says
Jesus? I preferred him in Godspell.
davebigpicture says
And that cameo in Life of Brian.
Tiggerlion says
Godspell is weak piffle compared to Superstar. Hasn’t aged well.
Moose the Mooche says
I find it peak wiffle.
Mike_H says
Coincidentally, I was talking to a bloke I’d never met before in the pub on Saturday (friend of a friend) who mentioned in passing that “Jesus Christ Superstar” was a favourite album of his, which he revisited frequently. I don’t think he’s a religious person, judging by the rest of the evening’s chat. Our mutual friend (former music student, now a folkie) agreed it was very good.
I can’t recall ever having heard it in it’s entirety.
Tiggerlion says
There you have it. If a person who studied musicology rates it, who are we to disagree? (Just a bunch of people talking b*ll*ocks, of course.)
dai says
If things like Jesus Christ Superstar are praised to the rafters I am coming to the conclusion that I am on the wrong music site.
Tiggerlion says
If you think this is praising to the rafters, you should read my David Bowie reviews 😉
dai says
Are you a religious guy? @Tiggerlion
Tiggerlion says
No. But I was dragged up a Catholic, was caned for using my left hand to make the sign of the cross, sang in a choir, served at the altar (funerals and weddings were well paid) and performed as Pontius Pilate in a Passion Play (not a musical) when I was a teenager. I’m all too familiar with the details of the story and I like the fleshing out of Judas & MM. It is a matter of fact that Jesus of Nazareth lived and died on a cross (the Romans kept excellent records) but I don’t believe in the resurrection. Thankfully, JCS stops at the burial.
On the other hand, David Bowie is a god and is currently existing in ethereal form on a planet near the left hand star on Orion’s belt, as depicted in the ancient pyramids (which predate Christ, of course).
Moose the Mooche says
Orion’s belt… holding up Orion’s trousers.
dai says
Pretty similar to my upbringing, except I am (was) a methodist.
Tiggerlion says
See! You can’t help yourself. It never leaves you.
Bargepole says
Wasn’t it just last week that you suggested that too narrow a range of music was featured in ‘Nights In’?
Moose the Mooche says
FOUND! Exclusive image of Tiggs cracking the boards in his youth…
Tiggerlion says
Good job you can’t see the tights!
Mike_H says
That explains the “soulful” expression.
Wrong size.
dai says
Fair enough. Just feature music I like please 😉
ivan says
I’m a bit biased but I’m involved with a musical society and we performed this in 2009. I knew a few of the tracks from ALW albums my mam had but that was it. We were urged to give a listen to the (at the time) rather recent re-recording of the album, but one older lag in the group pointed me in the direction of the Murray Head etc version and said to listen to it with an open mind.
I rarely darken the door of a church so I treat this as just another concept album, though one where the story is a trifle better known. I’ve not given much of a listen to this new version, but to those poo-poohing the original on the basis of
a) what it’s about
b) who wrote it
c) whether it is/was ‘cool’.
you *might* want to just try it again; it’s *very* 1970’s and pretty much reeks of whatever recreational herbs were doing the rounds at the time. Heaven on Their Minds alone is worth the price of entry. Yes yes yes, it’s Lloyd Webber and that means a level of attendant baggage but if you can park that to one side, this is a decent listen.
Vincent says
It’s not if something is “cool” or not. it’s if it’s got merit within it’s own parameters. There is some wonderful music inspired by religion (see the great gospel compilations out there), but JCS was not and seems terribly forced to me, as was Joseph/ Dreamcoat and Godspell. it’s all part of the “Jesus Freak” thing that emerged in the early 70s. JCS was used to try and push being an observant Catholic on us as a gateway drug, along with,Cat Stevens (HAH!), and various other earnest strummers, so I have a life-long suspicion of same. No wonder we went for Hawkwind, the Sabs, and Van der graaf Generator. They should’ve got us with:
https://www.youtube.com/watch?v=-LydxGQX5lk
ivan says
Oh it may well have been *used* by Jesus-freaks to indoctrinate ver kids with summat that they thought had the whiff of coolness about it, and it’s to be expected that you’d dislike, heck even resent, the music on that basis.
However, my point is that this, of itself, isn’t objectively sufficient to condemn something as ‘uncool’, much less something not worthy of another listen; in the same way that ‘my enemy’s enemy is my friend’ this might be a cultural fallacy that needs to be challenged.
I mean, fecks sakes, i grew up taught by priests, brothers and nuns, I’m the worst kind of catholic you’ll meet and I can listen to it and enjoy the tunes.
Moose the Mooche says
“That sounds like rock and/or roll!!”
pencilsqueezer says
Jesus Banjo.
Moose the Mooche says
Nice thread cross-pollination there, Mr P.
Tiggerlion says
Fantastic!
He should do the whole album.
pencilsqueezer says
Blessed are the banjo pluckers …
Junior Wells says
Had a listen to the album in question. Can I offer an laternative view to Tigger’s ? It’s awful but in fairness I also listened to the original album. It’s awful too.
I can only assumed I liked the stage show at the time coz I was stoned, I was fairly young and I had never seen a musical before so there was a bit of awe involved.
I hate when singers say, sing really deep, to convey gravitas for some serious moment – Pilate I’m looking at you.
Tiggerlion says
Of course you may. I’m impressed you invested four hours of your time listening to two versions of it.
However, apart from singing really deep to convey gravitas, what’s so awful? There are good tunes, excellent playing (the bass & lead guitarists are especially good) and impressive, committed singing by all involved, including Pilate. It is a 2CD set that compares favourably with most Musical Theatre, most double concept albums and anything that could be called a Rock Opera. In fact, I struggle to think of anything in those categories that is better.
Please expand.
Junior Wells says
Well to be honest I didn’t play all the tracks all the way through. And I had them on in the background mostly while doing other things.
The playing is as you say ,very good and the voices are fine. I just have a problem with musical theatre per se. So I guess I’m like Disappointment Bob reviewing a stonkin’ blues rock album. He’s never going to like it coz he doesn’t like the genre. I find that too much of the song is compromised for the story. There are exceptions of course, I Don’t Know How To Love Him is a beautiful song irrespective of context. Most musicals probably have a great song or even two but mostly they are vehicles for the storyline. Unless it’s a musical such as the Bobby Darrin thing where the story is a vehicle for the songs in which case the compromise is the other way.
I cited Lion King as one I continue to like. Perhaps it’s the whole African thing which has seduced me – the use of authentic African singers certainly helps. But even that has got one of those sonorous menacing tunes – Scar up on some rock as I recall.
I’m glad you reviewed it and gave it a positive review as it is/was a significant musical and cultural thing.
chiz says
As a general rule of thumb I find it best to treat rock operas in the same way one treats incest or stamp collecting – it’s all very well to do it in the privacy of your own home but don’t brag about it to strangers.
I remember JCS being used at my bible class as evidence that Christians could be cool – ‘Look, it’s even got Ian Gillan from the The Deep Purples in it!” I wasn’t convinced that singing “Hey zanna Hosanna zanna zanna hey, zanna ho zanna hey zanna” was going to get me laid any time soon, and I didn’t like to mention its underlying sympathy for the devil, or at least for Judas. His line at Gethsemane – “What if I just stay here and ruin your grand ambition?”- isn’t exactly straight out of the good book.
So JCS played its part in my teenage conversion away from godism, mostly because if anyone in real life actually asked me ‘What’s the buzz? Tell me what’s a-happening” I’d want to punch them, and because Judas is actually more of a dude that Big JC. His opening song, Heaven on Their Minds, has that fantastic nagging guitar bit, and then lays out a rational man’s critic of religious mania.
Of course Judas doesn’t make it out of Superstar alive, and I’m not sure I would either if I had to listen to it again now.
Tiggerlion says
That’s right. It made Judas cool. Plus, no-one can beat the love of a prostitute with a good heart.
Sewer Robot says
If that’s the case, I’m surprised the Jesus peddlers were so on board*, when – in contrast – they lunged, two-footed and studs showing at Life Of Brian..
(*I caught the tail end of this, being force-fed Dreamcoat. The other one I found bewildering was their fondness for that “Lord Of The Dance” song, which, to my young mind, seemed to fit the definition of blasphemous.
If it was simply the case that the Exorcist/Omen seventies was just good for brand awareness, then Brian would fit that bill, non?)
Twang says
I was in the student club which did musicals at college and whilst we didn’t do JCS we did a fund raiser with songs from a number of shows – my “Heaven on their minds” was awesome. I really liked the original album with Ian Gillan, Victor Brox, Yvonne Elliman and based on a quick lis this seems like a good go at the songs.
Lodestone of Wrongness says
I kitted myself up for a listen – Dear God In Heaven Forgive Us For We Have Sinned!!! Some of you may have noticed that there are some music genres I have a general distaste for but, hey, it’s a broad church here and I would never ever claim my taste is “better” than anyone else’s (although obviously it is).
But Heavens to Betsy both this and the original are just awful, awful, awful and no amount of trying to slot JCS into some sort of cultural importance slot will stand up to scrutiny. Let’s all just accept that there was a period in the early seventies when fashion and music collided in a maelstrom of bad taste and delusion. As irrefutable evidence I cite my very own wedding photographs.
Moose the Mooche says
Oh god yes. What were you thinking? You could at least have used black and white film.
MC Escher says
Well played Sir. It is, obviously, awful. And I didn’t even listen to it!
SteveT says
Lots of interesting points on here. Personally love the Soundtrack. Haven’t heard for ages.
Where are we on Rock Follies and Tell me on a Sunday.?Loved them at the time, doubt they have the same cool now as JCS.
Lodestone of Wrongness says
Yebbut Rock Follies, unlike the other two, was brilliant. I am not about to disprove this statement by going to YouTube….
Tiggerlion says
Rock Follies, temporarily, made Andy MacKay the richest member of Roxy Music. It yielded two number one albums for him. Bryan wasn’t best pleased, I imagine.