Jesus Christ Superstar - A Rock Opera 2CD. Ian Gillan (Deep Purple) sings! DMCX 501 (RARE)
Jesus Christ Superstar - A Rock Opera 2CD. Ian Gillan (Deep Purple) sings! DMCX 501 (RARE)

Jesus Christ Superstar – A Rock Opera 2CD. Ian Gillan (Deep Purple) sings! DMCX 501 (RARE)

£23.50

In stock

Description

Originally released October 1970
MCA Records DMCX 501
Format: 2 × CD, Album
Country: Germany
Released: 1995
Genre: Rock, Stage & Screen
Style: Symphonic Rock

Check all samples:
www.allmusic.com/album/jesus-christ-superstar-mw0000056121

Tracklist:
—————–
CD1
01. Overture [3:59]
02. Heaven On Their Minds [4:22]
03. Whats The Buzz/Strange Thing Mystifying [4:14]
04. Everythings Alright [5:14]
05. This Jesus Must Die [3:37]
06. Hosanna [2:09]
07. Simon Zealotes/Poor Jerusalem [4:47]
08. Pilates Dream [1:29]
09. The Temple [4:43]
10. Everythings Alright (Reprise) [0:32]
11. I Don’t Know How To Love Him [3:38]
12. Damned For All Time/Blood Money [5:09]
————————–
Total time [00:43:53]

CD2
01. The Last Supper [7:08]
02. Gethsemane (I Only Want To Say) [5:33]
03. The Arrest [3:21]
04. Peters Denial [1:29]
05. Pilate And Christ [2:44]
06. King Herods Song (Try It And See) [3:03]
07. Judas’ Death [4:15]
08. Trial Before Pilate (Including The 39 Lashes) [5:13]
09. Superstar [4:16]
10. Crucifixion [4:06]
11. John Nineteen Forty-One [2:09]
————————–
Total time [00:43:16]

Credits?
Acoustic Guitar, Electric Guitar Henry McCulloch*
Artwork By [Lettering] Anne Brenchley
Bass Guitar Alan Spenner, Alan Weighall, Jeff Clyne, Peter Morgan
Bassoon Anthony Brooke, Joseph Castaldini
Clarinet Ian Herbert
Conductor [Orchestra Principal Conductor], Synthesizer [Moog] Alan Doggett
Conductor [Strings Of The City Of London] Malcolm Henderson
Drums John Marshall
Drums, Percussion Bruce Rowland
Electric Guitar Neil Hubbard
Engineer [Advision] Martin Rushend*
Engineer [Chief Recording] Alan M. O’Duffy*
Engineer [Cutting] Tony Bridge
Engineer [Recording] Anton Matthews, Jeremy Gee, Stephen Vaughan*
Flute Brian Warren, Chris Taylor
Guitar Chris Spedding, Clive Hicks, Louis Stewart, Steve Vaughan
Horns Andrew McGavin, Douglas Moore, James Brown, Jim Buck Snr.*, Jim Buck Jnr.*, John Burdon*
Leader [Choir] Geoffrey Mitchell
Lyrics By Tim Rice
Music By, Orchestrated By, Directed By [Musical Direction] Andrew Lloyd Webber
Other [Production Management] Don Norman
Percussion Bill LeSage*
Photography [Cover] Peter Sanders
Piano Carl Jenkins*, Norman Cave
Piano, Electric Piano, Organ, Organ [Positive] Peter Robinson
Piano, Organ Mick Weaver
Piano, Organ, Synthesizer [Moog] Andrew Lloyd Webber
Producer Andrew Lloyd Webber, Tim Rice
Saxophone [Tenor] Chris Mercer
Trombone Anthony Moore, Frank Jones, Keith Christie
Trumpet Harold Beckett*, Ian Hamer, Kenny Wheeler, Les Condon
Vocals [Annas] Brian Keith
Vocals [Apostles, Priests, Roman Soldiers, Merchants, Crowd] Alan O’Duffy, Andrew Lloyd Webber, Barbara Kay, Brian Bennett*, Kay Garner, Lesley Duncan, Madeline Bell, Seafield St. George*, Neil Lancaster, Pat Arnold*, Peter Barnfeather, Sue And Sunny*, Terry Saunders, Tim Rice, Tony Ashton
Vocals [Caiaphas, High Priest] Victor Brox
Vocals [Jesus Christ] Ian Gillan
Vocals [Judas Iscariot] Murray Head
Vocals [King Herod] Mike D’Abo
Vocals [Maid By The Fire] Annette Brox
Vocals [Mary Magdalene] Yvonne Elliman
Vocals [Peter] Paul Davis
Vocals [Pontius Pilate] Barry Dennen
Vocals [Priest] Paul Raven
Vocals [Simon Zealotes] John Gustafson
Notes?
Originally released October 1970.
The Opera was recorded at Olympic Sound Studios, Advision Studios,
Barnes, Island Studios and Spot Production Studios on 16-track tape.
Released with two 10-page booklets with lyrics, notes, graphics, and photos.
All titles (P) (C) 1970 MCA Records, Inc. except :
King Herods Song (P) 1970 Norrie Paramor Music Ltd.
GEMA BIEM LC 1056 Made in Germany
Total Playing Time : 87:13

=========================================================

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 Rices creation, and it was less built on rock music than on pop music that referred to rock; Webber and Rices 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 Cockers 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. Whats 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 Whos 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 Londons 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 bands 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 Reizners orchestrated version of Tommy (Pete Townshends rock opera basically blown up to Jesus Christ Superstar dimensions) to the soundtrack All This and World War II and Leonard Bernsteins Mass. The original double-LP set www.yperano.com/content/jesus-christ-superstar-original-motion-picture-s… 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 MCAs 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 THIS CD release HERE, 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.