I consider the original Jesus Christ Superstar rock opera concept album (1970) an indisputable masterpiece by the genius Andrew Lloyd Webber (lyrics by Tim Rice). It was Lloyd Webber’s second major composition, following Joseph and the Amazing Technicolor Dreamcoat (1968).
As most of you know, (Wiki here) Superstar is based loosely on the Gospels' accounts of the Passion, and the work interprets the psychology of Jesus and other characters, with much of the plot centered on Judas, who is dissatisfied with the direction in which Jesus is steering his disciples. Contemporary attitudes of the early 70’s, sensibilities and slang pervade the rock opera's lyrics, and ironic allusions to then “modern life” are scattered throughout the depiction of political events.
Historical context matters, always, and it’s gripping that Lloyd Webber and Rice composed Superstar immediately in the waning years of the scourge (pun intended) of the Viet Nam War (U.S. troop withdrawals in 1973).
But what is mind blowing to me at least is that despite Superstar’s indisputable greatness, the composers were unable to get backing for a stage production, and instead released it as a concept album, the success of which led to the show's Broadway on-stage debut in 1971. By 1980, the musical had grossed more than $237 million worldwide (revenge is a drink best served cool). Running for over eight years in London between 1972 and 1980, it held the record for longest-running West End musical before it was overtaken by Cats in 1989. i.e. DAYUM.
A credit to the rock opera’s (or Jesus?) depth and staying power, Superstar has been revived time and again Lo, these 53 years since the release of the concept album. Even this weekend, the stage production is happening in Chattanooga, Vegas, the Czech Republic, Austria, and Bulgaria. It has been reimagined on stage and film with talents like Ben Vereen, Carl Anderson, and Brandon Victor Dixon (see YouTube of his performance as Judas on the title song below).
But for me, it was the original concept album that blew minds with the great vocal powerhouse Ian Gillan (Black Sabbath, Deep Purple) as Jesus, sensation Murray Head in the key role of Judas, and an elite orchestral and rock musician backbone. Superstar grabbed me by the throat and demanded engagement. It leaned into the nearly irreverent lyrics by Judas, Ciaphas, and Mary Magdalene, unafraid of potential backlash from organized religion of the day.
And in doing so, for me at least it humanized Jesus enough so that the very belief in his divinity became all the more relevant and compelling, and not an ‘up in the clouds deity’. Therein is the composers’ genius, whether they conceived it, intended it, or if a greater power found their creation a worthy “instrument”.
If you have haven’t fallen prey to TL/DR as yet, give a listen later to the several pieces from the original album I’ve linked. Man, Oh, man are Heaven on their Minds, Simon Zealots / Poor Jerusalem, The Temple, Damned For All Time, and the haunting Gethsemane ever creative genius. And Gillan and Head’s vocals potent and memorable.
Oh, and Happy Easter weekend, bruddas and sistas!
E5
As most of you know, (Wiki here) Superstar is based loosely on the Gospels' accounts of the Passion, and the work interprets the psychology of Jesus and other characters, with much of the plot centered on Judas, who is dissatisfied with the direction in which Jesus is steering his disciples. Contemporary attitudes of the early 70’s, sensibilities and slang pervade the rock opera's lyrics, and ironic allusions to then “modern life” are scattered throughout the depiction of political events.
Historical context matters, always, and it’s gripping that Lloyd Webber and Rice composed Superstar immediately in the waning years of the scourge (pun intended) of the Viet Nam War (U.S. troop withdrawals in 1973).
But what is mind blowing to me at least is that despite Superstar’s indisputable greatness, the composers were unable to get backing for a stage production, and instead released it as a concept album, the success of which led to the show's Broadway on-stage debut in 1971. By 1980, the musical had grossed more than $237 million worldwide (revenge is a drink best served cool). Running for over eight years in London between 1972 and 1980, it held the record for longest-running West End musical before it was overtaken by Cats in 1989. i.e. DAYUM.
A credit to the rock opera’s (or Jesus?) depth and staying power, Superstar has been revived time and again Lo, these 53 years since the release of the concept album. Even this weekend, the stage production is happening in Chattanooga, Vegas, the Czech Republic, Austria, and Bulgaria. It has been reimagined on stage and film with talents like Ben Vereen, Carl Anderson, and Brandon Victor Dixon (see YouTube of his performance as Judas on the title song below).
But for me, it was the original concept album that blew minds with the great vocal powerhouse Ian Gillan (Black Sabbath, Deep Purple) as Jesus, sensation Murray Head in the key role of Judas, and an elite orchestral and rock musician backbone. Superstar grabbed me by the throat and demanded engagement. It leaned into the nearly irreverent lyrics by Judas, Ciaphas, and Mary Magdalene, unafraid of potential backlash from organized religion of the day.
And in doing so, for me at least it humanized Jesus enough so that the very belief in his divinity became all the more relevant and compelling, and not an ‘up in the clouds deity’. Therein is the composers’ genius, whether they conceived it, intended it, or if a greater power found their creation a worthy “instrument”.
If you have haven’t fallen prey to TL/DR as yet, give a listen later to the several pieces from the original album I’ve linked. Man, Oh, man are Heaven on their Minds, Simon Zealots / Poor Jerusalem, The Temple, Damned For All Time, and the haunting Gethsemane ever creative genius. And Gillan and Head’s vocals potent and memorable.
Oh, and Happy Easter weekend, bruddas and sistas!
E5
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