Jesus Christ Superstar - STUDIO ALBUM*****

Overture/Heaven On Their Minds/What's The Buzz-Strange Thing Mystifying/Everything's Alright/This Jesus Must Die/Hosanna/Simon Zealotes-Poor Jerusalem/Pilate's Dream/The Temple/Everything's Alright/I Don't Know How To Love Him/Damned For All Time-Blood Money/The Last Supper/Gethsemane/The Arrest/Peter's Denial/Pilate & Christ/King Herod's Song/Judas' Death/Trial Before Pilate/Superstar/Crucifixion/John Nineteen : Forty One

The original and best version of Jesus Christ Superstar, from the songwriting team of Andrew Lloyd-Webber and Tim Rice. Recorded in the studio with professional singers and musicians to produce a genuine rock opera, in contrast to the later sanitised interpretations. (US:1 UK:23)

“This is the original, a hard-hitting rock opera, the operative word here being ‘rock’. It was a departure for Webber, and he went beyond the frontier with this back in 1970, pulled out all the stops and created a passion play for the rock generation.”

“I never get tired of listening to this album. The musicianship, the artistry, the sheer vocal abilities make this one of my favourite albums of all time.”

“From the outset you realise this is not a sanitised West End version of this amazing rock opera, but instead is a true raw collection of songs. This version is not a musical, it’s a rock album. Stamp your feet and get the air guitar out.”

“You may have heard many different versions of Jesus Christ Superstar, but this original double album remains the best. The orchestration and the singers are simply perfect.”

“Having seen and heard most of the versions of this tremendous musical, this is by a long shot, the very best. The others are not a patch on the sensitive, heartfelt, emotion packed interpretation of this amazing cast of disparate musicians and singers. If you want to appreciate the full depth and meaning of the music and words, this has to be the one you keep and treasure.”

“Yvonne Elliman's performance of I Don't Know How To Love Him, makes the hairs stand up on the back of my neck.”

“I can't stop playing this. It has the raw, gritty edge to it that I love to hear in rock operas, and it doesn't sound the least bit dated. In fact, I think it beats all the other versions easily, which I now realise have been sanitised too much, messed around with and lost that pure rock sound.”