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Old 12-17-2012, 12:33 PM   #1647 (permalink)
Trollheart
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Okay, so already there are people saying “This isn't metal opera!” Well, no, it isn't, but it is most certainly rock opera, in fact I'd go so far as to say it's the original rock opera, and the best. After all, if you're going to tell what is generally accepted as The Greatest Story Ever Told, you really need to write The Greatest Rock Opera Ever, don't you? And in my opinion this is exactly what Andrew Lloyd-Webber and Tim Rice did here, treating the subject of Christ's last days both with respect and a healthy dose of irony. This is an album (and indeed, film and stage show) you can enjoy even if you're not a believer (which I'm not), because it's just such a damn good story, and the music is of the very highest quality. This is also of course the perfect time to feature such an album, with Christmas only a week away.
Jesus Christ Superstar --- Original Motion Picture Soundtrack --- 1973 (MCA)


Among other things, this rock opera broke new ground (and in the process of course angered the religious right) by looking at the story of Jesus through the eyes of a man who had, up until then, been one of the most universally-hated and reviled figures in history, along with Hitler and Jack the Ripper, perhaps even Satan himself.

(Disclaimer: I freely accept that many devout Christians are happy to believe the line the Bible tells, painting Judas in the darkest light possible, and making of him a scapegoat for the betrayal and ultimate death of Jesus, and I would never seek or attempt to denigrate them for that. I just think it's possible, even probable, that a more logical approach could be used, and indeed Lloyd-Webber and Rice thought so too (although whether or not they were invested in this religiously is in some doubt: they were and are just artistes practicing their craft), so the below is merely one take on the Judas story, not the definitive one. But then, I believe that also to be the case with the account given in the Bible. It's a free world, and you're entitled to make your own decision about it, if indeed you want to. The below is not meant to challenge anyone's firmly-held beliefs or ridicule anyone's religion. In this context, it's just a story set to music.)

The very idea that Judas Iscariot might be seen as a sympathetic figure, that we might try to understand his motivation in betraying the Saviour, was such anathema to the Church that they took umbrage to it. Far easier to paint Judas as a one-dimensional figure, an evil man who joined the Apostles merely to get close to Jesus, earn his trust and then betray him for thirty pieces of silver. Now really, does that sound likely? And then when he's done the deed, he hangs himself? Please. The Church of course is all about not questioning, or daring to question its teachings, but this particular story has never resonated with me. Why would someone do this?

It makes much more sense though if you see the view through Judas's eyes, and this is what you see in this production. I'm going with the TV film of 1973, because although there have been many adaptations, mostly onstage, of this story, one of which starred metal icon Ian Gillan as Christ (he must have loved that!) this is the one I like best and which I return to time and again. The basic music is the same, with a few little changes for later versions, but this is my favourite.

Anyone doubting that this is a rock opera has only to hear the mad guitar solo in the “Overture” which, not surprisingly, opens the album after some choral vocals and a nice little riff which is quickly joined by orchestral brass and heavy, dramatic percussion, with some frenetic piano as the tune besically runs through an amalgam of tunes and themes we will hear later in the opera. It quickly settles down then, to fade off in heavenly choral vocals as one of the (many) standouts opens the story proper, Judas watching Christ preaching and voicing his concern as “Heaven on their minds”, a truly brilliant piece of guitar melody, takes us into the world of Jesus as he goes among the people. Judas, watching from the top of a hill in the film, worries that his master and friend is attracting too much attention from the Romans and that it will be their, and his, undoing: ”You've started to believe/ The things they say of you/ You really do believe/ This talk of God is true/ And all the things you've done/ Will soon get swept away/ You've begun to matter more/ Than the things you say!”

From this opening soliloquy we see a totally different Judas, a man who is dedicated to Christ but who is increasingly frustrated by his message of peace. Judas, like others, believed Jesus would be the man to lead the Jews into freedom, and lift the yoke of tyranny from around the necks of his people. But Christ is showing no signs of pursuing such a course. It's also quite clear that he does not believe the hype which says Jesus is the Messiah, the one who has come to lead them all to the Kingdom of Heaven. Judas believes in what he can see, touch, feel, not religious dogma. He declares this most powerfully when he says "They think they've found the new Messiah/ And they'll hurt you when they find they're wrong".

Judas worries now that the Romans will pick up on what Jesus is saying, and arrest him, and their only chance for salvation will be gone. More, though, he considers Jesus a friend, and is concerned on his behalf for the man's safety. He recalls ” I remember when this whole thing began/ No talk of God then/ We called you a man/ And believe me, my admiration for you hasn't died” The song is carried on a big guitar intro but then mostly on funky piano, but it's the vocal of Carl Anderson as Judas that really makes it. You can definitely feel his frustration changing to anger as he snaps ”Your followers are blind!/ Too much Heaven on their minds/ It was beautiful but now it's sour.”

As an opener (discounting the overture), “Heaven on their minds” gives us a much more rounded, clearer picture of the man painted for two thousand years as the Betrayer. We see a man, a good man, dedicated to his cause and trying to reconcile it with Jesus's defiance not to engage in violence and only follow the path of peace, and his refusal to give in to Judas's entreaties that he take up the sword. Judas does not hate Jesus; far from it. He loves him, but as a friend he realises it may be time to do something to force his hand. This understanding, this sympathising with Judas's position put the writers on a direct collision course with the Church, who have always refused to see any sort of mitigation in --- or indeed, offered any credible explanation for --- Judas's selling out of Christ, other than that he was “evil”. Well, they'd know all about that, wouldn't they?

There's a sixties hippy vibe to “What's the buzz”, with bouncy organ and funky bass, with a vocal mostly taken as an ensemble as the Apostles press a tired Jesus for news of what they are to do next. As they demand ”When do we ride to Jerusalem?” he snaps back ”Why should you want to know? / Why are you obsessed with fighting?” as the first vocal part for Ted Neeley in the title role comes in; his voice is quite falsetto but clear and strong. The song also introduces Mary Magdalene, played by Yvonne Elliman, who offers to cool the pressurised Jesus down. This of course angers Judas, who sees as it were a rival for Jesus's affections in the woman, and so the track runs into its second section, called “Strange thing mystifying”, as he queries Mary's right to be in Jesus's presence. He's also worried that this behaviour will attract unwelcome attention from the authorities. The perceived scandal attached to such a high-profile figure consorting with a woman of ill-repute can, he feels sure, do nothing but harm to their enterprise, and give the Romans the excuse they need to arrest them all.

Jesus however stands up for her, and gets angrier, declaring that the Apostles don't really care about him, eliciting a chorus of denials. The scene now shifts to the temple, where the high priest of the Jews discusses with his second, Annas, the impact of the teachings of Jesus on their people. Opening on a scratching, squealing guitar chord, “Then we are decided” settles into a boogie piano run as Caiaphas, the High Priest, declares that Jesus is a danger to them all. Annas shrugs "He's just another scripture-thumping hack/ From Galilee!” which Caiphas counters with ”The difference is they call him king!/ The difference frightens me!”

Back with Jesus and the Apostles, Mary Magdalene tries to soothe Jesus and convince him to sleep, and the first ballad on the album is a rippling piano melody for “Everything's alright”, but it's interrupted by Judas who berates her for spending money on her ointments and oils, saying they could have helped the poor instead. Ignoring him, Mary turns back to Jesus, who sneers at Judas that the poor will always be a constant in the world, but soon he must leave them and they will be sorry when he has departed. It's a warning of things to come, sooner than Judas or any of them expect it, but it goes unmarked. Strings and woodwind join the piano and bass as the song fades out, and we're back with the priests, as Caiaphas and Annas try to convince the other priests of the danger of allowing Jesus to live.

On an ominous cello intro, the song begins with the High Priest's advising his fellows they have a problem, and Annas mocking the crowd as we hear the first strains of what will later become the song “Hosanna”, the tempo getting more sprightly then dropping back to the ominous chords as the priest sing in unison ”He is dangerous!” while in counterpoint, the “Superstar theme” runs in choral vocals. This song is unintentionally funny too, where Caiaphas, making his case, ends on a deep, rich baritone to be instantly taken up by Annas's high falsetto, the one the opposite of the other. I always find it amusing, even if it's not meant to be. The tempo again picks up on piano and organ as Caiaphas lays out for his brothers the consequences of leaving Jesus to his own devices, and finally convinces them, leading to the title of the song, “This Jesus must die”.

Big dramatic intro then into “Hosanna” as Jesus enters the city to orchestral accompaniment and chorus, with Caiaphas advising Jesus to tell his followers to disperse before there's a riot. One thing that becomes a recurring theme throughout this album is the reuse of melodies. Sometimes it may seem like just laziness on the part of Andrew Lloyd-Webber, but if you look closely the reused themes usually reflect back to the song they were originally used for. An example of this is “Hosanna” itself, where later, the theme resurfaces --- indeed, with similar lyrics --- as Jesus is taken to trial, but instead of singing ”Hey JC, JC/ You're alright by me!” the much more sombre tone is ”Hey JC, JC/ Please explain to me/ You had everything/ Where is it now?” There are other instances of this, but I'll point them out as we go along.

As it is, this song again features the vocals of Neeley as he, in the role of Christ, tells the high priest that even the rocks and trees would sing out his name were every person silent. His vocal delivery is framed against a much slower, lusher strings section, which then goes back into the main theme, with him this time joining the chorus. The possibility of his message of peace and love getting misinterpreted, or taken advantage of, comes about in “Simon Zealotes”, where a Jewish Zealot tries to convince him to ally his message to the overthrow of the Romans. A real disco-type piece, it runs on happy piano and joyful brass, but ends on a sour note, as it falls into “Poor Jerusalem”, Christ bemoaning the fate that is to befall him, adding the bleak message ”To conquer death you only have to die.”

In total contrast to this dance piece, and continuing its main melody, a simple acoustic guitar frames “Pilate's dream”, as the governor of Judea reflects on a strange dream he had about ” A Galillean/ A most amazing man” and wonders what it can mean. According to dogma, even Jesus lost it from time to time, and “Temple” highlights one of the most famous times, when he goes to the temple and finds moneychangers and traders there, throwing them all out. On a bouncy guitar line the tradespeople tout for business until Jesus screams ”My temple should be/ A house of prayer/ But you have made it/ A den of thieves!” and overturns the tables, the music turning suitably dramatic and dissonant as he does so, harking back to elements from the overture.

As he walks off, he is pursued by people who have seen the miracles he has worked and want to be cured. With the opening notes from the Overture hanging in the air, the music slows down on soft strings without percussion and Jesus suffers a moment of doubt that he can fulfill his mission, saying ”My time is almost through/ Little left to do/ After all, I've tried for three years/ Seems like thirty.” On a trumpet note and a guitar chord the prayers for cure begin to assail him, piano joining in and the guitar getting harder and more insistent in concert with the petitioners, till Jesus, overwhelmed by the demands of his public, has to run away and leave them all behind.

The next ballad comes in the shape of “I don't know how to love him”, as Mary Magdalene considers, against a soft guitar melody, her feelings for Jesus, and what she should do about them. It's a great solo piece for Yvonne Elliman, who has a very strong and distinct voice. Gentle, upbeat flute backs the melody and it's deceptively uptempo for the subject matter. The bridge is taken by a lovely keyboard and strings instrumental section, and again this admission of the possibility that Jesus may have had feelings for Mary, and vice versa, is again completley against the teachings of the Church, and another reason for them to denounce this opera. Another standout is next, as Judas tries to make up his mind what is best for the cause, and decides to see if Caiaphas would listen to Jesus, if they could meet. Perhaps the high priest would understand? A heavy, rocky piano line runs “Damned for all time/ Blood money” as Judas tries to explain that he has no choice and Annas sneers ”Cut the protesting/ Forget the excuses/ We want information/ Get up off the floor!” making it obvious that they're not interested in talking to Jesus, they just want to arrest him and get him off the streets. Judas chooses to ignore this, and goes ahead with the sellout. The first part ends with presumably angels singing “Well done Judas”, so that he seems to have made the correct choice.
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