Best Recording of Jesus Christ Superstar? Or: Why is Josh Young so hot?

[Kelly2]

Posted: 6/12/12 at 11:04am

So, I am actually a fan of this show, and I remember my mom playing it a lot when I was a lot younger. However, I don't really know which version of the show it was she was playing because I was really young and she doesn't have the best memory anymore so I don't think she'd remember either.

That being said, I did enjoy the revival production (well, mostly Josh Young as Judas) and was sad to hear it wouldn't be recorded. I was just wondering what you guys think is the best recorded version of this show? I know there are about ten billion different options, so I appreciate in advance helping me wade through them :)

[castlestreet]

Posted: 6/12/12 at 11:08am

I really enjoy the 92 Australian and the 96 London Revivals- the 92 Australian has some very different orchestrations, but they are a lot of fun. The 96 London sounds fresh and Zubin Varla (not sure on his name) is a very good Judas.

[Jordan Catalano]

Posted: 6/12/12 at 11:18am

Have you ever met Josh Young? Spent more than 2 1/2 seconds in his presence? Because I promise you if you have, "Hot" is the last word you'll use when you think of him.

[Kelly2]

Posted: 6/12/12 at 11:18am

Listening to the preview of the 96 UK on iTunes, really liking it so far! Thanks :) I'll check out the Aussie one later.

[Kelly2]

Posted: 6/12/12 at 11:21am

Jordan, I have not. See, this is why I prefer to keep up the illusion

[Jordan Catalano]

Posted: 6/12/12 at 11:25am

Smart girl. lol

[jennastagemanaga]

Posted: 6/12/12 at 11:45am

The brown album is my personal favourite. My mother used to make us listen to it on Good Friday every year. No one tops Murray Head in my opinion. (I love Josh's portrayal of the character though. His Judas is tortured and layered. It's too bad "the powers that be" are always having him perform Superstar. Their version of that number is best seen live, in context with the crucifixion at the end)

P.S. Josh Young is sweet, thoughtful, sensitive and indeed hot in person. His Che in Stratford was also amazing.

[CurtainPullDowner]

Posted: 6/12/12 at 11:46am

Jordan: Does he drool?

[Jordan Catalano]

Posted: 6/12/12 at 11:50am

He might be thoughtful and sensitive but he's also a douche.

[CATSNYrevival]

Posted: 6/12/12 at 11:55am

So far there isn't a real complete recording in English as far as I can tell which is really frustrating. Most of the recordings shadow the original brown album in that "Heaven on Their Minds" and "Superstar" fade out at the end which is really annoying since the end of both of those songs is the best part.

There is the 2011 German concert album with Drew Sarich which is in English, includes all of the songs, and doesn't have any faded out numbers, but the Judas on that recording is terrible and the German accents all around are slightly distracting. Still, it's the only recording I've been able to find that is truly complete so it's the one I've been listening to lately.

Most of the revival cast speaks very highly of the original brown album, but there are songs that fade out and cut off and it is, of course, missing "Could We Start Again, Please?" If that doesn't bother you I would suggest that one or the 1996 recording.

[The Scorpion]

Posted: 6/12/12 at 12:04pm

Isn't the 1996 Lyceum recording (my favourite, incidentally) complete? What's missing from it? That one has a fantastic cast (IMHO Steve Balsamo has yet to be surpassed in the title role and Zubin Varla's Judas is incredible) and an amusing cameo by Alice Cooper as Herod (he never actually performed in the Lyceum production). I also prefer it because Rice fixed some of the dodgy lyrics, although when he did this he received fanmail from people who grew up with the concept album and said he had ruined the whole show by changing one little lyric. The Lyceum production is also the only one I can think of that came the closest to making this show truly work in the theatre...otherwise I still think it works best as an album. Sadly the production that went to Broadway 4 years later was not this production, even though the director was the same.

I have a fondness for the original too, especially Murray Head's superb Judas. The 1992 Australian one is supposed to be excellent (I see it recommended frequently), so I placed an order for it on Amazon last week. It's not arrived yet so I haven't listened to it.



Updated On: 6/12/12 at 12:04 PM

[CurtainPullDowner]

Posted: 6/12/12 at 12:06pm

Why does COULD WE START AGAIN exist?
It's weak and slows the momentum of the show down.

[jennastagemanaga]

Posted: 6/12/12 at 12:17pm

It's sad that you feel that way Jordan. He speaks so highly of you.

[castlestreet]

Posted: 6/12/12 at 12:18pm

I'm probably in the minority here, but I thought the inclusion of Judas in Could We Start Again Please in the current revival was brilliant...

[CATSNYrevival]

Posted: 6/12/12 at 12:23pm

^I agree. I loved that.

And Scorpion, the 1996 recording, like most of the double disc recordings is essentially complete, but like I said it mirrors the brown album and fades out "Superstar" and cuts off "The Crucifixion." It's not a huge deal, but it really bugs the crap out of me that they do that.

[gvendo2005]

Posted: 6/12/12 at 12:57pm

Why does COULD WE START AGAIN exist?
It's weak and slows the momentum of the show down.

Practically speaking: to give Mary Magdalene (and Peter) more of a presence in the second act in terms of vocal opportunities.

Plot-wise: Its purpose is to prevent mood whiplash. Almost all of Act Two is heavy drama, except, at least in most productions, for "King Herod's Song," which is treated as comic relief. On the original album, it worked as a break from the heavy drama simply by virtue of being a slow, simple number in a wholly different style from much of the score, but that doesn't work on stage; stage has a different dynamic from records, especially when Herod's number is one of the few that immediately calls for flashy "show biz" choreography, a real "number," as it were. On stage, it plays as a wild, raucous moment riddled with dark humor, a big socko smash, the laugh of the evening, going right into the suicidal breakdown of a man (quite literally) at the end of his rope... that's a hell of a transition, which comes sandwiched between more heavy drama.

From a structural position, "Could We Start Again..." is needed to bring the audience back into the drama, to gently remind them of what is going on in the plot, and at the same time to reveal how Mary, Peter, Simon (in the 2000 revival), Judas (in the current Broadway revival; yes, they made it work, don't ask, just go buy a ticket), feel about the turn of events. That can bring us into Judas' suicide without the sudden "Wait, what the hell was that?" feeling.

Its purpose has been somewhat obscured in current productions, because everybody seems to want to move it around, or change it, or try to give it another purpose. I've seen people attempt to use it as a post-"John 19:41" resurrection scene (usually using the additional lyrics from the Paul Nicholas/Claire Moore single version from 1992 -- by and large, I detest these mediocre, generic "pop song" lyrics, which, to me, show how little the show's authors regard the song, that they were willing to massage it into a single); I've seen at least one production that inserted the number, somehow, into the middle of the thirty-nine lashes, which is at least closer to the song's original purpose, but it pulls attention away from the main event.

I'm tired of people attempting to re-purpose it. It doesn't need another purpose; it's serving its purpose just fine the way it is.

[bwaybby]

Posted: 6/12/12 at 1:19pm

I have spent perhaps a total of a half hour with him at different stage doors and he is the hottest, kindest, most modest and talented man I've ever met in my life. He's really funny too.
I mean it's not really disputable

[ClapYo'Hands]

Posted: 6/12/12 at 1:38pm

I still think the original movie soundtrack is the best recording. It also has the wonderful (only used in the movie) "Then We Are Decided" between Annas and Caiaphas.

[Kelly2]

Posted: 6/12/12 at 2:21pm

Ahhh, you guys are great. :) I believe the one I've heard before is the original, but I'm starting to check out all of these and I do really enjoy the Judas on the '96 recording.

I wish they would record this revival, one of the major reasons being I'd like a recorded version of this specific version of "Could We Start Again Please?" and, of course, of Josh Young's performance. I see a lot of love for Josh in this thread, you excepted, Jordan , but I was wondering also how you all felt about Chilina Kennedy as Mary Magdalene and Paul Nolan as Jesus?

Also: is Jeremy Kushnier seriously being wasted so shamelessly? I was so excited to see him in the Playbill, I adore his voice and have since he did Bright Lights Big City. Sad.

[AEA AGMA SM]

Posted: 6/12/12 at 2:32pm

If you want to go with the original concept recording but still want "Could We Start Again, Please?" it is easy enough to buy that track from either the original Broadway cast recording or the soundtrack and drop it in to a playlist in iTunes. Since Yvonne Elliman did both of those recordings and Peter is pretty negligible it is not really a very jarring transition having that song from a different recording.

[PapaGe]

Posted: 6/12/12 at 2:32pm

ClapYo'Hands, the movie recording is my go-to as well (having grown up watching the movie). "Then We Are Decided" is a great song, especially since it showcases Caiaphas's incredible voice. I was surprised (and disappointed) the first time I saw Superstar on stage and realized it wasn't a standard part of the show.

Kelly2, Jeremy Kushnier is the understudy for Judas, Jesus, and Pilate. I haven't seen him go on, but Josh Young was sick for quite a while when the show's run started. I know a number of people who saw Jeremy go on as Judas, all of whom raved about him and insisted Josh Young, whom they'd never seen/heard of, couldn't possibly compare (to be fair, Josh's performances on camera, such as at the Tonys, never seem to capture the charisma and incredible voice he shows on stage). I would love to see it with Josh as Judas and Jeremy as Jesus sometime.





Updated On: 6/12/12 at 02:32 PM

[mee.who]

Posted: 6/12/12 at 2:37pm

I'm pretty sure I'm in the minority here, but I really love Nolan's shut down and generally resigned take on Jesus, and vocally I think he's great as well.

I like Chilina Kennedy and I like the harder edges she's trying to give Mary, but I'm not sure this is a great role for her. Vocally she's fine.
Updated On: 6/13/12 at 02:37 PM

[Kelly2]

Posted: 6/12/12 at 2:37pm

AEA, solid tip, thanks!

Papa, I can't believe I missed that. God, I'd love to see him go on for Jesus or Judas. I'm sure he would be incredible.

[MikeInTheDistrict]

Posted: 6/12/12 at 2:40pm

The original concept album is by far my favorite. It has an exciting, authentic rock/soul patina to it. Later recordings homogenize the orchestrations and sound too "clean" to me. Murray Head isn't as skilled a singer as Carl Anderson in the film, but he is devastating and passionate. And you've got Ian Gillan of Deep Purple as Jesus. The 1992 Aussie recording also used more rock-influenced orchestrations, although some of the songs sound like really cheesy early 90s synth pop.

[mee.who]

Posted: 6/12/12 at 2:55pm

I've seen both Josh Young and Jeremy Kushnier as Judas. I think they're both pretty equally good, but I'd rather listen to Young. I really enjoy Kushnier's characterizaion though (he plays it a bit differently than Young) and he has great chemistry with Paul Nolan.