If you've ever found yourself humming a jaunty tune about walking across a swimming pool while thinking about the New Testament, you've likely fallen under the spell of Andrew Lloyd Webber and Tim Rice. It’s a weird feeling, honestly. You’re tapping your foot to a song about a betrayal that changed human history. But that’s the magic of the Jesus Christ Superstar tracklist. It isn't just a collection of songs; it’s a high-stakes rock experiment that almost didn't happen because nobody wanted to put it on a stage back in 1969.
Most people today know the show from a high school production or that one John Legend live special. But the real ones know the 1970 "Brown Album"—the original concept recording. That’s where the grit is. It's where Deep Purple's Ian Gillan screams his lungs out as Jesus, sounding less like a Sunday school teacher and more like a man who’s had absolutely enough of everything.
The Evolution of the Tracklist: From Concept to Screen
The original 1970 album was a double LP. It had to be. You can’t fit the ego of Judas Iscariot and the existential dread of the Messiah on a single disc. When they eventually moved to Broadway in 1971 and then to the 1973 film, things shifted.
Basically, the tracklist grew.
One of the biggest changes you'll notice if you compare the original 1970 recording to the 1973 film soundtrack is the song "Then We Are Decided." This was added specifically for the movie to give the high priests, Caiaphas and Annas, more of a "why we’re doing this" moment. It makes them feel like actual politicians worried about a riot rather than just cartoon villains.
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Then there’s "Could We Start Again Please?" If you’re looking for that track on the 1970 album, you won’t find it. It was written for the Broadway show because the producers realized Mary Magdalene and the Apostles needed a moment of vulnerability after the chaos of the arrest. It's a beautiful, quiet song, but it wasn't part of the original "rock opera" DNA.
The 1970 Original Concept Album Tracklist
This is the definitive order for purists. It’s structured like a countdown.
Disc 1
- Overture: This sets the mood with that iconic, distorted guitar riff that sounds more like Led Zeppelin than a church organ.
- Heaven On Their Minds: Judas’s big opening statement. It’s fast, anxious, and sets the tone for the whole show—Judas isn't a villain here; he's a worried manager.
- What's The Buzz / Strange Thing Mystifying: The Apostles are asking about the future; Jesus is telling them to chill.
- Everything's Alright: A 5/4 time signature masterpiece. It’s soothing but slightly off-kilter.
- This Jesus Must Die: The deep bass of Caiaphas enters.
- Hosanna: The crowd goes wild.
- Simon Zealotes / Poor Jerusalem: A high-energy dance number that transitions into a heartbreaking lament.
- Pilate's Dream: Short, haunting, and prophetic.
- The Temple: Jesus loses his temper with the money changers.
- Everything's Alright (Reprise): A tiny 30-second breath.
- I Don't Know How To Love Him: The breakout hit. Yvonne Elliman made this legendary.
- Damned For All Time / Blood Money: The moment the deal is done.
Disc 2
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- The Last Supper: Arguably the most awkward dinner party in history.
- Gethsemane (I Only Want To Say): The vocal Olympics of the show. If the actor can't hit the high G, the show fails.
- The Arrest: Chaos in the garden.
- Peter's Denial: Three times, just like the book says.
- Pilate And Christ: The first face-off.
- King Herod's Song (Try It And See): Total tonal whiplash. It’s ragtime/music hall style and incredibly mocking.
- Judas' Death: A dark, heavy reprise of the themes from the beginning.
- Trial Before Pilate (Including the 39 Lashes): This is hard to listen to. The music counts every single strike.
- Superstar: The big glitzy finale where Judas returns in a white jumpsuit (usually) to ask the big questions.
- The Crucifixion: Mostly avant-garde noise and agony.
- John 19:41: An instrumental finish that leaves you sitting in silence.
Why "Gethsemane" is the Most Controversial Track
Honestly, "Gethsemane" is where the show gets its "heretical" reputation among some groups. In this song, Jesus isn't just praying; he’s arguing. He’s asking for a "business case" for his death.
"Show me there’s a reason for your wanting me to die," he sings.
For 1970, this was wild. It turned a divine figure into a human one who was scared, tired, and a little bit snarky. But from a songwriting perspective? It’s genius. It takes the jesus christ superstar tracklist from a retelling of a story to a character study.
The "Herod" Problem
A lot of people find "King Herod’s Song" jarring. It’s supposed to be. Andrew Lloyd Webber and Tim Rice actually repurposed the melody from a song they wrote earlier called "Try It and See," which was intended for the Eurovision Song Contest.
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Think about that. The song where Herod tells Jesus to "walk across my swimming pool" was almost a pop contest entry. It works in the show because it highlights how out of touch and cynical the upper class is compared to the desperation of the other characters.
How to Listen to It Properly Today
If you want the full experience, don't just shuffle a playlist. This is a "sung-through" musical, meaning there’s no spoken dialogue. The tracklist is the script.
- Find the 50th Anniversary Remaster: It cleans up the 1970 tapes without losing the analog warmth.
- Listen for the Bass: Allan Spenner’s bass lines on "What's The Buzz" and "Heaven On Their Minds" are some of the best in rock history.
- Check out the 1973 Movie Soundtrack: If you want a more "orchestral" feel, the film version conducted by André Previn is massive. It feels bigger, though maybe a little less "rock" than the original.
What Most People Get Wrong About the Ending
People often complain that the tracklist ends with the death of Jesus and skip the Resurrection. That was intentional. Tim Rice once explained that they weren't trying to give a theological lesson; they were telling the story of the man and the impact he had on the people around him.
The final track, "John 19:41," refers to the verse in the Bible where Jesus is placed in the tomb. The music just... fades away. It leaves the audience to answer the question Judas asks in the title track: "Who are you? What have you sacrificed?"
To truly appreciate the jesus christ superstar tracklist, you have to view it as a snapshot of a specific era—when rock was getting serious and theatre was getting loud. Whether you're a believer, an atheist, or just someone who likes a good bass riff, the sequence of these songs remains one of the most powerful structures in modern music.
If you're building a playlist, start with the 1970 "Overture" and don't stop until the last note of "John 19:41" fades. It’s a 90-minute ride that hasn't lost an ounce of its punch in over fifty years. To get the best experience, try comparing the vocal styles of Ian Gillan (1970) and Ted Neeley (1973); you'll hear two completely different versions of the same man, which is exactly what the authors intended.