Jesus Christ Superstar Tracklist: Why the Order Actually Matters

You’ve heard the electric guitar wail. You’ve probably tried to hit that high G in "Gethsemane" and failed miserably in your shower. But if you’re looking at the tracklist Jesus Christ Superstar uses to tell its story, you’re looking at more than just a list of songs. It’s a literal blueprint for how the modern rock opera was born.

Back in 1970, Andrew Lloyd Webber and Tim Rice were basically nobodies. They had this "terrible" idea to tell the story of the last week of Jesus’ life through the eyes of Judas Iscariot. No producer would touch it. So, they did what any scrappy songwriters would do: they made a concept album first.

The Original 1970 Concept Album Order

This is the "Brown Album." It’s the holy grail for purists. Ian Gillan from Deep Purple was Jesus, and Murray Head was Judas. The flow here is tight because it was designed for vinyl. You had to flip the records, so the "tracklist Jesus Christ Superstar" was originally split into four distinct sides.

Side One: The Setup

1. Overture – A chaotic, prog-rock instrumental that samples themes you’ll hear later.
2. Heaven On Their Minds – Judas’ opening manifesto. It’s funky, it’s worried, and it sets the tone.
3. What’s The Buzz / Strange Thing Mystifying – The apostles are excited; Judas is annoyed by Mary Magdalene.
4. Everything’s Alright – Mary tries to calm everyone down with a 5/4 time signature that somehow feels like a lullaby.
5. This Jesus Must Die – The villains enter. Caiaphas has a voice deeper than a well, and Annas sounds like a tea kettle.

Side Two: The Turning Point

1. Hosanna – The crowd goes wild.
2. Simon Zealotes / Poor Jerusalem – High energy dance vibes followed by a depressing reality check.
3. Pilate’s Dream – A short, haunting acoustic number.
4. The Temple – Jesus loses his cool with the money changers and the lepers.
5. Everything’s Alright (Reprise) – A tiny snippet of comfort.
6. I Don’t Know How To Love Him – The breakout hit.
7. Damned For All Time / Blood Money – Judas makes his deal. The horns in this track are aggressive and perfect.

Side Three: The Tragedy

1. The Last Supper – An awkward dinner party that turns into a screaming match.
2. Gethsemane (I Only Want To Say) – The ultimate vocal test.
3. The Arrest – Chaos in the garden.
4. Peter’s Denial – Exactly what it says on the tin.
5. Pilate and Christ – Jesus meets the governor.
6. King Herod’s Song (Try It And See) – A jarring, ragtime-style middle finger to the tension.

Side Four: The End

1. Judas’ Death – A dark, swirling reprise of "I Don't Know How To Love Him."
2. Trial Before Pilate (Including the 39 Lashes) – The most brutal 102 seconds of percussion in musical theater history.
3. Superstar – The ghost of Judas returns with a full gospel choir.
4. Crucifixion – Mostly avant-garde noise and heavy breathing. It’s uncomfortable.
5. John Nineteen: Forty-One – A beautiful orchestral swell to finish.

What Changed in the 1973 Movie?

When Norman Jewison took the show to the big screen in '73, he realized he needed a bit more political context. He added a song called "Then We Are Decided." It’s a duet between Annas and Caiaphas. Honestly? It’s a great track. It explains why the priests are so scared of Jesus—they’re worried the Romans will wipe them out. But for some reason, Webber and Rice rarely include it in stage revivals. It remains a movie-only "deep cut" for the most part.

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Another big movie shift was the inclusion of "Could We Start Again Please?" This song was actually written for the original Broadway production to give Mary and Peter something to do while Jesus was being grilled by the authorities. It’s a moment of quiet regret that isn't on the original 1970 album.

The Tracks Most People Get Wrong

People often forget that "I Don't Know How To Love Him" wasn't written for the show. Well, the melody wasn't. It was an old song of theirs called "Kansas Morning." They just swapped the lyrics about wheat fields for lyrics about a conflicted prostitute. Efficient!

Also, the "tracklist Jesus Christ Superstar" uses is heavily reliant on reprises.

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If you listen closely to "Judas' Death," you'll hear the melody of "I Don't Know How To Love Him." This isn't just because they ran out of tunes. It’s a thematic link. Both Mary and Judas love Jesus in ways they can’t handle. One finds peace; the other finds a rope. It's heavy stuff for a 70s rock record.

Key Differences to Watch For:

• The Tempo: The 1970 album is way faster and more "rock" than the later theatrical versions.
• The 39 Lashes: In some recordings, this is its own track. In others, it’s tucked inside "Trial Before Pilate."
• The Ending: Some stage versions cut "John Nineteen: Forty-One" short or blend it into a curtain call. On the record, it’s a necessary, somber funeral march.

Why This Tracklist Still Slaps in 2026

The reason this show stays relevant isn't because of the Sunday School story. It's the friction.

You have "Heaven On Their Minds" which is pure 70s funk-rock, and then you have "Hosanna" which sounds like a church choir on speed. The tracklist Jesus Christ Superstar curated is a masterclass in using musical genre to define character.

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The bad guys (the Priests) get the weird, dissonant, low-register brass. The followers get the catchy pop hooks. Jesus gets the soaring, agonizing high notes. Judas gets the grooviest bass lines because, as the narrator, he’s the one trying to ground the story in logic.

If you’re building a playlist, don't just shuffle it. The narrative arc depends on the transition from the frantic energy of "The Temple" into the exhaustion of "Everything’s Alright (Reprise)."

Actionable Listening Steps

If you want to experience the "tracklist Jesus Christ Superstar" intended, do this:

1. Find the 1970 Studio Recording. Look for the brown cover. It has the rawest energy.
2. Listen to "Gethsemane" and "Judas' Death" back-to-back. It highlights the two different ways of dealing with "The Plan."
3. Watch the 1973 film for "Then We Are Decided." It’s the only way to get the full political picture of the Sanhedrin.
4. Pay attention to the motifs. Notice how the "Superstar" theme (the da-da-da-DA-DA) pops up in the Overture, "The Trial," and the finale.

The structure isn't an accident. It’s a loop of fame, betrayal, and the silence that follows. Whether you're a fan of the 2012 Arena Tour or the 1970 original, the sequence of these songs is what makes the emotional gut-punch land every single time.