Manchester England (Reprise) - James Rado And Company
Black Boys - Diane Keaton
White Boys - Melba Moore
Walking In Space - Company
Abie Baby - Ronald Dyson
Three-Five-Zero-Zero - Company
What A Piece Of Work Is Man; Walking In Space (Reprise) - Company
Good Morning Starshine - Melba Moore
The Bed - Company
The Flesh Failures (Let The Sunshine In) - Melba Moore
Track Listings (36) - Disc #2
Ain't Got No - Company
I Got Life - Walker Daniels
Air - Jonelle Allen
Going Down - Gerome Ragni And Company
Hair - Company
Dead End - Jill O'Hara And Company
Frank Mills - Shelley Plimpton
Hare Krishna - Company
Where Do I Go? - Walker Daniels And Company
Electric Blues - Paul Jabara
Easy To Be Hard - Company
Manchester - Walker Daniels
White Boys - Jonelle Allen
Black Boys - Shelley Plimpton
Walking In Space - Company
Aquarius - Company
Good Morning Starshine - Jill O'Hara And Company
Exanaplanetooch - Walker Daniels
The Climax - Jill O'Hara
Opening - Orchestra
Red Blue And White - Arnold Soboloff
Sentimental Ending - Company
Interview: How Did You Become Involved With 'Hair'? - Galt MacDermot
Interview: What Do You Remember About The Off-Broadway Cast Recording? - Galt MacDermot
Interview: And The Broadway Cast Recording? - Galt MacDermot
Interview: In The Recording Session Photos, You Were The Only Person Wearing A Jacket And Tie - Galt MacDermot
Interview: How Did The Two Productions Differ? - Galt MacDermot
Interview: You Were Not A Traditional Theater Composer. Did You Have Any Models Or Influences? - Galt MacDermot
Interview: Did 'Hair' Influence Your Later Work, Like 'Two Gentelmen Of Verona'? - Galt MacDermot
Interview: 'Hair' Was Controversial With The Critics And The Public. Did This Affect You At All? - Galt MacDermot
Interview: On Writing Music For The Theater, And What Makes A Popular Song - Galt MacDermot
Interview: Did You Ever Have To Rewrite Any Of The 'Hair' Songs? - Galt MacDermot
Interview: What Sort Of Music Do You Write Now? - Galt MacDermot
Interview: Do You Use Synthesizers? - Galt MacDermot
Interview: Have You Got Any Advice For People Who Want To Compose For Musical Theater? - Galt MacDermot
Interview: Does Any One Song In 'Hair' Express Your Philosophy? - Galt MacDermot
"America's First Tribal Love-Rock Musical," went the advertising, and nobody could argue with that. Hair opened on Broadway in 1968 and immediately became a smash, although no one could quite discern what it was about. Som... more »ething like, "War is bad, drugs are good, racism bites the big one, and nudity is nice." Although all these sentiments are expressed on this album which, like the show, has not dated well, the quality of the music makes it forgiveable. The songs weren't really rock, but they accomplished what all good pop songs set out to do; stick in the craw. In fact, several of its tracks later became hits for pop acts, including "Aquarius/Let the Sunshine In" (The Fifth Dimension), "Hair" (The Cowsills), and "Good Morning Starshine" (Oliver). --Dawn Eden« less
"America's First Tribal Love-Rock Musical," went the advertising, and nobody could argue with that. Hair opened on Broadway in 1968 and immediately became a smash, although no one could quite discern what it was about. Something like, "War is bad, drugs are good, racism bites the big one, and nudity is nice." Although all these sentiments are expressed on this album which, like the show, has not dated well, the quality of the music makes it forgiveable. The songs weren't really rock, but they accomplished what all good pop songs set out to do; stick in the craw. In fact, several of its tracks later became hits for pop acts, including "Aquarius/Let the Sunshine In" (The Fifth Dimension), "Hair" (The Cowsills), and "Good Morning Starshine" (Oliver). --Dawn Eden
"This 2 CD recording should be MANDATORY for any musical theater buff- a rare opportunity to hear this historical show's developement from its off-Broadway roots to the megashow it became. Galt MacDermot's unforgettable score is wonderful in both versions (and while the film version tries to accomplish the unimagineable translation from a "non-book" musical to something with a traceable "plot", which I don't think it really does, the full orchestrations of its songs are truly realized by its composer...the versions of "Aquarius" by Ren Woods and "Easy To Be Hard" by Cheryl Barnes justify a manditory puchase alone).
The only "bummer" of this collection is that it doesn't include material from the two other New York HAIR recordings, which are still only available on out-of-print RCA LPs: DIVINE HAIR: MASS IN F(which featured several HAIR songs incorporated into a Catholic Mass) and DisinHAIRited (which has many of the songs cut from both the off-Broadway and Broadway companies).
If you get a chance, check out the book LET THE SUNSHINE IN (available from this website)- it will flesh out the political and historical relevance of this incredible show. For an even BETTER overview, the out-of-print THE AGE OF HAIR traces the show from its roots to the film version. Producer Michael Butler maintains the show's website (www.MichaelButler.com) for updates on current productions and the many cast members from the original productions.
For its wonderful music, evocations of a past era and its timeless plea for peace("Let The Sunshine In", the finale song, always leaves me in tears), this is THE paragon show cd you must own!"
Fly In the Breeze
Lee Armstrong | Winterville, NC United States | 05/24/2005
(5 out of 5 stars)
"The deluxe collector's edition released in 2003 is an excellent update for the "Hair" soundtrack. With the war in Iraq raging, the themes of war seem relevant again 37 years later. The first disc is the 1968 Broadway recording and shines with the remastering from BMG/RCA. The title track has such great energy and sense of freedom, "I let it fly in the breeze & get it caught in the trees." "Easy to Be Hard" is a lovely melody with a dramatic build, "Do you only care about the bleeding crowd? How about a needing friend? I need a friend." Shelly Plimpton on "Frank Mills" has always put a smile on my face about the girl who lost the address of a guy she likes. It's specificity about "the Waverly" and that he looks like "George Harrison of the Beatles" make it humorous, even though it's delivery is so straightforward deadpan. "Electric Blues" is a track not released on the first album, but sounds like the cast was having a huge amount of fun. Disc 2 contains the 1967 Off-Broadway production. In almost all aspects, it seems like a warm-up for the Broadway production. On "Hair," the vocals are ragged & have an assaulting quality in delivery. "Where Do I Go?" with Walker Daniels on vocals is more hushed, less musical. Walker also leads on "Exanapanetooch," a track not included on the Broadway production, wisely cut. The bonus tracks are interesting footnotes and the interview with composer Galt MacDermot is informative, but not probably something I'd want to listen to repeatedly. Overall, the remastering and verve of the original Broadway cast performance make this an excellent release. Enjoy!"
With Supreme Visions of Lonely Tunes
Rebecca O'Leary | 07/23/2000
(5 out of 5 stars)
"What can I say, I'm a 'Hair' cast member! This is one of, if not the, greatest cast recordings of all time. I've been in a number of musicals, and owned most of their cast recordings, but none of them have lingered in my car's CD player the way 'Hair' has. Having had the pleasure of meeting both Galt McDermot and James Rado, I can honestly say that both the lyrics and the music are brilliant, from the first mystical strains of 'Aquarius' to the powerful angst of 'The Flesh Failures.' And don't miss Diane Keaton insisting that 'Black boys are delicious!'"
Hair Still Rocks!
Rebecca O'Leary | 03/05/1999
(5 out of 5 stars)
"I first heard the soundtrack when I was way over in the Western Pacific in the Navy, during the 'Nam days. Man, the whole story and the songs made such an impression on me. When I got back to the States, I saw the play in Seattle, and it was absolutely one of the most liberating experiences of my life! What an uplifting story for such troubled times. The final song, "Flesh Failures/Let the Sunshine in" still inspires me. The movie version lacked the optimism of the play."