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HAIR



 Hair - Original Broadway Cast recording (1968) LP Album


Condition (Album):

Used

Label

RCA

Category:

Musical

Group:

Various

Speed/Player:

33 RPM

ISBN/ID:

lso-1150

Production date;

1968

Lot:

Rack - B1

Weight:

9 oz’s

Units:

1 LP

Notes:

No Sleeve!

 


    Many of the Albums I sell are for Cover Artwork and/or Memorabilia.

    I cannot assure perfect working condition since I do not have an LP player. My evaluation is my opinion, it is YOUR responsibility to ask questions and look finely on pictures to assure that you are getting what you desire.

  • (Album) Condition
    • Small scratches, Scuffs: Several
    • Major or Obvious Scratches: No
    • Looks Playable: Yes - Good-
    • Dirt  : Some
    • Damaged : None
  • (Cover) Condition
    • Storage Rings: No
    • Edges:  Good
    • Torn : None
  • Hail and hearken to a "curly, fuzzy, snaggy, shaggy, ratty, matty, shining, gleaming, steaming, knotted, twisted, beaded, braided, powdered, flowered, bangled, tangled and spangled" phenomenon called "Hair."

    Described by its actor-authors as a "non-book musical" and by sundry shorter-haired observers as a pagan ritual, a theatrical be-in, a demonstration, a riot, a happening and a scandal, snippets of "Hair" began growing on scraps of waste paper, empty envelopes and other smooth surfaces accumulated by two actors named Gerome Ragni and James Rado. Then, after almost two years, four drafts and an intensive search for a composer, that led to the shores of Staten Island where Gait Mac-Dermot was in hiding, "Hair" was chosen as the initial offering of the eminent New York Shakespeare Festival Public Theater, off-Broadway. Refusing to expire at the end of its scheduled, highly successful eight-week run, "Hair" was then moved by license to Natoma Productions, lock, stock, cast and props-to the Cheetah, a turned-on palais de danse in a Broadway building which, it developed, was about to be torn down.

    Continuing its unprecedented progress under the sponsorship of Michael Butler, a resourceful and adventurous Chicagoan, an equally bright Corsican named Bertrand Castelli and a brilliant director, Tom O'Horgan, "Hair," after an extensive series of rewriting sessions, opened on Broadway to a variegated collection of critical responses including a few of horror, surprise, dismay, shock, indignation and, in the majority, ecstatic acclaim. Airing those completely captivated was Clive Barnes of The New York Times who, after advising his readers that "Hair" was the "frankest show in town," went on to say that it was "the first Broadway musical in some time to have the authentic voice of today rather than the day before yesterday." He also used words like "brilliant," "fresh," "new," "masterly," "beautiful," "sweet," "subtle" and "sheer fun."

    "Hair's" non-book is all about George Berger (Gerome Ragni), a fury with a fringe on top, who has been thrown out of high school; Claude Hooper Bukowski (James Rado), Berger's best friend and a leader of the pack, who is about to be drafted; Sheila (Lynn Kellogg), who lives with h ch Claude and Berger and is a protester from N.Y.U.; Woof (Steve uurry), who has been (understandably) barred from the Y.M.C.A. and hbi'a "thing" about Mick Jagger; and Hud (Lament Washington), who is really Stokely Carmichael with a sense of humor. Then there's Jeanie, pregnant, in love with Claude and as charming an acid-head as can be found east of Cooper Square; Crissy and Dionne, Paul, Steve, Suzannah and all the rest of the pro-love, pro-drugs, pro-sex and anti-establish ment tribe who, in the course of the action, attend be-ins, scare tourists, protest at induction centers, re-create a war or two, smoke pot, take off their clothes, sing in the streets, make love and otherwise amuse themselves and "Hair's" audiences.

    Utilizing almost every element of modern popular music, composer Gait MacDermot's superb "Hair" pieces reflect the sounds and rhythms emanating from New Orleans, Nashville, Liverpool, Memphis and New Delhi. The pulse is wired to today. The music rocks, it swings, it stays with you. It is one of the most inventive and exciting show scores in recent theatrical history.
    Rado and Ragni's extraordinary lyrics not only touch all corners but poke around in areas not usually explored in a Broadway musical comedy. They reflect the curiosity, the put-on humor, nai'vete, honesty and impetuosity of today's more interesting and intellectually restless youngsters. In order, "Hair's" songs are:

    Aquarius, a rock hymn in which the tribe mystically calls forth its visions of harmony and understanding.  Donna is unabashed rock. The question is: Is the missing "My Donna" the madonna? Ask Berger.  Hashish is the tribe's answer to the curse of alcohol.
    Sodomy pays mock-solemn tribute to a few rather special examples of profane love and tells us some intriguing things about Woof.
    Colored Spade is dedicated to Stepin Fetchit, Aunt Jemima and Amos and Andy. An ethnic experience.  Manchester England happens to be where Claude would rather have been born-instead of in "slummy, mucky, polluted Flushing."  I'm Black is an introduction to Ain't Got No.  Ain't Got No might be a shopping list for have-nots. Air is nothing less than a powerful paean to air pollution.

    Initials somehow manages to get L.B.J. on the I.R.T.  I Got Life is a defiant, proud and joyous anthem. Claude and the tribe celebrate their bodies-explicitly.  Hair tells why it is, with tongue held firmly in cheek.  My Conviction is an anthropological treatise-no less.  Don't Put It Down pays homage to The Colors all four of them. Frank Mills might be called a teeny-bopper's plaint. It doesn't rhyme at all. It is really the great American novel.  Be-In is a raga-rock for exclusive use at love-ins.  Where Do I Go? If "Hair" has a message, it might just be found in Claude's poignant question. A simply lovely song. 

    Black Boys bears a dedication to Governor George Wallace.

    White Boys is, among other things, about mixed media. Easy to Be Hard is a pop lament.

    Walking in Space is "Hair's" most beautiful, ambitious and controversial song. It may explain something about mind-expanding drugs.  Abie Baby is a birthday song. Three-Five-Zero-Zero is a surrealistic anti-war song.  What a Piece of Work Is Man is a masterpiece. It was written by William Shakespeare.  Good Morning Starshine twinkles, shines and glows. Join in, flower children.
    The Flesh Failures (Let the Sunshine In) is new, pop poetry, the finale and a marvelous and stirring song.  An astonishing entertainment, "Hair" is, pretentious as it may sound, an epoch-making theatrical event. As re-created here, it reflects some of the honesty, fun and musical richness created on the stage by Messrs.

    Side one:

      • Aquarius ........................................................................Ronald Dyson and Company(2:55)
        (Donna ......................................................................Gerome Ragni and Company)
        JHashish ..................................................................................................Company}(2:45)
        Sodomy ............................................................................Steve Curry and Company( :so)
        Colored Spade ......................................................Lament Washington and Company(i:io)
        Manchester England ........................................................James Rado and Company(i:zo)
        (I'm Black ...'...................................................Washington, Curry, Ragni and Rado)
        (Ain't Got No ..............................Curry, Washington, Melba Moore and Company)(1':10)
        Air ............................................Sally Eaton, Shelley Plimpton, Moore and Company(i:i5)
        Initials ......................................................................................................Company(:55j
        I Got Life ....................................................................................Rado and Company(3:05)
        Hair ................................................................................Rado, Ragni and Company(2:55)
        My Conviction ................................................................................Jonathan Kramer(i:36;
        Don't Put It Down ............................................................................Ragni and Curry(2:oo)
        Frank Mills ................................................................................................Plimpton(2:05)
        Be-In   ........................................................................................................Company(3:oo)
         

    Side Two:

      • Where Do I Go? ..........................................................................Rado and Company (2:40)
        (Black Boys........................Diane Keaton, Suzannah Norstrand and Natalie Mosco)
        (White Boys ..........................................Moore, Mary Davis and Emmaretta Marks}     :
        Easy to Be Hard ....................................................................................Lynn Kellogg (2:35)
        Walking in Space ........................................................................................Company (s.oo)
        Abie Baby ............................................Washington, Dyson, Donnie Burks and Davis (2:45)
        (Three-Five-Zero-Zero ..............................................................................Company)
        |What a Piece of Work Is Man........................................Dyson and Walter Harrisf (4:45)
        Good Morning Starshine ..........................................Kellogg, Moore, Rado and Ragni (2=30)
        The Flesh Failures (Let the sunshine in) ..............Rado, Kellogg, Moore and Company (3:35)
        Public performance clearance—ASCAP
        All the songs in this album have been recorded complete and unexpurgated as they are performed on the Broadway stage.
         

    13.5 x 12 x 2.75 Priority Mail used for Shipping / Free Shipping
    Lp Album Priority Mail 1 unit (2)
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