University of Virginia Library

Caveat Emptor

London's 'Hair' Found Weak

—ed.

By Mike Cascio

The University Book Store's "Album of
the Week," the London cast recording of
"Hair," should be distinguished from its
famous Broadway counterpart. The overall
quality of the London "Hair" (also found in
Newcomb Hall's third-floor library) is at
best a second-rate attempt at imitating the
original.

Weak And Amateurish

From the opening song, "Aquarius," a
powerful number on the Broadway version,
the album comes out sounding weak and
amateurish. Ronald Dyson's booming
"Aquarius" simply outclasses Vince Edward's
in the London recording. "Donna,"
sung by second lead Oliver Tobias in the
London cast, sounds like Robert Preston (in
the "Music Man") with a chorus of throaty
high schoolers behind him. The tight,
precisioned chorus of the original cast is
missing from this recording.

A lack of singing ability is enhanced by
generally poor recording technically. The
accompaniment sounds like it was recorded
in the WTJU studios. The emphasis on horns
and an organ on the London "Hair"
attempts to add depth, but they only
jumble the pure rock sound the show is
supposed to exemplify. In contrast, the
musical background of the original "Hair" is
as much a part of the recording as the
singing. Particularly on "Walking In Space,"
the instrumental backup on the Broadway
album stands out as an achievement in itself.

Gerome Ragni and James Rado, the
original leads (who have had scenes replaced
by Joe Butler and Barry McGuire of
previous rock fame), comprised two-thirds
of the show's writing team. Singing their
own material, they provided authenticity in
the Broadway version, while the London
stars merely try to emulate their originality.
Much the same is true for the entire London
album.

Teenybopper Lament

The song "Frank Mills," a purposely
teenybopper lament that doesn't rhyme, is
done horrendously straight by London's
Sonja Kristina, while Shelley Plimpton's
rendition on the original highlights the
album (and the live show, according to Clive
Barnes of the New York Times). Valiant
attempts at American accents by the
Londoners range from good to forced, often
hampering some of the American satire. For
example, the hilarious "Abie Baby" (a
Negro's "Gettysburg Address") seems to
lose its bite in the London cast recording.

Changes from the original abound - and
some are necessary. "Don't Put it Down,"
which takes good-natured swipes at the
American flag ("Crazy for the blue, white
and red"), is missing, apparently in deference
to the English audiences, as are
"Manchester England," "Initials," and "I'm
Black." Missing with these songs is the spirit
with which they are done on the Broadway
album. And the absence of the chant
"Be-In" ("Hare Krishna") is totally perplexing.

Artificial Mood

The addition of "Electric Blues," while
acceptable, increases the artificial d
with cries such as "It's what's happening
baby," vintage 1966. An interesting piece
near the end, "The Bed," is also unaccounted
for on the London album. Were
these originally written for the show, or
added by the Londoners? While the changes
are not in themselves a sacrilege, a listener
usually feels cheated hearing a corrupted
form of the original.

Those pop enthusiasts caught by the
"Hair" phenomenon should not be induced
into buying a poor imitation. The vitality of
"Hair" lies in its spontaneity and originality,
coupled with talent and polished performers
who adapt to the music. And this is found
only in the original "Original Cast" on
RCA-Victor, which, of course, is not on
sale. Caveat Emptor.