For this new series, Jeff has invited me to choose some classic Broadway show tunes and compare versions of these songs from several different cast recordings. Wherever possible, I’ll link to the songs on YouTube, where I listen to most of them myself.
This week I review four recordings (plus one) of the opening song “Aquarius” from Galt MacDermot, Gerome Ragni and James Rado’s seminal rock musical Hair. Introduced by a solo singer before being joined by the rest of the tribe, the song functions as a call to begin the communal celebration that essentially constitutes the rest of the musical. The song’s trippy, astrology-informed lyrics and haunting melody haven’t changed at all over the past half-century, but the singing and the overall sound have varied quite a lot (especially the introductory section). Because it’s the first version many of us heard, and a classic in its own right, I’ve included my evaluation of The 5th Dimension’s hit single alongside the stage and screen versions as a bonus, but I didn’t consider it when awarding stars.
My overall favorite version is marked with two stars (**); one star (*) is used to indicate that a particular version stands out in terms of singing, orchestra, sound, or other miscellaneous qualities.
ORIGINAL BROADWAY CAST (1968) - YouTube
Soloist: Ronnie Dyson
SINGING: Dyson’s voice is strong and pleasant, with very measured notes often placed slightly off the beat, but lacks some of the dramatic effects of later singers. The ensemble functions in unison here and sounds great.
ORCHESTRA: The introduction features lots of clangy and jingly sounds, eventually joined by a funky bass. Overall, the sound is driven by the rock ensemble, with just some small brassy interruptions here and there.
SOUND: The sound is quite muddy; the vocals dominate the band, and the brass details in particular are often very hard to hear.
*MISCELLANEOUS: This original version features the fastest tempo of them all, and in general it has a certain quality (hard to pin down) that gives it a strong forward momentum that’s never quite matched again (5th Dimension excluded).
ORIGINAL LONDON CAST (1968) - YouTube
Soloist: Vince Edwards
SINGING: Edwards has an edgier, more strained sound than the other vocalists, which proves to be another valid choice for this song. The ensemble is a little raggedy but more textured than the original, with different groups playing against each other in the middle section before joining together again.
ORCHESTRA: This time the introduction features some electronic, almost voice-like sounds, giving it a horror-movie kind of vibe. The brass is used more effectively here, and I really like the very forward, syncopated percussion that pops up near the end.
SOUND: Still not a great sound, but it does have a better balance between singers and accompaniment.
MISCELLANEOUS: The tempo is a little sluggish compared to the two Broadway versions.
**ORIGINAL SOUNDTRACK RECORDING (1979) - YouTube
Soloist: Renn Woods
*SINGING: Woods has a very full-bodied, lovely voice, technically proficient but with pyrotechnic inclinations. This is a good thing, because she dominates this song, with the ensemble very much relegated to a backing role in this version. Her embellishments admittedly border on the indulgent in the second half of the song, but the overall effect is more exciting than over-the-top.
ORCHESTRA: This version features a very different, quite long, more symphonic introduction, with a four-square funky bass eventually being joined by a full brass section and even some strings. The layered brass parts are really nice throughout, but especially in the mid-song instrumental break.
*SOUND: The sound is crystal-clear and perfectly balanced, and the very rich stereo makes for a glorious listening experience through headphones.
MISCELLANEOUS: The tempo is again a bit slow. Unlike the other versions, the soloist sings the whole song, even the bridge (“harmony and understanding…”). As mentioned above, this version includes a mid-song instrumental section, followed by another repeat of the bridge and chorus. It’s no wonder this version is about two minutes longer than the original! (It’s possible that this version is so divergent that, like the 5th Dimension single, I shouldn’t really be comparing it with the stage recordings. But it’s definitely the same song with identical melody and lyrics, and I’ve always considered soundtracks alongside cast recordings before, so I’m going to stick with my ruling.)
BROADWAY REVIVAL CAST (2008) - YouTube
Soloist: Sasha Allen
SINGING: Allen has a much softer, friendlier voice, very appropriate for this director and this cast’s take on the material. The ensemble sounds terrific in the nicely layered middle section, if a little underpowered when divided into groups.
*ORCHESTRA: The introductory section resembles the London version, but it’s shorter and its electronic sounds are more ethereal than creepy. The very effective brass arrangements are largely held over from the movie version. Some subtle touches from the familiar 5th Dimension single have been slipped in under the repeated choral intonations of “Aquarius” near the end, I think. This is the only version with a really satisfying concluding gong effect.
SOUND: This is a nice modern-sounding recording, generally clear and well-balanced, with the sound coming out just slightly pinched at louder moments with chorus and brass together.
MISCELLANEOUS: The tempo is faster again here.
BONUS: FIFTH DIMENSION COVER (1969) - YouTube
Soloists: Marilyn McCoo and Billy Davis, Jr.
SINGING: McCoo’s take on the “Aquarius” solo material is powerful but restrained, lending this version a kind of unearthly tension. In the middle section, band members do a fine job substituting for the usual chorus, with their unique voices playing against each other in rapid succession. Davis’ freestyle vocals in the “Let the Sunshine In” section clash wonderfully with McCoo’s precision.
ORCHESTRA: The brief but iconic introduction features two flutes competing in beautiful but dissonant melodic lines, quickly giving way to a strong and steady pop beat, establishing this single as very much its own thing. Overall, the track is dominated by its densely textured rock-ensemble sound, with piercing brass providing contrast and extra intensity.
SOUND: The sound is very full but not as perfectly clear as a couple of the others, probably designed for radio speakers rather than headphones.
MISCELLANEOUS: A little less than half of this track is taken up by “Aquarius”; the rest is an extended riff on the final song of the stage show, “Let the Sunshine In (The Flesh Failures).” I don’t know who gets the credit for the decision to juxtapose these two radically different songs so abruptly, like yin against yang, but it was a masterpiece of an idea that rightly won this single enduring popularity as well as a Grammy for Record of the Year.
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