“A Concept Recording” — what on earth are they talking about?
Concept Recording: A recording of a theatrical work that is NOT tied to a physical production.
The “concept” is that the story is told through song – these are typically studio recordings. And always out of context from the show.
WHY ON EARTH would you want to listen to (or record ) a concept recording? Because it’s ALL about the music, and the storytelling within the song. The concept recording is ONLY about the listening experience and the journey that the artists take you on… The concept recording is usually produced like a “real” record, using studio musicians, and the recording process can take months (or even years)…
As opposed to the “Broadway Cast Recording” — which is “simply” a snapshot of the show, the day they recorded it. A Broadway Cast Recording can be (usually, it MUST be) recorded in one day.
Frank & I have been making concept recordings for many years now:
- 1989 Jekyll & Hyde (with Colm Wilkinson and Linda Eder)
- 1990 The Scarlet Pimpernel
- 1994 Jekyll & Hyde (with Anthony Warlow, Linda Eder, et al…)
- 1998 The Civil War
- 2006 Jekyll & Hyde: Resurrection (with Rob Evan, Kate Shindle, Brandi Burkhardt)
- 2009 Wonderland, The Concept Recording
- 2010 Tears of Heaven
- 2011 Dracula, The Studio Cast
- (and we have at least 2 more projects that will be released this year)
What makes the concept recording special to me, is that it is ENTIRELY about the recording. It is not about the staging, or costumes, or lighting, or even the book (why ruin a perfectly good musical with a book? — paraphrased from Max Bialystock)
The concept recording allows the songwriters, producers, arrangers and performers to create a listening experience, without any ties to a physical production. Close your eyes. Let the music take you on a journey…
Some of my favorites concept recordings include:
- Jesus Christ Superstar
- The Wall (Pink Floyd)
- Chess
- Everything from TSO
- How about Styx, Queen, Zeppelin — all had stories to tell…
I lived with these recordings for years before I ever saw the physical production(s) — and the recordings still stand on their own.
Why do creators want to make concept recordings?
- Artistic development — just make a great recording and tell the story;
- A Line In The Sand — the composer gets his vision realized before anything else is adapted for the stage;
- Unlimited creative options — there are no rules, no fixed orchestra size, etc.
- It’s not done until we say it is.
What do you like about concept recordings?
Happy Listening,
J
