Jeff Wayne
Jeff Wayne's Musical Version Of 'The War Of The Worlds'

If thirty years ago a work like this achieved enormous commercial success, shaking up the English and European charts, then it means that musically things were very different compared to today, and that the value of certain works was duly recognized by the general public as well. Perhaps because the lavish memories of the progressive era were still in the air, perhaps due to the fame of Wells' novel. The fact remains that Jeff Wayne's Musical Version Of The War Of The Worlds had a stratospheric success that still lasts today.

The album is from 1978 and is a monumental work divided into two substantial discs featuring a large number of musicians gathered around Wayne and his supporting composer as well as lyricist, Gary Osborne. Some names are quite outstanding: Justin Hayward of the Moody Blues, the supreme guitarist Chris Spedding, Phil Lynott of Thin Lizzy; quite a chunk of the rock royalty. But there are also the narrations, pieces of Wells rewritten and masterfully interpreted by the masculine and deep voice of Richard Burton. The album centers on the story told in The War of the Worlds, retaining the nice Victorian setting and slightly reworking the plot with some added characters. Wayne and his team deploy all the technology that musical composition had at their disposal at the time, so synthesizers, mellotron, absurdly distorted guitars, electronic percussion, orchestra, and eerie sounds are prominently featured; additionally, an innovative analog technique is used for the recording, which will be revisited in the 80s; nothing is left to chance, and indeed the production is extremely meticulous and the sound incredibly modern and effective. The result is twelve very diverse tracks, where various themes and sounds are revisited, such as the terrifying cry of Martian fighting machines.

 The most famous and recognizable themes are the dramatic and orchestral one of The Eve Of The War, which recurs frequently throughout the album, the menacing and wildly distorted one that echoes the alien heat ray, the hypnotic and otherworldly rhythm of The Red Weed, in which Chris Spedding also gives a demonstration of his rhythmic prowess with the guitar. Among the notable tracks are Thunder Child, depicting the hopeless duel between a battleship and monstrous alien tripods, and Spirit Of Man, with beautiful duets between the insane parson played by Lynott and the wonderful voice of Julie Covington. Justin Hayward's performance in Forever Autumn, a sentimental track that breaks the dramatic and oppressive atmosphere with rather syrupy lyrics, is barely sufficient, while Brave New World is excellent, where not only do we hear a splendid performance by actor David Essex in the role of the Artilleryman, but also a curious refrain with distorted electronic percussion and elevating synthesizer riffs that will also be used in the glorious epilogue (there's another epilogue that closes the album, but it is more of a jest).

 It must be said that the recitations and narrated parts greatly enhance the pathos and involvement of the listener, but they are also one of the album's flaws, as they clearly presuppose a reading of the novel as well as an excellent understanding of English. To be clear, this is not an album to be played casually, but one to be savored slowly and followed like a real musical, especially since the length is significant and it drags on at times, or, as in the case of Spirit Of Man, the singers-actors' interpretation is so intense it comes off a bit excessive. It's no wonder the album is still enjoying great success as a live show, because it's on stage that its theatrical dimension can consistently and completely express itself.

In the end, Jeff Wayne's War Of The Worlds and companions seem to me a winning bet, commendable for its experimental courage and intellectual consistency; an elegant and sincere work, meticulously crafted in every detail, including the artwork, and a testament of significant artistic commitment. In short, a fine example of how rock could and should be, proactive, innovative, and artistic even when appealing to a broad audience, and also an homage to the old glories of British rock, some lost, and others still there, remembering the times when «the Earth belonged to them».