Simply put, it’s one of the greatest rock musicals ever: Jeff Wayne’s Musical Version of The War of the Worlds. Not as well known as, say Jesus Christ Superstar, but it is essential ownership for fans of:
- both science fiction and rock musicals
- concept albums
- H.G. Wells
- Justin Hayward of the Moody Blues
- Phil Lynott
That’s a lot of niche. Composer Jeff Wayne wrote a musical that spans multiple genres. Progressive rock, Disco beats, space rock, spoken word, symphonic rock…there is a foot on all those bases. A theremin-like synth hook recurs through the album, increasing the tension. Richard Burton is featured as the narrating Journalist, speaking the words of Wells, creating the necessary serious tone. Meanwhile Justin Hayward is featured as the main lead vocalist, singing as the Journalist in a shared role. It is he that delivers the catchiest of refrains on the album:
“The chances of anything coming from Mars are a million to one, he said. But still they come.”
The story has of course been streamlined down from the original 287 page novel. The plot remains the same, as do the major setpiece scenes. The opening of the first Martian capsule in “Horsell Common and the Heat Ray” is impeccably narrated by Burton. This also introduces a guitar theme that pops up again and again on the album. And now it is clear the visitors from Mars have hostile intent, and weapons beyond those known to human science.
David Essex joins Burton on “The Artilleryman and the Fighting Machine”. He plays a young soldier, survivor of the first Martian attack. “They wiped us out. Hundreds dead, maybe thousands.” Guitars and synthesizers mingle in haunting fashion. Dramatic strings emphasise the danger, as it quickly becomes an action piece. Another recurring musical theme is introduced: the terrifying Martian cry of “Ulla! Ulla!”
Hayward resumes his role as the Journalist on “Forever Autumn”, a ballad memorable for its lamenting chorus of “Now you’re not here.” But the destruction also resumes with the refrain of “Ulla! Ulla!” Then “Thunder Child”, featuring vocalist Chris Thompson, describes a counter attack by the ironclad ship Thunder Child. She puts up a valiant struggle, managing to damage one of the Martian fighting machines, but succumbs to the heat ray. Collapse is imminent, and Earth now belongs to Mars.
The second disc, subtitled The Earth Under the Martians, continues the story with Thin Lizzy’s Phil Lynott as Parson Nathaniel. A foul red weed has claimed the land. The mad Parson barely survived a Martian attack and is discovered by his wife Beth (Julie Covington) and the Journalist. Lynott portrays the character with manic delight, as the Parson is convinced the Martians are the devil. His feature lead vocal is “The Spirit of Man”, where the Parson blames the death and destruction on the sins of all mankind. They witness a new Martian machine that pursues, captures and harvests humans for their blood. The Parson thinks he can destroy the Martian demons with prayer, but fails. The Journalist survives, and meets the Artilleryman down the road.
The Journalist is delighted to see a familiar face again. The Artilleryman is the polar opposite of the Parson. He believes mankind can survive underground. “Brave New World” is a dramatic Floyd-like ballad in tribute to the new life the Artilleryman sees for himself. The chorus of “We’ll start over again!” is infectious like all the others on this album. “We’ll even build a railway and tunnel to the coast! Go there for our holidays!” He makes the future underground sound like a paradise, but the Journalist doesn’t believe such grand plans can be accomplished by just the survivors. Instead, he returns to London.
The city is blackened, looted and abandoned. Darker music accompanies the narrator/Journalist on his journey through on “Dead London, Pt. 1”. Then he notices two massive fighting machines, making sounds but unmoving. The machines go silent, and the string section from the opening track “The Eve of the War” returns to dramatic effect. This is when he discovers that simple Earthen bacteria and germs have killed the Martians. They had no immunity to our diseases, and so the Martian invasion was stopped not by man, but by the smallest living things. “Dead London, Pt. 2” is a triumphant refrain symbolising the victory at hand.
Life eventually returns back to normal, and the Journalist is reunited with his love. There remains a question of a future threat from Mars. The epilogue conclusively answers that question….
The highly recommended 2009 CD reissue has an unlisted bonus, a medley of two of the big Justin Hayward pieces, “Forever Autumn” and “The Eve of the War”. There is also a 2009 re-recording of “The Spirit of Man”. This set comes recommended mainly for its lavish booklet, with full colour illustrations and pages of art. It also has full credits and lyrics for every track, including dialogue. The remastering is full and clear, without any obvious sonic flaws. You can buy this album in a number of editions, with loads of remixes and outtakes, but this simpler 2 CD remaster is the ideal entry point.
Though the musical chapters are long, War of the Worlds flows by rather quickly. Sometimes it bears sonic similarity to Alice Cooper’s elaborate Welcome to My Nightmare. But it is far weightier and more expansive than that. You can finish the album in a single sitting quite easily. In fact, you probably should.