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Latest Backing Tracks from Successful Singing

Book Of Mormon (The) – Musical

Book Of Mormon

Book Of Mormon is a musical created by Trey Parker, Robert Lopez, and Matt Stone (also known as the creators of the animated TV show South Park)

The  Book Of Mormon follows two Mormon missionaries as they attempt to preach the Mormon religion (Church Of The Latter-day Saints) to the inhabitants of a remote African village. The earnest young men have to try to win over the local people who are more interested in surviving their day to day lives, the threat of famine and the ever present oppression of the village warlords.

The missionaries eventually succeed in getting the locals to think in more positive way but not necessarily embracing The Church.

Backing Tracks

HELLO - THE BOOK OF MORMON - C (BV) (SK)
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Hello

I BELIEVE - THE BOOK OF MORMON (BV) (SK)
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I Believe

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Official Website

 

Matilda The Musical

Matilda The Musical

Matilda the Musical is based on a novel by Roald Dahl. The story centres around Matilda a little girl with the gift of telekinesis (moving objects with mind-power), who loves reading, overcomes obstacles caused by her family and school, and helps her teacher to reclaim her life.

The musical received its West End premiere on 24 November 2011 at the Cambridge Theatre and its Broadway premiere on 11 April 2013 at the Shubert Theatre.

Matilda has received widespread acclaim, winning seven 2012 Olivier Awards, including Best New Musical. At the 2013 Olivier Awards and at the 2013 Tony Awards, the show won five awards, including the Tony Award for Best Book of a Musical.

Backing Tracks

MY HOUSE - MATILDA
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My House

NAUGHTY - MATILDA
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Naughty

QUIET - MATILDA
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Quiet

REVOLTING CHILDREN - MATILDA
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Revolting Children

WHEN I GROW UP (PIANO) - MATILDA
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When I Grow Up (Piano)

WHEN I GROW UP - MATILDA
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When I Grow Up

Please Put My Tracks On CD
Please Put My Tracks On CD
Add this to your cart if you prefer to have your tracks posted to you on a CD rather than as a download. We have a comprehensive Backing Track collection. If you can't find what you're looking for, then please ask us. We use your address registered with Paypal. Please make sure this is up-to-date.

A Chorus Line

A Chorus Line

Backing Tracks

AT THE BALLET - CHORUS LINE
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At The Ballet – NBV

DANCE 10 LOOKS 3 - CHORUS LINE
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Dance 10 Looks 3 – NBV

I CAN DO THAT - CHORUS LINE
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I Can Do That – NBV

I FELT NOTHING - CHORUS LINE
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 I Felt Nothing – NBV

I HOPE I GET IT - CHORUS LINE
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I Hope I Get It – NBV

LET ME DANCE FOR YOU - CHORUS LINE
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Let Me Dance For You – NBV

MUSIC AND THE MIRROR - CHORUS LINE
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Music And The Mirror – NBV

ONE - CHORUS LINE (NBV)
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One Singular Sensation – NBV

SURPRISE SURPRISE - CHORUS LINE
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Surprise Surprise – NBV

WHAT I DID FOR LOVE - CHORUS LINE
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What I Did For Love – NBV

Please Put My Tracks On CD
Please Put My Tracks On CD
Add this to your cart if you prefer to have your tracks posted to you on a CD rather than as a download. We have a comprehensive Backing Track collection. If you can't find what you're looking for, then please ask us. We use your address registered with Paypal. Please make sure this is up-to-date.

At an audition for an upcoming Broadway production, the formidable director Zach and his assistant choreographer Larry put the dancers through their paces.

Every dancer is desperate for work (“I Hope I Get It”).

After the first cut, 17 dancers remain. Zach tells them he is looking for a strong dancing chorus of four boys and four girls. He wants to learn more about them, and asks the dancers to introduce themselves. With reluctance, the dancers reveal their pasts. The stories generally progress chronologically from early life experiences through adulthood to the end of a career.

The first candidate, Mike, explains that he is the youngest of 12 children. He recalls his first experience with dance, watching his sister’s dance class when he was a pre-schooler (“I Can Do That”). Mike took her place one day when she refused to go to class—and he stayed. Bobby tries to hide the unhappiness of his childhood by making jokes. As he speaks, the other dancers have misgivings about this strange audition process and debate what they should reveal to Zach (“And …”), but since they all need the job, the session continues.

Zach is angered when he feels that the streetwise Sheila is not taking the audition seriously. Opening up, she reveals that her mother married at a young age and her father neither loved nor cared for them. When she was six, she realized that ballet provided relief from her unhappy family life (“At the Ballet”), as did Bebe and Maggie. The scatter-brained Kristine is tone-deaf, and her lament that she could never “Sing!” is interrupted by her husband Al finishing her phrases in tune.

Mark, the youngest of the dancers, relates his first experiences with pictures of the female anatomy and his first wet dream, while the other dancers share memories of adolescence (“Hello Twelve, Hello Thirteen, Hello Love”). Greg speaks about his discovery of his homosexuality, and Diana recollects her horrible high school acting class (“Nothing”). Don remembers his first job at a nightclub, Richie recounts how he nearly became a kindergarten teacher, Judy reflects on her problematic childhood, and the 4’10” Connie laments the problems of being short. Finally, the newly-buxom Val explains that talent alone doesn’t count for everything with casting directors, and silicone and plastic surgery can really help (“Dance: Ten; Looks: Three [Tits and Ass]”).

The dancers go downstairs to learn a song for the next section of the audition, but Cassie stays onstage to talk to Zach. She is a veteran dancer who has had some notable successes as a soloist. They have a history together: Zach had cast her in a featured part previously, and they had lived together for several years. Zach tells Cassie that she is too good for the chorus and shouldn’t be at this audition. But she hasn’t been able to find solo work and is willing to “come home” to the chorus where she can at least express her passion for dance (“The Music and the Mirror”). Zach sends her downstairs to learn the dance combination.

Zach calls Paul on stage, and he emotionally relives his childhood and high school experience, his early career in a drag act, coming to terms with his manhood and his homosexuality, and his parent’s ultimate reaction to finding out about his lifestyle. Paul breaks down and is comforted by Zach. Cassie and Zach’s complex relationship resurfaces during a run-through of the number created to showcase an unnamed star (“One”). Zach confronts Cassie, feeling that she is “dancing down,” and they rehash what went wrong in their relationship and her career. Zach points to the machine-like dancing of the rest of the cast: the other dancers who have all blended together, and who will probably never be recognized individually. Cassie defends the dancers and replies, “I’ll take chorus, if you’ll take me!”

During a tap sequence, Paul falls and injures his knee that recently underwent surgery. After Paul is carried off to the hospital, all at the audition stand in disbelief, realizing that their careers can also end in an instant. Zach asks the remaining dancers what they will do when they can no longer dance. Led by Diana, they reply that whatever happens, they will be free of regret (“What I Did for Love”). The final eight dancers are selected: Mike, Cassie, Bobby, Judy, Richie, Val, Mark, and Diana.

“One” (reprise/finale) begins with an individual bow for each of the 19 characters, their hodgepodge rehearsal clothes replaced by identical spangled gold costumes. As each dancer joins the group, it is suddenly difficult to distinguish one from the other: Ironically, each character who was an individual to the audience seems now to be an anonymous member of a never-ending ensemble.

Disney – Mary Poppins

Disney – Mary Poppins

Backing Tracks:

Disney – Mary Poppins: Feed The Birds… Jolly Holiday… Spoonful Of Sugar… Supercalifragilisticexpialidocious…

Mary Poppins is a 1964 American musical fantasy comedy film loosely based on the series of children’s books of the same name written by P.L.Travers.  It was directed by Robert Stevenson and produced by Walt Disney, with songs written and composed by the Sherman Brothers. Mary Poppins, played by Julie Andrews, visits a dysfunctional family in London and brings her unique brand of lifestyle to improve the family’s way of life.

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Backing Tracks

CHIM CHIM CHE'REE - DISNEY - MARY POPPINS (SK)
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Chim Chim Che’ree

FEED THE BIRDS - DISNEY - MARY POPPINS
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Feed The Birds

JOLLY HOLIDAY - DISNEY - MARY POPPINS
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Jolly Holiday

LET'S GO FLY A KITE - DISNEY - MARY POPPINS
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Let’s Go Fly A Kite

SPOONFUL OF SUGAR - DISNEY - MARY POPPINS
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Spoonful Of Sugar

STEP IN TIME - DISNEY - MARY POPPINS
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Step In Time

SUPERCALIFRAGILISTICEXPIALIDOCIOUS - DISNEY MARY POPPINS (SK)
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Supercalifragilisticexpialidocious

Please Put My Tracks On CD
Please Put My Tracks On CD
Add this to your cart if you prefer to have your tracks posted to you on a CD rather than as a download. We have a comprehensive Backing Track collection. If you can't find what you're looking for, then please ask us. We use your address registered with Paypal. Please make sure this is up-to-date.

Sheet Music

LET'S GO FLY A KITE - DISNEY MARY POPPINS - SHEET MUSIC
LET'S GO FLY A KITE - DISNEY MARY POPPINS - SHEET MUSIC
Price: £3.00
Let’s Go Fly A Kite – PVG

SPOONFUL OF SUGAR -  DISNEY - MARY POPPINS - PVG - SHEET MUSIC
SPOONFUL OF SUGAR - DISNEY - MARY POPPINS - PVG - SHEET MUSIC
Price: £3.00
Spoonful Of Sugar – PVG

SUPERCALIFRAGILISTICEXPIALIDOCIOUS - DISNEY MARY POPPINS - PVG - SHEET MUSIC
SUPERCALIFRAGILISTICEXPIALIDOCIOUS - DISNEY MARY POPPINS - PVG - SHEET MUSIC
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 Supercalifragilisticexpialidocious – PVG

Disney – Mary Poppins Returns

Mary Poppins Returns is a 2018 American musical fantasy film. Based on the book series Mary Poppins by P. L. Travers, the film is a sequel to the 1964 film, and stars Emily Blunt and features supporting roles by Julie Walters, Dick Van Dyke, Angela Lansbury, Colin Firth, and Meryl Streep.

Set in 1930s London, twenty-five years after the events of the original film, the film sees Mary Poppins, the former nanny of Jane and Michael Banks, returning one year after a family tragedy.

A COVER IS NOT THE BOOK- DISNEY - MARY POPPINS RETURNS - BV
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A Cover Is Not The Book

Please Put My Tracks On CD
Please Put My Tracks On CD
Add this to your cart if you prefer to have your tracks posted to you on a CD rather than as a download. We have a comprehensive Backing Track collection. If you can't find what you're looking for, then please ask us. We use your address registered with Paypal. Please make sure this is up-to-date.

Jesus Christ Superstar

Jesus Christ Superstar is a 1970 rock opera with music by Andrew Lloyd Webber and lyrics by Tim Rice. The musical started as a rock opera concept album before its Broadway debut in 1971. The musical is mostly sung-through, with little spoken dialogue. The story is loosely based on the Gospels’ accounts of the last week of Jesus’s life, beginning with the preparation for the arrival of Jesus and his disciples in Jerusalem and ending with the crucifixion. It depicts political and interpersonal struggles between Judas Iscariot and Jesus that are not present in the Bible.

Backing Tracks

COULD WE START AGAIN PLEASE - JESUS CHRIST SUPERSTAR
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 Could We Start Again

DAMNED FOR ALL TIME - JESUS CHRIST SUPERSTAR
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 Damned For All Time

EVERYTHING'S ALRIGHT - JESUS CHRIST SUPERSTAR (SK)
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 Everything’s Alright

GESTHEMANE - JESUS CHRIST SUPERSTAR
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 Gesthemene

HEAVEN ON THEIR MINDS - JESUS CHRIST SUPERSTAR (SK)
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 Heaven On Their Minds

HOSANNA - JESUS CHRIST SUPERSTAR
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 Hosanna

I DON'T KNOW HOW TO LOVE HIM - JESUS CHRIST SUPERSTAR (SK)
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 I Don’t Know How To Love Him

JUDAS'S DEATH - JESUS CHRIST SUPERSTAR (SK)
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Judas’s Death

KING HEROD SONG - JESUS CHRIST SUPERSTAR (SK)
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 King Herod’s Song

PILATE'S DREAM - JESUS CHRIST SUPERSTAR
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 Pilates Dream

SIMON ZEALOTES - JESUS CHRIST SUPERSTAR
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 Simon Zealotes

SUPERSTAR - JESUS CHRIST SUPERSTAR (SK)
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Superstar

THE LAST SUPPER - JESUS CHRIST SUPERSTAR
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 The Last Supper

THIS JESUS MUST DIE - JESUS CHRIST SUPERSTAR (SK)
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This Jesus Must Die

Please Put My Tracks On CD
Please Put My Tracks On CD
Add this to your cart if you prefer to have your tracks posted to you on a CD rather than as a download. We have a comprehensive Backing Track collection. If you can't find what you're looking for, then please ask us. We use your address registered with Paypal. Please make sure this is up-to-date.

 

Act I

Judas Iscariot, a sullen member of the Twelve Apostles, expresses his concern over Jesus’s rising popularity and the negative repercussions that will have. He strongly criticises Jesus for accepting his followers’ unrealistic views, and for not heeding his concerns (“Heaven on Their Minds”). While Judas still loves Jesus, he believes that Jesus is just a man, not God, and worries that Jesus’s following will be seen as a threat to the Roman Empire which would then severely punish Jesus, his associates, and possibly the Jewish people as a whole. Judas’s warning goes unheeded, as Jesus’s followers have their minds set on going to Jerusalem with Jesus. As they ask Jesus for information about his plans for the future, Jesus will not give them any, since whatever will happen is determined by God (“What’s the Buzz?”).

Recognizing that Jesus is irritated by the badgering and lack of understanding from his followers, Mary Magdalene tries to help Jesus relax. Judas does not like how it looks, though he does not object to “her profession”. It seems to Judas that Jesus is contradicting his own teaching, and he worries that this apparent lack of judgment will be used against Jesus and his followers (“Strange Thing Mystifying”). Jesus tells Judas that Mary is with him now, and unless Judas is without sin he should not judge the character of others. Jesus then reproaches the rest of the apostles for being “shallow, thick, and slow” and bitterly complains that not a single one of them truly cares if he comes or goes. Mary Magdalene tries to reassure Jesus while anointing him with oil (“Everything’s Alright”). Judas angrily insists that the money spent on oil could have been used to help the poor. Sadly, Jesus answers that that they simply do not have the resources to end poverty, and that they should be glad for what comforts they have, including himself; therefore, he warns him “You’ll be lost, you’ll be sorry when I’m gone.”

Meanwhile, Caiaphas, the High Priest of Israel, assembles the Pharisees together at the Sanhedrin to talk about Jesus and his disciples. According to the Pharisees, Jesus’s growing following consists of Jews unwilling to accept the Romans as their rulers, and the priests believe that Jesus may come to be seen as a threat to the Roman Empire, and to the priesthood’s integrity; if the Romans retaliate, many Jews will suffer, even those who are not following Jesus. Caiaphas then concludes that there could be great bloodshed and the stakes are “frighteningly high!”. So, for the greater good, he suggests they should “crush him completely! So like John before him, this Jesus must die!”, and the Pharisees concur upon his decision (“This Jesus Must Die”). As Jesus and his followers arrive exultantly in Jerusalem, they are confronted by Caiaphas, who demands that Jesus should postpone this parade, which Jesus says would be futile and change nothing, and he proceeds to greet the happy Israelites instead (“Hosanna”). As the crowd cheers him on, they suddenly ask, “Hey JC, JC, won’t you die for me?” To this, Jesus visibly reacts with concern. Then, one of his apostles, Simon the Zealot, suggests that Jesus lead his mob in a war against Rome and gain absolute power (“Simon Zealotes”). Jesus rejects this suggestion, stating that none of his followers understand what true power is, nor do they understand his true message (“Poor Jerusalem”).

Pontius Pilate, the governor of Judea, has had a dream, in which he meets with a Galilean (in the form of Jesus) and that he, Pilate, will receive all of the blame for the man’s violent and mournful death, predicting the rise of Christianity (“Pilate’s Dream”). Jesus arrives at the Temple in Jerusalem and finds that it has become a haven of sin and debauchery as it is being used for selling everything from usury and weapons to prostitutes and drugs; angered by this, Jesus drives everyone out (“The Temple”). Angry, disconsolate, and tired by his burden, Jesus is confronted by lepers, cripples, and beggars, all wanting to be healed. Even though he heals some, their number increases, and he is overwhelmed. Unable to solve everyone’s problems, Jesus screams “Heal yourselves!” until he finds Mary Magdalene by his side, laying him to rest (“Everything’s Alright (Reprise)”). While Jesus is asleep, Mary acknowledges that she is unconditionally in love with Jesus, unlike any man she has known before, and it frightens her (“I Don’t Know How to Love Him”).

Conflicted, Judas seeks out the Pharisees and promises to help them arrest Jesus, while belaboring that he is acting with unselfish motives and that Jesus himself would approve if he knew those motives (“Damned for All Time”). Sustaining his testimony, Caiaphas and Annas ask that Judas reveal the location of Jesus so that the authorities can apprehend him. In exchange for the information, Judas is offered thirty pieces of silver as a “fee” so that he can assuage his conscience by using the money charitably (“Blood Money”). Judas decides that it would be better to turn Jesus in before his popularity leads to the deaths of Jesus and his followers, Judas included. He reveals that on Thursday night, Jesus will be at the Garden of Gethsemane.

Act II

At what Jesus knows will be the Last Supper, he pours wine and passes bread for his apostles (“The Last Supper”). Very aware of the ordeal he faces, he is stung when the others pay little attention to him; “For all you care this bread could be my body,” he remarks, alluding to (and anticipating) the Christian doctrine of the Eucharist. He asks them to remember him when they eat and drink; he predicts that Peter will deny him three times “in just a few hours” and that one of them will betray him. Judas, believing that Jesus already knows (“cut the dramatics, you know very well who”), admits he is the one and angrily accuses Jesus of acting recklessly and egotistically. Claiming he does not understand Jesus’s decisions, he leaves to bring the Roman soldiers.

The remaining apostles fall asleep, and Jesus retreats to the Garden of Gethsemane to pray (“Gethsemane”). He admits to God his doubts, fears, and anger; that he is tired and has done all he can. He asks powerfully if any of it has meaning and implores God not let him suffer the horrible death that portends for him. He feels disillusioned with his quest as the Messiah, does not understand what it has achieved, and wishes to give up. Receiving no answer, Jesus realises that he cannot defy God’s will, and surrenders to God. His prayer ends with a request that God take him immediately, “before I change my mind.”

Finally, Judas arrives with Roman soldiers and identifies Jesus by kissing him on the cheek (“The Arrest”). While Jesus is being arrested, his apostles attempt to fight the soldiers, Jesus tells them to let the soldiers take him to Caiaphas. On the way, a mob (acting like—and sometimes represented as—modern-day news reporters) asks Jesus what he plans to do, but Jesus declines to comment. When Jesus is brought to trial before the Sanhedrin, Caiaphas demands if he is the King of the Jews. Jesus responds: “That’s what you say, you say that I am.” This answer is affirmative according to Jewish custom, and that provides enough justification for the Pharisees to bring Jesus to Pilate. Meanwhile, Jesus’s apostle Peter is confronted by an old man, a soldier and a maid, and Peter denies to each that he knows Jesus (“Peter’s Denial”). Mary asks Peter why he denied Jesus, and Peter responds that he had to do it in order to save himself. Mary wonders how Jesus knew that Peter would deny him three times.

Later, Pilate asks Jesus if he is the King of the Jews. Jesus gives the same answer that he gave Caiaphas: “that’s what you say.”[1] Since Jesus is from Galilee, Pilate says that he is not under his jurisdiction and sends him to King Herod (“Pilate and Christ”). As Jesus is dragged away, the chorus asks where Jesus’s power has gone. The decadent and flamboyant King Herod persuades Jesus to prove his divinity by performing miracles, offering to free him if he complies (“King Herod’s Song (Try It And See)”), but Jesus ignores him. Herod decides that Jesus is just another phony messiah and angrily sends him back to Pilate. Meanwhile, Mary Magdalene, Peter, and the apostles remember when they first began following Jesus, and wish that they could return to a time of peace (“Could We Start Again, Please?”)

Later, Judas is horrified upon beholding Jesus’s harsh treatment by the authorities. Wracked with guilt, Judas expresses regret to the pharisees, fearing he will forever be remembered as a traitor. Caiaphas and Annas assure him that what he has done now will save everyone and that he should not feel remorse for his actions. Although rewarded for a job well done, Judas recognizes that God chose him to be the one to betray Jesus, and that he has been used as a pawn for the “foul bloody crime”. He curses God for manipulating him, and in a final attempt to detach himself from his destiny, he commits suicide by hanging himself from a tree (“Judas’s Death”).

At Jesus’s trial, Pilate interrogates Jesus into revealing the whereabouts of his kingdom, but was cut off by a bloodthirsty mob who demands that Jesus should be sentenced to death by crucifixion. In spite of the mob’s behavior, Pilate remembers the dream he had about the mob and the unjust execution of Jesus. Pilate tells the mob that, while Jesus should be imprisoned, he does not deserve to die. Pilate demands that the crowd give him a reason to condemn Jesus, and the mob answers that Jesus is a blasphemer and has defied the Roman Empire. However, after revealing Jesus as nothing more than a pathetic human being, Pilate calls the crowd hypocrites, as he knows they hate Roman rule. Even so, he decides to satisfy their bloodlust by having Jesus flogged, counting thirty-nine bloody strokes (“Trial Before Pilate, (Including The Thirty-Nine Lashes)”). Pilate, clearly disturbed by the whole ordeal, pleads with Jesus to defend himself, but Jesus says weakly that everything has been determined, by God, and Pilate cannot change it. More outraged by Jesus’s words, the crowd still calls for Jesus’s death, informing Pilate that he has his duty to keep the peace. Finally, he reluctantly agrees to crucify Jesus to keep the crowd from getting violent, saying to Jesus: “Don’t let me stop your great self-destruction! Die if you want to, you misguided martyr! I wash my hands of your demolition! Die if you want to, you – innocent puppet….”

As Jesus’s crucifixion awaits, he is haunted by the ghost of Judas, who taunts him and questions why Jesus chose to arrive in the manner and time that he did, and if what happened to him was really part of a divine plan, but Judas’ questions go unanswered (“Superstar”). After reciting his final words and commending his spirit to God, Jesus slowly dies on the cross (“The Crucifixion”). In the end, the Apostles and Mary, mourning the death of their fallen saviour, reflect on the impact he has had on their lives (“John Nineteen: Forty-One”).

 

Jesus Christ Superstar The Musical

JCS Andrew Lloyd Webber Tim Rice

Music Hall

Music Hall

Music hall is a type of British theatrical entertainment, so named after the venue that hosted these events. Popular between 1850 and 1940. It involved a mixture of entertainment in the form of popular songs, comedy, and speciality acts. The term is derived from a type of theatre or venue in which such entertainment took place.  We have a collection of Backing Tracks and Sheet Music from this genre.

Backing Tracks

ANY OLD IRON - TRADITIONAL
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Any Old Iron

IN MY LITTLE BOTTOM DRAWER - TRADITIONAL
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In My Little Bottom Drawer

I WANT TO SING IN OPERA - MUSIC HALL - WILKIE BARD
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I Want To Sing In Opera

KISS ME GOODNIGHT SERGEANT MAJOR - WAR SONGS
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Kiss Me Goodnight Sergeant Major

LAUGHING POLICEMAN - TRADITIONAL - CHARLES PENROSE (SK)
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Laughing Policeman

RUN RABBIT RUN - TRADITIONAL
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Run Rabbit Run

SIDE BY SIDE - MUSIC HALL (BV)
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Side By Side

Please Put My Tracks On CD
Please Put My Tracks On CD
Add this to your cart if you prefer to have your tracks posted to you on a CD rather than as a download. We have a comprehensive Backing Track collection. If you can't find what you're looking for, then please ask us. We use your address registered with Paypal. Please make sure this is up-to-date.

Sheet Music

I WANT TO SING IN OPERA - MUSIC HALL SHEET MUSIC
I WANT TO SING IN OPERA - MUSIC HALL SHEET MUSIC
Price: £3.00
I Want To Sing Opera

 

History of the Music Hall

Music halls can be traced back to the taverns and coffee houses of 18th century London where men met to eat, drink and do business. Performers sang songs whilst the audience ate, drank and joined in the singing. By the 1830s taverns had rooms devoted to musical clubs. They presented Saturday evening Singsongs and Free and Easies. These became so popular that entertainment was put on two or three times a week.

The taverns, saloons and supper rooms would have been noisy and difficult places in which to perform. The audiences chatted throughout the acts and could be very unruly often throwing things at the performers – bottles, old boots, even a dead cat. Industrial towns favoured hurling iron rivets. In some halls, bottles carried by the waiters were chained to the trays and the orchestra was protected from the missiles by steel grilles stretched over the pit.

While women were not allowed in the middle-class song and supper rooms, working-class women went to the taverns. In the early days they would often accompany their husbands and bring along their children and even babies. It was also the place where the prostitutes would look for trade.

Mr Charles Morton, publican of the Canterbury Tavern in Lambeth, opened the first purpose built music hall, The Canterbury Hall, in 1852. It held 700 people. Audiences were seated at tables and food and drink was served throughout the performance, which took place on a platform at one end of the hall.   It became so successful, that a much bigger theatre was build on the site.

Inspired by the success of the Canterbury, music halls opened up across London, and by 1875 there were 375 music halls in Greater London, which meant a lot more performers were required. Throughout the 1860s it became more common for women to perform in the halls. Performing was a way of escape and independence for working-class women. Many women achieved, if not stardom, a decent living on the halls.

Singing and the comic song remained at the heart of music hall, but gradually the acts increased in diversity. All sorts of ingenious and strange speciality acts developed.

Despite the apparent respectability of the West End halls, music hall was still associated with wild audiences and high living. The audiences were aristocratic young men and the working classes; the middle classes regarded the halls as vulgar places, full of risqué entertainment.

Most of the stars were working class, but such was the glamour of Music Hall that several married into the aristocracy. Managers like Oswald Stoll made a deliberate effort to make music hall respectable. The major West End music halls, like the Palace and the Coliseum, began to attract a higher social class, often wearing evening dress.

The London County Council, after a series of fires in theatres and music halls finally banned eating and drinking in the auditorium in 1914. From that time, the music halls simply had to be run on the same lines as theatres. After this, music hall became known by its earlier name of Variety and, with the coming of cinema and later radio, became almost extinct by the time of World War II.