---
product_id: 62250348
title: "Jeff Wayne’s Musical Version Of The War Of The Worlds – The New Generation"
price: "€ 63.85"
currency: EUR
in_stock: true
reviews_count: 13
url: https://www.desertcart.hr/products/62250348-jeff-wayne-s-musical-version-of-the-war-of-worlds
store_origin: HR
region: Croatia
---

# Jeff Wayne’s Musical Version Of The War Of The Worlds – The New Generation

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## Description

In 2012, an all New Generation of artists guest on a fresh recording of one of the most iconic albums of all time. Originally released in 1978, Jeff Wayne's Musical Version of The War of The Worlds remains an award-winning landmark masterpiece that has continually won new fans. For 2012, Jeff embarked on a new interpretation with guest stars every bit as talented as their illustrious predecessors. He has once again brought HG Wells’ classic novel to life on a new double album. Two of the modern era's most respected artists, Oscar-nominated actor Liam Neeson and celebrated singer/songwriter/producer and Take That’s main man Gary Barlow play the two key roles of The Journalist and The Sung Thoughts of The Journalist. Gary is the new voice of the singles "The Eve of The War" and "Forever Autumn". A life-long fan of the original album, he was most excited at the chance to appear on the new one. He says: "I've been a huge fan of The War of The Worlds score since I was a kid, so to be asked to work with the legend that is Jeff Wayne was a real privilege." Thirty-four years on, Liam Neeson inherits his role from Richard Burton, whose voice is an abiding memory for a generation haunted by his album narration. While a hard act to follow, he makes the role his own. Liam says: "I knew and loved the book from when I was a teenager and it was an easy persuasion. And I bought the album in 1979 when I was working in Ireland. I still have that little cassette.” Ricky, from the Kaiser Chiefs, takes over from David Essex’s classic rendition as The Artilleryman. Ricky commented: “Jeff Wayne’s The War of The Worlds is part of the musical landscape and I have always been a fan. It is daunting to do because people love it so much. I got the email from Jeff Wayne inviting me to be part of it and that is not something you can say ‘No’ to.” Bringing a fresh sound to the role of Parson Nathaniel is acclaimed new singer Maverick Sabre. Originally performed by Thin Lizzy’s Phil Lynott, Maverick performs with Joss Stone, the stunning choice to play Parson Nathaniel’s wife; their performances on "The Spirit Of Man" are truly mesmerising. Hot new talent, Alex Clare, following his breakout hit "Too Close", takes over as The Voice of Humanity, originally recorded by Chris Thompson. This is a limited edition hardback digipack format.

Review: A brave revision - It seems after all these years Jeff Wayne has finally conceded he is Mr. War of the Worlds and it's in that context you have to listen to this album. Mr. Wayne has remained doggedly faithful to his original work, some musical styles and instruments have changed, but this is as vivid an reinterpretation of that original work as you can get. There are some profound differences - Richard Burton passed away nearly 30 years ago and Liam Neeson brings his own gravitas to the role. They are very different voices and actors and I don't think it's fair to compare the two. There's no doubt that Burton's original version is utterly iconic but Neeson I think is just as sincere. With a new voice Wayne has been able to expand on some of the Journalist's spoken parts; no massive additions but small extra pieces of exposition which I think adds to the drama. The 1978 version had some era-defining voices, Burton/Essex/Heyward/Thompson/Lynott/Covington and it probably is true the voices on this album, as good as they are, will not be as influential. However they are all superb and it does them an injustice not to regard them so. There are no weak performances at all and they are a fresh take on the original 30+ year old originals. Similarly the musicianship is beyond rerproach; that and the production is probably better than the original. It has had more than 30 years of technological development and its probably true the technology has caught up with the ambition of the original. There are some tonal and instrument changes but the are mostly subtle and welcome. A worth companion to the original but needs to be listened to with an open mind. Bravo!
Review: IT Grows On You - When the release of this was first announced i was excited and at the same time cautious. whilst the original will remain a timeless classic there were elements about it that bugged me or just sounded dated or out of place even. Then came the day of the first previews (sorry for the pun). Hearing "The eve of the war" on Radio 2 being previewed approx a month ago really got me worked up for it. A cleaner sounding song with more punch added where it was needed, i was worried it may get too dancey like the ulla dub ulla albums (which coming from a fan/former DJ of dance music is saying something), but it got the balance bang on, and Liam Neeson added some much needed drama to the narration (Richard Burton as talented as he was always read the script in a monotone manner which really drew away from the drama of events as they occurred). All that left me wanting more and eagerly awaiting the arrival of this album. Finally the wait was over and i could pop the disc into the player and press play. From the get go i was impressed and as the album went on and then finished i was left feeling something isn't right. Then i realised i was comparing it to the original which i have to say is a big NO NO. The best thing i can advise is listen to it for what it is and not compare it to the original. i have played it through a further 2 times now with that approach and the more i listen the more i hear things i missed first time over and enjoy what is going on. As stated before Liam Neeson really adds drama where Richard Burton was seemingly unable to deliver. My only criticism for the casting is Maverick Sabre as the Parson Nathaniel. While vocally he is similar to Phil Lynott his speech sounds distinctly out of place for what should be Victorian England/London. For those of you reading this and wondering should i buy it i would say yes don't listen to everyone who says "the original was better" "this is crap" and "OMG who does Jeff Wayne think he is George Lucas" please do yourself a favour and ignore them. Yes the original is good. Yes it will hold a distinct place in any fans heart. BUT this is a fresh take on a classic that works and in some ways, in my opinion, does it better than the original but that is my opinion, judge for yourself and remember don't compare it to the original. Enjoy it for what it is, another retelling, or rendition even, of a timeless classic. (Just a quick note IMO this version works well with the volume up high and the bass cranked up too)

## Images

![Jeff Wayne’s Musical Version Of The War Of The Worlds – The New Generation - Image 1](https://m.media-amazon.com/images/I/81WUFMlYQ3L.jpg)

## Customer Reviews

### ⭐⭐⭐⭐⭐ A brave revision
*by K***L on 20 December 2012*

It seems after all these years Jeff Wayne has finally conceded he is Mr. War of the Worlds and it's in that context you have to listen to this album. Mr. Wayne has remained doggedly faithful to his original work, some musical styles and instruments have changed, but this is as vivid an reinterpretation of that original work as you can get. There are some profound differences - Richard Burton passed away nearly 30 years ago and Liam Neeson brings his own gravitas to the role. They are very different voices and actors and I don't think it's fair to compare the two. There's no doubt that Burton's original version is utterly iconic but Neeson I think is just as sincere. With a new voice Wayne has been able to expand on some of the Journalist's spoken parts; no massive additions but small extra pieces of exposition which I think adds to the drama. The 1978 version had some era-defining voices, Burton/Essex/Heyward/Thompson/Lynott/Covington and it probably is true the voices on this album, as good as they are, will not be as influential. However they are all superb and it does them an injustice not to regard them so. There are no weak performances at all and they are a fresh take on the original 30+ year old originals. Similarly the musicianship is beyond rerproach; that and the production is probably better than the original. It has had more than 30 years of technological development and its probably true the technology has caught up with the ambition of the original. There are some tonal and instrument changes but the are mostly subtle and welcome. A worth companion to the original but needs to be listened to with an open mind. Bravo!

### ⭐⭐⭐⭐⭐ IT Grows On You
*by M***E on 27 November 2012*

When the release of this was first announced i was excited and at the same time cautious. whilst the original will remain a timeless classic there were elements about it that bugged me or just sounded dated or out of place even. Then came the day of the first previews (sorry for the pun). Hearing "The eve of the war" on Radio 2 being previewed approx a month ago really got me worked up for it. A cleaner sounding song with more punch added where it was needed, i was worried it may get too dancey like the ulla dub ulla albums (which coming from a fan/former DJ of dance music is saying something), but it got the balance bang on, and Liam Neeson added some much needed drama to the narration (Richard Burton as talented as he was always read the script in a monotone manner which really drew away from the drama of events as they occurred). All that left me wanting more and eagerly awaiting the arrival of this album. Finally the wait was over and i could pop the disc into the player and press play. From the get go i was impressed and as the album went on and then finished i was left feeling something isn't right. Then i realised i was comparing it to the original which i have to say is a big NO NO. The best thing i can advise is listen to it for what it is and not compare it to the original. i have played it through a further 2 times now with that approach and the more i listen the more i hear things i missed first time over and enjoy what is going on. As stated before Liam Neeson really adds drama where Richard Burton was seemingly unable to deliver. My only criticism for the casting is Maverick Sabre as the Parson Nathaniel. While vocally he is similar to Phil Lynott his speech sounds distinctly out of place for what should be Victorian England/London. For those of you reading this and wondering should i buy it i would say yes don't listen to everyone who says "the original was better" "this is crap" and "OMG who does Jeff Wayne think he is George Lucas" please do yourself a favour and ignore them. Yes the original is good. Yes it will hold a distinct place in any fans heart. BUT this is a fresh take on a classic that works and in some ways, in my opinion, does it better than the original but that is my opinion, judge for yourself and remember don't compare it to the original. Enjoy it for what it is, another retelling, or rendition even, of a timeless classic. (Just a quick note IMO this version works well with the volume up high and the bass cranked up too)

### ⭐⭐⭐⭐ Review of The New Generation of Jeff Wayne's Musical Version of The War Of The Worlds... of
*by M***T on 2 December 2012*

Jeff Wayne's Musical Version Of The War Of The Worlds (1978) is an excellent 95-minute concept album in which narrator, journalist George Herbert, talks us through his personal confrontation when Martians threaten to invade the planet he and his girlfriend, Carrie, call home. Since that album, various remixes have appeared, and a live tour - Alive On Stage! (which is the perfect visual companion to an excellent piece of composition) - has sprouted a DVD and CD recording. Now, thirty-five years after the cult was first recorded, a New Generation re-recording with an all-new cast of voices has been released. Firstly, let me describe what one gets in the CD version. The case is more like a CD case-sized hardback book made up of around fifty colour pages; accordingly, the case is a little thicker than most (but no taller or wider). Two cheeky flyers for the live tour are shuffled into the first pages, and there's the two CDs themselves - one at the front and one at the back in suitably thick black card, labelled 'The Coming Of The Martians' and 'The Earth Under The Martians' respectively. The booklet is bookended by OHP plastic on which the famous words from the prologue ('The Eve Of War', CD1 track 1) are printed in gold: '... And yet, across the gulf of space, minds immeasurably superior to ours, [sic] regarded this Earth with envious eyes' and '... And slowly, and surely they drew their plans against us.'. This begins one of the pervading typographical choices of the booklet: in the many pages of lyrics and transcribed spoken words are, highlighted in gold, lines new to 'The New Generation'; there's also a recurring use of four or so fonts in which certain chilling lines are picked out and enlarged. The gold highlighting is one of the good points of the re-recording: lines which it seemed natural to have in the first instance are now made obvious which helps to aide the narrative of the story. This has not been overdone; the most additions are made to the spoken diatribe in 'The Artilleryman Returns' (CD2 track 4) where one can see that what is added only supports the original text, and does not detract from it (The New Generation runs about seven minutes longer than its original). Between these pages of lyrics are new CGI pictures of certain scenes; a couple could have been arranged in better correspondence with the lyrics between which they sit, but are, nevertheless, quite a detailed visual spectacle which will surely be an appreciated addition for those who have not yet seen the live show. Another small gripe I have is that (very occasionally) the lyrics are incorrect, and, if I'm to be really picky (which I am), I'll also mention that the typographer didn't seem to notice the difference between a hyphen and a caesura (one is longer than the other). There's also the small matter on p. 34 of 'Epilogue (Part 1)' and 'Epilogue (Part 2) NASA' both being labelled "Track Eight" when in fact the latter is the ninth track of the second CD. After the lyrics comes fourteen pages of biographical information. Here again is a mistake: p. 35 states that the H. G. Wells book on from Wayne's musical is adapted (by Doreen Wayne, his late wife) "has never ceased to be out of print"; this is a paradigm example of how these few, tiny mistakes summed together and exacerbated by their obviousness are a niggle to the close reader, especially considering the effort evident in the look of the booklet. What's better is the quality of the music: it sounds phenomenal. Not only production-wise (a category in which, being thirty-five years more recent than the original recording, it was bound to win), but vocally, orchesterally and creatively. As I said about the lyrics and spoken words, the music has had hardly anything taken from it and has had a good amount added to it. There is nothing shockingly different about the 1978 version and this one, and in that respect some may be disappointed in the lack of difference (and is probably why some feel that this version is unnecessary). But I think that Wayne has struck a brilliant balance between retaining the original essence of his musical while updating and renewing it. It perhaps wasn't necessary to re-record it, but I appreciated listening to a different, newer re-realisation of the material. Wayne hasn't stuck masses of synthesisers and effects into 'The New Generation' (though has made some digital additions which I'll speak of later): there are acoustic differences - a lone cello has been added to some tracks (including 'Forever Autumn', CD1 track 4, and 'The Artilleryman And The Fighting Machine', CD1 track 3), some bass guitar notes are notable for their presence (such as in 'Thunder Child', CD1 track 5), and some vocal lines have been added (heaviest in 'The Spirit Of Man', CD2 track 2). Wayne has lent on digitalised music sounds, also, adding certain harmonies and (with restraint) some effects (it would have been easy to over-do the addition of effects, but I think that he gets it right). The best effect is on the track 'The Artilleryman And The Fighting Machine' (CD1 track 3) in which the spoken lines "I jumped into the water..." are accompanied by a tutti bass-reduction etc. implying the listener's submersion along with Neeson, who continues his lines with a lack of breath immediately after (a very nice detail lacking from Burton's delivery, which is track 3 of the original album); this track also sees some synthetic strings gaining additional notes. There's greater use of drum machines (for example, in 'The Red Weed (Part 2)', CD2 track 3) as compared to the original which may or may not be considered a good thing. Lastly, an effect of slowing down the entire orchestra into choppy on-beat punctuations then reviving the track by a single instrument reintroducing the main melodic line is a good effect, but is used once on each disc ('The Artilleryman And the Fighting Machine', CD1 track 3 at 11:13; and 'The Red Weed (Part 2)', CD2 track 3 at 1:58); in that respect, I think it is an over-used effect. Most prominent is the manipulation of voices in The New Generation; something which was not used much on the original album. A vocoder voice is used in some of the scenes (for example, 'Epilogue (Part 1)', CD 2 track 8, features a sampled voice whose notes are reminiscent of the solo cello earlier described) concentrating on humanity which acts as a nice counterpoint to the ULLA voice used to signify the Martians. However, there is one unwelcome vocal addition: the Martians are given some lines (voiced by Lewis MacLeod) which I personally find - though sparse, but nonetheless obvious - intrusive and unappealing; giving a voice to the Martians, especially one in English, gives them a human aspect which was never present in the original album, nor should it be simply for the fact that they are not humans. Other vocal manipulation includes sometimes unwelcome play with echo and pan, and a curious manipulation of Maverick Sabre (as Parson Nathaniel) in 'The Spirit Of Man' (CD2, track 2) when "Devil" and certain other words are said, lowered, echoed and panned. My penultimate noticing concerning vocal manipulation is the splicing and echoing of certain lines of the narrator (voiced by Liam Neeson), such as "... that turned the smoke into thick, black dust... [then sounding as if coming from a radio] black dust... thick, black dust". And finally, I dislike that the original album's final track ('Epilogue (Part 2) NASA', which is CD2 track 9 on this version) has been remastered and reused; it would have been nice for Justin Hayward to cameo the NASA men, though I respect why Wayne kept the track as it is: his late father, Jerry, did the voice on the original album. I think that the best performance is given by Maverick Sabre as Parson Nathaniel. His voice suits the tormented Parson and is left untouched by digital effects for the most part, as it should be (though, as mentioned, there is some echoing and panning which distracts from a voice that otherwise stands on its own). His "gritty yet soulful voice" (as p. 42 describes it) on 'The Spirit Of Man' (CD2 track 2) is let down only by its contrast with the occasionally melodramatic Joss Stone as Beth, the Parson's wife, who enunciates some vowels accompanied by an uncomely dynamic increase. However, Sabre is the one who carries off the song, and who manages to successfully retain the same character in both his sung and spoken words. Liam Neeson also does well in this respect: his lines are only ever spoken, recorded over three days ("10th - 13th April 2011", p. 47), in another country and (presumably) after the other players had recorded their voices, yet he does well to maintain a consistency of character while playing opposite voices who were not present before him. I hope that this review has both informed you of the product, and emphasised that the only gripes I personally have with the booklet and recording are so picky and minute that they are not - even when summed - enough to put one off buying it (though did justify a star dropping off an otherwise brilliant concept album). Please do buy it in CD or vinyl form - not download - as it was intended to be received, to feel the card of the booklet and the grooves of the music: Jeff Wayne's Musical Version Of The War Of The Worlds has never shirked the other senses and a lot of effort has gone into creating something that can be touched and looked at along with listened to. It's an experience few other concept albums have managed to achieve. Lock your door, turn off the lights and close your curtains, unplug your phone and dedicate a couple of hours of focus to this re-recording; give it your full attention and you'll be as terrified by the end of it, as entertained, as in awe of Wayne's awesome talent of composition as whence you first listened to it. Is it necessary? Not really, but it's not unnecessary: Wayne has created something fresh to the ears, something imbued with a modern accent for the new generation of listener (the clue is in the title!), something current for the War Of The Worlds virgin and something which, I think, a fan of the original can appreciate for its modesty in alterations, its delicacy when approaching additions and its attempt to rekindle the feel of the original album for a whole new world.

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*Last updated: 2026-06-24*