Each CD has One Act on it. After all the numbers for each Act, which are recorded in their proper playing order, and chosen to be representative guides for our Pentacle production, there are several more cuts of alternative versions of some songs.

The primary sources for these recordings are the Original Broadway Cast (OBC) and the London 1993 revival (L9). A few cuts are also from the 1979 film version (F), a 1993 German version (G), 1969 Japanese version (J), the 1969 album "DisinHairted" (DIS), the 1969 album "Fresh Hair" (FH), and one un-released song ("Hippie Life") is from a tape provided by Jim Rado, the surviving author of "HAiR" who also gave us a demo tape of "All You Have To Do" performed by his deceased co-author Gerome Ragni (R).


1. Aquarius (L9)
Cut time (in 2s). This version was chosen because it has the new extended length and new lyrics. But stylistically, when it changes rhythm half way through, it becomes incorrect. Cut #25, following the act is of the OBC which has the rhythm as notated in the score and which we'll be using.

2. "transcendental meditation" (DIS)
Not a number played by the band. It's included here as a guide for the performer playing Berger.

3. Donna (OBC)
Cut time. Good variations are offered in the L9 recording, cut #26.

4. Hashish (OBC)
12/8, counted as a very slow 4. The ascending bass is more prominent in the L9 version, also included in cut #26.

5. Holy Orgy (L9)
4/4 slowly. This version emphasizes the 6/8 feel we want, and includes the break we'll do after the word "Father." There will be an instant reprise of this song, as noted in the score.

6. Colored Spade (OBC)
Cut time, medium. We'll add a final "tutti" stab after the dialogue at the end of the song.

7. Manchester England (OBC)
4/4, slowly.

8. I'm Black (OBC)
4/4, fast. Is actually played "attacca", segued as one from "Manchester." Measure 1 will be the same as measure 42 of "Manchester." The "invisible" lyric transition at the end will remain in strict tempo.

9. Ain't Got No (OBC)
3/4, slow. Also "attacca."

10. Dead End (L9)
4/4, slow hard rock. "Attacca." An edgier version of it is on cut #28.

11. Sheila Franklin/I Believe In Love/Ain't Got No Grass (L9)
Cut time, fast. The opening "Sheila" is No. 22 in the score, immediately seguing to No. 10. This recording includes the chant which is underscored with drums. Note that the reprise of "Ain't Got No" is in 4/4 instead of 3/4.

12. Air (OBC)
Cut time, medium. "Attacca." There will be an immediate reprise of part of the song, as noted in the score.

NOTE: No. 14 in the score is an oriental improvisation not on any recording.

13. Hello There (DIS)
Cut time, swing feel. Called "1930's" in the score. This recording is a splicing of the song as it now exists, with more lyrics than indicated in the score.

NOTE: No. 16 in the score is a short reprise of "Manchester" not on this recording.

14. I Got Life (OBC)
Cut time. The first eleven bars are free, dictated by the singer. A major stylistic difference exists between this recording and what we'll be doing. Cut #29 of the modern German recording indicates some of what we're doing. Notably, the chords in the free section mostly follow after the lyrics, not during them, and on the verses, the bass stays on a constant F to add a more driving feel. There are also short breaks added, much as there are in the German recording.

15. Initials (OBC)
4/4, slow minuet feel. No. 13 in the score, this song comes later in our version.

16. Goin' Down (L9)
Cut time. The "free" opening measures will be in tempo. Cut #30 is a more raw rendition.

NOTE: No. 19 in the score is a short "jam session" ad-lib section not on this recording.

17. Hair (OBC)
4/4. The first eight bars are free.

18. My Conviction (L9)
12/8. Piano and acoustic guitar only.

19. Easy To Be Hard (F)
4/4. This is a much slower and soulful version than in the early recordings. There are many late 1970's touches in this recording which we don't want, but the basic feel and tempo are good.

20. Don't Put It Down (FH)
4/4. The opening 18 bars of ad-lib aren't on this recording. The feel must be even more twangy Country than this British recording.

21. Hippie Life (R)
4/4. No. 50 in the score, where it's used as a curtain call. It's in Act One of our production. The sound must emphasize the primitive American "Indian" beat.

22. Frank Mills (OBC)
4/4. Light, gentle, with acoustic guitar improvisations. Slight touch of Country, as can be heard in the alternative cut #31.

23. Be-In (L9)

4/4. This recording is being used because it uses all the measures in the score. It also has the extended ending not in the score but which we need, along with new a new brass line we'll use. The drums are not nearly exotic enough in the opening. Cut #32 has a good example of the percussion needed. Cut #33 has an interesting example of better drumming also. Cut #34 is the opening of the German version which has the Ravi-Shankar Indian sound fully developed and is a good starting point for us to make this a blend of the exotic and straight ahead rock.

24. Where Do I Go (OBC)
4/4. As simple and elegant as possible. At the end we'll add several loud open chords "tutti" to follow some stage action.


25. Aquarius (OBC)
Has opening as written and the correct rhythm throughout.

26. Donna (L9)

27. I'm Black/Ain't Got No (L9)

28. Dead End (FH)

29. I Got Life (G)

30. Goin' Down (OBC)

31. Frank Mills (L9)

32. Be-In (FH)

33. Be-In (J) 34. Be-In (G)