UPC · Release
Gerome Ragni, James Rado, Galt MacDermot
Last verified:
The UPC for “Hair: The American Tribal Love‐Rock Musical (Broadway Deluxe Collector’s Edition)” by Gerome Ragni, James Rado, Galt MacDermot is 828765608527. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. Released 2008-01-01. Label: Victor. This release contains 68 tracks, each with its own ISRC. Tracks include USRC16808247, USRC10300205, USRC10300206.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Aquarius | Ronald Dyson | T-070.002.972-6 |
| 2 | Donna | Gerome Ragni | — |
| 3 | Hashish | Company | — |
| 4 | Sodomy | Steve Curry | T-310.532.587-5 |
| 5 | Colored Spade | Lamont Washington | — |
| 6 | Manchester England | James Rado | T-070.112.636-4 |
| 7 | I’m Black | Lamont Washington, Steve Curry, Gerome Ragni, James Rado | T-070.080.074-3 |
| 8 | Ain’t Got No | Steve Curry, Lamont Washington, Melba Moore | T-070.002.946-4 |
| 9 | I Believe in Love | Lynn Kellogg | T-070.080.010-7 |
| 10 | Ain’t Got No (reprise) | Company | T-070.002.946-4 |
| 11 | Air | Sally Eaton, Shelley Plimpton, Melba Moore | T-070.850.981-2 |
| 12 | Initials | Company | T-070.080.199-5 |
| 13 | I Got Life | James Rado | T-070.079.935-4 |
| 14 | Going Down | Gerome Ragni | T-318.452.835-2 |
| 15 | Hair | James Rado, Gerome Ragni | T-906.863.618-0 |
| 16 | My Conviction | Jonathan Kramer | — |
| 17 | Easy to Be Hard | Lynn Kellogg | T-070.050.306-5 |
| 18 | Don’t Put It Down | Gerome Ragni, Steve Curry | T-070.041.175-1 |
| 19 | Frank Mills | Shelley Plimpton | — |
| 20 | Be‐In | Company | T-070.013.979-2 |
| 21 | Where Do I Go? | James Rado | T-070.201.900-8 |
| 22 | Electric Blues | Paul Jabara | T-318.451.509-7 |
| 23 | Manchester England (reprise) | James Rado | T-070.112.636-4 |
| 24 | Black Boys | Diane Keaton, Suzannah Norstrand, Natalie Mosco | — |
| 25 | White Boys | Melba Moore, Lorrie Davis, Emmaretta Marks | — |
| 26 | Walking in Space | Company | T-070.202.026-5 |
| 27 | Abie Baby | Lorrie Davis, Lamont Washington, Ronald Dyson, Donnie Burks | — |
| 28 | Three‐Five‐Zero‐Zero | Company | T-070.183.006-9 |
| 29 | What a Piece of Work Is Man / Walking in Space (reprise) | — | |
| 30 | Good Morning Starshine | Lynn Kellogg, Melba Moore, James Rado, Gerome Ragni | T-900.754.906-6 |
| 31 | The Bed | Company | T-318.453.375-9 |
| 32 | The Flesh Failures (Let the Sunshine In) | James Rado, Lynn Kellogg, Melba Moore | T-070.098.726-3 |
| 2-1 | Ain’t Got No | — | |
| 2-2 | I Got Life | — | |
| 2-3 | Air | Galt MacDermot | T-070.850.981-2 |
| 2-4 | Going Down | — | |
| 2-5 | Hair | — | |
| 2-6 | Dead End | — | |
| 2-7 | Frank Mills | — | |
| 2-8 | Hare Krishna | — | |
| 2-9 | Where Do I Go? | — | |
| 2-10 | Electric Blues | — | |
| 2-11 | Easy to Be Hard | — | |
| 2-12 | Manchester | — | |
| 2-13 | White Boys | — | |
| 2-14 | Black Boys | — | |
| 2-15 | Walking in Space | — | |
| 2-16 | Aquarius | — | |
| 2-17 | Good Morning Starshine | — | |
| 2-18 | Exanaplanetooch | — | |
| 2-19 | The Climax | — | |
| 2-20 | Opening | — | |
| 2-21 | Red Blue and White | — | |
| 2-22 | Sentimental Ending | — | |
| 2-23 | Galt MacDermot Interview: How did you become involved with “Hair”? | — | |
| 2-24 | Galt MacDermot Interview: What do you remember about the off‐Broadway cast recording? | — | |
| 2-25 | Galt MacDermot Interview: And the Broadway cast recording? | — | |
| 2-26 | Galt MacDermot Interview: In the recording session photos, you were the only person wearing a jacket and tie. | — | |
| 2-27 | Galt MacDermot Interview: How did the two productions differ? | — | |
| 2-28 | Galt MacDermot Interview: You were not a traditional theater composer. Did you have any models or influences? | — | |
| 2-29 | Galt MacDermot Interview: Did “Hair” influence your later work, like “Two Gentlemen of Verona”? | — | |
| 2-30 | Galt MacDermot Interview: “Hair” was controversial with critics and the public. Did this affect you at all? | — | |
| 2-31 | Galt MacDermot Interview: On writing for the theater, and what makes a popular song? | — | |
| 2-32 | Galt MacDermot Interview: Did you ever rewrite any of the “Hair” songs? | — | |
| 2-33 | Galt MacDermot Interview: What sort of music do you write now? | — | |
| 2-34 | Galt MacDermot Interview: Do you use synthesizers? | — | |
| 2-35 | Galt MacDermot Interview: Have you got any advice for people who want to write for musical theater? | — | |
| 2-36 | Galt MacDermot Interview: Does any one songs in “Hair” express your philosophy? | — |
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Identifier Graph
828765608527 is a Universal Product Code (UPC) assigned to Hair: The American Tribal Love‐Rock Musical (Broadway Deluxe Collector’s Edition) by Gerome Ragni, James Rado, Galt MacDermot. UPCs (also called EAN barcodes) are unique numeric identifiers assigned by distributors to identify music releases — albums, EPs, and singles — across all digital and physical retail platforms.
This release contains 68 tracks. Each track has its own ISRC (International Standard Recording Code) that identifies the specific sound recording, while the UPC identifies the release as a whole. Knowing your release's UPC is essential for neighboring rights collection societies like SoundExchange and for transferring music between distributors.
Learn more about UPCs · Data powered by Notes.fm
The UPC for “Hair: The American Tribal Love‐Rock Musical (Broadway Deluxe Collector’s Edition)” by Gerome Ragni, James Rado, Galt MacDermot is 828765608527. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. Released 2008-01-01. Label: Victor. This release contains 68 tracks, each with its own ISRC. Tracks include USRC16808247, USRC10300205, USRC10300206.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Aquarius | Ronald Dyson | T-070.002.972-6 |
| 2 | Donna | Gerome Ragni | — |
| 3 | Hashish | Company | — |
| 4 | Sodomy | Steve Curry | T-310.532.587-5 |
| 5 | Colored Spade | Lamont Washington | — |
| 6 | Manchester England | James Rado | T-070.112.636-4 |
| 7 | I’m Black | Lamont Washington, Steve Curry, Gerome Ragni, James Rado | T-070.080.074-3 |
| 8 | Ain’t Got No | Steve Curry, Lamont Washington, Melba Moore | T-070.002.946-4 |
| 9 | I Believe in Love | Lynn Kellogg | T-070.080.010-7 |
| 10 | Ain’t Got No (reprise) | Company | T-070.002.946-4 |
| 11 | Air | Sally Eaton, Shelley Plimpton, Melba Moore | T-070.850.981-2 |
| 12 | Initials | Company | T-070.080.199-5 |
| 13 | I Got Life | James Rado | T-070.079.935-4 |
| 14 | Going Down | Gerome Ragni | T-318.452.835-2 |
| 15 | Hair | James Rado, Gerome Ragni | T-906.863.618-0 |
| 16 | My Conviction | Jonathan Kramer | — |
| 17 | Easy to Be Hard | Lynn Kellogg | T-070.050.306-5 |
| 18 | Don’t Put It Down | Gerome Ragni, Steve Curry | T-070.041.175-1 |
| 19 | Frank Mills | Shelley Plimpton | — |
| 20 | Be‐In | Company | T-070.013.979-2 |
| 21 | Where Do I Go? | James Rado | T-070.201.900-8 |
| 22 | Electric Blues | Paul Jabara | T-318.451.509-7 |
| 23 | Manchester England (reprise) | James Rado | T-070.112.636-4 |
| 24 | Black Boys | Diane Keaton, Suzannah Norstrand, Natalie Mosco | — |
| 25 | White Boys | Melba Moore, Lorrie Davis, Emmaretta Marks | — |
| 26 | Walking in Space | Company | T-070.202.026-5 |
| 27 | Abie Baby | Lorrie Davis, Lamont Washington, Ronald Dyson, Donnie Burks | — |
| 28 | Three‐Five‐Zero‐Zero | Company | T-070.183.006-9 |
| 29 | What a Piece of Work Is Man / Walking in Space (reprise) | — | |
| 30 | Good Morning Starshine | Lynn Kellogg, Melba Moore, James Rado, Gerome Ragni | T-900.754.906-6 |
| 31 | The Bed | Company | T-318.453.375-9 |
| 32 | The Flesh Failures (Let the Sunshine In) | James Rado, Lynn Kellogg, Melba Moore | T-070.098.726-3 |
| 2-1 | Ain’t Got No | — | |
| 2-2 | I Got Life | — | |
| 2-3 | Air | Galt MacDermot | T-070.850.981-2 |
| 2-4 | Going Down | — | |
| 2-5 | Hair | — | |
| 2-6 | Dead End | — | |
| 2-7 | Frank Mills | — | |
| 2-8 | Hare Krishna | — | |
| 2-9 | Where Do I Go? | — | |
| 2-10 | Electric Blues | — | |
| 2-11 | Easy to Be Hard | — | |
| 2-12 | Manchester | — | |
| 2-13 | White Boys | — | |
| 2-14 | Black Boys | — | |
| 2-15 | Walking in Space | — | |
| 2-16 | Aquarius | — | |
| 2-17 | Good Morning Starshine | — | |
| 2-18 | Exanaplanetooch | — | |
| 2-19 | The Climax | — | |
| 2-20 | Opening | — | |
| 2-21 | Red Blue and White | — | |
| 2-22 | Sentimental Ending | — | |
| 2-23 | Galt MacDermot Interview: How did you become involved with “Hair”? | — | |
| 2-24 | Galt MacDermot Interview: What do you remember about the off‐Broadway cast recording? | — | |
| 2-25 | Galt MacDermot Interview: And the Broadway cast recording? | — | |
| 2-26 | Galt MacDermot Interview: In the recording session photos, you were the only person wearing a jacket and tie. | — | |
| 2-27 | Galt MacDermot Interview: How did the two productions differ? | — | |
| 2-28 | Galt MacDermot Interview: You were not a traditional theater composer. Did you have any models or influences? | — | |
| 2-29 | Galt MacDermot Interview: Did “Hair” influence your later work, like “Two Gentlemen of Verona”? | — | |
| 2-30 | Galt MacDermot Interview: “Hair” was controversial with critics and the public. Did this affect you at all? | — | |
| 2-31 | Galt MacDermot Interview: On writing for the theater, and what makes a popular song? | — | |
| 2-32 | Galt MacDermot Interview: Did you ever rewrite any of the “Hair” songs? | — | |
| 2-33 | Galt MacDermot Interview: What sort of music do you write now? | — | |
| 2-34 | Galt MacDermot Interview: Do you use synthesizers? | — | |
| 2-35 | Galt MacDermot Interview: Have you got any advice for people who want to write for musical theater? | — | |
| 2-36 | Galt MacDermot Interview: Does any one songs in “Hair” express your philosophy? | — |
