Murray Head

Jesus Christ Superstar is a rock opera with music by Andrew Lloyd Webber and lyrics by Tim Rice. It 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.
The work interprets the psychology of Jesus and other characters. Much of the plot centers on Judas, who is dissatisfied with the direction in which Jesus is steering his disciples. Contemporary attitudes, sensibilities and slang pervade the rock opera's lyrics, and ironic allusions to modern life are scattered throughout the depiction of political events. Stage and film productions accordingly contain many intentional anachronisms.
Initially unable to get backing for a stage production, the composers released it as a rock opera album musical. The success of the album led to the show's Broadway on-stage debut in 1971. By 1980, the musical had grossed more than $237 million worldwide. Running for over eight years in London between 1972 and 1980 it held the record for longest-running West End musical before it was overtaken by Cats in 1989.

John Schlesinger followed his iconic Midnight Cowboy with this deeply personal take on love and sex. Sunday Bloody Sunday depicts the romantic lives of two Londoners, a middle-aged doctor and a prickly thirtysomething divorcée - played with great sensitivity by Peter Finch and Glenda Jackson - who are sleeping with the same handsome young artist (Murray Head). A revelation in its day, this may be the seventies’ most intelligent, multitextured film about the complexities of romantic relationships.

This 5-CD showstopper not only brings you the best-loved songs from Webber's decades of Broadway blockbusters, but also many superstar interpretations and a CD of rare and unreleased material. You'll hear songs from Jesus Christ Superstar, Evita, Cats, Song and Dance, Starlight Express, Requiem, The Phantom of the Opera, Aspects of Love, Joseph and the Amazing Technicolor Dreamcoat, By Jeeves, Sunset Boulevard, Whistle down the Wind and The Beautiful Game. Then, you'll hear wonderful Webber performances by Barbra Streisand (As If We Never Said Goodbye), Betty Buckley (Memory), Madonna (You Must Love Me), Boy George (Try Not to Be Afraid), Tom Jones (The Vaults of Heaven), Kiri Te Kanawa (The Heart Is Slow to Learn), Petula Clark (With One Look) and more including, just weeks before his death, Elvis Presley (It's Easy for You)!

Я тут, намедни, сделал поиск по сайту и, с удивлением, обнаружил моё любимое произведение в двух вариантах, весьма и весьма далеких от оригинала (Христос на испанском?). Ну, что ж, господа, будем учить (т.е. слушать) первоисточники...

This extravagant six-CD set documents the astonishing life span of the first pop independent label in the U.K., Immediate Records. Founded in 1965, Immediate flipped, flopped, and staggered its own way, competing against unhip American labels like EMI and Decca until late 1969. The label, and the documentary CD set, showcases in particular the Small Faces, who enjoyed a brief U.K. number one hit, Ogden's Nut Gone Flake. More familiar to American listeners will no doubt be the three-chord sock-hop favorite "Hang on Sloopy" by the McCoys, and a number of covers of familiar American folk-rock hits are present as well. The esoteric collector will appreciate inclusions by such café balladeers as the Poets and Les Fleurs-de-Lis, also signed by Immediate before the advent of the swinging London sound, marked by the Rolling Stones revolution and other mod developers influencing the pants off the tiniest studio cover bands. Immediate also helped sculpt the success of anguished bellower Chris Farlowe, soon to be joined by the similarly throaty vibrato of PP Arnold and, of course, manager/producer Andrew Oldham's best toss of the dice, the Small Faces, whom he ripped away from Decca. By the fourth disc, you are, in fact, in the throes of swinging London, featuring Farlowe's heart-stopping "Yesterday's Papers" and Arnold's "The First Cut Is the Deepest," written by the much-in-demand Cat Stevens. Most of the music is minimal and often out of tune, production at an early-time low, replete with tinny echoes and accidental outtake moments.