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THE PHOTO'S MAY BE A LITTLE BLURRY (SORRY ABOUT THAT), BUT THE PHOTO'S ARE OF THE ACTUAL ITEM YOU ARE BIDDING ON OR BUYING. THANKS FOR LOOKING. FEEL FREE TO ASK QUESTIONS.

NOTE: eBay HAS TAKEN IT UPON THEMSELVES TO REMOVE WHAT THEY CALL “OUTSIDE” LINKS, THESE ARE IN THE HTML DESCRIPTION, AND CAN'T EVEN BE SEEN IN MY ITEM DESCRIPTION, SO FROM NOW ON IF YOU WANT TO KNOW MORE ABOUT THE ITEM &/OR ARTIST LOOK 'EM UP, ON WIKI, OR OTHER SOURCES ETC. (SORRY 'BOUT THAT!)

CLEANING OUT MORE LP'S. SOME FROM THRIFT STORES, SOME FROM MY MUSIC LIBRARY, AND SOME FROM MY RADIO FRIENDS SOLD OR GIVEN TO ME, SOME FROM THE NETWORK I WAS AT.

NOTE: I DO NOT ACCEPT "BEST OFFERS" I WANT EVERYONE TO HAVE A FAIR SHOT AT WHAT I AM SELLING. THANKS! I DO COMBINE SHIPPING!

THIS IS A PHOTO OF THE ACTUAL ITEM FOR SALE, SORRY IF THE PICTURE(S) ARE A BIT BLURRY.

I HAD A SMALL HEART ATTACK A COUPLE OF YEARS AGO AND AM SLOWLY LETTING GO OF MY ALBUM COLLECTION, THIS COMES FROM OVER 40 YEARS OF COLLECTING AND ALSO WORKING IN RADIO WHEN STATIONS WERE TRANSITIONING FROM LP's TO CD's.

NOTE: AM LISTING A FEW MORE SOUNDTRACKS & ORIGINAL CAST LP's, MOST DUPLICATES OR ONES I'M NOT INTERESTED IN ANYMORE, AND I DO COMBINE SHIPPING!

ARTIST: NICOL WILLIAMSON & ORIGINAL BROADWAY CAST

TITLE: “REX” MUSIC BY RICHARD RODGERS, LYRICS BY SHELDON HARNICK

TRACK LISTING-SEE PHOTOS/BELOW:

A1		Overture & Te Deum	1:24
A2		No Song More Pleasing	2:26
A3		At The Field Of Cloth Of Gold/Where Is My Son?	4:58
A4		As Once I Loved You	3:41
A5		The Chase	2:26
A6		Away From You	4:21
A7		Elizabeth	2:59
A8		Why?	2:58
B1		So Much You Loved Me	2:49
B2		Christmas At Hampton Court	4:18
B3		The Wee Golden Warrior; Christmas At Hampton Court (Reprise)	2:45
B4		From Afar	3:01
B5		In Time	2:51
B6		Finale (Te Deum)	1:24

NOTES-

Original Broadway Cast recording of the musical, first performed at the Lunt-Fontanne Theatre on April 25, 1976.
Gatefold sleeve contains notes, full synopsis and production photos.

YEAR OF RELEASE- 1951

RECORD LABLE: COLUMBIA MASTERWORKS RECORDS

CAT.#: ABL1-1683

RECORD CONDITION: THE RECORD IS IN EX/NM- CONDITION, NICE SHINEY BLACK LUSTER. NO MARKS OR SCRATCHES,BOTH LABELS IN EXCELLENT CONDITION.NICE SHINEY LUSTER TO THE VINYL. THE SONGS SOUND GREAT. PLAYS SUPER CLEAN! LOOKS AND PLAYS BRAND NEW

JACKET CONDITION: THIS GATEFOLD JACKET IS IN VG/VG- CONDITION. NICE CLEAN EDGES, NO SEAM SPLITS, NO WRITING, BENDS, MARKS, WRITING ON IT. LIGHT VISIBLE WEAR, BOTH SIDES, (SEE PHOTOS)

MORE INFO : THIS RECORD IS CURRENTLY OUT OF PRINT. GREAT LINER NOTES ON THE INSIDE OF THE JACKET (SEE PHOTOS). COMES IN IT'S ORIGINAL RCA RED SEAL PAPER INNER SLEEVE.

ARTIST INFO:

New Biography Tells the Story of Stage and Film Star Nicol WilliamsonBlack Sheep: The Authorised Biography of Nicol Williamson will be released May 1

Noted for his Shakespearean performances, Williamson earned worldwide acclaim for his portrayal as a self-hating lawyer in John Osborne's Inadmissable Evidence. Osborne would go on to call Williamson "the greatest actor since Marlon Brando."

But Williamson had a reputation for his heavy drinking, which led to theatrics both on and off the stage. He is famously said to have punched producer David Merrick during the Philadelphia tryout of Inadmissable Evidence, explaining that he did so because the Tony-winning producer had it coming to him. Williamson slapped his fellow Broadway actor Jim Litten during curtain call for 1976's Rex after seeing Litten speaking to someone during Williamson's bow. Williamson also hit co-star Evan Handler with a sword during a performance of I Hate Hamlet on Broadway.

In Black Sheep, Hershman tells the story of the actor who achieved great success in his career, but was burnt out by the age of 60. According to Hershman, a premature end was all but inevitable for the wild artist.

Nicol Williamson obituary

Actor whose unpredictability never undermined his electrifying talent

Nicol Williamson obituary

Actor whose unpredictability never undermined his electrifying talent

Michael Coveney

Thu 26 Jan 2012 07.58 EST

Nicol Williamson, whose death of oesophageal cancer at the age of 73 has been announced, was arguably the most electrifying actor of his generation, but one whose career flickered and faded like a faulty light fitting. Tall and wiry, with a rasping scowl of a voice, a battered baby face and a mop of unruly curls, he was the best modern Hamlet since John Gielgud, and certainly the angriest, though he scuppered his own performance at the Round House, north London, in 1969, by apologising to the audience and walking off the stage. The experience was recycled in a 1991 Broadway comedy called I Hate Hamlet, in which he proved his point and fell out badly with his co-star.

After a couple of chaotic performances in his own one-man show, and as the equally wild and unreliable actor John Barrymore in A Night on the Town at the Criterion theatre in London in 1994, Williamson was last sighted on the stage at the Clwyd Theatr Cymru, Mold, Flintshire, as King Lear in 2001.

Its director, Terry Hands, a one-time colleague at the Royal Shakespeare Company, allowed him free rein to wander through the play, but many of the speeches were misplaced. Like Eric Morecambe playing the piano, he knew all the notes, but not necessarily in the right order. Still, the performance was fretted with moments of golddust and heartbreak, and you would not willingly have exchanged it for many a more competent or predictable performance.

Hands had taken the sensible precaution of cancelling the second-night performance as the first one was followed by the mother of all first-night parties, with Williamson banging out the jazz standards he loved to sing with a group of willing musicians, including the film critic Ian Christie.

Williamson's talent for acting and lust for life were brilliantly recorded in a 1972 essay by Kenneth Tynan for the New Yorker which charted his haphazard preparation for a concert at the White House for President Richard Nixon. When it was published, warts and all, Williamson was furious and never spoke to Tynan again.

He was born in Hamilton, near Glasgow, the son of Mary (nee Storrie) and Hugh Williamson. He trained for the stage at the Birmingham School of Speech and Drama and made his professional debut at the Dundee Rep in 1960. In the following year, he appeared as Flute in Richardson's Royal Court production of A Midsummer Night's Dream.

He was at the Arts theatre in Women Beware Women and in Henry Livings's Nil Carborundum in 1962. With Page directing, he played Vladimir at the Court in the first major London revival of Beckett's Waiting for Godot, partnered by Alfred Lynch as Estragon.

He took his performance of Bill Maitland to New York in 1965, where he was nominated for a Tony award and came to blows with the producer, David Merrick. Although his reputation for unpredictability grew, his talent was recognised in Bafta best actor nominations for his film performances in Inadmissible Evidence, The Bofors Gun (1968) and a 1972 television film of Brecht's The Resistible Rise of Arturo Ui.

When Trevor Nunn presented a season of Shakespeare's Roman plays at Stratford-upon-Avon, and later at the Aldwych in London, in 1973, Williamson gave a coruscating performance as an unusually virulent and misanthropic Coriolanus. He returned to the Memorial theatre, Stratford, in 1974 as a sour-faced, vinegary Malvolio in Twelfth Night and a wolverine, prowling Macbeth. The following year Nunn took that production (Helen Mirren was Lady Macbeth) to London, but cut out the gothic excess in a journey with the play that took him to the defining chamber version of it at the Other Place, Stratford, in 1976 with Ian McKellen and Judi Dench.

Williamson was never as much a part of the RSC as some of his leading contemporaries, but he did "muck in" with a small-scale production of Chekhov's Uncle Vanya at the Other Place, with his wife, Jill Townsend, in 1975. He had married Townsend when she appeared as his daughter in the Broadway production of Inadmissible Evidence (they divorced in 1977).

His best-known film roles included Sherlock Holmes in The Seven-Per-Cent Solution (1976, in which Watson, played by Robert Duvall, persuades Holmes to visit Sigmund Freud, played by Alan Arkin); and Merlin in John Boorman's Excalibur (1981, with Nigel Terry as Arthur and Helen Mirren as Morgana). "I enjoyed playing Merlin," Williamson told the Los Angeles Times. "I tried to make him a cross between my old English master and a space traveller, with a bit of Grand Guignol thrown in."

He had lived mostly in Amsterdam since 1970, but could sometimes be seen in various north London pubs, where he was quite happy to mind his own business and leave the pursuit of glamour and glory to other, less deserving performers. No one who saw him on stage will ever forget him, but it is difficult to see his career as anything but unfulfilled.

He is survived by his son, Luke.

RICHARD RODGERS BIO-

Richard Rodgers' contributions to the musical theatre of his day were extraordinary, and his influence on the musical theatre of today and tomorrow is legendary. His career spanned more than six decades, and his hits ranged from the silver screens of Hollywood to the bright lights of Broadway, London and beyond. He was the recipient of countless awards, including Pulitzers, Tonys, Oscars, Grammys and Emmys. He wrote more than 900 published songs, and forty Broadway musicals.

Richard Charles Rodgers was born in New York City on June 28, 1902. His earliest professional credits, beginning in 1920, included a series of musicals for Broadway, London and Hollywood written exclusively with lyricist Lorenz Hart In the first decade of their collaboration, Rodgers & Hart averaged two new shows every season, beginning with Poor Little Ritz Girl, and also including The Garrick Gaities (of 1925 and 1926), Dearest Enemy, Peggy-Ann, A Connecticut Yankee and Chee-Chee. After spending the years 1931 to 1935 in Hollywood (where they wrote the scores for several feature films including Love Me Tonight starring Maurice Chevalier, Hallelujah, I'm a Bum starring Al Jolson and The Phantom President starring Gearge M. Cohan), they returned to New York to compose the score for Billy Rose's circus extravaganza, JUMBO.

A golden period followed -- golden for Rodgers & Hart, and golden for the American musical: On Your Toes (1936), Babes In Arms (1937), I'd Rather Be Right (1937), I Married An Angel (1938), The Boys From Syracuse (1938), Too Many Girls (1939), Higher And Higher (1940), Pal Joey (1940), and By Jupiter (1942). The Rodgers & Hart partnership came to an end with the death of Lorenz Hart in 1943, at the age of 48.

Earlier that year Rodgers had joined forces with lyricist and author Oscar Hammerstein II, whose work in the field of operetta throughout the '20s and '30s had been as innovative as Rodgers' own accomplishments in the field of musical comedy. OKLAHOMA! (1943), the first Rodgers & Hammerstein musical, was also the first of a new genre, the musical play, representing a unique fusion of Rodgers' musical comedy and Hammerstein's operetta. A milestone in the development of the American musical, it also marked the beginning of the most successful partnership in Broadway musical history, and was followed by Carousel (1945), Allegro (1947), South Pacific (1949), The King And I (1951), Me And Juliet (1953), Pipe Dream (1955), Flower Drum Song (1958) and The Sound of Music (1959). The team wrote one movie musical, State Fair (1945), and one for television, Cinderella. (1957). Collectively, the Rodgers & Hammerstein musicals earned 35 Tony Awards, 15 Academy Awards, two Pulitzer Prizes, two Grammy Awards and 2 Emmy Awards. In 1998 Rodgers & Hammerstein were cited by Time Magazine and CBS News as among the 20 most influential artists of the 20th century and in 1999 they were jointly commemorated on a U.S. postage stamp.

Despite Hammerstein's death in 1960, Rodgers continued to write for the Broadway stage. His first solo entry, NO STRINGS in 1962, earned him two Tony Awards for music and lyrics, and was followed by Do I Hear a Waltz? (1965,), Two by Two (1970, lyrics by Martin Charnin), REX (1976,) and I Remember Mama (1979, lyrics by Martin Charnin and Raymond Jessel).

No Strings was not the only project for which Rodgers worked solo: as composer/lyricist he wrote the score for a 1967 television adaptation of Bernard Shaw's Androcles and the Lion for NBC; contributed songs to a 1962 remake of State Fair; and to the 1965 movie version of The Sound of Music. He composed one ballet score (Ghost Town, premiered in 1939), and two television documentary scores -- Victory at Sea in 1952 and The Valient Years in 1960 (the former earning him an Emmy, a Gold Record and a commendation from the U.S. Navy.)

Richard Rodgers died at home in New York City on December 30, 1979 at the age of 77. On March 27, 1990, he was honored posthumously with Broadway's highest accolade when the 46th Street Theatre, owned and operated by the Nederlander Organization, was renamed The Richard Rodgers Theatre, home to The Richard Rodgers Gallery, a permanent exhibit in the lobby areas presented by ASCAP which honors the composer's life and works.

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