Sweet d’Buster – Friction (1978)

frontcover1“Friction” – an album released in 1978 by the Dutch group Sweet d’Buster. The collective was formed three years earlier and, most interestingly, they have included in its membership the former musicians very badsome commands such as: Golden Earring, Chain of Fools and Supersister! In Sweet d’Buster joined forces Bertus Borgers (vocals, saxophone, previously consisted of Mr. Albert Show, Sail and Watermelon), Paul Smeenk (guitar), Herman Deinum (bass, ex. Party Chain Of Fools), Hans Lafaille (drums, and this of Chain Of Fools) and Robert-Jan Stips (vocals, organ, percussion, ex. Supersister party and Golden Earring).
• Performed Sweet d’Buster quirky mix of funk, progressive and hard rock real hard and enjoyed popularity in native land. Their songs the band chose to perform in English, they have shown on his ring debut album (released in 1976). To record their second album, “Friction”, they say, it took almost half a year! Maybe that’s why meticulous audiophiles immediately rated it much higher than the debut. Group clearly progressed, but along with this confusion began with changes in the composition. Releasing the live album “Gigs” and third album “Shot Into the Blue” (1979) musicians dispersed to other teams (according to the information on alexgitlin.com, it happened at the end of 1980).
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 Two favorite tracks to choose from Sweet d’Buster’s “Friction” was released in early 1978, is actually impossible. On this album nine magnificent pieces. The band grew out of two solo projects (which Bertus Borgers – sax and that of Robert Jan Stips – keys), was “Friction” came out, a well-oiled music machine. Especially the work of Paul Smeenk – guitar provided the swinging – at abutting funk sound. But the rhythm tandem Herman Deinum – bass and Hans Lafaille – drums, since 1966 in Blues Dimension played together, provided a solid foundation. About a month after I had bought this album, I was present at a concert of Sweet d’Buster in Almelo. And live when they drove very energetic live testament to how good they were responding to each other. That concert was much better than what gets on their live album “Gigs” would appear.
• The opener “Friction”, Angel is a true overture, beautiful swinging and thrusting. With Can not Buy Me Love is just a small step back, but Sweet d’Buster’s design makes this Beatles song into a real experience. Hard Stone Jungle swings again like a train at the end Still Believe begins quietly – to catch our breath, but quickly picks up this laid back soulfull song you. With Money Song is the A side of this LP soulfull swinging closed.
• And then begins side B. Stir Up The Fire begins quietly, but gradually the fire higher and higher stoked … until … Ahhh, what a beautiful piece. With Smash the Mirror – a piece of R.J. Stips about Elvis among others – is a step backwards. I’ve Gotta Know brings the swing slowly back to a good preparation for the next piece to finish.
• And that is: It Takes a Lot of Time (To Let All The People Know). It is a R.J. Stips classic of his first solo album “Never Greens”, but in a more swinging Sweet d’Buster package. All burn audible to their contribution. A wonderful finale of this five-star album!
In other words: That´s what I call music ! And if you likeDutch groups like Focus or Alquin … you should listen !
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Personnel:
Bertus Borgers (vocals, saxophone)
Herman Deinum (bass)
Hans Lafaille (drums)
Paul Smeenk (guitar, vocals)
Robert Jan Stips (keyboards, synthesizer, vocals)
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background vocals:
Josee Van Iersel – Meike Touw
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Tracklist:
01. Angel (Borgers/Deinum) 5.19
02. Can’t Buy Me Love (Lennon/McCartney) 4.47
03. Hard Stone Jungle (Borgers/Smeenk) 5.03
04. Still Believe (Borgers/Smeenk) 4.05
05. Money Song (Borgers) 3.45
06. Stir Up The Fire (Borgers/Lafaille/Stips) 5.41
07. Smash The Mirror (Link/Stips) 4.12
08. I’ve Gotta Know (Link/Smeenk) 5.47
09. It Takes A Lot Of Time (To Let All People Know) (Deinum/Stips) 4.48

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Lyell Sayer & Clem Parkinson – Two Up (1983)

frontcover1Clem Parkinson & Lyell Sayer have become to be regarded as an important part of the Australian folk community. These contemporary songwriters are still “having very pointed things to say about social issues” and they still form a key part of a tradition of writing from the stance of the union movement.

Lyell Sayer is one of the legendary figures of Australian folk.
His songs have been covered by notables such as Wongawilli and Warren Fahey, and he is an inspiration to modern-day musical satirists such as Bruce Watson.
Lyell Sayer has worked as a clerk, storeman, driver, salesman, customs officer, as well as being a folk singer and song-writer for many years. His work with the Amalgamated Metal Workers’ Union in Victoria in 1984 gave him and the union the opportunity to express a range of current issues and concerns through a medium not so common in workplaces – music and song. ‘Stand by the union’ is Lyell’s contribution to a tradition of rousing union songs of solidarity in the ‘Which side are you on?’ mode.
He is best known for his song The F-111, regaling the many faults and failings of the RAAF’s most controversial fighter jet acquisition of the 1970s. The General Dynamics F-111C was a controversial aircraft purchased by the Royal Australian Air Force in 1963. Problems began with a 10-year delay in delivery.
Lyell released a follow up album in 1984 called Victoria Street, also released on the Larrikin label.
Lyell currently Tutors in Music at the The University of the Thrid Age in Knox, specialising in the Ukulele.
Clem Parkinson is a Melbourne Folk Song writer
In 1964, Parkinson penned the Pig Iron Song, which retold the story around how Menzies got one of his most well known nicknames. Clem Parkinson has also written many Union Songs (ie. Galloway and Stephens – a song about the fight for an 8 hour working day / 40 hours a week)
Clem Parkinson’s controversial song-attack on the Victorian government over the King Street Bridge reactivated old traditional vs contemporary tensions within the Victorian Folk Music Club
Clem Parkinson also had long history of support for the Maritime Union of Australia.
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Lyell Sayer

“Life in Australia can be very much like a game of two-up. Sometimes you land on the seat of your pants and sometimes flat on your face! Lyell Sayer and Clem Parkinson have seen both sides of the coin and it shows in their songwriting whether the subject be frivolous or serious. Here, on their first
record is a collection of a dozen of the best. Not that this is the first time these songs have found an audience … not by a long shot… for these musical ‘pen pushers’ have been churning out songs for years and songs like Colonel Sanders and the F-l 11 have, thankfully, become well entrenched
in the repertoire of many of our local singers.
Both Lyell and Clem enjoy taking the ‘mickey’ out of our politicians and why not! I have always felt that these contemporary folk songs play a real role in continuing the tradition of the folk song as the voice of the people. Long may the likes of Lyell Sayer and Clem Parkinson write and sing songs about us!” (Warren Fahey; taken from the original liner notes)

What a great folk Album … ! (thanks to rockonvinyl.blogspot)

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Clem Parkinson + Lylell Sayer

Personnel:
Rudi Brandsma (bass, piano, Synthesizer, guitar on 03. )
Dick Keam (whistles, guitar, chook noises)
Jon Madin (mandolin, violin, accordion)
Clem Parkinson (vocals, guitar on 09.)
Andrew Riby (flute, tin whistie.concertina)
James Rigby (mandolin)
Lyell Sayer (vocals, guitar, Banjo)
Tony Simpson (banjo)

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Tracklist:
01. Walking Back To (Bourke /Sayer) 4.03
02. Expense Account Racket (Parkinson) 3.15
03. Squizzy Taylor (Sayer) 3.44
04. Mulwala (Parkinson) 3.31
05. Words Of Love (Sayer) 3.48
06. Colonel Sanders (Parksinon) 2.15
07. The Wimmin’s Ball (Parkinson) 3.13
08. The F-111 (Sayer) 3.26
09. Temperance Shearers (Parkinson) 3.24
10. Junk Mail (Parkinson) 3.35
11. Life Begins At Forty (Sayer) 4.27
12. Matt Gabbett (Sayer) 3.00

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Colosseum – Valentyne Suite (1969)

frontcover1Valentyne Suite was the second album released by the band Colosseum. It was Vertigo Records’ first album release, and reached number 15 in the UK Albums Chart in 1969.[1]
Though the song “The Kettle” is officially listed as having been written by Dick Heckstall-Smith and Jon Hiseman, a credit which is confirmed by Hiseman’s liner notes for the album, bassist and producer Tony Reeves later claimed that it was written by guitarist and vocalist James Litherland. (by Wikipedia)
One of England’s prime jazz-rock — or, more accurately, rock-jazz — outfits, most of the members of Colossuem had apprenticed in blues bands, and it shows very strongly on some of the material here. Both “The Kettle” and “Butty’s Blues” are essentially tarted-up 12-bar blues, although they work well in a grander context; in the latter case much grander, as a brass ensemble enters for the last part, drowning out everything but the guitar, an indication that this recording is in dire need of remastering. “Elegy” is a fast-paced, minor-key blues that stretches guitarist James Litherland’s vocal abilities. Things do get far more interesting with “The Machine Demands a Sacrifice,” which offers solo opportunities to organist Dave Greenslade and sax player Dick Heckstall-Smith before re-emerging in what can only be called a proto-industrial style, all heavily treated clattering percussion.
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The album’s real joy comes with “The Valentyne Suite,” which takes the band out of their bluesy comfort zone into something closer to prog rock. Bandleader Jon Hiseman is a stalwart throughout, his busy drumming and fills owing far more to jazz than the studied backbeat of rock. Greenslade proves to be a largely unsung hero, his only real solo in the suite something to offer a challenge to vintage Keith Emerson, but with swing. As to criticism, bassist Tony Reeves has very little flow to his playing, which severely hampers a rhythm section that needs to be loose-limbed, and Litherland’s guitar playing is formulaic, which can be fine for rock, but once outside the most straightforward parameters, he seems lost. In retrospect this might not quite the classic it seemed at the time, but it remains listenable, and for much of the time, extremely enjoyable. (by Chris Nickson )
Without any doubts: This is one of the finest jazz-rock albums ever recorded and this is one of my most favourite Albums.
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Live at the Bath Festival, June 28th, 1969
Personnel:
Dave Greenslade (keyboards, vibraphone, background vocal on 03.)
Dick Heckstall-Smith (saxophones, flute)
Jon Hiseman (drums, percussion)
James Litherland (guitar, vocals)
Tony Reeves (bass)

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Neil Ardley (conductor)
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Tracklist:
01. The Kettle (Heckstall-Smith/Hiseman) 6.46
02. Elegy (Litherland) 3.14
03. Butty’s Blues (Litherland) 3.28
04. The Machine Demands A Sacrifice (Litherland, Heckstall-Smith/Brown, Hiseman) 3:55
05. Valentyne Suite Theme One: January’s Search (Greenslade) 6.20
06. Valentyne Suite Theme Two: February’s Valentyne (Greenslade) 6.57
07. Valentyne Suite Theme Three: The Grass is Always Greener (Heckstall-Smith/Hiseman) 3.37
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Arild Andersen – Kristin Lavransdatter (1995)

frontcover1Arild Andersen (born 27 October 1945) is a Norwegian jazz musician bassist, known as the most famous Norwegian bass player in the international jazz Scene.
Andersen was born in Lillestrøm, Norway. He started his musical career as jazz guitarist in the Riverside Swing Group in Lillestrøm (1961–63), started playing double bass in 1964, and soon became part of the core jazz bands in Oslo. He was a member of Roy Hellvin Trio, was in the backing band at Kongsberg Jazz Festival in 1967 and 68, was elected Best Bassist by Jazznytt in 1967, and started as bass player in the Jan Garbarek Quartet (1967–1973), including Terje Rypdal and Jon Christensen. After completing his technical education in 1968, he became a professional musician and collaborated with Karin Krog, George Russell, and Don Cherry (Berlin 1968), and with visiting American musicians Phil Woods, Dexter Gordon, Bill Frisell, Hampton Hawes, Johnny Griffin, Sonny Rollins, Sheila Jordan, and Chick Corea. During the same period he worked with Ferenc Snétberger and Tomasz Stańko.
In the early 1970s, Andersen collaborated with Norwegian musicians Magni Wentzel, Jon Eberson, Ketil Bjørnstad, and Terje Rypdal, before leaving for an eventful visit to the U.S. in the winter of 1973–1974, and has since 1974 led his own bands, at first a quartet (1974–79). He worked with the Radka Toneff Quintet (1975–81) and has recorded more than a dozen albums as band leader for ECM Records, founded the critically acclaimed band arildandersen01Masqualero, and appeared as side man on a series of recordings. In January 2009 he was named “Musicien Europeen 2008” by the French Academie du Jazz, In 2010, Andersen received the Ella Award at the Oslo Jazzfestival. (by Wikipedia)
This one was written by Andersen for a play based on Sigrid Undset’s Nobel Prize-winning novel. I have seen this release slandered in an on-line review as inconsequential music but I would like to argue that it actually develops the ideas from “Arv” and “Sagn” further. Not as immediately arresting as those two masterpieces, Andersen here creates a less flashy, more pastoral sound. The inspiration is drawn from medieval ballads, instrumental folk tunes and jazz. However, this all new band (Andersen and Vinaccia plus Tore Brunborg on saxophone, wooden flutes and ocarina, and Reidar Skaar on keyboards) deliver compositions where the folk element is more subtly incorporated in the music and the musicians’ roots in the European free-jazz tradition much more to the front. This is especially true for tracks like “Erlends Flukt” and “Erlend” which would not have been out of place on Andersen’s normal ECM releases.
If one approaches this record like a movie-soundtrack – not expecting the combination of breathtaking instrumental virtuosity and characteristic folk singing on the previous gabriellekillandalbums – one will find that the band actually has managed to create an even more homogenous fusion between folk music and jazz. Besides functioning as illustration to scenes in the play this music definitely can stand alone as a separate, highly evocative, piece of work. In addition to the band, the CD-version includes contributions from0 the Oslo Chamber Choir, Kjetil Bjerkestrand on organ and a string quartet.
This is one of the finest jazz Albums from the Scandinavian Jazz Scene … If you like Jan Garbarek then is this Album a must.
The booklet contains many ilustrations by Gabrielle Kielland (Born 1945), a real fine Artist from Norweg
That´s what I call a jazz & art highlight !
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Personnel:
Arild Andersen (bass)
Kjetil Bjerkestrand (organ)
Tore Brunborg (Saxophone, flute, ocarina)
Kjell Arne Jørgensen (violin)
Kari Ravnan (cello)
Reidar Skår (Keyboards)
Atle Sponberg (violin)
Nora Taksdal (viola)
Paolo Vinaccia (Percussion)
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Oslo Kammerkor (choir) conducted by Grete Helgerød
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Gabrielle Kielland (booklet illustrations)
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Tracklist:
01. Kristin Og Alvemoen (Andersen) 3.53
02. Hamarkirken (Andersen) 2.35
03. Simons Festemø (Andersen) 3.28
04. Kristin Og Erlend (Andersen) 5.32
05. Isvind (Andersen/Vinaccia/Skår/Brunborg) 2.33
06. Bryllupsmarsj (Andersen) 2.00
07. Pilgrimssang (Andersen) 4.44
08. Nidaros (Andersen) 3.21
09. Erlends Flukt (Andersen) 3.31
10. Erlend (Andersen) 3,38
11. Sunniva (Andersen/Vinaccia/Skår/Brunborg) 2.41
12. Dans (Andersen) 2.05
13. Flommen (Andersen) 4.11
14. Simons Død (Andersen) 4.37
15. Tidlig Morgen (Andersen/Vinaccia/Skår/Brunborg) 2.21
16  Kristin (Andersen) 3.51
17. Pesten (Andersen/Vinaccia/Skår/Brunborg) 2.33
18. Ved Steingjerdet (Andersen) 2.07
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Various Artists – Reading Rock – Volume One (1982)

lpfrontcover1The twenty second festival possibly had a more attractive lineup than 1981, at least if one was a heavy rock devotee. The inclusion of hard rock guitar stalwarts Gary Moore, Randy California, southern rockers Blackfoot and erstwhile pub rockers Dave Edmunds and Wilko Johnson gave the lineup spine that was missing from the previous year.

   The headliners were also a tad more prestigious. The Scorpions/UFO former lead guitarist Michael Schenker, whose repertoire veered into the sort of metal jazz/rock territory inhabited by Jeff Beck- as well as delivering more predictable hard rock fare -gave Sunday night a touch of class .
   Budgie and Iron Maiden were guaranteed to deliver an exciting hard rock show, regardless of whether one thought of them as innovators within the genre or not. Maiden’s credentials were reinforced by the presence of Bruce Dickinson , the erstwhile Samson lead vocalist , who had taken over the vocal spot from Paul Di’Anno .
   All three of these artists were recorded by the venerable BBC and broadcast on the Radio One Friday night rock show in 1983 .
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Iron Maiden
Once again, Reading delivered a mid range experience for the punters , no top end acts like Pink Floyd or the Stones which needed a mega crowd to return the organisers a profit, but a solid workmanlike bill that would leave the attendees satisfied in the main . This was what Reading was about at the time, but the formula was about to change , as 1983 would be the last Reading for several years, at long last , the never ending story was about to come to a ( temporary ) stop (by ukrockfestivals.com)
It is strange that Mean Records chose to include a couple of tracks that weren’t actually from the 82 Festival – Whitesnake’s recording was from the 79 Festival and UFO’s from 1980. Yet, they neglected to include tracks from bands that did perform like – Iron Maiden, Gary Moore and Tygers of Pan Tang. Below is the (almost) correct running order of the 1982 Reading Festival, taken from the official festival program. Perhaps they had intended to release a Volume Two (based on the name for this release – Volume One) but as far as I can gather this did not happen. (by Mr. AussieRock)
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Michael Schenker
I add ten more songs from this great Festival (thanks to rockonvinyl.blogspot.de)
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Tracklist:
01. Whitesnake:  Walking In The Shadows Of The Blues (Coverdale/Marsden) 4.40
02. Terraplane: I Want Your Body (Morley)  5.47
03. Marillion: He Knows You Know (Marillion) 4.46
04. Jackie Lynton: Slow Rider (Lynton/White) 4.46
05: Budgie: Superstar (Shelley/Thomas) 4.07
06. Bernie Marsden: S.O.S. (Marsden/Hawthorn) 4.42
07. Chinatown: I Wanna See You Tonight (Chinatown) 3.58
08. Randy California:  Come On Woman (California) 4.07
09. Stampede: There And Back (L.Archer/R.Archer/Bond) 5.44
10. Twisted Sister: Shoot ‘Em Down (Snider) 5.07
11. Michael Schenker: Attack Of The Mad Axeman  (Schenker/Barden) 4.31
12. Marillion: Three Boats Down From The Candy (Marrilion) 4.40
13. Terraplane: Turn Me Loose (Morley) 4.13
14. Just Good Friends: You Really Got Me (Davies) 4.27
15. UFO: Hot And Ready (Schenker/Mogg) 3.25
16. Budgie: Panzer Division Destroyed (Shelley/Thomas) 6.20
17. Grand Prix: Keep On Believin’ (Lanzon/O`Donoghue) 5.10
18. Spider: All The Time (Burrows/Harkness) 4.07
19. Chinatown: Caught On The Wrong Side (Chinatown) 4.24
20. Jackie Lynton; Hedgehog Song (Lynton) 4.57
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21. Gary Moore: Nuclear Attack (Moore) 5.27
22. Iron Maiden: Wrathchild (Harris) 3.32
23. Praying Mantis: Nightmares (C.Troy/Potts/Carroll/T.Troy) 3.01
24. Tygers Of Pan Tang: Blackjack (Tygers Of Pan Tan) 3.04
25. Y&T: Black Tiger (Kennemore/O´Conner/Rush/Haze/Alves/Meniketti) 4.14
26. Gary Moore: Parisean Walkways (Lynott/Moore) 5.25
27. Iron Maiden Tush (Beard/Gibbons/Hill) 6.05
28. Praying Mantis: Flirtin’ With Suicide (C.Troy/Potts/Carroll/T.Troy) 5.28
29. Tygers Of Pan Tang:
Slave To Freedom (Cox/Dick/Weir) 5.18
30. Y&T: Forever (Kennemore/O´Conner/Rush/Haze/Alves/Meniketti) 5.47
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Sonny & Cher – Look At Us (I Got You Babe (1965)

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Sonny & Cher were an American pop music duo, actors, singers and entertainers made up of husband-and-wife Sonny and Cher Bono in the 1960s and 1970s. The couple started their career in the mid-1960s as R&B backing singers for record producer Phil Spector.
The pair first achieved fame with two hit songs in 1965, “Baby Don’t Go” and “I Got You Babe”. Signing with Atco/Atlantic Records, they released three studio albums in the late 1960s, as well as the soundtrack recording for an unsuccessful movie, Good Times. In 1972, after four years of silence, the couple returned to the studio and released two other albums under the MCA/Kapp Records label.
In the 1970s, they also positioned themselves as media personalities with two top ten TV shows in the US, The Sonny & Cher Comedy Hour and The Sonny & Cher Show. The couple’s career as a duo ended in 1975 following their divorce. In the decade they spent together, Sonny and Cher sold over 40 million records worldwide.
Performing under her first name, Cher went on to a highly successful career as a solo singer and actress, while Sonny Bono was eventually elected to Congress as a Republican U.S. Representative from California. The two performers were inducted to the Hollywood Walk of Fame in 1998, following Sonny’s death in a skiing accident.

sonnycher01Look at Us is the debut album by American pop duo Sonny & Cher, released in 1965 by Atco Records. The album reached number two on the Billboard 200 and was certified Gold for the sales of 500,000 copies.

The album has sold over 8 million copies worldwide.
Shortly after their single “I Got You Babe” had reached number 1 on both sides of the Atlantic, Sonny Bono quickly put together an album for himself and Cher to release in late 1965 to capitalize on its success. Much like the single, this album was also a hit, peaking at the number 2 position on the Billboard 200 for 8 weeks.[4] It also went top ten in the UK, reaching #7.[5] Other than “I Got You Babe”, the album contains the Billboard Hot 100 top 20 hit single “Just You” and the minor hit single “The Letter”, which peaked at #75.
The cover was designed by Haig Adishian and photographed by Robert W. Young. (by Wikipedia)
For their first album-length excursion in the wake of “I Got You Babe,” Sonny & Cher don’t tread too far outside the influence of Phil Spector, including covers of “Unchained Melody,” “Then He Kissed Me,” and “Why Don’t They Let Us Fall in Love,” of which the latter shows off the most appealing elements of each singers’ voice. “It’s Gonna Rain,” which Ahmet Ertegun favored over “I Got You Babe,” is a sub-Rascals attempt at white electric soul, while “500 Miles” is Spectorized folk-rock that Sonny carries for one verse and a chorus longer than he should have. . (by Bruce Eder)
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Alternate frontcovers (from Australia)
Personnel:
Harold Battiste (piano)
Hal Blaine (drums)
Sonny Bono (vocals)
Frank Capp (drums)
Cher (vocals)
Monte Dunn (guitar)
Gene Estes (percussion)
Cliff Hills (bass)
Barney Kessel (guitar)
Steve Mann (guitar)
Donald Peake (guitar)
Don Randi (piano)
Lyle Ritz (bass)
Michel Rubini (harpsichord)
Brian Stone (percussion)

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Tracklist:
01. I Got You Babe (Bono) 3.12
02. Unchained Melody (Zaret/North) 3.52
03. Then He Kissed Me (Spector/Greenwich/Jeff Barry) 2.56
04. Sing C’est la Vie (Bono/Green/Stone) 3.39
05. It’s Gonna Rain (Bono) 2.24
06. 500 Miles (West) 3.55
07. Just You (Bono) 3.36
08. The Letter (Harris/Terry) 2.09
09. Let It Be Me (Bécaud/Curtis/Delanoë) 2.25
10. You Don’t Love Me (McDaniels/Cobbs) 2.32
11. You’ve Really Got A Hold On Me (Robinson) 2.24
12. Why Don’t They Let Us Fall In Love (Spector/Greenwich/Barry) 2.29

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Nino Rota – The Godfather (OST) 1972

frontcover1The Godfather is the soundtrack from the film of the same name, released in 1972 by Paramount Records, and in 1991 on compact disc by MCA. Unless noted, the cues were composed by Nino Rota and conducted by Carlo Savina (who was credited on the LP, but not the CD). The song “I Have but One Heart” is sung by Al Martino, who performed it in the film as character Johnny Fontane.

The Godfather: (Nino Rota) It has been successfully argued many times that no film has had as much impact on cinema as Francis Ford Coppola’s original The Godfather. The 1972 powerhouse not only defined the entire subsequent genre of mob-related films, but remains a brutally memorable exhibit of dramatic storytelling at its most compelling. The adaptation of Mario Puzo’s best-selling and controversial novel, accomplished by Coppola and the author himself, was so encapsulating that it warranted every minute of its nearly three-hour running time, leaving enough room for the longer plot of the second film in this franchise to expand even further upon the same characters. Whereas most films utilize, intentionally or not, stereotypes in the definition of their characters, Puzo and Coppola invented an entire realm of new stereotypes in The Godfather. The story of the now famous trilogy of films follows the progression of the original New York mafia families in their efforts to survive and adapt in the times from the 1900’s to the 1990’s, the first two films tackling the initial threat posed by the introduction of the drug trade into the traditional operations of these bases of power.

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The trilogy ultimately defines itself as the story of Michael Corleone, desperate to retain the Sicilian traditions of his father while moving the family forward into these new, more global avenues of wealth. His ultimate failure, foreshadowed in his ascension in The Godfather and progressively more shocking in the endings of the two sequels, guides the music of these films to a similarly depressing end. Like the films, the work of Nino Rota and Carmine Coppola for the soundtracks of these productions is engrained in the memory of the mainstream, defining the sound of mafia music much like the characters influenced later incarnations of essentially the same idea. If you boil down the plot elements of The Godfather to their most basic ingredients, they would be tradition, love, and fear. Rota’s score for the film perfectly embodies these three aspects of the story, licensing ten or so existing pieces for source usage. Carmine Coppola, the director’s father, wrote a small amount of original source material for The Godfather, increasing his efforts in this regard as the trilogy progressed. (by filmtracks.com)

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Personnel:
Unknown orchestra cunducted by Carlo Savina
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Al Martino (vocals on 02.)

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Tracklist:
01.  Main Title (The Godfather Waltz) (Rota) 3.04
02. I Have But One Heart (Farrow/Symes) 3.00
03. The Pickup (Rota) 2.56
04. Connie’s Wedding (Coppola) 1.33
05. The Halls Of Fear (Rota) 2.12
06. Sicilian Pastorale (Rota) 3.03
07. Love Theme From The Godfather (Rota) 2.37
08. The Godfather Waltz (Rota) 3.35
09. Apollonia (Rota) 1.22
10. The New Godfather (Rota) 2.00
11. The Baptism (Rota ) 1.51
12. The Godfahter Finale (Rota) 3.50

 

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