Goblin – Their Hits, Rare Tracks & Outtakes Collection 1975-1989 (1995)

FrontCover1.jpgGoblin (also Back to the Goblin, New Goblin, Goblin Rebirth, the Goblin Keys, The Goblins and Claudio Simonetti’s Goblin) is an Italian progressive rock band known for their soundtrack work. They frequently collaborate with Dario Argento, most notably creating soundtracks for Profondo Rosso in 1975 and Suspiria in 1977. CD re-releases of their soundtracks have performed well, especially in Germany and Japan. Goblin returned with a series of live concerts in Europe in 2009 and in North America in 2013.

Initially recording as Cherry Five (they had done some live gigs as Oliver), their early work spawned one eponymous progressive rock record, and they were then called in to compose the soundtrack for Profondo Rosso. The band changed their name to Goblin, rewriting most of the score, originally written by Giorgio Gaslini including the famous main theme. The 1975 soundtrack album was a huge hit. After a reshuffle in their line-up, they put out an instrumental progressive rock album Roller, before working with Argento again for 1977’s Suspiria.

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Other film soundtracks and a concept album (Il Fantastico Viaggio Del Bagarozzo Mark) followed, then the score for the European version of George A. Romero’s 1978 Dawn of the Dead. In both this and Suspiria’s opening title sequences, they are credited as “The Goblins with Dario Argento”. Tracks 1, 2 and 7 from the European version are also in the American version of the film.

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Despite their success, membership continued to be a revolving door, and the band also struggled to maintain their credibility. The remaining members continued to work on further soundtracks, and there was a partial reunification of three of the four band-members for Argento’s Tenebrae (1982) (the album was credited to the three band-members separately, not as Goblin). The last collaboration with the director took place in 2000, with the film Non ho sonno (Sleepless).

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Halloween is upon us, and it’s time to fire up the VCR for some primo fright-fests. True lovers of the blood & gore genre know that Italian filmmaker Dario Argento and Pittsburgh’s one and only George Romero are two of the best in the biz, and both turned to the Italian art-rock group Goblin when they needed otherworldly sounds to match their nightmarish visions. Goblin is one of the only rock bands that exclusively recorded soundtracks, and this collection includes some of its most inventive and creepy work. The jazzy, percussive, synth-driven tunes will be instantly familiar to anyone who’s seen Argento’s Profondo Rosso (1975) or Suspiria (1977) or Romero’s classic Dawn of the Dead (1978). That’s a fine triple bill if you have an adventurous video store in the neighborhood, but the music works just as well on its own, especially as background music for your Halloween party, or for a little vampiric necking. (by Jim Derogatis)

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Personnel:
Various line ups … look here

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Tracklist:

Profondo Rosso 1975:
01. Profondo Rosso (Main Title) (Simonetti/Pignatelli/Martino) 3.43
2 Death Dies – M32 (Original Film Version) (Simonetti/Pignatelli/Martino) 2.44
3 Profondo Rosso – M15 (Simonetti/Pignatelli/Martino) 0.40
4 Profondo Rosso – M31 (Simonetti/Pignatelli/Martino) 1.02

Wampyr (a/k/a Martin) 1976:
05 Wampyr (Finale) (Morante/Simonetti) 1.42

Chi? (Theme From The Original TV Show) 1976:
06. Chi? – Part 1 (Caruso/Baudo) 3.20
07. Chi? – Part 2 (Caruso/Baudo) 3.27

Patrick 1977:
08. Patrick – M32 Bis (Marangolo/Pignatelli/Pennisi) 3.01
09 Patrick – M1 (Marangolo/Pignatelli/Pennisi) 0.56
10 Patrick – M34/34 Bis/35 (Marangolo/Pignatelli/Pennisi) 0.47

Suspiria 1977;
11. Suspiria (Main Title) (Marangolo/Morante/Simonetti/Pignatelli) 5.55

La Via Della Droga 1977:
12. La Via Della Droga – M11V  ((Marangolo/Morante/Simonetti/Pignatelli) 2.08
13. La Via Della Droga – M2 (Marangolo/Morante/Simonetti/Pignatelli) 2.00
14 La Via Della Droga – M6 (Marangolo/Morante/Simonetti/Pignatelli) 2.05
15 La Via Della Droga – 31 (Marangolo/Morante/Simonetti/Pignatelli) 4.29

Zombi 1978:
16. L’Alba Dei Morti Viventi (Marangolo/Morante/Simonetti/Pignatelli) 6.04

Buio Omega 1979:
17. Buio Omega – M6 (Marangolo/Pennisi/Pignatelli) 2.33
18 Buio Omega – M25 (Marangolo/Pennisi/Pignatelli) 4.02
19 Buio Omega (Main Title) (Marangolo/Pennisi/Pignatelli) 2.56

St. Helen 1979:
20. St. Helen (Love Theme) (Marangolo/Guarini/Pignatelli) 2.08

Contamination 1980:
21. Contamination – M3 (Marangolo/Pignatelli) 1.40
22. Contamination – M8 (Marangolo/Pignatelli) 1.02

Tenebre 1982:
23. Tenebre (Main Title) (Morante/Simonetti/Pignatelli) 4.35

Notturno 1983:
24. Bass Theme (Pignatelli/Guarini/Marangolo) 3.22

Phenomena 1984:
25. Phenomena – M12 (Pignatelli) 1.01
26. Phenomena – M15 (Alternate Version) (Simonetti) 3.10

La Chiesa 1989:
27. La Chiesa (Pignatelli) 5.25

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Deep Purple – Shades Of Deep Purple (1968)

FrontCover1.jpgShades of Deep Purple is the debut studio album by the English rock band Deep Purple, released in July 1968 on Tetragrammaton in the United States and in September 1968 on Parlophone in the United Kingdom. The band, initially called Roundabout, was the idea of former Searchers drummer Chris Curtis, who recruited Jon Lord and Ritchie Blackmore before leaving the project. The Mk. I line-up of the band was completed by vocalist/frontman Rod Evans, along with bassist Nick Simper and drummer Ian Paice, in March 1968.

After about two months of rehearsals, Shades of Deep Purple was recorded in only three days in May 1968 and contains four original songs and four covers, thoroughly rearranged to include classical interludes and sound more psychedelic. Stylistically the music is close to psychedelic rock and progressive rock, two genres with an ever-growing audience in the late 1960s.

The album was not well received in the UK, where it sold very little and did not chart. In the US, on the other hand, it was a success and the single “Hush”, an energetic rock track written by Joe South and originally recorded by Billy Joe Royal, became very popular at the time, reaching number 4 on the US Billboard Hot 100 chart. The good sales of the album and the intense radio play of the single contributed largely to the attention Deep Purple would get in their early US tours and also during the 1970s. Modern reviews of the album are generally positive and consider Shades of Deep Purple an important piece in the history of Deep Purple. (by wikipedia)

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The usual perception of early Deep Purple is that it was a band with a lot of potential in search of a direction. And that might be true of their debut LP, put together in three days of sessions in May of 1968, but it’s still a hell of an album. From the opening bars of “And the Address,” it’s clear that they’d gotten down the fundamentals of heavy metal from day one, and at various points the electricity and the beat just surge forth in ways that were startlingly new in the summer of 1968. Ritchie Blackmore never sounded less at ease as a guitarist than he does on this album, and the sound mix doesn’t exactly favor the heavier side of his playing, but the rhythm section of Nick Simper and Ian Paice rumble forward, and Jon Lord’s organ flourishes, weaving classical riffs, and unexpected arabesques into “I’m So Glad,” which sounds rather majestic here. “Hush” was the number that most people knew at the time (it was a hit single in America), and it is a smooth, crunchy interpretation of the Joe South song.

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But nobody could have been disappointed with the rest of this record — one can even hear the very distant origins of “Smoke on the Water” in “Mandrake Root,” once one gets past the similarities to Jimi Hendrix’s “Foxy Lady”; by the song’s extended finale, they sound more like the Nice. Their version of “Help” is one of the more interesting reinterpretations of a Beatles song, as a slow, rough-textured dirge. “Hey Joe” is a bit overblown, and the group clearly had to work a bit at both songwriting and their presentation, but one key attribute that runs through most of this record — even more so than the very pronounced heaviness of the playing — is a spirit of fun; these guys are obviously having the time of their lives rushing through their limited repertoire, and it’s infectious to the listener; it gives this record much more of a ’60s feel than we’re accustomed to hearing from this band. [The EMI/Spitfire re-release from 2000 is notably superior to any prior version of the CD, made from the original master tape (which had been sent directly to the group’s American label, Tetragrammaton, leaving EMI with a vinyl dub, astonishingly enough), with textures far closer and crisper than have ever been heard before — there are also five bonus tracks, two very early outtakes from their earliest sessions, an alternate version of “Help,” a BBC recording of “Hey Joe,” and a searing live U.S. television performance of “Hush.” (by Bruce Eder)

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Personnel:
Ritchie Blackmore (guitar)
Rod Evans (vocals)
Jon Lord (organ, background vocals)
Ian Paice (drums)
Nick Simper (bass, background vocals)

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Tracklist
01. And The Address (instrumental) (Blackmore/Lord) 4.39
02. Hush (South) 4.25
03. One More Rainy Day (Lord/Evans) 3.40
04. Prelude: Happiness (Blackmore/Evans/Lord/Paice/Simper)/I’m So Glad (James) 7.19
05. Mandrake Root (Blackmore/Lord/Evans) 6.10
06. Help! (Lennon/McCartney) 6.01
07. Love Help Me (Blackmore/Evans) 3.49
08. Hey Joe (Roberts) 7.34
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09. Shadows (outtake)(Lord/Evans/Simper/Blackmore) 3.39
10. Love Help Me” (Instrumental version) (Blackmore/Evans) 3.30
11. Help! (alternate take) (Lennon/McCartney) 5.24
12. Hey Joe (BBC Top Gear session, 14 January 1969) (Roberts) 4.06
13. Hush (Live US TV, 1968) (South) 3.53

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