Traffic – Live At Santa Monica (VHS-rip) (1972)

FrontCover1Traffic left behind precious few concert videos in any form, so this show, from the Santa Monica Civic Auditorium, is an intrinsically valuable document of the band, even though it does feature a later lineup: Steve Winwood, Jim Capaldi, Chris Wood, Rebop Kwakubaah, Roger Hawkins, and David Hood. Chronologically, the show comes roughly a year later than the Welcome to the Canteen album. At 65 minutes running time, they include “The Low Spark of High Heeled Boys,” “John Barleycorn,” “Rainmaker,” “Glad,” “Freedom Rider,” “Forty Thousand Headmen,” and “Dear Mr. Fantasy,” all of which are worthwhile although also curiously lacking in the urgency that one would hope for in a concert performance. There are some many wonderful shots of the band members from varied angles and all kinds of different lighting, even within the same song, courtesy of video producer Taylor Hackford (White Nights, Against All Odds) but, in fact, this wasn’t the ideal version of the group to capture on stage: Winwood had suffered a serious illness the year before, the group was always in a state of flux as far as its line-up was concerned, and they were entering the period of decline that would coincide with the recording of Shootout at the Fantasy Factory. The musicianship is there, found intact in the thick electric guitar textures of “Light Up or Leave Me,” Winwood’s acoustic guitar performance on “John Barleycorn,” and Wood’s spotlighted flute and sax work on “Rainmaker.”

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But one also gets the sense that a lot of excitement was disappearing for the players, apart from Rebop Kwaku Baah, in what Winwood later described as a grind of touring and recording. It’s not a bad video, and well worth tracking down as a document of the group; the sound is very good (especially for the period in which it was recorded), and it would make a good DVD, but one wishes a full-length video of a show from perhaps a year, or two, or three earlier could have found its way into existence. Originally available through RCA Columbia, but packaged by Pacific Arts, this long out of print video was apparently owned by Island Records, and may have reverted to them, which means that it is now somewhere in MCA’s vast holdings of the Polygram Records conglomerate (which bought Island); finding a used copy or getting someone to dub off the laser disc might be easier than waiting for it to be rediscovered by its current owners. (by Bruce Eder)

Chris Wood

Personnel:
Reebop Kwaku Baah (percussion)
Jim Capaldi (percussion, vocals)
Roger Hawkins (drums)
David Hood (bass)
Steve Winwood (guitar, keyboards, vocals)
Chris Wood (saxophone, flute, organ)

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Tracklist:
01. The Low Spark of High Heeled Boys (Capaldi/Winwood) 13.48
02. Light Up Or Leave Me Alone (Capaldi) 6.35
03. John Barleycorn (Traditional) 5.32
04. Rainmaker (Capaldi/Winwood) 8.35
05. Glad (Winwood) / Freedom Rider (Capaldi/Winwood) 14.05
06. Forty Thousand Headmen (Capaldi/Winwood)
08. Dear Mr. Fantasy (Capaldi/Winwood/Wood) 8.10

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Focus – III (1972)

FrontCover1Focus 3 or Focus III is the third studio album from the Dutch rock band Focus, released as a double album in November 1972 on Imperial Records in the Netherlands, Polydor Records in the UK, and Sire Records in the US. Recorded after touring in supporting their previous album, Focus II (1971), the album saw the band write extended pieces and is their first with bassist Bert Ruiter in the group’s line-up.Focus 3 or Focus III is the third studio album from the Dutch rock band Focus, released as a double album in November 1972 on Imperial Records in the Netherlands, Polydor Records in the UK, and Sire Records in the US. Recorded after touring in supporting their previous album, Focus II (1971), the album saw the band write extended pieces and is their first with bassist Bert Ruiter in the group’s line-up.
Focus 3 received a positive reception upon its release. It went to No. 1 in the Netherlands for one week and reached No. 6 on the UK Albums Chart and No. 35 on the US Billboard 200. “Sylvia” was released as the album’s sole single, which reached No. 4 in the UK and No. 89 in the US. The album was certified gold by the Recording Industry Association of America for selling in excess of 500,000 copies.

In July 1972, after touring in supporting their previous album, Focus II (1971), the band retreated to Olympic Studios in Barnes, south west London, to record their next album. Initially a single LP was intended to be recorded but the group had written a considerable amount of new material, so the group opted to release a double album.

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Mike Vernon reprised his role as the record’s producer with George Chkiantz assigned as recording engineer.[ Two versions of the album’s sleeve design exist; its North American release features each member photographed during a performance on the BBC music television show The Old Grey Whistle Test with a black background. The second, designed by Hamish Grimes, depicts a close-up of van Leer playing the flute with the title over his face.

“Round Goes the Gossip” features five lines from the poem Aeneid by the ancient Roman poet Virgil, sung in Latin by van Leer and its chorus hook, “Round goes the gossip”, also sung by Vernon. The five lines from the poem are printed on the album’s sleeve in Latin and English[1] with the 1916 translation by Henry Fairclough.

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“Love Remembered” is a track written by Akkerman, playing an acoustic guitar with van Leer’s flute, which is based on a young couple’s morning walk. Van Leer wrote “Sylvia” in 1968 when he was a member of his previous theatre group Shaffy Chantat, formed by singer and actor Ramses Shaffy. He was not fond of a composition that singer Sylvia Alberts was given to sing for her solo performance, so he wrote the instrumental with a set of lyrics in English written by Linda van Dyck. Its original title was a long one: “I Thought I Could Do Everything on My Own, I Was Always Stripping the Town Alone”, and concerned an independent young woman who fell apart after she met the love of her life. van Leer kept the music, re-arranging it as an instrumental track when it came to selecting material for the album.

He renamed it “Sylvia” after Alberts “to tease [her] a little”. The track includes a guitar introduction written by van Leer’s brother Frank.

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Peet Johnson, one of the group’s biographers, highlights several musical references and similarities that van Leer incorporates in “Focus III”, including riffs from Bernard Hermann, “Don’t Sleep in the Subway” made famous by Petula Clark in 1967, Tchaikovsky, and Schubert. The track’s end segues into “Answers? Questions! Questions? Answers!”, titled by Akkerman, featuring extended flute and guitar solos. Ruiter came up with its basic riff, with Akkerman coming up with the “second part”.[8] Akkerman wrote “Elspeth of Nottingham” after driving around England for a holiday in 1967, stopping in a town in the Cotswolds where he first heard Julian Bream play the lute which inspired him to learn the instrument. Akkerman requested to include birdsong on the recording; Vernon suggested to include sounds of cows mooing and the song’s title, the “Elspeth” being an old Scottish variant of the name Elizabeth.[8][9] “Carnival Fugue” borrows from Johann Sebastian Bach’s The Well-Tempered Clavier before venturing into cool jazz territory, then culminates in a rock finale with piccolo improvisations and a hint of Calypso rhythms on guitar. “Anonymous II” borrows its theme from “Anonymous” from the band’s first album and features a solo spot for all four members, lasting for 26 minutes.
The vinyl pressings of the album includes “House of the King”, a track Focus recorded for their first album, Focus Plays Focus (1970), intended to fill up space on side four. The two former members who perform on the recording, bassist Martin Dresden and drummer Hans Cleuver, are not credited on the album sleeve.

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Released in November 1972, Focus 3 was a commercial success for the band, reaching No. 1 in the Netherlands for one week.[11] It reached a peak of No. 6 on the UK Albums Chart[12] in March 1973 during a 16-week stay on the chart.[10] In the US, it reached No. 35 on the Billboard 200. “Sylvia” was released as the album’s sole single, which reached No. 4 in the UK and No. 89 in the US. In November 1973, Billboard announced the album was certified Gold by the Recording Industry Association of America for selling in excess of 500,000 copies. The album reached the same certification in the Netherlands and the UK. (by wikipedia)

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Riding on the success of their hit single “Hocus Pocus” from the revolutionary Moving Waves album, Focus got to work on this, their third LP in four years. While the debut album featured a style not too dissimilar to the Bonzo Dog Doo Dah Band, Focus’ second LP, Moving Waves, was purely instrumental and wholly serious-minded. Focus III kept this same sound, but approached it with a jollier, more accessible tone. As with its predecessor, Focus III featured only one tune that would have a chance of being a hit single. The enjoyable rhythm of “Sylvia,” partnered with Jan Akkerman’s victorious guitar solo, some of Van Leer’s finest organ work, Bert Ruiter’s tight basslines, and Pierre Van Der Linden’s mellow drumming, assured the track classic status.

Bert Ruiter

“Sylvia” found worldwide success and gained the band valuable radio and press exposure. The song remains one of the most loved and best remembered songs from Focus’ catalog. The consistency in musical quality throughout Focus III is enough to merit any listeners’ respect. To be frank, this LP has it all: diverse songs, astounding musicianship, one of the finest singles ever released — Focus III should unquestionably be ranked alongside the likes of Revolver, Dark Side of the Moon, and any others of rock’s greatest. (by Ben Davies)
In other words: A masterpiece !

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Personnel:
Jan Akkerman (guitar, lute)
Thijy van Leer (keyboards, flute, harpsichord, vocals)
Pierre van der Linden (drums)
Bert Ruiter (bass)
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Hans Cleuver (drums on 09.)
Martin Dresden (bass on 09.=
Mike Vernon (background vocals on 01.)

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Tracklist:
01. Round Goes The Gossip (van Leer) 5.14
02. Love Remembered (Akkerman) 2.49
03. Sylvia (van Leer) 3.32
04. Carnival Fugue (van Leer) 6.09
05. Focus III (van Leer) 6.04
06. Answers? Questions! Questions? Answers! (Akkerman/Ruiter) 13.50
07. Anonymus II(van Leer/Akkerman/Ruiter/ v.d.Linden) 26.21
07.1. Anonymus II (Part 1) 19.28
07.2. Anonymus II (Conclusion) 7.30
08. Elspeth of Nottingham (Akkerman) 3.11
09. House Of The King (Akkerman) 2.51

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Teegarden & VanWinkle – With Bruce (On Our Way) (1972)

FrontCover1Teegarden & Van Winkle were an American musical duo, composed of Skip Knape (electric organ, organ pedal bass, vocals), and David Teegarden (drums, vocals). Formed in Tulsa, they took their folksy rock to Detroit.

Their single “God, Love and Rock & Roll”, which borrowed heavily from “Amen”, peaked at #22 on the Billboard Hot 100 in 1970. At times they worked with Bob Seger, appearing live at gigs and even producing an album together with Seger and guitarist Michael Bruce (Smokin’ O.P.’s, 1972). Smokin’ O.P.’s was re-released in 2005.

Teegarden later appeared as the drummer in Bob Seger’s Silver Bullet Band, recording four further albums with Seger.
ConcertPosterIn 1972-3, while David toured with Bob Seger, Skip put his own full band together consisting of horns & female vocals. Skip continued to kick bass pedals with his new larger band. Sheila Chambers a/k/a Shea Chambers, Shaun Murphy a/k/a Stoney Reese were vocalists singing together and separately, in Skip’s band, as well as a pre-RCA Victor recording artist Dan Schafer on guitar and vocals with Jim Langois on drums, Dave Heater on sax & Jack Muncie on trumpet.

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In the early 90s, former Doors guitarist Robbie Krieger formed a trio called the ‘Robby Krieger Organization’ featuring Skip on electric organ,organ pedal bass and Dale Alexander on drums & backing vocals.

The Teegarden & Van Winkle duo reunited for another album, Radioactive, in 1997.

And here´s their 4th album from 1972:

Possibly the best package yet from this top duo, who have engaged the aid of Mike Bruce. They flow from rock to blues to folk with ease, and remain two of the best harmony singers around today. Highlights inlude “Reuben Red” with its interesting bagpipes, “If You Live” (by Mose Allison) and “Carry On (With You)”. (Billboard, October 14, 1972)

Two more great cover versions: “Midnight Rider” (ny Greg Allman) and “Goin´ Down” (by Don Nix) and a fine gospel tune called “Stoned On The Love Of Jesus”

Another forgotten jewel in the history of Rok music … Believe me !

Very rare single form the Netherlands:

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Personnel:
Skip “Van Winkle” Knapé* (keyboards, vocals)
David Teegarden (drums, vocals)
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Mike “Monk” Bruce (guitar, slide-guitar vocals on 01. – 06.)
Ernie Fields Jr. (saxophone on 04., 05. 06. + 11.) (tracks: A4, A5, B2, B6)
Bob Seger (guitar, background vocals, cowbell on 02., 04. ,05. + 06.)
Jerry Smith (piano on 07. + 08. )
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background vocals:
Brenda Knight – Jo Ann Hill – Marlene Driscoll

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Tracklist:
01. Carry On (With You) (Shider/Knapé)
02. Midnight Rider (Allman)
03. Movin’ On Down The Highway (Knapé)
04. Going Down (Nix)
05. Ride Away (With Me) (Knapé)
06. Ain’t Love Grand (Seger/Shider/Knapé)
07. Stoned On The Love Of Jesus (Teegarden/Knapé)
08. Rueben Red (Knapé)
09. Arted Is My Last Name (Passing Gas) (Knapé)
10. If You Live (Allison)
11. I Need You (Knapé)

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BillboardReviewThe Billboard review from October 1972

Acker Bilk & The Paramount Jazz Band – Acker Pie (1972)

FrontCover1Bernard Stanley “Acker” Bilk MBE (28 January 1929 – 2 November 2014) was an English clarinettist and vocalist known for his trademark goatee, bowler hat, striped waistcoat and breathy, vibrato-rich, lower-register clarinet style.

Bilk’s 1962 instrumental tune “Stranger on the Shore” became the UK’s biggest selling single of 1962 where it remained in the UK charts for more than 50 weeks, peaking at number two, and was the first No. 1 single in the United States by a British artist in the era of the modern Billboard Hot 100 pop chart.

But … Mr. Acker Bilk was much more than only a traditional jazz player …

On this Album we hear some traditional jazz … a great version of “Nobody Knows You (When You´re Down And Out) .. .I know this Ida Cox song from an early album by The Spencer Davis Group …

And you´ll hear some unexpectedly sounds, like “Nairobi Knees Up ” and … “Burgundy Street” listen … and enjoy!

In other words: A real great Album by the one and only Mr.  Acker Bilk …

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Personnel:
Acker Bilk (clarinet, vocals)
Tucker Finlayson (bass)
Rod Mason (trumpet)
John Mortimer (trombone)
Tony Pitt (guitar, banjo)
Johnny Richardson (drums)
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Barney Bates (piano, harmonium on 10.)

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Tracklist:
01. Wolverine Blues (J. Spikes/B. Spikes/Morton) 3.40
02. Spider And The Fly (Waller/Razaf/Johnson) 4.33
03. Burgundy Street (Traditional) 2.37
04. Rose Of The Rio Grande (Leslie/Warren/Gammon) 4.34
05. Nobody Knows You (When You´re Down And Out) (Cox) 3.20
06. Nairobi Knees Up (Mortimer) 3.24
07. I’m An Old Cow Hand /Mercer) 2.41
08. South Rampart Street Parade (Haggart/Bauduc) 4.07
09. Sweet Georgia Brown (Bernie/Casey/Pinkard) 4.14
10. Gloomy Sunday (Seress) 3.08
11. Free For All (Mortimer) 3.34
12. Travellin’ On (Bilk/Green/Manzi) 2.46

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More from Mr. Acker Bilk:

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Amazing Blondel – Dancing Supertivoli (1972)

FrontCover1Amazing Blondel are an English acoustic progressive folk band, containing Eddie Baird, John Gladwin, and Terry Wincott. They released a number of LPs for Island Records in the early 1970s. They are sometimes categorised as psychedelic folk or as medieval folk rock, but their music was much more a reinvention of Renaissance music, based around the use of period instruments such as lutes and recorders.
John Gladwin and Terry Wincott had both played in a loud “electric” band called Methuselah. However, at some point in Methuselah concerts, the duo would play an acoustic number together: they found that this went down well with the audiences and allowed them to bring out more of the subtlety of their singing and instrumental work. They left Methuselah in 1969 and began working on their own acoustic material.
Initially their material was derived from folk music, in line with many of the other performers of the time. However, they began to develop their own musical idiom, influenced, at one extreme, by the early music revivalists such as David Munrow, and the other extreme, by their childhood memories of the Robin Hood TV series, with its pseudo-mediaeval soundtrack by Elton Hayes.

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The band was named after Blondel de Nesle, the musician in the court of Richard I. According to legend, when Richard was held prisoner, Blondel travelled through central Europe, singing at every castle to locate the King and assist his escape. This name for the band was suggested by a chef, Eugene McCoy, who listened to some of their songs and commented: “Oh, very Blondel!” and they began to use that name. They were then advised to add an adjective (in line, for example, with The Incredible String Band) and so they became “Amazing Blondel”.

Their first album The Amazing Blondel (also called “Amazing Blondel and a Few Faces,”) was recorded in 1969 and released by Bell Records. It was directed by session guitarist Big Jim Sullivan. At about this time, Eddie Baird (who had known the other members at school) joined the band. On 19 September 1970 they were one of the bands to play at the first Glastonbury Festival. Following what Baird described as “a disastrous ‘showbiz’ record signing”, Amazing Blondel were introduced, by members of the band Free, to Chris Blackwell of Island Records and Artists. Blackwell signed them up to Island, for whom they recorded their albums Evensong, Fantasia Lindum and England. (by Wikipedia)

And this is a very fine bootleg from a Show, recorded in Italy. It´s a very good audience recording … and you can you hear … you can hear the Magic of Amazing Blondel … really amazing !

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Personnel:
Edwards Baird (guitar, vocals)
John David Gladwin (vocals, guitar)
Terence Alan Wincott (Recorder, woodwinds, vocals)

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Tracklist:

01. Toye 3.02
02. Pavan 3.02
03. Seascape 6.09
04. A Spring Air *  3.03
05. Willowood 3.02
06. Afterglow 3.34
07. The Shepherd’s Song 7.41
08. Saxon Lady
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09. Travagliato BresciaItaly (1972) (uncut version) 32.06

All songs written by John David Gladwin

*Problems with the microphones on stage.

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Larry Coryell Group – Boston 1972

frontcover1Legendary guitarist Larry Coryell died on February 19, 2017 at the age of 73 in his New York City hotel room, according to a statement sent to Billboard from jazz publicist Jim Eigo. Coryell, who passed away in his sleep from natural causes, had performed his last two shows this past weekend at the city’s Iridium Jazz Club. Known as the “Godfather of Fusion,” Coryell was a pioneer of jazz-rock. He made his mark in the music world with his highly acclaimed solo work, releasing more than 60 solo albums in his lifetime. His most notable album, Spaces, came in late 1969. The guitar blow-out, also featuring John McLaughlin, is considered the beginning of the 1970s’ fusion jazz movement. Coryell performed with mid-’70s powerhouse fusion band The Eleventh House and collaborated with jazz greats including Miles Davis, Gary Burton, Alphonse Mouzon, Ron Carter and Chet Baker. Though his commercial fame didn’t match some of his ’60s-’70s guitar contemporaries, Coryell continued to tour the world and had planned an extensive 2017 summer tour with a reformed The Eleventh House. (Billboard)

Thanks to goody for sharing the show at Dime.
Another tribute in honor of the already missed master Larry Coryell, here’s an early one I fixed up, originally posted by our friend, mr mags, who got it from agalli.
Thanks to ethiessen1 for the artwork.

What a brilliant concert to promote his solo-album “Offering”
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Personnel:
Larry Coryell (guitar)
Mike Mandel (Keyboards)
Steve Marcus (Saxophone)
John Miller (bass)
Harry Wilkinson (drums)

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Tracklist:
01. Untitled (unknown) 13.26
02. Ruminations (Davis) 9.13
03. Hen-Hopper (Mandel) 7.06
04. Scotland, Part 1 (Coryrell) 7.06
05. Offering (Wilkinson) 6.10
06. DJ Announcements 1.09

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Larry Coryell
(* 2. April 1943 in Galveston, Texas; † 19. Februar 2017 in New York City, New York)

RIP and thanks for the music !

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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