Harry Chapin – Dance Band On The Titanic (1977)

LPFrontCover1Dance Band on the Titanic is the seventh studio album by the American singer-songwriter Harry Chapin, released in 1977. Its vinyl release is a double album. It was later released as a single CD.

Who would have figured, listening to the heart-on-his-sleeve sensibilities of Heads & Tales in 1972, that Harry Chapin would or could ever generate a wry, sly, sardonic double-LP (single CD) album like this? The diversity of this album is its strong point, the core of the record made up of straightforward, serious songs, most notably “We Grew up a Little Bit” and the gorgeous ballads “Mismatch” (arguably Chapin’s prettiest song) and “I Do It for You, Jane” (of which the latter could have been a smash done countrypolitan style in Nashville), and there’s one lean vignette into traditional music (“Bluesman”). But those are surrounded by some of the most bittersweet work of his career, including the title track, “Mercenaries,” and “Manhood,” not to mention the satirical, phantasmagoric “There Only Was One Choice,” a 14-minute conceptual piece that conflates a bitter, sardonic look at the music business and the history of the United States, all looping back to the opener, “Dance Band on the Titanic.”

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The whole album is dazzling in its range, from full-blown orchestrated numbers to solo acoustic-style tracks, and moods running from wide-eyed innocence to seething anger and frustration, all of it interesting and 95 percent of it highly entertaining as well. As with most of Chapin’s work — but perhaps more so throughout this album — one gets the sense of an artist who desperately needed to break out of the boundaries of recording, onto a larger canvas; on this record, the music is so effective that he nearly made it, without ever actually breaking out to another format. (by Bruce Eder)

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Harry Chapin died far too early. One of the best singer songwriters of all time. Well respected across the years for all he did to make the world a better place. It’s nice to know he lives on in his fab music. You never get bored of listening to his music and lyrics. One of the all time greats. (by Helen1960)

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Personnel:
Harry Chapin (guitar, vocals)
Stephen Chapin (piano, vocals)
Tom Chapin (guitar, banjo, vocals)
Howie Fields (drums)
John Wallace (bass, vocals)
Tim Scott (cello)
Doug Walker (guitar, mandolin, vocals)
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Buzz Brauner (saxophone)
Harry DiVito (trombone)
Steve Gadd (drums)
Neil Jason (bass)
Arthur Jenkins (percussion)
Bernie Keising (bass, vocals)
Ronald Palmer (guitar, vocals)
Elliott Randall (guitar)
Kim Scholes (cello)
Gus Skinas (programming)
Chris Waite (percussion)
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bckground vocals:
Barbara Carr – Marsh Lynn Goldberg – Jeff Gross – Art Krahulek – Barbara Lindquist – Theodore Marnel – Craig Mitchell – Nancy Newman – John Quayle – Steve Randall – Donna D. Reilly – Mike Solomon

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Tracklist:
01. Dance Band On The Titanic (H.Chapin) 5.15
02. Why Should People Stay The Same (H.Chapin)  – 4:47
03. My Old Lady (H.Chapin) 3.52
04. We Grew up A Little Bit (H.Chapin) 5.10
05. Bluesman (H.Chapin) 5.18
06. Country Dreams (H.Chapin) 4.47
07. I Do It For You, Jane (H.Chapin/S.Chapin) 5.08
08. I Wonder What Happened To Him (H.Chapin) 4.11
09. Paint A Picture Of Yourself (Michael) (H.Chapin) 3.52
10. Mismatch (H.Chapin) 5.00
11. Mercenaries (H.Chapin) 5.46
12. Manhood (H.Chapin) 3.48
13. One Light In A Dark Valley (An Imitation Spiritual) (Burke) 3.26
14. There Only Was One Choice (H.Chapin) 14.01

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Doobie Brothers – Livin´ On The Fault Line (1977)

FrontCover1.jpgLivin’ on the Fault Line is the seventh studio album by the American rock band The Doobie Brothers, released in 1977. It is one of the few Doobie Brothers albums of the 1970s which did not produce a Top 40 hit on the Billboard Hot 100 (although “You Belong to Me” was a hit as recorded by co-author Carly Simon). Still, the album received modest critical acclaim. Tom Johnston (guitar, vocals) left the band early in the sessions. He is listed as part of the band (appearing in the inside group photo) but appears on little or none of the actual album; despite writing and singing five songs during the sessions for the album, they were not included on the final release. Much of this consistently mellow album has a jazz tinge, and the influences of R&B are palpable throughout. The track “Little Darling (I Need You)” is a remake of the Marvin Gaye 1966 hit. (by wikipedia)

Livin’ on the Fault Line fell between two of the Doobie Brothers’ biggest-selling records. The album had no hit singles, and one-time leader Tom Johnston kept a markedly low profile (this would be his last record with the group, not including a later reunion). Despite this, Livin’ on the Fault Line contains some of the most challenging and well-developed music of the band’s career, with Patrick Simmons and Michael McDonald really stepping to the fore.

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There’s a vague mood of melancholia running through the songs, as well as a definite jazz influence. This is most obvious on the title track, which has several instrumental passages that showcase the guitar abilities of Simmons and Jeff Baxter. Similarly, “Chinatown” is a spooky mood piece not unlike the smooth fusion of late-period Steely Dan or Little Feat. But “Echoes of Love” and “Nothin’ But a Heartache” are both intelligent, glistening pop songs that confirm Simmons and McDonald as first-rate tunesmiths. The record slips a little at the end, with a plodding R&B song and a Piedmont guitar instrumental thrown in as filler. Overall, though, this is a chapter in the Doobie Brothers’ history that deserves a second look. (by Peter Kurtz)

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Personnel:
Jeff Baxter (guitar, steel guitar)
John Hartman (drums)
Keith Knudsen (drums, vocals)
Michael McDonald (keyboards, synthesizer, vocals)
Tiran Porter (bass, vocals)
Patrick Simmons (guitar, vocals)
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Dan Armstrong (electric sitar solo on 09.)
Norton Buffalo (harmonica on 08.)
Rosemary Butler (background vocals on 03., 04. + 08.)
Victor Feldman (vibraphone on 05.)
Bobby LaKind (congas, vocals)
Maureen McDonald (background vocals on 01.)
Ted Templeman (percussion)

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Tracklist:
01. You’re Made That Way (McDonald/Baxter/Knudsen) 3.30
02. Echoes Of Love (Simmons/Mitchell/Randle) 2.57
03. Little Darling (I Need You) (Holland/Dozier/Holland) 3.24
04. You Belong To Me (Simon/McDonald) 3.04
05. Livin’ On The Fault Line (Simmons) 4.42
06. Nothin’ But A Heartache (McDonald) 3.05
07. Chinatown (Simmons) 4.55
08. There’s A Light (McDonald) 4.12
09. Need A Lady (Porter) 3.21
10. Larry The Logger Two-Step (Simmons) 1.16

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Roger Glover – Elements (1978)

FrontCover1.jpgElements is the second solo album from Deep Purple bassist Roger Glover. It was recorded in early 1977 but wasn’t released until April 1978 on PolyGram Records. The album’s main concept is based on the four elements. (by wikipedia)

Former Deep Purple bassist Roger Glover’s first true solo album is an ambitious concept built around the properties and powers of the four elements — earth, wind, water, and fire — with the four principle tracks dedicated to each one in turn. Recorded with the Munich Philharmonic, plus an impressive arsenal of keyboards, percussion, and wind, the sound of the album is vast, yet never so prepossessing as to leave the listener feeling at all alienated by another ham-fisted attempt to meld rock with the classics. Rather, the Wagnerian scope of the Roger Gover1music, and the immensity of the orchestra itself, are both wholly ingested into Glover’s traditional knack for writing well-arranged, dynamic pop/prog rock. Thus, the riff that is central to “The First Ring Made of Clay” could, with only minor readjustment, have driven a hard-rocking Purple classic, while some of the shifts in tempo and mood put one in mind of early albums by Steve Hackett and/or Godley & Creme — with the link to the latter further cemented, of course, by the thematic similarities between Elements and the duo’s Consequences. “The Next a Ring of Fire,” too, rattles along like a well-oiled prog jam, with the sax and drum solo duel amidships conjuring images of mid-’70s King Crimson. To dwell on such reference points, however, is to wholly overlook the sheer originality, excitement, and overall exuberance that is the hallmark of Elements. Though decidedly late in the day by conventional prog rock standards, it nevertheless represents a towering achievement that any fan of the genre — not to mention of Purple — needs to investigate immediately. (by Dave Thompson)

Great to hear the other side of Roger Glover !

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Personnel:
Ronnie Aspery (saxophone, flute)
Martin Birch (guitar, background vocals)
Helen Chappelle (vocals)
Roger Glover (synthesizer, bass, percussion, tabla, sitar guitar, guitar, vibraphone, background vocals)
Simon Phillips (drums, tabla, percussion)
Graham Preskett (violin, clarinet)
Micky Lee Soule (keyboards, percussion)
Liza Strike (vocals)
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The Munich Philharmonic Orchestra conducted by Graham Preskett

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Tracklist:
01. The First Ring Made Of Clay” (Roger Glover) 7.46
02. The Next A Ring Of Fire (Glover) 9.38
03. The Third Ring’s Watery Flow (Glover) 8.53
04. The Fourth Ring With The Wind (Glover/Birch) 6.36
05. Finale (Glover/Birch) 2.14

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Nina Simone – Antibes (1977)

FrontCover1.jpgOne of the integral voices of the 1960s Civil Rights Movement, her music provides and will continue to resonate as a thoroughly unique chronicle of the changes of our epoch. In her heyday she moved effortlessly between frameworks and genres, and was perhaps the World Champion of being able to use material from all walks of song and experience to transmit her message of dignity.

She had one toe in Chanson, one in Jazz, one in Soul, one in Rock, one in Classical, and both feet in using the power of sound and expression to make a cohesive statement about the imperative need for human equality in our world.

I’ll say it: if Nina Simone was alive and kicking today, the cartoon shitscape of a social construct we see spitting in our dourly mocked faces on a daily basis would in no way go unchallenged. – nowbodhi’s blissness

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Thanks to nowbodhi’s blissness for sharing the show on the net.

Recorded live at the Festival de jazz d’Antibes, Juan-les-Pins, Antibes, France; July 19, 1977. Very good FM broadcast.
Master digicapture of a 2017 European radio rebroadcast

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Personnel:
Al Schackman (guitar, vibes, percussion)
Nina Simone (piano, vocals)

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Tracklist:
01. Ne Me Quitte Pas (Brel/Jouannest) 3.56
02. My Way (François/Revaux/Anka) 4.41
03. Plain Gold Ring (Burroughs) 2.21
04. Please Read Me (R.Gibb/B.Gibb) 4.30
05. I Love To Love (Baker/Hayton) 3.05
06. Just Say I Love Him (Val/Dale/Kalmanoff/Ward) 5.51
07. Four Women (Simone) 5.23
08. I Loves You Porgy (Heyward/G.Gershwin/I.Gershwin) 5.52
09. Let’s Stick Together (Harrison) 2.05
10. Be My Husband (Stroud) 3.41
11. Alabama Song (Brecht/Hauptmann/Weill) 3.41
12. In Our Childhood’s Bright Endeavor (Brecht/Hauptmann/Weill) 2.51
13. In My Life (Lennon/McCartney) – Let’s Stick Together (Reprise) (Harrison) 4.57

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Nina Simone (February 21, 1933 – April 21, 2003)

Sea Level – Cats On The Coast (1977)

FrontCover1.JPGCats on the Coast was the second album by American rock band Sea Level. It was released in 1977 on Capricorn Records.

The leadoff track, “That’s Your Secret”, reached #50 on the Billboard Hot 100, the band’s only charting single.

The cover photo of Sea Level’s sophomore album, 1977’s Cats on the Coast, depicts nearly twice the number of musicians as the cover photo of the band’s eponymous debut album released earlier that same year. There’s a lot of promise on display, and the music largely fulfills expectations. In addition to the quartet introduced on Sea Level — keyboardist/vocalist Chuck Leavell, drummer/percussionist Jaimoe, bassist Lamar Williams, and guitarist Jimmy Nalls — the band now includes singer/songwriter and saxophonist Randall Bramblett, guitarist Davis Causey, and drummer George Weaver (the latter featured prominently since Jaimoe only plays congas, and only on three tracks). This lineup bears remarkable similarity to the then-disbanded Allman Brothers, from whom Leavell, Jaimoe, and Williams had departed: two guitarists, two percussionists (well, sometimes), a bassist, a keyboardist — and, importantly, Bramblett, a proven session man, saxophonist, and singer/songwriter with two acclaimed but underappreciated solo albums (1975’s That Other Mile and 1976’s Light of the Night) under his belt. Cats on the Coast wastes no time introducing the new singer with the Bramblett/Causey co-written leadoff track “That’s Your Secret,” building from pure Southern R&B/soul/funk into dual-guitar fireworks (Causey in one channel; Nalls in the other) that any Southern rock fan could appreciate. Bramblett’s somewhat oblique lyrics may lack the emotional immediacy his writing often possesses, but Sea Level clearly weren’t about to introduce the singer with anything remotely approaching a downer (“This Could Be the Worst” could wait for the next album, On the Edge).

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Leavell takes over the mike on the soul shouter “It Hurts to Want It So Bad,” featuring the Muscle Shoals Horns, and Bramblett and Leavell trade off verses on the down-n-dirty Louisiana swamp blues-funk of “Had to Fall,” which collapses into utterly unhinged howling derangement at the end. The mood is far calmer in “Every Little Thing,” Bramblett’s “let’s-talk-it-over” display of sensitivity later in the track list. But Sea Level’s instrumental skill was the main attraction on the debut, and here they arguably up the ante. Leavell’s “Storm Warning” stands with his best jazz-rock fusion numbers, but with stinging dual lead guitars the likes of which hadn’t emerged from a Capricorn studio date since the Allmans left their blues at home on Idlewild South. Bramblett’s soprano sax here, and his soulful alto on Neil Larsen’s “Midnight Pass,” add even stronger jazziness to the band’s palette. Best of all is the two-part instrumental title track, with Nalls’ slide approaching Duane Allman territory and Bramblett’s soprano answering him in a stunning call and response; after a full-band climax, Jaimoe and Weaver take the track out under a flurry of simulated seagull cries. The album then concludes with the brief “Song for Amy,” a lovely and unexpected coda featuring Leavell on piano accompanied by a string quartet. Some great music from Sea Level was still to come, but the best moments of Cats on the Coast wouldn’t be topped. (by Dave Lynch)

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Personnel:
Randall Bramblett (organ, saxophone. vocals, percussion)
Davis Causey (guitar, background vocals)
Jai Johanny Johanson (percussion)
Chuck Leavell (keyboards, clavinet, percussion, vocals)
Jimmy Nalls (guitar, background vocals)
George Weaver (drums)
Lamar Williams (bass)

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Tracklist:
01. That’s Your Secret (Bramblett/Causey) 5.12
02. It Hurts To Want It So Bad (Feldman/T.Smith/S.Smith) 3.33
03. Storm Warning (Leavell) 5.23
04. Had To Fall (Bramblett/Nalls/Williams) 4.35
05. Midnight Pass (Larson) 6.32
06. Every Little Thing (Bramblett) 4.43
07. Cats On The Coast (Causey) 5.39
08. Song For Amy (Leavell) 1.42

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No Dice – Same (1977)

FrontCover1.jpgIn 1975, from the ashes of a band you’ve never heard of (March Hare) Gary Strange and Dzal Martin added Roger Ferris and Chris Wyles to themselves and formed the fledgling No Dice, a blues/rock band in Stones/Faces style but with room to manoeuvre into more adventurous musical seas if the urge took them. After some demos and one single release ‘I need someone’ on DJM records, they sat out a not

After some club gigs and an opening stint for UFO, in the year Elvis succumbed to one hamburger too many, they lock themselves away in Abbey Road and Island studios ‘til all hours making ‘No Dice’ their imaginatively titled debut album, produced by Steve Smith and engineered by Phill Brown. Tours supporting Eddie and the Hotrods, the Tom Robinson Band, a Reading festival appearance and a lengthy jaunt round Europe with Status Quo, all lead up to a 10-week tour of America. Support slots with Foghat, REO Speedwagon, Judas Priest, Rainbow, Eddie Money, Black Oak Arkansas & Cheap Trick,ensure the band are playing from 400 to 20,000 seat halls and stadiums.

But wait – all is not well back home, the dark forces of punk are rising! No Dice return from America to record their second LP (with Munch Moore now firmly ensconced on keyboards) a rock opus done on the Rolling Stones mobile and mixed in New York entitled ‘2 Faced’ (with Rupert Holmes in the production chair and incidentally writing ‘The Pina Colada Song’ whilst producing the band on location in the green valleys of rural Wales!) The British music press hate it – and them. How dare they perpetuate the heresy of playing unfashionably well, writing tunes and having fun??

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Things begin to fall apart – Chris leaves at the end of the tour and management and record co’s are suffering from frozen feet. No Dice sail on alone picking up new hands – Frankie Hepburn on guitar and Jakko,Saxophone. Spinal Tap drummer-syndrome affliction sees Tony Fernandez and John Richardson pass through the rhythm seat.
But to no avail: 2 independently released singles (‘How About You/ No conversation’ and ‘One More Night/ There goes another Girl’) and an aborted 3rd album fail to dig the Dice out of the hole of ‘nearly were’ and the band fold at a final show in the legendary Marquee Club in Wardour Street in 1982 (or was it 83?).

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After some club gigs and an opening stint for UFO, in the year Elvis succumbed to one hamburger too many, they lock themselves away in Abbey Road and Island studios ‘til all hours making ‘No Dice’ their imaginatively titled debut album, produced by Steve Smith and engineered by Phill Brown. Tours supporting Eddie and the Hotrods, the Tom Robinson Band, a Reading festival appearance and a lengthy jaunt round Europe with Status Quo, all lead up to a 10-week tour of America. Support slots with Foghat, REO Speedwagon, Judas Priest, Rainbow, Eddie Money, Black Oak Arkansas & Cheap Trick,ensure the band are playing from 400 to 20,000 seat halls and stadiums. Loadsa fun.

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Things begin to fall apart – Chris leaves at the end of the tour and management and record co’s are suffering from frozen feet. No Dice sail on alone picking up new hands – Frankie Hepburn on guitar and Jakko,Saxophone. Spinal Tap drummer-syndrome affliction sees Tony Fernandez and John Richardson pass through the rhythm seat.
But to no avail: 2 independently released singles (‘How About You/ No conversation’ and ‘One More Night/ There goes another Girl’) and an aborted 3rd album fail to dig the Dice out of the hole of ‘nearly were’ and the band fold at a final show in the legendary Marquee Club in Wardour Street in 1982 (or was it 83?). (taken from the No Dice websie)

And here´s the great debut album of No Dice !

Review

Source: glorydazemusic.com

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Personnel:
Roger Ferris (vocals)
Dave Martin (guitar)
Gary Strange (bass)
Chris Wyles (drums)
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Jimmy Jewell (saxophone on 04.)
Dave Moore (keyboards)
Stevie Smith (harmonica on 08.)
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background vocals:
The Dice-Section

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Tracklist:
01. Why Sugar (Strange) 3.51
02. Happy In The Skoolyard 4:24
03. You Can’t Help Yourself (Martin) 2.55
04. People That Make The Music (Strange) 5.01
05. Fooling 3:25
06. So Why I 2.55
07. Murder In The Rain 5:42
08. Silly Girl (Strange)  3.36
09. Counting On A Good Sign 4:36
10. Down And Dry 4:03
11. Shadows (Strange) 5.11LabelB1

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Gheorghe Zamfir + Marcel Cellier – Flute de Pan et Orgue Vol. 3 (1977)

FrontCover1.JPGThanks to countless TV ads hawking collections of his music, Zamfir is almost universally recognized as the “Master of the Pan Flute.” While that title may be cause for smirking in some quarters — whether because of its overexposure or a general distaste for easy listening music — it’s true that Gheorghe Zamfir was single-handedly responsible for popularizing an ancient, traditional Eastern European instrument that was in danger of dying out for lack of interest. Made of bamboo, reeds, or wood, the pan flute (also known as the pan pipes or the nai) consists of a series of tubes, each of which sounds one individual note, and are fastened together side by side. It produces an ethereal, haunting sound, and since its construction makes the execution of up-tempo passages nearly impossible, it’s ideal for the sort of slow, tranquil mood music that constituted Zamfir’s stock in trade. At first focusing on Romanian folk melodies, classical material, and original compositions, Zamfir’s popularity in Europe and America led him to cover pop songs, soundtrack themes, and the like, all supported by soft, lush orchestral arrangements.

Gheorghe Zamfir was born in Gaiesti, Romania, on April 6, 1941. Interested in music from a young age, he learned to play gypsy songs on the accordion while tending his family’s goat pasture. At 14, his father enrolled him at the Bucharest Academy of Music, where he switched to the pan flute under the influence of instructor Fanica Luca.

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He immediately displayed a gift for the nearly forgotten instrument, quickly learning to bend pitches and improvise (skills that were rarely associated with it). He went on to study at Conservatory of Bucharest, where he learned music theory, piano, and conducting. While a student in the ’60s, he toured and made some recordings in tandem with Luca; those recordings were discovered by Swiss musicologist Marcel Cellier, who broadcast a radio show devoted to Eastern European folk music. Cellier, who also played the organ, invited Zamfir to Switzerland in 1969, and the two began performing duo concerts together. In the meantime, Zamfir also took over conductorship of the Romanian folk ensemble Ciocirlia, and in 1970 formed his own ensemble. Cellier produced Zamfir’s earliest recordings in 1970-1971, and helped promote him around Europe, which led to several releases on the Philips label.

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Zamfir caught his big break in the English-speaking world when the British religious television show The Light of Experience adopted his recording of “Doina De Jale” — a traditional Romanian funeral song — as its theme. Popular demand forced Epic Records to release “Doina De Jale” as a single in 1976, and it climbed all the way to number four on the U.K. charts. It would prove to be his only hit single, but it helped pave the way for a consistent stream of album sales in Britain, Australia, America, and continental Europe over the next few decades. The biggest of those albums included Solitude (1973), The Romance of the Panflute (1982), and The Lonely Shepherd (1984). Additionally, he scored several films — most notably 1975’s Picnic at Hanging Rock, directed by Australia’s Peter Weir — and had a European hit in 1979 with the theme from the Dutch film Der Verlaten Mijn, a collaboration with arranger James Last. He staged numerous world tours and performed at Carnegie Hall for the first time in 1981; by this time, classical adaptations were coming to dominate his repertoire, which separated him technique-wise from the raft of mostly European imitators that had sprung up during the late ’70s.

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Many of Zamfir’s recordings aimed to create a sense of spiritual tranquility, and some of his compositions were religious in nature. That preoccupation resulted in his exile from Romania in 1982, when he violated official Communist doctrine by declaring at a concert that his music was dedicated to God. He emigrated to Montreal, where Western popular music crept ever more firmly into his choices of material. In the United States, ubiquitous TV commercials for his albums made Zamfir a household name. He played on much of Bill Conti’s score for The Karate Kid in 1984, and that year also performed the theme for Sergio Leone’s Once Upon a Time in America. Zamfir subsequently settled into a comfortable, consistent recording schedule, turning out new product on a regular basis for a variety of labels. (by Steve Huey)

And here´s the volume 3 of his very sucessful edition “Flute de Pan et Orgue” and if you love the sound of the pan flute, than you shild listen to this really magic sound !

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Personnel:
Marcel Cellier (organ)
Georghe Zamfir (pan flute)

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Tracklist:
01. Balada Sarpelui 4.37
02. Doina: Mai La Deal De Resita 3.36
03. Doina De Jale 6.29
04. Doila De La Domasnea 5.09
05. Doina: Georghe Mina Boii Bine 3.49
06. Doina Lui Efta Botoca 5.05

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