Vangelis – 1492 (Conquest of Paradise) (OST) (1992)

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Evángelos Odysséas Papathanassíou[a] (born 29 March 1943), known professionally as Vangelis, is a Greek musician and composer of electronic, progressive, ambient, jazz, and orchestral music. He is best known for his Academy Award-winning score to Chariots of Fire (1981), as well as for composing scores to the films Blade Runner (1982), Missing (1982), Antarctica (1983), The Bounty (1984), 1492: Conquest of Paradise (1992), and Alexander (2004), and for the use of his music in the PBS documentary Cosmos: A Personal Voyage by Carl Sagan.

Vangelis began his career working with several popular bands of the 1960s such as The Forminx and Aphrodite’s Child, with the latter’s album 666 going on to be recognized as a progressive-psychedelic rock classic. Throughout the 1970s, Vangelis composed music scores for several animal documentaries, including L’Apocalypse des Animaux, La Fête sauvage and Opéra sauvage; the success of these scores brought him into the film scoring mainstream. In the early 1980s, Vangelis formed a musical partnership with Jon Anderson, the lead singer of progressive rock band Yes, and the duo went on to release several albums together as Jon & Vangelis.

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In 1981, he composed the score for the Oscar-winning film Chariots of Fire, for which he won an Academy Award for Best Original Score. The soundtrack’s single, the film’s “Titles” theme, also reached the top of the American Billboard Hot 100 chart and was used as the background music at the London 2012 Olympics winners’ medal presentation ceremonies.

Having had a career in music spanning over 50 years and having composed and performed more than 50 albums, Vangelis is considered to be one of the most important figures in the history of electronic music

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1492: Conquest of Paradise is a 1992 music score to the film of the same name by Greek electronic composer and artist Vangelis. The film, a recount of the voyage to America in 1492 by Christopher Columbus, was directed by Ridley Scott, for whom Vangelis had previously composed the music score for Blade Runner, in 1982. The album and the single “Conquest of Paradise” enjoyed a revival in 1995 for various reasons and broke many sales records.

Due to the soundtrack’s success, Vangelis won an Echo Award as “International Artist Of The Year”, and RTL Golden Lion Award for the “Best Title Theme for a TV Film or a Series” in 1996. The album was nominated for “Best Original Score – Motion Picture” at the 50th Golden Globe Awards in 1993.

On this soundtrack, Vangelis plays together with a number of performers, including two Flamenco guitarists and vocalists, violin, mandolin and flutes. As on a number of previous albums by Vangelis, the English Chamber Choir, directed by Guy Protheroe, performs the choral parts.

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The sound engineering was done by Philippe Colonna and coordination by French musician Frederick Rousseau (also known for his collaborations with Jean-Michel Jarre), who has been Vangelis’s studio partner since the 1980s till the recording of the Alexander soundtrack.

Vangelis plays all synthesizers, using mainly string patches but also several ethnic ones, to reflect the character of the film, and electric piano and harp patches. Some calmer, atmospheric pieces (tracks 3, 7, 11 and 12) are entirely performed by Vangelis, using pianos, strings and harp.

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For the ethnic music, Vangelis consulted with French specialist Xavier Belanger, who has advised other artists on similar issues, including Jean-Michel Jarre.

A video clip was shot in Paris with Vangelis in his Epsilon Studios (since dismantled), with the choir performing.

Three tracks of this album contain lyrics. In “Monastery of La Rabida” and “Deliverance”, the choir sings Latin hymns (“De Profundis” and “Dies Irae, respectively”). In “Conquest of Paradise” Vangelis used a pseudo-Latin invented language.

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Both the album and the EP had poor sales upon their release in 1992, but success came three years later, in 1995, for disparate reasons: In Germany, local boxer Henry Maske used the album-track “Conquest of Paradise” as his introduction theme during boxing bouts. When he became the IBF world title holder in the light heavyweight category, the piece received wide coverage and a single was hastily released.

In Portugal, the local Socialist Party also used “Conquest of Paradise” as its theme for the general election campaign (it won). The song has also been used as a theme for the Crusaders, a Super Rugby team based in Christchurch, New Zealand, for English rugby league team the Wigan Warriors, for the 2011 Cricket World Cup, and for the 2010 and 2014 cricket World Twenty20 championships.

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The soundtrack album charted very well, and went on to be certified gold and platinum in over 17 countries, including Austria, Belgium, Canada, France, Holland, Italy, Poland, Spain, Switzerland, and the U.K., culminating with over million copies in Germany.

The single “Conquest of Paradise” also topped the charts in a number of countries, including 10 weeks at No. 1 in the Netherlands and Germany, where it sold 1.5 million copies, 8 weeks at No. 1 in Belgium and Switzerland. (by wikipedia)

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Suitably grand in scale and far-reaching in its scope, this soundtrack is the first new music from Vangelis since 1990’s The City. 1492 stands up well next to Vangelis’s classic Chariots of Fire, due to his innate ability to get right inside the material and provide an integral part of the film itself. Vangelis succeeds in capturing the 15th-century mood, mixing rich choral portions with modern elements, and portraying the larger than life character of Columbus, complete with full-range, dynamic sound. (by All Music)

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Personnel;
Francis Darizcuren (mandolin, violin)
Didier Malherbe (flute)
Pepe Martinez (guitar, vocals)
Guy Protheroe (vocals)
Vangelis (keyboards, synthesizer)

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Tracklist:
01. Opening 1.22
02. Conquest Of Paradise 4.48
03. Monastery Of La Rábida 3.39
04. City Of Isabel 2.16
05. Light And Shadow 3.47
06. Deliverance 3.29
07. West Across The Ocean Sea 2.53
08. Eternity 2.00
09. Hispañola 4.56
10. Moxica And The Horse 7.06
11. Twenty Eighth Parallel 5.14
12. Pinta, Niña, Santa María (Into Eternity) 13.20

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Dream Theater – Images & Words (1992)

FrontCover1Images and Words is the second studio album by American progressive metal band Dream Theater, released on July 7, 1992 through ATCO Records. It is the first Dream Theater release to feature James LaBrie on vocals. Since its release, the album has maintained its position as the band’s most commercially successful studio album, and the song “Pull Me Under” has the distinction of being the only Top 10 hit (radio or otherwise) the band has had to date. This particular song has also had more recent success as it has appeared in the 2008 video game Guitar Hero World Tour.

After Charlie Dominici’s departure from Dream Theater, the band auditioned nearly 200 individuals across the nation, until James LaBrie, who at that point was part of Canadian glam metal band Winter Rose, sent the band an audition tape. After a short jam session, he was named Dream Theater’s new lead singer, and has remained with them ever since.

With LaBrie as the new vocalist, the band was signed to a seven-album contract by ATCO Records, and shortly thereafter, they began recording their new album in late 1991. The album’s production was marred with tensions, as the band clashed with producer David Prater, including incidents where Prater would lock the band out of the studio, and infamously forcing drummer Mike Portnoy to use triggered snare and bass drum samples, with the snare sample being the exact one used on FireHouse’s 1992 album Hold Your Fire, another album Prater produced around the same time.

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The lead single, “Pull Me Under”, gained the band considerable commercial success with its airplay on MTV and radio, garnering them a top 10 hit on Billboard’s Hot Mainstream Rock Tracks chart. When the album was released, it sold at a steady pace, helped by an extensive world tour.

Dream Theater originally intended to release a double album, but was rejected by ATCO, causing several songs to be omitted from the album. One of these songs, “A Change of Seasons”, would later be re-recorded by the band and released on an EP of the same name in 1995.

The song “Take the Time” includes samples from Kurtis Blow’s “Christmas Rappin'” (“Hold it now”), Frank Zappa’s “Dancin’ Fool” (“Wait a minute”), and Public Enemy’s “Power to the People”, (“Come on”). LaBrie had appeared as a guest vocalist on Fates Warning’s 1991 album Parallels, for which the band was credited as “Dream Theatre” in the “special thanks” of the album’s credits. Dream Theater responded by thanking “Fatez Warning” in the credits of Images and Words.

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Images and Words was played in its entirety on several occasions during the European leg of the 2007 “Chaos in Motion” tour, in celebration of its 15th anniversary. On July 7, 2012, at a concert in Austin, Texas, the songs “Pull Me Under”, “Another Day”, and “Metropolis” were performed as an encore to celebrate the album’s 20th anniversary. Additionally, “Surrounded” was performed during the main set.

In 2013, the album was reissued on vinyl as a limited edition 180 gr. double LP.

In 2017, Dream Theater celebrated the 25th anniversary of Images And Words on the “Images, Words & Beyond” tour in Europe, which started on January 30 at the Auditorium Parco Della Musica in Rome, Italy.

While speaking to Songfacts’ Greg Prato in 2019, LaBrie listed Images and Words as the Dream Theater album he is most proud of, because “That established what Dream Theater really is. I think it’s a phenomenal album from beginning to end. (wikipedia)

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Dream Theater’s first album with new vocalist James LaBrie is an excellent mix of progressive metal stylings with heartfelt vocals and thought-provoking lyrics. Guitarist John Petrucci, bassist John Myung, and drummer Mike Portnoy, all of whom trained at Berklee, show impressive ability on their respective instruments. Kevin Moore’s keyboards weave strongly through the intricately constructed songs, while operatically trained LaBrie shows an impressive range with his tenor. Standout tracks include the complex “Metropolis, Pt. 1,” the Shakespeare-influenced “Pull Me Under” (also released as a single and video), the dramatic “Take the Time,” and the 11-minute, thoughtful “Learning to Live.” Dream Theater’s musicianship and songwriting are a cut above the norm; this is a very good disc. (by Phil Carter)

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This album is one of the best thing’s ever done on Prog Metal. On year ’92 Metal was at his lowest point and this complex, high-talented but melodic and intelligent band brought to the table this masterpiece. 25 years later this album is still one of the most awesome creations of Dream Theater and the whole Prog scene since then. A great balance between melody, complex tracks, weird rhytms, thinky lyrics and catchy chourses. And the sensation that you can listen it a hundred times and you always will find something new it’s unvaluable. (Benjamín Amorín García)

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Personnel:
James LaBrie (vocals)
Kevin Moore (keyboards)
John Myung (bass)
John Petrucci (guitar, background vocals)
Mike Portnoy (drums, percussion, background vocals on 01.)
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Jay Beckenstein (saxophone on 02.)

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Tracklist:
01. Pull Me Under 8.15
02. Another Day 4.24
03. Take The Time 8.21
04. Surrounded 5.30
05. Metropolis—Part I: ‘The Miracle and the Sleeper’ 9.32
06. Under A Glass Moon 7.04
07. Wait For Sleep 2.32
08. Learning To Live 11.31

Music is composed by James LaBrie – John Petrucci – Kevin Moore – John Myung – Mike Portnoy
except 07. by Kevin Moore

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Steve Miller Band – The Joker And Friends (15th Annual Bammies, San Francisco) (1992)

FrontCover1Steven Haworth Miller (born October 5, 1943) is an American guitarist, singer and songwriter, known as leader of the Steve Miller Band. He began his career in blues and blues rock and evolved to a more pop-oriented sound which, from the mid-1970s through the early 1980s, releasing popular singles and albums. Miller was inducted into the Rock and Roll Hall of Fame in 2016. (by wikipedia)

In 1977, Dennis Erokan, publisher of Bay Area Music magazine, founded the Bammies, of Bay Area Music Awards, designed to recognize the best musicians and musical performances by San Francisco area bands. The Bammies ran for about 20 years, finally fizzling out in 1997. Each year’s awards ceremony was highlighted by musical performances, and would inevitably end with everyone onstage together for a free-for-all jam session. This FM broadcast captures Steve Miller at the 1992 Bammies, in San Francisco on March 7, 1992, 28 years ago today. (so-many-roads-boots.blogspot.com)

What a great show, with lot of friends (see line-up). A must fo every serious Steve Miller collector !

Enjoy this rarity !

Recorded live at the 15th Annual Bammies, Bill Graham Civic Auditorium, San Francisco CA – San Francisco CA, March 07, 1992; excellent FM broadcasting recording by KFOG

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Personnel:
Steve Miller (guitar, vocals)
Gordy Knudtson (drums)
Billy Peterson (bass)
Paul Peterson (guitar)
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Norton Buffalo (harmonica on 06.)
Denny Carmassi (drums on 04.)
Sammy Hagar (vocals, guitar on 04.)
John Fogerty (guitar, vocals on 06.)
Huey Lewis (vocals, harmonica on 05)
Ted Nugent (guitar on 04.)
Neal Schon (guitar on 04.)
Neil Young (guitar, vocals on 06.)

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Tracklist:
01. The Joker (Miller) 5.45
02. Fly Like An Eagle (Miller) 4.51
03. Tore Down (King) 3.22
04. All Your Love (Rush) 9.02
05. Just A Little Bit (with Huey Lewis)
06. Midnight Special (Traditional) 5.05
07. Rock’n Me (Miller) 6.59
08. KFOG Outro 3.37

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The Yardbirds – Reunion Concert (1992)

FrontCover1The Yardbirds’ LIVE REUNION is not what you might expect. None of the band’s famous guitarists-Eric Clapton, Jeff Beck, and Jimmy Page-are present for the proceedings. Neither is singer Keith Relf, who died in the mid-’70s. The only original Yardbirds featured are drummer Jim McCarty and guitarist Chris Dreja. They’re joined by newcomers “Detroit” John Idan (vocals/guitar) and Rod Demick (vocals/bass). While there is plenty of prime, live Yardbirds material out there dating from the band’s glory days-try CLAPTON’S CRADLE: THE EARLY YARDBIRDS RECORDINGS and THE ULTIMATE COLLECTION-LIVE REUNION is still recommended to longtime fans looking for newer, in-concert renditions of Yardbirds classics. (by AllMusic)

After being inducted into the Rock Hall of Fame, Jim McCarty, Chris Dreja and new member John Idan recorded this excellent live set. It’s better known as “The Yardbirds Reunion Concert” but even though it’s been retitled as “The Yardbirds Reunion Jam,” it’s still features the same terrific song selection. “Rack My Mind,”
“Sitting on Top of the World” and “Crying Out for Love,” a McCarty original, are among the stand-outs — with the latter song also being featured on their last comeback album, “Birdland.”

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In a nice touch, they open with “Back Where I Started,” which was on their first reunion release, the self-titled Box of Frogs (which featured guest, Jeff Beck). A mixture of their classic hits, new originals and blues standards, this live album is a must-have for fans. With Idan and McCarty currently in the studio with the brilliant 2017 band line-up and the two-CD “Yardbirds 68” remix of the Anderson Theater concert and collector favorites such as “Avron Knows” finally released in an approved version surpervised by Jimmy Page, McCarty and Dreja, this is a perfect time to snap up this archival gem. The Yardbirds never stopped making fine music and this one compares well with their best. The price of the MP3 is quite reasonable and we who don’t downland can hope a remastered version may surface in the future. (Uncle Mickey)

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THE YARDBIRDS are still the best blending of British Psychedelic Pop and good old American Blues. Submerged in the style that made them living legends, REUNION JAM is the epitome of what THE YARDBIRDS do best…ROCK and ROLL!
This collection of classic YARDBIRD’s sounds captures the essense of familarity with ecclectic authenticity. It showcases the talent and maturity of founding members, Jim McCarty and Chris Dreja, and their unique ability to withstand the rigors of performing in live venue. These masters do this with grace and ease, and the ultimate performance released in REUNION JAM is about as “good as it gets” (Kate Baley)

Boah …what a night, what a concert … Listen and enjoy !

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Personnel:
Rod Demick (bass, vocals
Chris Dreja (guitar)
“Detroit” John Idan (guitar)
Jim McCarty (drums, vocals)

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Tracklist:
01. Back Where I Started (Ricky Ricardo Rave-Up) (Dreja/Fiddler/McCarty/
Paul Samwell-Smith) 6.28
02. I’m Not Talking (Allison) 3.04
03. Heavy Weather (McCarthy/Ober) 2.34
04. Train Kept A Rolling (Bradshaw) 3.26
05. Crying Out For Love (McCarty)  4:33
06.  Heartful Of Soul (Gouldman) 2.43
07. Three Lane Highway (unknown) 3.26
08.  Ain’t Done Wrong (Relf) 3.34
09. Sitting On Top Of The World (Chatmon/Vinson) 5.37
10 Ain’t Got You (Carter) 2.11
11 Rack My Mind (Beck/Dreja/Relf/Samwell-Smith) 3.43
12. Ain’t Superstitious (Dixon) 3.51
13. Bad Boy (Bramlett/Clapton) 5.26
14. Dust My Broom (James) 5.28
15. Mr. You’re A Better Man Than I (M.Hugg/B.Hugg) 3.42
16. For Your Love (Gouldman) 4.19

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The Yardbirds in 2018

Blues Saraceno – Plaid (1992)

FrontCover1Blues Saraceno (born October 17, 1971) is an American rock guitarist, composer and music producer, currently residing in Los Angeles, California. He was discovered by Guitar for the Practicing Musician magazine at the age of 16, which assisted him in releasing instrumental recordings on an independent basis. Saraceno’s high profile as a gifted guitar virtuoso and musician opened the doors to an early career as a first-call guitar sideman and session musician. Saraceno is most often recognized from his time playing with Jack Bruce and Ginger Baker (Cream) as well as his brief tenure with the rock band Poison. Saraceno’s early success in the music industry would eventually blossom into a career in producing and composing for television and film.

Blues Saraceno was born to musician parents, which exposed him from an early age to several musical instruments. He started to play guitar at the age of nine. When he was thirteen, he broke his elbow when he fell from a go-kart and asked the doctor to position the cast in a way that allowed him to remove it from his sling to practice guitar during his recovery. When he was nineteen, Saraceno moved to Los Angeles to seek a career in music.

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When Saraceno was still a teenager, his then manager sent a demo tape to singer Michael Bolton, who decided to enlist him to play on a song for Cher’s album, Heart of Stone. The album also featured musicians like Peter Cetera, Bonnie Tyler, Desmond Child, and others. After this, his demo tape reached the Guitar for the Practicing Musician magazine. The magazine, which was about to launch a new record label, offered Saraceno a record deal. Saraceno released his first album titled Never Look Back in 1989.

After this, Saraceno won an audition with Jack Bruce and Ginger Baker, former members of Cream, and started touring with them. After two successful US tours, Saraceno was quickly becoming referred to as the “kid that replaced Eric Clapton”. After another year of overseas touring, Baker departed and was replaced by Simon Phillips (Who, Toto) and eventually Gary Husband (Level 42). Saraceno continued to release two other solo albums (Plaid and Hairpick) as well as furthering his reputation as a top call session guitarist and landing many high-profile equipment endorsements.

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In 1994, Saraceno joined the band Poison as lead guitarist and songwriter after Richie Kotzen was fired. After a South American tour which included the famous Hollywood rock festival in Brazil, Saraceno recorded the album Crack a Smile with the band. However, Capitol Records decided to shelve the album, releasing the 1996 compilation album, Poison’s Greatest Hits: 1986–1996, instead. Still, the album featured two of the new songs recorded with Saraceno. After some time, Saraceno left the group amicably and was replaced by the band’s original guitarist, C.C. DeVille. In 2000, Capitol finally decided to release the Crack a Smile album under the name Crack a Smile… and More!. The album features fifteen tracks recorded by Saraceno.

After his departure from Poison, Saraceno met Vice-President of Advertising of Fox Television, who was a fan of Saraceno’s earlier instrumental work. This resulted in Saraceno working on soundtracks and songs for several television shows and films.

In 2000, Saraceno also founded the band Transmission OK. Saraceno also worked as record producer for the band, which was signed to Beyond Records, and was distributed by BMG. After a brief US tour, and lackluster support from the label, the group disbanded BluesSaraceno02and Saraceno continued to work on television and film, as well as his session work.

Saraceno’s session work has ranged from Ziggy Marley (Dragonfly) to Melissa Etheridge (Lucky) and he has earned a reputation for being a “go-to guy” for many of Los Angeles’ top record producers and engineers.

Saraceno has also produced for artists including Scott Caan (Hawaii Five-0, Oceans 11), Eric Balfour (24, Haven, Chainsaw Massacre) of Fredalba, Lindsay Price (Beverly Hills 90210, Lipstick Jungle) and Anthony Michael Hall (Dead Zone).

Saraceno’s greatest success has come in the field of television and film. His television work credits include WWE, CBS, NBC, ABC, FOX, Disney, Discovery, UPN, MTV, MTV 2, VH1, USA, TLC, Comedy Central, Telemundo, SCI FI, SPIKE, E! and BRAVO. A more detailed list can be found on his website (www.bluessaraceno.com). He has commented on how it is not uncommon to have multiple commercials running in multiple countries throughout the world, all at the same time and using the same piece of music.

Saraceno did three tracks for Megas XLR. These tracks were Blood Shot, Berzerker and Ro-Sham-Bo.

Saraceno’s “Save My Soul” is the soundtrack for the History Channel’s mini-series The Men Who Built America.

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Saraceno’s “Evil Ways” song was also used in various videogames trailers such as God of War: Ascension, Call of Juarez: Gunslinger, BioShock Infinite and Call of Duty: Black Ops II’s zombies mode map, Mob of the Dead and was also included in the soundtrack for a videogame Rebel Galaxy. In addition, the song was also utilized to promote AMC’s 2013 Fear Fest and is also used as the main theme music in the History Channel’s TV series, Biker Battleground Phoenix.

TNA wrestler AJ Styles began using “Evil Ways” at TNA’s Slammiversary pay-per-view on June 2, 2013 as his new theme song. It was also used in a WWE promo featuring The Undertaker vs. CM Punk WrestleMania XXIX match and another promo featuring The Wyatt Family in an episode of WWE SmackDown. It was also used during a promo for Kane, Ryback and Big Show vs. The Wyatt Family at WWE’s Fastlane 2016 pay-per-view. German TV-Channel ProSieben and sister-channel ProSieben Maxx are using the song for almost every promo-clip for upcoming western-movies in their program. “Flesh It Out” was used as WWE rookie Seth Rollins’ theme tune for the first year of his career on FCW and NXT. “Strident Missile” was used for Triple H’s history of dominance promo for WrestleMania XXX. An instrumental version of the dubstep remix of “The River” was used for Emma’s video packages leading up to her return at the post-Wrestlemania RAW in 2017. WWE also used his single “Bad Man” for Jeff Jarrett’s Hall of Fame video. (by wikipedia)

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After Never Look Back established the teenaged Blues Saraceno as one of the premier players in the claustrophobic world of virtuoso rock, musicians awed by the guitarist’s articulate soloing weren’t let down by this 1992 follow-up. On Plaid, Saraceno’s second disc for Guitar Recordings, the artist makes many technical strides, improving his instrumental and home recording chops greatly, surpassing his debut in every facet. On “Last Train Out” — perhaps Saraceno’s career-best track — the guitarist displays an even more refined tone and rhythmic aptitude. Other highlights like “A Lighter Shade of Plaid” and “The Scratch” display the shredder’s continued development of double-stop soloing, tight rhythms, and smart phrasing. Several boogie-down exercises in sassy riffing mixed with modern hyper blues soloing are also included. More dynamic and more colorful, Plaid improves greatly upon the solid musicianship and overall listenability of Saraceno’s debut. (by Vincent Jeffries)

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Personnel:
Joe Franco (drums)
Blues Saraceno (guitar, bass)
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Steve Blucher (lap steel guitar on 08.)
John Stix (slide guitar on 08.)
Alex Saraceno (harmonica on 05.)

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Tracklist:
01. Last Train Out 2.18
02. Elvis Talking (You Think It’s Over But It’s Not) 3.22
03. Scratch 2.42
04. Friday’s Walk 2.54
05. Little More Cream, Please 2.37
06. Girth 2.19
07. Lighter Shade Of Plaid 4.07
08. Cat’s Squirrel 2.27
09. L.A. Vignette 1.25
10. Exit 21 3.25
11. Tommy Gun 4.11

Musc composed by Blues Saraceno
except 08, which is a Traditional

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Richard Galliano & Jean-Charles Capon – Blues Sur Seine (1992)

FrontCover1Richard Galliano (born December 12, 1950, Cannes, Alpes-Maritimes) is a French accordionist of Italian heritage.

He was drawn to music at an early age, starting with the accordion at 4, influenced by his father Luciano, an accordionist originally from Italy, living in Nice.

After a long and intense period of study (he took up lessons on the trombone, harmony, and counterpoint at the Academy of Music in Nice), at 14, in a search to expand his ideas on the accordion, he began listening to jazz and heard records by the trumpet player Clifford Brown. “I copied all the choruses of Clifford Brown, impressed by his tone and his drive, his way of phrasing over the thunderous playing of Max Roach”. Fascinated by this new world, Richard was amazed that the accordion had never been part of this musical adventure. In this period, Galliano won twice the first prize in the “world accordion cap competition” which took place in Spain (1966) and France (1967). In the Spanish competition, the participants’ duty work was “Chaconne” by the Israeli accordionist Yehuda Oppenheimer. Galliano and Oppenheimer kept up their musical collaboration and personal friendship until Oppenheimer’s death in 2012.

Some later collaborations include Astor Piazolla, George Mraz, Brigitte Fontaine, Al Foster, Juliette Greco, Charles Aznavour, Ron Carter, Chet Baker, Enrico Rava, Martial Solal, Miroslav Vitouš, Trilok Gurtu, Jan Garbarek, Michel Petrucciani, Michel Portal, Eddy Louiss, Biréli Lagrène, Sylvain Luc, Renaud Garcia-Fons, Ivan Paduart, Anouar Brahem, Wynton Marsalis, and Toots Thielemans. He was a key member of Claude Nougaro’s band for several years as a pianist and accordionist. (by wikipedia)

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And here´s a pretty good album featuring Jean-Charles Capon:

What a handsome couple ! From the first bars of this duo, the obviousness of this meeting captured in 1992 is essential. The accordionist and the cellist do wonders both as soloist and as accompanist. Without the bow, Jean-Charles Capon (“the Lester Young of the cello” according to his playmate) could even pass for a double bass player. Their “blues” is obvious. However, between one of the princely instruments of the classical repertoire and the symbol of popular music, there was, a priori, a world. A unity of tone emerges, between the light mood of the musette colors and the sobs contained in a virtuoso bow. (Renaud Czarnes)

Resumption of the famous duet Capon-Galliano, where the marriage of the cello and the accordion delivers us a real little music in which the charm is constant, where the tones, of the most mixed, give a very warm accent to these reunions of time . Both of them light up the blues and we can only thrill with happiness listening to this album which will soon be 10 years old and has not aged. (Jazz Notes)

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A CD published in 1992 but nevertheless appearing in the recent catalog of Frémeaux. A masterpiece that it was good to resuscitate. Accordion, yes, but not just any: that of Richard Galliano associated with the cello of Jean-Charles Capon. Curious mixture? Absolutely not. In addition to the original compositions of these two virtuoso artites (Blues sur Seine, Kitou, Neigerie, Bateau mouche), we should also mention the titles of Toots Thielemans or Henri Sauget. The icing on the cake, here are the words of Galliano, which appear in the booklet: “In the minds of a large part of the public, the accordion and the cellist belong to two very distinct social strata. Through this disc, we aim to demonstrate that these two instruments are as noble as each other ”. Bernard Deharbre)

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Personnel:
Jean-Charles Capon (cello)
Richard Galliano (accordeon)

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Tracklist:
01. Blues Sur Seine (Galliano) 4.44
02. For My Lady (Thielemans) 5.08
03. Un Pied Dans Le Caniveau (Capon) 4.29
04. Waltz For Debby (Evans/Lees) 3.36
05. Laura Et Astor (Galliano) 3.10
06. Kitou (Capon) 4.57
07. Les Forains (Sauguet) 4.10
08. Tears (Reinhardt) 3.53
09. Good Bye Miles (Capon) 5.00
10. Neigerie (Galliano) 4.09
11. Fou Rire (Galliano) 3.29
12. Bateau Mouche (Capon) 3.19

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In the minds of a large part of the public, the accordion and the cello belong to two distinct social strata which are very distant from each other. Through this disc we aim to demonstrate that these two instruments are as noble as each other, that their marriage is very rich, that the repertoire can be the most universal there is, and finally that the blues is a musical language in its own right, the content of which does not only go through Harlem. Paris I love you… (Richard Galliano)

More than the unusual sound mixture, it is the meeting of two musical personalities that interests me, and twelve years ago, I proposed to Richard to form this duo. How in the business impose in France an accordion which is not only musette and a cello which is not only classical? Two extraordinary instruments that want to be jazz but French. As Brassens said, “good people don’t like to follow a different route than they do”. We met in Paris and we both live near the Canal Saint-Martin. “Atmosphere, atmosphere?” Blues … on the Seine. Jean-Charles Capon

Suzanne Vega – 99.9 F° (1992)

FrontCover1.jpg99.9F° (Ninety-Nine Point Nine Fahrenheit Degrees) is the fourth album by American singer and songwriter Suzanne Vega. Released in 1992, the album marked a significant departure for Vega, as she embraced a more electronic, experimental sound. It peaked at No. 86 on Billboard magazine’s album chart and was Vega’s fourth Top 20 album in the U.K. The single “Blood Makes Noise” reached No.1 on the Billboard Modern Rock chart.

The album was certified gold (500,000 copies sold) by the RIAA in October 1997. It was certified silver in the UK (60,000 copies sold) by the BPI in March 1993.

99.9F° was the first of two of Vega’s albums to be produced by Mitchell Froom, whom she later married. (by wikipedia)

While 99.9 F° is not the techno album that Suzanne Vega was rumored to be making, it does offer a significant departure from her previous contemporary folk albums. Vega uses more synthesizers and drum machines, often evoking a bizarre carnivalesque atmosphere on the album. Still, 99.9 F° is a folk album at heart; every song is steeped in traditional song form, and Vega’s writing is strong. Fans of Vega’s previous work might be taken aback, but those willing to listen to the album will find that she has produced one of her strongest yet. (by Stephen Thomas Erlewine)

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Personnel:
Mitchell Froom (keyboards)
Jerry Marotta (drums, percussion)
Bruce Thomas (bass)
Suzanne Vega –(vocals, guitar)
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Tchad Blake (guitar on 03., 04., 06. + 10.)
Larry Corbett (cello on 12.)
Joel Derouin (violin on 12.)
David Hidalgo (guitar on 01., 02. – 04., 07., 08. + 11.)
Maria Newman (viola on 12.)
Sid Page (violin on 12.)
Richard Pleasance (guitar on 01., 03. + 10.)
Jerry Scheff (bass on 06. + 12.)
Marc Shulman (bouzouki on 05.)
Greg Smith (saxophone on 08. + 11.)
Richard Thompson (lead guitar on 11.)
Michael Visceglia (bass on 05.)

BookletBackCover1Tracklist:
01. Rock in This Pocket (Song of David) (Vega) 3.31
02. Blood Makes Noise (Vega) 2.28
3.0 In Liverpool (Vega) 4.41
04. 99.9F° (Vega) 3.16
05. Blood Sings (Vega) 3.18
06. “Fat Man and Dancing Girl (Vega/Froom) 2:19
07. (If You Were) In My Movie (Vega) 3.06
08. As A Child (Vega) 2.56
09. Bad Wisdom (Vega) 3.24
10. When Heroes Go Down (Vega) 1.55
11. As Girls Go (Vega) 3.27
12. Song Of Sand (Vega/Molvær) 3.28
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13. Private Goes Public” (European and Japanese bonus track) (Vega) 1:57

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Buddy Guy Blues Band – Crystal Palace Bowl (1992)

FrontCover1.jpgGeorge “Buddy” Guy (born July 30, 1936) is an American blues guitarist and singer. He is an exponent of Chicago blues and has influenced eminent guitarists including Eric Clapton, Jimi Hendrix, Jimmy Page, Keith Richards, Stevie Ray Vaughan, Jeff Beck, Gary Clark Jr. and John Mayer. In the 1960s, Guy played with Muddy Waters as a house guitarist at Chess Records and began a musical partnership with the harmonica player Junior Wells.

Guy was ranked 23rd in Rolling Stone magazine’s “100 Greatest Guitarists of All Time”. His song “Stone Crazy” was ranked 78th in the Rolling Stone list of the “100 Greatest Guitar Songs of All Time”. Clapton once described him as “the best guitar player alive”. In 1999, Guy wrote the book Damn Right I’ve Got the Blues, with Donald Wilcock. His autobiography, When I Left Home: My Story, was published in 2012.

BuddyGuy02Guy was born and raised in Lettsworth, Louisiana. His parents were sharecroppers and Guy as a child would pick cotton for $2.50 per 100 pounds. He began learning to play the guitar using a two-string diddley bow he made. Later he was given a Harmony acoustic guitar which, decades later in Guy’s lengthy career, was donated to the Rock and Roll Hall of Fame.

In the early 1950s Guy began performing with bands in Baton Rouge. While living there, he worked as a custodian at Louisiana State University.

Soon after moving to Chicago on September 25, 1957, Guy fell under the influence of Muddy Waters. In 1958, a competition with West Side guitarists Magic Sam and Otis Rush gave Guy a record contract. Soon afterwards he recorded for Cobra Records. During his the Cobra sessions he teamed up with Ike Turner who helped him make his second record, “You Sure Can’t Do” / “This Is The End,” by backing him on guitar and composing the latter. After two releases from Cobra’s subsidiary, Artistic, Guy signed with Chess Records.

Guy’s early career was impeded by conservative business choices made by his record company, Chess Records, his label from 1959 to 1968, which refused to record Guy playing in the novel style of his live shows. Leonard Chess, Chess Records founder, denounced Guy’s playing as “just making noise.” In the early 1960s, Chess tried recording Guy as a solo artist with R&B ballads, jazz instrumentals, soul and novelty dance tunes, but none of these recordings were released as a single. Guy’s only Chess album, I Left My Blues in San Francisco, was released in 1967. Most of the songs belong stylistically to the era’s soul boom, with orchestrations by Gene Barge and Charlie Stepney. Chess used Guy mainly as a session guitarist to back Muddy Waters, Howlin’ Wolf, Little Walter, Sonny Boy Williamson, Koko Taylor and others. As late as 1967, Guy worked as a tow truck driver while playing clubs at night.

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During his tenure with Chess, Guy recorded sessions with Junior Wells for Delmark Records under the pseudonym Friendly Chap in 1965 and 1966. In 1965, he participated in the European tour American Folk Blues Festival.

He appeared onstage at the March 1969 “Supershow” in Staines, England, which also included Eric Clapton, Led Zeppelin, Jack Bruce, Stephen Stills, Buddy Miles, Glenn Campbell, Roland Kirk, Jon Hiseman, and the Misunderstood. In 1972, he established The Checkerboard Lounge, with partner L.C. Thurman.

Guy’s career was revived during the blues revival of the late 1980s and early 1990s. His resurgence was sparked by Clapton’s request that Guy be part of the “24 Nights” all-star blues guitar lineup at London’s Royal Albert Hall. Guy subsequently signed with Silvertone Records.

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Guy had a small role in the 2009 crime film In the Electric Mist as Sam “Hogman” Patin.

As of 2019, Guy still performs at least a hundred and thirty nights a year, including a month of shows each January at his Chicago blues club, Buddy Guy’s Legends.

In 2015, Alan Harper, a British blues fan, published the book Waiting for Buddy Guy: Chicago Blues at the Crossroads.

On June 25, 2019, The New York Times Magazine listed Buddy Guy among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire. (by wikipedia)

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And here´s an exciting and explosive concert, recorded live byt he BBC. Buddy Guy plays a lot of Blues, Rock & Soul classics … it´s one of these great shows by Buddy Guy …one of the findest blues musicians ever.

Buddy Guy at it´s best !

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Personnel:
Buddy Guy (guitar vocals)
Scott Wenston Holt (guitar)
John Kattke (keyboards)
Greg Rzab (bass)
Kevin Johnston (drums)

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Tracklist:
01. Introduction 2.00

02. Medley 1 / 40.08
02.1. Mary Had A Little Lamb (Guy)
02.2. Sweet Little Angel (KingJosea/Taub/Bogan/Smith)
02.3. Crazy ‘Bout You (Brooks)
02.4. I Just Wanna Make Love To You (Dixon)
02.5. Walking By Myself (Rodgers)
02.6. Stormy Monday (Walker)
02.7. Someone Else Is Steppin’ in (Slippin’ Out, Slippin’ In) (LaSalle)
02.8. Sweet Home Chicago (Johnson)
02.9. Got My Eyes On You (Dixon/Guy)

03. Medley 2 / 21.09
03.1. Red House (Hendrix)
03.2. What’d I Say (Charles)
03.3. Strange Brew (Clapton/Pappalardi/Collins)
03.4. Cold Shot (Kindred/Clark)
03.5. Hoochie Coochie Man (Dixon)
03.6. Rock Me Baby/Got My Mojo Workin’

04. Medley 3 / 16.44
04.1. Mustang Sally (Rice)
04.2. Knock On Wood (Floyd/Cropper)
04.3. Jam

05. Outro 2.31

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Ludwig Güttler + Virtuosi Saxoniae – JS Bach Orchestral Suites (2014)

FrontCover1.jpgLudwig Güttler (born 13 June 1943) is an internationally known German virtuoso on the Baroque trumpet, the piccolo trumpet and the corno da caccia. As a conductor, he founded several ensembles including the chamber orchestra Virtuosi Saxoniae. His name is sometimes written in English as Ludwig Guttler.

He received a number of awards including Discovery of the Year in 1983, and Frankfurt’s Musikpreis for extraordinary achievements in 1989. He was a founding member of the Rheingau Musik Festival and has appeared regularly since the first season in 1988.

As head of the society of the Dresdner Frauenkirche, Ludwig Güttler promoted the reconstruction of this famous Baroque church, which was destroyed during World War II and was rebuilt in 1994–2004. In recognition of these contributions, Queen Elizabeth II appointed him Officer of the Order of the British Empire (OBE) in November 2007.

Güttler was born in 1943 in Sosa, in the Ore Mountain region of Saxony. He studied at the Staatliche Hochschule für Musik – Mendelssohn-Akademie in Leipzig with Armin Männel. From 1965 to 1969 he played in the orchestra of the Handel Festival in Halle and from 1969 to 1980 with the Dresden Philharmonic. He has been teaching the trumpet at the Hochschule für Musik Carl Maria von Weber in Dresden until 1990, and at the annual Güttler01International Music Seminar in Weimar from 1980 to 1990.

Since the mid-1970s, Güttler has been mainly active as a soloist and later as a conductor, at home and abroad, devoted mainly to the trumpet literature of the 18th century, especially the high-pitched piccolo trumpet. He was also involved in the development of a modern brass instrument to play parts designated for the historic corno da caccia. The instrument was made by Friedbert Syhre in Leipzig.

Güttler is also musical director of the festival “Sandstein und Musik” (Sandstone and Music) in Saxon Switzerland, founded in 1983 and of the festival Musikwoche Hitzacker in Hitzacker. Güttler is a member of the Sächsische Akademie der Künste (Saxon Academy of Arts).

Güttler founded the Leipziger Bach-Collegium in 1976, the Blechbläserensemble Ludwig Güttler in 1978, and in 1985 the chamber orchestra Virtuosi Saxoniae.[3] The group of members of the Staatskapelle Dresden concentrates on performing music from the 18th century found in Dresden libraries, in the fields of opera, sacred music and chamber music.

He supported the Rheingau Musik Festival from the beginning in 1988, both as a performer and a curator. In 2011 he appeared with his Brass Ensemble.[5] In 2012, he conducted his orchestra Virtuosi Saxoniae in Eberbach Abbey in works by Bach, Handel, Johann Friedrich Fasch, Christoph Förster, Telemann and Mozart, as part of the series “Companions along the way”.

Güttler03In 1983 he received a record prize of the Deutsche Phono-Akademie in Hamburg as “Discovery of the Year”. In 1988 he was the second recipient of the Georg-Philipp-Telemann-Preis of Magdeburg, in 1989 the Frankfurter Musikpreis. In both 1978 and 1985 he received the National Prize of East Germany, which he returned in 1989, asking that the money should be devoted to the reconstruction of the Frauenkirche.

After the German reunification, Ludwig Güttler became chairman of the society for promoting the reconstruction of the Frauenkirche Dresden and curator of the foundation Stiftung Frauenkirche. He regularly conducted “Wiederaufbaukonzerte” (concerts for the reconstruction).[9] For his involvement in the reconstruction of the Frauenkirche, he received several honours. President Horst Köhler awarded him in September 2007 the Great Cross of Merit of the Federal Republic of Germany. Erich Iltgen awarded him the Sächsische Verfassungsmedaille on 26 May 2005. Queen Elizabeth II appointed him Officer of the Order of the British Empire (OBE) in November 2007 in recognition of his contributions to the reconstruction of the Frauenkirche and his significant contribution to the reconciliation of the two peoples by this project. (by wikipedia)

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Can one ever tire of the dancing inspiration that animates these four portmanteau collections which have delighted both serious and casual listeners ever since Bach compiled them for use in social occasions as the 30-something Kapellmeister at the briefly enlightened court of Prince Leopold of Cöthen, exulting in the multifarious influences which he had absorbed and could place at the service of a compositional mind of unequalled intellectual brilliance yet always conscious of his music’s need to entertain, to give delight as well as accompany the sober thoughts of his congregations?

Not, at any rate, in these performances from a virtuoso German ensemble hailing from Bach’s own part of the world and masterminded by a superb trumpeter-turned-conductor who well understands the exuberant, public character of these suites, their occasional purposes, for all that in such moments as the famous Air from the G major Suite, No.3, they appear to take on a more confiding aspect, drawing the listener in before dispelling the tension with another jolly minuet or charming sarabande.

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This generously filled CD presents the complete Orchestral Suites (Overtures) by J.S. Bach. Bach’s Suites count among his most popular and most frequently performed works, they are quintessential Bach: majestic, noble, tender and full of energy. They contain some of Bach’s evergreens: the Air from the 3rd Suite and the Badinerie from the 2nd Suite.

Played by the Virtuosi Saxoniae conducted by trumpeter-conductor Ludwig Güttler, modern instruments in Historically Informed Performance Practice, the best of both worlds. (press release)

Recordings: 1990-1992, Lukaskirche, Dresden/Germany

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Personnel:
Joachim Bischof (cello)
Ludwig Güttler (trumpet)
Eckart Haupt (flute)
Friedemann Jähnig (viola)
Thomas Käppler (timpani)
Günter Klier (bassoon)
Manfred Krause (oboe)
Andreas Lorenz (oboe)
Heinz-Dieter Richter (violin)
Roland Rudolph (trumpet)
Mathias Schmutzler (trumpet)
Roland Straumer (violin)
Guido Titze (oboe)
Werner Zeibig (bass)

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Tracklist:

Suite In C BWV 1066:
01. Ouverture 5.37
02. Courante 1.38
03. Gavotte I & II 2.27
04. Forlane 1.16
05. Menuet I & II 2.45
06. Bourrée I & II 2.25
07. Passepied I & II 3.02

Suite In B Minor BWV 1067:
08. Ouverture 6.25
09. Rondeau 1.39
10. Sarabande 2.52
11. Bourrée I & II 1.50
12. Polonaise I & II 2.59
13. Menuet 1.09
14. Badinerie 1.20

Suite In D BWV 1068:
15. Ouverture 6.35
16. Air 4.16
17. Gavotte I & II 3.11
18. Bourrée 1.15
19. Gigue 2.39

Suite In D BWV 1069:
20. Ouverture 6.49
21. Bourrée I & II 2.53
22. Gavotte 1.44
23. Menuet I & II 3.29
24. Réjouissance 2.17

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Toy Caldwell – Can´t You See (live 1992) (1998)

FrontCover1.jpgToy Talmadge Caldwell Jr. (November 13, 1947 – February 25, 1993) was the lead guitarist, main songwriter and a founding member of the 1970s Southern Rock group The Marshall Tucker Band. He was a member of the band from its formation up until 1983. In addition to his guitarist role, he occasionally performed lead vocals for Marshall Tucker Band, including on one of the band’s best-known hits, “Can’t You See.”

Caldwell was born November 13, 1947, in Spartanburg, South Carolina, to Mr. and Mrs. Toy Talmadge Caldwell Sr. He began playing guitar before his teen years with his younger brother Tommy Caldwell. He developed a unique style of playing, playing the electric guitar using his thumb rather than a pick. Toy played basketball and football in high school with friends George McCorkle, Jerry Eubanks, and Doug Gray. While very involved in sports, the boys eventually became interested in music including jazz and blues. By the age of sixteen, Caldwell was passionate about music, sports, and his other obsession, motorcycles. He also enjoyed hunting and fishing.

ToyCaldwell03Caldwell decided to serve his country and enlisted in the United States Marine Corps. In 1966, he reported for recruit training at Parris Island, South Carolina. After being wounded in Vietnam in September 1968, he was evacuated for two weeks, then returned for duty. Caldwell was discharged in 1969 and once again began playing music with his high school buddies. The Spartanburg chapter of the Marine Corps League is named the Hutchings-Caldwells Detachment in honor of Toy, his brother Tommy and another Marine.

He later formed the Toy Caldwell Band and released an eponymous CD in 1992; the record was later renamed Son of the South by Southern country rocker and Caldwell’s personal friend, Charlie Daniels. The album was digitally re-released in 2009 through Hopesong Digital / GMV Nashville.

Caldwell died on February 25, 1993, at his home in Moore, South Carolina. The cause of death was reported as cardio-respiratory failure due to cocaine ingestion by Spartanburg County Coroner Jim Burnett.

Caldwell married his wife Abbie on September 12, 1969. The song “AB’s Song” from The Marshall Tucker Band’s debut album was written for her. He was also the father of two girls Cassady and Geneal Caldwell.

He was the older brother of co-founder and bass guitarist Tommy Caldwell, who was killed at age 30 in an automobile accident on April 28, 1980, and to Tim Caldwell, who on March 28, 1980, one month prior to Tommy’s death, was killed at age 25 in a collision with a Spartanburg County garbage truck on S.C. Highway 215. (by wikipedia)

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Toy Caldwell was best known as the lead guitarist and main songwriter in the Marshall Tucker Band. A unique personality as well as a formidable musician, he was a peer of both Dickey Betts and Charlie Daniels, and his best work crossed effortlessly between country, blues, and rock & roll. A few years after the breakup of the Marshall Tucker Band in the late ’80s, he re-emerged as leader of the Toy Caldwell Band, which played small-scale shows of the kind that the Marshall Tucker Band couldn’t do. He also recorded one solo album before his death in early 1993. Although most of his fame inevitably rests with the Marshall Tucker Band, Caldwell left behind a small but glorious body of solo material. (by Bruce Eder)

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First let me say I respect Abbie Caldwell and her belief that Toy would not have wanted this released. That said, me being a true blue TC fan I want anything and everything I can get a hold of from Toy. This album and his 1984 unreleased album with the song Cry Cry Cry are “must haves” to the real fan. This album may be some of the last we get from Toy and that’s a shame.
Yea the picture on the cover and sound quality aren’t the best but it’s Toy and his guitar, I could care less about the cover pic. I want to hear him play and man does he play!
It was Toy’s songwriting and the bands performances that first took a hold of me and many others back in early 70s and still today we thirst for anything from Toy. Adding this to your MTB, Toy Caldwell collection can’t be a bad thing. Buy it, sit back, crank it up and listen to some good ol boy chicken pickin. You wont be disappointed.
Toy was a US Marine / V Nam veteran and a gifted songwriter, awesome guitarist who is deeply missed.
Ride in Peace Tommy, Toy & George….. we miss you brothers. (by ‘J’ Willys)

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The Marshall Tucker Band was one of the more successful acts under the Allman Brother’s umbrella on Capricorn Records. I confess until the MTB band album “Where We All Belong” I didn’t know just how much the main reason I liked MTB was Toy Caldwell. That album was a eye-opener to the prowess of Toy’s “red-hot pickin'”! And boy could the man tear up the fretboard.

MTB, like the Allman Brothers had some hard-knocks and here we find Toy after MTB’s breakup doing what he does best without any cares. It’s a crack band (by all indications) supporting him, but here we really have the total “Toy Caldwell Show” and it is raw and rocking with infectious power! The focus is on the great songcraft melded to some of the absolutely tastiest guitar rips and the rawness only drives it home better.

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This is a highly recommended album if you, like me, found Toy’s guitar playing and song-writing to be the cornerstone of what made MTB memorable. Recently I saw MTB live of which Doug Gray is the only remaining original member. Maybe I saw them on an “off-night”, but it fell flat to these ears…This, on the other hand, brings excitement and joy as it underscores just what a fantastic picker Toy was. He was an amazing guitarist and quite a fine song-writer which this CD easily reveals in an electric way. For those who appreciate the man it is a must buy. One other thing I always knew is that the rhythm section of MTB was tight and in-sync totally with Toy (like Toy, brother Tommy’s bass-playing was also underated and Paul Riddle is a fantastic drummer), the rhythm section here is up to the task. Enough said! (John Werner)

Recorded live at Shooters, Spartanburg, SC, May 8 & 9, 1992

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Personnel:
Mark Burrell (drums)
Toy Caldwell (guitar, vocals)
Tony “Ray” Heatherly (bass, background vocals)
J. “Pic” Pickens (guitar, slide-guitar)
Kenny Smith (keyboards)

on 12.:
Tommy Cathey (bass)
Paul Hornsby (strings, tipani)
Robert Johnson (guitar)
Greg Morrow (drums)
Pete Pedersen (harmonica on 12.)

on 13.:

Tommy Cathey (bass)
Charlie Daniels (fiddle)
Paul Hornsby (keyboards)
Robert Johnson (guitar)
Greg Morrow (drums)

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Tracklist:
01. I Hear The South Calling Me (Bettis/Bannon) 4.21
02. Searchin’ For A Rainbow (Caldwell) 4.20
03. Heard It In A Love Song (Caldwell) 4.46
04. Long Hard Ride (Caldwell) 4.23
05. Mexico (Caldwell) 5.04
06. 24 Hours At A Time (Caldwell) 14.00
07. Milk Cow Blues (Kokomo) 9.39
08. Fly Eagle Fly (Caldwell) 5.40
09. Can’t You See (Caldwell) 6.23
10. Night Life (Bettis/Buskirk/Nelson) 3.58
11. Ab’s Song (Caldwell) 1.24
12. High Noon (Bonus Studio Track) (Tiomkin/Washington) 3.50
13. Trouble In Dixie (Bonus Studio Track) (Caldwell) 4.01

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Toy Talmadge Caldwell Jr. (November 13, 1947 – February 25, 1993)