Join Together is a box set of live material released from The Who's 1989 25th Anniversary Tour. Several of the tracks were recorded at Radio City Music Hall, New York, and at Universal Amphitheater, Los Angeles, with the rest from various other concerts during the tour.
It was released in 1990 by Virgin Records in the UK and MCA Records in the US. The album was released in the US as a vinyl three LP set in March 1990, where it reached #180 in the US charts. It was also released on cassette tape, and later released on MCA as a two-CD set.
CD 1 - Tommy
01. Overture/It's a Boy 02. 1921 03. Amazing Journey 04. Sparks 05. Eyesight to the Blind (The Hawker) 06. Christmas 07. Cousin Kevin 08. The Acid Queen 09. Pinball Wizard 10. Do You Think It's Alright? 11. Fiddle About 12. There's a Doctor 13. Go to the Mirror! 14. Smash the Mirror 15. Tommy, Can You Hear Me? 16. I'm Free 17. Miracle Cure 18. Sally Simpson 19. Sensation 20. Tommy's Holiday Camp 21. We're Not Gonna Take It
CD 2
01. Eminence Front 02. Face the Face 03. Dig 04. I Can See for Miles 05. A Little Is Enough 06. 5:15 07. Love Reign O'er Me 08. Trick of the Light 09. Rough Boys 10. Join Together 11. You Better You Bet 12. Behind Blue Eyes 13. Won't Get Fooled Again
Roger Daltrey - Vocal John Entwistle - Bass, Vocal Pete Townshend - Acoustic & Electric Guitars, Vocals
+ Simon Phillips - Drums John Bundrick - Piano, Keyboards Jody Linscott - Percussion Billy Nicholls, Cleveland Watkiss & Chyna - Backing Vocals Steve 'Boltz' Bolton - Electric Guitar Simon Clarke, Simon Gardner, Roddy Lorimer, Tim Saunders, Neil Sidwell - Brass
Until his death in 2008 from cancer, British singer and musician Colin Cooper had enjoyed a lengthy and rewarding career. Enamored of music from an early age, Cooper first taught himself harmonica before moving on to clarinet, saxophone, and guitar – multi-instrumental skills that would serve him well down the road. His first band of note was the early-1960s outfit Colin Cooper's Climax Jazz Band, but it was with the mid-60s mod band the Hipster Image, and its Alan Price-produced single "Can't Let Her Go" b/w "Make Her Mine," that Cooper got his first taste of fame.
The blues remained Cooper's first love, and he would push the band back towards its blues roots throughout the late 1980s and well into the new millennium, releasing albums like 1994's Blues From The Attic and 2003's Big Blues (The Songs of Willie Dixon) to great response. During this same period, Cooper showed his loyalty to the blues by recording a number of blues and roots-rock covers in his home studio, songs that he'd crafted to perfection with impromptu performances on his steel Dobro guitar at local pubs. Although they were never performed with commercial release in mind, the best of these homespun demos have been collected under the Colin Cooper Project banner and recently released on CD as From The Vaults.
From The Vaults kicks off with Taj Mahal's "Cake Walk Into Town," the song provided a spry, up-tempo performance, Cooper's jaunty vocals approximating Mahal's original funky drawl, his lively guitar-picking providing a sparse, but engaging framework for the song. Cooper's deep voice is perfectly suited to the material, and late-period Climax Blues Band guitarist Lester Hunt adds some elegant electric guitar as a fine counterpoint to Cooper's acoustic, Piedmont blues-flavored Dobro. A reading of Robert Johnson's "Rambling On My Mind" is closer in spirit to Eric Clapton's laidback cover than to the blues legend's Delta-dirty original, an upbeat arrangement replete with finger-picked strings and a walking rhythm capturing the restless spirit of Johnson's lyrical intent nonetheless.
01. Cake Walk into Town 02. Rambling on My Mind 03. Walkin' Blues 04. Sidewalk Hobo 05. Livin' with the Blues 06. Boeuf River Road 07. One Roomed Country Shack 08. It Hurts Me Too 09. I'm Not Downhearted But I'm Getting There 10. Key to the Highway 11. The Family 12. Making Whoopie 13. I Didn't Sleep a Wink Last Night 14. Twenty Four Hours
Born in 1986 in Merseyside, guitarist Miles Kane formed the Little Flames with childhood friends at the age of 18, but after Eva Petersen and Mat Gregory left the band due to creative differences, he, along with bassist Joe Edwards and drummer Greg Mighall, continued as a three-piece under the new name of the Rascals. In 2007, with Kane now on vocals, they released their debut album, Rascalize, and appeared in the British hooligan film Away Days, performing an Echo & the Bunnymen cover.
After supporting Arctic Monkeys on their U.K. tour, Kane became friends with lead singer Alex Turner, and due to a mutual appreciation of Scott Walker, they decided to record an album together. The Last Shadow Puppets reached number one with their debut, The Age of the Understatement, scored a Top Ten single with the title track, and received a 2008 Mercury Music Prize nomination. After Turner returned to his day job, Kane decided to leave the Rascals and pursue a solo career. In 2010 he worked with Super Furry Animals' Gruff Rhys on material influenced by Serge Gainsbourg and John Lennon. His first single, "Inhaler," was released the same year. In 2011
01. Better Left Invisible 02. Telepathy 03. Come Closer 04. Rearrange 05. Colour Of The Trap
Three BBC sessions -- one from May 10, 1971, one from March 19, 1973, and the final one from October 8, 1974 -- are collected on this good-value 14-track, hour-length CD, in fine fidelity. Though not the fault of the artist, fans might be a little disappointed that this doesn't include anything in the way of otherwise unavailable songs. All of the tunes (all Shawn Phillips originals) come from his 1970-1974 studio albums, with the interesting exception of "Salty Tears," which was only available as a B-side to a 1974 single. By far the most interesting of these recordings are from the 1971 session, as all five of the songs are performed by Phillips solo with guitar (which is acoustic, with the exception of "Salty Tears," which is done on an electric one). Phillips did start out as a folk musician, and while these aren't exactly straight folk songs, the sparse arrangements serve as a reminder of that, though both his compositions and vocals here have a roving bite not associated with acoustic folk troubadours.
The other two sessions use his bands of the time, and move much more into singer/songwriter rock with prominent keyboards (by Peter Robinson), getting much deeper into jazz-funk fusion on the 1974 cuts, which include John Gustafson on bass. Overall, this set doesn't offer major surprises for those familiar with Phillips' eclectic efforts of the era, which -- somewhat in the manner of John Martyn, though Martyn went to odder extremes -- had an appetite for genre-shifting within the singer/songwriter format that limits his appeal to a cult level. It is, however, a good-sounding souvenir of Phillips performing the material in looser, more live-sounding settings than he brought to his studio albums of the time, Phillips and some of the backup players contributing comments to the liner notes.
01. Hey Miss Lonely 02. Spring Wind 03. Salty Tears 04. Withered Roses 05. L’Ballad 06. Spaceman 07. Not Quite Nonsense 08. Anello 09. I Took a Walk 10. Dream Queen 11. See You/Planscape 12. 92 Years 13. Talking In the Garden/Furthermore 14. January 1st
01. Holdin' On To You 02. Writing On The Wall 03. Except For Real 04. Lies 05. I've Just Seen A Face 06. Can't Find My Way Home 07. The Flame Blinds The Moth 08. Can't Stay 09. Memories
Bonnie Bramlett - Vocals Steve Beckmeier, Ricky Hirsch - Guitar Deke Richards - Guitar, Electric Piano (2,6,8) Jim Nalls - Guitar (5, 9) David Pinkston - Steel Guitar (3) Fred Beckmeier - Bass Robert Martin - Piano, Organ, Saxophone Jay Armentrout - Drums Joe English - Drums (3, 8) Clydie King, Venetta Fields, Shirley Matthews - Backing Vocals Joel Ferguson - Banjo (6) Jack Gold - Percussion (9)
Best-known as the drummer in Elton John's early-'70s backing band, Nigel Olsson was born February 10, 1949, in the small Cheshire (now Merseyside) town of Wallasey, England. As a teenager, he lived in Sunderland, where he sang lead in a group called the Fireflies and took up the drums when their regular drummer quit. At 17, he and good friend Mick Grabham successfully auditioned for the psychedelic pop band Plastic Penny, which released two albums from 1968-1969 and scored a hit with "Everything I Am" before disbanding. Olsson subsequently joined the Spencer Davis Group, which was reeling from the defection of frontman Stevie Winwood; the gig was short-lived as Davis broke up the band before the end of 1969, but Olsson met bassist Dee Murray, who would become his favorite rhythm section partner. Looking for work, Olsson filled the drum slot in Uriah Heep for part of the 1970 debut album Very 'eavy, Very 'umble, but soon left to concentrate on session work. He and Murray had been playing with Elton John on the young singer/songwriter's demos and they both joined his touring group in the spring of 1970. Olsson played on most of John's early-'70s classics, including Honky Chateau, Don't Shoot Me I'm Only the Piano Player, Goodbye Yellow Brick Road, and Captain Fantastic & the Brown Dirt Cowboy. After the latter was released in the spring of 1975, John sought to shake up his backing band by replacing both Olsson and Murray.
Olsson had released a solo album in 1971 called Nigel Olsson's Drum Orchestra and Chorus and in the wake of his departure from John's group, he cut a self-titled album for John's Rocket label. Another eponymous effort followed for Columbia in 1978 and after a switch to Bang, Olsson scored a hit single in 1979 with "Dancin' Shoes" (from the album Nigel). 1980 saw the release of a follow-up LP, Changing Tides, as well as Olsson's membership in the Tremblers, a group uniting Peter Noone of Herman's Hermits fame with the Captain & Tennille's Daryl Dragon. Also that year, Olsson and Murray were invited to rejoin John's touring band, where they remained until 1984. Despite extensive session work throughout the '70s, Olsson was far less active in that area during the '80s, spending more time on writing and producing. In 1991, he and ex-John guitarist Davey Johnstone formed the group Warpipes, which released the album Holes in the Heavens the following year before breaking up when their label went bankrupt. Olsson spent much of the '90s away from music, aside from the occasional recording session, but in 2000 he rejoined John's band once again and the following year he released a sequel to his debut, Nigel Olsson's Drum Orchestra and Chorus Vol. 2: Move the Universe
01. Sunshine Looks Like Rain 02. I'm Coming Home 03. Nature's Way 04. Hummingbird 05. Some Sweet Day 06. I Can't Go Home Again 07. And I Know In My Heart 08. We've Got A Long Way To Go 09. Wierdhouse 10. China
David Cross & Robert Fripp - Starless Starlight - 2015
The story of ‘Starless Starlight’ is that of a short melody composed by David Cross and Robert Fripp that emerged as one of the key themes of the King Crimson song ‘Starless’ (1974). The tune resurfaced in two improvisations performed and recorded by Fripp at Blueberry Hill, St Louis in 2006. These recordings and the theme itself were then transformed by David Cross (and co-producer Tony Lowe) into the album ‘Starless Starlight’.
David Cross - Violin Robert Fripp - Soundscapes
01. Starless Starlight Loops 02. In the Shadow 03. Shine And Fall 04. Starless Theme 05. One By One, the Stars Were Going Out 06. Fear of Starlight 07. Starlight Trio 08. Sure of the Dark
Live at Rockpalast is a two-disc live album by Welsh musician John Cale. It was released in October 2010 on German record label Made in Germany. It was recorded during his two shows for German music television show Rockpalast on 14 October 1984 at Grugahalle, Essen (first disc; with full band) and 6 March 1983 at Zeche, Bochum (second disc; Cale solo with guitar and piano).
CD 01
01. Autobiography 02. Oh La La 03. Evidence 04. Magazines 05. Model Beirut Recital 06. Streets of Laredo (traditional) 07. Dr. Mudd 08. Leaving It Up to You 09. Caribbean Sunset 10. The Hunt 11. Fear Is a Man's Best Friend 12. Heartbreak Hotel 13. Paris 1919 14. Waiting for The Man 15. Mercenaries 16. Pablo Picasso - Love Me Two Times 17. Close Watch
CD 02
01. Ghost Story 02. Ship of Fools 03. Leaving It Up to You 04. Amsterdam 06. Buffalo Ballet 07. Antarctica Starts Here 08. Taking It All Away 09. Riverbank 10. Paris 1919 11. Guts 12. Chinese Envoy 13. Thoughtless Kind 14. Only Time Will Tell 15. Cable Hogue 16 Dead or Alive 17. Waiting for the Man 18. Heartbreak Hotel 19. Chorale 20. Fear Is a Man's Best Friend 21. Close Watch 22. Streets of Laredo (traditional)
The Australian Pink Floyd Show - Exposed In The Light - 2012
From Wikipedia
The Australian Pink Floyd Show, more frequently referred to as the Australian Pink Floyd, are a Pink Floyd tribute band formed in 1988 in Adelaide, South Australia. Their live shows attempt to recreate the look, feel, and sound of Pink Floyd's later world tours, employing visual aids such as lasers, inflatables and a large display panel similar to Mr Screen. The Australian Pink Floyd Show play venues worldwide.
The Australian Pink Floyd Show in Barcelona (2009)
The band are noted for replicating the nuances of Pink Floyd's work. The guitar rig of Steve Mac closely resembles David Gilmour's set-up, and includes elements custom-produced by Pete Cornish, who has worked extensively with Gilmour. The band associates itself with individuals who have worked with Pink Floyd over the years, including Colin Norfield (who has worked as a sound engineer for David Gilmour in his solo career and for Pink Floyd during their 1994 Division Bell Tour) and Clive Brooks – Nick Mason's long-time drum technician.
The show includes a round screen with intelligent lights arranged around its perimeter. During a concert, movies and animations are displayed on-screen, complementing the band's light show. Inflatables (such as the pig used by Pink Floyd during the Division Bell Tour, and Skippy – the band's own giant pink kangaroo and named after the Australian TV series Skippy The Bush Kangaroo) are frequently employed in the band's shows.
01. In The Flesh 02. Astronomy Domine 03. Set The Controls For The Heart of The Sun 04. High Hopes 05. Breathe Reprise (feat. The Time) 06. The Great Gig in The Sky 07. Pigs (Three Different Ones) 08. The Fletcher Memorial Home 09. Keep Talking 10. Us And Them 11. Comfortably Numb
David Lewis is more known to collectors of late -'60s and early -'70s rock as the leader of the Northern Irish band Andwella's Dream (later shortened to Andwella) than as a solo artist. However, while that group was still going - some sources give the year 1969, others 1970 - solo Lewis performances came out on a publisher's demo, issued more than 30 years later on a Japanese release. It's a mixed lot that gives the impression the tracks might have been recorded at separate times and/or separate sessions spaced at least a few months apart. Many of the cuts are solo piano performances that show some similarities to the work of early singer/songwriters like Carole King, Randy Newman, Elton John, and perhaps even a bit of David Gates. (Some of the melody of "You Don't Know" certainly recalls Bread's "Make It with You.") "On a Day Like Today," on the other hand, might bring to mind Jesse Colin Young's mellower compositions for the Youngbloods. There's a soul-gospel flavor to some of these that makes him sound a little like a singer/songwriter Ray Charles, though you shouldn't get too excited by that comparison; the songs and vocals aren't on the level of Charles or the other aforementioned artists. Yet there are also a couple tracks with full-band arrangements and orchestration that sound like they could have been placed on official late-'60s pop/rock releases. Whatever the case, they're only passable songs, though Lewis is a decently soulful vocalist.
01. You Don't Know 02. On a Day Like Today 03. Such a Long Way to Go 04. Everlasting Love 05. Because of The Love You've Given me 06. Take My Road 07. Man Without a Name
08. Love is a Beautiful Thing 09. Learning to Walk 10. Put Away Your Tears 11. Yesterday's Gold 12. Holding On (Bonus Track) 13. The Angel That's Following Me (Bonus Track)
05. Eyesight to the Blind (The Hawker)
