What Are You Listening To?

[Dennie]

Today's work truck music...

Now and Zen -- CD

Robert Plant

1988 Atlantic Records

Something alittle different, February 24, 2009
By Mike T (United States)

Everyone knows Robert Plant from the classic rock group Led Zepplin, but if you want to hear something alittle different listen to Now and Zen.
I originally owned this CD when it was first released and then someone took it from me using a five finger discount so now years later I picked it up on Amazon. Some of the songs seem dated with the 1980's electric keyboard sound but there are two songs that make it all worth it: "Heaven Knows" and "Ship of Fools" possibly some of Robert Plants best solo work.

"Heaven Knows" (Barratt, Johnstone) – 4:06
"Dance on My Own" (Crash, Johnstone, Plant) – 4:30
"Tall Cool One" (Johnstone, Plant) – 4:40
"The Way I Feel" (Boyle, Johnstone, Plant) – 5:40
"Helen of Troy" (Johnstone, Plant) – 5:06
"Billy's Revenge" (Johnstone, Plant) – 3:34
"Ship of Fools" (Johnstone, Plant) – 5:01
"Why" (Crash, Plant) – 4:14
"White, Clean and Neat" (Johnstone, Plant) – 5:28
"Walking Towards Paradise" (Williams) – 4:40

 

[Dennie]

The Complete Gramercy Five Sessions -- Remastered CD

Artie Shaw

1989 RCA/Bluebird Records

Almost all the great big bands of the Swing Era had a small "band-within-the-band." Tommy Dorsey had The Clambake Seven, Benny Goodman had his trio (or quartet) and Duke Ellington and his orchestra members had various small groupings. This gave the bandleader and certain band members a little variety and chances to try different things away from the constraints of dance-oriented big bands. Artie Shaw's outfit was The Gramercy Five, which had a slightly unusual instrumental line-up: the leader's clarinet, electric guitar, bass, drums, trumpet, and harpsichord (occasionally piano, too). The sound was elegant yet swinging, with a more freewheeling and wry feeling in the solos. The Five could indulge in Ellingtonian voicings ("Summit Ridge Drive"), Dixieland/New Orleans-style solos ("Special Delivery Stomp"), bluesy melodies and traces of that strange new music that would be known as bebop. The band's sly humor is evident in some of the song titles: "The Gentle Grifter," "When The Quail Come Back To San Quentin." Shaw's Gramercy Five featured some musicians who went on to jazz legendhood: trumpeter Roy Eldridge, pianist Dodo Mamarosa (who went on to play with Charlie Parker and Gene Ammons), and the wonderfully versatile guitarist Barney Kessel (who went on to play with Sonny Rollins, Julie London, and the Beach Boys). COMPLETE is small-band swing at its finest.

Track Listing
1. Special Delivery Stomp
2. Summit Ridge Drive
3. Keepin' Myself for You
4. Cross Your Heart
5. Dr. Livingstone, I Presume?
6. When the Quail Come Back to San Quentin
7. My Blue Heaven
8. Smoke Gets in Your Eyes
9. Grabtown Grapple, The
10. Sad Sack, The
11. Scuttlebutt
12. Gentle Grifter, The
13. Mysterioso - (Take 1)
14. Mysterioso - (Take 2)
15. Hop, Skip and Jump

Personnel includes: Artie Shaw (clarinet); Billy Butterfield, Roy Eldridge (trumpet); Dodo Mamarosa (keyboards); Jud DeNaut (bass).Recording information: 09/03/1940-08/02/1945.Illustrator: David McMacken.

 

[Dennie]

Live from Dizzy's Club Coca-Cola - A Celebration of Nina Simone -- CD

Morgan James

2012 Epic Records

Morgan James Live from Dizzy's Club Coca-Cola features the up-and-coming Broadway vocalist performing a tribute to legendary jazz singer/pianist Nina Simone. Recorded in July of 2012 at Dizzy's Club Coca-Cola, which is part of Lincoln Center in New York City, the concert features James backed by a top-notch group of N.Y.C.-based musicians including drummer Clarence Penn, guitarist Doug Wamble, pianist David Cook, saxophonist Don Braden, and others. James is primarily known for her appearances in such Broadway musicals as the revival of Godspell and the original cast of Frank Wildhorn's Wonderland, among others. Here, James turns her crisp yet soulful Juilliard-trained chops toward Simone's sultry jazz and R&B-inflected material. Included are such songs as "I Put a Spell on You," "Don't Let Me Be Misunderstood," "My Baby Just Cares for Me," and more.

1. I Put A Spell On You
2. Little Girl Blue
3. Don't Explain
4. Be My Husband
5. Don't Let Me Be Misunderstood
6. My Man's Gone Now
7. Funkier Than A Mosquita's Tweeter
8. My Baby Just Cares For Me
9. Tell Me More And More And Then Some
10. Save Me
11. Trouble In Mind
12. Nobody Knows You When You're Down And Out

 

[Dennie]

She -- CD

Harry Connick, Jr.

1994 Columbia Records

5.0 out of 5 stars A must!, September 1, 2005
ByMelissa C. Jurgensen (Lexington, KY USA) - See all my reviews
(REAL NAME)

This review is from: She (Audio CD)

I recently rediscovered this CD in my collection and I've played it to death ever since! This is my FAVORITE Connick CD. I love his mix of Dixieland/New Orleans Jazz and funk. This is a must have for any Connick fan and I don't know why it wasn't more popular than it was when it came out. This is classic Harry and I do find myself wishing he'd release another album such as this.
All songs by Harry Connick, Jr. and Ramsey McLean unless otherwise noted.

"She" – 5:36
"Between Us" – 5:57
"Here Comes the Big Parade" – 4:11 - an ode to Mardi Gras
"Trouble" – 2:40
"(I Could Only) Whisper Your Name" – 4:50
"Follow the Music" – 1:00
"Joe Slam and the Spaceship" (Connick, Jonathan DuBose, Tony Hall) – 7:12
"To Love the Language" – 5:01
"Honestly Now (Safety's Just Danger...Out of Place)" – 5:31
"She...Blessed be the One" – 1:35
"Funky Dunky" (Connick) – 6:22
"Follow the Music Further" – 1:19
"That Party" – 5:12
"Booker" – 6:26

 

[Dennie]

Mothership -- 2 CD Set

Led Zeppelin

2007 Atlantic Records

Amazon.com

For years, as playlists and multidisc players put Led Zeppelin tracks into a mix, there was a perpetual need to adjust the volume when Zep came on. Their tunes languished in the haze of substandard remastering--until now, at least for the 24 tracks on Mothership and the final fullness of the new Song Remains the Same reissue. For its part, Mothership's crisper, warmer audio owes its heft to the troika of Robert Plant, Jimmy Page and John Paul Jones, who helped oversee the mastering, bringing out untold shades even in the throes of "Heartbreaker" and the sinews of "No Quarter." It's an impressive sonic leap. Where tinny high-ends and muffled lows used to co-exist, fatter and louder depths prevail. It's ever more astonishing that Zep got on with just four blokes. You can quibble with the 24 tracks here (where's "The Ocean"?), but the band picked each track here, from the stone-cold locks ("Communication Breakdown" and "Stairway to Heaven," no, duh) to the robust throb of "When the Levee Breaks." As for "The Ocean," you can find that in fantastically full form, along with five other gems on the newly remastered Song Remains the Same, which shows up for 2007's holiday season on DVD, too. Only rarely have four lads from England made so memorable an auditory and visual blast. --Andrew Bartlett

Disc one
No. Title Writer(s) Length
1. "Good Times Bad Times" (from Led Zeppelin, 1969) John Bonham, John Paul Jones, Jimmy Page 2:48
2. "Communication Breakdown" (from Led Zeppelin, 1969) Bonham, Jones, Page 2:30
3. "Dazed and Confused" (from Led Zeppelin, 1969) Page 6:27
4. "Babe I'm Gonna Leave You" (from Led Zeppelin, 1969) Anne Bredon, Page, Robert Plant 6:42
5. "Whole Lotta Love" (from Led Zeppelin II, 1969) Bonham, Jones, Page, Plant, Willie Dixon 5:34
6. "Ramble On" (from Led Zeppelin II, 1969) Page, Plant 4:24
7. "Heartbreaker" (from Led Zeppelin II, 1969) Bonham, Jones, Page, Plant 4:14
8. "Immigrant Song" (from Led Zeppelin III, 1970) Page, Plant 2:27
9. "Since I've Been Loving You" (from Led Zeppelin III, 1970) Jones, Page, Plant 7:24
10. "Rock and Roll" (from Led Zeppelin IV, 1971) Bonham, Jones, Page, Plant 3:41
11. "Black Dog" (from Led Zeppelin IV, 1971) Jones, Page, Plant 4:58
12. "When the Levee Breaks" (from Led Zeppelin IV, 1971) Bonham, Jones, Page, Plant, Memphis Minnie 7:10
13. "Stairway to Heaven" (from Led Zeppelin IV, 1971) Page, Plant 8:02

Disc two
No. Title Writer(s) Length
1. "The Song Remains the Same" (from Houses of the Holy, 1973) Page, Plant 5:31
2. "Over the Hills and Far Away" (from Houses of the Holy, 1973) Page, Plant 4:50
3. "D'yer Mak'er" (from Houses of the Holy, 1973) Bonham, Jones, Page, Plant 4:23
4. "No Quarter" (from Houses of the Holy, 1973) Jones, Page, Plant 7:00
5. "Trampled Under Foot" (from Physical Graffiti, 1975) Jones, Page, Plant 5:36
6. "Houses of the Holy" (from Physical Graffiti, 1975) Page, Plant 4:03
7. "Kashmir" (from Physical Graffiti, 1975) Bonham, Page, Plant 8:31
8. "Nobody's Fault but Mine" (from Presence, 1976) Page, Plant 6:27
9. "Achilles Last Stand" (from Presence, 1976) Page, Plant 10:25
10. "In the Evening" (from In Through the Out Door, 1979) Jones, Page, Plant 6:51
11. "All My Love" (from In Through the Out Door, 1979) Jones, Plant 5:53

 

[Dennie]

Black, Brown and Beige -- Remastered CD

Duke Ellington and his Orchestra Featuring Mahalia Jackson

1958/1999 Columbia/Legacy

Amazon.com

As a composer and bandleader associated indelibly with the nightclub scenes of pre-Swing Era jazz, Duke Ellington would have a difficult time getting respect in the button-down world of concert music. And when Ellington premiered his first long-form piece, Black, Brown and Beige, in 1943 (available on the stunning Carnegie Hall Concerts, January 1943), he was considered a dilettante. He laid the work aside until this recording, which came in early 1958--with the added oomph of gospel vocalist Mahalia Jackson on board for all the suite's vocal parts. On this expanded reissue, Columbia has added an alternate take of the entire piece as well as two unrelated tracks recorded during the Black, Brown sessions but never before released. The suite is an expansive look, from Ellington's vantage, of course, at the evolution of African American history and culture. So there are ripples of spirited tone poetry, soaring gospel vocals from Jackson (with spare, aching piano from Ellington in spots), thundering horn-fronted swing from the band, and a consistency and unity on par with any symphonic work of the modern era. Ellington was always sensitive about this piece. After all, it showed a lot of what he held in high esteem: history, musical meditations on culture, and a full, colorful use of a band that Ellington held together for an amazingly long time. If only for Mahalia Jackson's takes on "Come Sunday," by now an acknowledged standard, this set is awesome. --Andrew Bartlett

All tracks by Duke Ellington

"Part I" – 8:17
"Part II" – 6:14
"Part III" (aka Light) – 6:26
"Part IV" (aka Come Sunday) – 7:58
"Part V" (aka Come Sunday) – 3:46
"Part VI" (23rd Psalm) – 3:01 Bonus tracks on re-releases
"Track 360" (aka Trains) (alternative take) - 2:02
"Blues in Orbit" (aka Tender) (alternative take) - 2:36
"Part I" (alternative take) – 6:49
"Part II" (alternative take) – 6:38
"Part III" (alternative take) – 3:08
"Part IV" (alternative take) – 2:23
"Part V" (alternative take) – 5:51
"Part VI" (alternative take) – 1:59
"Studio conversation" (Mahalia Swears) – 0:07
"Come Sunday" (a cappella) – 5:47
"(Pause track)" – 0:06

-------

Duke Ellington — piano
William "Cat" Anderson — trumpet
Harold Shorty Baker — trumpet
Clark Terry — trumpet
Ray Nance — trumpet, violin
John Sanders — valve trombone
Quentin Jackson — trombone
Britt Woodman — trombone
Paul Gonsalves — tenor saxophone
Bill Graham — alto saxophone
Harry Carney — baritone saxophone
Jimmy Woode — bass
Sam Woodyard — drums
Mahalia Jackson — vocals

 

[Dennie]

Healing The Wounds -- CD

The Crusaders

1997 GRP Records

The Crusaders as they should be!, October 10, 2000
By Allen Davis (Greensboro, NC USA) - See all my reviews
This review is from: Healing the Wounds (Audio CD)

This cd is music by The Crusaders as it should be. As a long time Joe Sample and Crusaders fans, it was good for me to enjoy what I would consider to be "vintage" Crusader stuff. It also did me a lot of good for me to hear my favorite bassist, Marcus Miller, added to the mix. He adds that touch of funk that only he can do. With Marcus thumpin' the bass, Joe tickling the ivory, and the rest of the guys doing their things, you can't help but love this piece. "Healing the Wounds" is probably the best Crusader cd to date. If you like the old Crusader stuff, you'll love this! It's great music from cover to cover.

Track listing

1. Pessimisticism
2. Mercy, Mercy, Mercy
3. Little Things Mean a Lot
4. Cause We've Ended as Lovers
5. Shake Dance
6. Maputo
7. Healing the Wounds
8. Running Man

 

[Dennie]

With One Voice -- CD

Ramsey Lewis

2005 Narada Jazz

Gospel meets jazz, February 8, 2008
By Daniel Olson "musicfreak" (Molndal, Sweden) - See all my reviews
(REAL NAME)


Amazon Verified Purchase(What's this?)
This review is from: With One Voice (Audio CD)

This is a great record, contemporary jazz meets contemporary gospel.
Ramsey Lewis invites a gospel choir to perform with him live and it's a really good one with great singers/musicians.
The songs are mostly unknown for me expect "Oh happy day" but they sounds really good with a "jazzy touch" from Ramsey's piano!
If you're into booth gospel and contemporary/classic jazz this a record for you!
Buy it and you won't be diassapointed!

1. Oh Happy Day
2. Sunday Strut
3. Bless Me (Prayer Of Jabez)
4. Thoughts And Reflections
5. Pass Me Not
6. Trees
7. Work It Out
8. My Love For You
9. Healed Heart
10. Keep The Spirit
11. With One Voice

 

[Dennie]

Chick Corea Presents Originations -- CD

The Music of Chick Corea + Origin

2000 Stretch Records

As a bandleader, Chick Corea ranks with the likes of Miles Davis, Art Blakey, and Charles Mingus. Many of his numerous proteges have gone on to great success as solo artists. Origin, the band that Corea formed in the late '90s, is made up entirely of just such talented individuals. ORIGINATIONS provides a showcase for these talents, with nine tracks, led by each member in their own groups, along with two cuts from the Origin album CHANGE.Origin's band members vary greatly in their upbringing and musical backgrounds. Bassist Avishai Cohen produces music that, while rooted in the jazz tradition, has an eclectic bent, with shades of varied ethnicity. Trombonist Steve Davis is a member of the upper echelon of young New York musicians and contributes two straight-ahead cuts of exceptional quality. Tim Garland and Steve Wilson, two fine saxophonists who reflect the inspiration of the great masters of the past, have an individual approach, and display their wares in signature fashion. Finally, drummer Jeff Ballard produces the only previously unreleased cut, a furiously joyful piece that reflects his own distinctive approach to jazz.

Track Listing
1. Wigwam
2. I B 4 U
3. Turnin' the Corner
4. Shadows
5. Made by Walking
6. Beat Street
7. Madrid
8. Roots and Herbs
9. I'm Old Fashioned
10. Flicks
11. Psalm

ORIGINATIONS contains tracks by Chick Corea & Origin as well as selections led by each individual member of the group.Personnel: Chick Corea (piano); Jimmy Greene (soprano saxophone); Bob Sheppard, Mark Turner (tenor saxophone); Tim Garland (saxophone, flute); Steve Wilson (saxophone, alto flute); Gerard Presencer (trumpet, flugelhorn); Nicholas Payton (trumpet); Steve Davis, Avi Lebovich (trombone); Joe Locke (vibraphone, marimba); Steve Nelson (vibraphone); David Hazeltine (acoustic & Frender Rhodes pianos); Bruce Barth, Geoff Keezer, Jason Lindner, Brad Mehldau (piano); Amos Hoffman (guitar, oud); Avishai Cohen (acoustic bass); Larry Grenadier, Ed Howard, Nat Reeves (bass); Jeff Ballard, Adam Cruz, Joe Farnsworth, Jorge Rossy (drums).Compilation producers: Chick Corea, Ron Moss, Nick Phillips.Includes liner notes by Chick Corea

 

[Dennie]

Kind of Blue -- Remastered 20-Bit CD

Miles Davis

1959/1997 Columbia Legacy

Amazon.com essential recording

This is the one jazz record owned by people who don't listen to jazz, and with good reason. The band itself is extraordinary (proof of Miles Davis's masterful casting skills, if not of God's existence), listing John Coltrane and Julian "Cannonball" Adderley on saxophones, Bill Evans (or, on "Freddie Freeloader," Wynton Kelly) on piano, and the crack rhythm unit of Paul Chambers on bass and Jimmy Cobb on drums. Coltrane's astringency on tenor is counterpoised to Adderley's funky self on alto, with Davis moderating between them as Bill Evans conjures up a still lake of sound on which they walk. Meanwhile, the rhythm partnership of Cobb and Chambers is prepared to click off time until eternity. It was the key recording of what became modal jazz, a music free of the fixed harmonies and forms of pop songs. In Davis's men's hands it was a weightless music, but one that refused to fade into the background. In retrospect every note seems perfect, and each piece moves inexorably towards its destiny. --John Szwed

All songs composed by Miles Davis (see content section for more information). Only six complete takes of the five tunes on the album exist, indicated by the song numbers.

"So What" – 9:22
"Freddie Freeloader" – 9:46
"Blue in Green" – 5:37
"All Blues" – 11:33
"Flamenco Sketches" – 9:26

Reissue bonus track

"Flamenco Sketches" (Alternate take) – 9:32

 

[Dennie]

The Sidewinder -- CD

Lee Morgan

1964/1989 Blue Note Records

Rock, Funk and Jazz in close harmony, November 19, 2001
By rash67 (USA) - See all my reviews
(VINE VOICE) (TOP 1000 REVIEWER)
This review is from: Sidewinder (Audio CD)

The most successful of all Lee Morgan's albums. The funky title track "Sidewinder" is alone worth the cost of the CD.

Combines a four/four rock drum beat, soul/funk/boogaloo bass line with rapid-fire, close harmony mirror-image Jazz trumpet and tenor sax parts on top. This fusion effort was called a Rock sell-out when it originally was released but it is one of the most consistently listenable Fusion type albums to this day.

Other tracks are strong, less funky, more Jazzy. Especially Totem Pole. Lee Morgan spent most of his subsequent life trying to duplicate the success of this album following the same formula, usually with lesser results; a few good tracks and a lot of more forgetable stuff. No, he doesn't have the beautiful lost-in-a-crowd melancholy sound of early Miles Davis and his harmon mute, but Lee Morgan is as good in a different direction: intense, happy and upbeat.

Great bestseller album from the sixties. Burrows into your head and you hear it in your memory. A great album for Rocker's who think they don't like Jazz. Or those new to Jazz.

All songs composed by Lee Morgan.

"The Sidewinder" – 10:25
"Totem Pole" – 10:11
"Gary's Notebook" – 6:03
"Boy, What a Night" – 7:30
"Hocus Pocus" – 6:21
"Totem Pole" [Alternate Take] - 9:57 Bonus track on CD reissue


Lee Morgan - trumpet
Joe Henderson - tenor saxophone
Billy Higgins - drums
Barry Harris - piano
Bob Cranshaw - bass

 

[Dennie]

Today's work truck music...

Shangri-La -- CD/DVD

Mark Knopfler

2004 Reprise Records

Amazon.com

Mark Knopfler isn't afraid to drop names. The heavyweight Cassius Clay laid low, the man who made burgers and fries into big business, the kings of rock & roll and skiffle are among the motley assortment who pass through Knopfler's fourth solo album. Recorded in Malibu with a tight crew of steadfast Knopfler sidemen, Shangri-La (the title comes from the studio where the entire set was recorded) chronicles the foibles of the acclaimed and the adrift, all delivered with the nonchalant grace that has marked Knopfler's music since Dire Straits emerged in the late '70s. Seven of album's 14 originals clock in at between five and seven minutes. That's Knopfler in a nutshell--don't rush things, but don't loose the thread, either. As a songwriter, Knopfler has a storyteller's eye for minutiae, which he delivers with practiced nuance. He overreaches here and there ("Song for Sonny Liston" fails to capture the pathos of the menacing fighter), but also pulls off a few career highlights (the understated crime-drama opener "5.15 a.m."). --Steve Stolder

All songs written by Mark Knopfler.

"5.15 A.M." – 5:54
"Boom, Like That" – 5:49
"Sucker Row" – 4:56
"The Trawlerman's Song" – 5:02
"Back to Tupelo" – 4:31
"Our Shangri-La" – 5:41
"Everybody Pays" – 5:24
"Song for Sonny Liston" – 5:06
"Whoop De Doo" – 3:53
"Postcards from Paraguay" – 4:07
"All That Matters" – 3:08
"Stand Up Guy" – 4:32
"Donegan's Gone" – 3:05
"Don't Crash the Ambulance" – 5:06

 

[Dennie]

Really Big! -- Remastered CD

The Jimmy Heath Orchestra

1960/2007 Riverside/Concord Records

Jimmy Heath's first chance to lead a fairly large group, an all-star ten-piece, found him well featured both on tenor and as an arranger/composer. With such colorful players as cornetist Nat Adderley, flugelhornist Clark Terry, altoist Cannonball Adderley, and either Cedar Walton or Tommy Flanagan on piano, Heath introduces a few originals (including "Big 'P'" and "A Picture of Heath") and uplifts "Green Dolphin Street," "Dat Dere," and "My Ideal," among others. A well-conceived set. [Originally released in 1960, Really Big! was reissued on CD in 2007.] ~ Scott Yanow

Track Listing
1. Big "P"
2. Old Fashioned Fun
3. Mona's Mood
4. Dat Dere
5. Nails
6. On Green Dolphin Street
7. My Ideal
8. Picture of Heath, The
9. Nails - (take 1, bonus track)

Personnel: Jimmy Heath (tenor saxophone); Julian "Cannonball" Adderley (alto saxophone); Pat Patrick (baritone saxophone); Clark Terry (trumpet); Nat Adderley (cornet); Dick Berg (French horn); Tom McIntosh (trombone); Tommy Flanagan, Cedar Walton (piano); Percy Heath (bass); Albert "Tootie" Heath (drums).Recorded at Plaza Sound Studios, New York, New York on June 24 & 28, 1960. Originally released on Riverside (1188). Includes liner notes by Orrin Keepnews.Digitally remastered by Phil De Lancie (1992, Fantasy Studios, Berkeley, California).

 

[Dennie]

Running On Empty -- CD

Jackson Browne

1977/1990 Asylum Records

Amazon.com

Recorded onstage, backstage, in three different hotel rooms, and on a Continental Silver Eagle tour bus during a cross-country 1977 tour, Running on Empty is a paean to life on the road. Jackson Browne's sense of camaraderie extended to the road crew, if "The Load Out," a love song to his roadies, is to be believed. Browne is much more blithe here than in his earlier outings. But Empty also represents a fleeting lighthearted moment for the singer-cum-poet whose concerns became more political than personal after its appearance. Beneath its flippant surface, this disc is a look at the lengths Browne and his friends went to avoid facing the demands of the touring life. What with the frequent drug references, misogynistic references to on-the-fly pairings with women, and the sobering line in the title track--"I look around for the friends I used to pull me through / Looking into their eyes, I see them running, too"--one realizes that Browne was much more comfortable on the road than off. --Jaan Uhelszki

1. "Running on Empty" (Browne) – 5:20
* Recorded live (8/27/77), Merriweather Post Pavilion, Columbia, MD
2. "The Road" (Danny O'Keefe) – 4:50
* Recorded in room 301 (8/27/77), Cross Keys Inn, Baltimore, MD (first — 2:58) and live (9/7/77), Garden State Arts Center, Holmdel, NJ
3. "Rosie" (Browne, Donald Miller) – 3:37
* Recorded backstage (9/1/77) "in the big rehearsal room," Saratoga Performing Arts Center, Saratoga Springs, NY
* Doug Haywood and tour photographer Joel Bernstein sing harmony.
4. "You Love the Thunder" (Browne) – 3:52
* Recorded live (9/6/77), Holmdel, NJ
5. "Cocaine" (Browne, Reverend Gary Davis, Glenn Frey) – 4:55
* Recorded in room 124 (8/17/77), Holiday Inn, Edwardsville, IL
6. "Shaky Town" (Danny Kortchmar) – 3:36
* Recorded in room 124 (8/18/77), Holiday Inn, Edwardsville, IL
* Danny Kortchmar sings harmony.
7. "Love Needs a Heart" (Browne, Valerie Carter, Lowell George) – 3:28
* Recorded live (9/17/77), Universal City, CA
8. "Nothing but Time" (Browne, Howard Burke) – 3:05
* Recorded "on a bus (a Continental Silver Eagle) somewhere in New Jersey" (9/8/77)
* Russ Kunkel is credited as playing "snare, hi-hat, and cardboard box with foot pedal." The song was recorded aboard the band's Continental Silver Eagle tour bus (hence the lyrical reference to "Silver Eagle") while en route from Portland, Maine to their next gig in New Jersey. The bus's engine is audible in the background throughout, and its downshift and acceleration can be plainly heard during the bridge.
9. "The Load-Out" (Browne, Bryan Garofalo) – 5:38
* Recorded live (8/27/77), Merriweather Post Pavilion, Columbia, MD
10. "Stay" (Maurice Williams) – 3:28
* Recorded live (8/27/77), Merriweather Post Pavilion, Columbia, MD

 

[No-L]

Live from Dizzy's Club Coca-Cola - A Celebration of Nina Simone -- CD

She's REAL purty! But this album seems like a real snooze fest!!

:text-imsorry:

 

[Rope]

Live from Dizzy's Club Coca-Cola - A Celebration of Nina Simone -- CD

She's REAL purty! But this album seems like a real snooze fest!!

:text-imsorry:

Did you mean purdy?

Rope

 

[No-L]

I guess it depends on which part of the old-timey south you grew up in.
And how many teeth ya got left...

 

[PaulyT]

 

[topper]

recently released Beth Hart & Joe Bonamassa

 

[PaulyT]

^--- you have it already? Dang, I preordered because it usually shows up early, but I still haven't gotten my copy <wah>