The meditative music of Slagr – whose latest album, DIRR, was recorded and mixed by Andreas Mjøs of Jaga Jazzist, the producer of two previous Slagr albums – provides a portal for the imagination to roam free: a magical sound-world whose simple melodies and drones combine with an audio-palette of austere yet beautiful instrumental textures to provoke an infinite sense of openness capable of conveying a myriad of meanings.
The instruments themselves – Hardanger fiddle, cello, vibraphone and glass harmonica – imply a measure of the music’s reach, from the folk tradition to renaissance polyphony to the contemporary avant-garde. It’s an aesthetic where the humble, home-spun legacy of Nordic fiddle tunes and church music meets…

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…the reticent yet sensuous minimalism of Morton Feldman amid a mysterious liminal soundscape where what is heard sometimes seems like it’s on the very edge of consciousness, as if one is half awake and half in dreams, the music half there and half not.

While it may be reductive to see Slagr’s music as quintessentially northern or Nordic, it does fit the Danish artist Asger Jorn’s conception of the north as “the dream centre of Europe”. This is music that drifts along like clouds, changing shape almost imperceptively as it goes. It also requires very careful attention from the listener, as one adapts one’s ears to a microscopic rate of change where the slow drag of a horsehair bow across bare strings can suggest the harmonic flutter of a Mongolian throat singer’s music of the spheres, and where the disturbance of air around the lip of a glass half-filled with water creates a spectral hum that seems to become part of the very atmosphere, like sonic weather.

But while the music of this very environmentally-aware trio (who in 2016 contributed to ‘Melting’, Amund Sjølie Sveen’s theatrical performance piece on the theme of global warming), inevitably carries strong associations of the natural world – one thinks, say, of a vast forest or tundra landscape whose open spaces represent a logical imaginative response to the wide open spaces of the music itself – there are important cultural associations too, not least with cinema and the filmic.

On the present album’s wonderfully pliant opening track, aur, Amund Sjølie Sveen’s glass harmonica drones can suggest the distressed piano-shimmers of Roy Budd’s introductory theme to the cult thriller ‘Get Carter’, or John Barry’s iconic cimbalon-strings on ‘The Ipcress File’, together with their well-attested mutual influence on the creepy Theremin opening to Portishead’s ‘Glory Box’. Indeed, one of the great attractions of Slagr’s imaginative open-ness is the potential it holds for hearing allusive echoes of all sorts of things, from sleigh bells to seances. And the idea of a seance – the conjuring up of a particular spirit or atmosphere – might be a relevant reference point. There is an inescapable sense of the uncanny here, a Gothic evocation of rituals in the dark that is very effective whether the music is listened to attentively or used as a kind of subtle ambient ectoplasm floating in the background.

‘DIRR’, while maintaining a satisfying aesthetic unity that allows the album to be perceived as a thematic whole, like a suite or a cycle of related pieces, is also remarkably various. The interweaving of the respective instruments’ at times strikingly similar-sounding timbres, the wide range of noises each instrument makes, and the constant alteration or exchange between the ‘lead’ voice or voices from track to track creates a continual sense of adventure and surprise that is very appealing. We may not know what the music of Slagr is about – if music can be said to be ‘about’ anything – but it conveys a powerful atmospheric presence, a sort of aural spirit-photograph or record of the spaces – both internal and external – the music seems to move you through as it plays.

James Ferraro
Four Pieces For Mirai
(self released, 2018 Ep)
more details

320 kbps | 102 MB | LINKS

Belfast singer-songwriter Andy White is writing songs about politics again. You know why.

Influenced both by touring his career retrospective box set last year (released on the 30th anniversary of hard-hitting debut ‘Rave On’), and throwing things at the telly in response to what’s going on in the world, Andy has written and recorded ten new songs and releases them as a limited edition 12” vinyl LP, ‘The Guilty & The Innocent’, on November 24th.

Agree with it or not, it’s a powerful piece of work. Songs about Trump, Jeremy, Grenfell, Manchester, refugees, Belfast. Trump again. The unheard. There’s even a language warning. The album rocks like a Neil Young album, although some of it is solo acoustic.

Andy writes, “The Guilty & The Innocent is one half of a double album based on the twin themes of Love and Politics. But the time for these songs to be heard is now. In these times, we all have to do what we can—and this is what I can do”.

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There are, in these times of reduced music sales, fewer and fewer models that help niche labels to survive. In the case of New York-based MoonJune Records and its intrepid head Leonardo Pavkovic, the path to survival seems increasingly more about doing what he does for the love of it, and less about fiduciary gain (much as he would, like anyone, love to reap some financial benefits for his hard work). That said, few labels could not only survive but, as MoonJune has over the past two-or-three years, actually thrive and expand based upon nothing more than one man’s passionate love of music and those who make it. MoonJune may never have a million-seller, but its profile has certainly grown, even as Pavkovic has looked even farther across the globe to locate top-drawer…

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…musicians, astutely introduced them to other world-class players, and put them together in a studio to watch the sparks fly.

Few labels, in fact, beyond the much larger ECM Records, have managed to bring so many diverse musicians from seemingly disparate backgrounds and cultures together to make music so glorious, so magical and so seemingly effortlessly groundbreaking. This, as it supports the adage of music being a universal language that brings people together, comes at a time when there are far too many factors conspiring to sow division.

The past couple of years have found Pavkovic increasingly parking himself and his growing cadre of musicians at La Casa Murada, the studio located in Catalunya, Spain that is the namesake for one of the label’s first releases recorded at the studio, The Stone House (2017), a superb, incomparable outing featuring guitarist Mark Wingfield, touch guitarist Markus Reuter, bassist Yaron Stavi and drummer Asaf Sirkis, all of whom have been making increasingly regular appearances on MoonJune.

Stavi and Sirkis, who have become one of the label’s rhythm sections of choice for their pliant ability to work their way into any musical context, appear on Dwiki Dharmawan‘s even more ambitious and expansive Rumah Batu, just as they did on the pianist’s extraordinary Pasar Klewar (MoonJune, 2016). The Indonesian keyboardist’s sophomore MoonJune release, following his more fusion-heavy 2015 label debut, So Far, So Close, was largely a trio affair, albeit with a bevy of guests including, in addition to a variety of Indonesian musicians, MoonJune staples like vocalist Boris Savoldelli and guitarists Wingfield and Nicolas Meier.

Rumah Batu, on the other hand, is centered around an unusually configured core quintet that includes, in addition to Dharmawan, Stavi and Sirkis, two musicians making their first appearances on the label: Parisian-based Vietnamese guitarist Nguyen Le, whose own discography, including 2005’s Walking On the Tiger’s Tail and 2008’s Fragile Beauty, for Munich’s Act Music label, demonstrates a similar pan-cultural mindset; and Spanish electric bassist Carles Benavent, perhaps best known for his periodic collaborations over the decades with keyboardist Chick Corea, including Rhumba Flamenco (Chick Corea Productions, 2005) and The Ultimate Adventure (Stretch, 2006).

Dharmawan recorded the music for Rumah Batu live off the floor at La Casa Murada with this core quintet, and it doesn’t take long for the sparks to begin flying on the opening “Rintak Rebana,” where guest Sa’at Syah’s sulking (southeast Asian bamboo ring flute), overdubbed later at a Jakarta studio, renders Dharmawan’s cross-cultural leanings crystal clear in the song’s rubato introduction. But as soon as Sirkis’ combination of conventional drums, cajón and hand percussion create a vibrant mood changer into the composition’s central theme, it becomes clear that there are plenty of other touchstones at play, most notably that of Chick Corea, whose percussive approach to piano is but one of Dharmawan’s many influential touchstones.

A knotty yet eminently singable theme, played in unison by Benavent, Lê and Syah, also speaks to Dharmawan’s ability, like Corea, to shape long-form yet memorable melodies, as the piece moves into a solo section driven, first, by Lê’s blend of volume pedal and delay-driven electric guitar. The guitarist sets an atmospheric tone that quickly changes as he moves into a searing passage filled with whammy bar-inflected, light-speed runs that set a tremendously high bar for an album that’s only in its opening few minutes. Benavent follows, his electric bass also heavily processed with a harmonizer and more to create a solo just as electrifying, but in a significantly different way, all the while anchored by Stavi’s upright bass and Sirkis’ cymbal-heavy support. Dharmawan closes the solo section with a masterfully virtuosic display that quickly dissipates overt references to Corea, as the pianist builds to a fever pitch, pushed and pulled by Stavi and Sirkis, who both punctuate and embellish the pianist’s combination of cross-register phrases and dynamic chordal injections. Dharmawan’s use of various motifs to push the solo ever forward renders this truly one of the most exciting piano solos heard this (or, without exaggeration, any) year.

And that’s just the first of Rumah Batu‘s eight tracks, where but one clocks in at six minutes, four come in at well over ten (with two linked together to create a 26-minute centerpiece) and the other three fitting somewhere in-between. The album is truly an improvisational tour de force, both in individual soloing and collective engagement, but Dharmawan often couches this freedom within compositional constructs that render Rumah Batu far more detailed and memorable than merely extemporaneous extrapolations. There are, indeed, passages of complete freedom; Rumah Batu’s two-part title suite finds the group persistently dissolving and re-coalescing from the complete and utterly reckless abandon that seems to run as an underlying undercurrent, to varying degrees, throughout the entire album.

But it’s clear that Dharmawan has planned this nearly 80-minute set with careful consideration and both forethought and afterthought. “Paris Barantai” begins with a playful minute-long solo piano intro that gradually opens into more expansive and expressive terrain. With Sirkis entering, first with delicate cymbal work but then, together with Stavi, building to an early peak bolstered by Benavent’s lithe runs and Dharmawan’s increasingly forceful chordal work, the piece finally reveals its theme: a doubling of Syah’s wordless but phonetic vocals and soaring suling work that feels like a seamless blend of Dharmawan’s home country, Hermeto Pascoal’s Brazil and Benavent’s Spain, leading into a piano solo that, this time, develops with more time and restraint.

Dharmawan marries increasingly frenetic motivic inventions with lines which gradually build to another climax, only to dissolve into another Benavent solo that, again, heavily effected, is layered over a more ambling, pedal-driven groove from Stavi and Sirkis, slowly building in tension and harmonically bolstered by Lê’s wonderfully atmospheric soundscaping. That this very tension releases into a gloriously impressive, change-driven and more decidedly lyrical solo from Lê, imbued with microtonal elements endemic to Far Eastern cultures, represents just one of Rumah Batu’s many unexpected moments where the hairs on the back of the neck come to attention and both arms are suddenly covered in goosebumps. And that’s not the end of it, as Lê’s solo leads to a return of the composition’s theme, again sung by Syah but this time modulating to build the drama even further, as Lê engages with Syah’s’s suling to gradually bring the piece to its gentle conclusion.

Bringing together two basses might be a context fraught with the potential for plenty of clashes, but Stavi and Benavent somehow carve out their own spaces within Dharmawan’s musical contexts that, at times, may suggest Corea and Pascoal but, elsewhere, evoke impressions of Pat Metheny and Lyle Mays—but with the once-prolific writing team’s American Midwestern-isms replaced by the pianist’s Far East complexion.

That said, with each successive album Dharmawan has gradually asserted his manifest compositional voice, even as he marries antiquity with 21st century modernity in his arrangement of the Balinese traditional “Janger,” where Nyoman Windha’s Gamelan Jass Jegog ensemble blends metallophone-driven gamelan and Ade Rudiana’s two-headed kendhang hand drum with Lê’s ethereal atmospherics and Dharmawan’s more delicate pianism. The melody emerges from Syah’s gentle suling, doubled by Stavi, only to be assumed, baton-passing style, by Lê, whose overdriven, whammy bar microtonals seem to perfectly fit the song’s cultural demands. Brief solos from Benavent, Lê, Dharmawan and Stavi build to a similarly short but visceral suling/drums duet between Syah and Sirkis, as “Janger” comes to a close, its serpentine, Dharmawan-arranged theme passed around the group with absolute and stunning precision.

There are so many colors and textures augmenting the sonically, culturally and stylistically far-reaching quintet assembled by Dharmawan for the La Casa Murada sessions that it becomes almost impossible to identify high points on a record that is, by turns, lyrically beautiful, compositionally focused and fiercely free. Rumah Batu would be impressive enough were it only for Dharmawan, Lê, Benavent, Stavi and Sirkis. This quintet is that connected, its chemistry so profoundly deep that the two-part title suite, culled from in-studio improvisations and then seamlessly edited together in post-production, assumes a compositional shape all its own. It’s no hyperbole to suggest that it would be a challenge to find an album that, in its marriage of stratospheric atmospherics and Indonesian colors, also finds its way to places where Dharmawan channels the late Cecil Taylor, even as Lê evokes images of a Jimi Hendrix who didn’t pass away in 1970 at the age of 27.

The additional guest appearances from a variety of Indonesian musicians, recorded at a number of Jakarta-based studios months after the basic tracks were put down at La Casa Murada to flesh out Dharmawan’s vision of joining complex compositions with freewheeling improvisational forays would, in and of themselves, be plenty upon which Rumah Batu builds its multifarious, disparate interfusions. But, even more, it’s an indicator of Dharmawan’s longstanding vision for his music that Nyoman Windha’s Gamelan Jass Jegog’s recordings were made almost eight years ago, and that Smit’s vocals and LaLove (a traditional Sulawese bamboo flute, also heard during the title suite’s second part) were actually prerecorded, sourced from Dharmawan’s huge sound library of ethnic Indonesian music recorded over the past fifteen-plus years. That the pianist is capable of envisioning a confluence like Dewi Gita’s distinctly embellished vocals and his east-meets-west pianism on the climatically diverse “Impenan Iong” in advance, while also being able to take a series of in studio group improvs and orchestrate them with the addition of various Indonesian guest recordings both already made and yet to be created is certainly no mean feat.

As much as it stems from the relentlessly searching mind of Dwiki Dharmawan, Rumah Batu is also an album that could not have been made without the participation, as co-producer and overall enabler, of MoonJune’s Leonardo Pavkovic. Between Dharmawan’s musical vision, the remarkable contributions of his various musical partners and Pavkovic’s ability to see the potential in relationships yet to take place, Rumah Batu is an album that could only have happened through the convergence of these myriad contributions.

Forget about terms like “world music”; ignore the compulsion to use epithets like “fusion.” Rumah Batu is, quite simply, an experience unlike any other as it stretches enveloped and dissolves boundaries. It represents a clear evolution for Dharmawan as one of the most exhilarating, energizing and relentlessly revealing listens of 2018. — AllAboutJazz

Personnel: Dwiki Dharmawan: acoustic piano; Nguyên Lê: electric guitar, soundscapes; Charles Benavent: bass guitar; Yaron Stavi: upright bass; Asaf Sirkis: drums; Sa’at Syah: suling flute and vocals (1-4, 7-8); Ade Rudiana: kendang percussion (1-4, 7-8); Dewi Gita: lead vocal (3); Teuku Hariansya: Rapa’I Acehnese percussions (1); Indra Maulana Keubitbit: Rapa’I Acehnese percussions (1); Nyoman Windha’s Gamelan Jass Jegog: Balinese gamelan & percussions (4); Smit: vocals and LaLove traditional Sulawesi flute (6).

320 kbps | 82 MB | LINKS

Tracks:
01. Don’t You Know That
02. Make It Holy
03. Never Be Afraid of Ghosts
04. I Can’t Stand the Sound
05. People Tell You
06. The Modern World
07. Conversation
08. Flesh & Blood
09. Something’s Really Wrong
10. Till It Ends

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When Rivers Meet is British husband and wife team, Grace Bond (vocals, mandolin, violin, viola) and Aaron Bond (vocals, acoustic guitar); and they have one previously EP to their name. Produced by Chris West, and recorded in his own studio in Spain they wrote eight of the eleven tracks. Of the three covers two have a country heritage, “Suspicious Minds” was a big song for Elvis (Presley) but Waylon Jennings and his wife, Jessi Colter made it into a country song! Most people know of the June Carter Cash – Merle Kilgore song “Ring Of Fire”. Slowed down a mite the couple give it an interesting and semi-dramatic new spin. Roy Villanis’ “Fingertips” makes up the trio, and it sounds like one they could easily have written as Grace lays down a beautiful base. Her excellent handing of the lyrics is aided by West’s fine production. Back to “Suspicious Minds” the couple make a superb fist of it, the harmonies like with Jennings and Colter it contains no little magic (it is after all a timeless piece of writing by Mark James).

One of the best attributes of When The Rivers Meet is the manner in which they have gone about making the record, a great deal of work and research by them as they keep the music, flowing and varied. Highlights include moody ballad “Greed” and with New Orleans horns the jazz, blues warmed (trombone, trumpet, clarinet) “Can’t Pay My Way” (along with “Papered Trust”) bring something different to the table, and though different like with all the songs the fit could not be better. Busy little number “Sweet Dreams Are Coming” produces some of the album’s finest harmonies and with steady rhythm, violin and banjo they sing of good times coming with them at the cross roads of their lives.

Final track “Need To Be” is a sweet ballad, and with Grace singing a tender lead it speaks of where the rivers meet, and with fine arrangements and support from her husband it rounds off the record in a sensitive fashion. Of a haunting feel you have “You Blinded Me”, and with Grace on lead vocals the affair is both tender and artful. As already noted no stone goes unturned in their search to provide the lyrics with the correct arrangements, and with their ability to harmonise the album has many pluses. “Papered Trust” has them doing just that, and with Grace impassioned tones arguably better than at any time on the record they have a winner.

– Maurice Hope, Flyinshoes

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…The two-CD version added the previously unreleased bonus tracks “Senorita XXX” and “Amuleto” to the first disc, while the second CD featured a previously unreleased live concert recorded in 2006 at Dublin’s Olympia Theatre.
While Rodrigo y Gabriela‘s self-titled third album is an utter and complete joy to listen to — actually, it’s more of a riotous celebration — it’s more than difficult to describe exactly what they do. This Mexican guitar duo met while in a heavy metal outfit together and soon found the local scene wanting. Both had roots in flamenco and other folk and rock music; they dropped the electric guitars — and bandmates — to travel light. They headed off to Europe, and ended up busking in Ireland, where their renown spread as instrumentalists…

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…who had to be seen to be believed. They re-recorded an album, toured the U.K. with everyone from David Gray to the Buena Vista Social Club, and then cut a live disc in Dublin and Manchester. That was the story until they hooked up with producer John Leckie. He was able to help them record a studio album that captured the sheer orgiastic excitement of their live gigs, hence this self-titled puppy that debuted in the Irish charts at number one. Uh-huh. It’s true that Ireland’s not a big place, but when, when, have you ever heard of an instrumental recording by a Mexican duo hitting the number one spot in such a place? What’s more, the disc has a buzz on Yank shores as well and with good reason. These nine cuts have nothing to do with nuevo flamenco or any of that new agey stuff: this is smoke and fire music, it burns across genres and traditions like a demented passion spirit that takes no prisoners — and we can thank the gods for heavy metal in this instance at least. This set slashes like a stiletto; it’s fine and precise; it leaves no scars. The dynamic range of this music is startling. It is both ancient and futuristic, carnally frenetic and romantically seductive, artfully — and even spiritually — played yet drenched in the vulgarity of street life. It is the work of two young masters who are still striving to learn and incorporate more without sacrificing beauty, pathos, and tradition.

On “Ixtapa” they utilize rock & roll dynamics to perform a song about the place they decided to flee from Mexico City to before leaving for Europe. Roby Lakatos, the incredible violinist, joins the duo here (he’s a fan and offered his services). Take in “Diablo Rojo,” or “Satori,” where metal chops, flamenco, and tango music become entwined in a musical ménage à trois. There are no gimmicks in this music, it’s exactly what you hear in the immediate present that somehow comes out of the Latin historical past, is infected by rock & roll and forwards the secret histories of both. Informed by this, listen closely to the pair’s covers of Metallica’s “Orion” and, more importantly, the song that would be easiest to dismiss — a reading of Led Zeppelin’s “Stairway to Heaven” that takes the appropriate liberties and makes them both sound fresh and new. In encountering this record, all doubt and cynicism should removed; what is happening here is that the canon for the acoustic, classical guitar is being rewritten. This music is the sound of passion as interpreted by and spoken for in a new rock & roll language. — AMG

320 kbps | 178 MB | LINKS

Released in England in 1992, and reissued straight-up nearly a decade later in America, the 20-track collection Greatest Hits is a very good collection that captures Squeeze at their best, even if it doesn’t contain all of their best moments. This contains pretty much everything on the 1982 collection Singles: 45s and Under every one but one of the 12 tracks, with the sublime “If I Didn’t Love You” down for the count, but supplanted by the terrific “Labelled With Love,” so it’s a draw and it brings it up to speed with selections from 1985’s Cosi Fan Tutti Frutti to 1991’s Play, with a total of eight tracks, including the big hit “Hourglass” and one of its successors, “Footprints” (but not “853-5937,” yet there’s still a good portion of Babylon and On here). This certainly provides a more generous selection of material, which is welcome, but the record doesn’t summarize the group’s great period as Singles: 45s and Under, nor is it quite as infectious. Still, it does have more tracks, and it covers the post 1982 period very well, so it does fulfill its goals very well, and, for listeners looking for a fuller collection, this may very well be the choice especially since it contains almost all of Singles.

320 kbps | 82 MB | LINKS

Tracklist:

01. Get Back
02. Dig A Pony
03. For You Blue
04. The Long And Winding Road
05. Two Of Us
06. I’ve Got A Feeling
07. One After 909
08. Don’t Let Me Down
09. I Me Mine
10. Across The Universe
11. Let It Be

320 kbps | 296 MB | LINKS

Tracks;
1. Intro (Live: Pyramid Arena, Memphis 8 Oct ’94) – Show Presenter 04:52
2 Good Rockin’ Tonight (Live: Pyramid Arena, Memphis 8 Oct ’94) – Sammy Hagar 03:32
3 Baby Let’s Play House (Live: Pyramid Arena, Memphis 8 Oct ’94) – Michael Hutchence, NRBQ 02:53
4 Mystery Train (Live: Pyramid Arena, Memphis 8 Oct ’94) – Dwight Yoakam 04:47
5 Interviews I (Live: Pyramid Arena, Memphis 8 Oct ’94) – Show Presenter 03:18
6 That’s Alright (Live: Pyramid Arena, Memphis 8 Oct ’94) – Kris Kristofferson 02:46
7 One Night (Live: Pyramid Arena, Memphis 8 Oct ’94) – Billy Ray Cyrus, The Jordanaires 03:04
8 Blue Moon (with Scotty Moore & DJ Fontana) (Live: Pyramid Arena, Memphis 8 Oct ’94) – Chris Isaak 01:59
9 How’s The World Treating You? (Live: Pyramid Arena, Memphis 8 Oct ’94) – Chet Atkins 05:50
10 Interviews II (Live: Pyramid Arena, Memphis 8 Oct ’94) – Show Presenter 02:13
11 Don’t Be Cruel (Live: Pyramid Arena, Memphis 8 Oct ’94) – Marty Stuart, The Jordanaires 03:00
12 All Shook Up (Live: Pyramid Arena, Memphis 8 Oct ’94) – Cheap Trick 02:51
13 Leiber And Stoller Interview (Live: Pyramid Arena, Memphis 8 Oct ’94) – Leiber and Stoller 01:06
14 Talk (Live: Pyramid Arena, Memphis 8 Oct ’94) – Announcer 02:11
15 Blue Suede Shoes (with Scotty Moore & DJ Fontana) (Live: Pyramid Arena, Memphis 8 Oct ’94) – Carl Perkins 04:30
16 Rip It Up (Live: Pyramid Arena, Memphis 8 Oct ’94) – Iggy Pop 02:21
17 Memories (Live: Pyramid Arena, Memphis 8 Oct ’94) – Mac Davies 04:40
18 Interviews III (Live: Pyramid Arena, Memphis 8 Oct ’94) – Announcer 01:54
19 Hound Dog (with Scotty Moore & DJ Fontana) (Live: Pyramid Arena, Memphis 8 Oct ’94) – Bryan Adams 03:07
20 Always On My Mind (Live: Pyramid Arena, Memphis 8 Oct ’94) – Sam Moore 04:51
21 Talk/Interviews/Announcer (Live: Pyramid Arena, Memphis 8 Oct ’94) – Announcer 04:12
22 I Want You, I Need You, I Love You (Live: Pyramid Arena, Memphis 8 Oct ’94) – Ann Wilson 04:00
23 Teddy Bear (Live: Pyramid Arena, Memphis 8 Oct ’94) – Tanya Tucker 02:07
24 Talk & Interviews (Live: Pyramid Arena, Memphis 8 Oct ’94) – Announcer 04:25
25 Love Me Tender (Live: Pyramid Arena, Memphis 8 Oct ’94) – Tony Bennett 03:39
26 Young And Beautiful (Live: Pyramid Arena, Memphis 8 Oct ’94) – Aaron Neville 04:40
27 Jailhouse Rock (with Scotty Moore, DJ Fontana, & Carl Perkins) (Live: Pyramid Arena, Memphis 8 Oct ’94) – Michael Bolton 02:55
28 Talk II (Live: Pyramid Arena, Memphis 8 Oct ’94) – Announcer 02:00
29 Kentucky Rain / Suspicious Minds (Live: Pyramid Arena, Memphis 8 Oct ’94) – Eddie Rabbitt, Mavis Staples 04:22
30 C.C. Rider (with James Burton & NRBQ) (Live: Pyramid Arena, Memphis 8 Oct ’94) – Jerry Lee Lewis 05:17
31 Burning Love (Live: Pyramid Arena, Memphis 8 Oct ’94) – Melissa Etheridge 03:43
32 Introductions / Talk (Live: Pyramid Arena, Memphis 8 Oct ’94) – Lisa Marie Presley, Michael Jackson 06:21
33 Amazing Grace (Live: Pyramid Arena, Memphis 8 Oct ’94) – The Legends 06:49
34 Too Much (Live: Pyramid Arena, Memphis 8 Oct ’94) – NRBQ 03:28
35 Lawdy Miss Clawdy (Live: Pyramid Arena, Memphis 8 Oct ’94) – Travis Tritt 02:55
36 Outro (Live: Pyramid Arena, Memphis 8 Oct ’94) – The Legends 01:39