quarta-feira, 30 de março de 2016

The Who - Join Together


The Who - Join Together - 1990

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


sábado, 26 de março de 2016

Colin Cooper Project - From The Vaults

Colin Cooper Project  -  From The Vaults  - 2014

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


quarta-feira, 23 de março de 2016

Miles Kane - ITunes Festival London 2011


Miles Kane - ITunes Festival London 2011 - 2011

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


domingo, 20 de março de 2016

Shawn Phillips - Shawn At The BBC


Shawn Phillips - Shawn At The BBC - 2009

from AMG
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


sábado, 19 de março de 2016

Bonnie Bramlett - Memories (re-re-post)

Bonnie Bramlett - Memories - 1978

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)

+@128 LP-Rip

quinta-feira, 17 de março de 2016

Nigel Olsson's Drum Orchestra And Chorus- Nigel Olsson's Drum Orchestra And Chorus (repost)

Nigel Olsson's Drum Orchestra And Chorus- Nigel Olsson's Drum Orchestra And Chorus - 1971

from Bilboard.com
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

Nigel Olsson - Vocals, Drums, Percussion
B.J. Cole - Guitar [Dobro], Steel Guitar
Mick Grabham - Guitar, Percussion
Caleb Quaye - Guitar, Keyboards
Dee Murray - Bass
Kathi MacDonald - Vocals
Jeff Titmus, Stuart Epps - Percussion
Claudia Linnear, Doris Troy, Kathi McDonald, Liza Strike - Backing Vocal


sábado, 12 de março de 2016

David Cross & Robert Fripp - Starless Starlight

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


terça-feira, 8 de março de 2016

John Cale and Band - Live At Rockpalast


John Cale and Band - Live At Rockpalast - 2010

From Wikipedia
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)


sábado, 5 de março de 2016

The Australian Pink Floyd Show - Exposed In The Light

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


quinta-feira, 3 de março de 2016

David Lewis - Songs of David Lewis (Repost)

David Lewis - Songs of David Lewis - 1970

By Richie Unterberger, from allmusic
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)

+@320 Now with Bonus Tracks!!

terça-feira, 1 de março de 2016

Alexis Korner - The Godfather Of The European Blues-Scene

Alexis Korner - The Godfather Of The European Blues-Scene - 2011 

Without Alexis Korner, there still might have been a British blues scene in the early 1960s, but chances are that it would have been very different from the one that spawned the Rolling Stones, nurtured the early talents of Eric Clapton, and made it possible for figures such as John Mayall to reach an audience. Born of mixed Turkish/Greek/Austrian descent, Korner spent the first decade of his life in France, Switzerland, and North Africa, and arrived in London in May of 1940, just in time for the German blitz, during which Korner discovered American blues. One of the most vivid memories of his teen years was listening to a record of bluesman Jimmy Yancey during a German air raid. "From then on," he recalled in an interview, "all I wanted to do was play the blues."

After the war, Korner started playing piano and then guitar, and in 1947 he tried playing electric blues, but didn't like the sound of the pick-ups that were then in use, and returned to acoustic playing. In 1949, he joined Chris Barber's Jazz Band and in 1952 he became part of the much larger Ken Colyer Jazz Group, which had merged with Barber's band. Among those whom Korner crossed paths with during this era was Cyril Davies, a guitarist and harmonica player. The two found their interests in American blues completely complementary, and in 1954 they began making the rounds of the jazz clubs as an electric blues duo. They started the London Blues and Barrelhouse Club, where, in addition to their own performances, Korner and Davies brought visiting American bluesmen to listen and play. Very soon they were attracting blues enthusiasts from all over England.

Korner and Davies made their first record in 1957, and in early 1962, they formed Blues Incorporated, a "supergroup" (for its time) consisting of the best players on the early-'60s British blues scene. Korner (guitar, vocals), Davies (harmonica, vocals), Ken Scott (piano), and Dick Heckstall-Smith (saxophone) formed the core, with a revolving membership featuring Charlie Watts or Graham Burbridge on drums, Spike Heatley or Jack Bruce on bass, and a rotating coterie of guest vocalists including Long John Baldry, Ronnie Jones, and Art Wood (older brother of Ron Wood). Most London jazz clubs were closed to them, so in March of 1962 they opened their own club, which quickly began attracting large crowds of young enthusiasts, among them Mick Jagger, Keith Richards, and Brian Jones, all of whom participated at some point with the group's performances; others included Ian Stewart, Steve Marriott, Paul Jones, and Manfred Mann. In May of 1962, Blues Incorporated was invited to a regular residency at London's Marquee Club, where the crowds grew even bigger and more enthusiastic. John Mayall later credited Blues Incorporated with giving him the inspiration to form his own Bluesbreakers group.

Record producers began to take notice, and in June of 1962 producer Jack Good arranged to record a live performance by the band. The resulting record, R&B from the Marquee, the first full-length album ever made by a British blues band, was released in November of 1962. The album consisted of largely of American standards, especially Willie Dixon numbers, rounded out with a few originals. At virtually the same time that Blues Incorporated's debut was going into stores, Cyril Davies left the group over Korner's decision to add horns to their sound. Korner soldiered on, but the explosion of British rock in 1963, and the wave of blues-based rock bands that followed, including the Rolling Stones, the Animals, and the Yardbirds undercut any chance he had for commercial success. His more studied brand of blues was left stranded in a commercial backwater — there were still regular gigs and recordings, but no chart hits, and not much recognition. While his one-time acolytes the Rolling Stones and the Cream made the front pages of music magazines all over the world, Korner was relegated to the blues pages of England's music papers, and, though not yet 40, to the role of "elder statesman."

For a time, Korner hosted Five O'Clock Club, a children's television show that introduced a whole new generation of British youth to American blues and jazz. He also wrote about blues for the music papers, and was a detractor of the flashy, psychedelic, and commercialized blues-rock of the late '60s, which he resented for its focus on extended solos and its fixation on Chicago blues. He continued recording as well, cutting a never-completed album with future Led Zeppelin vocalist Robert Plant in early 1968. Korner's performing career in England was limited, but he could always play to large audiences in Europe, especially in Scandinavia, and there were always new Korner records coming out. It was while touring Scandinavia that he first hooked up with vocalist Peter Thorup, who became Korner's collaborator over the next several years in the band New Church. After his dismissal from the Rolling Stones, Brian Jones considered joining New Church; Korner, however, rejected the idea, because he didn't want his new band to be caught up in any controversy. In 1972, he became peripherally involved in the breakup of another band, inheriting the services of Boz Burrell, Mel Collins, and Ian Wallace when they quit King Crimson.

It was during the '70s that Korner had his only major hit, as leader (with Peter Thorup) of the 25-member big-band ensemble CCS. Their version of Led Zeppelin's "Whole Lotta Love" charted in England, and led to a tour and television appearances. In response, Korner released Bootleg Him, a retrospective compiled from tapes in his personal collection, including recordings with Robert Plant, Mick Jagger, and Charlie Watts. Korner played on the "supersession" album B.B. King in London, and cut his own, similar album, Get Off My Cloud, with Keith Richards, Peter Frampton, Nicky Hopkins, and members of Joe Cocker's Grease Band. When Mick Taylor left the Rolling Stones in 1975, Korner was mentioned as a possible replacement, but the spot eventually went to Ron Wood. In 1978, for Korner's 50th birthday, an all-star concert was held featuring Eric Clapton, Paul Jones, Chris Farlowe, and Zoot Money, which was later released as a video.

In 1981, Korner formed the last and greatest "supergroup" of his career, Rocket 88, featuring himself on guitar, Jack Bruce on upright bass, Ian Stewart on piano, and Charlie Watts on drums, backed by trombonists and saxmen, and one or two additional keyboard players. They toured Europe and recorded several gigs, the highlights of which were included on a self-titled album released by Atlantic Records. In contrast to the many blues-rock fusion records with which Korner had been associated, Rocket 88 mixed blues with boogie-woogie jazz, the group's repertory consisting largely of songs written by W. C. Handy and Pete Johnson.

After a well-received appearance at the Cambridge Folk Festival in the early '80s, there were rumors afterward that he intended to become more active musically, but his health was in decline by this time. A chain smoker all of his life, Korner died of lung cancer at the beginning of 1984. 

Ken Colyerfs Skiffle Group
01. Midnight Special (Traditional) 1954
02. Casey Jones (Traditional) 1954
03. K.C. Moan (Blackman) 1954 
04. Take This Hammer (Traditional) 1955
05. Down By The Riverside (Traditional) 1955
06. Go Down Old Hannah (Colyer) 1955
07. Streamline Train (Nelson) 1955

Alexis Korner Skiffle Group
08. Roundhouse Stomp (Korner/Davies) 1957
09. I Ainft Gonna Worry No More (Estes) 1957
10. Sail On (Korner/Davies) 1957
11. Easy Rider (Ledbetter) 1957
12. Kid Man (Merriweather) 1957
13. Country Jail (Merriweather) 1957
14. National Defence Blues (Ledbetter) (Voc. Cyril Davies) 1957
15. Death Letter (Traditional) 1957

Alexis Kornerfs Breakdown Gruop
16. Skip To My Lou (Traditional) 1957
17. Boll Weevil (Traditional) 1957

Beryl Brydenfs Backroom Skiffle
18. He Knows How To Rock Me (Traditional) 1957
19. This Train (Tharpe) 1957