Joe Cocker – Live (1989)

FrontCover1Joe Cocker Live is a live album by Joe Cocker, released in 1990 (see 1990 in music). It was recorded live 5 October 1989 at Memorial Auditorium in Lowell, Massachusetts with the exception of the last two tracks which were recorded in the studio. The album was re-released in 2011 under the title Joe Cocker’s Greatest Hits Live. (by wikipedia)

It’s no “Mad Dogs & Englishmen,” but this 1991 live release is a more than worthy companion to that seminal recording; whereas “Mad Dogs” was as much a showcase for the brilliant ensemble he was touring with at the time, “Live” is all Cocker, containing several of his biggest hits as well as two new songs recorded shortly after his 1990 tour.

Those who enjoyed the soulful, organic sound of “Mad Dogs” may be put off by the slick, bombastic ”80s’ sound of “Live,” but it’s very easy to overlook since Cocker is the star of the show here: his voice is at his rough, gritty, passionate best, and he is absolutely electric on every performance. Few performers invested themselves in selling a song more than Cocker, and the performances of gems like “When the Night Comes,” “You Are So Beautiful,” “Unchain My Heart,” and of course, “With a Little Help from My Friends,” are perfect examples of that. Uptempo classics like “Feelin’ Alright,” “Hitchcock Railway,” “You Can Leave Your Hat On,” and “The Letter” come alive in the concert setting, and it’s impossible not to jump and down with delight on the closing rave-up of “High Time We Went,” one of the greatest live performances I’ve ever heard and a pure adrenaline rush.

“Live” is an excellent lp of Cocker on top of his game and a wonderful addition to his catalog. (by Anthony Nastion )


Joe Cocker (vocals)
Deric Dyer (saxophone, percussion)
Gary Buho Gazaway (trumpet)
Phil Grande (guitar)
Steve Holley (drums)
Wayne Jackson (trumpet)
Bashiri Johnson (percussion)
Jeff Levine (keyboards)
Andrew Love (saxophone)
Keith Mack (guitar)
Keni Richards (drums)
Earl Slick (guitar)
Chris Stainton (keyboards)
T.M. Stevens (bass, background vocals)
Crystal Taliefero (percussion, background vocals)
background vocals:
Tawatha Agee – Doreen Chanter – Maxine Green – Vaneese Thomas – Fonzi Thornton


01. Feelin’ Alright (Mason) 4.43
02. Shelter Me (Di Stefano) 4.26
03. Hitchcock Railway (Dunn/McCashen) 3.58
04. Up Where We Belong (Nitzsche/Sainte-Marie/Jennings) 4.35
05. Guilty (Newman) 2.40
06. You Can Leave Your Hat On (Newman) 4.20
07. When the Night Comes (Adams/Vallance/Warren) 4.52
08. Unchain My Heart (Sharp, Jr.) 5.50
09. With A Little Help from My Friends (Lennon/McCartney) 9.13
10. You Are So Beautiful (Preston/Fisher) 4.23
11. The Letter (Thompson) 4.31
12. She Came in Through The Bathroom Window (McCartney/Lennon) 2.30
13. High Time We Went (Cocker/Stainton) 7.58
studio bonus tracks:
14. What Are You Doing With A Fool Like Me (Warren) 4.51
15. Living In The Promiseland (Jones) 3.55






Bonnie Raitt – Nick Of Time (1989)

FrontCover1Nick of Time is the 10th album by the American singer Bonnie Raitt, released on March 21, 1989.

Nick of Time topped the Billboard 200 chart, selling five million copies, and won three Grammy Awards, including Album of the Year, which was presented to Raitt & producer Don Was. In 2003, the album was ranked number 230 on Rolling Stone magazine’s list of the 500 greatest albums of all time. The album was also included in the book 1001 Albums You Must Hear Before You Die.

Pior to Nick of Time, Bonnie Raitt had been a reliable cult artist, delivering a string of solid records that were moderate successes and usually musically satisfying. From her 1971 debut through 1982’s Green Light, she had a solid streak, but 1986’s Nine Lives snapped it, falling far short of her usual potential. Therefore, it shouldn’t have been a surprise when Raitt decided to craft its follow-up as a major comeback, collaborating with producer Don Was on Nick of Time. At the time, the pairing seemed a little odd, since he was primarily known for the weird hipster funk of Was (Not Was), but the match turned out to be inspired. Was used Raitt’s classic early-’70s records as a blueprint, choosing to update the sound with a smooth, professional production and a batch of excellent contemporary songs.


In this context, Raitt flourishes; she never rocks too hard, but there is grit to her singing and playing, even when the surfaces are clean and inviting. And while she only has two original songs here, Nick of Time plays like autobiography, which is a testament to the power of the songs, performances, and productions. It was a great comeback album that made for a great story, but the record never would have been a blockbuster success if it wasn’t for the music, which is among the finest Raitt ever made. She must have realized this, since Nick of Time served as the blueprint for the majority of her ’90s albums. (by Stephen Thomas Erlewine)


Arthur Adams (guitar on o3.)
Sweet Pea Atkinson (background vocals on 03., 08., 09. + 11.)
Bill Bergman (Saxophone on 03.)
John Berry, Jr. (trumpet on 03. + 09.)
Sir Harry Bowens (background vocals on 01., 03., 08., 09. + 11.)
Tony Braunagel (percussion on 02., + 05., drums on 04.)
Fran Christina (drums on 11.)
David Crosby (background vocals on 04.)
Paulinho Da Costa (Percussion on 01., 04. + 07.)
Chuck Domanico (bass on 4. + 06.)
Dennis Farias (trumpet on 03. + 09.)
Ricky Fataar (drums on 01. – 03., 05. + 07. – 09, Percussion on 01.)
Marty Grebb (Saxophone on 03. + 09.)’
Herbie Hancock (piano on 10.)
Heart Attack Horns (Horns on 03. + 09.)
Preston Hubbard (bass on 11.)
James “Hutch” Hutchinson (bass on 01. – 03., 05., 07. – 09.)
John Jorgenson (guitar on 08.)
Michael Landau (guitar on 01. + 03.)
David Lasley background vocals on 07.)
Jay Dee Maness (pedal steel guitar on 08.)
Arnold McCuller (background vocals on 01., 07., 08. + 11.)
Larry John McNally (background vocals on 05.)
Graham Nash (Background vocals on 04.)
Bonnie Raitt (vocals, piano on 01. + 09., slide-guitar on 02. – 04., guitar, on 05., 06. +11.)
Michael Ruff (Keyboards on 04.)
Johnny Lee Schell (guitar on 02., 03. + 09, vocals on 02.)
Greg Smith (Saxophone on 03. + 09.)
Swamp Dogg (piano on 05.)
Scott Thurston (keyboards on 03. + 07.)
Don Was (keyboards on 08.)
Kim Wilson (harmonica on 05. + 11.)

01. Nick Of Time (Raitt) 3.52
02. Thing Called Love (Hiatt) 3.52
03. Love Letter (Hayes) 4.04
04. Cry On My Shoulder (Ruff) 3.44
05. Real Man (Williams) 4.27
06. Nobody’s Girl (McNally) 3.15
. Have A Heart (Hayes) 4.50
08. Too Soon To Tell (Bourke/Reid) 3.45
09. I Will Not Be Denied (Williams) 4.55
10. I Ain’t Gonna Let You Break My Heart Again (D.Lasley/J.Lasley) 2.238
11. The Road’s My Middle Name (Raitt) 3.31CD1*





Angelo Badalamenti – Music From Twin Peaks (OST) (1990)

FrontCover1The music of the American television series Twin Peaks, and its 1992 sequel film Twin Peaks: Fire Walk with Me, was composed by Angelo Badalamenti. Twin Peaks’ co-creator David Lynch wrote lyrics for five songs used throughout the series—including “Falling”, “The Nightingale”, “Into the Night”, “Just You” and “Sycamore Trees”—and three songs featured in Twin Peaks: Fire Walk with Me, including “A Real Indication”, “Questions in a World of Blue” and “The Black Dog Runs at Night.” Julee Cruise, who made cameo appearances in both the series and film, provided vocals for four of Lynch’s and Badalamenti’s collaborations, and jazz vocalist Jimmy Scott performed on “Sycamore Trees.” Three of the series actors, James Marshall, Lara Flynn Boyle and Sheryl Lee, provided vocals for “Just You.”

Badalamenti’s compositions have been released on three soundtrack albums: Soundtrack from Twin Peaks (1990), Twin Peaks: Fire Walk with Me (1992) and Twin Peaks Music: Season Two Music and More (2007). Starting in March 2011, David Lynch began distributing The Twin Peaks Archive, a collection of previously unreleased and unused songs on his official web site for digital download. In total, 215 songs were made available for download.


Twin Peaks’ music has received widespread critical acclaim. The Guardian has said that the original soundtrack “still marks the summit of TV Soundtracks” and Allmusic reviewer Stephen Eddins has referred to it as “a model of film music ideally matched to the images and actions it underscores.” The main theme song to Twin Peaks, composed by Badalamenti, also received a Grammy Award for Best Pop Instrumental Performance at the 1991 Grammy Awards.

All the songs from the album were written by Angelo Badalamenti, who received the 1991 Grammy Award for Best Pop Instrumental Performance for “Twin Peaks Theme”. Most of the songs are instrumental pieces, but three songs that contain lyrics were written by David Lynch. These three songs are available on the singer Julee Cruise’s album Floating into the Night. Cruise’s album also contains songs that were used in the series, but are not included in any soundtrack release. (by wikipedia)

Composer Angelo Badalamenti (Cousins) set the tone for David Lynch’s bizarre television soap with a haunting theme created from electric piano, synthetic strings, and the twangiest guitar this side of Duane Eddy. The love theme, appropriately enough, sounds like a funeral march. (The series’ central character was found dead at the beginning of the first episode.) The rest of the music, instantly recognizable to anyone who saw even one episode of the series, borders on fever-dream jazz. Lynch favorite Julee Cruise sings the only three vocal songs. The music from Twin Peaks is dark, cloying, and obsessive — and one of the best scores ever written for television. (by Brian Mansfield)


And yes … I´m a real fan of “Twin Peaks” … till today and this soundtrack is one of the finest soundtracks ever !

Listen to the Magic “Twin Peaks Theme 2 or to “Dance Of The Dream Man” and you´ll know, what I mean !


Angelo Badalamenti (piano, synthesizer)
Vinnie Bell (guitar)
Julee Cruise (vocals on 04, 07. + 11.)
Eddie Daniels (flute, clarinet)
Eddie Dixon (guitar)
Kinny Landrum (Synthesizer)
Al Regni (saxophone, clarinet, flute)
Grady Tate (drums)


01. Twin Peaks Theme (Instrumental) 5.10
02. Laura Palmer’s Theme (Instrumental) 4.52
03. Audrey’s Dance (Instrumental) 5.17
04. The Nightingale (vocal by Julee Cruise) 4.56
05. Freshly Squeezed (Instrumental) 3.48
06. The Bookhouse Boys (Instrumental) 3.29
07. Into The Night (vocal by Julee Cruise) 4.44
08. Night Life In Twin Peaks (Instrumental) 3.27
09. Dance Of The Dream Man (Instrumental) 3.41
10. Love Theme From Twin Peaks (Instrumental) 5.04
11. Falling (vocal by Julee Cruise) 5.21

All music composed by Angelo Badalamenti
All lyrics by David Lynch




AngeloAngelo Badalamenti


Gipsy Kings – Mosaique (1989)

FrontCover1Mosaïque is the fourth studio album by the Gipsy Kings, released in 1989 in Europe and Canada. The main difference between both versions is the replacement of the instrumental “Bossamba” on the Europe release for “Niña Morena” on the North American release. The song order also changes on both albums and songs “Caminando Por la Calle”, “Trista Pena” and “Vamos a Bailar” are slightly different versions.
Note that “Viento Del Arena” is a studio album release from the song appearing in Luna de Fuego. It was sung as Turkish by Volkan Konak, Turkish folk singer as “Lilalı Kız” (“Girl with lilac”) at his 3rd album, “Gelir Misin Benimle” (“Do you come with me?”) in 1994. (by wikipedia)

The second major album for the Gipsy Kings on Elektra, Mosaique makes use of a mild range of outside genres and instrumentation that are added slyly to the basic flamenco mix set up by the ensemble. Most notably, modern drum kits and synthesizers make their presence thoroughly known throughout the course of the album. Some rai fusion slips into “Viento del Arena” in a sideways manner, becoming the focus of the sound in turn with the backdrop for the more traditional guitar work. The title track introduces some jazzy guitar riffs mixed in with the proper flamenco palmas to form an exquisite rhythmic structure. The live “Vamos a Bailar” incorporates a Cuban flavor, and the first appearance of the outstanding “Volaré” cover here mixes a tiny bit of Italian song into a huge amount of flamenco power.


The rest of the tracks largely follow a more standard set of the Kings’ brand of flamenco, which is more than formidable on its own. The star of all the tracks, regardless of style, is the duo of Tonino Baliardo on guitar (often outdoing even his own outstanding father Manitas de Plata in his abilities) and Nicolás Reyes on lead vocals. It’s Reyes who really gives the Kings their signature sound, with just enough gruffness in his voice to make a unique sound and enough power to match with any top-league flamenco singer. The incorporation of a number of excellent musicians only sweetens the pot. This is one of the most highly recommended Gipsy Kings albums for anyone coming fresh to the sounds of the group and a fine pick for complete newcomers to the genre as well. (by Adam Greenberg)

And here´s the European Version ….


Diego Baliardo (guitar)
Paco Baliardo (guitar)
Tonino Baliardo (guitar)
Charles Benarroch (percussion)
Chico Bouchikhi (guitar)
Négrito Trasante-Crocco (drums, percussion)
Dominique Droin (synthesizer, piano)
Gérard Prevost (bass)
Andre Reyes (vocals, guitar)
Nicolas Reyes (vocals, guitar)
Amaury Blanchard (drums on 06.)
François Debricon (saxophone on 01.)
Philippe Desserpris (guitar on 06.)
Guillermo Fellove (trumpet on 12.)
Claude Maisonneuve (oboe on 08.)
Jean Musy (synthesizer on 07.)
Dominique Perrier (piano on 12.)
Bobby Rangell (flute on 11.)
Claude Salmieri (drums on 03., 04., 09.)

01. Caminando Por La Calle (Blades) 4.17
02. Viento Del Arena (Los Reyes) 5.27
03. Mosaique (Gipsy Kings) 3.40
04. El Camino (Gipsy Kings) 5.03
05. Passion (Gipsy Kings) 3.01
06. Soy (Chirino) 3.10
07. Volare (Modugno/Migliacci) 3.38
08. Trista Pena (Gipsy Kings) 4.29
09. Liberte (Gipsy Kings) 4.01
10. Serana (Gipsy Kings) 4.19
11. Bossamba (Gipsy Kings) 3.18
12. Vamos A Bailar (live) (Gipsy Kings)  5.09



Alternate frontcover

Balázs Szokolay – Lyric Pieces (Edvard Grieg) (1990)

FrontCover1Lyric Pieces (Norwegian: Lyriske stykker) is a collection of 66 short pieces for solo piano written by Edvard Grieg. They were published in 10 volumes, from 1867 (Op. 12) to 1901 (Op. 71). The collection includes several of his best known pieces, such as Wedding Day at Troldhaugen (Bryllupsdag på Troldhaugen), To Spring (Til våren), March of the Trolls (Trolltog), and Butterfly (Sommerfugl).

The theme of the first piece in the set, Arietta, was one of the composer’s favorite melodies. He used it to complete the cycle in his very last lyric piece, Remembrances (Efterklang) — this time as a waltz. (by wikipedia)

This is a very pleasing assortment from among Grieg’s 66 short Lyric Pieces, written between 1866-1891. There were 6-8 pieces in each of the 10 “books”, and this collection of 30 pieces contains selections from 9 of the books (there is no selection from Book 62 for TitlePagesome reason).

Each and every one presented here is a pure delight, and represent Grieg’s life-long desire to create a true Norwegian music genre derived from the folk music, dances, stories and natural environment of Norway. Every piece is evocative and the entire disc is delightful, thanks to the colorful and imaginative piano of Balazs Szokolay.

These pieces were recorded in 1989 at the Italian Institute in Budapest, and first released in Germany in 1990  The DDD recording quality was excellent and stands the test of time.
Since his first international appearance in 1979 with Peter Nagy at the Salzburg Interforum, pianist Szokolay has been a successful contender who has won many important awards and who maintains a steady following. His piano is energetic and expressive, and he is featured in over 90 albums on the Naxos label. As he is not yet 60 years old, we can hope for more from this productive and interesting artist. (by Philly Galon)

Balázs Szokolay

Balázs Szokolay
Balázs Szokolay (piano)


01. Arietta, Op. 12, No. 1  1.09
02. Halling (Norwegian Dance), Op. 38, No. 4  0.46
03. Melodie, Op. 38, No. 3  1,40
04. Melodie, Op. 47, No. 3  2.39
05. Halling (Norwegian Dance), Op. 47, No. 4  1.12
06. Fra Ungdomsdagene (From Years Of Youth). Op. 65, No. 1  4.27
07. Canon, Op. 38, No. 8  4,31
08. Småtrold (Puck), Op. 71, No. 3  1.42
09. Walzer, Op. 38, No. 7  1.01
10. Matrosernes Opsang (Sailor’s Song), Op. 68, No. 1  1.04
11. Springtanz, Op. 38, No. 5  1.20
12. Halling (Norwegian Dance), Op. 71, No. 5  2.43
13. Volksweise (Folk-Song), Op. 38, No. 2  1.33
14. Elegie, Op. 38, No. 6  2.10
15. Gangar (Norwegian March), Op. 54, No. 2  2.42
16. De Var Engang (Once Upon A Time), Op. 71, No. 1  3.28
17. Einsamer Wanderer (Solitary Wanderer), Op. 43, No. 2  1.36
18. Elverdans (Elves’ Dance), Op. 12, No. 4  0.42
19. Vals, Op. 12, No. 2  1.40
20. Folkewise (Folk-Song), Op. 12, No. 5  1.11
21. Skovstilhed (Peace Of The Wood), Op. 71, No. 4  4.58
22. Stambogsblad (Album-Leaf), Op.12, No. 7  1.11
23. Valse-Impromptu, Op. 47, No. 1  2.59
24. Forbi (Gone), Op. 71, No. 6  2.10
25. Sie Tanzt (She Dances), Op. 57, No. 5  2.43
26. Albumsblatt (Album-Leaf), Op. 47, No. 2  2.58
27. Sommeraften (Summer Evening), Op. 71, No. 2  2.24
28. For Dine Födder (At Your Feet), Op. 68, No. 3  2.22
29. Valse Mélancolique, Op. 68, No. 6  3.24
30. Efterklang (Remembrance) , Op. 71, No. 7 1.45

Music written by Edvard Grieg
Edvard Grieg
Edvard Grieg

Melanie Safka – BBC On Air (1997)

FrontCover1Ten of the 18 songs on this CD were recorded live in 1975, another four date from 1969, and the last four are from 1989. Thus, we get a glimpse of Melanie in performance across a period of 20 years, doing a variety of material ranging from her own originals (including familiar songs such as “Beautiful People” and “Baby Guitar”) to covers of Phil Ochs’s “Chords of Fame,” Alan J. Lerner and Frederick Loewe’s “Almost Like Being in Love” (from Brigadoon), and the Rolling Stones’ “Ruby Tuesday.” Her rendition of “Almost Like Being in Love” is a folk-blues style interpretation, and one of the most downbeat and interesting (if not necessarily successful) takes on the song ever done. There is a certain sameness to much of the rest of the material that works against too many people other than hardcore fans appreciating this disc, although some numbers, such as “The Nickel Song” and “Beautiful People,” always work. The version of “Ruby Tuesday,” like the other three 1989 vintage songs here, features a full band with synthesizers and drum machines, and is a bit jarring, though Melanie still throws herself impressively into the classic Rolling Stones song. (by Bruce Eder)


Featuring a series of live recordings covering a period of 20 years this CD provides excellent sound and a unique record of Melanie’s live and session work for the BBC. The first 10 tracks feature a concert recorded for the BBC Radio One In Concert series in 1975. Track 5 is incorrectly listed and is actually a song called Here We Go Again. During this concert Melanie is accompanied by Barry Lee Harwood on guitar and mandolin. Barry played on Sunsets and Other Beginnings and As I See It Now but fails to be credited on the cover of the CD.

Tracks 11 to 14 are rare session recordings from 1969, just Melanie and her guitar. Visit My Dreams is perhaps better known as Deep Down Low from Melanie’s second album.
While all tracks have so far featured acoustic versions of songs, the last four feature Melanie with a full band. The tracks where recorded during a visit to the UK to promote Cowabonga. The musicians that accompany Melanie also accompanied her during two concerts at the Shaw Theatre in London in 1989. (by

And I confess … I´m a real fan of Melanie Safka … what  wonderful voice, what sensitive music and lyrics …

But … her 1989 recordings were not really good (especially tzhe Version of “Goodybye Ruby Tuesday is more than lousy …) … but …

… don’t miss “Rock An’ Roll Heart” — a song every baby boomer can relate to.

BBC Radio One In Concert, November 1975:
Barry Lee Hardwood (guitar, mandolin)
Melanie (vocals, guitar)

BBC Session, September 1969:
Melanie Safka (vocals, guitar)

BBC Session, September 89:
Kay Langford (vocals)
Justin Myers (bass)
Neil Palmer (keyboards)
Alan Ross (guitar, background vocals)
Melanie Safka (vocals, guitar)
Chris Staines (background vocals)
Pete Thompson (drums)



BBC Radio One In Concert, November 1975:

01. Autumn Lady (Safka) 4.13
02. Chords Of Fame (Ochs) 5.14
03. Almost Like Being In Love (Lerner/Loewe) 5.09
04. Stoneground Words (Safka) 5.09
05. Here I Am (Safka) 2.37
06. Any Guy (Safka) 2.560
07. Do You Believe (Safka) 6.08
08. Leftover Wine (Safka) 5.44
09. The Nickel Song (Safka) 4.03
10. Beautiful People (Safka) 5.31

BBC Session, September 1969:
11. Visit My Dreams (Deep Down Low) (Safka) 3.51
12. Up Town And Down (Safka) 2.51
13. Baby Guitar (Safka) 2.49
14. Tuning My Guitar (Safka) 4.16

BBC Session, September 89:
15. Ruby Tuesday (Jagger/Richards) 3.50
16. Rock ‘n’ Roll Heart (Safka) 5.17
17. Racing Heart (Safka) 5.17
18. Apathy (Safka/Schekeryk) 3.50


Bruce Cockburn – Live (1990)

frontcover1Recorded in Toronto in the summer of 1989, Live is a good collection of Bruce Cockburn’s music, presented in a stripped-down setting. Fronting a tight three-piece unit, which sounds bigger thanks to Fergus Marsh’s stick, Michael Sloski’s eloquent drumming, and his own fingerstyle guitar work, Cockburn delivers a nice overview of his career, dating back as far as the record’s opener, “Silver Wheels,” from 1976. Amid his usual elements of spirituality and state-of-the-world messages, there’s also a lightness and even a sense of humor that is rarely, if ever, seen in his studio work. His choice to close with “Always Look on the Bright Side of Life” from the crucifixion scene in Monty Python’s Life of Brian is both funny and inspired, while “Rumours of Glory,” with its playful harmonica, gains a joyful bounce, and his lone Top 40 U.S. hit, “Wondering Where the Lions Are,” becomes a crowd-pleasing singalong. Elsewhere Cockburn gives a new look to old tunes, whether it’s solo performances of “After the Rain” and “Call It Democracy,” the stark power of the bodhran, vocal rendition of “Stolen Land,” or the more palatable, jumping blues treatment of “Maybe the Poet.” Even though there are no songs, with the exception of “Always Look on the Bright Side of Life,” that are not available elsewhere, there’s brucecockburn01enough personality in these live versions to recommend the record on its own merit, and not just as a souvenir of a successful tour. (by Brett Hartenbach)
 Over 76 minutes of Music – featuring songs dating from 1976’s In the Falling Dark to 1987’s Waiting for a Miracle albums, “Bruce Cockburn’s Live” features a cross-section of the artist’s best material from the era. Originally released in 1990, “Live” features a stunning version of Cockburn’s Top 40 hit “Wondering Where the Lions Are,” along with 14 other versions of Cockburn classics such as “Call It Democracy,” “Rumours of Glory,” and “Silver Wheels,” plus a bonus cut of the rock radio and MTV hit “If I Had a Rocket Launcher.” There’s also a lightness and sense of humor on “Live” that is rarely, if ever, seen in Bruce Cockburn’s studio work – he even closes the set with a version of “Always Look on the Bright Side of Life” from Monty Python’s Life of Brian. “Live” captures an exceptional performer at the peak of his powers.
This Album was especially produced for the German record market … and so all the lyrics were translated in German.
Recorded live at Ontario Place, Toronto, August 14th and 15th, 1989
Bruce Cockburn (guitar, vocals, bodhràn, harmonica, chimes
Fergus Jemison Marsh (chapman stick, Background vocals)
Michael Sloski (drums, percussion, background vocals)


01. Silver Wheels (Cockburn)  6.11
02. World Of Wonders (Cockburn) 4.39
03. Rumours Of Glory (Cockburn) 6.03
04. See How I Miss You (Cockburn) 4.00
05. After The Rain (Cockburn) 3.58
06. Call It Democracy (Cockburn) 3.37
07. Tibetan Side Of Town (Cockburn) 7.47
08. Wondering Where The Lions Are (Cockburn) 5.19
09. Nicaragua (Cockburn) 5.04
10. Broken Wheel (Cockburn) 5.01
11. Stolen Land (Cockburn/Marsh) 3.14
12. To Raise The Morning Star (Cockburn/Marsh) 7.47
13. Maybe The Poet (Cockburn/Marsh/Goldsmith/Crawford) 4.17
14. Always Look At The Bright Side Of Life (Idle) 2.51