I´ll fly to Amsterdam and will stay a few days in this nice city.
Maybe I´ll find some rarities for this blog … who knows ?
I´ll be back next saturday … and I wish all readers of this blog a real good time …
I´ll fly to Amsterdam and will stay a few days in this nice city.
Maybe I´ll find some rarities for this blog … who knows ?
I´ll be back next saturday … and I wish all readers of this blog a real good time …
The four orchestral suites (called ouvertures by their author), BWV 1066–1069 are four suites by Johann Sebastian Bach. The name ouverture refers only in part to the opening movement in the style of the French overture, in which a majestic opening section in relatively slow dotted-note rhythm in duple meter is followed by a fast fugal section, then rounded off with a short recapitulation of the opening music. More broadly, the term was used in Baroque Germany for a suite of dance-pieces in French Baroque style preceded by such an ouverture. This genre was extremely popular in Germany during Bach’s day, and he showed far less interest in it than was usual: Robin Stowell writes that “Telemann’s 135 surviving examples [represent] only a fraction of those he is known to have written”; Christoph Graupner left 85; and Johann Friedrich Fasch left almost 100. Bach did write several other ouverture (suites) for solo instruments, notably the Cello Suite no. 5, BWV 1011, which also exists in the autograph Lute Suite in G minor, BWV 995, the Keyboard Partita no. 4 in D, BWV 828, and the Overture in the French style, BWV 831 for keyboard. The two keyboard works are among the few Bach published, and he prepared the lute suite for a “Monsieur Schouster,” presumably for a fee, so all three may attest to the form’s popularity.
Scholars believe that Bach did not conceive of the four orchestral suites as a set (in the way he conceived of the Brandenburg Concertos), since the sources are various, as detailed below.
The Bach-Werke-Verzeichnis catalogue includes a fifth suite, BWV 1070 in G minor. However, this work is highly unlikely to have been composed by J. S. Bach (by wikipedia)
And here are two of the four suites, performed by the Academy Of St. Martin In The Fields:
The Academy of St Martin in the Fields (ASMF) is an English chamber orchestra, based in London.
John Churchill, then Master of Music at the London church of St Martin-in-the-Fields, and Neville Marriner (later Sir Neville) founded the orchestra as “The Academy of St. Martin-in-the-Fields”, a small, conductorless string group. The ASMF gave its first concert on 13 November 1959, in the church after which it was named. In 1988, the orchestra dropped the hyphens from its full name.
The initial performances as a string orchestra at St Martin-in-the-Fields played a key role in the revival of baroque performances in England. The orchestra has since expanded to include winds. It remains flexible in size, changing its make-up to suit its repertoire, which ranges from the Baroque to contemporary works.
Neville Marriner continued to perform obbligatos and concertino solos with the orchestra until 1969, and led the orchestra on recordings until the autumn of 1970, when he switched to conducting from the podium from directing the orchestra from the leader’s desk. Marriner held the title of Life President until his death in 2016. On recordings, besides Marriner, Iona Brown and Kenneth Sillito have led the orchestra, among others.
In1993 the Academy of St Martin in the Fields became the first – and to date, only – orchestra to be awarded The Queen’s Award for Export Achievement.
Since 2000, Murray Perahia has held the title of Principal Guest Conductor of the orchestra, and has made commercial recordings with the orchestra as pianist and conductor.
In May 2011, the orchestra announced the appointment of Joshua Bell as its new Music Director, the second person to hold the title in the orchestra’s history, effective September 2011, with an initial contract of 3 years. In July 2017, the ASMF announced the extension of Bell’s contract through 2020, an additional three years from his previous contract extension.
Both suites were conducted by Neville Marriner:
Sir Neville Marriner and The Academy of St Martin-in-the-Fields (or “Marriner and the Academy” as they became affectionately known) led the way in the stereo recording of lighter, more transparent and, quite simply, better played performances of Baroque and, later, Classical repertoire. This happy combination of circumstances provided a whole generation of music lovers with recordings which to this day have stood the test of time. It is hard to imagine a record collection anywhere in the world unblessed by Marriner and his Academy.
Neville himself was the ideal recording artist, first leading from the violin, and later when the group enlarged, as conductor. He had himself “sprung up though the orchestra as one of the team” but remained always unpretentious and self-deprecating. But this was allied to a drive and passion that ensured standards were maintained at the highest level throughout, particularly in the recording studio. The result was that most professional orchestral musicians aspired to be in his orchestra. (by deccaclassics.com)
Listen … and discover and enjoy the brilliant musif of Johann Sebastian Bach !
Academy Of St Martin-in-the-Fields coducted by Neville Marriner
Barry Davis (oboe)
Edward Hobart (trumpet)
William Houghton (trumpet)
Celia Nicklin (oboe)
Michael Laird (trumpet)
Nicholas Kraemer (harpischord)
Susan Leadbetter (oboe)
Graham Sheen (bassoon)
Suite No. 1 in C major, BWV 1066:
01. Ouverture 6.20
02. II Courante 2.06
03. III Gavotte I & II 2:57
04. IV Forlane 1.59
05. V Menuet I & II 2.35
06. VI Bourrée I & II 2.33
07. VII Passepied I & II 2.21
Suite No. 4 in D major, BWV 1069:
08. Ouvertüre 8.59
09. Bourrée I & II 3.08
20 III Gavotte 2.12
21 IV Menuet I & II 3.06
22. Réjouissance 3.08
Musi composed by Johann Sebastian Bach
Sir Neville Marriner (15 April 1924 – 2 October 2016)
Pentangle (or The Pentangle) are a British folk-jazz band with an eclectic mix of folk, jazz, blues and folk rock influences. The original band were active in the late 1960s and early 1970s, and a later version have been active since the early 1980s. The original line-up, which was unchanged throughout the band’s first incarnation (1967–1973), was: Jacqui McShee, vocals; John Renbourn, vocals and guitar; Bert Jansch, vocals and guitar; Danny Thompson, double bass; and Terry Cox, drums.
The name Pentangle was chosen to represent the five members of the band, and is also the device on Sir Gawain’s shield in the Middle English poem Sir Gawain and the Green Knight which held a fascination for Renbourn.
In 2007, the original members of the band were reunited to receive a Lifetime Achievement award at the BBC Radio 2 Folk Awards and to record a short concert that was broadcast on BBC radio. In June 2008, the band, comprising all five original members, embarked on a twelve-date UK tour. (by wikipedia)
And here´s another item from my bootleg collection .. .and pretty good BBC concert … full of romantic tunes form the past !
Without any doubts, Pentangle was one of the finest britisch bands from the British Folk Scene in the early Seventies ..
Listen to the BBC concdert and you´ll know what I mean.
Terry Cox (drums, percussion, vocals)
Bert Jansch (vocals, guitar)
Jacqui McShee (vocals)
John Renbourn (vocals, guitar)
Danny Thompson (bass)
01. Train Song (Traditional) 4.04
02. Hunting Song (Traditional) 7.37
03. Light Flight (Thompson/Jansch/Renbourn/Cox/McShee) 3.25
04. Blues In Time (Thompson/Jansch/Renbourn/Cox) 4.25
05. House Carpenter (Traditional) 6.02
06. I`ve Got A Feeling (Thompson/Jansch/Renbourn/Cox/McShee) 4.16
Southern rock unit the Outlaws were formed in Tampa, Florida, in 1972 by singers/guitarists Hughie Thomasson and Henry Paul, bassist Frank O’Keefe, and drummer Monte Yoho. With the 1973 addition of guitarist Billy Jones, the lineup was complete, and after a year of intense touring the band became the first act signed to Arista under Clive Davis; the Outlaws’ self-titled 1975 album spotlighted their Eagles-influenced harmonies and Allman Brothers-like guitar attack, yielding the Top 40 hit “There Goes Another Love Song.”
In the wake of 1977’s Bill Szymczyk-produced Hurry Sundown, both Paul and O’Keefe exited, with guitarist Freddie Salem, bassist Harvey Dalton Arnold, and second drummer David Dix signing on for the 1978 concert set Bring It Back Alive and the studio effort Playin’ to Win. The lineup shuffles continued when Arnold announced his departure following 1979’s In the Eye of the Storm, with bassist Rick Cua recruited for the next year’s Ghost Riders in the Sky, which netted a Top 40 entry with its title track, a rendition of the Vaughn Monroe favorite. Yoho left to rejoin Henry Paul soon after, and with the subsequent exit of Jones, only Thomasson remained from the original Outlaws roster — not surprisingly, the group disbanded upon completing 1982’s Los Hombres Malo.
A year later Thomasson and Paul formed a new Outlaws lineup, adding guitarist Chris Hicks, bassist Barry Borden, and drummer Jeff Howell; after issuing 1986’s Soldiers of Fortune, Paul again quit the band, with the remaining quartet returning in 1993 with Hittin’ the Road. While Paul resurfaced in 1994 in the chart-topping contemporary country band Blackhawk, Thomasson later toured with the re-formed Lynyrd Skynyrd while continuing to lead the Outlaws, releasing So Low in 2000.
Sadly, Jones and O’Keefe died within three weeks of one another in early 1995. In 2005, original members Thomasson, Paul, Yoho, and David Dix reunited as the Outlaws, rounding out the lineup with three members of Blackhawk, guitarist Chris Anderson, bassist Randy Threet, and keyboardist Dave Robbins. Paul and Robbins departed a year later to concentrate again on Blackhawk, while Thomasson, the only original member of the Outlaws to make it through all of the band’s configurations, kept things going, reportedly finishing a new studio album, Once an Outlaw, before his death from a heart attack in 2007. (by Jason Ankeny)
By the mid-’70s, Southern bands seemed be making a last stand for rock & roll, with two- and three-guitar lineups and not a keyboard in sight. The Outlaws’ self-titled debut was released in 1975, a few years after the Allman Brothers Band’s greatest glories and a couple of years before the untimely demise of the original Lynyrd Skynyrd. The Outlaws latched onto their Southern heritage by way of Florida, threw in some harmony by way of the Eagles, and then wrote a number of songs that played to their strengths. The result was — and is — a good classic rock & roll album. Several of The Outlaws’ best songs are present here, including “There Goes Another Love Song,” “Green Grass and High Tides,” and “Song for You.” Hughie Thomasson only sings lead on these three songs, but since two of them were the best-known Outlaw songs, it is his voice that is most associated with the band. It’s fun to hear cuts like “Song for You” and “Knoxville Girl,” which never received a lot of radio play. “Keep Prayin’,” sung by Henry Paul and Billy Jones, is a fine piece of Southern boogie with high soaring harmony on the chorus. Although “Green Grass and High Tides” has been played a million and six times on album-oriented rock stations, it nonetheless deserves mention. Created in the tradition of the Allman Brothers Band’s “Dreams” and Lynyrd Skynyrd’s “Free Bird,” the song still sounds fresh in the context of the album, and doesn’t feel long at its nearly ten-minute length. The Outlaws’ debut blew a fresh blast of rock & roll onto a scene increasingly dominated by synthesizers and dance music. It will leave the listener singing along and dreaming about the good ol’ days. (by Ronnie D. Lankford, Jr. )
And the last song of this album, “Green Grass And High Tides” is another highlight in the history of Southern Rock !!!
Billy Jones (guitar, vocals)
Frank O’Keefe (bass)
Henry Paul (guitar, vocals)
Hughie Thomasson (guitar, vocals)
Monte Yoho (drums)
J.D. Souther (background vocals on 04.)
01. There Goes Another Love Song (Thomasson/Yoho) 3.03
02. Song For You (Jones/Thomasson) 3.30
03. Song In The Breeze (Paul) 3.03
04. It Follows From Your Heart (Jones) 5.19
05. Cry No More (Jones)4.17
06. Waterhole (Tomasson/Jones/Yoho/O’Keefe/Paul) 2.03
07. Stay With Me (Paul) 3.28
08. Keep Prayin’ (O’Keefe) 2.42
09. Knoxville Girl (Paul) 3.29
10. Green Grass And High Tides (Thomasson) 9.46
Recorded on the same tour that produced both the 1982 live album Still Life and Hal Ashby’s 1983 theatrical film Let’s Spend the Night Together, the archival project From the Vault: Hampton Coliseum (Live in 1981) — released digitally in 2012 with a video and physical release following in 2014 — captures a gig the Stones gave in Virginia on December 18, 1981. The tour was winding down — only one other show remained — and it was the day guitarist Keith Richards turned 38, so perhaps that’s the reason why the band seemed to be in a celebratory mood. No matter the reason, the Stones are on fire here, charging through their 1981 set, a set that was heavy on oldies (there’s a three-song sequence of “Just My Imagination (Running Away with Me),” “Twenty Flight Rock,” and “Going to A Go Go”) and nasty rockers (it opens with “Under My Thumb” and “When the Whip Comes Down,” effectively setting up the slide into Undercover in the next year). Perhaps it was this palpable sense of sleaze that possessed a fan to bum rush the stage during “Satisfaction,” a move that required Keith to weaponize his Telecaster and attack the invader, providing an appropriate capper to a night when the old pros could still seem dangerous. (by Stephen Thomas Erlewine)
And here´s an early bootleg version of this show, taken from my bootleg colletcion …
Mick Jagger (vocals)
Keith Richards (guitar, vocals on 14.)
Charlie Watts (drums)
Ronnie Wood (guitar, vocals)
Bill Wyman (bass)
Ian McLagan (keyboards, vocals)
Ian “Stu” Stewart (keyboards)
Ernie Watts (saxophone)
01. Under My Thumb 5.26
02 When The Whip Comes Down 5.16
03. Let’s Spend The Night Together 4.48
04. Shattered 4.39
05. Neighbours 4.20
06. Black Limousine 4.26
07. Just My Imagination 7.10
08. Let Me Go 4.02
09. Time Is On My Side 4.11
10. Beast Of Burden 8.00
11. Waiting On A Friend 5.59
12. Let It Bleed 6.53
13. You Can’t Always Get What You Want + Band introduction + Happy Birthday Keith 11.51
14. Little T & A 4.11
15. Tumbling Dice 4:49
16. She’s So Cold 4.30
17. Hang Fire 2.48
18. Miss You 7.42
19. Honky Tonk Women + Brown Sugar 7.27
20. Start Me Up 5.08
21. Jumpin’ Jack Flash 9.14
22. (I Can’t Get No) Satisfaction 7.19
All songs written by Mick Jagger & Keith Richards
Dream of Life is the fifth studio album by Patti Smith, released in June 1988 on Arista Records. It was her first album after the dissolution of The Patti Smith Group. Lead single “People Have the Power” received some album-oriented rock airplay at the time, and later was revived by Bruce Springsteen as a theme song for the 2004 Vote for Change concerts. Songs from this album were performed live for the first time in a show on December 29, 2006 in New York City’s Bowery Ballroom. “Paths That Cross” is dedicated to the memory of Samuel J. Wagstaff. The cover photograph is by Robert Mapplethorpe.
The album was ranked number 49 on Sounds magazine list of the best albums of the year.
The big difference between Patti Smith’s four 1970s albums and this return to action after nine years lies in the choice of collaborator. Where Smith’s main associate earlier had been Lenny Kaye, a deliberately simple guitarist, here her co-writer and co-producer (with Jimmy Iovine) was her husband, Fred “Sonic” Smith, formerly of the MC5, who played guitar with a conventional rock competence and who lent his talents to each of the tracks, giving them a mainstream flavor. In a sense, however, these polished love songs, lullabies, and political statements are not to be compared to the poetic ramblings of Smith’s first decade of music-making — she’s so much…calmer this time out.
But you can’t help it. Where the Patti Smith of Horses inspired a generation of female rockers, the Patti Smith of Dream of Life sounds like she’s been listening to later Pretenders albums and taking tips from Chrissie Hynde, one of her spiritual daughters. Dream of Life is the record of someone who is simply showing the flag, trying to keep her hand in, rather than announcing her comeback. Not surprisingly, having made it, Smith retreated from the public eye again until the ’90s. (by William Ruhlmann)
Jay Dee Daugherty (drums, keyboards)
Fred “Sonic” Smith – guitar)
Patti Smith (vocals)
Richard Sohl (keyboards)
Errol “Crusher” Bennett (percussion on 07.)
Hearn Gadbois (percussion)
Bob Glaub (bass on 06.)
Jesse Levy (cello on 08.)
Robin Nash (background vocals on 06.)
Andi Ostrowe (background vocals)
Gary Rasmussen (bass)
Margaret Ross (harp on 08.)
Kasim Sulton (bass)
Malcolm West (bass on 08.)
01. People Have The Power 5.10
02. Up There Down There 4.47
03. Paths That Cross 4.20
04. Dream Of Life 4.37
05. Where Duty Calls 7.45
06. Going Under 5.57
07. Looking For You (I Was) 4.04
08. The Jackson Song 5.23
09. As the Night Goes By (bonus track) – 5:04
All songs were written by Patti Smith and Fred “Sonic” Smith
The Rhythm of the Saints is the eighth solo studio album by American singer-songwriter Paul Simon, released on October 16, 1990 on Warner Bros. Like its predecessor, Graceland (1986), the album gained commercial success and received mostly favorable reviews from critics.
In 1992, The Rhythm of the Saints earned two nominations for the 34th Grammy Awards – Album of the Year and Producer of the Year.
Following the success of 1986’s Graceland, on which he worked principally with South African musicians, Simon broadened his interests in diverse forms of music from around the world. He turned to Latin America for the musicians and rhythms which characterize much of this album, partnering with Afro-Brazilian superstars Grupo Cultural Olodum, masters of the heavily percussive sub-style of samba called Batuque or Batucada. The group’s drumming is featured on the opening song and first single, “The Obvious Child”. Brazilian singer-songwriter Milton Nascimento co-wrote “Spirit Voices” and contributed some vocals. Guest appearances were also made by mandolin- and “guitarra baiana” master Armandinho, another Bahia musician, and by Afro-Cuban drummer Francisco Aguabella, and Puerto Rican-born drummer Giovanni Hidalgo. Another collaborator was jazz percussionist and master of the berimbau, Naná Vasconcelos; jazz guitarist Rafael Rabelo also played on the album, along with many other Brazilian musicians.
The musical styles on The Rhythm of the Saints are, however, not uniformly Brazilian. US saxophonist Michael Brecker and other horn players contribute as session musicians (for example, on “Proof”), as well as American roots rock guitarist JJ Cale, Fabulous Thunderbirds vocalist Kim Wilson (contributing harmonica on “The Obvious Child”), R&B keyboards player Greg Phillinganes and jazz drummer Steve Gadd. Art rock guitarist and synth player Adrian Belew, who played on Graceland, is credited on “Spirit Voices”. There are also many backing vocals on The Rhythm of the Saints, such as “She Moves On”, a duet with Charlotte Mbango. Simon was also influenced by bikutsi for this album.
The album is characterized by impressionistic lyrics (referring to the Chernobyl incident in “Can’t Run But,” an Amazonian ayahuasca experience in “Spirit Voices,” and the state of the world in “The Cool, Cool River”), with slower tempos than Graceland and an atmospheric flow. Along with Latin rhythms, the prime influence on the album was West African and Central African music. Cameroonian jazz composer Andre Manga plays bass, and South African guitarist Ray Phiri, who also collaborated on Graceland, plays one song of the album, while famed trumpeter and worldbeat bandleader Hugh Masekela is credited with playing flugelhorn on one song.
Although drums for “The Obvious Child” were recorded live at Pelourinho Square in Salvador, Bahia, Simon recorded most of the rhythms for the tracks in Rio de Janeiro studios before returning to The Hit Factory in New York City to record guitar accompaniment and, later, the final arrangements. The Rhythm of the Saints marks Simon’s first collaboration with Cameroonian guitarist Vincent Nguini, a member of his band up until his death in December 2017. Nguini is credited with creating the music and guitar arrangements for “The Coast”, although Simon still wrote the lyrics. Nguini also arranged guitar for other songs, such as “She Moves On” and “The Cool, Cool River,” and he arranged the horns for “Proof.” Together, Simon and Nguini created the melodies, lyrics, and arrangements that changed the bare rhythm and guitar recordings into (due to Simon’s studio experience) the expertly-edited final product.
The Rhythm of the Saints peaked at #4 on the US album chart, while Graceland had peaked at #3, both among Simon’s most commercially successful albums. The album was also commercially successful across the Atlantic, reaching #1 on the UK album chart. However, with the exception of “The Obvious Child”, none of its singles charted or received substantial radio play (“Proof” and “Born at the Right Time” were released as well). “The Obvious Child” also failed to reach the US top 40, although it came in at #15 in the UK – his last major hit in the UK. In the end, the album was certified multi-Platinum.
Central Park concert
Simon and his fellow musicians performed live versions of many of the songs from the album at a free concert in Central Park, New York City on August 15, 1991, in front of an audience of around 50,000 people. The performance was recorded and later released as the album Paul Simon’s Concert in the Park. (by wikipedia)
Though he recorded the album’s prominent percussion tracks in Brazil, Paul Simon fashioned The Rhythm of the Saints as a deliberate follow-up to the artistic breakthrough and commercial comeback that was the South Africa-tinged Graceland. Several of the musicians who had appeared previously were back, along with some of the New York session players who had worked with Simon in the 1970s, and the overall sound was familiar to fans of Graceland. Further, Simon’s nonlinear lyrical approach was carried over: he continued to ruminate about love, aging, and the onslaught of modern life in disconnected phrases and images that created impressions rather than telling straightforward stories. But where Graceland had seamlessly merged its styles into an exuberant whole, The Rhythm of the Saints was less well digested. Those drum tracks never seemed integrated effectively into what had been dubbed over them; at the same time, they tended to lock the songs into musical patterns that reined them in from the kind of excitement the South African music on Graceland generated, making the melodies harder to grasp.
Nelson Mandela & Paul Simon
At the same time, Simon sang his lyrics in a less involved way, which sometimes made them seem like collections of random lines rather than the series of striking observations Graceland seemed to contain. No Paul Simon album could be lacking in craft or quality, and The Rhythm of the Saints was a typically tasteful effort. But this time around, Simon hadn’t quite succeeded in bringing the wide-ranging elements together; the album sold about half as many copies as Graceland (that is to say, a none-too-shabby two million), and that’s about right — where Graceland was an exotic adventure, The Rhythm of the Saints was more of an anthropology lesson. (by William Ruhlmann)
Paul Simon (vocals, guitar)
Accordion – Jimmy McDonald (4), C.J. Chenier (7), Joao Severo Da Silva (10)
Background Vocals – Briz (1, 4), Ladysmith Black Mambazo, Karen Bernód, Myrna Lynn Gomila, Kia Y. Jeffries (3), Florence Gnimagnon, Charlotte Mbango, Djana’d, Elolongue Mbango Catherine (4, 6, 7)
Bass – Bakithi Kumalo (3, 4, 7, 9), Andre Manga (4), Armand Sabal-Lecco (6, 7, 9, 10)
Bongos, Congas, Bata, Gourd – Dom Chacal (4, 5, 6, 7, 9)
Bongos – Anthony Carillo (9)
Chakeire – Ya Yo De La Nelson (4, 7, 8)
Chicote – Mazzola, Paulo Santos (2)
Congas, Drums, Bells, Percussion – Mingo Araújo (2, 3, 4, 5, 6, 7, 8, 9)
Congas, Bongos, Percussion – Sidinho (4, 5, 6, 7, 9)
Congas – Francisco Aguabella, Giovanni Hidalgo (9)
Cowbell – Wilson Das Neves (6)
Drums – Grupo Cultural Olodum (1), Steve Gadd (2, 4), Felix Sabal-Lecco (7)
Box Drum – Asante (8)
Electric Guitar – Georges Seba, Martin Atangana (4)
Euphonium – Dave Bargeron (5)
Flugelhorn – Hugh Masekela (5)
Guitar – J.J. Cale (2, 7), Rafael Rabello, Ringo Star (5), Ray Phiri (6), Armando Macedo, Kofi Electrik, Tommy Bilson-Ogoe (10)
Guitar, Bass, Clave – Vincent Nguini (3, 5, 6, 7, 8, 9, 10)
Guitar Synthesizer – Adrian Belew (9)
Harmonica – Kim Wilson (1)
Percussion – Uakti (2, 8, 10)
Additional Percussion – Jorginho, Marcalzinho, Wilson das Neves, Canegal, Beloba, Luna, Pedro Sorongo (5)
Percussion, Gourds, Voice, Berimbau, Triangle, Congas – Nana Vasconcelos (2, 3, 5, 8, 9, 10)
Saxophones – Charles Doherty, Jude Bethel (3), Alain Hatot (4), Michael Brecker (6), Charles Doherty (8)
Scraper – Pedro Sorongo (6)
Surdo – Gordinho (6)
Synthesizer – Michael Brecker (1, 3, 5, 8), Greg Phillinganes (3, 5, 8), Justin Tchounou (4)
Talking Drum – Remy Kabocka (2)
Trombone – Clifton Anderson (3, 8), Jacques Bolognesi (4)
Trumpets – Errol Ince, Clyde Mitchell (3, 8), Phillipe Slominski (4), Randy Brecker (5, 6)
Vocals – Milton Nascimento (9)
01. The Obvious Child (Simon) 4.10
02. Can’t Run But (Simon) 3.37
03. The Coast (Simon/Nguini) 5.05
04. Proof (Simon) 4.40
05. Further To Fly (Simon) 5.36
06. She Moves On (Simon) 5.04
07. Born At The Right Time (Simon) 3.48
08. The Cool, Cool River (Simon) 4.33
09. Spirit Voices (Simon/Nascimento) 3.56
10. The Rhythm Of The Saints (Simon) 4.21
11. Born At The Right Time (original acoustic demo) (Simon) 3.50
12. Thelma (outtake) (Simon) 4.15
13. The Coast (work-in-progress version) (Simon/Nguini) 5.14
14. Spirit Voices (work-in-progress version) (Simon/Nascimento) 3.50