Various Artists - Covered: Roquel 'Billy' Davis: 1957-2008

I was going through my "Covered" album collection to fix some broken links, and I saw that I haven't posted this one yet, even though I thought I did. So here it is now, better late than never. This highlights the songwriting of Roquel "Billy" Davis.

Chances are, you haven't heard of Davis. But he was involved in writing a lot of good soul hits. He was born in 1932 in Detroit. He got to know Berry Gordy in the 1950s, a few years before Gordy founded Motown Records. He got involved in writing some big hits with Gordy, and sometimes others, especially Gordy's sister Gwen, who was Davis's girlfriend at the time. Since I already posted a "Covered" album for Berry Gordy, I used the big hit versions for many of those. For instance, "Reet Petite" was a big hit for Jackie Wilson in 1957, "Lonely Teardrops" was an even bigger hit for Wilson in 1958, and "I'll Be Satisfied," was another Wilson hit in 1959, but I've used alternate versions for all of those.

Note that I'm not including "You Got What It Takes," although it was a big hit that has been credited to Davis, Gordy, and others. That's because I think there's an airtight case that it was actually written entirely by Junior Parker, since the first version of it came out by Parker with him listed as the sole songwriter. Gordy simply stole it later, and falsely changed the songwriting credits.

Anyway, around 1960, Gordy got heavily involved with his new record company, Motown Records. Davis didn't become a part of that, so his songwriting partnership with Gordy faded away. Their last song together that I've included is "All I Could Do Was Cry," which was a hit for Etta James in 1960. Since I used that version elsewhere, I've chosen a 2008 version by Beyonce.

Davis continued to write hits without Gordy for most of the 1960s. He usually worked with Chess Records, even taking charge of many A&R and production duties for that record company. "Seven Day Fool" was a rare case of Davis getting the sole credit for a song. More typically, he wrote with others, but he didn't have any consistent co-writers. In fact, most of the songs after "Seven Day Fool" were written with a different co-writer.

Davis had a sudden career change in 1968. He used his success as a songwriter and producer to get a job at one of the top advertising agencies in New York City. His primary client was Coca-Cola, and he was responsible for many successful ad campaigns for that company. But unfortunately, this meant that his songwriting pretty much stopped, except for writing ad jingles.

But his work with Coca-Cola would lead to his biggest songwriting success of all. I've told this story in the write-up for the "Covered" album for Roger Cook and Roger Greenaway, but I'll retell it here from Davis's point of view. Cook and Greenaway had already written a song called "True Love and Apple Pie." But it was released by an obscure artist and went nowhere. Then Cook happened to get stuck waiting in an airport in Ireland for many hours. Also stuck in the same airport was Davis, now working for Coca-Cola, and another Coca-Cola executive, Bill Backer. Backer came up with the line "I'd like to buy the world a Coke" while they waited for their plane. Later, back in New York City, Cook, Greenaway and Davis reworked "True Love and Apple Pie" into "I'd Like to Teach the World to Sing," which became one of the biggest hits of the decade, as well as a massively successful ad campaign for Coca-Cola.

"Country Sunshine" is also a song Davis first wrote for a Coca-Cola ad. But it was so catchy that it was fleshed out and became a country hit for Dottie West in 1973. That seems to be the last new song Davis was involved in that made the charts, although some of his earlier songs were hits in new versions, sometimes several times over.

Davis died in 2004 at the age of 72. By the way, he's also responsible for "it's the real thing," "things go better with Coke," "have a Coke and a smile," all for Coca-Cola, "If you've got the time, we've got the beer," for Miller Beer, and many, many other advertisements.

Here's his Wikipedia page:

Billy Davis (songwriter) - Wikipedia 

This album is 50 minutes long.

01 Jim Dandy Got Married (LaVern Baker)
02 To Be Loved (Malcolm Vaughan)
03 That's Why [I Love You So] (Jackie Wilson)
04 Seven Day Fool (Etta James)
05 Pushover (Etta James)
06 Reet Petite (Dinah Lee)
07 Two Sides to Every Story (Etta James)
08 Use What You Got (Sugar Pie DeSanto)
09 I Had a Talk with My Man (Mitty Collier)
10 We're Gonna Make It (Little Milton)
11 Recovery (Fontella Bass)
12 Who's Cheating Who (Little Milton)
13 I Can't Rest (Fontella Bass)
14 I'd Like to Teach the World to Sing (Hillside Singers)
15 Country Sunshine (Dottie West)
16 Lonely Teardrops (John Fogerty)
17 I'll Be Satisfied (Shakin' Stevens)
18 All I Could Do Was Cry (Beyonce)

https://pixeldrain.com/u/rGtRVEWA 

alternate:

https://bestfile.io/en/h0hrXz1oG7qsojq/file

The cover image is a screenshot I took from a video of an interview he gave many years after his songwriting career had ended. I don't know the exact year, however.

Sarah McLachlan - Capitol Theater, Port Chester, NY, 12-5-2015

Here's another concert from the April 2026 Port Chester soundboard leak. This one features Sarah McLachlan.

At the time of this concert, her most recent studio album was "Shine On," released in 2014, over a year earlier. She sang seven songs from that album. But it was an extra long concert, so she sang plenty of her earlier songs as well. She also sang "River," by Joni Mitchell. According to setlist.fm, she only performed that song three times that year, all of them during the Christmas season like this December concert.

The music here is unreleased. The sound quality is excellent. 

This album is an hour and 59 minutes long.

01 talk (Sarah McLachlan)
02 In Your Shoes (Sarah McLachlan)
03 Building a Mystery (Sarah McLachlan)
04 Adia (Sarah McLachlan)
05 Answer (Sarah McLachlan)
06 talk (Sarah McLachlan)
07 Broken Heart (Sarah McLachlan)
08 Fallen (Sarah McLachlan)
09 talk (Sarah McLachlan)
10 World on Fire (Sarah McLachlan)
11 Hold On (Sarah McLachlan)
12 talk (Sarah McLachlan)
13 Loving You Is Easy (Sarah McLachlan)
14 talk (Sarah McLachlan)
15 Monsters (Sarah McLachlan)
16 Stupid (Sarah McLachlan)
17 talk (Sarah McLachlan)
18 talk (Sarah McLachlan)
19 Song for My Father (Sarah McLachlan)
20 I Will Remember You (Sarah McLachlan)
21 talk (Sarah McLachlan)
22 Brink of Destruction (Sarah McLachlan)
23 talk (Sarah McLachlan)
24 River (Sarah McLachlan)
25 Elsewhere (Sarah McLachlan)
26 Fumbling Toward Ecstasy (Sarah McLachlan)
27 Witness (Sarah McLachlan)
28 Fear (Sarah McLachlan)
29 Sweet Surrender (Sarah McLachlan)
30 Possession (Sarah McLachlan)
31 Angel (Sarah McLachlan)
32 talk (Sarah McLachlan)
33 Beautiful Girl (Sarah McLachlan)
34 The Sound that Love Makes (Sarah McLachlan)

https://pixeldrain.com/u/GbgMZE6z

alternate:

https://bestfile.io/en/AOaLQZ9afJ19d3U/file

The cover photo is from a concert at the Kings Theatre, in New York City, on March 14, 2015.

Pink Floyd - Allen Theater, Cleveland, OH, 4-24-1972

Wow! I try not to hype things up on this blog, since there's way too much of that on the Internet these days already. But if you're a Pink Floyd fan, you definitely need to give this a listen.

Back in the 1960s and 1970s, Pink Floyd made no attempts to record themselves in concert. So the relatively small number of excellent sounding recordings we have are due to lucky chance, like the times they were recorded by the BBC. One unfortunate gap due to this is there's no great live recording of the "Dark Side of the Moon" album from 1972 or 1973. (There is one from a 1974 BBC broadcast.) For a long time now, I've especially wanted to hear what that sounded like in 1972, because the band performed that album in concert for over a year before recording it, and there were a lot of changes along the way. So it's pretty damn shocking to me that, 54 years later, a recording of this quality showed up on the Internet in the last couple of weeks. (I write this in mid-May 2026.)

This is an audience recording. Normally, that's a step below a soundboard or radio broadcast, sometimes several steps below. But not in this case. In my opinion, this sounds as good or better than most soundboards from the era. Previously, most people felt that a concert recording from the Rainbow Theatre in London on February 20, 1972 was the best live recording that included an early version of Dark Side. However, there were some big flaws with that, including some big chunks of the quality recording that were missing and had to be filled in with a much inferior recording from another source. I think this sounds better all the way through, and there are no missing chunks or other flaws like that.

I've included a PDF file that explains the story of how this recording was made public so many decades after the show. So read that if you're interested. That story makes me wonder what other audio treasures are still sitting in people's houses, forgotten or hoarded.

I made one big change to this already fine recording. I ran all the songs through an MVSEP audio filter to get rid of ambient crowd noise. At the time of this concert, in early 1972, Pink Floyd was more of a cult band, with a decent sized devoted fan base. As a result, the crowd listened very attentively and respectfully. So there wasn't much crowd noise to begin with. But I got rid of all I could during the songs, while keeping the cheering at the ends of songs. There wasn't a lot of even that because the Dark Side portion of the concert was played like one big song medley, with few occasions for the audience to really cheer until the whole album was over. Plus, the music of that album was brand new to everyone, so one didn't have the usual phenomenon of big cheers when recognizable songs started.

Additionally, there was very little in the way of random "woo-hoo" noises and talking during this recording. I found a little bit of that on two tracks, and ran those two through an extra MVSEP filter to get rid of that. Oh, and I also got rid of some dead air between songs. In particular, there were a few minutes of the sound of the crowd while the band took a short intermission at the end of the Dark Side portion of the concert. I got rid of that entirely.

Note that two songs that were a part of Dark Side at this point were later totally changed, with only a vague concept staying the same. "The Travel Sequence" was replaced by "On the Run." And "The Mortality Sequence," also sometimes known as "Religion," was replaced by "The Great Gig in the Sky." 

This album is an hour and 58 minutes long.

01 Speak to Me [Instrumental] (Pink Floyd)
02 Breathe (Pink Floyd)
03 The Travel Sequence [Instrumental] (Pink Floyd)
04 Time - Breathe [Reprise] (Pink Floyd)
05 The Mortality Sequence [Instrumental] (Pink Floyd)
06 Money (Pink Floyd)
07 Us and Them (Pink Floyd)
08 Any Colour You Like [Instrumental] (Pink Floyd)
09 Brain Damage - Eclipse (Pink Floyd)
10 One of These Days [Instrumental] (Pink Floyd)
11 talk (Pink Floyd)
12 Careful with That Axe, Eugene [Instrumental] (Pink Floyd)
13 Echoes (Pink Floyd)
14 talk (Pink Floyd)
15 Set the Controls for the Heart of the Sun (Pink Floyd)

https://pixeldrain.com/u/VvXP9ZkE

alternate: 

https://bestfile.io/en/S9NNWY3jyprpp93/file

The cover image is the only photo that I was able to confirm actually was taken at this exact concert. It shows lead guitarist David Gilmour. 

Elton John - Great Amphitheatre, Ephesus, Turkey, 7-17-2001

Recently, guest poster Fabio from Rio posted a couple of albums of the Carpenters stripped down to just piano and lead vocals. That led to a commenter suggesting that a similar album or albums be made for Elton John. That, in turn, got me thinking about how much music is available that just features John and his piano. It turns out not much. But I did find this 2001 concert, with excellent sound quality.

The concert was originally done for a pay-per-view service back in 2001. Then, in 2020, during the pandemic, John briefly released it on YouTube as part of a series of concerts he posted there to make up for the fact that he couldn't go on tour that year. Here's some of the promotional description from that 2020 posting: 

"Elton walks on to the oldest stage he has ever played (built circa 200 B.C.) and invites the audience to join him in one of the most intimate performances he has ever given. Everything about this concert is the opposite of what most people think of when they bring Elton to mind: his wardrobe is sedate, his staging virtually non-existent, no wild spectacles or platform shoes... Nor, for that matter, a band – just the piano player and his instrument, revealing in sublime simplicity that it’s really all about the songs."

Apparently, the people behind the pay-per-view idea wanted a dramatic setting for the concert, similar to Pink Floyd playing in the ancient Pompeii amphitheater in 1972. The Ephesus amphitheatre was built by the ancient Greeks. At its peak, it held about 25,000 people. In recent decades, it has been used for some concerts again. Many stars have performed there, including Diana Ross, Joan Baez, Chris de Burgh, Bryan Adams, Sting, Julio Iglesias, and Luciano Pavarotti, as well as classical concerts. But parts of it were ruined. so these modern concerts only hold about 2,500 people. In 2018, it was closed for three years to repair damage from some of these concerts. 

As far as I can tell, John hasn't performed in a solo format very often, especially considering how often he has performed. He's given well over 4,000 concerts in his long career, more than nearly any other big star, except for Willie Nelson, and B.B. King. In all that time, he only did one solo tour, in 1999. He's also done occasional solo concerts, usually for special events, like charity benefits. This was the only solo concert he did in 2001.

At the time of this concert, his album "Songs from the West Coast" was going to be released in a few months. He played one song from it, "This Train Don't Stop There Anymore." But mostly he stuck to his best known songs.

This album is an hour and 58 minutes long. 

01 Your Song (Elton John)
02 talk (Elton John)
03 Someone Saved My Life Tonight (Elton John)
04 Daniel (Elton John)
05 talk (Elton John)
06 Mona Lisas and Mad Hatters (Elton John)
07 Honky Cat (Elton John)
08 Rocket Man [I Think It's Going to Be a Long, Long Time] (Elton John)
09 talk (Elton John)
10 Philadelphia Freedom (Elton John)
11 Nikita (Elton John)
12 talk (Elton John)
13 Sacrifice (Elton John)
14 talk (Elton John)
15 Sorry Seems to Be the Hardest Word (Elton John)
16 I Guess That's Why They Call It the Blues (Elton John)
17 talk (Elton John)
18 This Train Don't Stop There Anymore (Elton John)
19 talk (Elton John)
20 Burn Down the Mission (Elton John)
21 The One (Elton John)
22 Blue Eyes (Elton John)
23 I'm Still Standing (Elton John)
24 Crocodile Rock (Elton John)
25 Don't Let the Sun Go Down on Me (Elton John)
26 talk (Elton John)
27 Circle of Life (Elton John)
28 talk (Elton John)
29 Candle in the Wind (Elton John)

https://pixeldrain.com/u/GDzBMzci

alternate:

https://bestfile.io/en/uUGfdE5hLOzPUXG/file

The cover image is from this exact concert. I wanted a wide view that showed some of the Roman ruins in the background.

The Great American Music Band with Eric Anderson - Ebbets Field, Denver, CO, 5-7-1974

Here's another concert from the Ebbets Field radio broadcasts. But this is a rather unusual one, because it's from a band that never officially released any music: the Great American Music Band. This band was a collaboration between David Grisman, Jerry Garcia, Taj Mahal, and others. It was a mostly instrumental and acoustic band that combined folk, bluegrass, and jazz. It was a loose association, with people coming and going, and unfortunately, Garcia didn't take part in this concert. However, singer-songwriter Eric Anderson did join in to sing two songs.

In my opinion, the main figure in this band was mandolin player David Grisman. After playing in some bands in New York City in the late 1960s, he moved to the San Francisco Bay Area. He made a key musical connection with Jerry Garcia. He played some mandolin on the classic Grateful Dead album "American Beauty" in 1970. He also played with Garcia for about 50 concerts and one album in 1973 as part of the bluegrass band Old and in the Way. 

That association apparently led to this different grouping a year later. The liner notes to the official David Grisman compilation album "DGQ20: A Twenty-Year Retrospective 1976-1996" explains what happened next:

"In 1974, mandolinist David Grisman and violinist Richard Greene, with Jerry Garcia, Taj Mahal, and others, formed a loose aggregation called the Great American Music Band.  The concept was simple: sophisticated folk and bluegrass instrumentalists creating a format to play and improvise without vocals.  The repertoire would draw on varied sources: traditional fiddle tunes, swing tunes from the Hot Club of France, and music from great American composers Bill Monroe, Fats Waller, and Duke Ellington. David Grisman had also been writing music, mostly bluegrass style mandolin tunes, patterned after those of his heroes Monroe, Frank Wakefield and others. Now, with this new vehicle, David started composing pieces with greater scope and a more personal stamp; 'dawg' music had come into being."

The band only played about 20 shows in the middle of 1974 before breaking up. Six of those were from this stand at Ebbets Field. By the end of the year, Grisman and Greene formed a new band with a similar style. That evolved into the David Grisman Quintet, which released its debut album in 1976. 

The quote above says the band was designed to be an instrumentals-only band. That was mostly true, but it wasn't entirely true. I find it curious that the band's bassist was Taj Mahal, who was a concert headliner of his own by this time, and generally played guitar, not bass. Maybe he just wanted to try something different for a while, and hone his bass playing skills. Anyway, he was a very capable vocalist, so although this concert was mostly instrumental, he did sing a couple of songs near the end ("Will the Circle Be Unbroken" and "Sweet Georgia Brown"). 

Also, singer-songwriter Eric Anderson was a surprise guest lead singer on two other songs. It seems like he just happened to be in town, and otherwise didn't have any involvement with this band.

By the way, this band was such a loose, low-key thing that even its name wasn't certain. Apparently, for most of the 20 or so concerts the band played, they were introduced as the "Great American String Band." But sometimes they were introduced as the "Great American Music Band." I went with the second name, since that's the name used for the band in the liner notes to an official David Grisman album years later. 

I was rather disappointed to find out that Jerry Garcia wasn't a part of this concert. So I looked around, and found that there is a excellent recording of a different 1974 concert that did involve Garcia, as well as Maria Muldaur. I plan on posting that here soon as well.

This album is an hour and two minutes long. 

01 talk by emcee (Great American Music Band)
02 Instrumental (Great American Music Band)
03 talk (Great American Music Band)
04 Dawg's Rag [Instrumental] (Great American Music Band)
05 talk (Great American Music Band)
06 Bud's Bounce [Instrumental] (Great American Music Band)
07 talk (Great American Music Band with Eric Andersen)
08 Beautiful Brown Eyes (Great American Music Band with Eric Andersen)
09 talk (Great American Music Band with Eric Andersen)
10 Why Don't You Love Me (Great American Music Band with Eric Andersen)
11 talk (Great American Music Band)
12 Swing '42 [Instrumental] (Great American Music Band)
13 talk (Great American Music Band)
14 Will the Circle Be Unbroken (Great American Music Band)
15 talk (Great American Music Band)
16 My Plastic Banana Is Not Stupid [Instrumental] (Great American Music Band)
17 talk (Great American Music Band)
18 It's Cold Outside [Instrumental] (Great American Music Band)
19 Back on the Porch [Instrumental] (Great American Music Band)
20 talk (Great American Music Band)
21 Sweet Georgia Brown (Great American Music Band)

https://pixeldrain.com/u/6yJaPsQc

alternate:

https://bestfile.io/en/I2VyZUac9aJWYOp/file

The cover photo shows Taj Mahal. It features him playing upright bass in a 1974 Great American Music Band concert, but a different one than the one presented here.

Various Artists - Covered: Joan Baez, Volume 2: 2017-2023 (A Fabio from Rio Guest Post)

Here's the second and last "Covered" album for Joan Baez. Like the first one, it's a guest post by Fabio from Rio. 

If you want to know more, please read Fabio's notes, included in the download zip. In short, he feels Baez's songwriting has been underappreciated. As such, you don't see a lot of famous musical acts covering her songs. But just because someone isn't well known, that doesn't mean their cover version isn't good.

By the way, tracks 2 and 10 are unreleased versions. Track 2 was done in a studio without crowd noise. But for track 10, I used MVSEP to remove the cheering. 

This album is 46 minutes long.

01 Honest Lullaby (Monika Akselsen)
02 Prison Trilogy [Billy Rose] (Harpeth Rising)
03 Children of the Eighties (Chyi Yu)
04 Isaac and Abraham (Cameron Skillen & Melissa DuPuy)
05 The Story of Bangladesh (Bappa Mazumder & Elita Karim)
06 Gabriel and Me (Bay Love)
07 Love Song to a Stranger (Aoife O'Donovan)
08 Saigon Bride (Melmo)
09 Michael (Randy Bowles)
10 Children and All That Jazz (Genevieve Philips)

https://pixeldrain.com/u/D6rvk4os

alternate:

https://bestfile.io/PgcAF7l4Wx3yZAA/file 

The cover image is from 2017.

Various Artists - Covered: Joan Baez, Volume 1: 1967-2016 (A Fabio from Rio Guest Post)

Here's another Fabio from Rio guest post. A couple of months ago (as I write this in May 2026), he really got into Joan Baez's music for the first time. In particular, he was struck by her songwriting talent, despite the fact that she's best known for covering songs written by others. So he put together five albums containing all of her original songs, which I recently posted. But he also made two "Covered" albums, showing off her songwriting in a different way. Some people don't like her singing. I have a friend like that, who finds it too high and shrill. So here you can enjoy her songs entirely through cover versions.

There's a lot more to be said about this. But, as usual with Fabio guest posts, I'll leave that to the liner notes he wrote, which are included in the download zip. 

This album is 49 minutes long.

01 North (Tom Scott with the California Dreamers)
02 Saigon Bride (Gabor Szabo & the California Dreamers)
03 Sweet Sir Galahad (Gary & Randy Scruggs)
04 Song for David (Judy Collins)
05 Last Lonely and Wretched (Wild Rice)
06 Outside the Nashville City Limits (Mabel Joy)
07 Diamonds and Rust (Judas Priest)
08 For Sasha (Louise Tobestill)
09 All the Weary Mothers of the Earth (Annie Patterson)
10 Play Me Backwards (Sin Frontera)
11 Winds of the Old Days (Lori Blois)
12 Here's to You (Lisa Simmons)
13 Only Heaven Knows (Joanne Cooper)

https://pixeldrain.com/u/D4agojYd

alternate: 

https://bestfile.io/en/NJ5kf1Y6ukB05fs/file

The cover image is from 1974.

Emmylou Harris & Rodney Crowell - City Winery, Nashville, TN, 11-29-2021

Yesterday, I posted an acoustic concert of Emmylou Harris performing with Steve Earle at a small club in Nashville in 2021. They traded songs and shared stories for the entire concert. Today, I'm posting the exact same thing, except Harris did it with Rodney Crowell. 

It seems Harris did about six of these concerts in 2021, as people were starting to return to concerts as the Covid pandemic was easing up. All of these concerts went to benefit local charities. I could only find these two, but it seems they got a lot a bit more because they featured the best known guests. I know one more is with Harris and Buddy Miller. If anyone has that one, please let me know and I'll post it too.

Most or all of these concerts Harris did at this venue in 2021 were webcasts. So that means the sound quality is excellent, despite the fact that the music is unreleased.

Harris and Crowell have been musical collaborators and friends going back to the early 1970s, at the start of their respective musical careers. But it's very unique to have them share a full concert like this together, with just the two of them. For all I know, this may have been the only time this has happened. 

This album is an hour and 47 minutes long. 

01 talk (Emmylou Harris & Rodney Crowell)
02 Even Cowgirls Get the Blues (Emmylou Harris & Rodney Crowell)
03 talk (Emmylou Harris & Rodney Crowell)
04 Still Learning How to Fly (Emmylou Harris & Rodney Crowell)
05 talk (Emmylou Harris & Rodney Crowell)
06 Red Dirt Girl (Emmylou Harris & Rodney Crowell)
07 talk (Emmylou Harris & Rodney Crowell)
08 Bluebird Wine (Emmylou Harris & Rodney Crowell)
09 talk (Emmylou Harris & Rodney Crowell)
10 You Can't Say We Didn't Try (Emmylou Harris & Rodney Crowell)
11 talk (Emmylou Harris & Rodney Crowell)
12 Evangelina (Emmylou Harris & Rodney Crowell)
13 talk (Emmylou Harris & Rodney Crowell)
14 I'll Be Your San Antone Rose (Emmylou Harris & Rodney Crowell)
15 talk (Emmylou Harris & Rodney Crowell)
16 It Ain't Over Yet (Emmylou Harris & Rodney Crowell)
17 talk (Emmylou Harris & Rodney Crowell)
18 If I Could Only Win Your Love (Emmylou Harris & Rodney Crowell)
19 talk (Emmylou Harris & Rodney Crowell)
20 Just Pleasing You (Emmylou Harris & Rodney Crowell)
21 talk (Emmylou Harris & Rodney Crowell)
22 Invitation to the Blues (Emmylou Harris & Rodney Crowell)
23 talk (Emmylou Harris & Rodney Crowell)
24 Dreaming My Dreams with You (Emmylou Harris & Rodney Crowell)
25 'Till I Gain Control Again (Emmylou Harris & Rodney Crowell)
26 talk (Emmylou Harris & Rodney Crowell)
27 Pancho and Lefty (Emmylou Harris & Rodney Crowell)
28 talk (Emmylou Harris & Rodney Crowell)
29 Return of the Grievous Angel (Emmylou Harris & Rodney Crowell)
30 talk (Emmylou Harris & Rodney Crowell)
31 Tulsa Queen (Emmylou Harris & Rodney Crowell)
32 talk (Emmylou Harris & Rodney Crowell)
33 Old Yellow Moon (Emmylou Harris & Rodney Crowell)
34 Leaving Louisiana in the Broad Daylight (Emmylou Harris & Rodney Crowell)
35 talk (Emmylou Harris & Rodney Crowell)
36 talk (Emmylou Harris & Rodney Crowell)
37 Boulder to Birmingham (Emmylou Harris & Rodney Crowell)
38 talk (Emmylou Harris & Rodney Crowell)  

https://pixeldrain.com/u/7vqNgSLJ

alternate:

https://bestfile.io/en/Km3fPRfWjrHjJrd/file

The cover is a screenshot I took from a video of this exact concert. However, I used Photoshop to move the two people closer together.

Flo & Eddie - Ebbets Field, Denver, CO, 12-3-1974

Here's another concert from the Ebbets Field radio broadcasts. This one stars Flo and Eddie. 

If you don't know who that is, they were the two main leaders of the 1960s band the Turtles, Mark Volman (Flo) and Howard Kaylan (Eddie). But when the Turtles broke up, they weren't legally allowed to use the band name, or even their own birth names, in their music careers.

In 1972 and 1973, Flo and Eddie released studio albums. But there was no new album in 1974. The songs here are generally a mix of Turtles hits and songs from the first two Flo and Eddie albums. 

However, they performed "Colorado," a song they never released. That was a comedic song released on a 1973 National Lampoon album, sung by none other than comedian Chevy Chase. I think it's pretty likely they did it as a special thing just for this show, since it took place in Colorado. It's an example of how they tended to add a lot of humor to their concerts.

The music here is unreleased. The sound quality is close to excellent. 

This album is 47 minutes long.

01 talk by emcee (Flo & Eddie)
02 talk (Flo & Eddie)
03 She'd Rather Be with Me (Flo & Eddie)
04 talk (Flo & Eddie)
05 Colorado (Flo & Eddie)
06 talk (Flo & Eddie)
07 Another Pop Star's Life (Flo & Eddie)
08 talk (Flo & Eddie)
09 Nikki Hoi (Flo & Eddie)
10 Rebecca (Flo & Eddie)
11 Livin' in the Jungle (Flo & Eddie)
12 talk (Flo & Eddie)
13 She's My Girl (Flo & Eddie)
14 Lights Go Down (Flo & Eddie)
15 Happy Together (Flo & Eddie)
16 There's No Business like Show Business (Flo & Eddie)
17 talk by emcee (Flo & Eddie)

https://pixeldrain.com/u/J2wexia1

alternate:

https://bestfile.io/en/ooyNcd1McHeEj4X/file

The cover image from a concert in London, on November 12, 1972.

Taj Mahal with John Fogerty, Bob Dylan, George Harrison, and Jesse Ed Davis - Palomino Club, Los Angeles, CA, 2-19-1987

This is a pretty amazing Taj Mahal concert, because just look at who his special guests were: John Fogerty, Bob Dylan, AND George Harrison! And all three of them stayed on stage for the vast majority of the concert, with Fogerty and Harrison singing several songs each. (Dylan was content just to play guitar and sing backing vocals.) I had known about this concert for a long time, but I'd never had it in my collection due to sound quality issues. But recently I revisited it, because advances in audio editing technology enabled me to make some improvements. Now, it sounds like a soundboard, even though the sound quality still is not ideal.

I found an extensive quote about this concert that George Harrison gave to Q Magazine in 1988, so I'll start with that:

"I'll tell you what happened there. I'd gone to America, and Bob [Dylan] rang me and said, you know, did I want to come out for an evening and see Taj Mahal who was playing at the Palomino? So we went there and had a few of these Mexican beers, and had a few more. And Jesse Ed Davis, who played guitar on 'Watching the River Flow,' is in the audience, and Bob says, 'Hey, why don't we all get up and play - we've had a few beers, right - and you can sing!' So we get up there and I'm in the spotlight and Bob's hanging back in the shadows and I start singing: 'What’s the matter with me? I don't have much to say...' and every time I get near the microphone, Dylan comes running up and just starts singing this rubbish in my ear, trying to throw me off. But it was really funny because when I got pushed on stage at Wembley [in London, with Tom Petty and the Heartbreakers and Dylan] and sang a bit of 'Rainy Day Women' I couldn't remember the words and just made up this stuff. And Bob came up to me afterwards, backstage, and said, 'So you got even with me!' But it was nice to recapture the feeling of what it was like on stage to make sure I could go back into that situation in the future."

Most of that is correct, but a couple of things he said were slightly off. We can tell a lot about what really happened because the video of this entire recording is available on YouTube, though the picture quality is extremely poor. It seems Jesse Ed Davis - a very talented lead guitarist who had worked with many big names since the late 1960s - was already there as part of Taj Mahal's backing band from the start of the recording. Then, after just the first song, Harrison went up on stage. It seems he went up unprompted, and there was absolutely no comment made by Mahal or anyone else about him being there. But if you watch the video, you can see Mahal give him an electric guitar and help him get in position to play by the start of the second song, "Checkin' Up on My Baby."

For a few songs, it was Taj Mahal and four members of his backing band on stage (Jesse Ed Davis, Mark Shark, Bobby Tsukamoto, and Gary Ray), plus Harrison. Then, before the start of "Matchbox," Mahal very strongly encouraged Dylan to also join them on stage, teasing him that he was going to come get him if he didn't. So Dylan went on stage, got a guitar, and started playing it.

Halfway through "Matchbox," Harrison surprised by taking over lead vocals for most of the rest of the song. Then, near the very end of the song, John Fogerty went on stage too. He was plugged in and ready to join in by the start of the next song, "Lucille." Once again though, there's no mention by Mahal or anyone else about him being there.

Up until that point, it had basically been a Taj Mahal concert. And Mahal was the sole lead singer for the next few songs. But Harrison, Dylan, and Fogerty stayed on stage for the entire rest of the concert. And from "Knock on Wood" to the end of the concert, 11 songs in all, Harrison and Fogerty stepped up and basically dominated. They sang lead on all but two of the songs from that point on.

However, if you're a Dylan fan, there's a lot less here for you. He was definitely involved playing guitar. If you watch the video, you can see he even got a couple of the songs started. And he did sing some backing vocals. But he seemed determined not to sing any lead vocals. When Harrison started singing "Watching the River Flow," it happened just as Harrison described in the above quote: Dylan basically shouted nonsense words right into Harrison's ear, playfully trying to get him to screw up! Perhaps Harrison, being a huge Dylan fan, started that song because he knew that Jesse Ed Davis played the guitar solo on Dylan's studio version, recorded in 1971. Davis got to reprise his solo in this performance.

One historic aspect of this concert was that it caused John Fogerty play a Creedence Clearwater Revival (CCR) song in public for the first time in 15 years. Many years later, he explained how it happened:

"I'd gone there to see Taj Mahal, who I love, and sat down. And at some point, I heard a rumor that George Harrison was there, that he was kind of in this cloak room. So I went in and talked to George for a little bit, and that was really fun. Then I went back and sat down. Then I heard a rumor that Bob Dylan was somewhere in the room. I didn't know until much later that actually George and Bob were really tight, they were great friends, and they had arrived together."

Fogerty watched from the audience as first Harrison and then Dylan joined Mahal on stage. "I'm usually kinda shy, but for some reason I thought, 'Man, I hope they have another guitar! Please call me up there!' I just wanted to get up there. It just looked historic and a lot of fun."

Apparently, Mahal saw Fogerty in the audience and gave him a signal to come up. After a while, the crowd wanted the famous guests to play some of their original songs. As mentioned above, Dylan's "Watching the River Flow" was played, although that seemed to be against Dylan's wishes. Then Harrison sang "Honey Don't." Although it was originally by Carl Perkins, it had been recorded by the Beatles. Plus, Harrison had helped sing "Matchbox," which also had been recorded by the Beatles. So now the pressure was on for Fogerty to do one of his songs. 

Fogerty further explained, "And then the audience started going, 'John, John! C'mon! Play "Proud Mary!" And this was during the time that I had sworn off playing my own songs from the Creedence days because of legal and emotional entanglements. I'm really being kind of, let's say, stubborn about it. But suddenly Bob Dylan turns me and he goes, 'John, if you don't play "Proud Mary," everybody's gonna think it's a Tina Turner song.' And I looked at him, and by God, I played 'Proud Mary.'" 

Clearly, he had fun. After the song finished, you can hear him say, "Eat your heart out, Tina!" 

Fogerty had just done a concert tour in 1986 for the first time since 1972. He wouldn't do another full tour until 1997. But later in 1987, he would take part in "Welcome Home," a benefit concert, and he would play more CCR songs for it. And he would keep playing them from that point on. So this Taj Mahal concert was a turning point for him, breaking his stubbornness about not wanting to give any royalties to his record company for the CCR songs. And while Dylan didn't do much singing on stage, his involvement may have been the key factor that got Fogerty singing his old songs again.

Now, let's get to sound quality. From what I understand, the owner of the Palomino Club saw something special was likely to happen, and began videotaping the concert. (He probably missed some Taj Mahal songs before the first one that shows up here.) So it has been recorded for posterity due to the video tape. That video later got converted to audio, and made into a popular bootleg under the name the "Silver Wilburys." However, that only included about half of the songs here, generally the later ones starring the famous guests. So I found a YouTube video to get the audio for the entire thing.

The sound quality was pretty good, but there was a lot of hiss, and some other issues. I ran all of it through the MVSEP program, using the "Denoise" filter to get rid of most of the hiss. Then I ran it through another filter to get rid of even more hiss. I also made some other adjustments, like boosting the lead vocals relative to the instruments. I think it sounds a lot better now. 

Additionally, there was a lot of dead air between songs. The musicians on stage were winging it, so it took time for them to decide what song to play next, then determine what key to play it in, and things like that. Most of that discussion couldn't be heard at all. Plus, there was a lot of guitar tuning. So I cut out some of that, when it started to really drag between songs. But still, I kept most it, especially whenever any talking on stage could be heard. I also turned down the volume of the guitar noodling between songs, so one could better hear what else was going on.

I made an additional edit on the song "Proud Mary," enough to add "[Edit]" to the song title. Taj Mahal was helping with the singing. On the other songs, this was fine. But this song was Fogerty's moment, singing a CCR song for the first time in 15 years, and Mahal's vocal ad-libs were a distraction for the most part. I read a comment on the YouTube video of this concert that likened his singing on that song to the way Yoko Ono sometimes ruined a John Lennon song. I had to agree. So, using MVSEP again, I cut out just the parts of his vocals that annoyed me. For instance, at one point, Mahal began singing one part of the song when Fogerty sang another part of the song. Needless to say, Fogerty sang the correct part. 

When listening to this, please keep in mind the spirit of this performance. After the first few songs, which Taj Mahal and his band knew well, it's safe to assume that the rest involved everyone winging it. So you have some mistakes that even an average bar band wouldn't make, like how Taj Mahal forgot half the lyrics to "Johnny B. Goode." But that wasn't point. Some legendary musical figures were just having fun on stage (including both Harrison and Fogerty playing some guitar solos). This is pretty much the only and only time in rock music history these people did anything like this. 

This album is an hour and 48 minutes long. 

Here's another photo from the concert. 

01 Leaving Trunk (Taj Mahal)
02 talk (Taj Mahal)
03 Checkin' Up on My Baby (Taj Mahal)
04 She Caught the Katy and Left Me a Mule to Ride (Taj Mahal)
05 Farther on Down the Road [You Will Accompany Me] (Jesse Ed Davis with Taj Mahal)
06 You're Gonna Need Somebody on Your Bond (Taj Mahal)
07 talk (Taj Mahal)
08 Matchbox - Gone, Gone, Gone (George Harrison & Taj Mahal)
09 talk (Everyone)
10 Lucille (Taj Mahal)
11 Crosscut Saw (Taj Mahal)
12 talk (Everyone)
13 Bacon Fat (Taj Mahal)
14 talk (Everyone)
15 Knock on Wood (John Fogerty with Taj Mahal)
16 talk (Everyone)
17 In the Midnight Hour (John Fogerty with Taj Mahal)
18 talk (Everyone)
19 Honey Don't (George Harrison)
20 talk (Everyone)
21 Blue Suede Shoes (John Fogerty & George Harrison)
22 talk (Everyone)
23 Watching the River Flow (George Harrison with Bob Dylan)
24 talk (Everyone)
25 Proud Mary [Edit] (John Fogerty with Taj Mahal)
26 talk (John Fogerty)
27 Johnny B. Goode (Taj Mahal)
28 talk (Everyone)
29 Willie and the Hand Jive (Taj Mahal)
30 Peggy Sue (George Harrison with Bob Dylan)
31 talk (Everyone)
32 Dizzy Miss Lizzy (George Harrison)
33 talk (Everyone)
34 Twist and Shout (John Fogerty & Taj Mahal)
35 talk (Taj Mahal)

https://pixeldrain.com/u/nStUSnDq 

alternate: 

https://bestfile.io/en/GV7bA4Zovc8wkh7/file

I was only about to find two photos of this concert that looked even halfway decent. I posted the best one as the cover, even though it only shows Dylan, Harrison, and a member of the backing band standing between them. I posted the other one up above the song list. It sounds the overall club environment, but you can barely make out who is on stage.

There also are a couple of photos of all the band members together back stage, which must have been taken after the concert, since Fogerty said he wasn't sure the likes of Dylan and Harrison were there when the concert began. The Native American musician John Trudell is in the picture as well. He was probably there to see Jesse Ed Davis, another Native American, who played on Trudell's albums. Unfortunately, Davis had a lot of problems with drug addiction. He died of a drug overdose a year after this concert took place.

Various Artists - Covered: Denny Randell & Sandy Linzer: 1964-1998

Here's another songwriting duo highlighted for my "Covered" series: Denny Randell and Sandy Linzer. I wouldn't be surprised at all if you have never heard of them. I hadn't either, until recently. But while they didn't write any massive hits, they have enough hits for a solid album.

Randell and Linzer were both born in 1941. They were introduced to each other in 1963, and immediately began co-writing songs. The first song here, "Dawn (Go Away)," was written by Linzer with Bob Gaudio, a member of Frankie Valli and the Four Seasons, and an impressive songwriter in his own right. I've already posted a "Covered" album for the Bob Crewe and Bob Gaudio songwriting team. 

Randell and Linzer wrote a lot of songs for Frankie Valli and the Four Seasons, sometimes with Gaudio. I've included three such songs here (and a Franki Valli solo one). But "Working My Way Back to You" was also a hit for Frankie Valli and the Four Seasons in 1966. I included the 1979 version by the Spinners instead because that was a much bigger hit. In fact, it was the biggest hit this songwriting team ever had, reaching Number One in Britain and Number Two in the U.S. 

In a similar way, "Can't Get Enough of You Baby" was a small hit for Question Mark and the Mysterians in 1967, but not enough to make the U.S. Top Forty. I included the 1998 version by Smash Mouth instead, since that was a bigger hit, making the Top Forty chart.

Probably another success was the song "I Believe in You and Me." (Linzer wrote it with someone else.) Whitney Houston had a Top Five hit in the U.S. with it in 1996. But, frankly, I find Houston's typically histrionic over-singing hard to take. It turns out the song was first released by the Four Tops in 1982. So I've included that version instead. It wasn't a hit, but the singing is much better.

I've been posting a lot of "Covered" albums featuring songwriters who got started in the early or mid-1960s. Nearly all of them stopped having hits by the end of the 1970s, due to changing musical trends (except for later covers of their earlier songs). But Randell and Linzer were a rarity in that they kept writing more hits through the end of the 1980s. The last original hit here is "Talk It Over" by Grayson Hugh in 1989.

However, their songwriting partnership petered out at the end of the 1970s. The vast majority of the songs up to and including "Native New Yorker" in 1977 were written by both of them. But the songs that come after that were written by one of them or the other, usually with other songwriting partners (except for tracks 12 and 17, which I mentioned above are not the original hit versions). 

Both Randell and Linzer also worked in other aspects of the music business, for instance producing albums, and promoting and developing the musical careers of some acts. Both of them are still alive, and about 85 years old, as I write this in 2026.

This album is 57 minutes long. 

01 Dawn [Go Away] (Frankie Valli & the Four Seasons)
02 A Lover's Concerto (Toys)
03 Let's Hang On (Frankie Valli & the Four Seasons)
04 Attack (Toys)
05 Opus 17 [Don't You Worry 'bout Me] (Frankie Valli & the Four Seasons)
06 I'll Be Back Up on My Feet (Monkees)
07 Penny Arcade (Cyrkle)
08 Breakin' Down the Walls of Heartache (Johnny Johnson & the Bandwagon)
09 You Can Do Magic (Limmie & Family Cookin’)
10 Swearin' to God (Frankie Valli)
11 Native New Yorker (Odyssey)
12 Working My Way Back to You - Forgive Me Girl (Spinners)
13 Use It Up and Wear It Out (Odyssey)
14 I Believe in You and Me (Four Tops)
15 Fresh (Kool & the Gang)
16 Talk It Over (Grayson Hugh)
17 Can't Get Enough of You Baby (Smash Mouth)

https://pixeldrain.com/u/qTodsFSL

alternate:

https://bestfile.io/en/KB4ibMU7sghsd7T/file

I guess it's pretty obvious that the cover is two photos put together in Photoshop, but I couldn't find any images of the two of them in the same frame. That's Sandy Linzer on the left, with the suit and tie, in 1977. I don't know the date of the Denny Randell photo on the right, but it's probably from the 1960s. 

Emmylou Harris & Steve Earle - City Winery, Nashville, TN, 4-3-2021

I recently discovered that Emmylou Harris performed about six concerts at the City Winery in Nashville in 2021, as people were just starting to attend concerts again due to the Covid pandemic. The concerts were done to benefit local charities helping with animal welfare, and each was different than typical Harris concerts in some way. I was able to find two of them on YouTube. This one is special because it was a joint acoustic concert with Steve Earle. The two of them took turns singing songs and telling stories in front of a very small audience, with excellent sound quality.

If you want, you can find the video of this on YouTube and watch the concert instead of just listening to it. I converted the video to audio, then chopped it into mp3 files.

The sound quality is excellent because the concert was a webcast. I missed it at the time, but better late than never. I plan on posting the other concert I found soon. 

This album is an hour and 36 minutes long. 

01 talk (Emmylou Harris & Steve Earle)
02 Raise the Dead (Emmylou Harris & Steve Earle)
03 talk (Emmylou Harris & Steve Earle)
04 Copperhead Road (Emmylou Harris & Steve Earle)
05 talk (Emmylou Harris & Steve Earle)
06 Big Black Dog (Emmylou Harris & Steve Earle)
07 talk (Emmylou Harris & Steve Earle)
08 Devil Put the Coal in the Ground (Emmylou Harris & Steve Earle)
09 talk (Emmylou Harris & Steve Earle)
10 My Antonia (Emmylou Harris & Steve Earle)
11 talk (Emmylou Harris & Steve Earle)
12 Hometown Blues (Emmylou Harris & Steve Earle)
13 talk (Emmylou Harris & Steve Earle)
14 All I Left Behind (Emmylou Harris & Steve Earle)
15 talk (Emmylou Harris & Steve Earle)
16 You're the Best Lover that I Ever Had (Emmylou Harris & Steve Earle)
17 talk (Emmylou Harris & Steve Earle)
18 My Name Is Emmett Till (Emmylou Harris & Steve Earle)
19 talk (Emmylou Harris & Steve Earle)
20 Goodbye (Emmylou Harris & Steve Earle)
21 talk (Emmylou Harris & Steve Earle)
22 Blackhawk (Emmylou Harris & Steve Earle)
23 talk (Emmylou Harris & Steve Earle)
24 Harlem River Blues (Emmylou Harris & Steve Earle)
25 talk (Emmylou Harris & Steve Earle)
26 If I Needed You (Emmylou Harris & Steve Earle)
27 talk (Emmylou Harris & Steve Earle)
28 City of Immigrants (Emmylou Harris & Steve Earle)
29 talk (Emmylou Harris & Steve Earle)
30 Pilgrim (Emmylou Harris & Steve Earle)

https://pixeldrain.com/u/m2paqekc 

alternate: 

https://bestfile.io/Tp4XhQjIm89w1un/file

The cover image is a screenshot I took from a YouTube video of this exact concert. I used Photoshop to move the two of them a lot closer to each other.

Robert Plant - Capitol Theatre, Port Chester, NY, 9-17-2015

Slowly but surely, I'm determined to post all the best stuff from the leak of concert bootlegs from Port Chester, New York. Here's a 2015 Robert Plant concert.

Musical associate Lil Panda did some work on the files here and then set them to me. He's very good at audio adjustments, better than me, so this sounds excellent.

At the time of this concert, Plant was promoting his 2014 album "Lullaby and the Ceaseless Roar." It was the first of two albums he did with his back up band the Sensational Space Shifters. Only two songs performed were from that album though, maybe because it had been about a year since it had been released. He also mostly ignored his earlier solo albums. Instead, he leaned on cover songs and Led Zeppelin songs.

The music is unreleased. The sound quality is excellent. 

This album is an hour and 22 minutes long. 

01 Poor Howard (Robert Plant)
02 Tin Pan Valley (Robert Plant)
03 Trampled Under Foot (Robert Plant)
04 talk (Robert Plant)
05 Turn It Up (Robert Plant)
06 Black Dog (Robert Plant)
07 talk (Robert Plant)
08 Let the Four Winds Blow (Robert Plant)
09 talk (Robert Plant)
10 Rain Song (Robert Plant)
11 No Place to Go - Dazed and Confused (Robert Plant)
12 talk (Robert Plant)
13 The Lemon Song (Robert Plant)
14 talk (Robert Plant)
15 Little Maggie (Robert Plant)
16 Win My Train Fare Home (Robert Plant)
17 I Just Want to Make Love to You (Robert Plant)
18 talk (Robert Plant)
19 Satan Your Kingdom Must Come Down - In My Time of Dying (Robert Plant)
20 Rock and Roll (Robert Plant)
21 talk (Robert Plant)

https://pixeldrain.com/u/jNg7sJS7

alternate:

https://bestfile.io/On8nUBjOq9RY3Ke/file

The cover image is a screenshot I took from a video of this exact concert. Since Plant was bathed in purple light, I used purple text as well.

Freddie King - Ebbets Field, Denver, CO, 5-27-1974

The flood of posts from the Ebbets Field radio broadcasts continues. Here's a 1974 show starring Freddie King.

I posted one Freddie King concert so far. It also is from 1974, but I didn't know the date. This one is a little bit better, I think. It definitely is longer, well over double the length. I've done enough of these Ebbets Field shows that I'm pretty confident this had to be an early show and a late show, since that was the constant pattern for the venue. But I don't know where the break took place, if that's true. Also, no song was played twice.

These Ebbets Field concerts almost always sound excellent, with few problems, which is a big reason why I'm prioritizing posting them. But there were some flaws with this recording. One is that some songs had missing pieces. For "Come On, Part 1" and "Have You Ever Loved a Woman," I was able to make fixes. That's why those two have "[Edit]" in their titles. But for the song "That's Alright," I couldn't find any live versions of the same song from around the same time to use for a fix. So I had to leave that one incomplete.

The music here is unreleased. 

This album is an hour and 49 minutes long. 

01 talk by emcee (Freddie King)
02 I'm Ready (Freddie King)
03 Ain't No Sunshine (Freddie King)
04 Ghetto Woman (Freddie King)
05 Come On, Part 1 [Let the Good Times Roll] [Edit] (Freddie King)
06 Pack It Up (Freddie King)
07 Have You Ever Loved a Woman [Edit] (Freddie King)
08 Blues No. 4 [Instrumental] (Freddie King)
09 T.V. Mama (Freddie King)
10 Going Down (Freddie King)
11 Wee Baby Blues (Freddie King)
12 Going Down [Reprise] [Instrumental] (Freddie King)
13 talk by emcee (Freddie King)
14 talk (Freddie King)
15 That's Alright [Incomplete] (Freddie King)
16 Big Legged Woman (Freddie King)
17 Sweet Home Chicago (Freddie King)

https://pixeldrain.com/u/1Bmt1iK9 

alternate:

https://bestfile.io/en/nndTKyb50KJtSf5/file

The cover image is from Alex Cooley's Electric Ballroom on January 7, 1974, in Atlanta, Georgia.

Laughter, Love and Music, Bill Graham Memorial, Golden Gate Park, San Francisco, CA, 11-3-1991, Part 4: The Grateful Dead with John Fogerty

Here's the fourth and last out of four volumes of the 1991 Bill Graham memorial concert, called "Laughter, Love and Music." This one mainly features the Grateful Dead. However, there's a section in the middle where John Fogerty sang four songs while backed by the Dead. 

But there's more. Neil Young also showed up to sing lead vocals on a song, again backed by the Dead. He sang the Bob Dylan song "Forever Young." I believe the only other time he sang this song in concert was at the Bridge School Benefit that same year. Furthermore, John Popper of Blues Traveler played harmonica on one song. And for the concert finale, the Dead left the stage so Joan Baez could sing "Amazing Grace," with backing vocals by Graham Nash and Kris Kristofferson.

The Grateful Dead were extremely close to Bill Graham, from the very start of their career. He took control of the Fillmore in San Francisco in 1966, the first year of the band's existence. They would go on to play concerts managed and promoted by Graham probably hundreds of times.

In my write-up for Volume 1 of this concert, I mentioned a quote from Bob Weir of the Dead, who called Graham "the most important non-musician in music." Here also is a quote from band member Jerry Garcia: "Bill was our power guy, he's the guy that made rock and roll into an art-form. He loved dickering with agents and managers, that's what was fun for him. Bill himself was larger than life and an amazing guy. I've just missed the friend."

And here's a quote from band member Mickey Hart: "Bill always took great pride in everything he did. Whether it was The Fillmore or the Winterland, you could see him before the show, with his watches and his clipboard, making sure the chairs were right… He was a saloon keeper, he was a proprietor at the beginning – that's what his license said, 'saloon keeper.' He took great pride in bringing people into an environment, making them feel really great, then making sure they got safe. He was like a warrior promoter, and he really cared, he would sit up at night and dream this stuff. It wasn't like he just went to work and punched a clock; he was driven."

Typically, the Dead played whatever they wanted to play, without much thought about time limits or the specific circumstances of the concert. But for this concert, they came pretty close to playing an abbreviated "best of." They kept the overall length of their set short, compared to their usual standards of playing two or three hours, while skipping the usual long "Space" and "Drums" solos. And they played some of their best known songs. They even finished with "Touch of Grey," their sole Top Ten hit in the U.S. I'm not saying that was a good thing or a bad thing; I just think it's interesting.

The most memorable part about their set, however, had to be the songs sung by John Fogerty. In 1989, Fogerty sang a few songs backed by some members of the Dead, though it wasn't the full band. You can find that recording here:

https://albumsthatshouldexist.blogspot.com/2025/12/in-concert-against-aids-oakland_19.html

That collaboration probably led to this one two years later, where he was backed by all of the Dead. These two concerts turned out to be the only two times Fogerty and the Dead played on stage together. (There were no more opportunities after Jerry Garcia died four years later.) This was also only the fourth time he played any of his Creedence Clearwater Revival songs at a formal concert after a long hiatus. Due to a legal dispute with his record company, he didn't play them from 1972 until 1987. After this, he began playing them on a regular basis. 

This album is an hour and 27 minutes long.

61 talk (David Graham)
62 Hell in a Bucket (Grateful Dead)
63 China Cat Sunflower (Grateful Dead)
64 I Know You Rider (Grateful Dead)
65 Wang Dang Doodle (Grateful Dead with John Popper)
66 talk (Grateful Dead)
67 Born on the Bayou (John Fogerty & the Grateful Dead)
68 Green River (John Fogerty & the Grateful Dead)
69 Bad Moon Rising (John Fogerty & the Grateful Dead)
70 talk (John Fogerty & the Grateful Dead)
71 Proud Mary (John Fogerty & the Grateful Dead)
72 Truckin' (Grateful Dead)
73 That's It for the Other One (Grateful Dead)
74 Wharf Rat (Grateful Dead)
75 Sunshine Daydream (Grateful Dead)
76 talk (Neil Young & the Grateful Dead)
77 Forever Young (Neil Young & the Grateful Dead)
78 Touch of Grey (Grateful Dead)
79 talk (Joan Baez)
80 Amazing Grace (Joan Baez with Graham Nash & Kris Kristofferson)
81 talk (David Graham)

https://pixeldrain.com/u/G1KUGAmb 

alternate:

https://bestfile.io/en/S3aMhOemSjAIHE3/file 

The cover image is from this exact concert. It shows John Fogerty in front, with Jerry Garcia of the Grateful Dead in back, with glasses and a beard.

Laughter, Love and Music, Bill Graham Memorial, Golden Gate Park, San Francisco, CA, 11-3-1991, Part 3: Crosby, Stills, Nash & Young

Here's the third out of four volumes of the 1991 Bill Graham memorial concert, called "Laughter, Love and Music." This one features Crosby, Stills, Nash and Young (CSNY).

Bill Graham was pivotal to the career of CSNY, so it was fitting they were one of the headlining music acts for his memorial concerts. He was involved in most of the really key concerts for the band, from Woodstock to Live Aid. In 1970, when CSNY was just starting out, he called them "America's Beatles." That quote got a lot of mileage and really helped them. But probably his most important role was in 1974, when he organized their big reunion tour. 

Graham Nash told a interesting story relating to Graham in his autobiography "Wild Tales: A Rock & Roll Life." It relates to an episode at one of their Fillmore East shows in New York City in 1970. After a three-hour show and two encores, the band was in their dressing room, refusing to come out while the crowd was cheering for more. Nash wrote, "Bill Graham slipped a note under our door. It said: 'Your audience awaits you.' 'We’re not coming out, no matter how much you pay us,' Neil told Bill. The next thing we knew, a hundred-dollar bill came sliding under the door. As soon as Neil saw that, he shouted, 'Not enough!' Seven more hundred-dollar bills came sliding through at regular intervals. We were all laughing our asses off about it. Neil scooped those bills up and we went out to do another encore." 

That showed the lengths Bill Graham would go to in order to make sure the audience went away fully satisfied. I would guess that any other concert promoter would have figured two encores was plenty after a long concert, and kept all the money.

CSNY got together for a reunion album in 1988, "American Dream." But they only played about five concerts together from 1988 to 1990, all of them benefit concerts. Graham's death caused them to reunite again, after over a year of not performing together. It would be their last concert as a foursome until they went on tour in 2000. In this concert, they skipped the songs from their reunion album and stuck to their classics.

This album is 43 minutes long.

46 talk by emcee (Crosby, Stills, Nash & Young)
47 talk (Crosby, Stills, Nash & Young)
48 Teach Your Children (Crosby, Stills, Nash & Young)
49 talk (Crosby, Stills, Nash & Young)
50 Love the One You're With (Crosby, Stills, Nash & Young)
51 Long May You Run (Crosby, Stills, Nash & Young)
52 Long Time Gone (Crosby, Stills, Nash & Young)
53 talk (Crosby, Stills, Nash & Young)
54 Southern Cross (Crosby, Stills, Nash & Young)
55 talk (Crosby, Stills, Nash & Young)
56 Only Love Can Break Your Heart (Crosby, Stills, Nash & Young)
57 Wooden Ships (Crosby, Stills, Nash & Young)
58 talk (Crosby, Stills, Nash & Young)
59 Ohio (Crosby, Stills, Nash & Young)
60 talk by emcee (Crosby, Stills, Nash & Young)

https://pixeldrain.com/u/Le4MDZsb

alternate: 

https://bestfile.io/en/KA7dtrXCoVKLj0i/file

I have to admit I cheated with the cover. I couldn't find any good photos of CSNY together at this concert, and even only a couple of bad ones. They were spread too far apart on the stage. But I did find a good one of Neil Young and David Crosby on stage at this exact concert, so I used that one. I also found a good one of just Stephen Stills, also at this exact concert. So I cheated by using Photoshop to paste Stills into the image between Young and Crosby. Sorry if that bothers anyone, but I liked it better that way.

Laughter, Love and Music, Bill Graham Memorial, Golden Gate Park, San Francisco, CA, 11-3-1991, Part 2: Santana with Los Lobos

Here's the second out of four volumes of the 1991 Bill Graham memorial concert, called "Laughter, Love and Music." This one mainly features Santana. But they were joined by Los Lobos for two songs. Additionally, Bobby McFerrin sang a wordless solo on one song.

In my opinion, it was a must that Santana performed at this concert, because Bill Graham played a pivotal role in the band's career. In 1967, when Santana was starting out, they were based in the San Francisco Bay Area. Getting to play at the Fillmore, owned and managed by Graham, was essential for getting a larger following. At first, Graham banned them after they failed to show up for a concert on time. But, a few months after that, he saw they had improved and become much more professional, and he took the band under his wing. He became their manager from 1969 to 1971.

He pushed hard to make them famous. Most importantly, he was asked to help manage and promote the Woodstock festival in 1969. He only agreed to do it if Santana, then a totally unknown band, was allowed to perform. Santana did, and that concert was their big break. But Graham did much more, including getting them their first national T.V. appearance on the "Ed Sullivan Show." He was fired from managing them around the time the band's original line-up broke up in 1971. But he still stayed close to the band and continued to advise them. As just one example, in 1977, he advised the band to cover "She's Not There" by the Zombies. They did, and had a Top Forty hit with it in both the U.S. and Britain.

Here's a quote from Carlos Santana about Graham, said shortly after Graham's death: "He really served people really well by giving people more than entertainment, so we're all very grateful to Bill Graham for your contribution to the arts, and we'll see you there when we get there. Thank you, Bill." 

This album is 53 minutes long.

34 Angels All Around Us - Spirits Dancing in the Flesh (Santana)
35 Somewhere in Heaven (Santana)
36 talk (Santana)
37 Peace on Earth... Mother Earth (Santana)
38 Third Stone from the Sun [Instrumental] (Santana)
39 Oye Como Va (Santana with Los Lobos & Bobby McFerrin)
40 talk (Santana with Los Lobos)
41 Bertha (Los Lobos & Santana)
42 talk (Santana)
43 I Love You Much Too Much [Instrumental] (Santana)
44 Jingo (Santana)
45 talk by emcee (Santana)

https://pixeldrain.com/u/QfBQFec2

alternate: 

https://bestfile.io/en/A1ZZVbu1I4Ng2wj/file

The cover image is taken from this exact concert. It shows Carlos Santana of Santana on the left and Cesar Rojas of Los Lobos in sunglasses on the right.

Laughter, Love and Music, Bill Graham Memorial, Golden Gate Park, San Francisco, CA, 11-3-1991, Part 1: Bobby McFerrin, Jackson Browne, Journey, Tracy Chapman, and More

On October 25, 1991 rock concert promoter Bill Graham died. The helicopter he was riding in went down in heavy fog as he returned home from a Huey Lewis and the News concert in Concord, California. Also killed were his companion, Melissa Gold, and his pilot, Steve Kahn. Federal investigators later said that Kahn was warned by air traffic controllers not to fly because of inclement weather. Just six days after that, a memorial rock concert for him was held in Golden Gate Park, in San Francisco. About 300,000 fans attended. There's enough music from this concert for four albums. Here's the first one.

Graham could be called a music promoter, and that much is true, but he was a lot more than just that. Grateful Dead guitarist Bob Weir called him "the most important non-musician in music." 

He's best known for owning the Fillmore and Winterland concert venues, but that's just a small part of the picture. There's no other promoter who has even come close to having the impact on music that he had, and I believe he's the only promoter inducted into the Rock and Roll Hall of Fame. He helped start and nurture the San Francisco music scene in the late 1960s, and helped a great many musical acts get their big breaks and then stay famous. 

Rabbi Robert Kirschner said of him, "There was a lot more to Bill than the Fillmore and Winterland and associations with the whole pantheon of rock 'n' roll in that era. He was also a visionary. He basically invented the whole idea of 'rock theater,' where you went to a concert for an immersion experience." His concerts were always special. For instance, when went to concerts at the Fillmore in the late 1980s, everyone who went could take home a free concert poster, as well as eat a free apple or two if they wanted. Who else would go the extra mile to improve a concert experience like that?!

And although he could be a ruthless businessman, he also was at the forefront of using music to promote social causes, especially to help fund charities. Neil Young had some moving words to say about that during this concert. "Bill Graham made us all look good. Gave us a chance to show you that we could do something good instead of just going on with our careers. He kept pushing us to do things for other people and making a place available for us to do it, so that there was no way out. Thank you, Bill."

There's a lot more that could be said about Graham and his remarkable career, but I'll direct you to his Wikipedia page for that:

Bill Graham (promoter) - Wikipedia

Suffice to say that he was beloved by many rock musicians, so they showed up for this memorial concert despite having only a couple of days to prepare. I'm sure many, many more would have wanted to play, but there was limited time available. Generally speaking, only the big name acts closest to him were chosen. 

For this first volume out of four, I gathered together all the musical acts that only performed a couple of songs each. Generally speaking, they are in the correct chronological order. However, Robin Williams, Journey, and Tracy Chapman all appeared after the next act, Santana, instead of before it. 

Also, note that I believe I've included all the music from the concert. The concert lasted about five and a half hours. The four volumes I've put together total four hours and fifteen minutes. The difference is the time between the acts.

There was just one non-musical performer at the concert, comedian Robin Williams. Normally, I like to keep things to just the music, but I've made an exception in this case to include his stand-up routine. But I stuck it at the end of this album, making it easier for you to keep it, skip it, or delete it. In fact, he performed just before Journey.

I've leave it to you to find out more about the performers if you want. But I have one comment to make about Journey. From 1977 until 1987, Steve Perry was the lead vocalist of that band. But in 1987, he felt burned out and quit the band. For the next several years, he retreated from the public eye and just tried to live a normal life. But he came out of semi-retirement for this concert. This end up being the last time Perry played with Journey.

You can find an entire article about it here:

https://ultimateclassicrock.com/last-journey-show-steve-perry/ 

Also, here's a Los Angeles Times about this memorial concert, written right after it took place:

Bay Area Plays Tribute to Graham : Memorial: About 300,000 gather for free concert at Golden Gate Park honoring the rock promoter who died 10 days ago in a helicopter crash. - Los Angeles Times 

All the music here is unreleased, I believe. I'm pretty sure the entire concert was broadcast on a local radio station, which is why we have an excellent sounding recording of all of it. 

This album is an hour and ten minutes long. 

01 talk by emcee (Dirty Dozen Brass Band)
02 talk (Dirty Dozen Brass Band)
03 My Feet Can't Fail Me Now (Dirty Dozen Brass Band)
04 talk by emcee (Bobby McFerrin)
05 talk (Bobby McFerrin)
06 Did I Hear You Say You Love Me (Bobby McFerrin)
07 talk (Bobby McFerrin)
08 The Star Spangled Banner (Bobby McFerrin)
09 talk by emcee (Jackson Browne)
10 For a Dancer (Jackson Browne)
11 talk (Jackson Browne)
12 World in Motion (Jackson Browne)
13 talk by emcee (Jackson Browne)
14 talk by emcee (Joe Satriani)
15 Always with Me, Always with You [Instrumental] (Joe Satriani)
16 talk (Joe Satriani)
17 The Crush of Love [Instrumental] (Joe Satriani)
18 talk by emcee (Joe Satriani)
19 talk by emcee (Aaron Neville)
20 Ave Maria (Aaron Neville)
21 talk by emcee (Aaron Neville)
22 talk by emcee (Journey)
23 talk (Journey)
24 Faithfully (Journey)
25 Lonely Road without You (Journey)
26 Lights (Journey)
27 talk by emcee (Tracy Chapman)
28 All That You Have Is Your Soul (Tracy Chapman)
29 Where the Soul Never Dies (Tracy Chapman)
30 talk by emcee (Tracy Chapman)
31 talk by emcee (Robin Williams)
32 Stand-Up Comedy Routine (Robin Williams)
33 talk by emcee (Robin Williams)

https://pixeldrain.com/u/BGA5GZ1u

alternate: 

https://bestfile.io/en/XgCnvfog3Ukj8Gr/file

The cover image shows Steve Perry and Neal Schon of Journey at this exact concert. Perry is holding a microphone at the edge of the stage, and Schon is playing guitar. Oh, and I took the "Laughter, Love and Music" logo from a promotional poster for the event.

Various Artists - Covered: Geoff Stephens: 1964-2002

I recently posted a couple of "Covered" albums dealing with British professional songwriters from the 1960s and 1970s (as I write this in May 2026). As I said elsewhere, there was a circle of a dozen or more who often collaborated with each other, and wrote lots of pop hits. Here's another one from that group, Geoff Stephens.

Many of the other songwriters in this group that I've been discussing came up with the British Invasion, the musical trend that started around 1963. But Stephens was slightly older - he was 29 years old in 1963- and his music career began before that. He served in the military for a couple of years and held a series of odd jobs before getting serious about songwriting. His first song was covered by a musical act in 1961. 

His first hit was "Tell Me When" in 1964, co-written by Les Reed, another songwriter in that group. I've already posted the hit version by the Applejacks in the "Covered" album for Barry Mason and Les Reed. So I went with a different version here. Later that same year, he had an even bigger hit with a song he wrote all by himself, "The Crying Game." The version by Dave Berry went all the way to the Top Five in Britain, although it wasn't a hit. (Boy George eventually had a hit in the U.S. with it in 1992.) It had an unusual melody, showing surprising musical sophistication for a pop hit 1964.

He had an even bigger hit in 1966 with "Winchester Cathedral," performed by the New Vaudeville Band. It actually was recorded by session musicians. The lead vocalist was John Carter, another songwriter I've profiled with a "Covered" album." Stephens had a fondness for vaudeville/ music hall music from the 1920s and earlier, and wrote the song in that vein. It was such a massive success - hitting Number One in the U.S. and some other countries, and selling three million copies worldwide - that it started a mini-vaudeville trend for the next couple of years. Few British artists could resist performing at least one or two songs in that style, for some reason.

Sometimes, Stephens was the sole songwriter, as was the case with "Winchester Cathedral." But more often, he wrote with other members of that unnamed British professional songwriter group. For instance, "There's a Kind of Hush" was written with Les Reed, "Sorry Suzanne" was written with Tony Macaulay, "My Sentimental Friend" was written with John Carter, "Daddy Don't You Walk So Fast" was written with Peter Callander, and so on. As you can see, Stephens didn't favor just one songwriting partner. In fact, he had many more, including Roger Greenaway, Barry Mason, Don Black, and Mitch Murray. All of those other people have their own "Covered" albums, or their albums are coming.

Stephens had many more hits through most of the 1970s, until about 1978. In fact, one of his biggest hits was one of his last, since "Silver Lady" by David Soul went to Number One in Britain in 1977. (That one was co-written with Tony Macaulay, by the way.) But musical styles changed drastically in the late 1970s, with the rise of disco, punk, and new wave. So his hits stopped at that time, as was the case with most of the other songwriters in that group he'd been working with since the mid-1960s. 

Starting in the early 1980s, he mostly switched to writing songs for musicals. In doing so, he still collaborated with people from that same group, writing different musicals with Don Black, Les Reed, and Peter Callander. He died in 2020 at the age of 86.

Here's his Wikipedia page:

Geoff Stephens - Wikipedia 

Because Stephens often wrote with other songwriters who have their own "Covered" albums, sometimes I've resorted to using non-hit versions, so the same versions don't appear on two different albums. So, for instance, I have "Sorry Suzanne" here by the Glass Bottle, instead of the hit version by the Hollies. "Smile a Little Smile for Me" is an outliner, because I chose a late cover for the same reason. The hit version was in 1970. Without that one, this album would end in 1980. 

This album is one hour long. 

01 Tell Me When (Jaybirds)
02 The Crying Game (Dave Berry)
03 Semi-Detached Suburban Mr. James (Manfred Mann)
04 Winchester Cathedral (New Vaudeville Band)
05 My World Fell Down (Ivy League)
06 There's a Kind of Hush (Herman's Hermits)
07 Boy (Lulu)
08 Sunshine Girl (Herman's Hermits)
09 Lights of Cincinnati (Scott Walker)
10 My Sentimental Friend (Herman's Hermits)
11 Sorry Suzanne (Glass Bottle)
12 Knock, Knock, Who's There (Mary Hopkin)
13 Daughter of Darkness (Tom Jones)
14 Daddy Don't You Walk So Fast (Wayne Newton)
15 You Won't Find Another Fool like Me (New Seekers)
16 Doctor's Orders (Carol Douglas)
17 Silver Lady (David Soul)
18 It's Like We Never Said Goodbye (Crystal Gayle)
19 Like Sister and Brother (Frank Hooker & Positive People)
20 Smile a Little Smile for Me (Chris von Sneidern)

https://pixeldrain.com/u/GVD6cdXe

alternate:

https://bestfile.io/en/6MIhB6jKMNGt8K9/file

I don't know anything about the cover image except that it's "circa 1970." The original was in black and white. I colorized it with the use of the Kolorize program.

The Carpenters - Imaginary Piano Recital, Volume 2: 1976-1983 (A Fabio from Rio Guest Post)

Here's another Fabio from Rio guest post. It's the second and last of two volumes featuring the Carpenters. As I was saying with Volume 1, Fabio and I love Karen Carpenter's voice, and the songs, but we usually don't love the overproduction of most of the Carpenters records. So, for these two volumes, Fabio is presenting the songs stripped down to just vocals and a piano. 

These are all the released studio versions, but edited to remove the other instruments. For the songs with "[Edit]," Fabio did at least some of the editing himself. For the others, he found versions on the Internet where people had already made edits.

There's more to say, but Fabio says that in the liner notes he wrote included in the download zip. Other than that, there's not much more for me to say, except thanks to Fabio for putting these albums together. 

This album is 57 minutes long. 

01 I Have You [Edit] (Carpenters)
02 There's a Kind of Hush [All Over the World] [Edit] (Carpenters)
03 We've Only Just Begun [Edit] (Carpenters)
04 You [Edit] (Carpenters)
05 All You Get from Love Is a Love Song [Edit] (Carpenters)
06 Calling Occupants of Interplanetary Craft [Edit] (Carpenters)
07 I Just Fall in Love Again (Carpenters)
08 Honolulu City Lights [Edit] (Carpenters)
09 I Need to Be in Love (Karen Carpenter)
10 Merry Christmas, Darling (Carpenters)
11 Where Do I Go from Here [Edit] (Carpenters)
12 If We Try [Edit] (Karen Carpenter)
13 Make Believe It's Your First Time [Edit] (Carpenters)
14 When It's Gone [Edit] (Carpenters)
15 Two Lives [Edit] (Karen Carpenter)

https://pixeldrain.com/u/Xn8YmPqA 

alternate:

https://bestfile.io/amevxgiU6IsLSFf/file

As with Volume 1, Fabio and I wanted a photo of Karen singing and Richard playing piano, and nothing else. That's what we got with this one. This one is from September 1971, probably September 23rd. The original was in black and white, but I colorized it with the help of the Kolorize program.