Covered: Billy Steinberg & Tom Kelly: 1980-2019

I don't keep a close eye on music news, but yesterday I happened to hear that songwriter Billy Steinberg died. Specifically, he died on February 16, 2026, at the age of 75. That probably doesn't mean anything to most people, because I don't think he's very well known as far as songwriters go. But it meant something to me, because I had already made a "Covered" album of the songs he and songwriting partner Tom Kelly made. (It's one of several dozen "Covered" albums I've made but haven't gotten around to posting yet.) Due to his death, I decided to post this sooner rather than later.

Steinberg and Kelly wrote a lot of hits from the 1980s to the 2000s that you probably know without ever knowing who wrote them. Even though they were male, somehow they had the most success with females covering their songs. They had five Number One hits in the U.S., all sung by women: "Like a Virgin" by Madonna (1984), "True Colors" by Cyndi Lauper (1986), "Eternal Flame" (co-written with Susanna Hoffs and recorded by the Bangles in 1989), "So Emotional" by Whitney Houston (1987), and "Alone" by Heart (1987).

Billy Steinberg was born in Fresno, California, though his family moved to Palm Springs when he was a teenager. After graduating from college, he formed a band called Billy Thermal. However, they didn't have any success, and one album they recorded around 1980 wasn't released until decades later, after he made a name for himself as a songwriter. He had his first songwriting success with "How Do I Make You," which was a hit for Linda Ronstadt in 1980.  

Tom Kelly was born in a small town in Illinois in 1952. He went to a college in that state, but dropped out to pursue a music career. He was a backing musician for Dan Fogelberg in 1976 and 1977. He also did a lot of session work, for instance singing backing vocals on Toto albums. He had his first songwriting success with "Fire and Ice," a minor hit for Pat Benatar in 1981.

Both Steinberg and Kelly independently had songs on Benatar's 1981 album, "Precious Time." They met at a party that year, and soon began writing together. Previously, both of them had written lyrics and music. But they soon fell into a pattern where Steinberg generally wrote the lyrics while Kelly wrote the music. Their really big break as a songwriting team was "Like a Virgin" by Madonna. After that, they were in high demand. What's on this album is just the cream of the crop of the many dozens of songs they wrote for well-known musical acts.

Their partnership continued very fruitfully until the mid-1990s. At that point, Kelly tired of songwriting and dropped out of the music business. He'd already had enough success to live on the royalties he'd made. However, Steinberg kept going with new songwriting partners. From the mid-1990s until the mid-2000s, he mostly wrote with Rick Newels, who already was a successful professional songwriter. From the mid-2000s to about the mid-2010s, he mostly wrote with Josh Alexander.

Steinberg had a lot of songwriting success after he stopped working with Kelly. But I listened to his big hits and, to be honest, didn't like them very much after about 2000. They suffer the same problems as most popular pop music since about 2000: formulaic and forgettable. So I generally didn't include most of those. To be honest, even a lot of their earlier stuff was formulaic and forgettable, but sometimes, in fact many times, they had some real winners.

But in case you're curious, Steinberg's biggest later hits include "I Turn to You" by Melanie C (2000), "Love Doesn't Have to Hurt" by Atomic Kitten (2003), "Too Little Too Late" by JoJo (2006), "Don't Hold Your Breath" by Nicole Scherzinger (2011), and "Give Your Heart a Break" by Demi Lovato (2012). After that, the hits petered out, although some older songs keep getting rerecorded and making the charts again, especially "Alone" and "I Drove All Night." For instance, Alyssa Reid went all the way to Number Two in the British charts with "Alone" in 2012, although it was titled "Alone Again" and had the now practically obligatory rap section.

I'm not a fan of Whitney Houston's version of "So Emotional." But since it was a massive Number One hit, I wanted to include it in some form. I found a radically different cover version by Jon McLaughlin from 2019 that I like much better, so I used that instead. Had it not been for that song, this album would end in 2000.

Here are their Wikipedia pages: 

Billy Steinberg - Wikipedia

Tom Kelly (musician) - Wikipedia  

That album is an hour and ten minutes long. 

01 How Do I Make You (Linda Ronstadt)
02 Fire and Ice (Pat Benatar)
03 Like a Virgin (Madonna)
04 Sex as a Weapon (Pat Benatar)
05 True Colors (Cyndi Lauper)
06 Eternal Flame (Bangles)
07 Alone (Heart)
08 In Your Room (Bangles)
09 I Touch Myself (Divinyls)
10 My Side of the Bed (Susanna Hoffs)
11 I Drove All Night (Roy Orbison)
12 Night in My Veins (Pretenders)
13 Lucky Love [Acoustic Version] (Ace of Base)
14 I'll Stand by You (Pretenders)
15 Falling into You (Celine Dion)
16 California (Belinda Carlisle)
17 One and One (Edyta Gorniak)
18 Everytime It Rains (Ace of Base)
19 The Consequences of Falling (k.d. lang)
20 So Emotional (Jon McLaughlin)

https://pixeldrain.com/u/4xNLLW9p 

alternate: 

https://bestfile.io/uxa5jlpb5sQPr8t/file

I don't know the details of the cover photo. But that's Tom Kelly on the left and Billy Steinberg on the right. There are patches of white in Steinberg's hair, which went completely white in later photos of him. 

Various Artists - Rock and Roll Hall of Fame Induction Ceremony, Waldorf Astoria, New York City, 1-20-1988

Yesterday (January 28, 2026), Bruce Springsteen dropped a new song about the current problems with ICE in Minneapolis, called "Streets of Minneapolis." It's good to see a protest song that addresses current issues, since there haven't been many of those in recent years. (He wrote, recorded, and released it in four days!) Here's a link, if you haven't heard it already:

https://www.youtube.com/watch?v=wWKSoxG1K7w 

Anyway, I wanted to post something from Springsteen after hearing that inspiring song. However, some recent computer problems I've been having have flared up again, which means I currently can't use Photoshop, which in turn means I can't make new album covers until that's fixed. So I looked around to see if I had some Springsteen-related album ready to go, cover and all. Luckily, I did. (I have soooo many albums I could post tomorrow, if only I had the time to finish them off. Sigh!) This one doesn't have a ton of Springsteen content, but it's a really interesting (thought short) concert. So, in a way, my current computer issues have an upside in that they're getting me to finally post this.

Now, finally, to the music. The Rock and Roll Hall of Fame started in the early 1980s. In 1986, they had their first induction ceremony, complete with a short concert featuring some of the inductees and other famous musicians. This has become a yearly tradition. Some concerts have been a lot more memorable than others. In my opinion, the ones from 1988 and 1989 were the most interesting, with the biggest star power. I haven't collected the others (though I very may well do so with some of them in the future), but I've made albums of those two. This is the 1988 one.

1988 was a really big year for the Hall of Fame, because their rule is that artists are only eligible for induction 25 years after their first record (be it a single or album). And when they were making their decisions in 1987 for this ceremony, that meant they were looking at the artists who put out their first records in 1962. It just so happens that was the first year of recordings for the Beatles, Bob Dylan, and the Beach Boys! Those are three of the biggest and most influential musical acts of all time. The Drifters and the Supremes were inducted that year as well, plus some non-performers, like Berry Gordy.

The induction ceremony had a lot of intrigue and drama in it. The Beatles are arguably the biggest (and best, IMHO!) musical act ever, so they were the main focus here, even overshadowing Dylan and the other very big names. Since John Lennon was assassinated in 1980, he was represented by his wife Yoko Ono, and his sons Julian Lennon and Sean Lennon, and each of them gave short speeches. Ex-Beatles George Harrison and Ringo Starr were there, and also gave speeches. 

However, the big no-show was Paul McCartney. He was in the middle of a lawsuit still connected to the break-up of the band back in 1970, so he felt he couldn't attend due to that. He put out a statement: "I was keen to go to and pick up my award, but after 20 years the Beatles still have some business differences which I had hoped would have been settled by now. Unfortunately, they haven't been [settled], so I would feel like a complete hypocrite waving and smiling with [Harrison and Starr] at a fake reunion." 

It turns out the lawsuit, which involved the division of profits from record sales, was settled a year later. So that was unfortunate timing as far as this concert goes. But at least that opened the door to the "Anthology" collaboration between the ex-Beatles a few years later.

Normally, when I post albums like this, I skip long speeches and focus on the music. But I'm making an exception here. I didn't include all the induction speeches, but I thought the ones relating to the induction of the Beatles and Dylan were important enough to include. They're all together at the beginning of this album, and they are about 19 minutes long in total. If you don't want to hear them, or just hear them once or twice, there's still about 40 minutes of music after that.

A big element of the drama involved Mike Love, a member of the Beach Boys. Love is one of the most notorious assholes in rock and roll, something I've discussed in other posts. But he really outdid himself this time. He appeared to be drunk, and used his induction speech to insult various famous musicians in the audience. This led to a funny quip from Dylan during his acceptance speech: when he listed people he wanted to thank, he thanked Love for not mentioning him in his speech!

Anyway, there are lots of interesting stories about what happened during this event. But instead of trying to summarize them all here, I'll just point out to an article from Rolling Stone Magazine that does a good job:

Rock and Roll Hall of Fame 

I've also posted a text file in the download zip that has the text to that article.

Regarding the music here, everything was professionally recorded, so the sound quality is excellent. However, I found the lead vocals were rather low in most of the songs, so I boosted that up with the help of the MVSEP program. Also, there was a problem in the performance of "Stop in the Name of Love." Mary Wilson of the Supremes was asked to sing the song (since Diana Ross was another prominent no show). But it was clear for this songs, as well as all the other songs, that there hadn't been any practice beforehand, so everyone was just winging it. For the first chorus at the start of the song, Wilson sang the song in one key, while the band (or at least most of it) played in another key. That sounds pretty painful to my ears. So I erased that, and patched in a chorus from later in the song. That's why that one song has "[Edit]" in its title.

Oh, also, during all the talking between songs, where band leader Paul Shaffer was trying to direct things, one or more people on stage kept playing guitar so loudly that it nearly drowned out what anyone was saying. So for most of those tracks, I used MVSEP to lower the volume of the guitar enough to make the talking more audible.  

The songs "I Saw Her Standing There" and "(I Can't Get No) Satisfaction" were officially released on the compilation album "Rock and Roll Hall of Fame, Volume 1: 1986-1991." Everything else here remains unreleased.

By the way, when it comes to the song list below, I only listed the name of the main lead singers. For all the songs, there was one of the most amazing gatherings of musical talent ever seen on one stage together. But it's next to impossible to figure out who was on stage doing what, other than the lead vocals. So that's why I kept the credits in the titles relatively simple. 

However, just as one example, it was Jeff Beck who started playing the "(I Can't Get No) Satisfaction" riff that led to that song being played, right when it seemed everyone was leaving the stage. Some of the others who were on stage at least part of the time but don't get mentioned in the song titles include: Neil Young, Paul Simon, Johnny Moore, Joe Blunt, Clyde Brown, Tom Fogerty, Les Paul, Arlo Guthrie, Yoko Ono, Ringo Starr, Little Richard, Peter Wolf,  Dave Edmunds, Jeff Lynne, Julian Lennon, Sean Lennon, Little Steven, and Clarence Clemons.  

This album is an hour and six minutes long. 

01 talk (Mick Jagger)
02 talk (Ringo Starr)
03 talk (George Harrison)
04 talk (Yoko Ono)
05 talk (Julian Lennon)
06 talk (Sean Lennon)
07 talk (Bruce Springsteen)
08 talk (Bob Dylan)
09 Twist and Shout (Johnny Moore)
10 All Along the Watchtower (Bob Dylan with George Harrison)
11 talk (Paul Shaffer)
12 I Saw Her Standing There (Billy Joel & Bruce Springsteen)
13 talk (Paul Shaffer)
14 Stand by Me (Ben E. King & Julian Lennon)
15 talk (Paul Shaffer)
16 Stop in the Name of Love [Edit] (Mary Wilson)
17 talk (Paul Shaffer)
18 Whole Lotta Shakin' Goin' On - Hound Dog - Honey Hush (Elton John)
19 talk (Paul Shaffer)
20 Barbara Ann (Beach Boys)
21 talk (Paul Shaffer & John Fogerty)
22 Born on the Bayou (John Fogerty with Bruce Springsteen)
23 talk (Paul Shaffer & John Fogerty)
24 Like a Rolling Stone (Bob Dylan with Bruce Springsteen)
25 talk (Paul Shaffer)
26 [I Can't Get No] Satisfaction (Mick Jagger with Bruce Springsteen)

https://pixeldrain.com/u/SpmdHRju

alternate:

https://bestfile.io/yv9ChPKPJqpFcYT/file

The cover photo is from this exact concert. From right to left: Bob Dylan, George Harrison, and Mick Jagger.

Chris Rea - BBC Sessions, Volume 4: In Concert, Wembley Arena, London, Britain, 12-19-1988

Here's a fourth BBC album starring singer-songwriter Chris Rea. This is a concert from 1988. I've got a lot more of these coming soon. 

Since the last BBC concert from him I posted, in 1986, his career continued to gather momentum. He had one of the biggest hits of his entire career in 1987, with "Let's Dance." It made it to Number 12 on the British singles chart. (He was still having no success in the U.S., and so he wasn't bothering to tour there.) Then, just a month prior to this concert, he had probably his best known hit, "Driving Home for Christmas." It reached Number 10. But it became one of those Christmas songs that keeps coming back every Christmas season. It has returned to the charts in Britain every year since 2007, and has gone Triple Platinum in Britain as a result.

Given all that, it's a disappointment that neither of those songs are included here. According to setlist.fm, he actually DID play both songs in this concert, as you can see here:

Chris Rea Concert Setlist at Wembley Arena, London on December 19, 1988 | setlist.fm 

Unfortunately, the BBC chopped this concert down to an hour's length, as they often do to fit the music into hour-long radio time slots. And for some reason, they didn't include those two, as well as some of his other best known songs, like "Fool (If You Think It's Over)." If anyone has more of this concert, please let me know and I'll add it here. Rea only played "Driving Home for Christmas" sometimes in the late 1980s, then dropped it from his concerts until 2014. So you won't find it on most of the BBC albums I post after this as well.

The music here is unreleased, and the sound quality is excellent. 

This album is 54 minutes long. 

01 Nothing's Happening by the Sea (Chris Rea)
02 Stainsby Girls (Chris Rea)
03 Josephine (Chris Rea)
04 On the Beach (Chris Rea)
05 Working on It (Chris Rea)
06 Loving You Again (Chris Rea)
07 Steel River (Chris Rea)
08 It's All Gone (Chris Rea)

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

alternate:

https://bestfile.io/EMn8hkrkTLuVQaW/file

The cover photo shows Rea at the San Remo Music Festival, in San Remo, Italy, on February 24, 1988. 

The Indigo Girls & Michael Stipe - Athens Music Festival, Winterville, GA, 9-25-1988

I'm particularly psyched to post this album. Until a few days ago (writing this in early January 2026), I had no idea this existed. I'm still kind of surprised that it exists, because it's very unique. For the entire duration of this (admittedly fairly short) concert, the Indigo Girls (Emily Saliers and Amy Ray) performed with Michael Stipe, the lead singer of R.E.M. I looked it up at a very comprehensive R.E.M. fan site, and this is the one and only time the two musical acts collaborated so extensively like this. Luckily for us, someone recorded it.

At the time of this concert in late 1988, R.E.M. had become big stars, thanks in part to their hit "The One I Love" from the year before. The Indigo Girls, by contrast, were just starting to make it. They released their debut album, "Strange Fire," in 1987. But it came out on a small record label and didn't get much notice at the time. Their next album, "Indigo Girls," would come out in early 1989 and would go double Platinum, meaning sales of over two million copies in the U.S. But that was still in the future.

Stipe and R.E.M. started out playing in small clubs in Athens, Georgia, and they kept ties to the area after becoming famous. The Indigo Girls also were largely based in Athens as their career gathered momentum. For instance, that's where they recorded their "Strange Fire" album. So Stipe became aware of them, and wanted to help them succeed. When their "Indigo Girls" album came out, Stipe had prominent vocals on the song "Kid Fears," and the other members of R.E.M. played on the song "Tried to Be True." This R.E.M. helped break that album.

Furthermore, both Stipe and the Indigo Girls almost never co-wrote songs with outsiders. But the three of them wrote the song "I'll Give You My Skin" together. It came out on a benefit album called "Tame Yourself" in 1991, as well as the Indigo Girls compilation album "Rarities" much later. 

Both "Kid Fears" and "I'll Give You My Skin" were performed at this concert. However, neither of those songs had been released yet, so this connection between Stipe and the Indigo Girls was probably a big surprise to most of the people in the audience.  

Furthermore, most of the other songs performed would have been a surprise to anyone in the audience who had all the R.E.M. and Indigo Girls albums released up until that point. In addition to the songs mentioned above, "Prince of Darkness" was the only other Indigo Girls original, and that one also wouldn't be released until the "Indigo Girls" album came out. Two R.E.M. songs were played as well, but they were obscure. "Hairshirt" came out on the band's "Green" album, but that album wouldn't be released until a couple of months after this concert. So did "Untitled (The Eleventh Untitled Song)." But that was a secret bonus track at the end of the album. It's actually be officially referred to by three different names in different sources, since the title isn't mentioned on the album at all. In addition to "Untitled" and "The Eleventh Untitled Song," it's also been known as "11."

So that means there wasn't a single original song performed here that had been officially released by either act at the time of this concert. But most of the songs, seven out of 11, were covers. Here's a quick list of the original artists for each of those songs:

Ain't No Sunshine - Bill Withers
First We Take Manhattan - Leonard Cohen
Midnight Train to Georgia - Gladys Knight & the Pips
Harpers - Hugo Largo
All Along the Watchtower - Bob Dylan
Dark Globe - Syd Barrett
Summertime - George Gershwin

What I like most about this concert is that it wasn't just a case of "I'll play my song and you play your song," like the Songwriters' Circle albums I've been posting recently. The three musicians (and it was just Stipe, Ray, and Saliers on stage, with acoustic guitars) genuinely collaborated on most of the songs. In early 1989, the Indigo Girls would be the opening act for a high profile R.E.M. tour. On most nights, Stipe would come out and add his vocals to "Kid Fears." But it was just that one song. They never collaborated in public like this before or since, at least as far as I know.

They played in front of a small audience, as you can hear in the recording. (It was a benefit for P.E.T.A. - the People for the Ethical Treatment of Animals, with a bunch of other local musical acts on the bill.) So we're lucky to get any recording of this at all, and it's only an audience boot. But it happens to be a very good sounding one. It may have come from the audio feed of a video, because one can find a video of this concert on YouTube.

However, the boot had one big problem: a constant level of hiss throughout the entire recording. Luckily for us, though, audio editing technology has come a long way in recent years. I used the "Denoise" option in the MVSEP program for all the songs. It worked like magic, completely wiping away the hiss. So this sounds much better than ever before, in my opinion, basically as good as a soundboard boot. 

Again, I just want to highlight how unique and special this concert was. I looked up Stipe's concert performance history at setlist.fm. Until today, as I write in 2026, he has never performed in concert as long as this without R.E.M. backing him up. That's true even with R.E.M. breaking up in 2011. He rarely performed without R.E.M. at all, and when he did, it was always for special occasions, like tribute concerts, where he sang a few songs at most. It's too bad these three people didn't perform together more often, because it's a really interesting combination.

This album is 53 minutes long. 

01 talk (Indigo Girls & Michael Stipe)
02 Ain't No Sunshine (Indigo Girls & Michael Stipe)
03 talk (Indigo Girls & Michael Stipe)
04 First We Take Manhattan (Indigo Girls & Michael Stipe)
05 talk (Indigo Girls & Michael Stipe)
06 Hairshirt (Indigo Girls & Michael Stipe)
07 talk (Indigo Girls & Michael Stipe)
08 I'll Give You My Skin (Indigo Girls & Michael Stipe)
09 talk (Indigo Girls & Michael Stipe)
10 Midnight Train to Georgia (Indigo Girls & Michael Stipe)
11 talk (Indigo Girls & Michael Stipe)
12 Prince of Darkness (Indigo Girls & Michael Stipe)
13 talk (Indigo Girls & Michael Stipe)
14 Untitled [The Eleventh Untitled Song] (Indigo Girls & Michael Stipe)
15 talk (Indigo Girls & Michael Stipe)
16 Kid Fears (Indigo Girls & Michael Stipe)
17 Harpers (Indigo Girls & Michael Stipe)
18 talk (Indigo Girls & Michael Stipe)
19 All Along the Watchtower (Indigo Girls & Michael Stipe)
20 Dark Globe (Indigo Girls & Michael Stipe)
21 Summertime (Indigo Girls & Michael Stipe)

https://pixeldrain.com/u/VbdGARLv

alternate: 

https://bestfile.io/en/k7QFujm0Kg5HsSD/file

The cover photo is from this exact concert, taken from a video of it I found on YouTube. I feel bad, because I was only able to include Michael Stipe and Emily Saliers, leaving out Amy Ray. I wanted to include all three. However, there were multiple cameras, and the one focusing on Stipe and Saliers had very different lighting and angle than another camera focusing on Saliers and Ray. Putting them together just didn't look right. 

Little Feat with Bonnie Raitt - BBC Sessions, Volume 2: In Concert, Town and Country Club, London, Britain, 12-8-1988

Here's the second and last Little Feat BBC album that I've found. Like the first one, it's a concert. It also features Bonnie Raitt playing on a few songs, and even sharing lead vocals on a couple of them.

At the end of the 1970s, Little Feat broke up. They also lost their main musical force, lead vocalist and lead guitarist Lowell George, who died in 1979. But the regrouped with the album "Let It Roll." Not only was it a surprise hit, but they actually had more commercial success than ever before. It contained two big hit songs, " Hate to Lose Your Lovin'" and "Let It Roll." I was just watching an NFL Thursday Night Football game last night, and the show played part of "Let It Roll" as background music at one point, showing how that song has become an establish classic. 

I think the key to their resurgence was Craig Fuller. You may not have heard of him, but he's a very talented songwriter. For instance, he wrote "Amie," a hit by the Pure Prairie League in 1972. He joined Little Feat when they reunited, and cowrote eight out of ten songs on their "Let It Roll" album. He also became one of the band's main lead vocalists. He stayed with the band until 1993, and occasional reunions after that. 

Anyway, the typical version of this concert bootleg is just short of an hour long. The BBC often cut concerts down to that length to make it fit an hour-long radio show time slot. But I found one version that was longer - an extra 40 minutes. I also found a set list of the correct song order, and saw the longer version had a scrambled song order. So I put the concert back pretty close to the correct order. ("Down on the Farm" is slightly out of place.)

As I mentioned above Bonnie Raitt was a guest star on some songs. For four songs, she played slide guitar and sometimes sang backing vocals. But for two songs, "Man Size Job" and "Rock and Roll Doctor," she shared lead vocals. Check the song list for the songs she was on, because she came and went from the stage multiple times. Note that Raitt has a long history with Little Feat, as she absolutely loves that band. For instance, I've also posted an episode of the "Midnight Special" from 1977 when she performed with the band then as well.

Here's a random side note. For years, I've been using the program TagScanner to help with making the mp3 tags and fixing the file names for the albums in my music collection. I've never had any notable problem with the program in all that time, except for one weird quirk: any time I have a song with "Little Feat" in the name, and I save a change, it changes it to "Little feat" (lower case "f"). Every single damn time! If I try "Little Fead" or anything else similar? No problem. Just the exact spelling of "Little Feat" specifically. And it's never happened with any other musical act name. It's so bizarre! Would anyone have an explanation for this? (Luckily, I also use a second program, called Mp3tag, so I fixed this problem in that program.) 

This album is an hour and 39 minutes long. 

01 Fat Man in a Bathtub (Little Feat)
02 Spanish Moon (Little Feat)
03 talk (Little Feat)
04 All that You Dream (Little Feat)
05 talk (Little Feat)
06 Cajun Girl (Little Feat)
07 Down on the Farm (Little Feat)
08 Hate to Lose Your Lovin' (Little Feat with Bonnie Raitt)
09 Oh Atlanta (Little Feat)
10 talk (Little Feat)
11 Man Size Job (Little Feat & Bonnie Raitt)
12 talk (Little Feat & Bonnie Raitt)
13 Rock and Roll Doctor (Little Feat & Bonnie Raitt)
14 talk (Little Feat)
15 Let It Roll (Little Feat)
16 talk (Little Feat)
17 Old Folks Boogie (Little Feat)
18 Dixie Chicken (Little Feat with Bonnie Raitt)
19 Tripe Face Boogie (Little Feat)
20 Willin' (Little Feat with Bonnie Raitt)
21 Feats Don't Fail Me Now (Little Feat with Bonnie Raitt)
22 talk (Little Feat)
23 Apolitical Blues (Little Feat)
24 Teenage Nervous Breakdown (Little Feat) 

https://pixeldrain.com/u/skqfCimg

alternate:

https://bestfile.io/EV2oJrVtpbvtSoZ/file

The cover photo is from an appearance on the "Saturday Night Live" TV show in 1988. I believe one band member got cropped out because he was way to the side. I would have liked to use a photo of the band with Bonnie Raitt from this time, but I couldn't find any like that except from the 1970s. To be honest, it was hard to even find a decent photo of the band from around 1988 at all.

Leo Sayer - BBC In Concert, Bristol Hippodrome, Bristol, Britain, 5-29-1988

Here's a BBC concert by singer-songwriter Leo Sayer. It's the only BBC one I've ever come across by him.

I've gotta admit, just like the last musical act I've posted (Death Cab for Cutie), I'm not particularly keen on the music here. But musical friend Progsprog recently shared some of his music with me, and I noticed this concert. I also took notice of how very obscure it is. In all my digging for BBC material in recent years, I've never come across even a mention of it. So I figure it's kind of my duty to help share this sort of thing. I may not been excited about it, but Sayer has sold a ton of music, so no doubt there will be some people who will enjoy hearing this.

Sayer had a decade of hits, from 1973 to 1983. In the late 1980s, his career took a commercial downturn. In fact, he didn't release a studio album between 1983 and 1990. But when this concert took place in 1988, he still was only a few years from his hit-making era. Plus, this concert has the advantage of being a full one, instead of edited down to an hour or less, like many BBC concerts. So pretty much all of his best known songs can be found here.

The music here is unreleased (and very rare - thanks again to Progsprog for sharing), and the sound quality is excellent. 

This album is an hour and 35 minutes long.

01 Leave My World Alone (Leo Sayer)
02 Wonderworld (Leo Sayer)
03 Moonlighting (Leo Sayer)
04 One Step (Leo Sayer)
05 talk (Leo Sayer)
06 Don't Wait until Tomorrow (Leo Sayer)
07 Giving It All Away (Leo Sayer)
08 Orchard Road (Leo Sayer)
09 One Man Band (Leo Sayer)
10 You Make Me Feel like Dancing (Leo Sayer)
11 The Show Must Go On (Leo Sayer)
12 Working Man (Leo Sayer)
13 Easy to Love (Leo Sayer)
14 More than I Can Say (Leo Sayer)
15 Endless Flight (Leo Sayer)
16 talk (Leo Sayer)
17 Sally (Leo Sayer)
18 How Much Love (Leo Sayer)
19 When I Need You (Leo Sayer)
20 Something New (Leo Sayer) 

https://pixeldrain.com/u/ajnRVmej

alternate:

https://bestfile.io/en/0gdQ4mkfUqdeFUZ/file

The cover image is from 1987. That's all I know about it.

Tracy Chapman & Natalie Merchant - Donmar Warehouse, London, Britain, 3-25-1988

I'm extra psyched to be presenting this album. It's actually two acoustic sets making up one concert. The first half features Natalie Merchant when she was still the lead singer for the band 10,000 Maniacs, and the second features Tracy Chapman. They're linked by a duet, but also by more, as I will explain. 

I had been aware of this concert for a long time. I put the duet of Merchant and Chapman singing " Where the Soul Never Dies" on a stray tracks album a few years ago, in fact. But I never considered posting it because I thought the sound quality was a little lacking. However, with the improvements in audio editing technology in recent years, I thought I'd give it a try. I think it sounds very good.

Before I say more about the recording, let me share the interesting story behind how this concert came to be. 

In 1987, Tracy Chapman was a struggling musician living in Boston, performing in small clubs and sometimes on street corners. But that year, she finally got her big break and got signed to a major record label, Elektra Records. Meanwhile, Natalie Merchant was becoming a star as the main singer and songwriter for the band 10,000 Maniacs. In the summer of 1987, they released their third album, "In My Tribe." It made the Top Forty in the U.S. album charts, putting them on the map as a nationwide popular act.

It so happened that 10,000 Maniacs was also signed to Elektra Records. One day, in late 1987, she discovered a demo tape of some of Chapman's songs while visiting the record company's New York City office. She was very impressed, so much so that she actually cried from being emotionally moved by the songs. In late 1987 and early 1988, Chapman recorded her debut album. It would be released in April 1988 under the title "Tracy Chapman." 

Then, in late February 1988, Elektra Records had Chapman perform a special concert in Boston to help build anticipation for her upcoming album. Even though only 150 people could fit in the club, lots of journalists and music industry insiders were invited. Merchant heard about the concert. She was so interested in that demo tape she'd heard that she flew to the concert and met Chapman after the show. Merchant later said, "I felt a kinship because her record was made from the soul rather than to make money. There was similarity between us in the lyrical sentiment and musical quality." A few days later, Merchant sent Chapman a copy of her "In My Tribe," album, and the two began communicating.

This soon led to Merchant inviting Chapman to a concert in London the following month. Actually, it was two concerts, on March 24th and 25th, both at the Donmar Warehouse, which only held about 200 people. This was designed to introduce Chapman to a European audience, as she'd never performed outside the U.S. before. At this point, Merchant had never really done any solo concerts, only concerts with 10,000 Maniacs. But she pushed herself to perform solo in order to help Chapman promote her upcoming album in this way. And even though Merchant was a star and Chapman was an unknown, Merchant opened the concert to help give Chapman a bigger spotlight. The effort worked, because some British journalists attended one or both of the concerts and started to spread word about her music in Britain. Chapman then played a few more solo concerts in Britain, opening for John Martyn, before returning to the U.S.

When Chapman's debut album was released in April 1988, it was out of step with the musical trends of the time. So at first, it did reasonably well, but not great. The album sold 250,000 copies by June. That month, she got to take part in a concert honoring Nelson Mandela that was broadcast worldwide. That caused her sales to skyrocket. A couple of months later, her album reached Number One in the U.S. album chart. Eventually, it went on to sell over 20 million copies. It also helped open the door for many other acoustic-based singer-songwriter types.

So it turns out this concert (and the one at the same venue the day before) was important for both Merchant and Chapman. For Merchant, it was the start of her doing solo work, though it would still be a few years before she left 10,000 Maniacs. And for Chapman, it helped build her reputation at a key time, when her debut album was still a few weeks away from being released.

Merchant further helped Chapman by having her be the opening act for 10,000 Maniacs for a few months, back before the Nelson Mandela concert. Merchant later commented, "She certainly doesn't need any help from me in retrospect. I played with her in England and had her tour with us to get my crowd to see her rather than have her relegated to women's bins or folk bins in the stores. When she toured with us not many people had heard the album, but people sat completely enthralled and she got standing ovations most nights." 

Thanks to this essay, where I found much of the information here:

https://tracychapmanonline.substack.com/p/tracy-chapman-natalie-merchant-10000-maniacs 

Now, let's get to this recording. I found recordings of the two sets separately, and put them together. But I'm sure they're from the same source. It's an audience bootleg, but a pretty good one. Because the crowd was small, there was almost no crowd noise during the songs. However, the big problem that stopped me from posting this in the past was hiss. So I tried something new. MVSEP has a conversion setting called "Denoise." I tried it, and it did a really great job of getting rid of the hiss, even during the songs, while keeping everything else. This works better than "noise reduction," which often harms the music. 

So that fixed most of the problem. However, the sound of Merchant's set was a bit rougher. The songs sounded pretty good, but the banter was often hard to understand. So I ran the talking tracks through Adobe's "Enhance Speech" program, which specifically helps with the clarity of speech. That helped a lot. The one remaining problem after that was that the first minute or so of Chapman's "For My Lover" was missing. Luckily, that song has some repetition in it, and the verses that were lost were repeated later in the song. So I just copied parts of the song to fill in the missing portion. That's why that one song has "[Edit]" in its title.

On a final note, some of the songs performed in this concert still haven't been officially released. "After Talking to Myself" by Natalie Merchant has been performed in concert a few times, but it's not even known what the song title is. And Chapman played some songs that would show up on her second album "Crossroads," like "Born to Fight" and "This Time," plus, "If I" and "Be My Baby," which remain unreleased. And their duet of the traditional song "Where the Soul Never Dies" also remains unreleased by both of them.

This album is an hour and 38 minutes long. The Natalie Merchant set is 43 minutes long, and the Tracy Chapman one is 56 minutes long. (Also, just as a nitpicky thing, some versions of this bootleg I've seen list March 20th as the date, but I believe the more accurate date is there were two shows, on March 24th and 25th, and this is from the 25th.)

By the way, note that on the same day I'm posting this, I've added three songs to the Chapman "Acoustic Demos" album I made. All three of them are still unreleased songs recorded way back in 1986, in great sound quality, so you really should give those a listen. Here's the link:

https://albumsthatshouldexist.blogspot.com/2018/10/tracy-chapman-acoustic-demos-1986-1988.html 

01 talk (Natalie Merchant)
02 A Campfire Song (Natalie Merchant)
03 talk (Natalie Merchant)
04 Gun Shy (Natalie Merchant)
05 talk (Natalie Merchant)
06 Everyone a Puzzle Lover (Natalie Merchant)
07 talk (Natalie Merchant)
08 Don't Talk (Natalie Merchant)
09 talk (Natalie Merchant)
10 The Painted Desert (Natalie Merchant)
11 talk (Natalie Merchant)
12 Lilydale (Natalie Merchant)
13 What's the Matter Here (Natalie Merchant)
14 Maddox Table (Natalie Merchant)
15 talk (Natalie Merchant)
16 Verdi Cries (Natalie Merchant)
17 talk (Natalie Merchant)
18 Like the Weather (Natalie Merchant)
19 After Talking to Myself (Natalie Merchant)
20 talk (Tracy Chapman)
21 Why (Tracy Chapman)
22 If I (Tracy Chapman)
23 Across the Lines (Tracy Chapman)
24 This Time (Tracy Chapman)
25 Behind the Wall (Tracy Chapman)
26 Baby Can I Hold You (Tracy Chapman)
27 talk (Tracy Chapman)
28 Fast Car (Tracy Chapman)
29 talk (Tracy Chapman)
30 If Not Now (Tracy Chapman)
31 For My Lover [Edit] (Tracy Chapman)
32 Born to Fight (Tracy Chapman)
33 talk (Tracy Chapman)
34 Mountains O' Things (Tracy Chapman)
35 talk (Tracy Chapman)
36 Talkin' 'bout a Revolution (Tracy Chapman)
37 talk (Tracy Chapman)
38 Be My Baby (Tracy Chapman)
39 Where the Soul Never Dies (Tracy Chapman & Natalie Merchant)

https://pixeldrain.com/u/X4dRftSL

alternate: 

https://bestfile.io/SojSNsOlHUBpier/file

The cover photo of Merchant and Chapman is from this time period, though I don't know the exact details. The background was white, but I used Photoshop to change it to black. I also used Krea AI to improve the image quality.

The O'Jays - BBC In Concert, Hammersmith Odeon, London, Britain, 2-5-1988

I didn't think I'd find any BBC concerts by the O'Jays, since the BBC isn't strong with American soul music. But I happened to come across this one, so here it is.

The O'Jays had their commercial peak in the 1970s, when the had eight Gold or Platinum albums in the U.S., and big singles like "Back Stabbers" and "Love Train." This concert took place in 1988. That happened near the end of their hit making years, with a Number One soul hit, "Lovin' You," in 1987. Curiously, that song wasn't included here. 

Instead, it's pretty much all 1970s hits. The pace is pretty relentless. There was no banter between songs whatsoever, and also almost no time for applause, except at the very end.

The music here is unreleased. The sound quality is very good. 

This album is 43 minutes long. 

01 Sing a Happy Song (O'Jays)
02 Use ta Be My Girl (O'Jays)
03 Your Body's Here with Me (O'Jays)
04 Love Train (O'Jays)
05 Living for the Weekend (O'Jays)
06 Stairway to Heaven (O'Jays)
07 Cry Together (O'Jays)
08 Make a Joyful Noise (O'Jays)
09 Back Stabbers (O'Jays)
10 For the Love of Money (O'Jays) 

https://pixeldrain.com/u/DCZeFh2K 

alternate: 

https://bestfile.io/HqDrgFQZ9rxOMkg/file

The cover image shows the O'Jays in a concert in 1989. I don't know the details. 

Richard Thompson - BBC Sessions, Volume 6: 1988-1991

I had a weird dream last night (as I write this in October 2025). In the dream, I heard the song "Al Bowlly's in Heaven" by Richard Thompson, but I noticed a famous Queen song was basically the same song, just with different words and very different production. I don't think it's true that any Queen song resembles that one, but it was a fun was to be reminded what a fantastic song "Al Bowlly's in Heaven" is. And it also reminded me that it's time to post another Richard Thompson album. So here's the next BBC album from him. This one is a collection of BBC studio sessions, all solo acoustic.

Everything here remains unreleased. The first five songs are from an appearance on the Andy Kershaw Show in 1988. Tracks 6 through 9 are from another 1988 radio show, the Richard Skinner Show. "She Moved through the Fair" is a live cut from the "Folk on Two" radio show. The remaining songs, tracks 11 through 16 are from a 1992 radio show called "Kaleidoscope."

Unfortunately, "Al Bowlly's in Heaven" isn't on here, but it is on the "BBC Sessions, Volume 2" album I've posted here. That's probably the greatest song about war-related PTSD ever written. Most of the songs here are from his albums at the time, like 1988's "Amnesia" and 1991's "Rumour and Sigh." But there are a few rarities and older ones as well.

This album is 48 minutes long. 

UPDATE: On November 8, 2025, I updated the mp3 download file. The music is exactly the same. But I found an earlier volume in this series that I'd missed, so the volume number changed. That meant the title, cover art, and mp3 tags changed too. 

01 Killerman Gold Posse (Richard Thompson)
02 Waltzing's for Dreamers (Richard Thompson)
03 Pharoah (Richard Thompson)
04 Push and Shove (Richard Thompson)
05 Killing Jar (Richard Thompson)
06 Turning of the Tide (Richard Thompson)
07 talk (Richard Thompson)
08 Two Left Feet (Richard Thompson)
09 Valerie (Richard Thompson)
10 She Moved through the Fair (Richard Thompson)
11 I Feel So Good (Richard Thompson)
12 1952 Vincent Black Lightning (Richard Thompson)
13 The Choice Wife [Instrumental] (Richard Thompson)
14 I Misunderstood (Richard Thompson)
15 Don't Let a Thief Steal into Your Heart (Richard Thompson)
16 God Loves a Drunk (Richard Thompson)

https://pixeldrain.com/u/xJM8VVUy

alternate: 

https://bestfile.io/en/wL8TMxaJTATURtx/file

The cover photo is from 1992. That's all I know about it. 

Various Artists - Songs in the Key of Brian - Remembering Brian Wilson (1975-2021) (GUEST POST BY FABIO FROM RIO)

One of the all-time great musical geniuses, Brian Wilson, died a few days ago, on June 11, 2025. He was 82 years old. I wanted to post something to mark his passing. Luckily, I've recently been collaborating with a new musical friend, who goes by the name Fabio from Rio. He's a big fan of Brian Wilson and the Beach Boys, and came up with the idea of creating an album consisting entirely of songs about Brian Wilson. So that's what this is. I gave him free reign, and only helped him some with suggestions on song selection.

I would have never come up with the idea for this album, because I had no idea that there would be enough songs about Brian Wilson to make up an entire album. I knew of the song "Brian Wilson" by Barenaked Ladies, since that was a hit back in the 1990s, but that was about it. But Fabio must be a really big fan, because he found so many songs that we had to cut some out to keep the album from getting too long.

The album starts with a rare demo written and sung by Wilson himself. It also ends with two more written and sung by him, including a rare live version of "Love and Mercy." Fabio explained the reasoning for this in an email, which I liked. I'll just paste in his explanation here:

"The Wilson tunes are bookends, as they serve to introduce and close the 'main event' (all the tracks written to him or about him) while bringing a personal Brian touch to the collection. The first song, a 1975, demo works as a prelude (acknowledging Brian's fragility and strength both simultaneously contained in his voice), 'The Last Song' is the epilogue, and 'Love and Mercy' is a coda." 

Regarding the rest of the songs, what Fabio calls the "main event," tracks 2 through 13, are basically divided into two parts. Tracks 2 through 8 are direct tributes to Brian. That's obvious by their titles, but it's not just that: the lyrics and musical style ooze reference and admiration for the man. That's followed by tracks 9 through 13, which are indirect tributes to Brian, or direct tributes to things related to him (the Beach Boys, his health shop, girls, his genius, family), all mentioning him either in the title or lyrics.

So, a big thanks to Fabio from Rio for coming up with the idea for this album and then finding and selecting the songs. As you could guess from the name, he's Brazilian, and hopefully in the future he'll be able to assist in sharing more music from Brazil. I like a lot of music from Brazil, despite not speaking Portuguese at all. I haven't really shared any music from Brazil until now, because I don't have worthy rarities. But he does, so look forward to that in the future. He also has some other plans, including creating one or more albums as a further tribute to Wilson that will consist of songs in a Beach Boys style composed by other musical acts. 

Fabio has also taped a great number of concerts in Brazil. You can find some of them on his YouTube page, here: 

https://www.youtube.com/@musicadequalidade2020/videos

This album is 58 minutes long.

01 In the Back of My Mind [Demo] (Brian Wilson)
02 The Love Songs of B. Douglas Wilson (Splitsville)
03 Mr. Wilson (Hormones)
04 Dear Brian (Chris Rainbow)
05 Brian Wilson Said (Tears for Fears)
06 Brian Wilson (Barenaked Ladies)
07 Mr. Wilson (John Cale)
08 Brian Wilson (Queers)
09 Crazy = Genius (Panic at the Disco)
10 Radiant Radish (Pearl & the Oysters)
11 Brian Wilson Is My Dad (Breakup Shoes)
12 Minnesota Girls (Shackletons)
13 Since God Invented Girls (Elton John)
14 The Last Song (Brian Wilson)
15 Love and Mercy (Brian Wilson)

https://pixeldrain.com/u/Kn42WH9u

alternate: 

https://bestfile.io/en/EMCkcQ343EW7g0m/file

The cover photo shows Wilson in 2007. I added the font colors and type to match those used on the cover of the Beach Boys' "Pet Sounds" album.

Covered: Will Jennings, Volume 2: 1988-1999

Here's "Volume 2" celebrating the songwriting of Will Jennings.

With "Volume 1," I showed that Jennings co-wrote many popular hits in the late 1970s and all through the 1980s. His winning streak continued through all of the 1990s in this volume.

Jennings co-wrote five Number One hits in the U.S. in Volume 1. He only co-wrote two in this volume: "Roll with It" and "My Heart Will Go On." But it was a fluke "Tears in Heaven" only reached Number Two (held back by "Save the Best for Last" by Vanessa Williams), since it was one of the top five best selling singles of the year. Rolling Stone Magazine also put it on their list of the top 500 songs of all time.

I found an article that talked a bit about Jennings' involvement with "Tears in Heaven." Eric Clapton wrote the music and lyrics for the first verse, with lyrics about the tragic and untimely death of his young son. However, he got stuck at that point. He'd been impressed with Jennings being involved co-writing many hits for Steve Winwood, so Clapton recruited him to help. Jennings not only wrote the lyrics of the other verses, he wrote both the music and lyrics of the bridge. So that's a good example showing that while he was best known for his lyric writing, he was capable with music composition too.

The biggest hit here, though, has to be "My Heart Will Go On," the theme song for the blockbuster "Titanic" movie. It was a Number One song in the U.S., Britain, and over twenty more countries. It was the best selling single of 1998, and is currently listed as the tenth best selling single of all time, as I write this in 2025! It basically won all the awards, including Academy Award for Best Original Song, Grammy Award for Song of the Year, Grammy Award for Record of the Year, and Golden Globe Award for Best Original Song. 

The music to the song was written by James Horner. He didn't write many other big hits, but he did the scores to well over 100 movies. Originally, director James Cameron just wanted the theme song to be an instrumental. But Horner felt it needed lyrics, so he secretly got Jennings to write the lyrics, since he'd worked with Jennings on a few songs previously. After Cameron heard it, he wasn't keen on having vocals. But he was under intense pressure from the movie studio to make a profit since "Titanic" was the most expensive movie ever made up until that point. So Cameron ultimately gave the okay, and was glad he did, since the song helped make the movie the top grossing film of all time up until then.

After that though, Jennings didn't have many more hits. No doubt, at that point, he could have retired and slept on a hill of money from his "My Heart Will Go On" profits alone. He did have some more music projects into the early 2000s, but seems to have retired by about 2005. He died in 2024 at the age of 80.

As with "Volume 1," all the songs here are the original versions, which were usually hits. I could have included many more lesser hits, but I generally wanted to limit these volumes to the bigger hits, which usually were the best songs. 

This album is 57 minutes long. 

01 Roll with It (Steve Winwood)
02 If We Hold On Together (Diana Ross)
03 Don't You Know What the Night Can Do (Steve Winwood)
04 Many a Long and Lonesome Highway (Rodney Crowell)
05 Holding On (Steve Winwood)
06 The Blues Come Over Me (B.B. King)
07 Tears in Heaven (Eric Clapton)
08 What Kind of Love (Rodney Crowell)
09 Help Me Up (Eric Clapton)
10 My Heart Will Go On [Love Theme from Titanic] (Celine Dion)
11 I Want to Spend My Lifetime Loving You (Tina Arena & Marc Anthony)
12 Please Remember Me (Tim McGraw)

https://pixeldrain.com/u/3Pu5JVo1 

alternate: 

https://bestfile.io/en/XOU3PDIFFAyEJhE/file

The cover photo is from 1999. In full picture, Jennings is holding a Grammy Award in his hands.

Stevie Ray Vaughan - BBC Sessions, Volume 2: In Concert, Apollo Theatre, Manchester, Britain, 6-22-1988

Here's the second of three BBC concert albums by Stevie Ray Vaughan that I plan on posting. 

I have to admit this concert isn't particularly amazing. I wouldn't be posting it if it wasn't a BBC concert. The biggest bummer is that it's only half an hour long. But it does have excellent sound quality, just what you'd expect from the BBC. And pretty much any live Stevie Ray Vaughan is impressive.

I thought about adding some extra songs to fill this out a bit, but I couldn't think of anything that fit. For instance, I couldn't find anything from his trip to Britain in 1988. So I'm keeping it short and on point.

This concert is officially unreleased. There were no problems with the recording that needed fixing.

This album is 30 minutes long.

01 You'll Be Mine (Stevie Ray Vaughan)
02 Tell Me (Stevie Ray Vaughan)
03 I'm Leaving You (Stevie Ray Vaughan)
04 Pride and Joy (Stevie Ray Vaughan)
05 Texas Flood (Stevie Ray Vaughan)
06 Love Struck Baby (Stevie Ray Vaughan)

https://pixeldrain.com/u/EhB6STTR

alternate:

https://bestfile.io/en/wANtIGTEgHs5Cc6/file

The cover photo is from a concert in the Meadowlands Arena on May 20, 1988, in East Rutherford, New Jersey.

Atlantic Records 40th Anniversary - Madison Square Garden, New York City, 5-14-1988, Part 5: Yes, Rufus Thomas & Led Zeppelin

Here's the fifth and final part of a six-hour long version of the Atlantic Records 40th Anniversary concert. 

Yes had big success in the 1980s, especially with their massive 1983 hit "Owner of a Lonely Heart," so they were given a 25-minute long time slot in this concert. According to some accounts, such as setlist.fm, they also did the song "Changes." But I've seen claims that isn't true. I suspect they didn't, because 25 minutes already made their set the second longest set of the night.

I find it very odd if it's true that Rufus Thomas performed the song "Walking the Dog" between big sets by Yes and Led Zeppelin. The acts tended to get more and more famous the longer the concert went on, but Thomas was nowhere near as popular as the acts around his performance. It could be that he actually sang that much earlier and it was only shown on TV during a break between sets. I know this rearranging did happen some with the HBO TV broadcast. But all the sources I've seen have his song here, and I haven't seen anything to contradict it, so I'm leaving it here (for now, at least).

The thing this concert is best remembered for, by far, is the 32-minute-long reunion of Led Zeppelin. The band broke up in 1980 after their drummer John Bonham died. They reunited to play three songs at the massive Live Aid benefit concert in 1985. But that was widely considered a fiasco. Lead guitarist Jimmy Page was in a bad way with drug addiction at the time. Also, Phil Collins tried to play drums, but he was just winging it and discovered the songs were more complicated than he'd realized.

The band's reunion for this concert has also been criticized. Later, lead guitarist Jimmy Page called it "one big disappointment," and lead vocalist Robert Plant later said "the gig was foul." But I disagree. The band certainly played better than at Live Aid. A key change was the drums. This time, deceased drummer John Bonham's son Jason Bonham was old enough to replace his father in the band, and he did a good job of it. I saw some article reviews of the concert just after it happened, and the Led Zeppelin performance was praised. I think in retrospect opinions soured a bit because the performance was badly mixed. For instance, the bass playing of John Paul Jones could barely be heard at all for the first song and half of the second song. There were some other problems too. I attempted to fix this with the editing program UVR5. I think I made some improvements. However, the bass was so low for "Kashmir" that I couldn't make a fix there.

Also, I think one reason Page and Plant have bad memories of the concert is due to bad vibes happening off stage. Apparently, Plant was really, really sick of the song "Stairway to Heaven" by 1988, and didn't want to play it at the concert. But Ahmet Ertegun, the founder and long-time president of Atlantic Records, heard about this in advance and talked him into playing it the night before. Then, hours before the concert began, Plant changed his mind again and had big arguments with Page about it. Ultimately, the song was played, and understandably so, since it's one of the best and most popular songs of all time, overplayed though it is. And if you look at the cover photo I've chosen for this album, Plant and Page seemed genuinely happy during the concert.

The original idea was to have a final song with everyone from earlier in the concert brought on stage to perform together, which is the usual tradition for concerts like this. But ultimately it was decided that nothing could top the Led Zeppelin reunion, so there was no big finale after that. 

After this concert, Led Zeppelin reunited twice more. Once was for the band's Rock and Roll Hall of Fame reunion in 1995. The other was a full concert in 2007. Interestingly, that was for a tribute concert for Ahmet Ertegun. Note Ertegun was one of the people to introduce Led Zeppelin in this concert. The 1995 and 2007 reunions were considered much more musically successful than the 1985 and 1988 ones.

Oh, by the way, I didn't mark it as such, but I severely edited down the introduction to the Led Zeppelin set. The bootleg version I found had Robert Townsend, Phil Collins and Ahmet Ertegun talking for five minutes, mercilessly teasing the audience about who was going to be the final act of the concert, when everyone already knew it was Led Zeppelin. They dragged things out so long that it was downright painful to hear, so I cut the intro in half. Even then, it's probably still too long. I'm guessing that the band wasn't ready - maybe last minute arguing between Plant and Page? - so they were stalling for time to a ridiculous degree. 

This album is an hour and five minutes long.

088 Hold On (Yes)
089 Make It Easy (Yes)
090 Owner of a Lonely Heart (Yes)
091 I've Seen All Good People (Yes)
092 Roundabout (Yes)
093 talk (Paul Shaffer)
094 Walking the Dog (Rufus Thomas)
095 talk (Robert Townsend, Phil Collins & Ahmet Ertegun)
096 Kashmir (Led Zeppelin)
097 Heartbreaker (Led Zeppelin)
098 Whole Lotta Love (Led Zeppelin)
099 talk (Led Zeppelin)
100 Misty Mountain Hop (Led Zeppelin)
101 talk (Led Zeppelin)
102 Stairway to Heaven (Led Zeppelin)
103 talk (Led Zeppelin)

https://pixeldrain.com/u/oWK5DxhD

alternate:

https://bestfile.io/en/3Qsjm78mYpHJKct/file

The cover photo of Robert Plant and Jimmy Page of Led Zeppelin is from this exact concert.

Atlantic Records 40th Anniversary - Madison Square Garden, New York City, 5-14-1988, Part 4: The Manhattan Transfer, Genesis, Crosby, Stills and Nash, The Bee Gees, & The Rascals

Here's the fourth part of a six-hour long version of the Atlantic Records 40th Anniversary concert. 

Atlantic Records put out a lot of records by jazz artists. But since jazz music isn't a big seller, most of those artists didn't get invited to this concert. Two who did, Herbie Mann and Bobby Short, got cut out of the TV broadcast versions, so I don't have their performances. That just leaves the Manhattan Transfer to represent jazz, since they had some hits and wider commercial success in the 1970s and 80s.

Genesis is a band was only intermittently together in the 1980s. Phil Collins split his time between being in Genesis and having a hugely popular solo career. Mike Rutherford also carved out a successful solo career as the leader of Mike + the Mechanics. Genesis had last put out an album in 1986, "Invisible Touch," then toured to support it into 1987. However, this was the only concert they reunited for in 1988. Their twenty-minute long set was essentially one gigantic medley, although I've broken it into four tracks so I could get all the song names in.

As I mentioned previously, Crosby Stills and Nash sang the song "Southern Cross" to start this concert, but I don't have that recording. Then they returned for their own twenty-minute-long set. Most bootlegs of this concert have "Suite: Judy Blue Eyes" earlier in the show, because the song order was scrambled up a bit on some TV broadcasts. But you can tell they did it here with the songs "Wooden Ships" and "Teach Your Children" because actor Michael Douglas referred to all three songs when he introduced them.

The Bee Gees played a relatively short set. In addition to "Lonely Days" and "Jive Talkin'" presented here, they also performed "To Love Somebody." However, I couldn't find a recording on that one. I found mention of it being posted on YouTube and then taken down, so it must be out there. If anyone has it, please let me know. Personally, I think the Bee Gees deserved another song or two, since they've one of the best selling acts of all time, but probably in the late 1980s they were still suffering from the backlash of their disco era overexposure.

The final musical act in this part is the Rascals. They broke up in 1972. This concert was their first reunion since then, going back to the original line-up that ended in 1970. After this concert, they would go on a short tour for a few months. After that, there were further one-off reunions in 1997 and 2010, and another tour in 2012 and 2013.

This album is an hour and 18 minutes long.

069 talk (Manhattan Transfer)
070 Mack the Knife (Manhattan Transfer)
071 Birdland (Manhattan Transfer)
072 Turn It On Again - Land of Confusion - Misunderstanding (Genesis)
073 Throwing It All Away (Genesis)
074 That's All - Tonight Tonight Tonight - Invisible Touch - Turn It On Again [Reprise] (Genesis)
075 You Can't Hurry Love - Shortcut to Somewhere - All I Need Is a Miracle (Genesis)
076 talk (Michael Douglas)
077 Wooden Ships (Crosby Stills & Nash)
078 talk (Crosby Stills & Nash)
079 Our House (Crosby Stills & Nash)
080 Suite- Judy Blue Eyes (Crosby, Stills & Nash)
081 talk (Bee Gees)
082 Lonely Days (Bee Gees)
083 Jive Talkin' (Bee Gees)
084 talk (Dan Aykroyd & Bill Murray)
085 Good Lovin' (Rascals)
086 Groovin' (Rascals)
087 People Got to Be Free (Rascals)

https://pixeldrain.com/u/t2DmMTS8

alternate:

https://bestfile.io/en/3pBToJ89aaas4tj/file

The cover photo is from this exact concert. It shows Mike Rutherford on guitar and Phil Collins singing.

Atlantic Records 40th Anniversary - Madison Square Garden, New York City, 5-14-1988, Part 3: The MG’s, Carla Thomas, Paul Rodgers, Miki Howard, Paul Shaffer, Sam Moore, The Elwood Blues Review, Phil Collins, Bob Geldof, The Spinners, & Wilson Pickett

Here's the third part of six-hour long version of the Atlantic Records 40th Anniversary concert. 

In the 1950s and 60s, Atlantic Records was mainly known as an R&B/ soul record label, though it broke out into other musical genres by the end of the decade. Most of this section served as a kind of concert within a concert that celebrated the 1960s soul music of the company. Atlantic Records distributed most of the music done by the Stax record label, so all of that was fair game here as well.

In the 1960s at Stax Records, the instrumental group the MG's backed up most of the other lead singers on the label, in addition to having some instrumental hits of their own. Later, key members of that band, like Steve Cropper and Donald 'Duck' Dunn, joined the Blue Brothers band in the late 1970s. Led by comedians/singers John Belushi and Dan Aykroyd, they had a hit movie and some hit albums before Belushi died in the early 1980s. For most of this section of the concert, Cropper, Dunn, and other members of the MG's were the backing band. But for a portion of it, their name changed to the Elwood Blues Review, a sort of variant of the Blues Brothers because Aykroyd got involved in those songs too.

That backing band then supported some different lead singers. Carla Thomas was an original Stax star. Paul Rodgers, however, was a big star with Free and Bad Company (on Atlantic Records). Both both of those bands had ceased to exist by the time of this concert. So instead of singing any of his own hits, he sang "(Sittin' On) The Dock of the Bay" as a tribute to deceased Stax star Otis Redding. 1980s R&B star Miki Howard also sang a song associated with Redding, "Try a Little Tenderness."

Another big musical act for Stax was the soul duo Sam and Dave (Sam Moore and Dave Prater). Unfortunately, Dave Prater died several months prior to this concert (and the two of them had had a big falling out prior to that anyway). But Sam Moore was at this concert to represent Sam and Dave. Dave Prater was effectively replaced on some songs by Aykroyd, kind of bringing back the Blue Brothers, and was replaced by Phil Collins on two other songs. 

The only odd one out in this R&B section of the concert was Bob Geldof. I'm not sure why he was put where he was in the running order, if indeed this order is correct, but oh well. It was also a bit strange that instead of doing any of his own hits from his Boomtown Rats years, he did a cover of a relatively obscure song by Graham Parker.

The Spinners continued the R&B vibe of this portion of the show, even though they had much bigger success in the 1970s compared to the 1960s. I could only find one song they did. But they also played "Working My Way Back to You" and "Could It Be I'm Falling in Love."

Finally, Wilson Pickett was the star of the last couple of songs here. He was backed by the Elwood Blues Review. I looked at the video, and Dan Akroyd danced around on stage a lot and played some harmonica, but the lead vocals were basically all done by Pickett. Still, this must have kind of been a reunion for Pickett, because the Elwood Blues Review was basically the same as the MG's, and they were the backing band for most of Pickett's hits in the 1960s. Pickett even co-wrote one of the songs he performed here, "In the Midnight Hour," with the lead guitarist on stage, Steve Cropper.

This album is an hour and two minutes long.

043 talk (Dan Aykroyd)
044 Last Night [Instrumental] (MG's)
045 talk (Steve Cropper)
046 Gee Whiz (Carla Thomas & the MG's)
047 talk (Steve Cropper)
048 [Sittin' On] The Dock of the Bay (Paul Rodgers & the MG's)
049 talk (Steve Cropper)
050 Try a Little Tenderness (Miki Howard & the MG's)
051 talk (Steve Cropper)
052 Tramp (Carla Thomas, Paul Shaffer & the MG's)
053 Everybody Needs Somebody to Love (Sam Moore & the Elwood Blues Review)
054 talk (Sam Moore & the Elwood Blues Review)
055 Soul Man (Sam Moore & the Elwood Blues Review)
056 talk (Sam Moore & the Elwood Blues Review)
057 I've Been Loving You Too Long (Sam Moore & the Elwood Blues Review)
058 talk (Sam Moore & the Elwood Blues Review)
059 You Don't Know like I Know (Phil Collins, Sam Moore & the Elwood Blues Review)
060 talk (Phil Collins, Sam Moore & the Elwood Blues Review)
061 Knock On Wood (Phil Collins, Sam Moore & the Elwood Blues Review)
062 talk (Roberta Flack)
063 talk (Bob Geldof)
064 You Can't Be Too Strong (Bob Geldof)
065 Mighty Love (Spinners)
066 In the Midnight Hour (Wilson Pickett & the Elwood Blues Review)
067 talk (Wilson Pickett & the Elwood Blues Review)
068 Land of 1000 Dances (Wilson Pickett & the Elwood Blues Review)

https://pixeldrain.com/u/zi3oxCsd

alternate:

https://bestfile.io/UMkqqccXBZLa7Di/file

The cover photo of Wilson Pickett is from this exact concert.

Atlantic Records 40th Anniversary - Madison Square Garden, New York City, 5-14-1988, Part 2: Ben E. King, Roberta Flack, Emerson, Lake and Palmer, the Average White Band, Ruth Brown, Debbie Gibson & Robert Plant

Here's the second part of a six-hour long version of the Atlantic Records 40th Anniversary concert.

I explained the basics about the concert in my write-up for part one. So read that if you want to know about the concert in general.

Ben E. King was a big soul music star back in the 1950s and early 1960s, both with the Drifters and as a solo act. But in 1986, two years prior to this concert, a reissue of his song "Stand by Me" reached the Top Ten in the U.S. and Number One in Britain.

Technically, Emerson, Lake and Palmer didn't perform at this concert. Instead, for one album only in 1988, Greg Lake left the group and was replaced by Robert Berry. They released a studio album using the group name "3." Then Lake rejoined the band, replacing Berry in time for the next album. For this concert, they were introduced as "Emerson and Palmer," with Berry and the group name "3" being ignored. I'm calling the band "Emerson, Lake and Palmer" so their music can be easily found with site searches and labels and such.

In retrospect, I think Debbie Gibson got too much time in this concert. Her set was 15 minutes long, making it longer than a lot of other acts who made it into various halls of fame. For instance, she had a longer set than Ruth Brown, despite the fact that she was such a big star for Atlantic Records for the first ten years of the company's existence that its nickname was "The House that Ruth Built." (Even the Wikipedia entry about the record company mentions that nickname.) But the timing was just right for Gibson. She had a huge debut album in 1987, which sold three million copies in the U.S. Her second album in 1989 would also be a big seller. But after that her sales fell off a cliff and she largely disappeared as a big star. I give her kudos for writing all her own songs. But I wouldn't be surprised if some people skip or delete her set.

I know of some music from this part of the concert that I couldn't find. Ruth Brown sang a second song, "Mama, He Treats Your Daughter Mean." Emerson, Lake and Palmer (or 3, or Emerson and Palmer) played one other song, "Fanfare for the Common Man." The Average White Band did two other songs, "I Got Work to Do" and "Person to Person." I don't know when it happened, but probably early in this concert, Herbie Mann played a set of the songs "Push Push," "Soul Serenade," and "Memphis Underground." Also at some point, Vanilla Fudge played two songs, "You Keep Me Hangin' On" and "Take Me for a Little While."

Robert Plant had lots of success as a solo artist in the 1980s. So he got a three song set in this portion of the show, while also singing lead with Led Zeppelin later in the show.

This album is an hour and 15 minutes long. 

By the way, note that the track numbering continues from the numbering of the previous part, in case you want to listen to all the concert as one huge album.

021 talk (Stephen Stills)
022 Spanish Harlem (Ben E. King)
023 talk (Ben E. King)
024 There Goes My Baby (Ben E. King)
025 Save the Last Dance for Me (Ben E. King)
026 Killing Me Softly with His Song (Roberta Flack)
027 The Closer I Get to You (Roberta Flack & Peabo Bryson)
028 America - Blue Rondo a la Turk [Instrumental] (Emerson, Lake & Palmer)
029 Pick Up the Pieces [Instrumental] (Average White Band)
030 Teardrops from My Eyes (Ruth Brown)
031 talk (Lisa Bonet)
032 Staying Together (Debbie Gibson)
033 Foolish Beat (Debbie Gibson)
034 Out of the Blue - Shake Your Love - Only in My Dreams (Debbie Gibson)
035 talk (Debbie Gibson)
036 Happy Birthday (Debbie Gibson)
037 talk (Phil Collins)
038 Heaven Knows (Robert Plant)
039 talk (Robert Plant)
040 Ship of Fools (Robert Plant)
041 talk (Robert Plant)
042 Tall Cool One (Robert Plant)

https://pixeldrain.com/u/FWMHka7W

alternate:

https://bestfile.io/njDAQ0s6ftPW7fx/file

The cover photo of Ben E. King is from this exact concert.

Atlantic Records 40th Anniversary - Madison Square Garden, New York City, 5-14-1988, Part 1: Nu Shooz, Stacey Q, The Coasters, Phil Collins, LaVern Baker, Foreigner, Iron Butterfly, & Laura Branigan

Here's another big benefit concert. As I've mentioned before, I think these tend to get overlooked, except for the portions performed by really famous musical acts. In this case, the concert is best known for the second Led Zeppelin 1980s reunion, after they reunited for Live Aid in 1985. But there's so much more to this, including other interesting reunions. 

The entire concert was about 12 hours long. I didn't find all of it, but I found the vast majority of it. Presumably, a big chunk of those 12 hours was dead time between acts. I was able to find six hours of music. I've broken that up into five albums.

This was a rather unusual concert, in that it celebrated the 40th anniversary of the Atlantic Records record company. I'd be hard pressed to think of any other records companies celebrated like this, other than Motown Records. And it's odd that it was a 40th anniversary concert with no similar one for the 25th anniversary, or 30th, or 50th, etc... But it was probably lucky that it happened when it did, before some of the older acts retired or passed on. Atlantic Records had an interesting history in that it started out in the 1950s as the most important record company for R&B music before branching out into all musical genres. So a lot of the 1950s and 1960s stars that made the record company successful were able to perform at this concert.

I found a newspaper article that explains a little bit about how this concert came to be. When the show was first planned, the idea was to have a smaller auditorium and invite just a couple thousand people, mainly Atlantic Records employees and special guests. Ken Ehrlich, who produced the show, explained, "When it first started, it was to be a two-hour black-tie event at Radio City Music Hall. But I said to [Atlantic Records founder and president] Ahmet [Ertegun]: 'You've made music for kids, now you want to invite your friends to a party. You have to do it at [Madison Square] Garden. You want kids to scream and yell.' Eventually, the size dictated that we do it at the Garden. We wanted to reflect 40 years and reach a new audience. I want 15-year-old kids to see Ruth Brown and the Coasters."

The concert was a curious mix of self-promotion and charity. The self-promotion was first that the record company was patting itself on its back while also using the concert to promote some of their young and up and coming acts. But at the same time, the concert was expected to make at least 10 million dollars in profits due to selling TV broadcast and radio broadcast rights, and all of that money was to go to charity. Furthermore, most of the charity money was sent to the Rhythm and Blues Foundation, a charity created by the record company to basically give their legacy acts the profits they deserved but had been screwed out of back in the 1950s and 60s.

Before I say more, I want to point out that while many big names did perform at this concert, many other long-time Atlantic Records artists did not. The ones who didn't perform included Aretha Franklin, Ray Charles, Cream, the Allman Brothers Band, the Rolling Stones, INXS, King Crimson, Dusty Springfield, Hall and Oates, Peter Gabriel, and Chic. But that's just the tip of the iceberg. Probably the biggest miss was the Rolling Stones. But they'd had a big falling out in the early 1980s and wouldn't reunite until a year later.

As far as I know, a couple of hours of highlights from this concert has been officially released on DVD, but nothing has appeared on album. So I've had to rely on bootlegs. The most easily accessible version of the concert is a portion that was broadcast on the HBO cable network. But that was less than half. Parts of it were also broadcast on ABC TV. Furthermore, other parts were broadcast on other networks. I found some bits from a German broadcast, for instance. Apparently, the entire show was broadcast on BBC, in one-hour weekly segments. But I haven't been able to find that anywhere. If anyone has any parts that I've missed, please let me know so I can add those bits in.

I've done my best to put this together as it really happened, but it's hard because I haven't been able to get a definitive list of the order of the performers. Still, the different versions did have a lot in common, and I've found clues from newspaper articles, so I've made best guesses. 

Let me mention some of the bits that I think are still missing from this portion of the show. Apparently, Crosby, Stills and Nash performed the song "Southern Cross" to open the show, and then returned for a longer set near the end of the show. LeVert did the song "Casanova." Bobby Short played two songs: "Hop Scotch Blues" and "Black and Blue." Rachelle Cappelli sang "The Truth'll Set You Free" plus an Aretha Franklin cover. LaVern Baker also did the song "Tweedle Dee." 

Note also that I have some introduction of acts, but I'm probably missing about half of those. In some cases, famous people who didn't perform themselves did the introductions, while in other cases performers from other parts of the show did the introductions. So, for instance in this part, Marv Albert, a sports broadcaster, introduced the Coasters. But Foreigner was introduced by Roberta Flack, who sang later in the show.

One notable event from this part of the show was the reunion of the Coasters. They were one of the biggest acts on the Atlantic label in the 1950s and early 1960s. But this was the first time the original members performed together in about twenty years.

Here's a Wikipedia article about the concert. But note that it doesn't say much, and its list of performers is incomplete and mostly follows the HBO broadcast:

Atlantic Records 40th anniversary - Wikipedia

This album is an hour and 12 minutes long.

001 talk (Robert Townshend)
002 Should I Say Yes - I Can't Wait (Nu Shooz)
003 Two of Hearts (Stacey Q)
004 talk (Marv Albert)
005 That Is Rock and Roll (Coasters)
006 Youngblood (Coasters)
007 Charlie Brown (Coasters)
008 I'm a Hog for You (Coasters)
009 In the Air Tonight (Phil Collins)
010 talk (Phil Collins)
011 Jim Dandy (LaVern Baker)
012 Saved (LaVern Baker)
013 talk (Roberta Flack)
014 Hot Blooded (Foreigner)
015 Urgent (Foreigner)
016 talk (Foreigner)
017 I Want to Know What Love Is (Foreigner)
018 Juke Box Hero (Foreigner)
019 In-A-Gadda-Da-Vida (Iron Butterfly)
020 Gloria (Laura Branigan)

https://pixeldrain.com/u/kCLD3BmR

alternate:

https://bestfile.io/en/ksQX0KcmnRSwASW/file

The cover photo of the Coasters is from this exact concert.

Covered: Brian Holland, Lamont Dozier & Eddie Holland, Volume 8: 1975-2012

Here, finally, is the last of eight albums in my Covered series highlighting the songwriting genius of Brian Holland, Lamont Dozier, and Eddie Holland, a.k.a. Holland-Dozier-Holland.

By 1975, the bulk of hits first written by Holland-Dozier-Holland were behind them. That was especially true since Lamont Dozier broke with the Holland brothers in 1973. Some lawsuits between them followed regarding splitting the profits from their record companies. However, despite these battles, the three of them remained friends and even occasionally wrote songs together after that.

But still, by 1975, generally speaking, the classic Holland-Dozier-Holland songwriting team was done. The Holland brothers generally still wrote songs together while Dozier went his own way. 

Weirdly, given that Holland-Dozier-Holland were caught in non-stop legal battles with Motown Records from about 1968 until the end of the 1970s, the Holland brothers wrote a lot of songs for Motown acts in the late 1970s. Apparently, the love of music overcame hard feelings. Dozier later commented, "The lawsuit was just our way of taking care of business that needed to be taken care of -just like [Motown owner] Berry Gordy had to take care of his business which resulted in the lawsuit. Business is business, and love is love." 

The first three songs here were written by the Holland brothers for the Motown acts Michael Jackson and the Supremes in 1975 and 1976. And "I Just Can't Walk Away" was a rare example of a new song written by the entire Holland-Dozier-Holland team after their 1973 falling out, and released by the Four Tops in 1983.

Most of the other songs here, however, were written by Dozier, either by himself or with other songwriters besides the Holland brothers. He had the most songwriting success by far after the 1970s. For instance, "Two Hearts," co-written by Dozier and Phil Collins, was a Number One hit for Collins in the U.S. in 1988. 

A couple of big hits here, though, weren't exactly willing collaborations. "Roll with It" was a Number One hit in the U.S. in 1988 for Steve Winwood. Originally, Winwood co-wrote it with a songwriter named Will Jennings. But it was so similar to the 1960s song "(I'm a) Roadrunner" written by Holland-Dozier-Holland that they were added to the songwriting credits. The exact same thing happened to the 1990 hit song "The Other Side" by Aerosmith. Holland-Dozier-Holland were added to the songwriting credits due to the similarity of that song to "Standing in the Shadows of Love," which they wrote for the Four Tops in 1966.

As far as business concerns went, the Holland-Dozier-Holland record company Invictus went out of business in 1977. That wasn't too surprising because that was around the time classic soul music went out of fashion, to be replaced by disco and then other musical trends. Note that Stax Records went out of business in 1975, and even Motown Records shrunk way down and then was sold off in the late 1980s.

However, after the decline of Invictus, Holland-Dozier-Holland carried on with a new record label, HDH Records and Productions. But while they did release some new music, that was more about managing the rights to their earlier successes. The three of them also reunited to write 22 new songs for a musical play called "The First Wives Club" in 2009. However, the play wasn't that well received, and it never made it to Broadway. 

The three of them remained friends until 2022, when Dozier passed away at the age of 81. As I write this in 2024, Brian Holland is still alive at the age of 83, and Eddie Holland is still alive at the age of 85. In 2021, Dozier released a memoir and the Holland brothers released one too. 

Shortly before his death, Dozier commented in an interview, "I feel like Eddie and Brian are my family. We have had great times and not so great times with each other, but all in all we have so much love for one another and nobody can ever change that. We wrote some incredible songs, and our catalog songs are like our children."

This album is 55 minutes long.

01 Just a Little Bit of You (Michael Jackson)
02 I’m Gonna Let My Heart Do the Walking (Supremes)
03 You’re My Driving Wheel (Supremes)
04 Going Back to My Roots (Richie Havens)
05 I Just Can't Walk Away (Four Tops)
06 Invisible (Alison Moyet)
07 Infidelity (Simply Red)
08 Two Hearts (Phil Collins)
09 Loco in Acapulco (Four Tops)
10 Roll with It (Steve Winwood)
11 The Other Side (Aerosmith)
12 Like I Do (For Real)
13 Spoiled (Joss Stone)
14 While You're Out Looking for Sugar (Joss Stone)

https://www.upload.ee/files/17429308/COVRDHOLLNDDZRHLLND1975-2012Vlum8_atse.zip.html

alternate:

https://pixeldrain.com/u/s9dsXwjG

The cover photo shows Holland-Dozier-Holland in 2003. From left to right, that's Eddie Holland, Lamont Dozier, and Brian Holland.