Imitation is the sincerest form of flattery…but nothing beats cold, hard cash.


Sometimes I feel so uninspired…(and if you look at the date of my previous post, you’ll see that in my case “sometimes” could last for a long time.) But this whole Marvin Gaye/Robin Thicke verdict woke me up from my less-than-golden slumber.

The verdict is WRONG.

Blurred Lines” is an homage to the classic Marvin Gaye track “Got To Give It Up“. That’s all it is – an homage. Thicke and Pharrell were inspired by the Gaye track, for sure. But the two tracks share no melody or lyrics. None. Only feel and arrangement.

Could Thicke and Pharrell have added Gaye’s name to the writing credits? Sure, but why? Again, no melody or lyric was duplicated exactly. They didn’t even use a SAMPLE of the Gaye track. But the court gave them seven million reasons to feel sorry.

This is nothing like the Phil Spector/George Harrison case, or, more recently, the Sam Smith/Tom Petty thing. Those melodic nicks were unintentional, and very likely subliminal. But, though the feel of each track was vastly different, their melodies – at least in parts – were virtually exact. The addition of original artists to the writing credits there – both after the fact, and one the result of a court verdict – is justified. Not here.

I’d even take umbrage with arguably the second most popular music plagiarism court case after Spector v. Harrison: Huey Lewis v. Ray Parker, Jr.  I don’t hear an identical melody between “I Want a New Drug” and “Ghostbusters.” There isn’t even much of a feel similarity. But they lived in the litigious land of Close Enough.

So, what’s next on the docket? Maybe The Estate of Randy California v. Led Zeppelin, which will no doubt gain some fuel and attention in light of this verdict. (I always felt this was blatant thievery on the part of Jimmy Page, especially given his track record of liberally borrowing from blues greats and folkies, but given how strongly I feel about the Gaye v. Thicke/Pharrell outcome, I guess now I’d have to side with Page since the melodies – though similar – are not identical.)  Or, perhaps Myriad ’80s R&B Artists v. Mark Ronson and Bruno Mars?

I will let Stevie Wonder, an unquestioned musical genius, have the last word on this topic:


And he should know…because although the groove of his “Part Time Lover” is very similar to that of Hall & Oates’s “Maneater“, it’s not the same song, either.


Further reading:

11 more sound-alike songs compared by Time Magazine

A more eloquent argument to throw out the “Blurred Lines” verdict by The New Yorker


Give it away, give it away, give it away now…

Apple U2

Almost lost in all of yesterday’s iPhone 6/Apple Watch (don’t dare call it an “iWatch“!) hype was the fact that U2 is giving away their new album – immediately! – through iTunes Music, to a potential reach of over half a billion iTunes customers. And I immediately thought, “Of course! This is what Bob Lefsetz has been talking about for YEARS: Give away the recorded music for free as a promotional tool, then make real money on the touring, the licensing, etc.”  U2 had stepped up to the plate, will change the game and teach the young’uns how it’s done!

Then, we learned they were paid by Apple.

Of course they were. The music industry is still very much a business. And to artists on the level of U2, at least, it still pays well. But lets be honest here. What’s going to make a bigger splash on BuzzFeed: “U2 Hits Number One on the Charts…with 200,000 Units Sold”, or “U2’s New Album Sampled By Well Over 100,000,000 on Release!”

There was NO WAY they were going to sell Songs of Innocence on the level of previous efforts. What terrestrial radio station/format is left to jump on their new music? Their best hope is to get a ballad on Lite-FM. Will MTV or VH-1 break their reality formats to feature a new U2 video or cover its release? No. They’ll need to find a way to go viral on YouTube or Vevo, somehow muscling Iggy Azalea, Nicki Minaj and Charli XCX and their collective asses out of the way.

What WOULD help, and negate any sales discussion, is if the album was any good. It’s…OK. It sounds like U2, for the most part, with some of that infernal chanting “Hey! Ho!” stuff thrown in here and there. But the closest thing to a memorable, takeaway hook resides on “Volcano” – which itself is reminiscent of “Vertigo” and “New Year’s Day“, and makes me yearn to hear both instead. This album will not seep into the public consciousness and radiate on the level of The Joshua Tree, or Achtung Baby, or even All That You Can’t Leave Behind. But imagine how revolutionary this giveaway move would’ve seemed if it did.

And, by the way, where was a Beats Music-related announcement yesterday? How long will it take for Apple to finally roll subscription-based Beats Music into their iTunes ecosystem? That’s the other sorta messy thing about this whole U2 giveaway: who’s downloading music anymore? Tim Cook should’ve announced a new Beats/iTunes behemoth, with Spotify-crushing HD streaming-plus-download plans as his “One more thing…”, not a Dick Tracy watch that Samsung beat him to market with. If Songs of Innocence were used to launch THAT saliva-inducing service, both Apple and U2 would be subjects of a different narrative this morning.

Further reading: 3 Reasons Why Your Music Should Be Free

Nobody knows me like my iPod…


We’ve all done this.  We’re in a “mood.”  Nothing seems to be able to snap us out of it.  I’ve had plenty of them lately…too many to count (or be proud of).

My salve tends to be going out for a walk.  The mind clears, the heart breathes in oxygen, and, more than occasionally, the ears need some musical stimulation to get the works going.

Our musical choices used to be limited to the tape that happened to be in our Walkman, or the CD that happened to be in our Discman, but with the advent of the iPod, we have broken past the 80-120 minute portable music barrier. My digital library currently consists of about 7500 tracks – a tally limited only by my own glacial pace ripping my CD collection – but that’s plenty for me to hit “Random” and be surprised.

Sometimes I feel that there’s a human element in my iPod; like it almost senses my mood and feeds me whatever musical nourishment I might require at the moment.  We vibe.  The other day was one of those times.  I’ve detailed in a previous post about my dwindling luck in this supposedly robust job market – well, the latest rejection arrived in my email inbox early that afternoon, and I knew I needed to hit the streets.  Pronto.

So, I did.  And I hit “Random.”  Here are a few of the selections my pocket Music Director picked for me:

“Streets of Love” by the Rolling Stones.  I’m walking the streets, so it’s literally appropriate, and the melancholy vibe fits my mood at that exact moment.  Sing that falsetto, Mick.

“Sun Goddess” by Earth, Wind & Fire with Ramsey Lewis, the live version from Gratitude.  This is where my iThingy decided that pity time was over, better times are surely on the horizon, and I should just take a deep breath and smile.  I am generally not a fan of live tracks, but this one KILLS the studio version in every way.  (And, I just love that they left in the little mixing faux pas at the end where the cheering crowd is audible through the un-muted mic on Ramsey’s Fender Rhodes, with its vibrato effect making it sound as if the entire crowd is covering and uncovering their mouths mid-cheer in staccato rhythm, like 15,000 kids playing “Indian.”)

“17 Days” by Prince.  Well, now it’s just time to dance, and this Prince B-side (to “When Doves Cry”) is a great choice for that.  It’s got that instantly recognizable Prince sound circa 1983-84, with those synth drums that permeated 1999, Purple Rain and Around The World in a Day, not to mention countless tracks he produced at the time for André Cymone, Sheila E. and Vanity, for whom this was originally a demo.  This brings me back to a happy, carefree time in my life, and a smile does indeed appear imminent.

“Better Off Dead” by Bill Withers.  Subject matter notwithstanding, this is one kick-ass soul track that never fails to make me smile. The musicians’ interplay – that groove! – and Withers’ vocal performance is just note perfect. Stephen Stills adds some tasty guitar toward the end. And, it has a shocking ending that I rank as the best album closer ever.

“Gotta Get a Grip On You, Pt. II” by Robert Palmer.  Only makes me wish we could hear “Part I.”  This is from my favorite Palmer album, Some People Can Do What They Like, from when he was more inspired by Little Feat and New Orleans funk than his harder-rocking (and bigger-selling) later efforts. You’d have never known he was a lily white English boy, who looks like he should be doing your taxes. If you’re unfamiliar with Palmer’s first three albums, I’d suggest you study up.

“Someday We’ll All Be Free” by Donny Hathaway.  As the first notes of this exquisite track hit my lucky eardrums, I was a different man than when I left the house.  It also didn’t escape me that the incredible voice I was hearing was emanating from a deeply troubled man, whose life ended early and tragically – and that no matter how insurmountable my own troubles seemed only moments earlier, there exist much bigger ones I’m lucky enough not to have. “Hang onto the world as it spins around / Just don’t let the spin get you down…”  Indeed.

“Kind Spirit” by Steely Dan.  As the clouds in my head had finally begun to clear, a gorgeous sunset was beginning, and this unreleased demo from a bootleg CD of Gaucho outtakes was a perfectly-timed soundtrack, and an apt closer.  Though the verses are nothing but “na na na” placeholders for lyrics that ultimately never came, the chorus is exquisitely fleshed-out and in glorious sync with the visual I’m now sitting and marveling at: “Kind spirit, don’t go / Tell me why / the time has come to fly on by / Kind spirit, don’t go / Such a shame / The room won’t be the same / Don’t leave me here to fade without your flame…


And the sun did set.  But not mine…

“Music washes away from the soul the dust of everyday life.” — Berthold Auerbach

The artists don’t know, but the consumers understand…


Paul McCartney. Garth Brooks. Neil Young. Not a clue among them. They each think they’ve built a better mouse trap, as it pertains to getting digitized music to their fans. They haven’t.

The Walrus has decided to follow Bjork, Lady GaGa and Jay-Z by selling his albums as apps. Never knew about the others? Precisely. How many McCartney fans do you think are going to want to bust out their iThingys to groove to “Frozen Jap”? Not many, I’d wager. And I can think of many more that would rather Macca stop chasing technology and instead concentrate on getting the rest of his remastered catalog out on old-fashioned physical media. The Beatles catalog – arguably much more important and groundbreaking than his solo material – came out all-at-once. Led Zeppelin’s expanded remasters will likely be all out within one year. McCartney’s solo remasters, however, have been trickling out since 2010 at such a glacial pace we’ll probably get Tug of War after either he or his last fan dies.

Garth Brooks recently announced he was coming out of touring/recording retirement – and also dropped the surprise that his catalog would finally become available digitally. But before you run over to iTunes, Amazon or Spotify, you might want to get to the part where he says that will be the only place you can find it. Also, it will only be available as full album downloads, not track-by-track, which was the sticking point in his brief negotiations with big, bad, convenient Apple. No word yet if there will be streaming available on his site as well, but if it is I’d bet it’ll be album-only as well, and probably with no fast-forward ability. Wanna hear “The Dance”? Hope you have 10 tracks/33 minutes to spare…Garth’s musical integrity must be left intact!

I’ve already detailed Neil Young’s pre-occupation with starting his own audiophile music delivery service here, so I won’t go into it at this juncture. I only mention it again as yet another example of artists thinking they know what’s better for us – or conjecturing that we don’t know any better.

I feel the listening public has largely spoken, and their preference is clearly for Spotify and YouTube in the streaming game, and iTunes in the dwindling download market. Lossy audio files are evidently not an issue, by and large, and for those that do have an issue there are services like HDTracks and Qobuz that sell better-than-CD quality downloads; there’s the new hi-def flavor of the month: Blu-ray Pure Audio; or, for now, there is still the ever-evaporating CD.

As for artists like Young and Jack White who want to try and school the listening public on how things *should* sound – yeah, good luck with that. Ol’ Garth should realize that millions of folks love his music, but don’t necessarily love ALL of his music, and they shouldn’t have to be force-fed “Alabama Clay” if they just want “Much Too Young (To Feel This Damn Old)”. And, let’s be frank, there’s no Side 2 of Abbey Road in Brooks’s pantheon – or even McCartney’s solo work, for that matter.

Gentlemen, your collective passion is duly noted. Now, please, just direct that passion toward getting your work available to the masses the way they want to consume it.

Songs for (my) New Depression…


Yep, still here.

Been a while since I posted, I know, and as much as I’d like to call it a “Spring Break”, it really wasn’t.  It was more like my head getting in the way of my ears (and fingers, as it were).  Life simply got in the way.

I’ve been unemployed now for over a year – just hit 16 months, actually – and the doldrums firmly took over.  The soul-sucking job hunt (if I hear “over-qualified” one more time…), the fruitless attempts at entering a different line of work (if I hear “under-qualified” one more time…), the joys of unemployment insurance, and a do-nothing, virtually incompetent Congress intent on eternally freezing extensions and insisting the unemployment rate is forever at a “new low” (yet I know five people in the same boat, and they know five people, and so on…); it all just sapped my creative flow.

But, what did not weaken was my thirst for music.  Now, granted, I can’t just buy anything on a whim like I used to – at least not until gainful employment re-enters my life – but I have been revisiting and rediscovering old “friends”, along with some new ones (new to me, anyway).


The one indulgence I budgeted for was the recent spate of Led Zeppelin reissues.  I opted for the 2 CD Deluxe Editions, since I am not a vinyl regressor, and the term “high resolution” when being ascribed to “Classic Rock” is an oxymoron akin to “Jumbo Shrimp”.  I have read both glowing and harsh reviews, and personally lean toward the glowing end of the spectrum.  I think the sound of the albums proper are the best we’ll ever get out of those old tapes – and in the case of Led Zeppelin III, so vast an improvement that it reversed my previous ho-hum opinion of the album in one revealing listen.  The bonus concert appended to Led Zeppelin I is horrible in sound and adds virtually nothing to the proceedings.  The bonus disc of Led Zeppelin II contains interesting alternate takes (“Ramble On” is probably the best of the lot, while “La La” is blah blah), though I’ve yet to afford them multiple listens.  Again, Led Zeppelin III is the surprise winner for me, with a bonus disc of almost a complete alternate album, some takes bettering their original counterparts, an electric forerunner to “Bron-Y-Aur Stomp” (“Jennings Farm Blues”) and a superior “Keys To The Highway/Trouble In Mind” that could have easily replaced “Hats Off To (Roy) Harper”.

AWB_All The Pieces_Demon

I’ve also been (re)discovering the Average White Band.  After reading about their upcoming UK complete albums set, I ventured over to Spotify to try and flesh out my AWB knowledge, which currently consumes one unit of space on my shelf in the body of their 2 CD Definitive Groove collection.  What I’ve fallen in love with – yes, LOVE – is their under-appreciated late-’70s/early-’80s output, from roughly Warmer Communications through Shine (though I could encompass large swaths of Soul Searching and Benny and Us too).  My personal favorite is the self-produced, Bahamas-recorded Feel No Fret, which adds a contrasting loose, palpably Caribbean vibe to their tight, above-average white funk. (Side note/request: I really hope Demon/Edsel gives their catalog a minty-fresh, quality remastering for the upcoming box – the 2009 reissues I’ve heard are all over the place sound quality-wise, with some horrible, heavy-handed noise reduction applied to many tracks on the AWB and Cut The Cake albums.  Can’t blame the quality of the master tapes, as the mid-’90s Atlantic/Rhino remasters are pretty much across-the-board very good to excellent.)

Little Feat_Rad Gumbo

Little Feat is another band that largely passed me by, but again, the release of their own complete albums set in Europe and the accompanying fanfare led me to Spotify to correct that oversight.  And what I discovered was the more founder/guru Lowell George ceded control of the band’s direction, the more I loved their output.  The sweet-spot for me lies between 1974’s Feats Don’t Fail Me Now and 1977’s Time Loves A Hero, though you could tack on the Billy Payne-led tracks on Down on the Farm and Hoy-Hoy‘s “Gringo” for good, smooth-yet-funky measure.  Now I know why I loved Robert Palmer‘s early albums (especially 1976’s Some People Can Do What They Like) so much – this was largely his backing band.


Ned Doheny is an almost mythical figure in the annals of Southern California rock music – his surname alone graces a mansion, a road and a beach in the Golden State.  With a promising start as the first signed artist to David Geffen’s legendary Asylum Records (eventual home to The Eagles, Linda Ronstadt, Joni Mitchell, Jackson Browne, and even Bob Dylan for a short time), his albums generally did not sell.  But I discovered his second and third albums, 1976’s Hard Candy and the 1979 Japan-only release Prone years ago, and apparently his contemporaries took notice too, as Doheny-written tracks were subsequently recorded by Average White Band, Chaka Khan and others.  Chicago-based reissue label Numero Group has attempted to put his career in proper prospective with Separate Oceans, a collection of key album tracks and 11 previously unissued demos.  Personally, I feel Hard Candy and Prone in full are a better representation of his largely unsung talents, but Oceans is an enjoyable listen nonetheless, and kudos to Numero for injecting such care and attention into this relatively fringe artist.

So, there you have it: the sounds of my recent funk, which included some actual funk.  My goal is to continue updating this blog at least once a week from here on out.  Hopefully, the next extended break is due to actual, honest-to-goodness employment getting in the way…

That Brazilian “Yacht Rock”-ish song on the new Southern Comfort TV commercial…

This currently airing TV spot got me on the hunt.  The track is “Estrelar” by Marcos Valle, a Brazilian singer/songwriter/multi-instrumentalist who came to the US in the mid ’70s and collaborated with Leon Ware (who co-wrote “Estrelar”), and Chicago (on their not-as-dreadful-as-advertised Chicago 13), among others.

He returned to Brazil and cut two amazing, groove-infused albums in 1981 (Vontade de Rever Você) and 1983 (Marcos Valle).  I’m learning, and you should too.  Go get your Brazilian groove on…

Here’s “Estrelar” in its entirety:

Here’s the album that preceded it, 1981’s Vontade de Rever Você in its entirety:

And both albums in full on Spotify:

Been waiting for Led Zeppelin remasters? Your time is gonna come – June 3rd…


Just reporting the news here.  The only opinion I’ll offer is that I’m in for the Deluxe Edition CDs, myself.  No personal need to spend 4x the $$$ on vinyl I’ll never play, though the high-def would be nice.

Here’s the deets, from the horse’s mouth:

First Three Albums Newly Remastered With Previously Unreleased Companion Audio

March 13, 2014

First Three Albums Newly Remastered By Jimmy Page,
Each With An Additional Disc Of Previously Unreleased
Companion Audio

Multiple CD, Vinyl, And Digital Formats,
Including Limited Edition Super Deluxe Boxed Set, Available June 3

John Bonham, John Paul Jones, Jimmy Page and Robert Plant came together in 1968 as Led Zeppelin. Over the next decade, the band would become one of the most influential, innovative and successful groups in modern music, selling more than 300 million albums worldwide. Their songs are some of the most celebrated in rock ‘n’ roll history that, to this day, resonate with fans young and old around the globe. Still, no matter how many times you may have listened to their music, you’ve never heard Led Zeppelin like this before.

With the June 3 release of deluxe editions of Led Zeppelin, Led Zeppelin II, and Led Zeppelin III, the band will launch an extensive reissue program of all nine of its studio albums in chronological order, each remastered by guitarist and producer Jimmy Page. Led Zeppelin will also open its vaults to share dozens of unheard studio and live recordings, with each album featuring a second disc of companion audio comprised entirely of unreleased music related to that album.

“The material on the companion discs presents a portal to the time of the recording of Led Zeppelin,” says Page. “It is a selection of work in progress with rough mixes, backing tracks, alternate versions, and new material recorded at the time”

Led Zeppelin, Led Zeppelin II, and Led Zeppelin III will each be available June 3 from Atlantic/Swan Song in the following formats:

·    Single CD – Remastered album packaged in a gatefold card wallet.
·    Deluxe Edition (2CD) – Remastered album, plus a second disc of unreleased companion audio.
·    Single LP – Remastered album on 180-gram vinyl, packaged in a sleeve that replicates the LP’s first pressing in exacting detail. (For example, III will feature the original wheel and die cut holes.)
·    Deluxe Edition Vinyl – Remastered album and unreleased companion audio on 180-gram vinyl.
·    Digital Download – Remastered album and companion audio will both be available.
·    Super Deluxe Boxed Set – This collection includes:
o    Remastered album on CD in vinyl replica sleeve.
o    Companion audio on CD in card wallet.
o    Remastered album on 180-gram vinyl in a sleeve replicating first pressing.
o    Companion audio on 180-gram vinyl.
o    High-def audio download card of all content at 96kHz/24 bit. (Live tracks are 48kHz/24 bit).
o    Hard bound, 70+ page book filled with rare and previously unseen photos and memorabilia.
o    High quality print of the original album cover, the first 30,000 of which will be individually numbered.
o    Led Zeppelin will also include a replica of the band’s original Atlantic press kit.

The Led Zeppelin legend began in January of 1969 with the group’s eponymous debut. From the opening salvo of “Good Times Bad Times,” on through to “Babe I’m Gonna Leave You,” “Communication Breakdown,” and “Dazed And Confused,” the album introduced the band’s unmistakable sound and left an indelible mark on the music landscape. Led Zeppelin has been certified diamond by the RIAA for sales over 10 million and was inducted into the Grammy® Hall of Fame in 2004.

The companion audio for Led Zeppelin features a previously unreleased performance recorded on October 10, 1969 at the Olympia Theatre in Paris. The nine-song set features seven tracks from the album, including an epic 15-minute version of “Dazed And Confused,” as well as “Heartbreaker” and “Moby Dick,” which would debut on Led Zeppelin II later that month.

The band wrote and recorded nearly all of Led Zeppelin II while touring relentlessly to support its debut album. Incredibly, the album was released just seven months after Led Zeppelin in October of 1969. Led Zeppelin II features some of the band’s most beloved tracks including “Ramble On” and “Heartbreaker” as well as “Whole Lotta Love,” considered by many to be one of the greatest rock ‘n’ roll songs of all time. The album is certified diamond by the RIAA with sales of over 12 million copies.

The Led Zeppelin II companion audio gives fans the first peek into the band’s recording sessions, with alternate mixes of five songs from the album, backing tracks to “Thank You” and “Living Loving Maid (She’s Just A Woman),” and the previously unreleased track “La La.”

Following the whirlwind success of their first two albums and near constant touring, Page and Plant took to the now famous Bron-Yr-Aur cottage in Wales in 1970 to start the early composition of Led Zeppelin III. They later convened with Bonham and Jones for rehearsals before entering London’s Olympic Studios to begin recording in May 1970. Fueled by classic tracks such as “Immigrant Song” and “Since I’ve Been Loving You,” the album soared to the top of charts worldwide upon its release in October of 1970 and has since been certified 6x platinum.

The nine tracks featured on Led Zeppelin III’s companion audio continue to offer a window into the band’s recording process with seven studio outtakes of songs from the album as well as three previously unheard compositions: “Jennings Farm Blues” (an instrumental forerunner of “Bron-Yr-Aur Stomp”), “Bathroom Sound” (an instrumental version of “Out On The Tiles”), and their take on the blues classics “Keys To The Highway/Trouble In Mind.”

Led Zeppelin continues to be honored for its pivotal role in music history. The band was inducted into the Rock & Roll Hall of Fame in 1995, received a Grammy Lifetime Achievement Award in 2005, and a year later was awarded with the Polar Music Prize in Stockholm. Founding members Jones, Page and Plant – along with Jason Bonham, the son of John Bonham – took the stage at London’s O2 Arena in 2007 to headline a tribute concert for Ahmet Ertegun, a dear friend and Atlantic Records’ founder. The band was honored for its lifetime contribution to American culture at the Kennedy Center Honors in 2012. In January of 2014, the band won their first ever Grammy award as Celebration Day, which captured their live performance at the Ertegun tribute concert, was named Best Rock Album

Led Zeppelin

Track Listing

1.   “Good Times Bad Times”
2.   “Babe I’m Gonna Leave You”
3.   “You Shook Me”
4.   “Dazed And Confused”
5.   “Your Time Is Gonna Come”
6.   “Black Mountain Side”
7.   “Communication Breakdown”
8.   “I Can’t Quit You Baby”
9.   “How Many More Times”

Companion Audio Disc

Live At The Olympia – Paris, France
October 10, 1969

1.      “Good Times Bad Times/Communication Breakdown”
2.    “I Can’t Quit You Baby”
3.    “Heartbreaker”
4.    “Dazed And Confused”
5.    “White Summer/Black Mountain Side”
6.     “You Shook Me”
7.     “Moby Dick”
8.    “How Many More Times”

Led Zeppelin II

Track Listing

1.   “Whole Lotta Love”
2.   “What Is And What Should Never Be”
3.   “The Lemon Song”
4.   “Thank You”
5.   “Heartbreaker”
6.   “Living Loving Maid (She’s Just A Woman)”
7.   “Ramble On”
8.   “Moby Dick”
9.  “Bring It On Home”

Companion Audio Disc

1.   “Whole Lotta Love”
2.   “What Is And What Should Never Be”
3.   “Thank You”
4.   “Heartbreaker”
5.  “Living Loving Maid (She’s Just A Woman)”
6.   “Ramble On”
7.  “Moby Dick”
8.  “La La”

Led Zeppelin III

Track Listing

1.   “Immigrant Song”
2.   “Friends”
3.   “Celebration Day”
4.   “Since I’ve Been Loving You”
5.  “Out On The Tiles”
6.  “Gallows Pole”
7.  “Tangerine”
8.  “That’s The Way”
9.  “Bron-Y-Aur Stomp”
10.  “Hats Off To (Roy) Harper”

Companion Audio Disc

1.   “The Immigrant Song”
2.   “Friends”
3.   “Celebration Day”
4.   “Since I’ve Been Loving You”
5.  “Bathroom Sound”
6.   “Gallows Pole”
7.  “That’s The Way”
8.  “Jennings Farm Blues”
9.  “Keys To The Highway/Trouble In Mind”

And you can pre-order any configuration you want here.