Tom Cochrane & Red Rider - The Symphony Sessions (1989)
Artist: Tom Cochrane & Red Rider Country: Canada Album: The Symphony Sessions Year of release: 1989 Genre: AOR Format: MP3 CBR 320 kbs Size: 154 МБ (+3% на восст.) Uploaded to: Deposit Files, Turbobit
Отличное концертное выступление Тома Кокрэйна и Рэд Райдер!
Tracklist:
01. Light in the Tunnel (instrumental) - 2:28 02. Human Race - 3:48 03. Can't Turn Back - 10:22 04. Napoleon Sheds His Skin - 6:19 05. White Hot (T. Cochrane, K. Greer) - 6:18 06. Big League - 5:37 + 07. Calling America - 4:53 + 08. Avenue 'A' - 3:57 09. Bird on a Wire" (Leonard Cohen) - 3:21 10. Boy Inside the Man - 9:49 11. Lunatic Fringe 12. Good Times 13. The Next Life *
• The last song "The Next Life" is a new studio song, not a live track from the concert. • Songs with a '+' next to them were only available on the CD and Cassette versions, and were not on LP.
The Symphony Sessions was a live album released in 1989 by Tom Cochrane and Red Rider. It was the band's seventh and final album.
The album was recorded with the Edmonton Symphony Orchestra at the Northern Alberta Jubilee Auditorium in Edmonton, Alberta. Following this album, Tom Cochrane pursued a solo career, releasing Mad Mad World in 1991.
The album was recorded by Biff Dawes and the Westwood One mobile unit over two days and featured on one of the "Westwood One live" concert series shows. Two tracks recorded during these sessions were featured on the Westwood One concert but did not make the final album cut: "Ocean Blues (Emotion Blue)" and "The Untouchable One". Both songs are from the 1986 self-titled Tom Cochrane & Red Rider album.
Tom Cochrane explained the idea behind the album: "When we put our songs together... Kenny it with these kind of players, plus you want to keep it intact as a band, so we've always done it with synthesizers and whatever we had at hand, so it's nice to go in with a real complement of players and have them contribute like they did. In our music, "Lunatic Fringe," for example, there are parts implied that we thought should be transposed from keyboard to orchestral instruments, and then in other areas we gave George (Blondheim) carte blanche and said, 'Do what you want, add some creative input'. "
The concerts were recorded live with a 56-piece orchestra and then mixed down at the Metalworks Studios in Toronto.
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