The legendary Old Grey Whistle Test returns with the third in the series - this album delivers what the fans have been asking for. All Live tracks, CD1 and CD2 feature tracks from the original classic show including Van Morrison, Lynyrd Skynyrd, Elton John and the mighty Tom Petty and the Heartbreakers. All original and all live - CD3 features tracks from the Old Grey Whistle Test's 40th anniversary BBC Radio 2 show as produced and presented by Bob Harris himself in 2011. All the artists featured on CD3 performed on the original show at some point.
This extensive collection gathers together four volumes of demos, live performances, interviews, and other ephemeral material from the earliest phases of Detroit shock-glam legends Alice Cooper, and even traces their roots before the band as most know it came to be. The collection begins with the stompy garage psych number "No Price Tag" from Vincent Furnier's pre-AC 1966 band Spiders. Early demos from 1969's Pretties for You album follow, as do radio spots and raw live recordings from the earliest eras of the band, including an 11-minute organ-drone version of "I'm Eighteen," introduced as "a brand-new song" and sounding more like some bastardized take on the Doors than the three-minute confused coming-of-age rocker that wound up on 1971's Love It to Death album…
Taken from radio broadcast tapes of a concert given in late 1965, Hero of the Game sees the already legendary political folk singer Phil Ochs running through a set of almost completely unreleased material, with all but one of the tracks performed here already put to tape at the time of this concert. Among the bevy of tunes being heard by the audience for the first time in their rawest form, many stand out. In particular is a stunning version of "Crucifixion," a harrowing tune that was only a month old at the time of this recording, but wouldn't see a proper studio rendition until the 1967 release of Pleasures of the Harbour, an album many considered Ochs' finest moment.
As the last completed symphony that Mahler wrote, the Ninth has often been heard by audiences as the composer’s swan song: a nostalgic, moving farewell from a composer conscious of his own mortality. This interpretation is of course easily justifiable, as etched into the musical fabric of the symphony are references to the tragedies that befell the composer in the years before his death.