The show captured on King Biscuit Flower Hour (In Concert) (1996) was recorded circa Greg Lake's 1981 self-titled debut, and features Lake (guitar/bass/vocals) leading an impressive backing combo with Gary Moore (guitar), Ted McKenna (drums), Tommy Eyre (keyboards), and Tristian Margetts (bass). The set originated as a King Biscuit Flower Hour broadcast from the Hammersmith Odeon in London on November 5, 1981. During this time, Lake was on an extended hiatus from Emerson, Lake and Palmer (ELP), and issued a pair of solo efforts. As such, the play list is heavy on Greg Lake(1981) material from the first of these.
The Music…The Mem'ries…The Magic! is the album of record for Barbra Streisand s triumphant concert tour of the same name in 2016. This collection captures the iconic songstress culminating her 13 city tour in Miami, Florida on December 5th, 2016. The Music…The Mem'ries…The Magic! is available in two versions: a single disc album of concert highlights, and a deluxe 2 disc set featuring the entire concert performance and all of Barbra's dialogue including her reflections on making some of this music, her film career, and what it was like to make her most recent # 1 album, ENCORE Movie Partners Sing Broadway (with Alec Baldwin, Chris Pine, Jamie Foxx, Antonio Banderas, Anne Hathaway, Hugh Jackman, Patrick Wilson, Melissa McCarthy, Daisy Ridley). Both versions of this album are also available digitally. This career spanning collection also includes a performance of "Climb Ev'ry Mountain" with special guest, Jamie Foxx.
Of the myriad double-live sets Miles Davis recorded in the early '70s, In Concert: Live at Philharmonic Hall is the only one documenting his On the Corner street-funk period, which is immediately obvious from the cover art. Actually, in terms of repertoire, the material from Get Up With It, Big Fun, and A Tribute to Jack Johnson each takes up a greater percentage of space, but the hard-driving rhythms and plentiful effects make it clear which of Davis' fusion aesthetics applied. In Concert begins to move Davis' live work even farther away from jazz tradition, as he largely forgoes concepts of soloing or space.