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Excesss Karaoke Master by Artist
XS Master by ARTIST Artist Song Title Artist Song Title (hed) Planet Earth Bartender TOOTIMETOOTIMETOOTIM ? & The Mysterians 96 Tears E 10 Years Beautiful UGH! Wasteland 1999 Man United Squad Lift It High (All About 10,000 Maniacs Candy Everybody Wants Belief) More Than This 2 Chainz Bigger Than You (feat. Drake & Quavo) [clean] Trouble Me I'm Different 100 Proof Aged In Soul Somebody's Been Sleeping I'm Different (explicit) 10cc Donna 2 Chainz & Chris Brown Countdown Dreadlock Holiday 2 Chainz & Kendrick Fuckin' Problems I'm Mandy Fly Me Lamar I'm Not In Love 2 Chainz & Pharrell Feds Watching (explicit) Rubber Bullets 2 Chainz feat Drake No Lie (explicit) Things We Do For Love, 2 Chainz feat Kanye West Birthday Song (explicit) The 2 Evisa Oh La La La Wall Street Shuffle 2 Live Crew Do Wah Diddy Diddy 112 Dance With Me Me So Horny It's Over Now We Want Some Pussy Peaches & Cream 2 Pac California Love U Already Know Changes 112 feat Mase Puff Daddy Only You & Notorious B.I.G. Dear Mama 12 Gauge Dunkie Butt I Get Around 12 Stones We Are One Thugz Mansion 1910 Fruitgum Co. Simon Says Until The End Of Time 1975, The Chocolate 2 Pistols & Ray J You Know Me City, The 2 Pistols & T-Pain & Tay She Got It Dizm Girls (clean) 2 Unlimited No Limits If You're Too Shy (Let Me Know) 20 Fingers Short Dick Man If You're Too Shy (Let Me 21 Savage & Offset &Metro Ghostface Killers Know) Boomin & Travis Scott It's Not Living (If It's Not 21st Century Girls 21st Century Girls With You 2am Club Too Fucked Up To Call It's Not Living (If It's Not 2AM Club Not -
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
Premium Blend: Middle School Percussion Curriculum Utilizing Western and Non-Western Pedagogy
Premium Blend: Middle School Percussion Curriculum Utilizing Western and Non-Western Pedagogy Bob Siemienkowicz Winfield School District 34 OS 150 Park Street Winfield, Illinois 60190 A Clinic/Demonstration Presented by Bob Siemienkowicz [email protected] And The 630.909.4974 Winfield Percussion Ensembles ACT 1 Good morning. Thank you for allowing us to show what we do and how we do it. Our program works for our situation in Winfield and we hope portions of it will work for your program. Let’s start with a song and then we will time warp into year one of our program. SONG – Prelude in E minor YEAR 1 – All those instruments The Winfield Band program, my philosophy has been that rhythm is the key to success. I tell all band students “You can learn the notes and fingerings fine, but without good rhythm, no one will understand what you are playing.” This is also true in folkloric music. Faster does not mean you are a better player. How well you communicate musically establishes your level of proficiency. Our first lessons with all band students are clapping exercises I design and lessons from the Goldenberg Percussion method book. Without the impedance of embouchure, fingerings and the thought of dropping a $500 instrument on the floor, the student becomes completely focused on rhythmic study. For the first percussion lesson, the focus is also rhythmic. Without the need for lips, we play hand percussion immediately. For the first Western rudiment, we play paradiddles on conga drums or bongos (PLAY HERE). All percussion students must say paradiddle while they play it. -
Adopted Budget 2009-2010
City of Wilsonville Oregon Adopted Budget FY 2009/10 CITY OF WILSONVILLE, OREGON FY 2009-10 QUICK FACTS AND LOCATOR PAGES City Operating Capital Urban Renewal More information & Other Projects Agency on these pages WhereȱTheȱMoneyȱComesȱFrom: Propertyȱtaxes $ȱȱȱȱȱȱȱȱ5,226,000 $ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ $ȱȱȱȱȱȱȱȱ7,050,000 69,ȱ274Ȭ276 Otherȱgovernments ȱȱȱȱȱȱȱȱȱȱ3,010,347 ȱȱȱȱȱȱȱȱ5,539,470 ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ 70Ȭ77,ȱ202 Chargesȱforȱservices ȱȱȱȱȱȱȱȱ14,763,346 ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ 70Ȭ77 Bondȱsales ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ ȱȱȱȱȱȱȱȱ7,000,000 ȱȱȱȱȱȱȱȱȱ8,000,000 202,ȱ279 SystemȱDevelopmentȱCharges ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ ȱȱȱȱȱȱȱȱ8,224,984 ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ 79 Allȱotherȱrevenues ȱȱȱȱȱȱȱȱȱȱ9,378,068 ȱȱȱȱȱȱȱȱ2,066,230 ȱȱȱȱȱȱȱȱȱȱȱȱ193,453 70Ȭ77,ȱ279 Carryover/beginningȱbalance ȱȱȱȱȱȱȱȱ26,370,848 ȱȱȱȱȱȱ16,878,180 ȱȱȱȱȱȱȱ13,453,766 28Ȭ29,ȱ279 TotalȱResources $ȱȱȱȱȱȱ58,748,609 $ȱȱȱȱȱ39,708,864 $ȱȱȱȱȱȱ28,697,219 WhereȱTheȱMoneyȱGoes: Personalȱservices $ȱȱȱȱȱȱ13,595,127 $ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ $ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ 84Ȭ200 Materialsȱandȱservices ȱȱȱȱȱȱȱȱ14,893,008 ȱȱȱȱȱȱȱȱȱȱȱȱȱ37,300 ȱȱȱȱȱȱȱȱȱ1,068,492 89Ȭ200,ȱ279 CapitalȱȬȱequipment ȱȱȱȱȱȱȱȱȱȱȱȱ982,000 ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ 89Ȭ200 CapitalȱȬȱprojects ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ ȱȱȱȱȱȱ25,284,609 ȱȱȱȱȱȱȱȱȱ3,223,500 201,ȱ286,ȱ293 Debtȱservice ȱȱȱȱȱȱȱȱȱȱ3,024,933 ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ ȱȱȱȱȱȱȱ11,853,652 255Ȭ262,ȱ283,ȱ291 Contingency/reserves ȱȱȱȱȱȱȱȱ26,251,916 ȱȱȱȱȱȱ12,808,449 ȱȱȱȱȱȱȱȱȱ7,426,025 261Ȭ264,ȱ279 Unappropriatedȱendingȱbalance ȱȱȱȱȱȱȱȱȱȱ1,580,131 ȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȱȬ ȱȱȱȱȱȱȱȱȱ5,125,550 -
The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters
4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBoRAh F. RUTTER, President CONCERT HALL Monday Evening, April 16, 2018, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters TODD BARKAN JOANNE BRACKEEN PAT METHENY DIANNE REEVES Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio and WPFW 89.3 FM. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 2 THE 2018 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts The 2018 NEA JAzz MASTERS Performances by NEA Jazz Master Eddie Palmieri and the Eddie Palmieri Sextet John Benitez Camilo Molina-Gaetán Jonathan Powell Ivan Renta Vicente “Little Johnny” Rivero Terri Lyne Carrington Nir Felder Sullivan Fortner James Francies Pasquale Grasso Gilad Hekselman Angélique Kidjo Christian McBride Camila Meza Cécile McLorin Salvant Antonio Sanchez Helen Sung Dan Wilson 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 -
P. Diddy with Usher I Need a Girl Pablo Cruise Love Will
P Diddy Bad Boys For Life P Diddy feat Ginuwine I Need A Girl (Part 2) P. Diddy with Usher I Need A Girl Pablo Cruise Love Will Find A Way Paladins Going Down To Big Mary's Palmer Rissi No Air Paloma Faith Only Love Can Hurt Like This Pam Tillis After A Kiss Pam Tillis All The Good Ones Are Gone Pam Tillis Betty's Got A Bass Boat Pam Tillis Blue Rose Is Pam Tillis Cleopatra, Queen Of Denial Pam Tillis Don't Tell Me What To Do Pam Tillis Every Time Pam Tillis I Said A Prayer For You Pam Tillis I Was Blown Away Pam Tillis In Between Dances Pam Tillis Land Of The Living, The Pam Tillis Let That Pony Run Pam Tillis Maybe It Was Memphis Pam Tillis Mi Vida Loca Pam Tillis One Of Those Things Pam Tillis Please Pam Tillis River And The Highway, The Pam Tillis Shake The Sugar Tree Panic at the Disco High Hopes Panic at the Disco Say Amen Panic at the Disco Victorious Panic At The Disco Into The Unknown Panic! At The Disco Lying Is The Most Fun A Girl Can Have Panic! At The Disco Ready To Go Pantera Cemetery Gates Pantera Cowboys From Hell Pantera I'm Broken Pantera This Love Pantera Walk Paolo Nutini Jenny Don't Be Hasty Paolo Nutini Last Request Paolo Nutini New Shoes Paolo Nutini These Streets Papa Roach Broken Home Papa Roach Last Resort Papa Roach Scars Papa Roach She Loves Me Not Paper Kites Bloom Paper Lace Night Chicago Died, The Paramore Ain't It Fun Paramore Crush Crush Crush Paramore Misery Business Paramore Still Into You Paramore The Only Exception Paris Hilton Stars Are Bliind Paris Sisters I Love How You Love Me Parody (Doo Wop) That -
The Digital Deli Online - List of Known Available Shows As of 01-01-2003
The Digital Deli Online - List of Known Available Shows as of 01-01-2003 $64,000 Question, The 10-2-4 Ranch 10-2-4 Time 1340 Club 150th Anniversary Of The Inauguration Of George Washington, The 176 Keys, 20 Fingers 1812 Overture, The 1929 Wishing You A Merry Christmas 1933 Musical Revue 1936 In Review 1937 In Review 1937 Shakespeare Festival 1939 In Review 1940 In Review 1941 In Review 1942 In Revue 1943 In Review 1944 In Review 1944 March Of Dimes Campaign, The 1945 Christmas Seal Campaign 1945 In Review 1946 In Review 1946 March Of Dimes, The 1947 March Of Dimes Campaign 1947 March Of Dimes, The 1948 Christmas Seal Party 1948 March Of Dimes Show, The 1948 March Of Dimes, The 1949 March Of Dimes, The 1949 Savings Bond Show 1950 March Of Dimes 1950 March Of Dimes, The 1951 March Of Dimes 1951 March Of Dimes Is On The Air, The 1951 March Of Dimes On The Air, The 1951 Packard Radio Spots 1952 Heart Fund, The 1953 Heart Fund, The 1953 March Of Dimes On The Air 1954 Heart Fund, The 1954 March Of Dimes 1954 March Of Dimes Is On The Air With The Fabulous Dorseys, The 1954 March Of Dimes Is On The Air, The 1954 March Of Dimes On The Air 1955 March Of Dimes 1955 March Of Dimes Is On The Air, The 1955 March Of Dimes, The 1955 Pennsylvania Cancer Crusade, The 1956 Easter Seal Parade Of Stars 1956 March Of Dimes Is On The Air, The 1957 Heart Fund, The 1957 March Of Dimes Galaxy Of Stars, The 1957 March Of Dimes Is On The Air, The 1957 March Of Dimes Presents The One and Only Judy, The 1958 March Of Dimes Carousel, The 1958 March Of Dimes Star Carousel, The 1959 Cancer Crusade Musical Interludes 1960 Cancer Crusade 1960: Jiminy Cricket! 1962 Cancer Crusade 1962: A TV Album 1963: A TV Album 1968: Up Against The Establishment 1969 Ford...It's The Going Thing 1969...A Record Of The Year 1973: A Television Album 1974: A Television Album 1975: The World Turned Upside Down 1976-1977. -
Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach. -
Downbeat.Com April 2011 U.K. £3.50
£3.50 £3.50 U.K. PRIL 2011 DOWNBEAT.COM A D OW N B E AT MARSALIS FAMILY // WOMEN IN JAZZ // KURT ELLING // BENNY GREEN // BRASS SCHOOL APRIL 2011 APRIL 2011 VOLume 78 – NumbeR 4 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Maureen Flaherty ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, -
Negrocity: an Interview with Greg Tate
City University of New York (CUNY) CUNY Academic Works Publications and Research New York City College of Technology 2012 Negrocity: An Interview with Greg Tate Camille Goodison CUNY New York City College of Technology How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/ny_pubs/731 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] NEGROCITY An Interview with Greg Tate* by Camille Goodison As a cultural critic and founder of Burnt Sugar The Arkestra Chamber, Greg Tate has published his writings on art and culture in the New York Times, Village Voice, Rolling Stone, and Jazz Times. All Ya Needs That Negrocity is Burnt Sugar's twelfth album since their debut in 1999. Tate shared his thoughts on jazz, afro-futurism, and James Brown. GOODISON: Tell me about your life before you came to New York. TATE: I was born in Dayton, Ohio, and we moved to DC when I was about twelve, so that would have been about 1971, 1972, and that was about the same time I really got interested in music, collecting music, really interested in collecting jazz and rock, and reading music criticism too. It kinda all happened at the same time. I had a subscription to Rolling Stone. I was really into Miles Davis. He was like my god in the 1970s. Miles, George Clinton, Sun Ra, and locally we had a serious kind of band scene going on. -
May 2001 03 Jazz Ed
ALL ABOUT JAZZ monthly edition — may 2001 03 Jazz Ed. 04 Pat Metheny: New Approaches 09 The Genius Guide to Jazz: Prelude EDITOR-IN-CHIEF: Aaron Wrixon 14 The Fantasy Catalog: Tres Joses ASSOCIATE EDITOR: Michael Martino 18 Larry Carlton and Steve Lukather: Guitar Giants CONTRIBUTORS: 28 The Blue Note Catalog: All Blue Glenn Astarita, Mathew Bahl, Jeff Fitzgerald, Chris Hovan, Allen Huotari, Nils Jacobson, Todd S. Jenkins, Joel Roberts, Chris M. Slawecki, Derek Taylor, Don Williamson, 32 Joel Dorn: Jazz Classics Aaron Wrixon. ON THE COVER: Pat Metheny 42 Dena DeRose: No Detour Ahead PUBLISHER: 48 CD Reviews Michael Ricci Contents © 2001 All About Jazz, Wrixon Media Ventures, and contributors. Letters to the editor and manuscripts welcome. Visit www.allaboutjazz.com for contact information. Unsolicited mailed manuscripts will not be returned. Welcome to the May issue of All About Jazz, Pogo Pogo, or Joe Bat’s Arm, Newfoundland Monthly Edition! (my grandfather is rolling over in his grave at This month, we’re proud to announce a new the indignity I have just committed against columnist, Jeff Fitzgerald, and his new, er, him) — or WHEREVER you’ve been hiding column: The Genius Guide to Jazz. under a rock all this while — and check some Jeff, it seems, is blessed by genius and — of Metheny’s records out of the library. as is the case with many graced by voluminous The man is a guitar god, and it’s an intellect — he’s not afraid to share that fact honour and a privilege to have Allen Huotari’s with us. -
Pink Floyd – Live at Knebworth 1990
Pink Floyd – Live At Knebworth 1990 (55:45, CD, LP, Digital, Parlophone/Warner, 1990/2021) Es war zu erwarten, dass die einzelnen Elemente des teuren „The Later Years“-Boxsets nach und nach auch als Standalone- Veröffentlichungen eintrudeln würden. Nachdem schon relativ kurz nach der Box die überarbeitete „Delicate Sound Of Thunder“ in den Regalen stand, gibt’s nun mit „Live At Knebworth 1990“ das nächste Liveschnittchen derGilmour - geführten Pink Floyd. Nun waren Pink Floyd bei besagtem Konzert nur einer von vielen Mega-Acts und spielten deshalb auch nur ein knappes Festivalset-Stündchen – wie Dire Straits, Phil Collins (mit Genesis-Gastauftritt), Paul McCartney, Eric Clapton, Tears For Fears und Status Quo auch. Auf Live-Raritäten oder Experimente muss man hier also verzichten. Neben dem damals noch einigermaßen aktuellen ‚Sorrow‘ gibt’s hier lediglich je zwei Songs von „The Wall“ (‚Run Like Hell‘, ‚Comfortably Numb‘), zwei von „Wish You Were Here“ (‚Shine On…‘ und den Titelsong) sowie unvermeidlicherweise auch zwei von „Dark Side Of The Moon“ – ‚Money‘ und ‚The Great Gig In The Sky‘. Der Grund für die Auswahl des Letzteren dürfte darin zu finden sein, das an diesem Abend mit Clare Torry die Originalsängerin des Stücks mit Floyd auf der Bühne stand. Damit sind wir auch schon bei der Besonderheit dieses Knebworth-Auftritts: die prominenten Gäste. Pink Floyd waren ja nicht unbedingt dafür bekannt, sich Freunde auf die Bühne einzuladen. Da fallen den Meisten wohl nur Billy Corgan 1996 in der Rock And Roll Hall Of Fame, Frank Zappa 1969 auf einem Festival in Belgien und Douglas Adams 1994 im Earls Court ein, und so ist das Auftauchen gleich dreier Nicht-Bandmitglieder schon ein Grund für Sammler, das vorliegende Album in die Sammlung einzureihen.