On August 31, 1970, Leonard Cohen was scheduled to play the third Isle of Wight Festival. The conditions were not optimal. While 100,000 or so tickets had been sold, there were nearly 600,000 in attendance. Fans overran the island to see and hear the Who, Miles Davis, Jimi Hendrix, and many others over five days…
This double CD is pretty similar in sound and content to the expanded Live at Leeds album, except there's much more from Tommy, and a few semi-obscure numbers like "I Don't Even Know Myself," "Water," and "Naked Eye." Hardcore Who fanatics seem to prefer Live at Leeds, which was recorded only a few months before this material. That viewpoint is understandable: the performances are sharper on Leeds, and if you're not a big-league fan, that single-disc set is a more economical survey of the band in concert during this era. If you do like the Who a lot, though, Isle of Wight is worth having. The sound and performances are decent, although be aware that the band's on-stage version of Tommy omits some decent songs from the opera, such as "Sensation" and "Underture."
To commemorate the 30th-anniversary of her breakthrough album, Mask And The Mirror, Loreena McKennitt presents this live album recorded in San Francisco on May 19, 1994. Featuring staples from the McKennitt canon, including “The Mystic's Dream,” “The Bonny Swans,” “Marrakesh Night Market” and “The Two Trees.”
"I have always loved to travel, and all the music on this album is inspired by that love. The pieces selected are based both on my actual journeys and on travels as yet only imagined." (Marc Satterwhite) Marc Satterwhite's music has been performed in diverse venues all over the United States, as well as in Europe, England, Australia, the Americas, South Africa, Japan, Hong Kong, China and South Korea. He is a graduate of Michigan State University and Indiana University and was for several years a professional orchestral bassist before switching his emphasis to composition. He has taught in Texas, Indiana and Michigan and is Professor of Composition and Music Theory at the University of Louisville School of Music where, in addition to his teaching duties, he directs the Grawemeyer Award for Music Composition.