The Australian hard rock band, recorded at the peak of their powers in 1979 on the 'Highway To Hell' tour, just months before the death of original singer, Bon Scott.
A whirlwind of improvisation combines the images of animator Pierre Hébert with the avant-garde sound of techno whiz Bob Ostertag in this singular multimedia experience, a hybrid of live animation and performance art.
During the same summer as Woodstock, over 300,000 people attended the Harlem Cultural Festival, celebrating African American music and culture, and promoting Black pride and unity.
The evocative and exciting music of Pierre Bensusan is presented in its full glory in this 75 minute concert recorded at the Freight & Salvage in Berkeley, California in 1995.
Set 1:
Playing in the Band(Bob Weir song) (>)
Deal(Jerry Garcia cover) (>)
Tennessee Jed(Grateful Dead cover)
It Hurts Me Too(Tampa Red cover)
Ramble On Rose(Grateful Dead cover)
Brown-Eyed Women(Grateful Dead cover)
Crazy Fingers(Grateful Dead cover) (Tour debut) (>)
Dancing in the Street(Martha Reeves and the Vandellas cover) (Tour debut)
Set 2:
Sugaree(Jerry Garcia cover)
Estimated Prophet(Grateful Dead cover) (>)
The Other One(Grateful Dead cover) (verse 1) (>)
Terrapin Station(Grateful Dead cover) (>)
Drums(Grateful Dead cover) (>)
Space(Grateful Dead cover) (>)
Stella Blue(Grateful Dead cover) (>)
Sugar Magnolia(Grateful Dead cover) (>)
Scarlet Begonias(Grateful Dead cover) (>)
Sunshine Daydream(Grateful Dead cover)
Encore:
U.
Gloria Fontanesi is a girl who works as a factory worker but carries within her a great passion: dancing! Success comes one night, when due to a delay by Renato Zero, the stage is finally hers.
It is an Epic story based on the book Virata Parva of Mahabharatha. After 12 years of Vanavasam, the Pandavas spend their 13th year of exile the Agnaadhavasam in an incognito state with disguised identities at the court of Virata.
After the death of the paranoid emperor Tiberius, Caligula, his heir, seizes power and plunges the empire into a bloody spiral of madness and depravity.
John Dexter’s brilliant production, James Levine’s masterful conducting of the eclectic score, and a sensational cast come together to make this Kurt Weill–Bertolt Brecht masterpiece a riveting evening of music theater.