Esta manhã acordei com uma Senhora claramente com a redução das faculdades mentais, sim, a pobre senhora estava completamente GAGÁ! Uma pobre Lady Gagá, berrando que era uma cantora de Heavy Metal, e que faria um álbum! Ha ha ha , PRIMEIRO DE ABRIL PESSOAL, APOSTO QUE MUITA GENTE LEU 'LADY GAGA' E NEM VIU O ACENTO, E LOGO PENSOU QUE ERA A CANTORA POP.
Happy april's fools day!
quarta-feira, 1 de abril de 2015
segunda-feira, 30 de março de 2015
Cobertura de Show - Marty Friedman: Talento, Humildade e Simpatia (Porto Alegre - Batemacumba, 22/03/15)
O dia 22/03 reservou muitas emoções para os amantes da guitarra, pois Porto Alegre/RS recebia neste dia a lenda Marty Friedman, mais conhecido pelos seus trabalhos no Megadeth e Cacophony.
O local escolhido para o workshow foi o Batemacumba, casa não tradicional em eventos de peso, porém uma escolha acertada, para um público seleto, que se misturava entre músicos e fãs.
Antes da casa abrir era hora do Meet and Greet com os fãs que compraram o ingresso especial, então era possível ver já a ansiedade do pessoal que aguardava e muitos vinis e guitarras para serem autografados.
Não demora muito para Marty chegar ao local e passar tranquilamente por todos, muitos extasiados não tiveram reação outros o cumprimentaram, mas sim, a lenda estava ali e parecia surreal.
Com o inicio do Meet and Greet foi possível ver um músico extremamente atencioso e humilde, conversando com os fãs, dando autógrafos distribuindo algumas palhetas, algo quase inimaginável, principalmente para esse que vós escreve fãs desde adolescência de Megadeth e Cacophony, e estando ali conversando e tirando fotos com Marty, esbanjando simpatia.
Pois bem, pós esse momento nostálgico era hora de ver o mestre em ação, que entra em cena pontualmente, chegando ao microfone e arriscando alguns palavrões em português como: “foda, foda” (risos gerais) sendo extremamente ovacionado e tocando logo de cara “Ballad of the Barbie bandits” e “Hyper Doom”.
Após mostrar claramente que é um dos melhores e mais influentes guitarristas do mundo, é apresentado o tradutor, onde Marty abriu a sessão perguntas para os fãs, e claro muitas delas relacionadas ao Megadeth e Cacophony.
Mas é óbvio que uma pergunta não poderia faltar, se ele retornaria ao Megadeth, e antes do fã terminar a mesma, Marty já se antecipou e disse que não retornaria, até mesmo confirmou que sim, foi procurado pelo Mustaine após a saída de Chris Broderick, pois são muito amigos ainda, e achou normal ser procurado, porém enfatizou que, não é porque um músico deixa a banda que uma vaga se abre.
Respondeu também a diversas perguntas sobre o Cacophony, inclusive sobre as tais notas “exóticas” que tanto dizem que ele usa na guitarra, mas mostrou certa surpresa em os fãs acharem isso, pois quando está criando não pensa em ser exótico ou não, apenas pensa na melodia e tudo sai naturalmente.
Também respondeu sobre seu amigo Jason Becker, e contou uma curiosidade, que quando conheceu Becker, Marty já estava com seu disco solo pronto, mas ao ver o talento e a pessoa incrível que Jason era, acabou dando um jeito de colocar ele pra tocar junto, sendo assim, nascia o clássico “Speed Metal Symphony” do Cacophony.
Ao meio a tantas perguntas o workshow continuou que foi focado somente em sua carreira solo (mais precisamente nos discos mais atuais), tocando temas como “Stigmata Addiction”, “Meat hook”, “Inferno”, “Undertow” e etc.
Ao final de sua apresentação foi pedido que tocasse algo do Megadeth, então a intro de “Tornado Of Souls” entra em cena, mas não por completa, até porque como o próprio Marty disse aos fãs, que olhar para o passado seria impedir a evolução.
Mais um grande evento realizado pela Pisca Produtora, onde trouxe não só um músico, mas uma lenda, uma pessoa de grande carisma e humildade, claro que fez falta um som ou outro do Megadeth ou Cacophony, mas mesmo tocando só seu material solo encantou os presentes, com todos saindo impressionados com o grande gênio que tinham acabado de ver.
Cobertura por: Renato Sanson
Fotos: Uillian Vargas
Ballad of the Barbie bandits
Devil take tomorrow
domingo, 29 de março de 2015
O que se iniciou como um projeto do conceituado guitarrista espanhol José Rubio (Warcry, Uroboros), quando do lançamento do seu álbum "Castles in the Moon", e a partir do segundo álbum, batizado "Nova Era", e o primeiro sob o nome "José Rúbio's Nova Era", que obteve excelente receptividade, com a banda tocando nos principais festivais da Espanha, além de realizar uma tour por todo o território. (Read English Version Here)
Novembro do ano passado o JRNE lança o terceiro full-lenght, "Fight", onde pretende dar mais passos e alcançar um público maior, algo que se depender do excelente Heavy Metal do grupo, que une técnica, melodia e peso em medidas bem equilibradas, uma ótima mescla entre e Heavy e Hard.
Riffs poderosos fazem contraponto a excelentes melodias dos teclados, técnica e melodia presentes, lembrando bandas que sempre mesclaram bem a técnica, o peso e poder do Heavy Metal Tradicional com a melodia e malícia do Hard, como Pretty Maids e The Poodles, e podemos citar também álbuns como "Sacred Heart" (Dio) e "Trilogy" (Malmsteen), que são bons exemplos de casamento perfeito entre Hard e Heavy, grandes refrãos e melodias, teclados na dose certa e ótimos vocais.
A técnica e o senso melódico de José Rubio são muito bem acompanhados por uma banda extremamente talentosa, destacando os vocais de Fran Vázquez, um cantor de muita pegada, que possui um timbre que lembra Ronnie Atkins (Pretty Maids) e Jakob (The Poodles), com uma voz rouca e "rasgada", mas também alcançando tons mais altos, sendo agressivo quando necessário, mas sabendo levar muito bem uma balada mais melodiosa.
Contendo 10 músicas de muita qualidade, "Fight" abre com "After All", puro Heavy Metal, som poderoso e atual, grandes refrãos e melodias, excelente cartão de visitas, o ouvinte já percebe que está diante de algo diferenciado; a faixa título vem em seguida, seguindo a mesma linha, com grandes coros, com uma cara de "hino", pra cantar de punhos cerrados!; "Walls of Rock" traz a veia Hard Rock mais evidente, mais melodiosa e refrão cativante.
Melodias cativantes, riffs marcantes e poderosos e grandes refrãos não faltam, e isso é algo que deve estar sempre presente em um bom álbum de Metal, enquanto que para algumas bandas como o JRNE parece algo tão natural, para alguns parece tão difícil construir boas músicas, é o que sempre enfatizo, feeling não é todo mundo que tem, não basta ter técnica e uma produção cara.
Destaque ainda para as faixas "Eagle of Blood", "Rebellion" e "New Era", nova versão da música instrumental do primeiro álbum, com orquestrações e adicionando vocais, transformando-se numa poderosa balada.
Um álbum poderoso e de ótimo nível, Heavy e Hard, peso e melodia, técnica e feeling, tudo muito bem dosado, aliados a uma excelente produção, soando atual mas sem perder as raízes e a essência do Heavy Metal em seu sentido máximo. Uma Nova Era está vindo!
Texto: Carlos Garcia
Texto: Carlos Garcia
José Rubio: Guitarras
Fran Vázquez: Vocais
Gustavo Segura: Drums
José Pineda: Bass
Francisco Gil: Keyboards
Miguel Araújo: Guitarras
01. After All
03. Walls of Rock
04. Shackles of Gold
05. Time after Time
06. Eagle of Blood
08. Time to Survive
09. So Deep Inside
10. New Era
What began as a project of the renowned Spanish guitarist José Rubio (Warcry, Trilogy, José Andrea's Uroboros), when the release of their album "Castles in the Moon", and from the second album, called "New Age", and the first under the name "José Rubio's New Age", which received excellent reviews and acceptance, with the band playing in the major festivals in Spain, and conduct a tour throughout the country.
November last year the JRNE launches the third full-length, "Fight", where they want to take more steps and reach more fans, something that depend on the excellent heavy metal practiced by the group, joining technique, melody and power with well balanced measures , a great blend of Hard and Heavy.
Powerful riffs are opposed to excellent melodies of keyboards, technical and melody present, reminding bands that always well blended technique, weight and power of traditional Heavy Metal with melody and malice Hard as Pretty Maids and The Poodles, and we can mention also albums as "Sacred Heart" (Dio) and "Trilogy" (Malmsteen), which are good examples of perfect marriage between Hard and Heavy, big choruses and melodies, keyboards in the right dose and great vocals.
The technique and the melodic sense of José Rubio are very well accompanied by an extremely talented band, highlighting the voice of Fran Vazquez, a singer of great punch, who has a tone reminds me Ronnie Atkins (Pretty Maids) and Jakob (The Poodles) , in a hoarse, "torn" voice, but also reaching higher tones, being aggressive when necessary, but knowing very well take a more melodious ballad.
Containing 10 songs of great quality, "Fight" opens with "After All" pure Heavy Metal, powerful and modern (in the best sense of the word) sound, big choruses and melodies, great welcome to the listeners, who will realizes that already have in hands something different; the title track comes next, following the same line, with big choruses, practically a "hymn" to sing with fists clenched !; "Walls of Rock" brings the Hard Rock vein more evident, more melodious and catchy chorus.
Catchy melodies, riffs and big choruses striking abound, and this is something that should always be present in a good Metal album, while for some bands like JRNE seems so natural to some seems so hard to build good songs, is which always emphasize, feeling is not everyone who has, not enough to have technique and an expensive production.
Also highlight, although all the songs are in a great level, the tracks "Time After Time", "Eagle of Blood", "Rebellion" and "New Era", new version of the instrumental music of the second album, with orchestrations and adding vocals, becoming a power ballad.
A powerful album and an excellent level, Heavy and Hard, power and melody, technique and feeling, all well proportioned, along with a great production, sounding modern but without losing the roots and the essence of Heavy Metal in its highest sense. A New Era is coming!
Review by: Carlos Garcia
José Rubio: Guitarras
Fran Vázquez: Vocais
Gustavo Segura: Drums
José Pineda: Bass
Francisco Gil: Keyboards
Miguel Araújo: Guitarras
01. After All
03. Walls of Rock
04. Shackles of Gold
05. Time after Time
06. Eagle of Blood
08. Time to Survive
09. So Deep Inside
10. New Era
When we cling to a debate about the brazilian Heavy Metal, is hard to let slip the name "Angra". After all, with 23 years on the road, the band is one of the guarantors in spreading the Metal from Brazil around the globe, and, next to the grave, one of the leading names in the brazilian origin genre. And even those who do not worship them or do not like, respect their history, that has strong status. And using a phrase from former vocalist Edu Falaschi: "You can change the entire li-up that if you have the logo, the fans will go the shows." But several problems, both internal and external, kept the band going too more than that is, and the black cloud appeared again in 2010, shortly after the release of "Aqua", and which worsened in 2011, the bad performance at Rock in Rio, which eventually resulted in the following year, the departure with Edu Falaschi. (Leia aqui a versão em português)
A 2012 "sabbatical" and 2013 of cleanse the soul, Angra had to roll up their sleeves and solve several pending before returning to the stage. A imaginable outcome was always a ghost that bothered the members after all that passed between 2010 and 2011, mainly from the founder-member Rafael Bittencourt, who has a great affection to his fans. And thanks to striking songs, and fans who carries a passion since the foundation of the "goddess of fire", the band annihilated any doubt who thought the Angra should end, regardless of who would be singing, as the vocalist position was changed again.
Reconstruction began in early 2013, starting with the vocalist position, which was vacant since the departure of Edu. The intention from the beginning was always mount a reality show to choose who would be the new voice of Angra, giving in mind that the priority was to give attention to the talent of the Brazilians, but in the same year, with a invitation to play on the cruise "70000 Tons Of Metal", the band had to find a vocalist urgently and through the cruise organizers, the Italian Fabio Lione (Rhapsody Of Fire, Vision Divine) was suggested, with the intention only to fulfill that commitment. But due to the positive reviews, turned out to solve recruit him to join the "Angels Cry - 20th Anniversary Tour", which was documented on DVD with the recorded show in Sao Paulo. And the stabilization of Fabio in Angra was not only just for his professionalism, friendliness and good communication with the public, since it has the Latin spirit, was essential for him to fall in grace of fans and have them in the palm of hand easily. In my view, respecting André Matos and Edu, Fabio Lione is who most fits the profile of the band.
The "Angels Cry - 20th Anniversary Tour" celebration tour at 20 years of launching the 'debut' album "Angels Cry" (1993), was the opportunity for fans to see the live Angra again, who had stints in various corners Brazil, Latin America and shows super crowded. The tour would not be what was due to a great person, nothing less that Paulo Baron, one of the most important names in the world of 'show business', the band's manager two years ago and doing things the right way and seriously. The return of Angra owes much to him too, considering some sort of 6 member.
After four years without showing any new material, it was time for everyone to come together to compose new songs, and the projection of how the new Angra would sound in the studio was very intense, recalling that the last two releases ("Aqua" and "Aurora Consurgens ") were well below expectations. And of course, as the Lione would behave before his first job in the band? Probably, fans of Rhapsdoy, imagined, of wide open way, that the new album would be returned to the Lione is used to working in his band. Have fans Creek had more endurance, reliability would be a groundbreaking work, different from what was produced in recent years. And it's what we find in "Secret Garden", which in addition to marking the Lione debut in a 'full-length', also brings the young drummer Bruno Valverde assuming the sticks.
Cheap gloomy, dark, melodic and even pop music elements, make the "Secret Garden" a modern and contemporary disc that those who hear for the first time will want to hear more often, because, in part, the disc avoids the clichés of Power Melodic Metal, but never leaving the DNA Creek side, which is put Brazilian rhythms here and there, and some of the influences of Prog Metal also, factors that made the band a world reference. And for those who already like the work on guitars Kiko Loureiro and Rafael Bittencourt will like it even more, because, in my view, "Secret Garden" is the richest work in guitar part, with indomitable and great riffs.
As in works like "Rebirth" (2001) and "Temple Of Shadows" (2004), Angra returned to Europe again to record the "Secret Garden" and the anointed person to assist in the production was the Swede Jens Bogren, who deciphered very well the intention of the band, returning with a splendid mix. The result could be no other, just ask his resume to know all the difference; and pre-production the band won a special extra, which was managed by renowned producer Roy Z, which prioritizes the main features of the artist and knows how to take the best of each. In parts of composition and preparation of arrangements, his presence was essential.
Once purchased the album, I was already jumping third track, due to the relevance of the first two. The range in which I refer is the "Final Light", one of my favorites, complete with well insane and amazing riffs. It is worth mentioning the work of bassist Felipe Andreoli, who holds well to quarrel with a good bass and treble sound, the acolyte luxurious voice of Lione. If someone is interested in discovering the concept of lyrics, especially this range, you will encounter what the band was going through in the past. The chorus reflects this clearly: "All the answers only led us to the edge/The final light never cam and never will/So we fall and rise and walk again/The matter still prevails/The end is the light path and not the end/It’s not the end.
"Newborn Me" has an "QI" of Prog Metal and a brilliant chorus, again prevailing the work of Kiko and Rafael's guitars, who is one of the most special moments during the execution of the track. Brazilian rhythms, like "maracatu", so to speak, appear quickly in the final bridge, and some latin music passages, too. And when faced with the title track, that's report of a new phase of Angra; "Storm Of Emotions" is a 'power-ballad', which begins in a friendly and massively. It is being built gradually until you reach the explosive and Titanic chorus, winning a bonus with great vocal work of Rafael and Lione duet.
And speaking of the founder-member of the "Secret Garden", guitarist Rafael Bittencourt took the opportunity to present their skills as a singer in a disco Creek. "Bittencourt Project" was his first work as a musician soloist vocal lines where there's own, and "Violet Sky" group shows a much more mature tone of voice and refined, ranging from the most serious and even reaching high notes. In short, the track is well distorted riffs and grooves, but winning melody in the time; "Upper Levels" the one saved in weight to improve the technical part of the musicians, encompassing more balance and feeling, with Felipe putting on a show in the six strings of his bass, not forgetting, of course, the talented drummer Bruno Valverde, who in addition to play Thrash, Power and Death Metal, I can print their influences from Jazz and Fusion within the Heavy Metal. And a cool coincidence: the drummer lives in the same city this yours truly.
The female appearances are one of the most starched moments on the album, starting with the participation of the ruling queen of Heavy Metal, Doro Pesch, in "Crushing Room". When the voice of german Queen is present in any work, or any show, there are no errors to be appointed. Good neat duet with Rafael, Pop music merges with Heavy Metal and striking soils are the most superb points in the song; the other is the participation of the beautiful singer Simone Simons (Epica), entirely sings the title track, focusing more epic and symphonic passages.
Other highlights are the "Black Hearted Soul" (fast and accurate, with cracked Kiko's guitar solos) and "Perfect Symmetry" (with beautiful orchestrations), follows some of the standards that the public was accustomed to seeing coming from the band; and the album closes the lid with the beautiful acoustic ballad "Silent Call", where Rafael back to the lead vocal. For me, it has become classic and is indispensable in the list of best songs of Angra.
If the "Secret Garden" is likely to be considered a masterpiece I do not know, but the disc will be remembering for many not only for the revival of the group, but also by the changes brought, whether in the line-up or in the sound.
The invitation is for you to get into that secret garden!
Text: Gabriel Arruda
Editing / proofing: Carlos Garcia
Photos: Henrique Grandi
Album: Secret Garden
Production: Jens Bogren
Pre-production: Roy Z.
Style: Power and Progessive Metal
Seal: E-ar Music
Fabio Lione (vocals)
Kiko Loureiro (guitar)
Rafael Bittencourt (guitar/vocals)
Felipe Andreoli (bass)
Bruno Valverde (drums)
01. Newborn Me
02. Black Hearted Soul
03. Final Light
04. Storm Of Emotions
05. Violent Sky
06. Secret Garden (feat. Simone Simons)
07. Upper Levels
08. Crushing Room (feat. Doro Pesch)
09. Perfect Symmetry
10. Silent Call
sábado, 28 de março de 2015
The quality of the musicians who are, or who have gone through Toto, no doubt, then, from the group, the least that is expected is something above average, and "Toto XIV", the first one by Frontiers Records, justifies all the Serafino Perugino’s enthusiasm , the boss of the record company, and certainly let the fans very happy. (Leia a versão em português)
Through the comments of the musicians themselves, could also be noticed the excitement with these new songs, a clear example is one of many comments of the guitarist Steve Lukather, where he says that the album would bring all what the fans love in Toto music as well, an album that was being done with "blood, sweat and soul". In a production that took 11 months, "XIV" also served to the group to prove to themselves that they are still able to produce new and great songs.
The title "XIV", Steve explains that the Roman numerals and more the sword on the cover, always brought them luck, and also because they did not put a specific song as the title, for all the quality and diversity of the songs.
This album was long waited because the last studio album was "Falling Between", released in 2006, then the expectation was also big, and great expectations can create frustration, so that's how I was watching the proceedings with great expectations, but with a little fear, despite knowing very well the ability to musicians like Steve Lukather, David Paich, Joseph Williams, Steve Porcaro and Keith Carlock, the core of the current Toto, who is always surrounded by many people, both in the studio as live, remembering that it is the debut of Carlock, the group's youngest (musician who has accompanied artists such as Sting, John Mayer, Steely Dan, James Taylor), born in Mississippi, and he brings in the veins all the groove of the musicians of those sides, fitting perfectly into the diversity, technique and feeling that are required to integrate a band like Toto.
Well, with the album in hand, the expectations were met, the group presents fans with a great album, and can be placed among the great successes of Toto as "Hydra" and "IV".
Big hooks, big guitars, great melodies, great keyboards and great vocals (Joseph sounds great, keeps his voice intact through the years)! There are many textures and timbres, creative arrangements, either in instrumental or vocal parts, great melodies, some new instant hits, diversity and technique, all working for the compositions itself. The Toto can make music with extreme technical accuracy, while sound "commercial" and with the capacity to create huge Hits. Pure feeling.
Relying on the little hand of musicians as David Hungate (formerly, but always present in multiple albums), Amy Keys, CJ Vanston (producer), Tal Wilkenfeld and others, what we have here is high quality music, and it's amazing how musicians with their capacity and feeling (just technique isn’t good music warranty) transform the music in something almost palpable. It is as if the melodies, notes jumped by stereo, enter the ears, slide the fingers ... are so many details and arrangements of each instrument, each voice, which are necessary for many auditions you enjoy the work as a whole, and what is more commendable, you can simply listen without compromise because, as I said before, everything works for the good music, then immediately captivating melodies, perfectly combined technique and feeling.
The diversity of Toto's music is something that they bring from the start, then we can find from more nuances and Hard AOR, as in the opening with "Running Out of Time", with bright melodies of Lukather’s guitars, and that the new owner of drumsticks Keith Carlock, already shows all your skills, looking to further brought "groove" to Toto music; nice and catchy rocking "Holy War" (despite the serious subject of the lyrics), which has a great chorus also an immediate “Hit”, highlighted the lyric, talking about all this tension we live in today, with groups of fanatics killing in the name of religion; diversity also arises in the modern blues "21st Century Blues" and the progressive and funk music inroads of "Chinatown". That brilliant musicians.
Besides the mentioned "Holy War", one that is an immediate hit is "Orphan", with amazing melodies to keyboards and guitar, and the beautiful and catchy chorus, the guys do not lose out to build big hits, and open parenthesis here to the detail that the band has more of a singer (here Williams and Lukather divide vocals), feature them too, though Williams take charge of lead vocals, David Paich, Lukather and Porcaro also sing or share some vocals on several tracks, and to top it off, there is the support of various backings guests, further contributing to the diversity of the arrangements; "Burn", which starts soft, with the main melody keyboard, simple but beautiful, which sticks in the mind immediately. The track grows in the chorus and there for its half, creating an air of "power ballad"; "Unknown Soldier", Lukather takes brightly vocals on a track loaded with emotion, where synthesizers and acoustic guitars give a progressive air, half folk; in "The Little Things" is the turn of Steve Porcaro do sometimes vocalist in a sensitive and touching ballad, full of beautiful and striking melodies and a certain "pop vocation." Excellent.
The aforementioned "Chinatown" with Lukather, Paich and Williams sharing the vocals, full of groove and variations, ranging from pop to progressive, AOR to Jazz, and therein lies the magic in Toto music: you can not label their music! The music is at the same time, complex and commercial; I played with my son, who is also an admirer of the Toto’s music, which was missing a song with a woman's name because they have several ("Angela", “Rosanna”, “Carmen”, “Pamela”...), but then we have "All the Tears That Shines" in which the subject is implied hehehe , composed and sung by David Paich (author or co-author of some of the biggest hits of the band, as "Rosanna," "Africa" and "Hold the Line") then ok, nothing is missing in this album (well, could have a appearance of Bobby Kimball, the original singer, and my favorite, although Joseph comes second in my preference). The mature voice of David, supported by soft melodies, the groove of Keith and beautiful backing vocals, delivery over a beautiful ballad to the Toto’s vast collection ; "Fortune" also has the Toto’s characteristic "groovy" in a captivating way, besides the great vocal work and always hooked choruses;
Now, what a beautiful piece is "Great Expectations," which brings the trio Paich / Lukather / Williams dividing the vocals again, and the longest track on the album (6:48 min), we have another lesson on how to melodious music with technical , feeling and groove. Striking vocal lines, many variations, progressive raids and amazing drums, huge keyboards / synths and guitars, this music is perhaps one of the fastest bring that air of classic Toto, and, I believe, for this more progressive calling it, has a “seventies air” as well. In some editions can still be found the bonus track "Bend", an acoustic ballad, short, permeated by loop effects on acoustic guitar.
Musicality, feeling, groove, technique, good taste ... are so many adjectives, elements that any fan of the band know you will find in the group's music, and will certainly be very, very happy with this album, which brings the Toto classic sound. Here, they did what they do best, and without pressure to produce a radio hit, as it was in the 80s. Definitely one of the best albums of the band, walking shoulder-to-shoulder with their more classic stuff, and also one of the better releases of this 2015. To listen without moderation!
The sad note, is that the 15th of this month died Mike Porcaro (1955-2015), former bassist Toto (brother of Steve Porcaro and also of the original drummer, Jeff Porcaro, who died in 1992), who suffered from ALS, degenerative disease which forced him to leave the stage for some time. RIP Mike.
Text: Carlos Garcia
Edition: Carlos Garcia
Album: "XIV" (2015)
Production: CJ Vanston and Toto
"Running Out of Time"
"21st Century Blues"
"Unknown Soldier (For Jeffrey)"
"The Little Things"
"All the Tears That Shine"
Steve Lukather - vocals, guitars, bass on tracks 5, 6, 11
Joseph Williams - lead vocals
David Paich - vocals, keyboards
Steve Porcaro - vocals, keyboards
Keith Carlock - drums