Golden Earring is a Dutch rock band, founded in 1961 in The Hague as the Golden Earrings. They achieved worldwide fame with their international hit songs "Radar Love" in 1973, which went to number one on the Dutch charts, reached the top ten in the United Kingdom and went to number thirteen on the United States charts, "Twilight Zone" in 1982, "When the Lady Smiles" in 1984. During their career they have had nearly 30 top-ten singles on the Dutch charts while releasing 25 studio albums; the band's lineup consists of co-founders Rinus Gerritsen and George Kooymans, along with Barry Hay, Cesar Zuiderwijk. All musicians in the present lineup of the band have been continuous members of the band since 1970, although other musicians have joined and left the band during the intervening years. What became Golden Earring was formed in 1961 in The Hague by 13-year-old George Kooymans and his 15-year-old neighbor, Rinus Gerritsen. Called "the Tornados", the name was changed to the Golden Earrings when they discovered that the name the Tornados was in use by another group.
The name "the Golden Earrings" was taken from an instrumental called "Golden Earrings" performed by the British group the Hunters, for whom they served as opening and closing act. A pop-rock band with Frans Krassenburg on lead vocals and Jaap Eggermont on drums, the Golden Earrings had their first chart success with their debut single "Please Go", recorded in 1965, it became a hit on the charts in the Netherlands. Dissatisfied with Dutch recording studios, the band's manager and co-discoverer Fred Haayen arranged for the next single to be recorded at the Pye Records studios in London; the record cut at Pye, "That Day", reached number two on the Dutch charts. In 1967, Barry Hay joined the band; the following year, the band earned their first number one hit in the Netherlands with the song "Dong Dong Diki Digi Dong". In the United States, ground work for entering the U. S. market was being laid by East Coast FM radio disc jockey and music critic Neil Kempfer-Stocker, credited as the first radio DJ to play the band in the U.
S. This single was followed by a successful psychedelic album Eight Miles High, which featured an 18-minute version of the title track, a cover of the 1966 hit song by the Byrds; the live version, which could last 45 minutes, was played during their first and second American tours in 1969. The band's American records at this time period were issued by the Perception Records label in New York, the band's Golden Earring LP, known as Wall of Dolls, single "Back Home" performed poorly in the U. S. but became a number 1 hit in the Netherlands. In 1970, drummer Cesar Zuiderwijk joined the band, completing what has become Golden Earring's classic lineup; the band enjoyed brief international fame in the 1970s when the single version of "Radar Love", from the Gold-certified album Moontan became a hit in both Europe and the U. S. Golden Earring embarked on their first major U. S. tour in 1969–1970. Owing to American influences, their music evolved towards hard rock, they performed along with Jimi Hendrix, Led Zeppelin, Procol Harum, Eric Clapton.
Between 1969 and 1984, Golden Earring completed 13 U. S. tours. During this period, they performed as the opening act for Santana, King Crimson, the Doobie Brothers, Rush and.38 Special. During 1973 -- 74, when "Radar Love" was a hit, they had Aerosmith as their opening acts. While signed to the UK Track Records label, the band rented the superb quadraphonic sound system used by the Who. Golden Earring enjoyed a brief period of U. S. stardom but were unable to secure further chart success until 1982's "Twilight Zone". The music video of the song, directed by Dick Maas, was played on the launched MTV in the United States, helped the song to become a Top Ten hit. "When the Lady Smiles" became an international hit in 1984, reaching No. 3 in Canada and becoming the band's fifth number one hit in their native country, but was not successful in the United States. This lack of success in the U. S. was due to the fact that the music video of the song was banned from MTV, because of nudity and a scene portraying the rape of a nun.
An edited version of the video failed to convey its original intentions. While touring the U. S. in 1984, the band played at the Great Arena of Six Flags Great Adventure in New Jersey on May 11 and were in the midst of their concert when a fire at the Haunted Castle began on the opposite side of the theme park, killing eight teenagers. Following this tour, Golden Earring turned their focus toward Europe where they continue to attract standing-room-only crowds; the group paused after the release of The Hole in 1986 to focus on other projects, with Hay and Kooymans both releasing solo albums the following year. The group reconvened to record their final album of the 1980s, releasing Keeper of the Flame in 1989. In 1991, Golden Earring had another hit in the Netherlands with "Going to the Run", a rock-ballad about a Hells Angels motorcycle gang member, a friend of the band and died in a crash; the Russian rock band Aria made a successful cover of "Going to the Run" as "Беспечный ангел". From 1992 to 2004, the band released three acoustic live unplugged albums, which became an instant success.
Since 1992, they have performed acoustic unplugged theater-shows which continue to this date and sell out. The acoustic albums feature unplugged versions of famous hits of the band, have been some of the band's best-selling albums, such as The Naked Truth, w
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
"Radar Love" is a song by the Dutch rock band Golden Earring. The single version of "Radar Love" reached #10 on the Cash Box Top 100 and #13 in Billboard in the United States, it hit the Top 10 in many countries, including the United Kingdom, Australia and Spain. The song is written from the point of view of a car or truck driver who thinks of his beloved "baby", telling that they are able to share their feelings at distance without physical means like telephone or letters, he explains how this works and, while listening to a song on the radio, makes comments on the late night traffic in the early morning hour. Like other famous songs of the era, "Radar Love" is composed as a suite with several distinctive and quite different sections; the intro starts with a guitar riff in four movements. The first movement is up from C# minor with three power chords reminiscent of Deep Purple's "Smoke on the Water"; the second movement heads down, the third is up again, higher than the previous, the fourth leads all down to E major.
According to bass player Rinus Gerritsen the intro was inspired by Carlos Santana. After the intro a driving snare drum sets the pace in 4/4 time, at around 100 BPM; the snare drum is soon joined by a signature bassline in F# minor. This is repeated eight times in two alternating lines. Starting at 0:47, the first verse is sung to the ongoing bassline in F# minor: "I've been driving all night, my hands wet on the wheel..." The verse consists of four lines and each of them is answered by a simple guitar hook. After the fourth line the song moves to a sort of bridge leading up to the chorus. "When she is lonely and the longing gets too much, she sends a cable coming in from above..." In this section, accompanied by vocal harmonies, the chords shift from E major via several changes to B major and C# minor at the start of the refrain: "We've got a thing that's called radar love..." During the chorus, starting in C# minor at 1:20, the band is joined by a brass section and the drum beat is doubled to give the impression that the tempo has speeded up.
After the chorus the song returns to the previous bassline in F# minor. In verse two the singing gets funkier and so does the responding guitar, now played with double notes. "The radio is playing some forgotten song, Brenda Lee "Coming on Strong"..." At the end of the second chorus at 2:30 the album version continues with a different bassline and guitar improvisations until 3:49. In the single version this part has been left out and the song turns to a trademark drum solo at 2:30. Ten seconds into the solo the drummer is joined by guitar and trumpets playing a riff derived from the intro which builds up repeating over several variations, until collapsing in an E major chord at 3:06. At this point the song shortly slows down, but soon the haunting bassline restarts and the drummer returns to his driving beat. Yet, verse three at 3:36 is a different affair, as illustrated by the lyrics: "No more speed, I'm there, gotta keep cool now, gotta take care..." This time the voice, more hesitant than driving, is answered by bluesy guitar licks played by two guitars opposing on the stereo channels.
Energy returns with Brenda Lee coming on strong once more, at 4:13 the bridge and the chorus build up for a last ride with sounding horns. At 4:44 starts the outro with a variation of the haunting bassline in F# minor and all instruments joining in the same chord. Golden Earring's "Radar Love". According to Rustyn Rose at Metaholic, the song "is a rock masterpiece, from its hooky chugging bassline, to its simple but unmistakable riffs, to its catchy anthemesque chorus; the jam which rides the song out is note for note classic". The song has been chosen by many websites as a Top 10 driving song, it ranked in the top three. In polls it was chosen as the best radio song by readers of the newspaper Washington Post in November 2001, it resulted the #1 driving song in Australia, beating two AC/DC-songs, in Canada. In 2011 it received a vast number of votes as the "Ultimate Driving Song" in a poll at PlanetRock and "finished well ahead of its nearest rival, Deep Purple's Highway Star".. The bassline, guitar improv and drum solo riff was used in the late 1970's and early 1980's as part of the opening credits and theme to the long running Australian current affairs programme Four Corners produced by ABC before it segues into the official theme, Robert Maxwell's "Lost Patrol".
According to the dedicated website radar-love.net, the song has been covered more than 500 times, among others by Tribe 8, Omen, U2, R. E. M. Ian Stuart Donaldson, Sun City Girls, White Lion, Blue Man Group, Def Leppard, James Last, The NWOBHM band Aragorn, Nine Pound Hammer, Joe Santana, The Space Lady, The Pressure Boys; the White Lion version charted at #59 on The Billboard Hot 100. Goth-pop band Ghost Dance recorded a cover of the song on the B-side of their "Heart Full of Soul" single, itself a cover of the Yardbirds track. A pre-Mercyful Fate band featuring King Diamond on vocals recorded a cover of the song, it is featured on King Black Rose 20 Years Ago. WaveGroup Sound covered the White Lion version of the song of Guitar Hero Encore: Rocks the 80s. Official "Radar Love" website Lyrics of this song at MetroLyrics
Heavy metal music
Heavy metal is a genre of rock music that developed in the late 1960s and early 1970s in the United Kingdom. With roots in blues rock, psychedelic rock, acid rock, the bands that created heavy metal developed a thick, massive sound, characterized by amplified distortion, extended guitar solos, emphatic beats, overall loudness; the genre's lyrics and performance styles are sometimes associated with machismo. In 1968, three of the genre's most famous pioneers, Led Zeppelin, Black Sabbath and Deep Purple were founded. Though they came to attract wide audiences, they were derided by critics. During the mid-1970s, Judas Priest helped spur the genre's evolution by discarding much of its blues influence. Beginning in the late 1970s, bands in the new wave of British heavy metal such as Iron Maiden and Def Leppard followed in a similar vein. Before the end of the decade, heavy metal fans became known as "metalheads" or "headbangers". During the 1980s, glam metal became popular with groups such as Mötley Crüe.
Underground scenes produced an array of more aggressive styles: thrash metal broke into the mainstream with bands such as Metallica, Slayer and Anthrax, while other extreme subgenres of heavy metal such as death metal and black metal remain subcultural phenomena. Since the mid-1990s popular styles have further expanded the definition of the genre; these include groove metal and nu metal, the latter of which incorporates elements of grunge and hip hop. Heavy metal is traditionally characterized by loud distorted guitars, emphatic rhythms, dense bass-and-drum sound, vigorous vocals. Heavy metal subgenres variously alter, or omit one or more of these attributes; the New York Times critic Jon Pareles writes, "In the taxonomy of popular music, heavy metal is a major subspecies of hard-rock—the breed with less syncopation, less blues, more showmanship and more brute force." The typical band lineup includes a drummer, a bassist, a rhythm guitarist, a lead guitarist, a singer, who may or may not be an instrumentalist.
Keyboard instruments are sometimes used to enhance the fullness of the sound. Deep Purple's Jon Lord played an overdriven Hammond organ. In 1970, John Paul Jones used a Moog synthesizer on Led Zeppelin III; the electric guitar and the sonic power that it projects through amplification has been the key element in heavy metal. The heavy metal guitar sound comes from a combined use of heavy distortion. For classic heavy metal guitar tone, guitarists maintain moderate levels gain at moderate levels, without excessive preamp or pedal distortion, to retain open spaces and air in the music. Thrash metal guitar tone has scooped mid-frequencies and compressed sound with lots of bass frequencies. Guitar solos are "an essential element of the heavy metal code... that underscores the significance of the guitar" to the genre. Most heavy metal songs "feature at least one guitar solo", "a primary means through which the heavy metal performer expresses virtuosity"; some exceptions are nu grindcore bands, which tend to omit guitar solos.
With rhythm guitar parts, the "heavy crunch sound in heavy metal... palm muting" the strings with the picking hand and using distortion. Palm muting creates a tighter, more precise sound and it emphasizes the low end; the lead role of the guitar in heavy metal collides with the traditional "frontman" or bandleader role of the vocalist, creating a musical tension as the two "contend for dominance" in a spirit of "affectionate rivalry". Heavy metal "demands the subordination of the voice" to the overall sound of the band. Reflecting metal's roots in the 1960s counterculture, an "explicit display of emotion" is required from the vocals as a sign of authenticity. Critic Simon Frith claims; the prominent role of the bass is key to the metal sound, the interplay of bass and guitar is a central element. The bass guitar provides the low-end sound crucial to making the music "heavy"; the bass plays a "more important role in heavy metal than in any other genre of rock". Metal basslines vary in complexity, from holding down a low pedal point as a foundation to doubling complex riffs and licks along with the lead or rhythm guitars.
Some bands feature the bass as a lead instrument, an approach popularized by Metallica's Cliff Burton with his heavy emphasis on bass guitar solos and use of chords while playing bass in the early 1980s. Lemmy of Motörhead played overdriven power chords in his bass lines; the essence of heavy metal drumming is creating a loud, constant beat for the band using the "trifecta of speed and precision". Heavy metal drumming "requires an exceptional amount of endurance", drummers have to develop "considerable speed and dexterity... to play the intricate patterns" used in heavy metal. A characteristic metal drumming technique is the cymbal choke, which consists of striking a cymbal and immediately silencing it by grabbing it with the other hand, producing a burst of sound; the metal drum setup is much larger than those employed in other forms of rock music. Black metal, death metal and some "mainstream metal" bands "all depend upon double-kicks and blast beats". In live performance, loudness—an "onslaught of sound", in sociologist Deena Weinstein's description—is considered vital.
In his book Metalheads, psychologist Jeffrey Arnett refers to heavy me
Nightmares (Omen album)
Nightmares is the first EP album of the American heavy metal band Omen. It was released in 1987 by Metal Blade, it was included as bonus tracks on the 1989 re-issue of Warning Of Danger and the 1996 re-issue of The Curse. OmenJ. D. Kimball - Vocals Kenny Powell - Guitars Steve Wittig - Drums Jody Henry - BassProductionOmen - Production Bill Metoyer - Engineering Brian Slagel - Executive Production Eddy Schreyer - Mastering Gerald McLaughlin - Cover Art Kevin Winter - Photos
Singing is the act of producing musical sounds with the voice and augments regular speech by the use of sustained tonality, a variety of vocal techniques. A person who sings is called a vocalist. Singers perform music that can be sung without accompaniment by musical instruments. Singing is done in an ensemble of musicians, such as a choir of singers or a band of instrumentalists. Singers may perform as soloists or accompanied by anything from a single instrument up to a symphony orchestra or big band. Different singing styles include art music such as opera and Chinese opera, Indian music and religious music styles such as gospel, traditional music styles, world music, blues and popular music styles such as pop, electronic dance music and filmi. Singing arranged or improvised, it may be done as a form of religious devotion, as a hobby, as a source of pleasure, comfort or ritual, as part of music education or as a profession. Excellence in singing requires time, dedication and regular practice.
If practice is done on a regular basis the sounds can become more clear and strong. Professional singers build their careers around one specific musical genre, such as classical or rock, although there are singers with crossover success, they take voice training provided by voice teachers or vocal coaches throughout their careers. In its physical aspect, singing has a well-defined technique that depends on the use of the lungs, which act as an air supply or bellows. Though these four mechanisms function independently, they are coordinated in the establishment of a vocal technique and are made to interact upon one another. During passive breathing, air is inhaled with the diaphragm while exhalation occurs without any effort. Exhalation may be aided by lower pelvis/pelvic muscles. Inhalation is aided by use of external intercostals and sternocleidomastoid muscles; the pitch is altered with the vocal cords. With the lips closed, this is called humming; the sound of each individual's singing voice is unique not only because of the actual shape and size of an individual's vocal cords but due to the size and shape of the rest of that person's body.
Humans have vocal folds which can loosen, tighten, or change their thickness, over which breath can be transferred at varying pressures. The shape of the chest and neck, the position of the tongue, the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, timbre, or tone of the sound produced. Sound resonates within different parts of the body and an individual's size and bone structure can affect the sound produced by an individual. Singers can learn to project sound in certain ways so that it resonates better within their vocal tract; this is known as vocal resonation. Another major influence on vocal sound and production is the function of the larynx which people can manipulate in different ways to produce different sounds; these different kinds of laryngeal function are described as different kinds of vocal registers. The primary method for singers to accomplish this is through the use of the Singer's Formant, it has been shown that a more powerful voice may be achieved with a fatter and fluid-like vocal fold mucosa.
The more pliable the mucosa, the more efficient the transfer of energy from the airflow to the vocal folds. Vocal registration refers to the system of vocal registers within the voice. A register in the voice is a particular series of tones, produced in the same vibratory pattern of the vocal folds, possessing the same quality. Registers originate in laryngeal function, they occur. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds; the occurrence of registers has been attributed to effects of the acoustic interaction between the vocal fold oscillation and the vocal tract. The term "register" can be somewhat confusing; the term register can be used to refer to any of the following: A particular part of the vocal range such as the upper, middle, or lower registers. A resonance area such as chest voice or head voice. A phonatory process A certain vocal timbre or vocal "color" A region of the voice, defined or delimited by vocal breaks.
In linguistics, a register language is a language which combines tone and vowel phonation into a single phonological system. Within speech pathology, the term vocal register has three constituent elements: a certain vibratory pattern of the vocal folds, a certain series of pitches, a certain type of sound. Speech pathologists identify four vocal registers based on the physiology of laryngeal function: the vocal fry register, the modal register, the falsetto register, the whistle register; this view is adopted by many vocal pedagogues. Vocal resonation is the process by which the basic product of phonation is en
Paul O'Neill (rock producer)
Paul O'Neill was an American music composer, lyricist and songwriter. O'Neill was born in Flushing, New York City, the second of his parents' ten children, O'Neill's music and literary influences, as well as his own artistic visions were well established before he began working full-time in the industry in his late teens. O'Neill began playing guitar with a number of rock bands in high school and graduated to folk guitar gigs at downtown clubs. O'Neill took his first serious musical steps in the mid 1970s when he took his first progressive rock band, into Jimi Hendrix's Electric Lady Studios in New York City, it was there that he first met engineer Dave Wittman who had the ability to capture on tape the sounds O'Neill was hearing in his head. O'Neill ended up shelving the project; however he credited Slowburn's initial failure as one of the luckiest things that could have happened to him, for it gave him the opportunity to learn the recording and concert business from the inside out. In addition, touring with some of the world's biggest bands gave him an insight not only into how the music industry differed from country to country but a better sense of history and finance than he could learn from books alone.
He landed a position at Leber-Krebs Inc. the management company that launched the careers of Aerosmith, AC/DC, Def Leppard, Ted Nugent, New York Dolls and Joan Jett among others. He worked as the personal assistant of manager David Krebs. In the 1980s, O'Neill became a large rock promoter in Japan, promoting every tour of Madonna and Sting done in that decade, as well the largest rock festivals done in Japan until that time, with such acts as Foreigner, Bon Jovi and Ronnie James Dio. Among other bands, O'Neill helmed Aerosmith's Classics Live I and Classics Live II albums before beginning a fortuitous relationship with the band Savatage that led to conceptual pieces such as Hall of the Mountain King, Gutter Ballet, Streets: A Rock Opera and Dead Winter Dead, it introduced him to Jon Oliva, Bob Kinkel and Al Pitrelli, as well as reconnecting him with studio engineer Dave Wittman, who all became original collaborators in O'Neill's next group, Trans-Siberian Orchestra."I wanted to take the best of all the forms of music I grew up on and merge them into a new style," O'Neill said in 2011.
"Basically I was building on the work of everybody I worshipped: the rock opera parts from bands like the Who. I always wanted to do a full rock opera with at least 24 lead singers. O'Neill took the idea to Atlantic Records which, to his surprise, went for it and financed the creation of Romanov, to be TSO’s first release. "We were fortunate," he says. "It was one of the only labels left that still did an “old school” kind of artist development." My original concept was. However, when Romanov got temporarily put on the back burner, the first installment of the Christmas trilogy, Christmas Eve and Other Stories became TSO’s debut album. Fueled by the single "Christmas Eve/Sarajevo 12/24", the album went double platinum. More platinum certifications followed with 1998’s The Christmas Attic, the final installment of the Christmas trilogy, The Lost Christmas Eve in 2004. In the midst of completing the trilogy, TSO released their first non-holiday rock opera, Beethoven's Last Night. O'Neill's body was discovered in an Embassy Suites hotel room in Florida.
O'Neill's death was announced in a brief note posted on the Trans-Siberian Orchestra website on April 5, 2017, which cited chronic illness. The Hillsborough, Florida medical examiner’s office determined the official cause of Paul O’Neill’s death as accidental, resulting from an unexpected reaction to prescribed medications to treat his numerous chronic illnesses. Found along with O'Neill's body were more than 30 prescription pill bottles in his name. O'Neill was in the midst of a number of projects, their continuation was in doubt. On June 24, 2017, TSO announced on their Facebook page that the band would continue the 2017 Winter Tour of "The Ghost of Christmas Eve" in O'Neill's legacy and honor. During the tour, the band honored O'Neill while playing "The Safest Way Into Tomorrow", with images of sunglasses and motorcycle gloves projected on the stage's video display. 1986 – Classics Live I 1987 – Classics Live II 1989 – Badlands 1989 – Escape to Nowhere 1985 – Knockin' on Heaven's Door 1993 – Hanging in the Balance 1987 – Hall of the Mountain King 1989 – Gutter Ballet 1991 – Streets: A Rock Opera 1993 – Edge of Thorns 1994 – Handful of Rain 1994 – Japan Live'94 1995 – Dead Winter Dead 1995 – Ghost in the Ruins – A Tribute to Criss Oliva 1997 – The Wake of Magellan 2001 – Poets and Madmen 1996 – Christmas Eve and Other Stories 1998 – The Christmas Attic 2000 – Beethoven's Last Night 2004 – The Lost Christmas Eve 2009 – Night Castle 2012 – Beethoven's Last Night – The Complete Narrated Version 2012 – Dreams of Fireflies – EP 2015 – Letters From the Labyrinth