Blues rock is a fusion genre combining elements of blues and rock. It is an electric ensemble-style music with instrumentation similar to electric blues and rock: electric guitar, electric bass, drums with Hammond organ. From its beginnings in the early- to mid-1960s, blues rock has gone through several stylistic shifts and along the way it inspired and influenced hard rock, Southern rock, early heavy metal. Blues rock continues to be an influence in the 2010s, with performances and recordings by popular artists. Blues rock started with rock musicians in the United Kingdom and the United States performing American blues songs, they recreated electric Chicago-style blues songs, such as those by Muddy Waters, Jimmy Reed, Howlin' Wolf, Albert King, at faster tempos and with a more aggressive sound common to rock. In the UK, the style was popularized by groups such as the Rolling Stones, the Yardbirds, the Animals, who managed to place blues songs into the pop charts. In the US, Lonnie Mack, the Paul Butterfield Blues Band, Canned Heat were among the earliest exponents and "attempted to play long, involved improvisations which were commonplace on jazz records".
John Mayall & the Bluesbreakers and Peter Green's Fleetwood Mac developed this more instrumental, but traditional-based style in the UK, while late 1960s and early 1970s groups, including Ten Years After, Savoy Brown, the Climax Blues Band and Foghat became more hard rock oriented. In the US, Johnny Winter, the Allman Brothers Band, ZZ Top represented a hard rock trend. Although around this time, the differences between blues rock and hard rock lessened, there was a return to more blues-influenced styles. In the 1980s, the Fabulous Thunderbirds and Stevie Ray Vaughan, recorded their best-known works and the 1990s saw guitarists Gary Moore, Jeff Healey, Kenny Wayne Shepherd become popular concert attractions. Groups such as the Jon Spencer Blues Explosion and the White Stripes, brought an edgier, more diverse style into the 2000s, as do contemporary artists such as the Black Keys. Blues rock can be characterized by bluesy improvisation, the twelve-bar blues, extended boogie jams focused on the electric guitar player, a heavier, riff-oriented sound and feel to the songs than might be found in traditional Chicago-style blues.
Blues rock bands "borrow the idea of an instrumental combo and loud amplification from rock & roll". It is often played at a fast tempo, again distinguishing it from the blues; the core blues rock sound is created by bass guitar and drum kit. Bands included a harmonica called "a harp." The electric guitar is amplified through a tube guitar amplifier or using an overdrive effect. Two guitars are commonplace in blues rock bands: one guitarist focused on rhythm guitar, playing riffs and chords as accompaniment. While 1950s-era blues bands would sometimes still use the upright bass, the blues rock bands of the 1960s used the electric bass, easier to amplify to loud volumes. Keyboard instruments, such as the piano and Hammond organ, are occasionally used; as with the electric guitar, the sound of the Hammond organ is amplified with a tube amplifier, which gives a growling, "overdriven" sound quality to the instrument. Vocals typically play a key role, although the vocals may be equal in importance or subordinate to the lead guitar playing.
As well, a number of blues rock pieces are instrumental-only. Blues rock pieces follow typical blues structures, such as twelve-bar blues, sixteen-bar blues, etc, they use the I-IV-V progression, though there are exceptions, some pieces having a "B" section, while others remain on the I. The Allman Brothers Band's version of "Stormy Monday", which uses chord substitutions based on Bobby "Blue" Bland's 1961 rendition, adds a solo section where "the rhythm shifts effortlessly into an uptempo 6/8-time jazz feel"; the key is major, but can be minor, such as in "Black Magic Woman". One notable difference is the frequent use of a straight eighth-note or rock rhythm instead of triplets found in blues. An example is Cream's "Crossroads". Although it was adapted from Robert Johnson's "Cross Road Blues", the bass "combines with drums to create and continually emphasize continuity in the regular metric drive". Cream uses some of the lyrics from "Traveling Riverside Blues" to create their own interpretation of the song.
Rock and blues have always been linked, with driving rhythms and electric guitar techniques such as distortion and power chords used by 1950s blues guitarists Memphis bluesmen such as Joe Hill Louis, Willie Johnson and Pat Hare. Characteristics that blues rock adopted from electric blues include its dense texture, basic blues band instrumentation, rough declamatory vocal style, heavy guitar riffs, string-bending blues-scale guitar solos, strong beat, thick riff-laden texture, posturing performances. Precursors to blues rock included the Chicago blues musicians Elmore James, Albert King, Freddie King, who began incorporating rock and roll elements into their blues music during the late 1950s to early 1960s. In 1963, American rockabilly soloist Lonnie Mack had an idiosyncratic, fast-paced electric blues guitar style that came to be identified with blues rock, his instrumentals from that period were recognizable as blues or R&B tunes, but he relied upon fast-picking techniques derived from traditional American country and bluegrass genres.
The best-known of these are the 1963 hit singles "Memphis" and "Wham!". However, blues rock was not named as such, or recognized as a distinct movement w
"Fast Car" is a song written and recorded by American singer Tracy Chapman. It was released on April 1988 as the lead single from her 1988 self-titled debut studio album, her appearance on the Nelson Mandela 70th Birthday Tribute was the catalyst for the song's becoming a top-ten hit in the United States, peaking at number six on the Billboard Hot 100. In the United Kingdom, it peaked at number four on the UK Singles Chart. "Fast Car" received two Grammy nominations for Record of the Year and Song of the Year, as well as a MTV Video Music Award nomination for Best Female Video in 1989. According to Metro Weekly critic Chris Gerard, "Fast Car" tells a grittily realistic story of a working poor woman trying to escape the cycle of poverty, set to folk rock music; the song's arrangement was described by Orlando Sentinel writer Thom Duffy as "subtle folk-rock", while Billboard magazine's Gary Trust deemed the record a "folk/pop" song. Dave Marsh said it was an "optimistic folk-rock narrative", whose characters are in a homeless shelter.
Rolling Stone ranked the song number 167 on their list of the 500 Greatest Songs of All Time. It is Chapman's only song on the list. Pitchfork placed the song at number 86 on their list of the 200 Best Songs of the 1980s. In April 2011 the track hit the UK top ten at number 4 after Michael Collings performed it on Britain's Got Talent; the single was certified Platinum in the United Kingdom by the British Phonographic Industry in 2014, based on digital downloads and streaming. The song has sold 661,500 copies in the United Kingdom, as of January 2016. In 2015, a tropical house cover of "Fast Car" was released by British record producer Jonas Blue, it features the vocals from British singer Dakota. It is the lead single of Blue’s debut album Blue; the Club Mix was included on Blue's compilation, Jonas Blue: Electronic Nature – The Mix 2017. In an interview with iHeartRadio, Blue stated, "When I was growing up, it was just a varied type of music. My dad schooled me on soul, disco, things like that.
It was varied. And my mum was kind of more pop, ABBA, things like that, Tracy Chapman. So it was a varied sound growing up, lots of different big acts, great songwriters, and influenced me into what I'm doing today." Regarding "Fast Car", Chapman's original 1988 hit is a favorite of Blue's mother's, who would play it in the car. "It was a good song in London that time when I was growing up, so it was always on the radio," he went on to say. "And it just kind of stuck with me. It was that song on the long journeys, I loved it."Regarding Dakota, who provides vocals on the song, Blue said, "I met Dakota with my manager. I had finished the instrumental of'Fast Car', we were looking for a singer, but on this particular night, we went out, we weren't looking for the singer. We just went to this pub for a beer, this pub is kind of renowned for its new acts and unsigned artists and things like that. So, we're upstairs having a beer and all of a sudden we hear this voice from the basement downstairs of this pub, I said,'We've got to go down and check whoever, up.'
We went downstairs and Dakota was there, we never met her before. At the end of the show, went up to her and said,'I've done this cover of'Fast Car' and I think you'd be great on it.' And she,'Oh, I've never done dance music before or anything like that so, I'm not kind of sure.' And I was like,'Listen, you'd be great.' And she came the next day to record it, what you hear on the radio is her coming in the next day after her show to record it." Blue admitted that he wanted to create a Swedish-esque sound on the record: "I think with things like the synth lead lines in it, giving it that second hook, I was kind of going for a kind of Swedish-y kind of sound. That's kind of the influence behind that kind of lead synth line, and, something which I don't think people have picked up on yet, but they just like the song because of what it is." The Jonas Blue version peaked at number two on the UK Singles Chart, behind Zayn Malik's "Pillowtalk". Its UK peak meant it charted higher than Chapman's original, which peaked at number five on the chart in May 1988 and a position higher upon a re-release in April 2011.
Outside the United Kingdom, the Jonas Blue version reached number one in Australia. And Hungary, whilst peaking within the top ten in Germany, Italy, the Netherlands, New Zealand and Sweden. In the United States, the Jonas Blue version went to number one on the Dance Club Songs chart. In 2016, another tropical house version was released by Swedish record producer Tobtok, featuring the vocals from British singer River. Tobtok released an accompanying music video; the Tobtok version charted in a number of charts, notably Australia, where it received significant airplay and reached number 19 on the charts. The Tobtok version charted in the Norwegian VG-lista, Irish IRMA and Danish Tracklisten official charts. Track listing "Fast Car" – 3:27 "Fast Car" – 2:57 The song has been covered many times including by The Flying Pickets, Hundred Reasons, Xiu Xiu, Vertical Horizon, Darwin's Waiting Room, Amazing Transparent Man, MYMP, Mutya Buena, Kristian Leontiou, Wayne Wonder, David Usher, Linda Pritchard, Boyce Avenue, Christian Kane, Mark Wilkinson, Elizabeth Gillies, Hitomi Yaida, Ryan Montbleau and Jess Moskaluke.
In 2010, Kelly Clarkson and Daughtry performed a duet of the song in concert. It was sampled by the rap group Nice & Smooth in their hit song "Sometimes I Rhyme Slow", making it a hit within the hip-ho
Tracy Chapman (album)
Tracy Chapman is the self-titled debut album by singer-songwriter Tracy Chapman, released on April 5, 1988, by Elektra Records. The album was recorded at the Powertrax studio in California. In 1987, Chapman was discovered by fellow Tufts University student Brian Koppelman, he offered to show her work to his father. After multiple performances, Koppelman found a demo tape of her singing her single "Talkin"bout a Revolution", which he promoted to radio stations, she was signed to Elektra Records. In early attempts to produce the first album, many producers turned down Chapman as they did not favor her musical direction. David Kershenbaum, decided to produce it as he wanted to record an acoustic music album, it was recorded in California in eight weeks. Most of the writing is based on social causes. Tracy Chapman gained critical acclaim from a wide majority of music critics, praising the simplicity, Chapman's vocal ability and her political and social lyrical content; the album received commercial success in most of the countries it was released, making it to the top of the charts in many countries, including Austria, New Zealand, Switzerland and the United Kingdom.
It peaked at No. 1 on the US Billboard 200 and was certified six-times platinum by the Recording Industry Association of America, with sales exceeding over six million copies in the United States alone. Three singles were released from the album, with the most commercially successful single being "Fast Car"; the song was performed at the Nelson Mandela 70th Birthday Tribute. It rose to the top ten on the US Billboard Hot 100 and did well in Australia, New Zealand, the United Kingdom, other European countries. Tracy Chapman is one of the best-selling albums of all time. In 1987, Chapman was discovered by fellow Tufts University student Brian Koppelman. In an interview he said "I was helping organize a boycott protest against apartheid at school, told me there was this great protest singer I should get to play at the rally." He went to see Chapman perform at a coffeehouse called Cappuccino. He said "Tracy walked onstage, it was like an epiphany, her presence, her voice, her songs, her sincerity—it all came across."
After this, Koppelman told her that his father was at the time a co-owner of SBK Publishing and could help her make a record. She did not consider the offer seriously. Koppelman, was interested in Chapman, so he attended most of her shows, she agreed to talk to him, but did not record any demos for him. He discovered that she had recorded demos at the Tufts radio station WMFO for copyright purposes, her demo of the song "Talkin"bout a Revolution" was taken to radio stations and, after the success, he copied it and took it to his father. According to the interview, "He got the picture and flew up to see her." Her demo led her to a signing with Elektra Records. She said "I have to say that I never thought I would get a contract with a major record label All the time since I was a kid listening to records and the radio, I didn't think there was any indication that record people would find the kind of music that I did marketable; when I was singing songs like'Talkin"bout a Revolution' during the Seventies I didn't see a place for me there."David Kershenbaum said that the album was "made for the right reasons".
"There was a set of ideas that we wanted to communicate, we felt if we were truthful and loyal to those ideas people would pick up on the emotion and the lyrical content, there." Chapman started writing songs when she was signed to Elektra Records. Koppelman started finding producers for the album with the demo tape of her single "Talkin"bout a Revolution". However, she was turned down due to the more mainstream impact of dance-pop and synthpop at the time, they found David Kershenbaum, who recalled later: "I'd been looking for something acoustic to do for some time... There was a sense in the industry of a slight boredom with everything out there and that people might be willing to listen again to lyrics and to someone who made statements."Chapman's greatest concern during her meetings with Kershenbaum was that the integrity of her songs remain intact, because she wanted to record "real simple". Kershenbaum said, "I wanted to make sure that she was in front and thematically, that everything was built around her."
Every song, featured on the result of the studio album was featured on her demo tape, except for "Fast Car", which resulted as one of the last songs recorded on the album. Kershenbaum recalled that the first time she sang and performed it for him, he "loved it the minute I heard it."The album was, in total, recorded in eight weeks at Powertrax, Kershenbaum's Hollywood studio. Interviewed in 2002 by The Guardian, Kershenbaum stated that a lot of the public wanted "what she had" and said, "And they weren't getting it, she got there at the right moment with stuff, good." Chapman was interviewed and talked about the background of the album. She said, "The first record is seen as being more social commentary... more political. But I think that's just all about perspective."In an interview with The Guardian in 1996, Chapman said: "My first record was not my first record." The proposed producer for the studio album was killed in a car accident and the record company called in someone far less experienced to take over.
Tracy Chapman received acclaim from music critics. According to Rolling Stone, Chapman "caught everyone's ear in the hair-metal late Eighties" with the album. Stephen Thomas Erlewine from AllMusic wrote, "Arrivin
Harvard Square is a triangular plaza at the intersection of Massachusetts Avenue, Brattle Street, John F. Kennedy Street, near the center of Cambridge, United States; the term "Harvard Square" is used to delineate the business district and Harvard University surrounding that intersection, the historic center of Cambridge. Adjacent to Harvard Yard, the historic heart of Harvard University, the Square functions as a commercial center for Harvard students, as well as residents of western Cambridge and the inner western and northern suburbs of Boston; these residents use a major MBTA Red Line subway and bus transportation hub. In an extended sense, the name "Harvard Square" can refer to the entire neighborhood surrounding this intersection for several blocks in each direction; the nearby Cambridge Common has become a park area with a playground, baseball field, a number of monuments, several relating to the Revolutionary War. The heart of Harvard Square is the junction of Brattle Street. Massachusetts Avenue enters from the southeast, turns to the north at the intersection, dominated by a large pedestrian space incorporating the MBTA subway entrance, an international newsstand, a visitor information kiosk, a small open-air performance space.
Brattle Street and John F. Kennedy Street merge from the southwest, joining Massachusetts Avenue at "Nini's Corner", where another newsstand is located; the Harvard/MIT Cooperative Society main building forms the western streetwall at the intersection, along with a bank and some retail shops. The walled enclosure of Harvard Yard is adjacent, with Harvard University, Harvard Extension School, Harvard Art Museums, Semitic Museum, Peabody Museum of Archaeology and Ethnology, Museum of Natural History just short walks away. Other institutions in the general neighborhood include the Cambridge Public Library, Lesley University, the Longy School of Music, the Episcopal Divinity School, the Cambridge Rindge and Latin School, American Repertory Theater, the Cooper-Frost-Austin House, the Hooper-Lee-Nichols House, the Longfellow House–Washington's Headquarters National Historic Site; the high pedestrian traffic makes Harvard Square a gathering place for street musicians and buskers, who must obtain a permit from the Cambridge Arts Council.
Singer-songwriter Tracy Chapman, who attended nearby Tufts University, is known to have played here during her college years. Amanda Palmer, of The Dresden Dolls performed here as a "living statue". Another frequent performer over the years has been indie rock guitarist Mary Lou Lord. A small bronze statue of "Doo Doo" sits at the corner of Brattle and Eliot streets, in honor of Fokin and all the street performers; until 1984, the Harvard Square stop was the northern terminus of the Red Line, it still functions as a major transfer station between subway and trackless trolley. Automobile traffic can be heavy, parking is difficult. Most of the bus lines serving the area from the north and west run through a tunnel adjacent to the subway tunnel. Built for streetcars and still used by trackless trolleys as well as ordinary buses, the tunnel lessens bus traffic in central Harvard Square, lets buses cross the Square without encountering automobile traffic; the tunnel allows safer and covered access between the subway and the buses.
At the center of the Square is the old Harvard Square Subway Kiosk, now a newsstand, Out of Town News, stocking newspapers and magazines from around the world. A video of it appears in transitional clips used on CNN. A public motion art installation, Lumen Eclipse, has been introduced at the Tourist Information Booth showing monthly exhibitions of local and international artists; the office of NPR's Car Talk radio show faces the square, with a stencil in the window that reads "Dewey, Cheetham & Howe," the fictional law firm referenced on the show. The popular show has referenced this by asking its viewers to send in answers to the "Puzzler" to "Puzzler Tower, Car Talk Plaza, Harvard Square, Cambridge, MA 02238"; the sunken region next to the newsstand and the subway entrance is called "The Pit". Its arena-like appearance attracts skateboarders and, more young, high-school aged people from surrounding neighborhoods who are associated with countercultural movements such as the punk, straight edge, goth subcultures.
The contrast between these congregants, the older and more conservatively dressed people associated with nearby Harvard University and the businesses in the Square leads to tension. Harvard sports teams and clubs, including the track teams and all-male social clubs, are known to make use of this contrast through encouraging or sometimes forcing their newest members to engage in humorous or humiliating performances in "The Pit" as part of these members' initiations into the group; the overall scene was fondly recalled by singer songwriter Amanda Palmer as a hangout for "Cool People". Across the street to the east of The Pit, an outdoor cafe features always-busy tables for chess players, including US Federation Life Master Murray Turnbull, who has displayed his "Play the Chessmaster" sign here since 1982. In the southwest area of the Square neighborhood, on Mount Auburn St, stands the Igor Fokin Memorial; this memorial, created by sculptor Konstantin Simun, pays tribute not only to the late "beloved puppeteer," but to all street performers that are an integral part of the square during summer months.
A number of other public squares dot the surrounding street
Talkin' 'bout a Revolution
"Talkin"bout a Revolution" is the second single from singer-songwriter Tracy Chapman's self-titled debut album. The politically aware song failed to replicate the success of its predecessor, "Fast Car", peaked at #75 in the United States. However, it managed to chart on four other charts maintained by Billboard and reached the top forty in two of them. Internationally, this single was a big hit, reaching the Top 40 in several countries, including France and New Zealand, becoming a classic in Chapman's song repertoire; the song received heavy radio play in Tunisia in 2011 during the Tunisian Revolution. The song has been used as an unofficial theme for Vermont Senator Bernie Sanders' 2016 presidential campaign; this song played before speeches at campaign rallies. The song was first covered by the group Living Colour, who not only performed the song on occasion on various tours but released a live version in the compilation album "What's Your Favorite Color". English punk band Leatherface released their cover version of the song on their EP "Compact and Bijou" in 1992.
It was subsequently covered by singer Ben Jelen on the Russell Simmons/Babyface-produced all-star compilation Wake Up Everybody in 2004. This song was covered by Reel Big Fish on their 2005 album We're Not Happy'Til You're Not Happy and Chamberlain as a B Side to "Five Year Diary". In 2010, this song was translated into Cree and covered by Art Napoleon on his album Creeland Covers. In February 2011, Israeli band Shmemel covered the song and added a verse inspired by the Arab Spring revolutions, with the new song being given the title "Talking About an Arab Revolution". Clarence Bekker, of Playing for Change, sang a cover version to commemorate Martin Luther King Jr. Day, 2017. Lyrics of this song at MetroLyrics
Soul music is a popular music genre that originated in the African American community in the United States in the 1950s and early 1960s. It combines elements of African-American gospel music and blues and jazz. Soul music became popular for dancing and listening in the United States, where record labels such as Motown and Stax were influential during the Civil Rights Movement. Soul became popular around the world, directly influencing rock music and the music of Africa. According to the Rock and Roll Hall of Fame, soul is "music that arose out of the black experience in America through the transmutation of gospel and rhythm & blues into a form of funky, secular testifying". Catchy rhythms, stressed by handclaps and extemporaneous body moves, are an important feature of soul music. Other characteristics are a call and response between the lead vocalist and the chorus and an tense vocal sound; the style occasionally uses improvisational additions and auxiliary sounds. Soul music reflected the African-American identity and it stressed the importance of an African-American culture.
The new-found African-American consciousness led to new styles of music, which boasted pride in being black. Soul music dominated the U. S. R&B chart in the 1960s, many recordings crossed over into the pop charts in the U. S. Britain and elsewhere. By 1968, the soul music genre had begun to splinter; some soul artists developed funk music, while other singers and groups developed slicker, more sophisticated, in some cases more politically conscious varieties. By the early 1970s, soul music had been influenced by psychedelic rock and other genres, leading to psychedelic soul; the United States saw the development of neo soul around 1994. There are several other subgenres and offshoots of soul music; the key subgenres of soul include a rhythmic music influenced by gospel. Soul music has its roots in traditional African-American gospel music and rhythm and blues and as the hybridization of their respective religious and secular styles – in both lyrical content and instrumentation – that began in the 1950s.
The term "soul" had been used among African-American musicians to emphasize the feeling of being an African-American in the United States. According to musicologist Barry Hansen,Though this hybrid produced a clutch of hits in the R&B market in the early 1950s, only the most adventurous white fans felt its impact at the time. According to AllMusic, "oul music was the result of the urbanization and commercialization of rhythm and blues in the'60s." The phrase "soul music" itself, referring to gospel-style music with secular lyrics, was first attested in 1961. The term "soul" in African-American parlance has connotations of African-American culture. Gospel groups in the 1940s and'50s used the term as part of their names; the jazz style that originated from gospel became known as soul jazz. As singers and arrangers began using techniques from both gospel and soul jazz in African-American popular music during the 1960s, soul music functioned as an umbrella term for the African-American popular music at the time.
Important innovators whose recordings in the 1950s contributed to the emergence of soul music included Clyde McPhatter, Hank Ballard, Etta James. Ray Charles is cited as popularizing the soul music genre with his series of hits, starting with 1954's "I Got a Woman". Singer Bobby Womack said, "Ray was the genius, he turned the world onto soul music." Charles was open in acknowledging the influence of Pilgrim Travelers vocalist Jesse Whitaker on his singing style. Little Richard, who inspired Otis Redding, James Brown both were influential. Brown was nicknamed the "Godfather of Soul Music", Richard proclaimed himself as the "King of Rockin' and Rollin', Rhythm and Blues Soulin'", because his music embodied elements of all three, since he inspired artists in all three genres. Sam Cooke and Jackie Wilson are acknowledged as soul forefathers. Cooke became popular as the lead singer of the gospel group The Soul Stirrers, before controversially moving into secular music, his recording of "You Send Me" in 1957 launched a successful pop music career.
Furthermore, his 1962 recording of "Bring It On Home To Me" has been described as "perhaps the first record to define the soul experience". Jackie Wilson, a contemporary of both Cooke and James Brown achieved crossover success with his 1957 hit "Reet Petite", he was influential for his dramatic delivery and performances. Writer Peter Guralnick is among those to identify Solomon Burke as a key figure in the emergence of soul music, Atlantic Records as the key record label. Burke's early 1960s songs, including "Cry to Me", "Just Out of Reach" and "Down in the Valley" are considered classics of the genre. Guralnick wrote: "Soul started, in a sense, with the 1961 success of Solomon Burke's "Just Out Of Reach". Ray Charles, of course, had enjoyed enormous success, as had James Brown and Sam Cooke — in a pop vein. E
New Beginning (Tracy Chapman album)
New Beginning is the fourth album by singer-songwriter Tracy Chapman, released in 1995. According to Nielsen Soundscan, it is her biggest-selling recording since 1991, with 3.8 million copies sold, according to the RIAA, it has shipped five million copies in the United States. The album's sound consists of Chapman's trademark acoustic folk-rock sound and is made up of slow low-key tunes and a few upbeat tracks. One notable exception is the hit "Give Me One Reason", a blues piece. Most tracks on the album have backup singers, rare in Chapman's earlier works; the album is notable for the impressive lengths of its songs. Aside from the single "Give Me One Reason", all songs are at least 4:56; the song "Unsung Psalm" was written and recorded for this album, but didn't make it. It was on her 2000 album Telling Stories as the sixth track out of eleven. According to Billboard Magazine, the "New Beginning" single was the first multi-session disc to have a sticker printed on the back of the packaging detailing system requirements to play the multi-media footage.
All songs written by Tracy Chapman. "Heaven's Here on Earth" – 5:23 "New Beginning" – 5:33 "Smoke and Ashes" – 6:39 "Cold Feet" – 5:40 "At This Point in My Life" – 5:09 "The Promise" – 5:28 "The Rape of the World" – 7:07 "Tell It Like It Is" – 6:08 "Give Me One Reason" – 4:31 "Remember the Tinman" – 5:45 "I'm Ready" – 4:56 "Save a Place for Me" Tracy Chapman – organ, acoustic guitar, electric guitar, lead vocals, background vocals Rock Deadrick – percussion, background vocals Lili Haydn – violin Steve Ferrone – drums Adam Levy – electric guitar, background vocals Eric Rigler – tin whistle, Uilleann pipes Scott Roewe – didgeridoo Glenys Rogers – percussion, background vocals John Philip Shenale – keyboard Andy Stoller – bass guitar, background vocals, tamboura Cameron Stone – cello John Thomas – piano Producers: Tracy Chapman, Don Gehman Engineer: Don Gehman Assistant engineers: John Ewing, Jr. Kevin Scott, Doug Trantow Mixing: Don Gehman Mastering: Eddy Schreyer Production coordination: Diane Medak Art direction: Lee Cantelon Design: Lee Cantelon Graphic layout: Lavonne Murlowski Photography: Christine Alicino Album Singles – Billboard Grammy Awards