David Byrne - The Catherine Wheel - Complete Broadway Score (Brian Eno) -- Discipline Global Mobile Shopping Cart -- Score Broadway Complete - Wheel Catherine The

<H1>David Byrne - The Catherine Wheel - Complete Broadway Score -- Discipline Global Mobile Shopping Cart</H1> Features Adrian Belew and Brian Eno <IMG SRC="https://store.nexternal.com/dgm/images/cathrin%20whell%20small.JPG" ALIGN=right ALT="David Byrne - The Catherine Wheel - Complete Broadway Score" NAME="David Byrne - The Catherine Wheel - Complete Broadway Score" BORDER=0 HSPACE=10> Track Listings: 1. Light Bath 2. His Wife Refused 3. Ade 4. Walking 5. Two Soldiers 6. Under The Mountain 7. Dinosaur 8. Red House, The 9. Wheezing 10. Eggs In A Briar Patch 11. Poison 12. Cloud Chamber 13. My Big Hands 14. My Big Hands (Fall Through The Cracks) 15. Combat 16. Leg Bells 17. Blue Flame, The 18. Big Business 19. Dense Beasts 20. Five Golden Sections 21. What A Day That Was 22. Big Blue Plymouth (Eyes Wide Open) 23. Light Bath Personnel: David Byrne (vocals, guitar, clavinet, triggered calliope, keyboards, vibraphone, bass, percussion, flute, bells, sound effects); Dolette McDonald, Sue Halloran (vocals); John Chernoff (guitar, piano, congas, gong, percussion); Adrian Belew (guitar); Douglas Gray (double belled euphonium); Bernie Worrell (piano, Mini-moog synthesizer); Brian Eno (Prophet synthesizer, bass); John Chernoff (drums, percussion); Yogi Horton, John Cooksey, Jerry Harrison (drums); Steve Scales (congas); Richard Horowitz (nez). Recorded at Celestial Sound Studios, New York, New York and Olympic Studios, London, England. David Byrne's first solo project--not counting his collaboration with Brian Eno, MY LIFE IN THE BUSH OF GHOSTS--is a score for a ballet by Twyla Tharp which was commissioned in an unusual way. Tharp gave Byrne a tape of edits of existing music, which the troupe had been using in initial rehearsals, and told him to write new music which matched the length, tempo, and mood of what was on the tape. As a result, THE CATHERINE WHEEL has an odd, occasionally disjointed effect, with short segues and instrumental interludes appearing between what are basically Talking Heads-style pop songs. In fact, this album's best track, "What a Day That Was," was performed by the Heads on the STOP MAKING SENSE tour. 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