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Despite the clashes between Elliot and Dunhill, the album sold over 150,000 copies and was a moderate success, landing at #87 on the Billboard album chart. To promote the album, Elliot had an interview with Rolling Stone magazine, [ 1 ] followed by a then-extraordinary $40,000 a week gig at Caesars Palace in Las Vegas .
Captured Live at the Forum is the third album by American rock band Three Dog Night, released in 1969.. The album was recorded at The Forum in Los Angeles.According to Three Dog Nightmare, Three Dog Night opened this show in support of Steppenwolf, who were recording various shows on their 1969–70 tour for an upcoming live album (Steppenwolf Live, released 1970).
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For more than a dozen years, YouTube’s Coachella livestream has been contemporary music’s greatest showcase: a proving ground for superstars, rising and returning artists — all of whom know ...
Today, the Dunhill catalog is managed by Geffen Records. A later independent reissue label called Dunhill Compact Classics was formed in 1986 to reissue recordings on the new CD format. British American Tobacco, a UK tobacco company, sued the company because of the use of the "Dunhill" name, forcing the company to rename itself DCC Compact ...
A1A or A-1-A [4] is the fifth studio album by American popular music singer-songwriter Jimmy Buffett and the third major label album in Buffett's Don Gant-produced "Key West phase". It was initially released in December 1974 as Dunhill DS-50183 and later re-released on Dunhill's successor labels ABC and MCA.
Three Dog Night (also known as One) is the debut album by American rock band Three Dog Night.The album was originally released by Dunhill Records on October 16, 1968. [1] The album is known for featuring the band's Top 5 hit single, their cover of Harry Nilsson's song "One".
The song is named after Dylan's wife at the time, and the song alludes to their earlier relationship, including the couple's children together. [4] In his book Down The Highway: The Life of Bob Dylan, Howard Sounes quoted Jacques Levy's account of the recording of the song, stating that Sara was present at the studio and listened "from the other side of the glass" as Dylan played the song.